— Thank you for joining us today.

To explain the background of this interview: some time ago, the team at MION mentioned they were looking for a writer who’s well-versed in audio equipment. The first person that came to mind was you, JIN-san.

You're not only a professional DJ, but you’ve also had an active career as a writer. I thought that if anyone could put together an article with depth and insight, it would be you. When we met recently and I brought it up, you said, “If it’s an interview, that’s fine,” and here we are.

DJ JIN: Well, since I make a living through music, I’m happy to share what I know—within reason, of course.

— We'd love that. To start, could you tell us about your favorite turntables and cartridges (record needles)?

DJ JIN: Sure. The gear I use is what I personally consider to be the best in terms of function and sound for a DJ. So it might not be directly aligned with what traditional audiophiles would look for, but for DJs, it’s pretty standard stuff.

My turntable is the Technics SL-1200MK7 — the latest model in the legendary SL-1200 series.

My DJ mixer is the DJM-450 from Pioneer DJ, which I run into a Yamaha MG20XU mixer. That Yamaha mixer handles everything else — audio from my computer, outboard gear, instruments, and sound sources I use for production.

All of that is output through KRK’s ROKIT 5 G4 speakers. I don’t just use the system for listening to records — I also produce tracks on it.Hello! My name is Gobe, and I write the record column for MION Upcycle.

I usually pen casual pieces about vinyl records, but this time, I had the special opportunity to conduct an impromptu interview with DJ JIN of RHYMESTER!

As a member of RHYMESTER—a leading force in Japan's hip-hop scene—and the founder of the DJ/producer collective breakthrough, DJ JIN shared his thoughts on the gear he uses and the records that hold a special place in his heart.

DJ JIN’s Favorite Gear

Technics SL-1200MK7

DJ JIN: The Technics SL-1200 series has long been considered the absolute standard when it comes to DJ turntables.

What makes it such a joy for DJs is not only the solid sound quality, but also—more than anything—its durability. Seriously, it’s built like a tank (laughs). DJs tend to put their gear through a lot, so toughness is essential. I mean, my old SL-1200MK3 lasted around 20 years without breaking down.

And in clubs and discos, things can get pretty wild—drinks flying around and all that (laughs).

— (laughs)

DJ JIN: Even in those “party’s in full swing!” situations, the fact that you can keep using it reliably—that’s what makes Technics so incredible. No matter how hard you use it, it can last for decades. That’s why it’s been the go-to DJ turntable for so long—it has that kind of unwavering trust behind it.

The latest model, the MK7, also features improved sound quality. Honestly, if you're buying a turntable for DJing, the Technics SL-1200 is an absolute must.

KRK ROKIT 5 G4

DJ JIN: I use the KRK G4 speakers. I’ve been using KRK for a long time.

When producing music in a home workspace—where I can’t crank up the volume like in a proper studio—the most important thing is whether the sound still packs a punch at moderate volumes. I need to feel that same kind of presence and impact I’d get from a club, even when I’m sitting close to the speakers.

It’s essential to choose speakers that let you hear the clarity and dynamics of the sound, and help you judge whether your track will hold up in a club environment.

— That makes sense.

DJ JIN: Every speaker has its own characteristics. Some offer incredibly high resolution, but lack power in the low end. Others sound amazing when played loud, but their definition disappears at lower volumes.

That’s why it’s important to choose your speakers based on how and where you’ll use them. I’ve used more traditional studio monitor models in the past, but when it came to matching my home setup, the kind of music I make, and the volume levels I work with, KRK just felt right.

They’re not necessarily the most well-known brand out there, but I personally love them and have stuck with them for years. I think a lot of overseas club music producers use KRK monitors as well.

SHURE M44-7

DJ JIN: The cartridge I use is the SHURE M44-7 — it’s a classic. Unfortunately, it was discontinued a few years ago. DJs around the world relied on the M44 series, so the end of its production has really been a blow.

— What do you do now?

DJ JIN: I’m slowly chipping away at my personal stockpile (laughs).

— Oh wow...

DJ JIN: I use 100% analog vinyl for both RHYMESTER’s live performances and my club sets, so the cartridge — the part that actually picks up sound from the grooves — is extremely important.

