When Japanese four-piece Happy End wanted to follow up their folk rock masterpiece Kazemachi Roman with their own slice of the "California sound" in 1972, they went about it the natural way. Show up at Hollywood's mythical Sunset Sound studio, equipped with a suitcase full of cash and a pearl (a special gift for the producer Van Dyke Parks). Though the language and cultural barrier proved challenging, Haruomi Hosono looks back on the sessions fondly. With a decisively mellow tone throughout, the final eponymous Happy End record recalls formative west coast influences such as Buffalo Springfield, while foreshadowing . . .
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