"WHAT'S IN YOUR CART?" is an interview series where we invite record-loving guests to choose '5 Records They Want Right Now' from the ELLA ONLINE STORE lineup.
Our guest this time is Wataru Sawabe from skirt, a brilliant songwriter known for his boundless wellspring of memorable pop tunes since his debut. In September last year, he released his latest EP, Extended Vol.1, featuring different guest artists on each track. Furthermore, just this past November, the analog version of his latest major-label album, SONGS (2022), was released.
Sawabe is known for frequently sharing his thoughts on vinyl records on social media. During his visit to ELLA RECORDS VINTAGE, he meticulously scanned every corner of the racks while comparing them to his extensive want list saved on his phone. The five records he selected were those he "simply wants to own right now" but hasn't yet added to his collection. Enjoy his witty, insightful conversation as he showcases his borderless music tastes and deep appreciation for vinyl culture.
Interview & text: Mikiya Tanaka (ELLA RECORDS)
Photo: KenKen Ogura (ELLA RECORDS)
Furniture design & production, Interior coordination: "In a Station"
Special thanks to: Satoshi Atsuta
Wataru Sawabe (skirt) “5 Records I Want Right Now”
①The Zombies / Odessey and Oracle（1968）US original
I think I first listened to this album when I was in high school. I was a huge fan of Kukikodan, and Yukari Yamazaki once recommended The Zombies in an interview. So, I started with a Japanese compilation called 'I Love You' on CD and instantly loved it. But that was more like a singles collection, and most of the songs from this album weren’t on it. At the same time, I was trying to dig deeper into soft rock. A person who organized an event I was helping out with back then gave me five recommendations, and this album was one of them. When I listened to it as a whole album, it completely blew me away. It was a totally different experience from the compilation. I became obsessed with it after that. The songs are just so good. The arrangements are brilliant. There’s not a single bad track on it. And above all, the mellotron use on this album is absolutely perfect. They couldn’t afford a real orchestra, so they used the mellotron to handle the orchestration, and that’s one of the things that makes this album so special to me. I love it even more because of that.
I actually have this album on vinyl as part of a 1970s double compilation called 'Time of the Zombies'. The first disc is a collection of singles and outtakes, and the second disc is the entire 'Odessey and Oracle'. But still, I really want to own it with this iconic artwork. I feel like having this version at home would definitely lift my spirits every time I see it. The U.S. pressing has the artist’s name and album title printed on the cover, but the original U.K. pressing doesn’t include that text. Interestingly, the album was released in the U.S. because Al Kooper pushed for it after falling in love with it. Knowing that backstory makes the U.S. pressing feel special too. It adds a bit of charm to it, don’t you think?
②Pierre Laniau/Erik Satie: Pièces pour Guitare（1982）FRA issue
This is a record I had never heard of before, but when I was browsing through the shelves, the spine of the jacket really caught my attention. It had such a bold, commanding presence—it felt like the spine was making eye contact with me. So, I picked it up. I had a chance to listen to it a bit earlier, and it was absolutely amazing. It’s a collection of Erik Satie pieces played on guitar, and the way "Gnossienne" sounded—much more serious and intense—was incredibly interesting.
I often buy records without any prior knowledge, just based on intuition. This was one of those “the spine is calling me” moments. One of my most memorable experiences of that kind was with a CD by baritone saxophonist Serge Chaloff. I randomly picked it up because the spine stood out to me, and it turned out to feature Dick Twardzik, one of my favorite pianists, on one of the very few recordings he made. Encounters like that remind me to keep myself tuned to those moments when a spine calls out to me.
③Chet Baker / Almost Blue（1989）12”/US issue/Promo Only
This is the one I want the most from today's picks. Back when I had just debuted—less than a year in—Keiichi Sokabe invited me to one of his shows, and during his DJ set, he played this. I remember thinking, “Good grief, what an incredible track to drop.” That memory has stuck with me ever since. But I haven’t come across the 12-inch much since then, which is why I genuinely want it.
I’ve loved Chet Baker ever since I first listened to him in high school. My entry point was "Chet Baker Sings," and from there I started exploring his discography. I especially love his '50s recordings featuring Dick Twardzik, who we talked about earlier. But I also have a soft spot for his late '60s to early '70s albums, which aren’t as highly regarded by most people. For example, "Albert’s House" (1969), recorded right after he had his teeth knocked out by gangsters, is just a total mess. Everything about it—from the production to the playing—feels cheap and broken. But precisely because of that shabbiness, it’s heartbreakingly beautiful in a weird way. Even in his lowest moments, there’s always something undeniably beautiful in his music. I just really love that about him.