Especially for hip-hop DJs, who do a lot of scratching and beat juggling, the needle has to be resistant to skipping. That’s the first priority. Also, since I sometimes play rare and very expensive records, I need a stylus that won’t damage the grooves. I might be cueing or lightly scratching records that have gone for tens of thousands of yen.

After trying all kinds of cartridges, I always come back to the M44-7. The M44 series includes the M44G and M44-7, but I chose the 7 because it picks up a stronger signal. That makes a huge difference when DJing at high volumes — it helps prevent feedback, so I stick with the M44-7.

It also reproduces sound very accurately compared to other DJ cartridges. Sure, there are high-end needles out there designed for audiophiles that trace the grooves with great precision, but when it comes to overall performance, the M44-7 is the best choice for a DJ.

So I’ve been using it for many years, but now that it’s discontinued, I’m slowly using up my stock (laughs).

— For a professional DJ like yourself, how long does one of these last?

DJ JIN: I used to have a rough idea — maybe one per tour, or about a year — but now I just use them until they absolutely can’t go anymore (laughs). With a lot of scratching and backspinning, the tip can start to bend, so I just keep an eye on it and ask myself, “Can I still push this one a bit further?”

— It’d be great if they brought it back.

DJ JIN: Yeah, I think DJs all over the world are hoping for the M44 series to be revived. For hip-hop DJs like me who play rare records, the M44-7 is essential. The gentle touch of the stylus is absolutely critical.

DJ JIN: Oh, by the way — do you know why there’s a 10-yen coin stuck inside this cartridge case?

— ...I don’t.

DJ JIN: Most DJs bring their own cartridges, right? But sometimes, when switching them onto a club’s turntable, the contact points on the tonearm are a bit sketchy.

— Yeah, club gear isn’t always in great shape.

DJ JIN: If the contacts are off, you might only get audio from one channel — either the left or right. When that happens, rubbing a 10-yen coin on the contacts before attaching the cartridge helps. The copper from the coin improves conductivity. You know, 10-yen coins are made of copper.

— That’s fascinating!

DJ JIN: Copper conducts electricity really well, so it helps fix contact issues. I actually learned this trick from a veteran DJ in Okinawa who’s been spinning since the disco era.

— That’s a great tip.

DJ JIN: Back in the day, some people would try licking the contact to improve connectivity (laughs).

— (laughs)

DJ JIN: Sure, the moisture helps for a second, but that’s it. It dirties the contact and can cause rust, so I don’t recommend it.

UNION PRODUCTS 45 Adapter

DJ JIN: There’s also the 7-inch holder. The one made by a Japanese company called UNION PRODUCTS offers amazing stability.

When DJing, 7-inch records with large center holes tend to be unstable. When you’re cueing, spinning the record, or moving it back and forth, it can easily shift and pop off the adapter. But with this holder from UNION PRODUCTS, the fit is just right — it locks in perfectly. The stability is absolutely top-notch.

Memorable Records – Borrowing from a Rental Shop in Elementary School

— Let’s move on to records. Do you remember the very first time you encountered a vinyl record?

DJ JIN: I come from a musical family—both my parents were into classical music. From as early as I can remember, we had an audio system at home and plenty of classical records.

My dad used to say things like, “Never touch the grooves on a record. If you get fingerprints or dirt on them, it’s a huge hassle.” That really impressed upon me the importance of handling records with care.

— Sounds like early musical training.

DJ JIN: Yeah, so even now, I’d never scrub a record’s surface or touch it carelessly (laughs). To me, records have always felt like something delicate—something to be treated with respect.

— Do you remember the first record you ever bought?

DJ JIN: I actually don’t recall the very first one I bought, but back then, there were rental record shops. Records were expensive, so I used to rent them, dub them onto cassette tapes, and enjoy them privately (laughs).

— Privately, huh (laughs).

DJ JIN: Yeah (laughs). One of the earliest records I rented stands out clearly in my memory. (He pulls out the record.)

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DJ JIN: I rented Video Game Music by Namco—supervised by Haruomi Hosono—from a rental shop called Yu & Ai, which was inside the Odeon building in Isezakicho, Yokohama. This was before I could afford to buy records, so it’s one of the first ones I borrowed.

