Tokyo Tramps

The Tokyo Tramps have been long time favorites on the New England blues circuit. Featuring the husband and wife team of singer-songwriter-bassist, Yukiko Fujii and singer-songwriter-guitarist, Satoru Nakagawa, they are the heart and soul of the Tramps. By immersing themselves in the study and nuances of American blues, the duo have created their own inventive sound while showing reverence to the tradition. Their latest o ering, I’m A Tiger is yet another vibrant chapter in the Tokyo Tramps’ history...
METRONOME: The songs from your new EP, I’m A Tiger, were left over from your last album, If I Die Tomorrow. Why didn’t they appear on that record?
Satoru Nakagawa: There were just too many songs for one album we felt.
Yukiko Fujii: We had 25 to 30 songs before we started recording, If I Die Tomorrow. We narrowed it down to seventeen songs and one song with vocals and without vocals (instrumental). So with eighteen songs on the table, we didn’t feel it was good for an artist like us to do more.
METRONOME: Did you know that you would release these ve songs as the I’m A Tiger EP later on?
Satoru: It just happened in these di cult times that we are living in. We really can’t do anything right now.
Yukiko: We know that these ve songs were good songs and we felt good about keeping them in the fridge. When we released, If I Die Tomorrow, we were thinking that we were going to do some recordings and if any of these ve songs t, we would include them with that. We can’t record anything right now, so why not release them together. We can’t keep these songs in the fridge any more (laughs).
METRONOME: The opening track, “I’ll Stay and Take Care of You,” is very strong. What spawned the writing of that tune?
Satoru: We were listening to a live B.B. King record and had him in mind. For the arrangement part, we included a wah-wah guitar in the verse which is something I had never done. Our producer, Peter Parcek, suggested that. It really worked out ne. METRONOME: How did you meet Peter Parcek?
Satoru: Our rst real introduction was when we were down in Memphis for the2011 International Blues Challenge. Peter was there and I think he was with Vizztone. During the early evening, they would have the competition and right after that, blues record labels would showcase their artists. I believe Peter was with Vizztone playing with his band in this venue, the Rum Boogie Cafe. It was being run by Bob Margolin. He was the host for that venue.
Of course we knew of each other, but had never been introduced to one another. We got to know him there. Since then, Peter has become my mentor and guide. That’s how we got to work together. METRONOME: Have you worked with Ducky Carlisle before this project?
No. Actually Peter recommended Ducky. Peter and Ducky were a team for this project.
METRONOME: Yukiko, you co-penned the song, “I’m A Tiger” with Satoru. What inspired the writing for that?
Yukiko: When we were writing these songs we were in the mindset of, We’re going to ght. No matter how the world treats us, we’re going to ght. This song particularly mentions my mother. It was about the zodiac in Japan. It’s like the U.S., but we have another relating to the Chinese zodiac. I was born in the Year of The Tiger. My mother was born in the Year of The Dog. Since I was a child, my mother always mentioned that I was born in the Year of The Tiger. You are strong. You have a will and an energy. So when we were writing this song, I remembered what my mother said. I wanted to express myself about this tough world and all the di culties in my life. METRONOME: Did you feel like the world was against you at that time?
Yukiko: That was in 2015. We had lost a drummer and all the competitions. We tried, but things didn’t go as we hoped for or as we planned, so in 2014-2015 we were in that state of mind.
METRONOME: How does the songwriting process work for you two?
Satoru: I do most of the writing and Yukiko comes in later on.
Yukiko: I’m more of an arranger.
Satoru: Almost always, I start with lyrics. I have to have some kind of a vision. So I start with lyrics and then my acoustic guitar. Sometimes it’s vice versa, but most of the time I start with lyrics. Some songs work and some songs are a struggle. I’ll put them away for a while and come back and change the lyrics. I have some songs with the same music and di erent sets of lyrics and sometimes I have the same lyrics with di erent sets of music. You have to nd what ts.
METRONOME: How long did it take to record all the tracks?
Satoru: Most of the tracks were recorded live except for the guitars and keyboard overdubs.
Yukiko: The basic rhythm tracks were recorded in a four day session. The basic tracks happened in April of 2015. We did overdubs in June and July and mixed in October, November and December. METRONOME: Did the artwork come quickly?
Yukiko: (laughing) The title for the album didn’t come until later for us. We had di erent ideas. Once we decided to go with If I Die Tomorrow, the image came very quickly. We had a couple of months to decide on the title, but after that it came pretty quick. METRONOME: What made you choose the title, If I Die Tomorrow?
Satoru: It represented the state of our minds at the moment. The desperation.
Yukiko: I lost my mother in 2012 and I lost my father in 2013.
Satoru: There were complications and we lost our direction. We didn’t know where to go with our music. It’s just how we felt. METRONOME: “Je rey Jive” is a great song. Is there a real Je rey and what is the tune about?
Satoru: There is actually a Je rey Jive. He is a real guy. He’s an old friend of ours who lives on the North Shore. One time we were playing in Peabody at a dive bar. Je rey Jive was among the crowd there. He was a typical, larger-than-life kind of guy. He talked loud - jive talking. That’s why his nickname was “jive.”
From the very beginning he showed us support and showed us love and we became friendly. He was just a perfect guy to write a song about. He loves music and as a matter of fact I used one of his lines in the song. One day he called us and left a voice message saying, “Change the bad and keep the good/Spread your love in the neighborhood.” He was rapping on our answering machine (laughs). METRONOME: “Long Day” was another good cut. What was that about?
Satoru: Sound-wise it’s coming from New Orleans where I used to live. I was carrying my a ection for New Orleans when we were making this record. Once again, my attempt to create that New Orleans sound is nearly impossible for me to do. New Orleans music is as di cult to master as the blues. It’s so di cult unless you have the right musicians. None of us are from New Orleans, but we tried our best.
METRONOME: Have you visited New Orleans recently?
Satoru: Actually I have been visiting New Orleans for the past 3 or 4 years. I have friends down there. Yukiko has been there too. From time to time, I still get the urge to relocate to New Orleans. Maybe I need one more push.
METRONOME: The last cut, “Lovin’ Man” was a great instrumental. It reminded me of The Allman Brothers Band but you took it a step further. The stu you were playing was very innovative. How did that song come together?
Satoru: The original version of this song is on If I Die Tomorrow with vocals. The reason we created an instrumental version was that Yukiko’s friend is a producer in Japan.
Yukiko: He wanted an instrumental for his radio show.
Satoru: We thought this song would be good for that. It’s easy feeling. That’s how we created the instrumental.
Yukiko: An instrumental song like this was a challenge.
Satoru: I put it together at the last minute.
Even in the studio, I had to relearn my vocal melody on the guitar. Ducky [Carlisle] had a Gibson ES-335, so I used that. It was perfect for the track.
METRONOME: Was that the rst time you had recorded an instrumental song for any of your albums?
Yukiko: Actually, we recorded “Misty Forest.” That song is in sequence with another song called “Bluebird.”
Satoru: It’s like a psychedelic instrumental.
METRONOME: What kind of guitar and amp rig did you use for the recording?
Satoru: I used several di erent guitars, but my main guitar was a Fernandes Strat. It originally belonged to Yukiko’s brother from the ‘80s. I also used a ‘62 reissue Telecaster, a Les Paul Special double cutaway and an ES-335 because I wanted that B.B. King sound.
For amps, I used my ‘68 Fender Blackface Deluxe Reverb. I also used Ducky’s Deluxe Reverb.
METRONOME: Yukiko, are you still playing Gibson basses?
Yukiko: Yes. A Gibson EB3. That’s my main boy. I didn’t use an amp for the recording though. I went direct to the board. METRONOME: Is your drummer Tim Carman still with you?
Satoru: No. It’s tough now. We have a band, but we don’t have a drummer. METRONOME: How is Covid in Japan?
Have you been back to visit?
Satoru: There’s no way to visit now obviously.
Yukiko: You can, but you have to quarantine at the airport.
Satoru: I talk to all my Japanese friends here and none of us can understand why there are so many deaths in the United States. Japan was one of the rst countries in the world to get Covid. Some how in Japan we have infected people, but we don’t have a lot of deaths. I don’t understand why everybody is dying in the U.S. and Europe.
Yukiko: In Japan, we commute in very crowded trains, all the houses are small, all the stores and all the restaurants are small. There are more chances to get sick, but they’re not dying there. It’s strange.
Satoru: Wearing a mask in Japan... everyone wears one. It’s no problem. There are no questions asked.
Yukiko: They were locked down for 2 or 3 months, but once they opened up not many people died.
Satoru: Actually, they’re playing live music there.
Yukiko: Yeah, right now! They play live.
METRONOME: Before Covid hit, the Chinese population was wearing masks anyway.
Satoru: That’s a reason why we wear masks casually in Japan.
Yukiko: We are very clean and everybody
wears masks to prevent allergies and the u. It’s a regular thing.
METRONOME: Do you have any plans for the future?
Yukiko: Right now we’re recording one song per week and posting it on Facebook, Instagram and YouTube.
METRONOME: Is it acoustic or electric?
Satoru: We mix it up.
Yukiko: Yes. Sometimes acoustic guitar
and the bass and sometimes electric guitar and bass.
Satoru: We are actually working on the next record.
Yukiko: We need to move on. During Covid we need to stay home and we’re recording on the computer. We are working on new productions. It gives us a clearer image of the next tunes.
Satoru: I’m using GarageBand and started making a demo. It’s been great actually. METRONOME: Will you be able to use any of the tracks on the next album?
Satoru: I don’t like the idea of the drum machine. It sounds pretty good. It’s gotten better, but I’d really like to go in to the studio with a real drummer.
METRONOME: Have you shot any videos for your songs?
Satoru: We created three videos of songs on If I Die Tomorrow. Yukiko is thinking of doing a video for I’m A Tiger. - Brian Owens

Tokyo Tramps – If I Die Tomorrow
Vagabond Entertainment
www.tokyotramps.com
CD: 13 Songs, 52:09 Minutes
Styles: Contemporary Electric Blues Rock, Guitar Monster Blues, All Original Songs
Blues fans, what external stimulant wakes you up in the morning? Coffee? Tea? Something a bit stronger? If none of those work on a bleak Monday (or any day, come to think of it), try a dose of the Tokyo Tramps. Their latest album, If I Die Tomorrow, is a high- voltage jolt of monster guitar from lead man Satoru Nakagawa. All thirteen songs on this CD are originals, which is a bonus because it showcases their in-your-face style. With blasting instruments and no-nonsense vocals, the Tokyo Tramps know how to party. They’re a bar and dance club band, an ensemble that eschews classic blues in favor of the high-octane postmodern variety. Purists beware. Those of you who are in the mood to jump in a mosh pit (or imagine you are), this will get you going.
Their corner of the Internet provides revealing background information. Hailing from the Land of the Rising Sun (Japan), the Tokyo Tramps are a group of American roots and blues fanatics. The musical journey started when Satoru Nakagawa left Japan to go to Louisiana searching for the spirit of rock and roll. Soon he found the key: blues. Yukiko Fujii left a lucrative job in Tokyo and took a giant step following her heart to play American music. Then in 1999, the group was born in Boston. Satoru took the stage name “Tramps” from his early idol, Bruce Springsteen’s song, “Born To Run” – “Tramps like us, baby, we were born to run,” Satoru says. “American music changed our lives. Four individuals chanced to meet in Boston, and taking cues from our musical heroes, were creating something very unique and exciting. We are making our dreams come true every time we play.”
The Tokyo Tramps consist of Satoru Nakagawa on lead guitar and lead vocals, Yukiko Fujii on bass, vocals and keyboards, and Tim Carman on drums, vocals and percussion.
The song below is a prime example of the Tramps’ musical journey, and mighty catchy to boot.
Track 07: “Betty’s Kitchen” – Don’t have the time or the inclination to write an autobiography? Try a peppy blues song, as Satoru Nakagawa did. “Let me tell you a story; it goes back to ’93. I was an immigrant with an impossible dream...When I was feeling down, I’d meet my black mama Betty, and she’d say ‘Come on in (come on in my kitchen).’” Here Satoru fell in love with the blues and the female mentor who cherished them. With a funky 1970s-style intro heavy on the funk and the wah-wah pedal, “Betty’s Kitchen” is easily the best song on the album.
Can’t get bright-eyed and bushy-tailed in the A.M.? The Tokyo Tramps’ latest will do the trick! - Rainey Wetnight

Tokyo Tramps fit into a familiar origin story: young musicians come to America to get closer to the music, meet and form a band. What is unusual is that these two musicians came from Japan.
Satoru Nakagawa had just graduated high school when he came to the States in 1990. Yukiko Fujii was doing well as a musician in Japan but also wanted to play in America. The two formed Tokyo Tramps in Boston in 1999. Nakagawa is a brilliant guitarist and Fujii is equally skilled on bass, while both are powerful vocalists who sing very well together as well as separately.
While they came to America to get close to the blues, much of the music sounds more like the British blues- infused music of Clapton and particularly Cream. One can also hear the influence of Springsteen (from whose “Born To Run” they got the “Tramps” part of their name,) and others.
The first song, “Flowing Water,” immediately illustrates this point. Even Nakagawa’s voice sounds similar to Clapton here. It is a spectacular song, with Fujii joining Nakagawa at perfect moments and a searing guitar solo that lets you know you are in for a treat there. The songwriting is of an extremely high caliber as well. In fact, the musicianship and writing are superb throughout t the album.
You can hear the Hendrix influence on “If I Die Tomorrow,” both in the echo-laden vocal and the songwriting style. It’s a fun trip back to those psychedelic days, complete with a great jam. The next song, “Why,” allows Fujii to unleash her incredible voice, beginning with a raucous shout and rocking out on a fabulous story centered around the senseless death of a bird. For me, she is the real powerhouse of this duo, a real rock goddess.
The following song, “Woman,” is a lovely, sweet song that harks back to solo Clapton in style, while ‘Bluebird” returns us to full-throttle blues-rock.
The instrumental “Misty Forest” gets off to a slow start but does allow both musicians to show off their impressive skills. Then “Betty’s Kitchen” offers a delightful modern talking blues After a dramatic entrance, “Talking To Someone” channels The Doors very effectively.
“Mystery Man” lets us hear the magnificent voice of Fujii again, this time with an obvious Blondie influence. “Reprobates, Saints and Sinners” is good-time rockabilly, a party song for sure. Then “Lovin’ Man” is a delightful surprise, a sweet folk blues with a great singable refrain, and “Winter Always Turns To Spring” continues in the same vein, with scintillating slide guitar. “Blues in My Blood: nails the ending with a delightful blues shuffle.
For this album at least, the roots of the music only seem to go to around the 60s and 70s, but that was a rich time for blues-rock, and Tokyo Tramps mine it to create some great songs. If blues-rock is your thing, this will make you very happy! It is an excellent album from start to finish! -

The Tokyo Tramps have been long time favorites on the New England blues circuit. Powered by the stellar guitar playing and singing of Satoru Nakagawa along with the steadfast bass work and vocals of Yukiko Fujii, the Tokyo Tramps never fail to entertain their listeners either live or on record.
The band’s latest full length offering, If I Die Tomorrow, may have an ominous title, but in fact, is a joyous collection of songs that sizzle with clever lyrics and superb musicianship. We caught up with Yukiko and Satoru and they told us about the making of their best album to date...

