Inscrutable indeed is the train of thought that led Mary Sandeman to get up in a kimono and transform into the mysterious and bewitching Aneka. It was to prove an unrepeatable flash of inspiration – the dress-up box wouldn’t stretch to a second hit. And to be fair, nothing much about “Japanese Boy” suggests ‘career artist’ – the public’s appetite for syndrums and chinoiserie was briefly immense but always likely to be finite.
I quite like “Japanese Boy”. In an early draft of the Freaky Trigger Top 100 Songs Of All Time it occupied the #2 slot by general, hearty and drunken acclaim. Sadly we lost that particular list: justifying its position would have been intriguing. But it’s one of those records which has lost its lustre through doing the Popular project. As a memory from the dawn of my pop life it had an allure – helped by the fact that it’s very catchy and Aneka has a piercingly pretty voice – but coming at it chronologically, having worked through the late 70s and early 80s, it’s uncomfortably clear that “Japanese Boy” is subject to grievous diminishing returns. The syndrums are especially grating – telegraphing the singalong chorus like an unpleasant nudge in the ribs, and draining away any feeling or empathy that might have carried over from the more heartfelt (“a word of explanation – that’s all!”) verses. Plus the orientalist arrangements don’t really mesh with the galumphing rhythm: the overall impression is of a record on the nasty end of cheap, slapdashery defeating an otherwise jolly bit of bubblegum.