④Harry Hosono and The Yellow Magic Band / Paraiso（1978）JPN original
I have a bit of a story behind why I picked this classic album. Well, it’s not that deep, but here goes—it’s a tale of filial piety, if you will. My mom’s influence played a huge role in shaping my music tastes. I grew up immersed in her music library. She was a big fan of YMO and Hosono-san, and when I moved out of my parents' house, I kind of... “borrowed” some of her records without asking and took them with me.
Later, I had the chance to perform alongside Hosono-san, and I asked him to sign one of my records. But here’s the thing—I selfishly picked "泰安洋行 (Bon Voyage co.)" for him to sign. It was a favorite of mine, and honestly, I thought the jacket would be easy for him to write on. But after the fact, I realized I’d totally missed the mark. My mom’s absolute favorite album was actually "Paraiso." It hit me—I’d completely blown a rare chance to make a meaningful gesture for my mom. In this line of work, you don’t get many opportunities to make your parents proud, and when I finally had one, I made it all about myself. I felt awful about it. Fortunately, I got a second chance. I met Hosono-san again, and this time, I asked him to sign "Paraiso" for my mom. That signed record now hangs in the entrance hall of my parents’ house, like a little family treasure.
But here’s the thing—I don’t have "Paraiso" in my own collection anymore. I’ve been wanting to replace it, but these days, it’s gotten so expensive that I’m still debating whether to bite the bullet or not.
⑤Ianci Körössy / Jazz Recital（1978）10”/Czech issue
He is Romanian jazz pianist named Janci Körössy, but his name is spelled differently depending on where his records were released — sometimes it’s “Jancy,” other times “Jansci” or even “Yancy.” In the 1960s, he fled to Germany and released an album called "Identification" (1969) on MPS, which has a slightly avant-garde vibe and is absolutely fantastic. But I’ve never heard this 10-inch record before, so I picked it because I’d love to listen to it — and ideally, own it.
I first discovered Janci through a reissue series of 10-inch records by the Japanese jazz label Norma. One of the titles in that series was his "Seria Jazz Nr.1" (1965), which I bought purely for the cover art. When I gave it a spin, I was blown away by his unique piano playing — it had this indescribable quality that really stuck with me. Since then, I’ve been keeping an eye out for his records. He didn’t release that many, so every time I spot one, I think, I need this! But, man… they’re expensive! Eastern European jazz records are notoriously pricey!
Interview: Wataru Sawabe (skirt) and Record
━━Can you tell us about how you first got into records?
Sawabe: My first encounter with vinyl records was when I listened to YMO's Solid State Survivor from my mother's record collection when I was in elementary school. At the time, I was really interested in YMO. This was because a new art teacher at my school liked YMO, and he played Hosono's omni Sight Seeing and MEDICINE COMPILATION, as well as Sakamoto Ryuichi's Smoochy, in the art prep room. That made me think, "Oh yeah, I remember my mom mentioning something about YMO." There was a time when Hosono produced Chisato Moritaka's music, right? The two of them even appeared on TV together, and I knew Moritaka well, but I always wondered who that guy next to her was. Then my mom told me, "That's Hosono, who used to be in a band called YMO," and she mentioned how his grandfather was on the Titanic… I realized that these things were all connected, and I really wanted to listen to YMO. The thing was, while we had records at home, we didn’t have a player. So my dad bought a new player, and that’s when I finally listened to Solid State Survivor.
At the time, there were only about 100 to 200 records left from my mother's collection at home, but in my childhood memory, it feels like she had at least five times that amount. According to my mom, she ended up selling most of them and decided to keep only the truly important ones. One of my childhood traumas was how frightening the covers of Charles Mingus' Pithecanthropus Erectus and The Stooges' Fun House were. Of course, now that I’ve become a music lover, they don’t scare me anymore.
━━ Did you already like music before becoming interested in YMO?
Sawabe: By the time I have memories, I was already into music. As a kid, I listened to bands like Princess Princess and LINDBERG. Since I was born in 1987, I wasn't really in sync with the times even back then. Before that, I liked The Checkers and Hikaru Genji, so I was even more out of step with the era... I can imagine that my love for The Checkers probably started with their song Gachou no Monogatari on the children's TV show Hirake! Ponkikki, but as for Hikaru Genji, I'm not sure why I liked them. They were on Music Station every week in the '90s, so that might have been the trigger, but I honestly can't remember at all.