METRONOME: How long have Tokyo Tramps been together now?
Satoru Nakagawa: We’ve been together since 1999, that’s over 18 years.

METRONOME: Who is currently in the band?
Satoru: Myself on vocal & guitar, Yukiko Fujii on vocals & bass and Jungho Kang on drums.

METRONOME: Where did you get your love for American blues music?
Satoru: It was a gradual process. I got interested in Top 40 in the 1980s. I became a Bruce Springsteen fan. Then I tried to learn all his influences. That’s how I discovered The Beatles, The Rolling Stones, Bob Dylan, Chuck Berry, Little Richard, Elvis Presley and others. Then I learned that rock and roll came from blues, so I started listening to John Lee Hooker and BB King.

METRONOME: Yukiko, how long have you been playing bass guitar?
Yukiko: I’ve been playing since I was in middle school, so, many many year.

METRONOME: What made you want to be a bass player?
Yukiko: I think that was my destiny. When I formed a girls band for my middle school graduation party, my two girlfriends wanted to play guitar, so I had two choices, either bass or drums. My parents were very strict and old-fashioned, so I didn’t think they would get me a drum set. They didn’t know about instruments other than piano and guitar, so I somehow tricked them into buying me a bass guitar – it’s a kind of guitar, right? I really fell in love with the sound of bass.

METRONOME: Satoru, how long have you played guitar?
Satoru: About 35 years

METRONOME: Who have been some of your musical influences?
Satoru: Too many to mention. Starting from 1980’s pop like Michael Jackson, Wham! Live Aid, Band Aid, and then Springsteen, Tom Waits, Stevie Ray Vaughan, The Neville Brothers, Buddy Guy, Eric Clapton, Otis Redding, Sam Cooke, Fats Domino, Elmore James and on and on.
Yukiko: American Top 40 stuff in the 1970’s and the 1980’s. I used to bug my poor mother with my addiction to Queen. I played “A Night At The Opera” very loud until it got worn out.

METRONOME: How many albums do Tokyo Tramps have out now?
Satoru: If I Die Tomorrow is our 7th album

METRONOME: How long did it take to record If I Die Tomorrow?
Satoru: We started writing in 2014, recorded in 2015 and mastered it in 2016.

METRONOME: Your press release stated that the songwriting was inspired by New Orleans music and Jimi Hendrix. Can you tell us more about that?
Satoru: Our previous CD, Rollin’ Rockland Blues Hour was a blues album with a hint of New Orleans in uences. I wasn’t thinking about doing a New Orleans record this time. In 2014, after coming back from the International Blues Challenge in Memphis, I was sick of doing the same old blues because I felt boxed in, not creating my own music.
I listened to people like Eric Clapton, Jimi Hendrix, and The Rolling Stones for inspiration because they all used blues and created something of their own, not just imitating Muddy Waters or Buddy Guy. For the rst time in my life I discovered fuzz and I fell in love with it. It was the perfect sound to express my feelings at the time. Everything started from there in the writing and arranging of the songs for the album.
As for the New Orleans sound, I used to live there so I’m a fan. Tim Carman, the drummer who recorded with us was really into funk. During the rehearsals, we started jamming and we sounded funky. So it was only natural for us to mix Hendrix inspired fuzz guitar sound and New Orleans modern funk like The Meters.

METRONOME: How did the songwriting process work for you for the CD?
Satoru: I wrote all the songs except a few songs with Yukiko writing lyrics.

METRONOME: Where did you record?
Satoru: Ice Station Zebra Studio in Medford, Massachusetts.

METRONOME: Who engineered the project?
Satoru: Ducky Carlisle

METRONOME: Have you worked with Ducky Carlisle before?
Satoru: No. This was the first time working with Ducky, and it was an amazing experience.

METRONOME: How did you meet Peter Parcek who co-produced the album?
Satoru: Peter has been my mentor for a while. Sometimes we meet for coffee. One day I brought up the project to him, and I asked if he knew any producers. He said he was interested. That’s how it started.

METRONOME: Did you use any unusual guitars or gear for the recording?
Satoru: Not really. I used my 80’s Fernandez Strat copy, a ‘52 reissue Telecaster, a ’65 reissue Les Paul Special, plus Ducky’s Les Paul, a 335, and a hollow body electric with DeArmond pickups in it. I used Ducky’s Fender Blackface Deluxe and ‘70’s Marshall Super Lead amps.

METRONOME: The opening track, “Flowing Water” is outstanding. What inspired the writing for that?
Satoru: Lyrics were inspired by my Buddhist practice. We are encouraged to practice like water instead of re. It’s a long road. Consistency is the key. I took that idea and wrote a love song. As for music, it took a while to find the right groove. One day I was playing to a certain groove by the Neville Brothers, and we tried that in the rehearsal. The rest is history. I’m happy the way my vocal and my fuzz tone came out.

METRONOME: “If I Die Tomorrow” is the title track of the album and a very heavy song. Do you worry about passing on, hence the subject matter of the song?
Satoru: For this album, I wanted to capture the sense of urgency and desperation because that’s how I was feeling about my life at the time. This was the last song I wrote for the album. While selecting songs, I thought we could use a heavy blues rock song with a Hendrix type of riff. I think I heard the line, “If I Die Tomorrow” somewhere, and it stuck with me for a while. I started writing the song around it.

METRONOME: “Why” has a very funky groove to it. What is that song about Yukiko?
Yukiko: The groove and bass line were inspired by Freddie King. This song is a real cry from the bottom of my heart. When a good thing is about to happen, something bad always gets in my way, no matter how hard I try. We wrote these songs in 2014, right after I lost my parents in 2012 and 2013. That totally changed my perspective, and the struggle was real. I got to release my frustration, anger, sadness, and desperation in that song.

METRONOME: “Misty Forest” reminded us of Robin Trower. Is he an influence of yours?
Satoru: I didn’t know much about him, to be honest with you. One day the idea came to me. The song is the sequel to the preceding song, “Bluebird.” The singer of “Bluebird” left the town searching for his happiness, but he gets lost in the forest. Isn’t that a classic theme? The Uni Vibe sound was perfect for that. Initially I was thinking more of Hendrix and Pink Floyd, sort of a floating feel with two chords going back and forth.

METRONOME: We heard Curtis Mayfield in your song “Betty’s Kitchen.” What is that song about?
Satoru: I love Curtis Mayfield. Actually we tried to sound like Dr. John backed by The Meters. Betty is my American mother in New Orleans. She is a professional jazz singer there. I lived across the street from her house. We helped each other like a real mother and son. I used to take her to grocery shopping and cut the grass, and she would cook catfish and chicken for me. I owe her a debt of gratitude. The song is about my early days in New Orleans.

METRONOME: “Mystery Man” is a great number. Is it about someone you know?
Yukiko: I am often asked if this is a true story, but this only happened in my head. I imagined myself in a busy train station in New York or Tokyo, where people would just walk by, echoing noises. Suddenly, time around me stands still and a mystery man shows up. I can make a movie, but it took me a long, long time to convince Satoru what I could see.
Satoru: I’m still not getting it (laughs).

METRONOME: You pulled out the slide for “Winter Always Turns To Spring.” Was that song meant to be hopeful?
Satoru: Once again, it’s a message of encouragement from Buddhism. I read it like as if being a musician is winter, but keep the faith and winter always turns to spring. As for music, I drew inspiration from Fred McDowell’s slide style. I wanted to write a folk gospel song like one that’s been around for generations.

METRONOME: What guitars and basses did you use for the recording?
Yukiko: I used my Gibson EB3 from early 1970’s... the love of my life.
METRONOME: How often is the band playing live these days?
Satoru: It really depends. 2 to 6 times a month. We also play duo shows and work in other projects as well.

METRONOME: Where are some of the venues you are playing at?
Satoru: We’ve been playing at Hugh O’Neill’s in Malden for a while. We usually play there every other month.

METRONOME: Who did the artwork for the album?
Satoru: Yukiko did everything.
Yukiko: Oh yeah.

METRONOME: By the looks of the album jacket, I thought this was going to be a heavy, introspective project, but it was anything but.
Satoru: As I mentioned earlier, we wanted to capture urgency and desperation for this album.
Yukiko: Ever since we decided If I Die Tomorrow” as the album title, I’ve been searching for the matching image for the cover. It could be something spiritual, like the sun shining through the sky, the ocean, trees, or something psychedelic. However, when we got a record deal in Japan, they wanted to see our faces on the cover. It looks kind of scary, but I thought that goes with the title and the mood of this album. Also, it’s all about a declaration on being ourselves.

METRONOME: Have you shot any videos for any of the songs on If I Die Tomorrow? Yukiko: Yes. We shot four videos, “Flowing Water,” “If I Die Tomorrow,” “Why,” and “Bluebird” at Keep The Edge Studio in Quincy. you can check them out on Youtube.

METRONOME: Where can people find out more about you on the internet?
Yukiko: Our home page is www. tokyotramps.com. All the band information is there. You can also ne us on Facebook, Instagram, Twitter, Reverbnation, Soundcloud, and so on.

METRONOME: Is there anything you’d like to add before we close out?
Yukiko: This album is absolutely our milestone. It’s been a long and hard road for us to nally see this album coming out in the U.S. We had many obstacles for releasing it, and we were losing hope. Then out of the blue, this record label in Japan contacted us. We couldn’t have been happier when we played release shows in Tokyo. Finally, we’re able to release the U.S. version with 2 bonus tracks. Now we can move on to the next project. We’ve got a lot to do in 2019. - Brian Owens

Tokyo Tramps (from the album If I Die Tomorrow available as a self-release) There is a story to Tokyo Tramps. It is a familiar tale of searchers, youth succumbing to the seduction of a guitar (piano, drum, etc.) and following the sound to find their calling. The spin that Tokyo Tramps put on the roles takes the members back to their native Japan. Band history watches Satoru Nakagawa (guitar) graduate high school and leave Japan in 1990 to discover the origins of Rock’n’Roll, landing in New Orleans and moving to Boston in 1996 to deepen his studies in music. Piano was the first instrument for Yukiko Fujii as age six before she picked up the bass guitar and formed her own band at fourteen, focusing on Rock from the 1970’s and 1980’s. She left a lucrative job in Tokyo when her heart began to beat loud for American music and relocated to Boston, MA. In 1999, the pair of the Japanese born American Roots fanatics formed Tokyo Tramps, snagging the moniker from Springsteen’s “Born to Run”. The backstory leads into If I Die Tomorrow, the recent release from Tokyo Tramps, an album that fits all the musical puzzle pieces the band has collected to form a sound that matches the psychedelia of Blues Rock forefathers Blue Cheer circa 1969.
Tokyo Tramps get seduced with a come- on-in groove when they take a seat in “Betty’s Kitchen” as If I Die Tomorrow meets a “Mystery Man” on a mighty backbeat, creates a current of funk for “Flowing Water”, makes a plea over a smoldering rhythm to “Woman”, and spits out a triphammer beat to ask “Why”. There is a satisfaction in living your dreams and the joy that Tokyo Tramps feel can be heard in every note of If I Die Tomorrow. Highway 61 road signs flash by when Tokyo Tramps add a touch of twang to their Blues in “Blues in My Blood”, trail swamp mist around the snaking hammer-pound beat from “Talkin’ to Someone”, and tap a toe for the front porch Folk optimism of “Winter Always Turns to Spring” as If I Die Tomorrow ties mortality to a simmering groove in the title track.
Listen and buy the music of Tokyo Tramps from AMAZON http://www.tokyotramps.com/ -

Satoru Nakagawa and his wife Yukiko Fujii lead the band Tokyo Tramps which now present their new album with thirteen songs where they develop topics like love, human life, friendship or the problems all human beings suffer like poverty, illness or death, all recurring topics they develop from a very personal and sometimes introspective point of view. Musically speaking it should be mentioned Satoru’s electrifying guitar leadership, who also feels inspired in deep Delta songs as well as in his approach to Jimi Hendrix’s style. Since they left their native Japan to settle in Boston looking to perform genuine American music, like rock or psychodelia, their fame has not stopped to grow. Today they have reached a more than a good status in Boston musical circles. Satoru is on guitar and vocals, Yukiko on the bass, keyboards and vocals and Tim Carmon on drums, percussion and vocals .VERY GOOD. -

Tokyo Tramps have released their latest of several studio albums If I Die Tomorrow, and it features many of their original tunes that their vast fan base has heard they play live in the last few years. Recorded by Ducky Carlisle and produced by Carlisle and Peter Parcek at Carlisle’s Ice Station Zebra studio in Medford, Massachusetts, these track crackle with life in every earthy note. There is nothing like good sound to make the best original roots music sound its best.

Opening cut “Flowing Water” gets a riffy treatment from Satoru Nakagawa and a layer of lovely coos from his wife Yukiko Fujii, bass guitarist, keyboard player, and co-lead vocalist of this blues trio. Nakagawa goes into some of his best guitar phrasing here, pressing out a line that is a wide as it is sublime, haunting. The flowing water metaphor used in this song is wholly original and it works to describe the consistency of emotion this tune is all about.

Title track “If I Die Tomorrow” feels like a mash up of Jimi Hendrix pensiveness and Muddy Water era deep feeling blues. Nakagawa’s lead guitar shines as it glides its electric timbre over Fujii’s shimmering organ line. Nakagawa sings his heart out, making the listener feel his anguished lyrics as much as his smoldering six string.

“Why” features the very likable Fujii lead vocal. She just makes her lilting vocal melody line come to life with a timbre and delivery unique to her. It’s a treat to hear her caress these lyrics over a twitchy guitar phrase and soulful organ part. Fujii and drummer Tim Carman forward things with a slapping groove that makes each motion hip and in the pocket.