Tomo & Ai was a major rental record store chain that expanded across Japan in the 1980s.

DJ JIN: I was really into games, and even more into the music. I even wanted to record arcade game sounds by sticking a Walkman to the speaker (laughs).

— That’s hilarious (laughs).

DJ JIN: I actually saw people doing that and thought, “I want to try that too!” That’s how much I loved the music itself, and then this record came out.

— How old were you when you rented that LP from Yu & Ai?

DJ JIN: It was 1984, so I was in 6th grade. I remember looking up the release date as soon as I heard about the album, calling the store to ask when they’d get it in, and then checking again after release to confirm. I probably went with my parents to rent it, since they wouldn’t lend to a kid alone.

— Right, rental shops wouldn’t let elementary school kids check out records on their own.

DJ JIN: You needed health insurance cards and such for ID. After getting it, I played it endlessly.

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— Was the Famicom (NES) out by then?

DJ JIN: Yeah, the Famicom had already been released, but I was more into arcade games at the time.

Later on in junior high, I got a computer—an NEC PC-8801 mkIISR, which was the first home computer with built-in FM sound synthesis. There were booklets with sheet music for game music, so I’d use that to write programs and recreate game soundtracks on my computer.

— So you were already programming back then!

DJ JIN: Exactly. I guess you could say it was in my blood (laughs).

— Totally (laughs). Did that LP feature the actual in-game music, or were they studio covers?

DJ JIN: It mostly stuck to the original in-game sound.

— That’s great. I remember being disappointed as a kid when I bought a wrestling LP and the theme songs were totally different from what I heard on TV or in the arena.

DJ JIN: (laughs) There were a few tracks on the album that Hosono-san had rearranged quite a bit, but they were so beautifully done—it moved me.

— When did you get the copy you have now?

DJ JIN: Actually, I sold it once and later bought it again (laughs). I think I re-bought it in my early twenties.

— After you joined RHYMESTER?

DJ JIN: Yeah, I think it was around that time. When I listened to it again, I was flooded with emotion.

Hunting Disco Classics at Used Record Shops

— Do you remember the first used record you bought?

DJ JIN: Honestly, I don’t remember exactly.

There was a time when I was mostly renting records. Then CDs became the norm. During junior high, I listened to a lot of Beatles on CD. So for a while, I drifted away from vinyl.

It wasn’t until high school that I got into hip-hop and R&B. I started going out at night and got inspired—“I want to become a DJ!” And of course, DJs played vinyl back then.

— Right, everyone was spinning records in those days.

DJ JIN: So I started paying attention to records again. As a high school student, I couldn’t afford turntables or a full DJ setup, but I thought, “At least I can slowly start buying the records I love.”

Back then, I used to go clubbing at a place in Yokohama called Circus. When the DJ would drop a fire track and the crowd went wild, I’d stare at the spinning record label, trying desperately to memorize the details. Then I’d rush home and write it down.

Most of the hype tracks were classics—older tunes that you couldn’t find at shops selling new records. So I thought, “Alright, time to hit up the used record stores.”

Finding those tracks the DJ played at Circus became my mission. I had a short list of “must-haves,” and this was one of them:

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DJ JIN: That’s The Roof Is on Fire by Rock Master Scott & the Dynamic Three. It’s a classic 80s hip-hop anthem. At Circus, when peak time hit, the crowd would be like, “Play that track already!”

— That sounds intense!

DJ JIN: Total party anthem. Near the end, there’s this chant where everyone shouts in unison—it always got the crowd going.

I was like, “Whoa, what is this insane track?!” So I squinted at the label trying to read it, but it was spinning, and the name was super long (laughs).

— Totally (laughs).

DJ JIN: I’m like, “Can’t read it… Rock something? What?!” (laughs) “Rock Master...? Is that the artist or the title? What’s going on?” (laughs)

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— And the record’s spinning, the text is long... Didn’t the DJs get annoyed?

DJ JIN: Yeah, but that was the only way to find out what song it was. There was no Shazam back then.

— And DJs wouldn’t tell you either (laughs).

DJ JIN: Nope, not a chance (laughs). So I’d just keep spinning my eyes around trying to catch the info.

— Trying to read a label while it’s spinning must have been tough.