━━ After that, you were suddenly made to listen to ambient-like music like MEDICINE COMPILATION when you were in elementary school. Did it click with you right away?
Sawabe: No, it was actually kind of scary. I mean, the lyrics to "AIWOIWAIAOU" are totally nonsensical, right? They're talking about "dying from a bee sting" and things like that. Smoochy also had some pretty decadent lyrics, so I was shocked. It was a cultural shock for me. But when I was in 5th or 6th grade, even though I didn't fully understand it, I would listen to 泰安洋行 (Bon Voyage Co.) on my way to school. Even now, when I listen to it, I can vividly remember those times. I can recall the feeling of walking on the road to school, and even the stairs leading up to the art room after entering the school. I think Hosono's music was "poisonous" music. I didn’t think of it like that at the time, but looking back, I can now see that it was definitely poison.
━━ It could be said that poison can turn into medicine. Did you not understand YMO at first?
Sawabe: No, I really got into YMO. I listened to them a lot, especially until I got into middle school. However, my mom stopped buying records around 1982-83, and for some reason, she stopped YMO at X∞Expensen (1979). It’s still a mystery to me why she didn’t go on to BGM (1981) or Technodelic (1981), but I guess by then, she had started becoming more interested in rock music. That’s my own guess anyway.
━━ It sounds like your mother was quite a music lover.
Sawabe: Yes, she really was. I must admit, I was heavily influenced by her. This is a story I often tell, but when I was in middle school, I was really into NUMBER GIRL, and one day I was listening to them in my room when the door suddenly opened. My mom came in and said, "If you're going to listen to this, you should also listen to this," and handed me XTC's Drums and Wires. It was such a shocking moment for me. And the fact that she gave me Drums and Wires instead of Black Sea was such a tasteful choice. With a mom like that, it’s no wonder I was influenced.
━━ In addition to the above, which other artists did you get into from your mother’s music library?
Sawabe: When I was a kid, I was exposed to artists like RC Succession, The Specials, and Devo. Then in high school, I listened to a lot of David Bowie and Iggy Pop.
Also, my favorite band, yes, mama ok?, covered songs by artists like Chet Baker, Blossom Dearie, Sergio Mendes, and Yukihiro Takahashi’s SARAVAH!. It was through them that I got to know these artists. Later, when I went through my mom’s library at home, I realized she had all those records too. I remember thinking, “Wow, what’s with this strange sense of connection…” It was honestly a bit scary at the time.
Recently, my mom's life has finally settled down, and she’s been listening to various things on Spotify. Right now, I’m doing a radio show in Kyoto (α-STATION "NICE POP RADIO"), and I play all kinds of music. She listens to it every week and then sends me her thoughts on LINE (laughs). She’ll say things like, "I used to listen to Eric Dolphy!" (laughs).
━━ I envy the fact that someone like your mother exists, as she seems to be a unique presence in my world. I feel that skirt’s music is very pop, yet filled with a lot of complexity and twists, and I think that’s thanks to the foundation in rock and new wave.
Sawabe: I totally agree. It’s definitely complex. But I think because of that complexity, I never wanted to create music that was just twisted for the sake of it. That’s why I chose pop music. There were a lot of twists and turns along the way, though.
Most of the pop musicians I like are also quite twisted. Even when you listen to Hikaru Genji with an adult's ears, you can hear how complicated it really is. The way "STAR LIGHT" modulates is exquisite. As for ASKA (a famous Japanese songwriter who has written many songs for the idol group Hikaru Genji, and has also had many hit songs as CHAGE and ASKA.), I think he's like the Eastern Paddy McAloon (from Prefab Sprout). About ten years ago, I finally started to understand CHAGE and ASKA. They created sounds that were made to capture the spirit of the times, and because of that, their music inevitably carries the essence of the era. Honestly, I couldn’t connect with it at first. But eventually, I realized that their melodies and chord progressions were simply incredible. After that, I started listening to Prefab Sprout too. I don't think I would have been able to appreciate the sound of Jordan: The Comeback (1990) when I was younger. So, in a way, I’m really grateful to CHAGE and ASKA because their music helped me overcome my dislike of certain sounds and textures, all thanks to the strength of the songs themselves.
━━ When you first started listening to records, did you feel drawn to the records themselves as objects?