“Woman” is a Tokyo Tramps take on the slow boil blues, the kind that begin gentle, tender, and reflective only to become a torrent of soulful out pouring. Nakagawa delivers the sensitivity well in his introductory lines. Beneath his lead vocal, he presses out an emotive part on his six string, one that takes the listener deep into the soul of this piece. The couple sing well together, their vocal and emotive chemistry easily rendered, and they build up this piece into a power blues ballad, intense emotion coming out of the guitar amp while the drumming gets loose and fast, furthering a sense of frenzy. It’s the art and the drama that make this piece work.

Tokyo Tramps rock out on “Bluebird,” playing at a brisk, up tempo pace that give this an edge. Harmony vocals coat, with great feeling, the jumpy electric guitar chords, bucking bass guitar, and a propulsion of drum fills. There is also a cool irony that contrasts the image of a “blue bird” with this whipcord pace and drive.

Adding an instrumental piece to this assemblage of exceptionally good material makes perfect logical sense. Showcasing the Tokyo Tramps‘ instrumental glory, “Misty Forest” recalls the forlorn lead guitar work of Jimmy Page from the first Led Zeppelin album. Hard driving psychedelic blues is made of stuff like Nakagawa’s tense phrasing and the multiple moving parts of bass and drums. Impressively, Nakagawa has come up with a slight twist in that he keeps something empowered rather than weepy in his line. He lets his electric guitar sing what is in his heart, making his axe the microphone of his wide, expansive soul, and the result is a classy, tasteful work of art.

Back into riffy material, Tokyo Tramps offer “Betty’s Kitchen,” a lyrical journey inspired by Nakagawa’s adventurous youth in Louisiana where he was supposed to be studying. Tossing in a Robert Johnson song title indicates Nakagawa’s interest and influence. Injecting riffage into his phrase, he keeps this song at once solid and jumpy, a wave of notes that keeps the toes tapping, the head bobbing, and the Tramps fans happy.

“Talking To Someone” finds Nakagawa singing smooth, like a come on song. His and Fujii’s vocal slide into play as precise as laser beams. Beneath their flirty lines lies a stream of itching guitar notes, bouncy bass, and festive drumming. You know there is something going on after the talking.

“Mystery Man” is another up tempo, riff fest. Satoru unleashes plenty of catchy little bunches of notes. Fujii struts her stuff vocally, belting out her twisty lyrics with torch singer passion and rocking energy. Her sustains are gorgeous and she proves herself as good as many other women singing this kind of music, even national artists.

Tokyo Tramps go for tongue in cheek appeal in “Reprobates, Tramps, and Saints.” With a scratchy guitar back drop, Nakagawa and Fujii have fun with this poke at a party gathering. That guitar is drenched in old time grind, a raw sound that was born in a much better time in music. “Lovin’ Man” softens the album with a sensitive rendering of a man’s revelation toward love and away from immaturity. Bonus track “Winter Always Turns To Spring” offers fine slide guitar and biting lead guitar. Second bonus track “Blues In My Blood” offer more Nakagawa slide work as well as his lilting vocal and his partner’s harmonies.

If I Die Tomorrow is one of Tokyo Tramps finest release yet. Nakagawa has drenched his vocals and guitar more deeply into blues, Louisiana, and other roots material. Fujii, too, makes a stronger impression here as a vocalist and adding more of her keyboards broadens and thickens the textures in these especially good songs. This blues trio just keeps on getting better and better. Bravo. - Bill Copeland

Greedy Geezer hosted his annual Greedy Geezer’s Garage Night BBQ at his Stoughton, Massachusetts backyard last Saturday afternoon, and it was a real hootenanny. The variety and quality of music was matched only by the variety and quality of barbeque food offered by this master of roots music and smoked meats.
I arrived in time to catch opening act Paddy O’Keys. Playing an electric piano, and supported by drummer “Allan Hendry, O’Keys took the audience down a pleasant memory lane. Irish tune “The Drunken Sailor” when over well for its lyrical entertainment value, especially the verse about the “rusty razor.” O’Key’s could change his sound to either electric piano or organ to suit a wide array of golden oldies. His organ melody on “Secret Agent Man” combined a sweet melodic twist with some mischievous chords.
O’Keys turned “Country Road” into a beauty of a piano ballad, a ballad that got the audience into a sing along vibe. His take on The Righteous Brothers’ “Unchained Melody” captured the spiritual underbelly of that piece before he got back into an oldies vibe with “Marylou” then jumped back to the more recent decades with John Forgery’s “Centerfield.”
Allan Hendry remained at the drum set to accompany Bubba Loaf, a vocalist playing electric guitar who whipped out a lot of interesting tones within a gritty picking style. Bubba Loaf’s bracing guitar chords on his original “Contamination” flew by with up-tempo grace before he loosened up his sound with a funky wah wah phrase. His tune “Tidal Wave” offered a fresh new sound before he invited up a singer named Silvia to vocalize over his brisk, accented guitar notes.
Coming up to play Resonator guitar was long time music scene musician Lew Bones. He opened his set with a melodic take on “Sympathy For The Devil” before singing real purty, home-on-the-range country style with Neil Young’s “Down By The River, his high pitched vocals nailing the emotive qualities of this 1970s gem.
Uncle Joey Fingers Band was a duo that started with an instrumental. Knobby low end and classy elegance from the electric piano entranced everyone in attendance with their arrangement. The duo reached everyone’s soft spot with Bruce Springsteen’s “Girls In Their Summer Clothes,” a tender ode to growing older. Bass player Al Houston sang lead vocals on Tom Petty’s “Good To Be King” for a plaintive tone. The duo’s take on “The Letter” created another special moment, with people dancing to this very familiar and very personal and very universal song of rejection.

Long time Geezer Garage Night band Tokyo Tramps took the stage to play their blues songs, blues flavored rock songs, and Jimi Hendrix inspired instrumental passages. Satoru Nakagawa’s exciting lead guitar phrase on the Santana arrangement of “Black Magic Woman” lead his trio through all of that song’s changes and sections with his crying, emotive lead guitar work. Tokyo Tramps next went into their irresistible hit single “Jeffrey Jive,” released a few years before their current If I Die Tomorrow album. Nakagawa’s wife and Tokyo Tramps bass player Yukiko Fujii was fantastic on that song’s call and response chorus: “Jeffrey Jive/Jeffrey Jive/Who dat/Who dat”
Nakagawa pulled his trio and his audience into the Jimi Hendrix version of Bob Dylan’s “All Along The Watchtower.” Freewheeling, high pitched lead guitar phrasing carried this one beautifully in the open space of Geezer’s lawn in front of a huge pond. Ms. Fujii was a hit on the Motown gem “Heatwave,” her harmonies ushering in a touch of yesteryear with her sly talents at the microphone.
Another Tokyo Tramps highlight was when they went into Fats Domino’s “I’m Walking.” Nakagawa, a huge fan of the New Orleans style and its second line tradition, gave every note a Cajun gumbo flavor. Then he blew into Muddy Water’s “Rollin’ And Tumblin’” without a moment to catch his breath. His guitar parts were snappy and crunchy, playing a phrase that was full of forward momentum. Fujii’s bass solo was full of perky notes which she nimbly moved up and down her instrument. Tyler’s drum solo maintained a steady cool as he smacked out a rush of fills and rolls and rapid fire cowbell licks.
Fujii purred with sultry appeal at the microphone, crooning Tokyo Tramps original number “Mystery Man.” Her unaffected vocal timbre giving this original an edge. Joey Fingers joined Tokyo Tramps for a lively take on Stephen Stills’ classic “Feelin’ All Right” with Bayou Boy playing a mean washboard to a marching beat. This quintet moved into “When The Saints Go Marching In” with more than a slight New Orleans flavor as Mr. Fingers played a lilting Louisiana melody line on accordion.

That was the end of my visit to the Greedy Geezer Garage Night Annual BBQ. My apologies to the remainder of the bands scheduled to perform, but my family was expecting me back in Boston within the hour. The group of players assembled as I left the Geezer family compound was in fine shape and playing up a storm of good music.
Greedy Geezer has done it again. His recent annual backyard BBQ version of his Greedy Geezer’s Garage Night was another success. He kept a good amount of people well fed with his fine smoked meats and a table full of many other foods. His assembly of musicians kept everyone entertained during this fun, music community event in his backyard. - Bill Copeland

What a night. Greedy Geezer has been hosting his Garage Nite one Saturday evening a month for some time now. Hosted at Granite Rail Tavern in Quincy, last weekend, Geezer held it on an unusual Friday night. Yet, the scheduling didn’t matter. He had many of his usual lineup performing, and the variety was as impressive as the quality. Where else could a music fan find Real Real Bayou Boy Band, Preacher Jack, Uncle Joey Fingers, Tokyo Tramps, Cal Cali Band, and Stow Away String Band all under one roof on the same night?

Arriving in time to catch the end of the set by Real Real Bayou Boy Band, I was treated to a solid rendition of The Rolling Stone’s “Dead Flowers” and a more Celtic flavored number entitled “Sorry Mom.” Up next, Preacher Jack, singing and playing a keyboard, treated the audience to his spiritually flavored rock music, tinkling out bluesy rock, blues, gospel, and some spiritual numbers on a Yamaha CP.

The first thing I notice about the man was that Preacher Jack has a senior citizen hippie image going on. His long white hair and beard gave him a mystique, like he could be a wizard in our present day fantasy movies. Yet, he also looks and sounds like a man who’s been a student of life for some time. Preacher Jack, without missing a beat on the keyboard, gave a brief discourse on the patriotic history of the city of Quincy before launching into some “patriotic boogie woogie” piano music. He hit those 16th notes in a way that made it look easy, moving into, along the way, a little up-tempo Ragtime magic. Preacher Jack showed he had a way of suddenly changing tempos and dynamics to offer an array of feisty playing styles. Drummer Matt supported him with the right beat for each styling. Invoking the name of Ray Charles, Preacher Jack went into some material popularized by Charles before he nailed “When The Saints Go Marching In.”

SONY DSCNext up, a singer-piano player named Uncle Joey Fingers began his set tapping out a sharp, elegant up-tempo joyride. His bright notes on “9:15,” with lead guitar accompaniment from Tokyo Tramps guitarist Satoru Nakagawa, was a rocked up Tom Waits-like number. His rendition of “You Know I Can’t Dance” got its wind from the combination of drums(Al Hendry), lead guitar, and piano, Fingers playing his piano faster than greased lightning, banging out his notes like nobody’s business. “Queen Of The Demolition Derby” was another speedy winner before the piano man performed his version of Traffic’s “Can’t Find My Way Home.” Uncle Joey Fingers used his steady rasp to finesse the lyrics to his more piano driven approach. Meanwhile, Nakagawa’s guitar phrasing brought a 1960’s psychedelic hippie vibe to the number, giving it a free spirit, loosey goosey glide. He worked wonders with The Temptations’ “The Way You Do The Things You Do.” He handled Irma Thomas’s “River Is Waiting” well, yet it was marked by Nakagawa’s mellow, bluesy lead guitar picking, a melody that captured the message of the song.

SONY DSCAfter Uncle Joey Fingers finished his classy piano driven set, it was time for Boston’s blues scene sensation, Tokyo Tramps. Tokyo Tramps are fronted by husband and wife team Satoru Nakagawa on electric guitar and Yukiko Fujii on electric bass. The pair came to America from different parts of Japan for their education, meeting in Boston and marrying in Japan soon after.

Tokyo Tramp’s latest drummer is an American, Tim Carman. Most impressively, Tokyo Tramps didn’t play a single song from any of their previous popular local blues albums. Why? Because they had seven brand new songs that they haven’t yet recorded. Talk about Japanese efficiency. They just keep coming up with more and more solid material.

Tokyo Tramps opened their set with “Bluebird, a psychedelic blues song that found the trio setting a more rocking mood in the room. Nakagawa unleashed his guitar fury, playing something that screamed out emotional notes like he was torturing his guitar. Fujii backed him with muscular smooth low end runs. Fujii’s mellow psychedelic blues bass phrase turned into a fetching solo, running right back into the main melodic phrase of the song after the pair extended their piece into “Bluebird Jam.” Their next original number, “I’ll Be Around,” is about longevity in a relationship. Nakagawa and Fujii harmonized beautifully on SONY DSCvocals, filling out their chorus with easeful heft. “Feel Like Talking To Someone” was a pleasant number about loneliness. Things got heated up with American style rock and roll idioms on “House Without Love.” Nakagawa rocked the room with his guitar riffs before his main melodic phrase dazzled with sublime sustains. “Nor’ Easter” played upon Boston’s winter weather forecasts with driving psychedelic rock. “I’m A Tiger” had a lilting rock and roll groove, giving way to wilder guitar phrasing, pulsating bass runs, and driving drum work.

Tokyo Tramps finished their set with some New Orleans flavored gumbo rock, with assistance from a washboard player named Charlie, Joey Fingers on accordion, and Cal Cali on percussion.

Next up, The Cal Cali Band rocked the Granite Rail Tavern with Cali’s blend of punk, garage rock, and oldies styled material. A guitarist who goes by the name “Al” and Tokyo Tramps bassist Yukiko Fujii supported Cal Cali, as Cali sings lead vocals while playing the drums. Guitarist “Al” started out simple before revealing a deeper level, reaching a sublime level of expression. Cal Cali made “Shakin All Over,” originally recorded Johnny Kid & The Pirates, a lot of fun. It brought back nostalgic memories. Then, Fujii handled lead vocals on Linda Ronstadt’s version of “It’s So Easy,” bringing people back to the Ronstadt craze of SONY DSCthe 1970s. Fujii was simply adorable when she sang oldie classic “Venus.” Her likable stage presence belied the dark pop sensibility of the song, which she nailed with her singing and cooing. Cal Cali sang lead vocals during an edgy version of Bob Dylan’s “The Times They Are A-Changin’,” making it feel punky, crooning over “Al” the guitarist’s spark. Cal Cali also lead his trio through some of his old band Jet Set originals, like “Living In The Suburbs.” Guitarist “Al” played a nice lead guitar phrase on Cal Cali’s “Gravity.” You could hear yesterday’s punk bands calling out to you in the six string influences.