DJ JIN: For real (laughs).

I picked out clues like, “Rock Master...? Scott...? Roof something Fire?” and then checked the ‘R’ section of the hip-hop shelf at a used record shop. When I spotted something that might be it, I bought it and rushed home. The moment I dropped the needle and heard it, I was like, “YESSS! This is it!”

— That thrill of finally finding it is unmatched.

DJ JIN: Exactly. Once I had that record, it felt like I could relive those peak moments at Circus from my own room. It was one of the records I was dying to get when I started collecting used vinyl. So nostalgic.

And honestly, we’ve got it easy now. I don’t mind at all if people use Shazam to figure out what I’m spinning. These days, you can look up anything instantly. It’s a good time to be a music lover.

The Record That Wandered Around the World

— Is there a record you had a particularly hard time getting your hands on?

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DJ JIN: Yeah — Love Will Make It Better, an unreleased track by LaROM Baker. It was recorded a long time ago but never released back then. It finally came out on vinyl in 2009. It’s not super rare or anything, but it’s an absolutely beautiful soul tune.

I bought the 7-inch from a record store in the U.S. These days, things are convenient—you can buy records from overseas with just a few taps on your phone. Search for the record you want, press the button, and boom—it’ll ship from anywhere in the world. It’s a beautiful time we live in.

— Truly a blessing.

DJ JIN: And now you can track your packages and see exactly where they are.

— Yeah, that’s great.

DJ JIN: So the seller told me, “I’ve sent it,” and when I checked the tracking, it said, “Arrived in Tokyo from the U.S.” But after a while, it still hadn’t shown up at my place. I checked again, and it had been returned to the U.S.

— What?!

DJ JIN: I was like, “Wait—what? It got sent back?” But I had no choice but to wait. Then I got another update: “Arrived in Tokyo.” So I thought, “Okay, this time for sure.” But again, nothing arrived. Checked the tracking—sent back again.

— (laughs)

DJ JIN: At that point I started getting a bad feeling. “Is the address hard to read? Maybe they keep rejecting it?” Then, for a while, there were no updates at all. Until one day—it showed up in Dubai.

— Why Dubai?! (laughs)

DJ JIN: I was like, “Wait, isn’t that the wrong direction?!” (laughs) And then it went to Australia!

— (laughing hard)

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DJ JIN: I was like, “Come on, man. When’s this thing actually going to get here?!” And finally, it arrived in Japan—from Australia.

— Finally!

DJ JIN: It literally circled the globe. It went from the U.S. to Japan twice, then made a round-the-world trip before landing at my doorstep.

— That’s a long journey.

DJ JIN: When it finally arrived, I was partly like, “What took you so long?!” but also deeply moved. After all, it had made this incredible journey to reach me. I honestly felt like patting it and saying, “You made it. You got lost, but you made it.”

But when I looked at the package, the shipping label was super clear and neatly printed. There was no reason for it to get lost.

— So it wasn’t even a messy, unreadable label? (laughs)

DJ JIN: Nope (laughs). In the end, though, it became a totally unforgettable record. And the song itself is just wonderful.

“My Favorite Record, Nooo…” Incident

— Do you have any stories about one of your favorite records?

DJ JIN: Yeah… it’s the story of my favorite record and a moment of despair. Honestly, it’s something I want to put out into the world and ask fellow vinyl lovers about.

— Now I’m curious.

DJ JIN: Okay, let’s talk about one of my all-time favorites.

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DJ JIN: This is the one. Help Us Spread the Message by the Mighty Ryeders, the official release from Sun-Glo Records. If you’re into rare groove, soul, or funk, it’s almost impossible not to love this album.

— Totally agreed (laughs).

DJ JIN: It’s a favorite for so many people. For me too—it’s packed with amazing tracks. Great for listening, great for DJing. Just a stellar record.

— Definitely.

DJ JIN: Now, as many collectors know, there are both promo and official pressings of this LP. The promo pressing is clean and plays just fine.

But for the official pressing, there are two versions of the key track, Evil Vibrations: one where the pitch is warped—like “waow, waow”—and another that plays properly. The warped one is what we call a “problematic copy,” and while it’s okay in its own way, of course you want the clean version.