Sawabe: The biggest appeal for me was definitely the size. Also, a bit later on, it became about how to listen to music within the limits of my pocket money, and of course, the cheaper, the better, right? In the 2000s, records were pretty cheap, so I bought a lot of them. I could get them for 100 yen, 300 yen, 500 yen, or 1,000 yen—prices that now you couldn’t even dream of.
━━ Given your generation, you were exposed to both CDs and digital streaming alongside vinyl records. What do you think is the charm of vinyl when compared to those formats?
Sawabe: The biggest point is that records have an A-side and a B-side. There’s nothing quite like it. People’s attention spans just can’t last for 60 minutes, you know? About 20 minutes in, you take a break, flip the record, and it’s okay if you don’t even listen to the other side. That space and time are important to me, and in terms of the listening experience, I think having that break makes all the difference.
━━ So, when you’re making albums for skirt, do you also consciously think about the A-side and B-side transitions, even if you’re not necessarily releasing a vinyl version?
Sawabe: Yes, definitely. I’ve been doing that since the first album. Even back then, I was very aware of the track order—how the A-side would end and which song would be the first track on the B-side.
━━ How often do you visit record stores now?
Sawabe: I don’t go that often. In Tokyo, I tend to spend too much money, so I try to avoid going as much as possible. I’ve really narrowed down the stores I visit. Since I live near Kichijoji, I allow myself to visit Coconut Disk there and the new arrivals section at Disk Union in central Tokyo. I try to be strict with myself, though (laughs). If I didn’t, no amount of money would be enough. When I visit record stores in smaller towns, I do take the time to look more carefully, though. It’d be easier if I could earn more, but with the kind of music I make, that’s probably not going to happen (laughs).
━━ How many records do you own now?
Sawabe: I’m not exactly sure. I store my records on an IKEA shelf, and it has 8 compartments by 2. I also have some old record shelves with 3 compartments and 2 compartments. There's a 6-compartment shelf that I originally used for dishes, but it's completely full now. I’ve also packed records into one side of the closet, but even then, they still don’t all fit. So, how many does that add up to? Maybe about 2,000 records? If you count the 7-inch singles, it could be 2,000 to 3,000, but honestly, for a collector, 2,000 records isn’t that many.
━━ How do you manage your record collection?
Sawabe: I have two sections for recent artist releases, and then I group things by categories. There’s one for the YMO family, one for Japanese female artists, which includes people like Maki Asakawa, Chakra, Taeko Onuki, and Yukako Hayase. This one’s a bit tricky because they all fall into a similar category. There’s also a section for Japanese male artists. For Western music, I group artists like XTC, Sparks, and Prince together. Then there’s a section for artists related to Blossom Dearie, 80s rock, post-80s rock, jazz, and classical music. I don’t have much soul music, so I mix that into the rock section. The bottom shelf is where I put the 100 yen records because it’s harder to find things down there. I’m not very organized, so I don’t keep things in alphabetical order. When I buy new records, I just put them somewhere in the middle of the shelf.
━━ That’s quite a unique way of organizing. This question is interesting because it really reveals a person’s character.
Sawabe: How do other people organize their collections?
━━ You’re the eighth person I’ve asked for this interview, and at least as far as alphabetical order goes, Mr. Takuro Okada is the only one who does it that way.
Sawabe: Ah, Okada-kun. That fits his character. But I did organize my CDs alphabetically once. I put them in soft cases, so I couldn’t search by spine anymore. I guess it’s hard to do unless something pushes you to make that change, right?
>>> WHAT'S IN YOUR CART? #007 Takuro Okada
━━ Do you have a particular attachment to original pressings?
Sawabe: Not really. For me, it’s more about just being able to listen to the music, and the cheaper the better—that’s where my record collecting started. However, when it comes to original pressings, it’s not exactly about that, but I am looking for the Japanese version of Prince’s Lovesexy with the translucent obi strip. There’s something about that feeling of Lovesexy with the translucent obi that I just can’t describe. Also, I’d like to get the first pressing of Minako Yoshida’s FLAPPER or Tatsuro Yamashita’s SPACY with the translucent obi strip eventually. I also have some niche interests, like collecting original pressings of Blossom Dearie albums in both mono and stereo versions, where the masters are subtly different. But generally speaking, I don’t mind if there’s no obi strip, and I’m perfectly happy with reissues once I get them. I don’t go out of my way to buy the original pressing again.
━━ Is there any particular genre you’re currently searching for or really into?