Closing out the Garage Nite show at Granite Rail Tavern were five youths who call themselves The Stow Away String Band. Playing acoustic guitar, acoustic bass guitar, mandolins, and banjo, the five all reside in Buzzard’s Bay, Massachusetts where they are students at Massachusetts Maritime Academy. Not only did they offer sweet American melodies and old fashioned folksy grit, they sang four part harmonies that breathed three dimensional life into their selections. Their acoustic instruments and vocal harmonies made “The Weight” by The Band a colorful number before turning toward more traditional fare. Sweet mandolin notes filled the air at one point while the room turned into a clapping sing along. “Fly Away Old Glory” was a touching ballad before Stow Away String Band became more emotive with SONY DSC“Rock Me Mama Like A Wagon Wheel.” The boys were soon into “Amy” by The Pure Prairie League, which turned the vibe of the room towards a 1970s revival.

Greedy Geezer’s Garage Night at Granite Rail Tavern in Quincy, Massachusetts was a cozy, informal, and intimate night of good music and camaraderie. Everyone who played and everyone just hanging out to listen had a pleasant attitude and an appreciative ear for the extensive variety of music offered. For the price of a few drinks, a local music fan cannot go wrong. Everyone who follows the greater-Boston/New England music scene should check out this neighborhood bar event at least once. - Bill Copeland

Care for a little sushi with your barbecue?

A Japanese blues band is a novelty, but the Tokyo Tramps, led by the husband-and-wife team of Satoru Nakagawa and Yukiko Fujii on guitar, bass and vocals, manage to combine American blues and roots music with an Asian twist. For example, the Tramps use the polite lyric: "I am concerned" in place of something like, say, "Damn right I got the blues!"

The Tramps, along with the Reprobates, a pop-rock band; and Roadside Prophet, a recently reunited group that plays soul, New Orleans-style funk, and rhythm and blues, will perform in a triple-bill split show Friday at the Bull Run.

Fujii, who left Tokyo in the 1990s after studying law and advancing in a lucrative career at an advertising firm, said while she has been singing and playing piano and bass since she was young (at parties and weddings), she could not hack the gender-inequality in her homeland, both at her job and in the music world. A four-week vacation in New York City sealed the deal. She quit her day job, and much to her parents' dismay, moved to the U.S.

"Every single night I went to clubs, bars and musicals. I loved it so much," she said.

Meanwhile, Nakagawa, now a virtuoso on slide guitar, was already enamored with American music. Bruce Springsteen was one of his early heroes, and he got the name "Tramps" from one of the Boss's songs.

The songwriter of the group, Nakagawa moved to Louisiana in 1990, just out of high school. Figuring American music was rooted in the south, he went in search of the "spirit of rock 'n' roll," going from town to town in that state absorbing deep blues, gospel and rock 'n' roll. Soon, he said, it became clear that blues was the father of rock. (A variation on the Muddy Waters song "The blues had a baby and they called it rock and roll.")

Their drummer, Kosei Fukuyama, , from Sapporo, Japan, studied music at Berklee in Boston, after his father encouraged him to go out and see the world. Strongly influenced by jazz and classical music, he took up piano at age 5 and percussion at 12. His ambition is to make it big in the U.S.

Fujii and Nakagawa met in Boston, with Fukuyama joining them in 2007. They have played all around New England and have twice been semi-finalists in annual Boston Blues Challenges. Two years ago - on the road again - they represented a blues society from Ohio at the International Blues Challenge in Memphis, driving from Ohio to Memphis and taking in the Mississippi Delta while they were at it.

The Tramps have four CDs under their karate belts, and are set to start recording a fifth this fall. The recent death of Fujii's mother meant several trips back and forth to Japan during the illness. Besides taking an emotional toll, she said, it created six months of uncertainty for the band in scheduling shows and making the new CD. Fujii has since joined a metal band, "Knight Storm," which performs mostly in New Hampshire.

She says she is still too sad to perform a song she wrote and dedicated to her mother, called "Someday You Will Come Home," so on Friday, the band will focus on New Orleans, Chicago and Delta blues.

Roadside Prophet comprises seasoned veterans from the New England music scene, including Barry Fitzpatrick on guitar, but minus the late founding member Charlie Downs. The band has re-formed with renewed conviction to funk and blues, according to show organizer Steve Gaetz of Leominster.

The Reprobates, a passionate blues-rock band from Winchendon, has received accolades from blues greats such as Buddy Guy, Junior Wells, John Lee Hooker and Robert Lockwood.

"Reprobates, Tramps and Prophets"

When: 8 p.m. June 15

Where: Bull Run Restaurant, 215 Great Road, Shirley

How much: $10 admission. (978) 425-4311, www.bullrunrestaurant.com

ART: PHOTO

CUTLINE: Tokyo Tramps will perform Friday at the Bull Run with the Reprobates and Roadside Prophet. - Karen Nugent

Browse: Home / Live Reviews / Tokyo Tramps knocked everyone’s socks off at Village Trestle
Tokyo Tramps knocked everyone’s socks off at Village Trestle

By Bill Copeland on October 17, 2010

The Tokyo Tramps blew into the Village Trestle in Goffstown, New Hampshire last night and then they blew everyone’s mind with their feisty deliveries of true American blues. One patron among the hearty supporters hollered out, “This band plays real blues!”

The trio opened their first set with their tune “Holler And Shout,” and Satoru Nakagawa’s svelte voice and nifty chord work was likely the first thing everyone noticed. His melodic phrases were full of Americana roots and blues gusto. He knows where this music comes from and he brings its soul to the forefront. The twists and turns in this song make it a bit longer than blues songs from the vintage days, yet it gives the modern audiences more to sink their teeth into. Sweet blues notes just kept coming out of their speakers.

Yukiko Fujii, bass player and vocalist, kept a smooth, even flow of low end notes as she has a lot of control over the trio’s sound and direction. Her voice degree was awarded by Berklee College of Music in Boston and her vocal performance last night was much above average. She really rode the range of her voice in these songs. After she would ring as much bluesy joy out of her lyrics, Satoru would chime in with tender, precise melodic phrases.

Nakagawa’s guitar breaks were full of feeling and generous offerings of technique and power. The Tokyo Tramps play so well that you want to listen closely to every subtle nuance. Without the traditional Louisiana instruments like accordion and washboard, the trio still conjured up their Cajun-flavored “Down On The Bayou” on guitar, bass, and drums. The concoction they came up with last night resembled Fats Domino’s “Walking To New Orleans” in its sing song pace and in its broth of chords and greasy leads.

The Tokyo Tramps soon moved into another song inspired by that southern state with “Thibodaux, Louisiana.” The song was marked by a lot of beautiful vocal harmonies between the two front people, and the double smoothness giving more life to their song. The trio jammed on the traditional rock and roll song “Iko Iko” and stretched it out like The Grateful Dead does with the same song. Drummer Kosei Fukuyama got to show his chops with beats that bump the song forward with pushy momentum. This drummer can inject movement into his beats and his solo showed how much he can expand the sound he gets out of his individual pieces.

Fujii sang a heartfelt song called “Some Day You Will Come Home.” The tune is about much she misses her mother who still lives in Japan. Backed by a beautiful, mellow guitar, Fujii’s vocal approach was touching, making you feel her song as well as hear it. Nakagawa brought out much of the song’s sentimental feel with his achingly beautiful guitar lines. Eventually, Fujii took more control by belting out with sustained notes near the end of her piece.

Much of The Tokyo Tramps set last night was marked by Nakagawa’s vintage sounding slide work and old time picking techniques. Country blues shuffles and two-step beats with local harp player “Slutty” Pete Zona chiming in created very tasty meshes of blues. “Big Time Blues” was another of the Tramp’s homegrown blues that sounded so vintage, with Nakagawa making those slide notes almost echo out that old time sound from a decade long ago. It should be noted that Zona was running the sound last night, as he does at many Village Trestle shows and during every Sunday afternoon Wan-Tu Blues Jams there.

“Dance Of Kindred Spirit” from the trio’s latest CD With These Hands might be inspired by Japanese folklore with its lyrics about ancient times and a “miracle of the century” and other epic themes. As a blues song it did well with slide and lead guitar and sounded at times like a clever travelogue set to music. Moving on to another new song, “Rollin’ And Tumblin,” the Tramps had a rolling, swampy beat that kept moving while Nakagawa’s slide guitar grinded out the essence of a hundred years of blues notes. That guy seems to feel what blues music felt like to people of previous decades.

Their latest title track “With These Hands” featured Fujii on vocals, and, her influences on it seemed to have every girl group from the early 1960s in her timbre. Telling her life story in a song must have been easier with a drummer like Kosei Fukuyama behind her with his driving, moveable beats. He is one of the area’s best drummers and he has that quality that shows up apart from the feel and the technique that drummers can only be lucky enough to be born with. “Good Morning, Marietta” found Satoru walking into the crowd with his guitar and singing sans microphone. “Everybody Wanna Be Loved” and “Shake Your Money Maker” offered more of the same Tokyo Tramps fun, moveable beats, smooth low end, and plenty of slide.

Closing out with “Go - Bill Copeland

Browse: Home / Live Reviews / Tokyo Tramps knocked everyone’s socks off at Village Trestle
Tokyo Tramps knocked everyone’s socks off at Village Trestle

By Bill Copeland on October 17, 2010

The Tokyo Tramps blew into the Village Trestle in Goffstown, New Hampshire last night and then they blew everyone’s mind with their feisty deliveries of true American blues. One patron among the hearty supporters hollered out, “This band plays real blues!”

The trio opened their first set with their tune “Holler And Shout,” and Satoru Nakagawa’s svelte voice and nifty chord work was likely the first thing everyone noticed. His melodic phrases were full of Americana roots and blues gusto. He knows where this music comes from and he brings its soul to the forefront. The twists and turns in this song make it a bit longer than blues songs from the vintage days, yet it gives the modern audiences more to sink their teeth into. Sweet blues notes just kept coming out of their speakers.

Yukiko Fujii, bass player and vocalist, kept a smooth, even flow of low end notes as she has a lot of control over the trio’s sound and direction. Her voice degree was awarded by Berklee College of Music in Boston and her vocal performance last night was much above average. She really rode the range of her voice in these songs. After she would ring as much bluesy joy out of her lyrics, Satoru would chime in with tender, precise melodic phrases.

Nakagawa’s guitar breaks were full of feeling and generous offerings of technique and power. The Tokyo Tramps play so well that you want to listen closely to every subtle nuance. Without the traditional Louisiana instruments like accordion and washboard, the trio still conjured up their Cajun-flavored “Down On The Bayou” on guitar, bass, and drums. The concoction they came up with last night resembled Fats Domino’s “Walking To New Orleans” in its sing song pace and in its broth of chords and greasy leads.

The Tokyo Tramps soon moved into another song inspired by that southern state with “Thibodaux, Louisiana.” The song was marked by a lot of beautiful vocal harmonies between the two front people, and the double smoothness giving more life to their song. The trio jammed on the traditional rock and roll song “Iko Iko” and stretched it out like The Grateful Dead does with the same song. Drummer Kosei Fukuyama got to show his chops with beats that bump the song forward with pushy momentum. This drummer can inject movement into his beats and his solo showed how much he can expand the sound he gets out of his individual pieces.

Fujii sang a heartfelt song called “Some Day You Will Come Home.” The tune is about much she misses her mother who still lives in Japan. Backed by a beautiful, mellow guitar, Fujii’s vocal approach was touching, making you feel her song as well as hear it. Nakagawa brought out much of the song’s sentimental feel with his achingly beautiful guitar lines. Eventually, Fujii took more control by belting out with sustained notes near the end of her piece.

Much of The Tokyo Tramps set last night was marked by Nakagawa’s vintage sounding slide work and old time picking techniques. Country blues shuffles and two-step beats with local harp player “Slutty” Pete Zona chiming in created very tasty meshes of blues. “Big Time Blues” was another of the Tramp’s homegrown blues that sounded so vintage, with Nakagawa making those slide notes almost echo out that old time sound from a decade long ago. It should be noted that Zona was running the sound last night, as he does at many Village Trestle shows and during every Sunday afternoon Wan-Tu Blues Jams there.

“Dance Of Kindred Spirit” from the trio’s latest CD With These Hands might be inspired by Japanese folklore with its lyrics about ancient times and a “miracle of the century” and other epic themes. As a blues song it did well with slide and lead guitar and sounded at times like a clever travelogue set to music. Moving on to another new song, “Rollin’ And Tumblin,” the Tramps had a rolling, swampy beat that kept moving while Nakagawa’s slide guitar grinded out the essence of a hundred years of blues notes. That guy seems to feel what blues music felt like to people of previous decades.

Their latest title track “With These Hands” featured Fujii on vocals, and, her influences on it seemed to have every girl group from the early 1960s in her timbre. Telling her life story in a song must have been easier with a drummer like Kosei Fukuyama behind her with his driving, moveable beats. He is one of the area’s best drummers and he has that quality that shows up apart from the feel and the technique that drummers can only be lucky enough to be born with. “Good Morning, Marietta” found Satoru walking into the crowd with his guitar and singing sans microphone. “Everybody Wanna Be Loved” and “Shake Your Money Maker” offered more of the same Tokyo Tramps fun, moveable beats, smooth low end, and plenty of slide.

Closing out with “Go - Bill Copeland

In case you haven’t heard by now, The Tokyo Tramps are a blues trio made up of players from Japan. After initial recognition for their novelty, this band has become respected for their singing, playing, and songwriting. Bass player Yukiko Fujii and her husband guitarist Satoru Nakagawa were on hand one afternoon to explain the history of their ten year old band.

They did not come to the United States specifically to start an American blues band. Fujii said her husband came to the U.S. to explore all kinds of American music but he found that blues is more his style. Fujii grew up in Tokyo and became interested in American music because there was a radio station in Tokyo for American military personnel. “I listened to the 70s, 80s American Top 40 a lot.” When she came to the U.S. in 1994, she was not yet a big fan of American blues.

The couple met at Berklee and they started a band together. Nakagawa had a lot of influences from blues, so it was a natural progression. They did not fit into Berklee’s jazz program, but they learned a lot at the school.

Satoru said he became interested in American blues when he was still a kid in Japan: “Tokyo is a huge, huge, metropolitan city. You can find any kind of music. Japan is an interesting country. My favorite singer there was Bruce Springsteen. That’s where I get the term ‘Tramps.’ ‘Tramps like us baby we were born to run. But in Japan, Springsteen’s not popular at all. Madonna and Michael Jackson, they’re a lot bigger than Springsteen.”

“When I was in junior high“ Satoru continued, “I started listening to Springsteen. I discovered rock and roll came from blues, so I started listening to blues in high school. My first record was John Lee Hooker. I listened to it one time, then I put it away for like a year because he was so hard, so tough, so heavy, I couldn’t take it.”