I’ve got the clean version—the blue-label official pressing. It’s super valuable now, with used prices going through the roof.

If you want to learn how to identify the right pressing, you can just Google “MIGHTY RYEDERS FULLERSOUND DJ JIN,” and it’ll bring up a blog post by Gobe here that I helped out with (laughs).

Blog link: http://gobe-vinyl.jugem.jp/?eid=62

— Thanks to that, I managed to get one too (laughs).

DJ JIN: My copy was in great shape—really clean, right?

— It looks pristine.

DJ JIN: Yeah, and I regularly clean it to maintain that condition.

So one dry winter day, I was cleaning the surface with a record brush. Then, out of nowhere, this tiny piece of paper-like dust drifted through the air and—thanks to static electricity—got sucked onto the record and stuck fast.

I was like, “Huh?!” and tried wiping it off, but it got embedded into the groove. I thought, “No way! That can’t be real.” I tried cleaning it several times, but it wouldn’t come off.

— Nooo!

DJ JIN: I started to panic—“Is this going to make noise now?” I played it, and sure enough, that little speck had wedged itself so deep that there was a bit of noise.

— Seriously?!

DJ JIN: Here—see this tiny white dot? That’s it.

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DJ JIN: Honestly, it was like a supernatural event. A piece of airborne dust, drawn by static electricity, got sucked into the groove and fused with the vinyl.

— I’ve never heard of such a thing! (laughs)

DJ JIN: I was like, “Come on, not on this record!” Luckily, it wasn’t on Evil Vibrations, but on the slow title track.

— Still a great tune.

DJ JIN: Yeah, totally. But now there’s this faint “pop” sound when it plays.

— That’s heartbreaking...

DJ JIN: And it actually happened once before—with a different record.

— You’re kidding!

DJ JIN: Same situation. A little paper-like dust particle got pulled in by static and stuck to the vinyl. That time, it was a cheaper record, so I just bought another copy.

But this time, I want to ask the vinyl community—has this ever happened to you? Like, has anyone else experienced this?

— Should people reach out to you via X (formerly Twitter) @_DJ_JIN_ or Instagram @__dj_jin__? Or they can message me too (@gobe_vinyl)?

DJ JIN: Yeah, totally.

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DJ JIN: It’s a sad story, but my love for the Mighty Ryeders’ Sun-Glo pressing hasn’t changed. I just wanted to share this weird, unfortunate event.

— It really is a gut punch.

DJ JIN: Totally. I mean, why this record?! And the speck is fused to the surface, so I can’t even try to remove it with anything sharp—it’s way too valuable.

— I’m laughing now, but if it happened to me, I’d be devastated.

DJ JIN: (laughs) When I told Ryuhei-kun about it, he was like, “Ah, my condolences.” He then shared a story about one of his favorite records getting cracked. He really empathized and helped me feel better.

Note: RYUHEI THE MAN (Ryuhei Teshigawara), a beloved DJ, record shop owner, and label head, passed away in 2021. DJ JIN also released music on his label, AT HOME SOUND.

DJ JIN: I think every DJ and collector has a story like this—where their prized record gets damaged somehow.

— I’ve had my share of heartbreaks too. I want to console you, and maybe get some healing myself.

DJ JIN: (laughs) The “My Favorite Record, Nooo…” Series.

— Let’s not turn it into a series, please (laughs).

DJ JIN: But seriously, you’re just like, “Why this one?!” The noise is minor—others might not even notice it. But I do. I know it’s coming. I’m like, “Here it comes… here it comes… there it is!”

— You brace yourself: “Almost there… aaand—pop!” (laughs)

DJ JIN: “There it is—ugh!” (laughs)

— That’s tear-worthy.

DJ JIN: I could cry. I just want to go back in time—to when the record was flawless. But now it’s worth tens of thousands of yen, so buying a new one isn’t even an option.

— Yeah, prices have skyrocketed.

DJ JIN: I just want to know if anyone else has experienced this. The dust just snaps on so fast—it creeps closer, then suddenly sticks!

— I’ve seriously never heard anything like it.

DJ JIN: That’s why I try not to pull out records in static-heavy environments anymore.

— Thank you for turning a tragedy into such an entertaining story (laughs).