Sawabe: Recently, I’ve gotten really into Dr. Buzzard's Original Savannah Band. Surprisingly, I hadn’t listened to them before, but now I’m really excited about their music. So, I’ve been actively searching for anything related to August Darnell.
━━ What’s at the top of your current record want list?
Sawabe: It’s hard to say what’s at the very top…
First, I’d like to get Alex Chilton’s Loose Shoes and Tight Pussy (1999) someday.
Also, I’d love to have the live album 1974 HOBO'S CONCERTS V (1976) with Hosono’s solo acoustic performances.
Then there’s Steve Lacy’s Lapis (1971), which I first heard through a few tracks on the Saravah Jazz compilation (reissued on CD). That really left an impression on me, so I want to get the full album.
I’ve also been looking for the 12-inch single of The RAH Band’s "Questions (What You Gonna Do)" (1983). It wasn’t included in the The RAH Band Story Vol.1 and Vol.2 CD box set that came out recently.
Let me see… there are so many other things, so can I check my phone real quick?
(Scrolling through his want list on his phone)
If we’re talking about things I know I’ll never be able to afford, there’s the Japanese pressing of Nirvana (UK)’s Dedicated To Markos III (1969), with a different cover. It was released in Japan under the title New Folk Sound. It’s just so romantic to think that it was actually released here at that time.
Another one I’ll never get is The Groop (1969), an album by a soft rock group called The Groop. I only heard it in the last decade, but it’s so good. I’ve wanted it for a long time, but given the prices, it seems really hard to get.
Also, there’s this 80s animated film called Hare Tokidoki Buta (meaning Sunny, with Occasional Pig), based on children’s literature, and the opening theme song, “Kokoro Uchū” (Heart Universe), is amazing. It’s by Hiro Yanagida. I’ve been looking for the 7-inch single of that song but haven’t been able to find it.
I’m also searching for the album In Love With You (1968) by trumpeter Al Hirt, which has a cover of “My Name Is Jack.” I first heard it on a mix CD-R that Ryohei Matsunaga gave me a while ago.
That’s about it for now. There’s quite a bit, huh? Yes, I am a bundle of desires.
━━ But if you’re limiting yourself to only checking out places like Coconut Disk in Kichijoji and Disk Union around Tokyo, it sounds like you’re after some pretty elusive records! (laughs)
Sawabe: Well, I’m okay with that because, honestly, as long as it’s music, I can enjoy almost anything. For the records on my want list, I’m fine with finding them someday, even if it takes a lifetime. And for things that seem impossible to find in Japan, I’ll just use Discogs. When Ryohei Matsunaga appeared as a guest on my radio show, he told me about a 7-inch single by NRBQ called "In Person!" (1982), and I just had to get my hands on it, so I bought it on Discogs. It's so good — it feels like everything about rock is packed into that record. ...Oh wait, I should check my Discogs want list too! ...Maybe you have enough already?
━━ No, no, keep them coming! (laughs)
Sawabe: Alright, let me share one last story that might be a good topic. There’s one record I’ve been searching for nearly 20 years, and I finally found it recently. It’s a classical piece — a record of Piano Quintet No. 2 by Gabriel Fauré, which is what got me into Fauré in the first place. Back in my university days, I heard it at a record shop, but I didn’t have the money to buy it at the time. I went back to the shop later, but it had already sold. I didn’t know the catalog number or the performers, so it became this mysterious record I had to track down. It took me nearly 10 years to identify it and another 10 years to find a copy.
━━ That must have been an emotional reunion! How did you figure out who the performers were?
Sawabe: The cover art was pretty distinctive, so I kept searching for terms like “Fauré Piano Quintet” on Google regularly. One day, a new arrivals post from NOAH LEWIS' RECORD in Shimokitazawa (now FUN FUN FUN RECORD) popped up in my search results, and I immediately recognized the jacket. But unfortunately, it was already sold out. At least I finally got the details on the record — it was a 1950s recording by Ray Lev and the Pascal String Quartet, released on Concert Hall Society. After that, I searched with that info, and nearly 10 years later, I found it in Japan for just over 2,000 yen. That was a really special moment!
━━ What makes a “good record shop” for you?
Sawabe: My answer is simple — a record shop with windows. Shops without windows tend to feel like very enclosed spaces, right? Personally, that kind of atmosphere can be a bit overwhelming. Sometimes, I feel like I’m drowning in the sheer amount of information, and I can’t process what I’m seeing while flipping through the records. So yeah, I prefer record shops with windows.