“When I came to America,” Satoru went on, “I went to Louisiana because of that history. I was also fascinated by that American imagery, the cotton fields, the Mississippi River, Dixieland, Tom Sawyer, Huckleberry Finn. Those are my American visions. That’s how I chose to go to Louisiana.”

When he met his future wife and bass player, he had his own band going, and Yukiko had hers they had had the same drummer. That’s how they met and they soon started their own project together. But it was never the plan for either of them to form a band with their partner. “I wanted to marry an American girl, and she wanted to marry an American guy, Satoru said, laughing as she began laughing too. “So we could get the green card,” he added, and they laughed some more.

Blues audiences no longer see The Tokyo Tramps as a novelty. “I think we’re earning respect,” Satoru said. “Whenever we play a venue for the first time, and people don’t know who we are, then everybody is obviously looking at us, like, ‘What is going on? Asians?’ Once we start playing in the groove, and the song rocks the house, they’re like, ‘They’re serious. They’re serious.’ They start changing their faces, and they start dancing.”

The Tokyo Tramps recently played in Milford with The Ten Foot Polecats, and they were very well received. Louisiana was where Satoru got his blues education. He enrolled in a state university, but he did not get good grades due to distractions. “I was not a successful student. I partied a lot. I was young. I didn’t take life seriously. I was just playing music. I got suspended from college down there, and I went to Berklee. I didn’t want to come. I wanted to stay in Louisiana. As I look back, it was an important time for me. I heard the real guys down there in New Orleans and Louisianan. It was more like a life experience. I think I became a better guitarist and musician here in Boston, but those five years living in Louisiana was my treasure, actually.”

When asked who his blues inspirations are, Satoru answered with an experience. “That’s the hardest question,” he allowed. ““I saw B.B. King back in 1993 in Lafayette, Louisiana for the first time, and I cried as soon as B.B. came on stage and started playing instrumental guitar solo stuff. That was a very, very powerful experience. I still think that was the best live concert I’ve ever been too. It was so, so powerful. B.B. has always been one of my heroes, that’s for sure.”

Yukiko loves Etta James. “She’s great. She’s still powerful.” And Irma Thomas songs made an impression on her. Yukiko majored in voice at Berklee, and the voice department let her sing a lot of R&B. “I had a tough time,” she said. “So many girls used to sing in church. They were in a choir, gospel choir. All the girls sing so strong. And I’m Japanese. I’ve always had a difficult challenge to pronunciations.” Every audition for schools were tough for her.

Yukiko started listening to American music in the 1970s, mostly Top 40 and Motown. Meeting her future husband is when she started to learn blues. Yukiko took piano lessons as a child and she started playing bass in j - Bill Copeland

Always one of the finest blues bands around Boston, the Tokyo Tramps have outdone even themselves on their new album Rollin’ Rockland Blue Hour. Named after the town Rockland, Massachusetts that hosts recording studio 37 ft Productions where they recorded it, the CD has a freer, looser, and more sophisticated sound structure than any of their previous efforts. Without losing their punch, the trio presents their blues music with a new finesse in their layering and performance.
Opening track “Good Morning, Marietta” finds guitarist-songwriter Satoru Nakagawa pressing out a breezy melodic phrases that flies as free as a kite in the wind. Nakagawa also grinds out some heavier, meaner phrases too here. His lead vocal is in fine form, sounding like an older, experienced blues man. His vocal exchanges with bassist-wife Yukiko Fujii shimmer with bright warm colors and tones. Her pretty, delicate voice is the perfect foil to Nakagawa’s rougher, huskier belt.
Speaking of Fujii, she also graces the next song “Empty Pockets” with her winsome, likable vocal approach. There is a certain quaintness to her voice as well as how perfectly she uses it. Fujii and drummer Kosei Fukuyama keep an infectious groove going on, making the listener want to move his feet. The song will hit home with most people as it’s about a lack of money after all the bills are paid. Nakagawa cuts loose with another edgy guitar line while saxophonist Junpei Fujita keeps a bluesy horn melody unfurling over all.
“Come On Baby, Dry Your Tears” is a slow dance number in which Nakagawa plays the most tasteful lead guitar lines in Bean town. You can hear honest emotion in his melodic phrases as it meanders at its own sweet pace around the rhythm section. His guitar speaks tenderly to ears and to the heart and offers something more than the usual tender guitar lines over down tempo grooves.
“Me And My Guitar” brings the Tokyo Tramps more into rough road house blues territory. Nakagawa grinds out old time electric guitar blues motifs while the rhythm section keeps him anchored in. The earliest electric blues pioneers can be heard in his work, along with oldies rock and roll and rockabilly. The song is about a guitarist comforting himself through sad times with his music. As songwriter and player, Nakagawa succeeds in creating a comforting and familiar blues sound that makes the song work on multiple levels. When the song gets going, it reaches the catharsis level with a climax of emotion that leads the songwriter and the listener to other side of blues, which is salvation.
Fujii is a cool blues chanteuse on “Bound For Glory.” With the hip confident swagger of a 1960s rock stat, she rides her vocal over the bopping groove and alongside Fujita’s sax melody. Fujii also serves up a steady bass run as a foil to Nakagawa’s personality-infused guitar line. The band eventually goes whole hog, getting into their groove with unflinching, empowered guitar leads thrusting and parrying with driving horn and rhythm section.
The trio slow things down again for “The Ghost Of My Old Love.” This slow boil finds Nakagawa singing a haunting vocal line, like his voice is traveling down a long dark cavern over his blistering lead lines. His electric guitar gets another fine workout during the instrumental portion. He makes it cry, growl, and shout his haunted anguish over a startling memory of a past love. The thick notes he grinds out feel like a personal exorcism. He eventually, after a long spiritual fight to the death, drives the demon out.
“I’m Movin’ On” returns the Tramps to a fun, danceable frame of mind as Nakagawa sings of a need for independence from his family and their small town life. While the theme, groove, and guitar picking are all universal, Nakagawa takes it up a notch beyond most dance ditties, mostly with a fresh enthusiasm in his notes and chords. A saxophone line is pretty cool too.
“Going Back To New Orleans” is Nakagawa’s ode to the first American city he lived in. His rootsie, bluesy picking style is on the mark and the song has an appropriate roadhouse feel. Nakagawa peels off his greasy notes like he’s got all the time in the world and takes care to bend and sustain them nice and sweetly.
The trio get into a funky feeling on “No Time Woman Blues.” Nakagawa’s lead phrase is drenched in Chicago blues stylings, and Fujii proves an effective vocalist, crooning coolly over the juke joint beat and traveling lead guitar line. Her expressions are clear, crisp, and full of emotion. In this song, she sings of needing more time to love her man, and she makes the listener feel it. Her busy schedule keeps her on the go, and the frustration mounts, and that leads to more hilly mounds and lifts in the song structure. Beautiful.
“I’m A Country Boy” finds Nakagawa continuing to play his electric blues guitar at a higher level of effectiveness. Like the whole of this album, he finds that level of art and beauty where his vocal, guitar expressions, and groove - Bill Copeland

Always one of the finest blues bands around Boston, the Tokyo Tramps have outdone even themselves on their new album Rollin’ Rockland Blue Hour. Named after the town Rockland, Massachusetts that hosts recording studio 37 ft Productions where they recorded it, the CD has a freer, looser, and more sophisticated sound structure than any of their previous efforts. Without losing their punch, the trio presents their blues music with a new finesse in their layering and performance.
Opening track “Good Morning, Marietta” finds guitarist-songwriter Satoru Nakagawa pressing out a breezy melodic phrases that flies as free as a kite in the wind. Nakagawa also grinds out some heavier, meaner phrases too here. His lead vocal is in fine form, sounding like an older, experienced blues man. His vocal exchanges with bassist-wife Yukiko Fujii shimmer with bright warm colors and tones. Her pretty, delicate voice is the perfect foil to Nakagawa’s rougher, huskier belt.
Speaking of Fujii, she also graces the next song “Empty Pockets” with her winsome, likable vocal approach. There is a certain quaintness to her voice as well as how perfectly she uses it. Fujii and drummer Kosei Fukuyama keep an infectious groove going on, making the listener want to move his feet. The song will hit home with most people as it’s about a lack of money after all the bills are paid. Nakagawa cuts loose with another edgy guitar line while saxophonist Junpei Fujita keeps a bluesy horn melody unfurling over all.
“Come On Baby, Dry Your Tears” is a slow dance number in which Nakagawa plays the most tasteful lead guitar lines in Bean town. You can hear honest emotion in his melodic phrases as it meanders at its own sweet pace around the rhythm section. His guitar speaks tenderly to ears and to the heart and offers something more than the usual tender guitar lines over down tempo grooves.
“Me And My Guitar” brings the Tokyo Tramps more into rough road house blues territory. Nakagawa grinds out old time electric guitar blues motifs while the rhythm section keeps him anchored in. The earliest electric blues pioneers can be heard in his work, along with oldies rock and roll and rockabilly. The song is about a guitarist comforting himself through sad times with his music. As songwriter and player, Nakagawa succeeds in creating a comforting and familiar blues sound that makes the song work on multiple levels. When the song gets going, it reaches the catharsis level with a climax of emotion that leads the songwriter and the listener to other side of blues, which is salvation.
Fujii is a cool blues chanteuse on “Bound For Glory.” With the hip confident swagger of a 1960s rock stat, she rides her vocal over the bopping groove and alongside Fujita’s sax melody. Fujii also serves up a steady bass run as a foil to Nakagawa’s personality-infused guitar line. The band eventually goes whole hog, getting into their groove with unflinching, empowered guitar leads thrusting and parrying with driving horn and rhythm section.
The trio slow things down again for “The Ghost Of My Old Love.” This slow boil finds Nakagawa singing a haunting vocal line, like his voice is traveling down a long dark cavern over his blistering lead lines. His electric guitar gets another fine workout during the instrumental portion. He makes it cry, growl, and shout his haunted anguish over a startling memory of a past love. The thick notes he grinds out feel like a personal exorcism. He eventually, after a long spiritual fight to the death, drives the demon out.
“I’m Movin’ On” returns the Tramps to a fun, danceable frame of mind as Nakagawa sings of a need for independence from his family and their small town life. While the theme, groove, and guitar picking are all universal, Nakagawa takes it up a notch beyond most dance ditties, mostly with a fresh enthusiasm in his notes and chords. A saxophone line is pretty cool too.
“Going Back To New Orleans” is Nakagawa’s ode to the first American city he lived in. His rootsie, bluesy picking style is on the mark and the song has an appropriate roadhouse feel. Nakagawa peels off his greasy notes like he’s got all the time in the world and takes care to bend and sustain them nice and sweetly.
The trio get into a funky feeling on “No Time Woman Blues.” Nakagawa’s lead phrase is drenched in Chicago blues stylings, and Fujii proves an effective vocalist, crooning coolly over the juke joint beat and traveling lead guitar line. Her expressions are clear, crisp, and full of emotion. In this song, she sings of needing more time to love her man, and she makes the listener feel it. Her busy schedule keeps her on the go, and the frustration mounts, and that leads to more hilly mounds and lifts in the song structure. Beautiful.
“I’m A Country Boy” finds Nakagawa continuing to play his electric blues guitar at a higher level of effectiveness. Like the whole of this album, he finds that level of art and beauty where his vocal, guitar expressions, and groove - Bill Copeland

It was nearly a year ago that guitarist Satoru Nakagawa, bassist Yukiko Fujii, and drummer Kosei Fukuyama made what turned out to be a fateful 13-hour trip from Boston to Marietta to play in the 2010 River City Ohio Blues Competition.

"We didn't know what to expect," Nakagawa said. "But we came, played for 20 minutes, and won."

Their band, the Tokyo Tramps, was back in town Friday, performing at the Adelphia Music Hall on Second Street.
Article Photos

SAM SHAWVER The Marietta Times
ABOVE: The Tokyo Tramps, winners in the group category at the 2010 River City Ohio Blues Competition, were back in Marietta Friday, playing their unique style of blues for the crowd at The Adelphia Music Hall.

"We were surprised - this venue didn't even exist when we were here last year," Nakagawa said of the music hall.

The hall was packed as the Tramps joined fellow blues-makers and 2010 duo competition winners Bongo Joe and Little Steve-O of Akron for a "Memphis Bound Get Down" performance.

The event was a fundraiser to help foot the bill as both groups head south next week to compete in the International Blues Challenge in Memphis, Tenn.
Fact Box

Upcoming blues events:

Tokyo Tramps, winners of the 2010 River City Ohio Blues Competition, will perform at 2 p.m. Sunday at a fundraiser for the Campus Martius Museum, 601 Second St., Marietta.

The 2011 competition is scheduled for Feb. 18 and 19 at the Lafayette Hotel in downtown Marietta.

Winners will compete for cash prizes and local Blues, Jazz and Folk Music Society sponsorship to the International Blues Challenge in 2012 in Memphis, Tenn.

For more information about the competition and upcoming events, visit www.bjfm.org

The River City Ohio Blues Competition is the oldest and largest blues talent competition in Ohio, with 18 competition slots to be filled by blues acts from Ohio, West Virginia, Pennsylvania, Michigan and other states.

"We're just looking to have a great time and meet a lot of people in Memphis," said acoustic guitarist Bongo Joe Bongiovanni.

His partner, vocalist and harmonica player Little Steve Fine, agreed.

"We've never been to Memphis, but we'd really like to win there," he said.

Both groups have been playing together for some time.

Nakagawa, Fujii, and Fukuyama, all natives of Japan, had never performed together until they met while attending Berklee College of Music in Boston.

"The majority of what we play is our own, although we do perform some covers of songs by artists like Muddy Waters," Nakagawa said.

He's lived in the U.S. since 1990, and spent five years in Louisiana before moving to Boston where he studied songwriting.

Fujii began playing bass in Japan, but gave it up to work on schooling there, then moved to Boston where she studied voice.

She and Nakagawa were dating and performing in their own bands when he learned she played bass guitar and asked her to join him.

Fukuyama came to Berklee in 2001 to study - what else? - drums, although he had been performing in some sort of percussion since middle school in Japan.

The Tramps have recorded five CDs, and Nakagawa said in addition to competing in Memphis they hope to make some connections with others in the recording industry.

He said their music doesn't fit any single description.

"We take it from many different styles of blues," Nakagawa said.

Fine and Bongiovanni have been a duo for the last three years, but both were initially playing in a four-man band in the Akron area.