DJ JIN: If I didn’t at least make it into a joke, I couldn’t cope (laughs). Hopefully, folks can take comfort in knowing that even someone like me struggles with precious vinyl too.

We’ve all had our “My favorite record…” moments. Let’s share them and support one another!

DJ JIN Talks About His Own Releases

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— I’d like to ask you about some of your own records, so I brought a few with me.

DJ JIN: By the way, this “Shishō” (Master) written on the jacket here—that’s actually referring to you, Gobe (laughs). You used to teach me grappling—a martial art that focuses on joint locks and submissions. So this “Master Gobe” inscription is in reference to that. It even says “Thanks for the coaching” and such (laughs).

(Editor’s note: At this point, the conversation veered into martial arts stories for a while, which we’ve skipped here.)

— Alright, let’s start with this one.

RHYMESTER – B-BOY Izm (promo 2x12\", 1998)

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DJ JIN: “Pachi-Atsu” — now that’s a great one.

— The “B-BOY Izm (Pachi-Atsu Remix)” is only available on this promotional 2x12-inch, right?

DJ JIN: That’s right. This is one of those rare RHYMESTER and Japanese rap records. A promo-only, not-for-sale item.

RHYMESTER – Respect – Instrumental (promo 2xLP, 1999)

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— Here’s another promo. The instrumental version of Respect that you gave me.

DJ JIN: I still use this instrumental version in live performances from time to time.

— No way, really?

DJ JIN: Yeah. In RHYMESTER’s live shows, if the performance tracks were released on vinyl, I make sure to actually play them from the record. So when we perform Respect, I dig this record out and use it.

V.A. – BLUE SPIRITS: THE 65th ANNIVERSARY of BLUE NOTE (promo 12\", 2004)

— This promo-only 12-inch features a track from a Blue Note cover album celebrating the label’s 65th anniversary.

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DJ JIN: Oh wow, this is amazing — you’ve got all the autographs!

— Yeah, yours, Mark de Clive-Lowe’s, and the vocalist Bembe Segue.

DJ JIN: We did a cover of Donald Byrd’s Wind Parade. And having all three of our signatures on it is pretty incredible. Even though Mark has a grandma living in Tokyo (laughs).

— And his mother’s Japanese, right?

V.A. – METRO SAMPLER / LINE 1 (12\", 2005)

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— Here’s a breakthrough record featuring The Annex.

DJ JIN: That brings back memories.

— It was licensed and released by France’s Faces Records, right?

DJ JIN: That’s right.

KUTTS – LIFE WORK (12\", 2001)

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— This one was especially hard for me to track down. I first heard it on your mix CD that was given away as a novelty at CISCO Records back in 2006. It took me years to find this!

CISCO was a well-known record store in Japan.

DJ JIN: Ah, KUTTS. I remember D.L. (DEV LARGE) responded to that one too. It holds a special place in my heart.

— It was also featured on ABSOLUTELY BAD, a compilation curated by DEV LARGE from BUDDHA BRAND, right?

DJ JIN: That’s right. I’m very grateful for that.

CRO-MAGNON-JIN – THE NEW DISCOVERY (4x7\", 2015)

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— This is the 4x7\" box set from CRO-MAGNON-JIN, your collaboration with the three-piece jam band CRO-MAGNON.

DJ JIN: This is one of the most personally meaningful records for me. From the recording and mixing to mastering and vinyl cutting—everything just went perfectly. With vinyl, you never know how it’ll turn out until it’s pressed. But this one felt spot on. When I dropped the needle for the first time, I literally threw a fist in the air—it was that satisfying.

— So the final result lived up to your expectations.

DJ JIN: Absolutely. I’m really proud of this one as a vinyl release.

DJ JIN – Softly / Caterpillar Funk (7\", 2012)

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— I brought both the first and second pressings.

DJ JIN: (laughs) The one where the A and B side labels were accidentally swapped!

— The first pressing was super rare—it was only given to participants of the Toyokasei pressing plant tour.

DJ JIN: Yeah, we made it as a bonus for people on that plant tour.

— Then the second pressing—with the correct labels—was released in limited quantities to the public.

DJ JIN: Exactly.