"We have a passion for the blues and like playing together," Bongiovanni said.

A guitarist for 25 years, he originally hails from the Bronx in New York City, and moved to the Akron area in 1992.

Fine, from Mayfield Heights, said he moved through various styles of music, including heavy metal and rock, before finally settling on the blues.

"This music just feels right for us," he said.

In addition to the competition, the duo also plays three to four nights a week at various venues in the Akron area. - Marietta Times

A Boston-based jazz trio from Japan was the winner of the 18th annual River City Ohio Blues Competition on Friday and Saturday at the Lafayette Hotel in downtown Marietta.

At the end of the two-day blues contest Saturday night, The Tokyo Tramps were chosen as the first place finisher, followed by the Akron, Ohio, duo of Bongo Joe and Little Steve-O in second and Magic Mama Latte, of Gallipolis, in third.

The competition was sponsored by the Blues, Jazz and Folk Music Society of Marietta. A total of 17 blues bands and solo/duo blues acts competed for cash prizes and BJFMS sponsorship to The Blues Foundation's International Blues Challenge held annually in Memphis.
Article Photos

Photo courtesy of Dusty Scott
The Tokyo Tramps, a blues trio from Boston made up of Japanese musicians, was the winner of the 18th annual River City Ohio Blues Competition Saturday in Marietta.

As the winning band, The Tokyo Tramps will be able to compete in the Memphis event in 2011. Since the duo finished in the top three, Bongo Joe and Little Steve-O will also compete in Memphis.

The blues competition began Friday night and continued Saturday afternoon, with best performers from both preliminaries continuing to Saturday night's finals.

"It was really exceptional this year. We sold out Friday and Saturday," event spokesman and BJFMS member Steve Wells said of this year's competition.

"The great spirit smiled down upon the 18th annual River City Blues Competition. The break in the weather both Friday and Saturday brought out record breaking crowds that were seeking a cure for cabin fever," said BJFMS president John Bolen.

The first place winner received $1,000 cash and sponsorship to the IBC, while second place won $200 cash and third place won $100 cash.

In addition to this year's winning group from Boston, performers came from Ohio, Michigan, Indiana and West Virginia to compete in Marietta over the weekend.

Area blues lovers who didn't have the chance to see The Tokyo Tramps perform in the competition will have another opportunity in March. Each year's Blues Competition winner also performs at the annual River City Blues Festival, also sponsored by BJFMS, at the Lafayette Hotel in March.

This year's Blues Festival will be March 19 and 20 and will feature performances by Shaun Booker, The Kinsey Report, Lionel Young, Zac Harmon, Teeny Tucker Band and Kenny "Blues Boss" Wayne. - Marietta Times

A Boston-based jazz trio from Japan was the winner of the 18th annual River City Ohio Blues Competition on Friday and Saturday at the Lafayette Hotel in downtown Marietta.

At the end of the two-day blues contest Saturday night, The Tokyo Tramps were chosen as the first place finisher, followed by the Akron, Ohio, duo of Bongo Joe and Little Steve-O in second and Magic Mama Latte, of Gallipolis, in third.

The competition was sponsored by the Blues, Jazz and Folk Music Society of Marietta. A total of 17 blues bands and solo/duo blues acts competed for cash prizes and BJFMS sponsorship to The Blues Foundation's International Blues Challenge held annually in Memphis.
Article Photos

Photo courtesy of Dusty Scott
The Tokyo Tramps, a blues trio from Boston made up of Japanese musicians, was the winner of the 18th annual River City Ohio Blues Competition Saturday in Marietta.

As the winning band, The Tokyo Tramps will be able to compete in the Memphis event in 2011. Since the duo finished in the top three, Bongo Joe and Little Steve-O will also compete in Memphis.

The blues competition began Friday night and continued Saturday afternoon, with best performers from both preliminaries continuing to Saturday night's finals.

"It was really exceptional this year. We sold out Friday and Saturday," event spokesman and BJFMS member Steve Wells said of this year's competition.

"The great spirit smiled down upon the 18th annual River City Blues Competition. The break in the weather both Friday and Saturday brought out record breaking crowds that were seeking a cure for cabin fever," said BJFMS president John Bolen.

The first place winner received $1,000 cash and sponsorship to the IBC, while second place won $200 cash and third place won $100 cash.

In addition to this year's winning group from Boston, performers came from Ohio, Michigan, Indiana and West Virginia to compete in Marietta over the weekend.

Area blues lovers who didn't have the chance to see The Tokyo Tramps perform in the competition will have another opportunity in March. Each year's Blues Competition winner also performs at the annual River City Blues Festival, also sponsored by BJFMS, at the Lafayette Hotel in March.

This year's Blues Festival will be March 19 and 20 and will feature performances by Shaun Booker, The Kinsey Report, Lionel Young, Zac Harmon, Teeny Tucker Band and Kenny "Blues Boss" Wayne. - Marietta Times

Being blown away by a band previously unknown to me is one of those magical moments that fuels my passion for live music; one that all music fans surely understand.

I had heard great things from reliable sources about the Tokyo Tramps, but it was not until the first round of the 2009 Boston Blues Challenge that I had a chance to witness why so many spoke so highly of them. I walked into Johnny D’s having only second-hand knowledge and walked out a fan of both their music and their back-story.

The Tokyo Tramps are three people willing to follow their dreams, all having independently moved from Japan to The United States to pursue their love of music. Somehow, perhaps by fate, they all met in Boston and formed a dynamic three-piece blues rock band that blends early Chicago Blues with pop harmonies, irresistible hooks and Far Eastern idioms.

In the opening bars of “Holler & Shout” drummer Kosei Fukuyama doubles Satoru Nakagawa’s melodic humming with well-placed marimba work and handclaps, forming a minimalist arrangement that induces goose bumps. By the time Yukiko Fujii’s bass, Satoru’s guitar and Kosei’s full drum kit enter the mix, the trio immediately locks into a big fat groove.

On “Nothing But The Blues” Yukiko takes a turn with the lead vocals, singing about a coming-of-age moment in her life while trying to write her masterpiece. Satoru’s lead guitar work alternates between some work with a slide and single note leading.

“Rollin’ & Tumblin”, the traditional blues song often attributed to Muddy Waters, is usually a cover song with cringe-inducing characteristics. With songs that have been recorded hundreds of times there usually is not much life left in the track, but no worries here. The combination of Satoru’s slide and Kosei’s almost disco-sounding drumming breathe new life into a very dead traditional.

There are too many gems on this disk to boil it down to one great track, but I can say my personal favorite has to be “I’ll Give You All of My Best”. The pulsating slide guitar line is irresistible. Yukiko and Satoru share lead vocals on this track, singing about their passion for music, and while everything else in the world is changing they remain passionate about performing. It is an illustration that proves a musician does not have to trace his lineage back to Mississippi in order to be considered a blues musician.

With the current trends in music favoring reproduction and imitation, it is refreshing to hear the Tokyo Tramps retain all of their ethnicity within their vocals. With a local blues music scene littered with accomplished musicians, it provides just a little something extra to help differentiate them. - Georgetown Fats

Though this review will probably be released after the International Blues Challenge and the Tokyo Tramps have recently undergone a line-up change, I expect Rollin’ Rockland Blues Hour and Satoru Nakagawa’s entry into the solo/duo competition of the IBC to herald a very big year for the Tokyo Tramps.

It may sound incredibly crass, or show my complete naiveté when it comes to making money in the music industry, but ultimately I don’t care. The Tokyo Tramps have been an enigma from the first moment I heard them and remain an enigma as I attempt to review their sixth release, Rollin’ Rockland Blues Hour. In a contemporary blues market where originality is given a back seat to non-threatening packaging, I have absolutely no idea why a major blues indy label which used to be the toast of Chicago, or any other label hasn’t scooped up the Tokyo Tramps, offered up some capital support and then just laughed their way to the bank.

Whether it be their blues power trio line-up, or their new blues quartet line-up, I have yet to hear a band like the Tokyo Tramps play such a radio-friendly blues rock sound without diluting their sound with a complete lack of originality. While many others either get caught up with copying their musical heroes or not having strong enough musical chops to add their own original inflection on the standard chord progressions, Satoru, Yukiko and the Tokyo Tramps lay down an irresistible Chicago Blues Rock sound while also paying homage to their Japanese roots by mixing American blues idioms with their Japanese heritage.

Rollin’ Rockland Blues Hour opens with “Good Morning Marietta,” which also appears on Satoru’s solo EP Me and My Guitar. On the version recorded for Rollin’ Rockland Blues Hour, drummer Kosei Fukuyama kicks off the song with a New Orleans Second Line drum groove before both Yukiko Fujii and Satoru lay down their bass and guitar lines. The irresistible groove and pocket created by the trio set the listener up for the remaining 11 tracks. For those who have had the chance to experience the Tokyo Tramps live, “Me and My Guitar” (which is also the title and a track available on Satoru’s EP), is one of those signature tracks that they can truly appreciate. From the opening riff, it is easy to envision Satoru wailing on his Telecaster while stomping on a pool table a la most of their appearances at Geezers Garage Nite at the Granite Rail in Quincy or any of their other live appearances, while Yukiko and Kosei lock down an extended groove. The energy conveyed on “Me and My Guitar” sounds devoid of drop-ins or overdubs and is all that was needed for this track. Proving every bit the vocalist, song writer, and rocker, Yukiko handles the vocal duties on “Papa’s My Number One Fan.” The lyrics on this tune are obviously biographical; a touching tale of a father’s unconditional love belted out over a raucous track. The highly original track makes for repeated spins. If my earlier prognostication does not prove true, it won’t be for the lack of talent or effort on behalf of Tokyo Tramps. With an active gigging and recording schedule, the Tokyo Tramps prove they are more than willing to do what it takes to entertain the masses. Here is to hoping the right people at the IBC get wind of that Tokyo Tramps sound. - Georgetown Fats

Though this review will probably be released after the International Blues Challenge and the Tokyo Tramps have recently undergone a line-up change, I expect Rollin’ Rockland Blues Hour and Satoru Nakagawa’s entry into the solo/duo competition of the IBC to herald a very big year for the Tokyo Tramps.

It may sound incredibly crass, or show my complete naiveté when it comes to making money in the music industry, but ultimately I don’t care. The Tokyo Tramps have been an enigma from the first moment I heard them and remain an enigma as I attempt to review their sixth release, Rollin’ Rockland Blues Hour. In a contemporary blues market where originality is given a back seat to non-threatening packaging, I have absolutely no idea why a major blues indy label which used to be the toast of Chicago, or any other label hasn’t scooped up the Tokyo Tramps, offered up some capital support and then just laughed their way to the bank.

Whether it be their blues power trio line-up, or their new blues quartet line-up, I have yet to hear a band like the Tokyo Tramps play such a radio-friendly blues rock sound without diluting their sound with a complete lack of originality. While many others either get caught up with copying their musical heroes or not having strong enough musical chops to add their own original inflection on the standard chord progressions, Satoru, Yukiko and the Tokyo Tramps lay down an irresistible Chicago Blues Rock sound while also paying homage to their Japanese roots by mixing American blues idioms with their Japanese heritage.

Rollin’ Rockland Blues Hour opens with “Good Morning Marietta,” which also appears on Satoru’s solo EP Me and My Guitar. On the version recorded for Rollin’ Rockland Blues Hour, drummer Kosei Fukuyama kicks off the song with a New Orleans Second Line drum groove before both Yukiko Fujii and Satoru lay down their bass and guitar lines. The irresistible groove and pocket created by the trio set the listener up for the remaining 11 tracks. For those who have had the chance to experience the Tokyo Tramps live, “Me and My Guitar” (which is also the title and a track available on Satoru’s EP), is one of those signature tracks that they can truly appreciate. From the opening riff, it is easy to envision Satoru wailing on his Telecaster while stomping on a pool table a la most of their appearances at Geezers Garage Nite at the Granite Rail in Quincy or any of their other live appearances, while Yukiko and Kosei lock down an extended groove. The energy conveyed on “Me and My Guitar” sounds devoid of drop-ins or overdubs and is all that was needed for this track. Proving every bit the vocalist, song writer, and rocker, Yukiko handles the vocal duties on “Papa’s My Number One Fan.” The lyrics on this tune are obviously biographical; a touching tale of a father’s unconditional love belted out over a raucous track. The highly original track makes for repeated spins. If my earlier prognostication does not prove true, it won’t be for the lack of talent or effort on behalf of Tokyo Tramps. With an active gigging and recording schedule, the Tokyo Tramps prove they are more than willing to do what it takes to entertain the masses. Here is to hoping the right people at the IBC get wind of that Tokyo Tramps sound. - Georgetown Fats

Music is truly a universal language. Take for example, the band, Tokyo Tramps; four Japanese kids who attended Berklee College and have two albums out of american based, original blues/rock. Singer-songwritr-guitarist Satoru Nakagawa is the heart and soul behind the Tokyo Tramps and he along with bassist Yukiko Fujii took time out to talk about coming to America and making their rootsy style of music.

METRONOME: Where are the Tokyo Tramps from?
SATORU NAKAGAWA: I am from Gunma, Japan. About two hours out of Tokyo. Yukiko is from Tokyo. Our guitarist Yoshi Hayata is from Hiroshima and our drummer Wataru Hirohara is from Tokyo.
METRONOME: Did any of you come from musical families?
SATORU: No, none of us.
METRONOME: So you four are pioneers?
SATORU: I would say so.
METRONOME: What brought you to Boston?
SATORU: Berklee College.
METRONOME: Did you all know each other in Japan?
SATORU: No. We all met at Berklee.
METRONOME: Did you all graduate from Berklee?
SATORU: Yes, we all graduated.
METRONOME: tell me how the Tokyo Tramps were started.
SATORU: I assembled some guys from my show. Back then we called ourselves The Cotton Fields Club Band. We got our name from a Leadbelly/Creedence Clearwater Revival song. Tokyo Tramps came later in 1999. An American friend suggested that we should take advantage of being Japanese like Los Lobos are all Mexican. Even though I’m not from Tokyo, it is the most known place in Japan. Tramps came from Bruce Springsteen's song "Born To Run." That's how we came up with Tokyo Tramps.
METRONOME: Do you all have the same love for the style of American music that you play?
SATORU: I'm the one that really likes this country roots stuff. The others are into 80s arena rock, Top 40 and hard rock.
METRONOME: What got you interested in American roots and blues music?
SATORU: The eighties were my time. I used to listen to it with my friends in Junior High in '83, '84 and '85 in Japan.
METRONOME: Does Japan have the radio stations that play just American music that you can listen to?
YUKIKO: Yes. I grew up listening to the radio network for American military people.
METRONOME: How did you dial into that?
YUKIKO: It's on normal FM.
METRONOME: So the Japanese public can listen to it too?
YUKIKO: Yes. Top 40... Casey Kasem and those kind of things. I'm not sure how far it reaches but in Tokyo, we can get it with no problem. Satoru never heard it, though.
SATORU: I never listened to the radio when I was in Japan. But back then, we had something like MTV. That was my main source.
METRONOME: Who are your biggest musical influences?
SATORU: In the beginning, it was Bruce Springsteen. Born In The USA era. When I heard that, I thought this is what I want to do.
METRONOME: Were you playing guitar at that time?
SATORU: That's how I started playing guitar.
METRONOME: How old were you when you started playing?
SATORU: I was fourteen.
YUKIKO: I started some time in Junior High... eighth or ninth grade. Actually I started practicing piano when I was seven years old. I practiced for ten years. Classical, not jazz.
METRONOME: Yukiko, what made you get into bass guitar?
YUKIKO: At that time, a couple of girls started a girls band and I wasn't really interested in playing drums, so I just picked up the bass guitar. I guess it's just part of my nature or something.
METRONOME: Who are your musical influences?
YUKIKO: American Top 40. At first, I was quite influenced by Queen, Journey and Styx. All those groups played in Japan.
METRONOME: Now that you have all graduated rom Berklee, do you work in the music business during the day as well as play in the band?
YUKIKO: Right now, no.
SATORU: No, None of us.
METRONOME: What was your major at Berklee?
SATORU: Songwriting
METRONOME: So, Tokyo Tramps give you a good outlet for your songwriting..
SATORU: Yes.
METRONOME: What was the name of your first CD?
SATORU: Long Way From Home.
METRONOME: What year did you release it?
SATORU: In 2000. It had 7 originals on it.
METRONOME: What inspired you to write the music for Long Way From Home?
SATORU: Springsteen was definitely my main guy but I wanted to create my own identity. I knew that I couldn't be Springsteen. i had to find my own voice. Then I got into the Beatles and The Stones. That's how I got into the blues. I realized if I was going to play rock&roll I would have to listen to the blues. Of course if you listen to our CDs, you don't hear Springsteen at all. But, I like the hopes and dreams in his music.
METRONOME: Tell me some of the blues people you admire.
SATORU: Definitely B.B. King. I love Taj Mahal. He's my favorite guy.
METRONOME: Tell me about your new album Bound For Glory?
SATORU: It's the best blues rock album you hear in years.
It's got ten songs. I wrote nine songs by myself and I co-wrote one song with Yukiko.
METRONOME: How long did it take you to record Bound For Glory?
SATORU: It took a year to finish it (laughing). The recording part was not - Brian M. Owens

When the nights begin to draw in and the gloom of the coming winter seems fast approaching those of us whose mood is affected by seasonal shifts have two choices: Go on Holiday or listen to good music.

Having spent nearly all my money on a holiday, which is completely out of the question, so I have taken to collecting all the feel-good music I can as my hobby in this gratefully received Indian summer. Now I have found the first song for my selection, Tokyo Tramps ?gBound for Glory.?h

The band is a blues/rock three piece, exclusively Japanese, hailing from Boston. Their sound is driven by catchy; uplifting pop melodies, tasteful guitar work and it encompasses country and blues within a pop setup. The way Tokyo Tramps skip through different styles and moods with ease keep the listener entertained and their ?gObsession with Southern Delta?h ties everything together, preventing it from sounding too disjointed.

The title track of their 2003 album, ?gBound for Glory?h is infinitely feel-good and a well constructed rock song. Coupled with a sing-along chorus and a screaming guitar solo this is a serious contender to be a classic rock anthem. Songs laced with guitar leads and catchy choruses are the norm especially in the faster tracks such as the country/rockabilly themed ?gDancin with Jive,?h but they never begin to sound repetitive despite their simplicity.

A more sensual side to the band is shown on their slower songs, especially on the more recent tracks. ?gSomeday you?fll come home?h combines searing guitar leads with laid back, soulful chords and searching lyrics. The song is a showcase for the talent within this band - simple and less produced then some of their other offerings, the vocal harmonies are a great touch and the end result is a very decent song. Two of the four songs on their recently released album ?gLucky Jive will Come Home on King?fs Road?h are in keeping with this more mature and soothing style and while they cannot be added to my get-through-winter-music-collection I will try and make sure that, come spring, I?fll give them another listen!

Before I heard any of Tokyo Tramp?fs songs I read a review of them by Boston Globe in which their music is described as "An Eastern spin on the blues". This conjured up ridiculous images of a Japanese 3-piece dressing in Kimonos and trying to add traditional Japanese touches to the blues. Thankfully Tokyo Tramps are nothing like that and if there are any eastern musical influences within their music they must fit in very well with the music as they are far too subtle for me to notice. Maybe the reviewer at Boston Globe has a better ear than me, but I feel he/she has fallen into the trap of seeing an all-Japanese band and therefore assuming their sound will be like Japanese blues when really it is far from such gimmick laden crossovers.

A modern and pop take on traditional musical styles such as blues and country, the tramps from Tokyo were semi-finalists in the Boston Blues Society's Blues Challenge 2004 and have released three albums over the past six years.

I?fd definitely recommend giving them a listen, even if it?fs just to hear ?gBound for Glory?h and get some inspiration.

Extra information:
Tokyo Tramps latest album is available from www.cdbaby.com/tokyotramps2
Tokyo Tramps are named after a Springsteen's song, "Born to Run" (tramps like us, baby we were born to run.)
The homeless in Tokyo often inhabit strange and smart boxes,
made of cardboard, wood, sometime bamboo,
sheltered by blue fabric sheets. They are usually seen as being far more respectful than tramps in the US or UK. - Harry Stevens

Into the Boss and the Blues

Don't be fooled by the look - or name - of the TOKYO TRAMPS. This three-piece band from Japan plays as if its musicians were raised in the Deep South and brought up on Delta blues. The group, whose influences include Muddy Waters, named itself after a line in Bruce Springsteen's "Born To Run." Led by former Berklee College of Music student Satoru Nakagawa. - Meredith Goldstein

Satoru Nakagawa, singer/songwriter in the Japanese blues/R&B group Tokyo Tramps feels he has as much right as anyone else to create music in the style of American greats like Roy Orbison, Bob Dylan, and his all-time favorite, Bruce Springsteen.
"I saw Springsteen in Japan during the 'Born In The USA' tour around 1988, and decided that I wanted to be him," said Nakagawa, 29. "After high school I failed my college entrance exams and moves to Louisiana. I wanted to see the Mississippi River and breathe the air that Muddy Waters had breathed."
Nakagawa eventually ended up at Berklee College of Music, where he met bassisit Yukiko Fujii,33. Both had to come to the college in the hopes of learning to play American music, unaware that the curriculum had such a strong jazz base.
While Nakagawa was from the small suburban town of Gunma, Fujii had grown up in Tokyo where she had listend to a lot of '80s area rock and '70s Top 40 music. They formed Tokyo Tramps with two fellow Berklee students, drummer Wataru Hirohara and lead guitarist Yoshi Hayata.
The Tramps part of the name was taken by Nakagawa from the "tramps like us" line in Springsteen's "Born To Run." Like the protagonists in the song, the members of Tokyo Tramps quickly became outcasts among the jazz technicians at their school, and although they found fans among some of their Japanese, Asian, Korean friends, their most enthusiastic response came at some of the bluesier clubs around town.
Nakagawa worked hard to find his own voice as a singer and a songwriter. Knowing he could never convincingly approximate Springsteen or Dylan's growl, he develop[ed a smoother approach, a gentle croon that sounds like a cross between Los Lobos and Roy Orbison. HIs songs such as "The Day You Cried" and "The Crow's Song" from the group's debut CD "Long Way From Home," show an unusual lyrical sensitivity that heads in a far different directions than the tough approach favored by his heroes.
While American music is big in Japan, both Nakagawa and Fujii agree that they could never have followed their dream of playing American music while they are still living there.
"I want to write and sing in English," says Nakgawa. "What is the point of singing in English to Japanese who don't understand English?"
- David Wildman

The band: Satoru Nakagawa (guitar, voice), Yukiko Fujii (bass), Kosei Fukuyama (drums)

The geography: All three members of Tokyo Tramps hail from Japan and live in Boston's Fenway neighborhood.

The sound: Blues rock with a big nod to Bruce Springsteen

The back story: After finishing high school in Japan, singer and songwriter Nakagawa moved to Louisiana to explore his fondness for blues rock. He spent five years partying and playing music, which led to his expulsion (oops!) from the University of New Orleans. In 1996, he enrolled at Berklee College of Music to pursue his love of blues - without the distraction of Bourbon Street.
Tokyo Tramps is a trio of Japanese Berklee grads that came together in 1999 when Nakagawa asked his then-girlfriend Yukiko Fujii, now his wife of four years, to fill in on bass.
"I didn't want to play with my partner," Nakagawa said, "but my bass player left and I asked her to fill in. And then I couldn't get rid of her!"
Recent Berklee grad Fukuyama joined last year after the Tramps' original drummer returned to Japan.
"We didn't have a drummer for three or four months so we did the acoustic, street performer thing in Harvard Square," Nakagawa said. "We were also a wedding band and Kosei was hired for that. It was really lucky. I feel very fortunate."
The name: "We didn't know what to call ourselves," Nakagawa said.
So he looked to the lyrics of Springsteen's "Born to Run" for inspiration: "Tramps like us, baby we were born to run."
The philosophy: Tokyo Tramps' blues rock is not a soundtrack for depression. The trio's songs convey messages of hope and happiness.
"I'm a Buddhist," Nakagawa said, "which means you must become happy and recognize Buddhahood in yourself and in everybody around you. There is happiness in everybody, it's just a matter of finding it. That's what I do in my music."
"We have a word in Japanese that means turning poison into medicine," Nakagawa said. "We all carry sadness and pain and agony and stuff, but there's always a way to turn it into joy. All my musical heroes are able to do that with music. They really touch my heart. That's why I became a musician - to repay a debt of gratitude. I've never met them in person, but I'm grateful, so I'd like to do the same with my music."

The albums: Tokyo Tramps have released three albums: "Long Way From Home" (2000), "Bound for Glory" (2003) and "Lucky Jive Will Come Home on King's Road" (2006). The fourth will drop as soon as Fujii finishes the cover art.

The show: Tokyo Tramps play Church tomorrow, with Geezer and the Ten Foot Polecats.



- Kerry Purcell

Dis-Orient-ed
Even Japanese Berklee students get the blues.


In Boston, THE ALL-JAPANESE BLUES OUTFIT TOKYO TRAMPS are perennial outsiders: Few of their countrymen in the area share their obsession with Americana, and local blues partisans tend to cast suspicious eye over anyone who writes fondly about the Mississippi Delta. In New Orleans, and Kentucky, however, where the band recently toured, it all makes perfect sense.
They really liked my song about living in Thibodaux, says Tokyo Tramps frontman Satoru Nakagawa. There's a line that says: " will get so lonely in December / I hope my English gets better / in Thibodaux, Louisiana."
Nakagawa feels he has as much right as anyone to create music in the style of American greats such as Bob Dylan and Bruce Springsteen. After all, it was the Boss' performance in Japan during the 1988 Amnesty
International Tour that first inspired him. He suddenly knew he wanted to experience firsthand the roots of American music. "I wanted to see the Mississippi River and breathe the air Muddy Waters breathed," he explains.
Eventually, after unsuccessful stints at two universities in the South, Nakagawa wound up at the Berklee College of Music. There he formed Tokyo Tramps ( the name is taken from Springsteen's song "Born to Run"), with bassist Yukiko Fujii, guitarist Yoshi Hayata, and drummer Wataru Hirohara---all of them likewise smitten with American roots music. Knowing his accented voice could never approximate the growls of Dylan, Springsteen, or Waters, Nakagawa developed a smooth croon that sounds like a cross between Roy Orbison and David Hidalgo of Los Lobos. His lyrics remain focused on his love for Louisiana area and the average person' daily battle for survival.
For Japanese musicians who originally came to the United States on student visas, that daily battle is not just for popular acceptance. "Our
ultimate goal,"says Nakagawa, who just received a work visa, "is to get
green cards for all of us."
( Tokyo Tramps---10/18. The Linwood, 69 Kilmarnock Street, Boston. Call
617-267-8644.) - David Wildman

Dis-Orient-ed
Even Japanese Berklee students get the blues.


In Boston, THE ALL-JAPANESE BLUES OUTFIT TOKYO TRAMPS are perennial outsiders: Few of their countrymen in the area share their obsession with Americana, and local blues partisans tend to cast suspicious eye over anyone who writes fondly about the Mississippi Delta. In New Orleans, and Kentucky, however, where the band recently toured, it all makes perfect sense.
They really liked my song about living in Thibodaux, says Tokyo Tramps frontman Satoru Nakagawa. There's a line that says: " will get so lonely in December / I hope my English gets better / in Thibodaux, Louisiana."
Nakagawa feels he has as much right as anyone to create music in the style of American greats such as Bob Dylan and Bruce Springsteen. After all, it was the Boss' performance in Japan during the 1988 Amnesty
International Tour that first inspired him. He suddenly knew he wanted to experience firsthand the roots of American music. "I wanted to see the Mississippi River and breathe the air Muddy Waters breathed," he explains.
Eventually, after unsuccessful stints at two universities in the South, Nakagawa wound up at the Berklee College of Music. There he formed Tokyo Tramps ( the name is taken from Springsteen's song "Born to Run"), with bassist Yukiko Fujii, guitarist Yoshi Hayata, and drummer Wataru Hirohara---all of them likewise smitten with American roots music. Knowing his accented voice could never approximate the growls of Dylan, Springsteen, or Waters, Nakagawa developed a smooth croon that sounds like a cross between Roy Orbison and David Hidalgo of Los Lobos. His lyrics remain focused on his love for Louisiana area and the average person' daily battle for survival.
For Japanese musicians who originally came to the United States on student visas, that daily battle is not just for popular acceptance. "Our
ultimate goal,"says Nakagawa, who just received a work visa, "is to get
green cards for all of us."
( Tokyo Tramps---10/18. The Linwood, 69 Kilmarnock Street, Boston. Call
617-267-8644.) - David Wildman

TOP10 OF 2005
#2- TOKYO TRAMPS


My next choice for Top Ten is a great CD entitled "Bound For Glory." This disc was actually released in 2003 but since I have some catching up to do I'm including it. Besides, in the independent music market, the rules are not quite the same as the mainstream market. Artists often work a release for two or three years before a new disc is produced. The fact that this band's founder began his musical journey in Louisiana where he moved from town to town just to absorb the culture and the sounds of blues, country, gospel and rock'n'roll, may not make it surprising that they perform songs with a decidedly southern blues style. When you hear the skillfully produced results of all that gathering of influences and experiences you may not be surprised that he also attended Berklee College of Music in Boston. As you listen to how tight the band is and how professionally they perform you will not be surprised to hear that the other members also attended Berklee...But when you SEE the band... it may surprise you to hear this very well performed and very American style of music coming from three natives of Japan!
Satoru Nakagawa leads the Tokyo Tramps on vocals and guitar, while the lovely Yukiko Fujii backs him on vox and brings up a solid bass line. Drummer Toshio Tanaka keeps time and assists capably with harmony vocals. Satoru often triple-duties by playing a mouth harp while still strumming. Neither suffers from distraction and these demonstrations of his multi-talented abilities always bring applause. My favorite cut on "Bound..." is "Thibodaux, Louisiana" which can be heard at www.IndieGate.com/tokyotramps.
In the tune Satoru pays homage to the aforementioned experience with life in southern Louisiana. He humorously acknowledges his efforts to soak up all things American at an accelerated rate with the line "I hope my English gets better..."
The best part of a Tokyo Tramps performance is watching the reactions on the faces of the uninitiated audience members. When the band launches into their brand of rock, the expressions begin as mild surprise, then turn to hesitation and incredulity, to quickly melt away as the sounds and talent overwhelm. With all traces of ridiculous ethnic stereotypes quickly and completely swept away, the crowd soon finds common ground in their enjoyment of excellent music performed by a great band... of MUSICIANS. No other qualifying descriptions are needed. Visit the Tramps at... www.TokyoTramps.com - Noel Ramos

The Tokyo Tramps have the unfortunate timing of having to play during game two of the World Series, which is on a TV in the back corner. Guitarist/ lead vocalist Satoru Nakagawa wears a Red Sox shirt for the occasion and brings "greetings from Fenway," in this case meaning the neighborhood where he lives. This three-piece, whose shtick is that they're all Japanese playing American bluesy roots rock, is just so much fun that I even stop watching the game for awhile. Satoru's spare Telecaster sound is perfect for this classic rootsy style, which they interpret so well. Bassist Yukiko Fujii's backing vocals are simultaneously bright and haunting. And Kosei Fukuyama is simply an amazing drummer who kind of reminds me of Charlie Watts with his confident coolness. Of course, these three have a sense of humor about their origins: they even have a song about chicken teriyaki. - Robin Umbley

The All American Approach Of The TOKYO TRAMPS

There is no guarantee for success in the music industry and certainly no telling what genre of music will take off next. Bands come and go on the local Boston scene quicker than a magazine can write about them. But if you take a relative look at success, and gauge it as musicians doing just what they want to do without compromise, then the Japanese blues-rock band Tokyo Tramps would be considered very successful. Boston's "The Noise" appreciated their enthusiasm and described them as "sounding more American than most Americans." When a mix of Delta Blues, Bruce Springsteen and The Band are what you're aiming for, then this is a good thing.

Singer, songwriter and guitarist Satoru Nakagawa came to America because it's the birthplace of rock'n'roll. Then he went a step beyond what many rockers do, he immersed in the culture of Louisiana, doing from town to town absorbing the mix of blues, rock'n'roll, country and gospel. Since 1996, Satoru has been in Boston honing his craft with a mix of all the music he loves in his band, Tokyo Tramps. His influences fall squarely in the genre of American rock, like the aforementioned bands as well as Creedence Clearwater Revival. The Japanese twist his band puts on the music makes it original. Although they sing in English, there are tell-tale hints of a cultural and musical experience from a life spent in Japan. The same would be true for say British bands that play "American" music; they put their own cultural spin however subtle.

Satoru and the band will not change the current trends, or be forced to sell out to a specific genre. This no compromise attitude can either lose or win fans over, and Satoru is hoping that it will be the latter. The road has been difficult and finding new Boston venues is challenging, and discovering local bands with like-minded ideals is difficult. The Tokyo Tramps have struck to their guns, refusing to go the easy route; no top 40 covers for them even those shows are easier to get and pay well.

Following their dreams is what this band's all about. Bass player Yukiko Fujii left a stressed-out overworked office job in Japan, and Satoru left behind gigs where you pay to play. They met their drummer Toshio Tanaka in the US; a jazz drummer by training, his amiable presence has helped them get gigs. They all enjoy the freedom of being musicians, and as difficult as the road is, it's their own journey. Satoru described the title reference to the phrase King's Road on his CD, "Lucky Jive Will Come Home On King's Road" as "the righteous road, the right path," and added that this was not meant in a religious sense, but certainly in a spiritual sense.

Their hope and optimism is catchy-"everyday is your lucky day, every road is shining gold."


- Leah Callahan

The Tokyo Tramps have the unfortunate timing of having to play during game two of the World Series, which is on a TV in the back corner. Guitarist/ lead vocalist Satoru Nakagawa wears a Red Sox shirt for the occasion and brings "greetings from Fenway," in this case meaning the neighborhood where he lives. This three-piece, whose shtick is that they're all Japanese playing American bluesy roots rock, is just so much fun that I even stop watching the game for awhile. Satoru's spare Telecaster sound is perfect for this classic rootsy style, which they interpret so well. Bassist Yukiko Fujii's backing vocals are simultaneously bright and haunting. And Kosei Fukuyama is simply an amazing drummer who kind of reminds me of Charlie Watts with his confident coolness. Of course, these three have a sense of humor about their origins: they even have a song about chicken teriyaki. - Robin Umbley

TOKYO TRAMPS defy all categories


The Tokyo Tramps are an anomaly, that’s for certain – three Japanese musicians playing down-home American blues in their own unmistakable style. The Tramps are serious aficionados of old blues masters like Muddy Waters, they dip into Cajun zydeco, sprinkle in a little Latin influence and also love plain old American rock and roll. Rockers like Creedence Clearwater, Tom Petty and Bruce Springsteen have influenced the Tramps, who take their name from the “tramps like us” line in Springsteen’s “Born to Run.’

Guitarist/vocalist Satoru Nakagawa began a musical/spiritual quest as a young man, leaving Japan to visit Louisiana, where he experienced the blues up close and personal. He went on to study at Berklee College of Music, one of the few blues players among a sea of jazzers, and assembled the first version of the Tramps from fellow Berklee students. The current version of the band includes bassist/vocalist Yukiko Fujii (who is Nakagawa’s wife) and Kosei Fukuyama, on drums and vocals. They recently released a CD called Tokyo Gumbo, which has blues songs and tunes in a number of other styles, hence the Gumbo of the title. One of the songs, “Chicken Teriyaki,” is an instantly catchy novelty song that manages to channel both Carlos Santana and Weird Al Yankovic. It would fit perfectly in a Quentin Tarentino flick, though not his last one.

Nakagawa is a virtuoso blues guitarist who plays his Fender Telecaster with a battery of technical chops and a bluesman’s soul. His singing is more of a croon than a blues growl, but you know that he means what he sings. Fujii also sings, conjuring up the voice of a soulful Yoko Ono singing straight. They can raise the temperature of a room and get the dance floor rocking, especially during one of Nakagawa’s extended solos. They’ve played everywhere in the greater Boston area – Harpers Ferry, House of Blues, TT the Bears, Hard Rock Cafe, ChiliHead BBQ, Dodge Street Grill, Lizard Lounge, Abbey Lounge, Plough and Stars, Church, Midway Cafe, Kirkland Café. It can be safely said that they’re different than most blues bands you’ve seen. They’re always playing someplace in the area, so check ‘em out when they come to town. The band’s CD’s are available on Itunes and sold at their live shows. The website is www.tokyotramps.com. - William Routhier

TOKYO TRAMPS defy all categories


The Tokyo Tramps are an anomaly, that’s for certain – three Japanese musicians playing down-home American blues in their own unmistakable style. The Tramps are serious aficionados of old blues masters like Muddy Waters, they dip into Cajun zydeco, sprinkle in a little Latin influence and also love plain old American rock and roll. Rockers like Creedence Clearwater, Tom Petty and Bruce Springsteen have influenced the Tramps, who take their name from the “tramps like us” line in Springsteen’s “Born to Run.’

Guitarist/vocalist Satoru Nakagawa began a musical/spiritual quest as a young man, leaving Japan to visit Louisiana, where he experienced the blues up close and personal. He went on to study at Berklee College of Music, one of the few blues players among a sea of jazzers, and assembled the first version of the Tramps from fellow Berklee students. The current version of the band includes bassist/vocalist Yukiko Fujii (who is Nakagawa’s wife) and Kosei Fukuyama, on drums and vocals. They recently released a CD called Tokyo Gumbo, which has blues songs and tunes in a number of other styles, hence the Gumbo of the title. One of the songs, “Chicken Teriyaki,” is an instantly catchy novelty song that manages to channel both Carlos Santana and Weird Al Yankovic. It would fit perfectly in a Quentin Tarentino flick, though not his last one.

Nakagawa is a virtuoso blues guitarist who plays his Fender Telecaster with a battery of technical chops and a bluesman’s soul. His singing is more of a croon than a blues growl, but you know that he means what he sings. Fujii also sings, conjuring up the voice of a soulful Yoko Ono singing straight. They can raise the temperature of a room and get the dance floor rocking, especially during one of Nakagawa’s extended solos. They’ve played everywhere in the greater Boston area – Harpers Ferry, House of Blues, TT the Bears, Hard Rock Cafe, ChiliHead BBQ, Dodge Street Grill, Lizard Lounge, Abbey Lounge, Plough and Stars, Church, Midway Cafe, Kirkland Café. It can be safely said that they’re different than most blues bands you’ve seen. They’re always playing someplace in the area, so check ‘em out when they come to town. The band’s CD’s are available on Itunes and sold at their live shows. The website is www.tokyotramps.com. - William Routhier

Deep diving into their American rock and roll roots on their brand new Fearless Heart album, Tokyo Tramps team up with drummer Josh Dion and producer Jim Weider(The Band) to create a flintier, more energetic paced work than ever before.

Opening cut “Sweet Melody” finds the Japanese born musicians, who made their way to Boston to study blues, jumping into a serious groove. Satoru Nakagawa’s fierce riffing and Jim Weider’s sweet slide phrasing contrast to whip up a tasty guitar weave, one that moves this song like a force of nature. Trading vocals with wife/ bass guitarist Yukiko Fujii, he creates another contrast, his live for today rasp and her tender, girlish delivery. Clever.

The playful riff and grooves of “The Mississippi and New Orleans” find the couple singing the praises of two great American locations. Nakagawa’s tasty blues licks, greasy slide, sizzle with heat and precision. He injects his guitar work right above a racing groove, like he’s tap dancing over the crests created by the rhythm section, a careful balancing act between him and a skillful back beat and galloping low end.

“Where Did You Hide Your Blues” gives off a forlorn vibe among the smooth harmonies vocals and a flowing rhythm. Nakagawa pays out another well constructed blues guitar line, a jittery line that gives off sparks when he changes from a sustained note to a new one. Speaking of sustain, the pair put rich, engaging drawl on their chorus.

Coming in with a danceable R&B groove “Blues Leave Me Alone” motivates the feet while engaging the ear. Again, the pair apply their perfected vocal harmonies over another of Satoru’s twitchy electric six string phrases. He makes his ax sing as pretty as a bird, a bird with an electric edge that is, a flight of fancy underpinned by a disciplined grip on the rhythm. It is uncanny how well Tokyo Tramps dovetail guitar, vocals, and groove here, like they’re all on the same dance floor moving to the same beat but with slight contrasts in dance styles. It works well.

“Open The Door” is a mid-tempo rocker, a piece that doesn’t rush but has a rush of guitar, pouring forth, thick chord progression supporting a sweeter lead. Nakagawa’s hip lyrical delivery is met by Fujii’s sweet call and response. The chorus, supported by a nimble Nakagawa guitar phrase, remains catchy and amicable, one that invites the listener to sing along. This song is well constructed fun.

“Can’t Find My Way Home,” coated by a fine spray of roots lead guitar, rides a comfortable shuffle groove. Guitar and groove fit each other like a warm, snug glove. That tight weave forges this piece into a thick wedge of fine ingredients. When Nakagawa unleashes a smooth, trim lead, it is only icing on a pleasant fiber of cake.

A commentary on a contemporary problem, “Loneliness Is A Social Disease” travels along a motivational back beat while dispensing its street corner philosophy. Giving off sparks of riffs, speedy, brittle, and jumpy enough to give the fun, lilting groove a run for its money.

“Heart Of Life” shows off Fujii’s expressive vocal range. Fujii travels the verses well within this song’s tight framework. Her voice maintains a soft edge until she widens her vocal appeal on the chorus. It’s the balance between considerate vocal phrasing and the belty chorus that gives this song intrigue. A sly, mischievous groove keeps it all in hip motion. Over that bounce Nakagawa applies his nimble guitar playing, a chord progression that combines vigor and vibe.

Taking things slow, mellow, contemplative, “I Don’t See My Star Tonight” features Nakagawa’s soft timbre lead vocal. He massages plenty of feeling out of his lyrics while unfurling a tender, sensitive rendering of the melody on guitar. Nakagawa understands the need for self-restraint in this setting, letting the emotive vibe work its way to the listener’s consciousness, not too much edge allows the song to breathe. Fujii’s sweet backing vocals, too, serve up a layer of feeling here, a secondary layer wrappings things up neatly.

Brisk close out track “Young Lion” gains traction from the usual Tokyo Tramps strength, fiery guitar phrasing and a thick, solid low end line. The man-woman vocal harmonies are strong here too, especially as the action-packed call and response chorus adds another dimension of flinty fiber. It’s a tremendous ending to a fiercely well-crafted album, and it will have the listener toe-tapping, head bobbing, and finger snapping from beginning to end.

Tokyo Tramps have certainly taken things up a notch with Fearless Heart. They jump right into a more rock and roll format here, fearlessly. With this new album as their calling card, Tokyo Tramps will certainly increase their visibility and expand their audience. - Bill Copeland