JOHNNY PATE / ARCHIE SHEPP – Shaft in Africa (Addis) / Blues for Brother George Jackson (7\", 2017)

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— This is a reissue 7-inch curated by you, pairing two classics from the ’70s: Johnny Pate’s Shaft in Africa on the A-side and Archie Shepp’s Blues for Brother George Jackson on the B-side.

DJ JIN: Yeah, this was part of a reissue project. The original Shaft in Africa 7-inch only existed as a rare Spanish pressing. I felt it was important to reissue it in a more accessible format.

Later on, other labels reissued it too, but I believe ours was the first ever 7-inch reissue of that track.

— The B-side is excellent as well.

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DJ JIN: That’s from Shepp’s classic album Attica Blues. The version Universal initially sent us faded out at the end, but if you listen to the album, the track actually ends with a kind of chaotic cut-out as it transitions into the next song.

That cut-out is essential—especially for DJs. It’s much more usable than a fade-out. So I told the label, “We really need the full album cut that ends abruptly.” They said, “Alright, we’ll make it happen,” and sent us the correct master for cutting.

If this track gets reissued again in the future, it’ll probably be the fade-out version. So I’m proud we were able to put out this definitive version.

— That’s beyond a simple reissue—you gave both sides meaningful treatment.

DJ JIN: And here’s a crazy fact: Shaft in Africa was once used as entrance music by pro wrestler Seiji Sakaguchi (laughs).

— No way! Sakaguchi entered the ring to that? That’s amazing. You even talked about it in your interview with wrestling announcer Shigeki Kiyono.

DJ JIN: It’s such a key piece of trivia, I have to bring it up every chance I get (laughs).

Note: Sakaguchi was a prominent Japanese wrestler and former national judo champion. His son is actor Kenji Sakaguchi.

Also referenced: an interview published in The Man with 1000 Pro Wrestling Records, a book by Shigeki Kiyono.

\ndouble – bed (12\", 1998)\n

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— Let’s wrap up with this final record.

DJ JIN: Ah, the Mummy-D remix. Released under his producer alias, Mr. Drunk.

Note: Mr. Drunk is the producer name of Mummy-D, rapper of RHYMESTER.

— You added scratches to Mummy-D’s remix on this record, right?

DJ JIN: That’s right. I did the scratching on that one.

— This copy didn’t have your autograph, so I was hoping you could sign it.

DJ JIN: Sure thing (laughs).

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Closing Remarks

— Lastly, is there anything you’d like to promote?

DJ JIN: Hmm... I guess just “Follow me on social media or Twitch.”

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Instagram: @dj_jin

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Twitter/X: @_dj_j

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Twitch: dj_jin_jpn

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— Thank you so much for your time today.

DJ JIN: Alright, time to start packing up. Gotta make sure I put away that Mighty Ryeders LP properly.

— If we spilled tea on the jacket, we’d both be in tears (laughs).

DJ JIN: For real—I’d cry (laughs).

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Interview with Jiro Fujita, the Designer Behind Nujabes’ Artwork — with MION

Chapter 1 —

Drawing Sound: Encounters with Dan K and Calm

— What was your first job creating graphics related to music

Fujita: It all started when Taro Sasaoka from “kool jazz productions,” a senior who helped me a lot back in Osaka, asked me to design a flyer. Honestly, it was just because I happened to own a Mac. That was the only reason I got the opportunity.

— Had you studied design at that point

Fujita: Not really, I was almost completely self-taught. After I moved to Tokyo, Taro Sasaoka launched a label called “RAFT MUSIC,” and I was asked to design the cover of their first CD, “RAFT MUSIC 01.” I didn’t have any knowledge of printing then, so the colors came out much lighter than I had envisioned, and that made me realize how crucial printing knowledge and experience are.

— There’s a big difference between what you see on screen and the actual printed result, isn’t there

Fujita: Exactly. That project was two-color printing, and I didn’t really understand how it worked at the time. But when I saw that CD lined up at Bonjour Records in Daikanyama, I was honestly overjoyed.

— How did your collaboration with Dan K begin?

Fujita: That was around 1998. I was working at a CG production studio, and a part-timer named Sakai, who later joined Toyo Kasei, started a label there and asked me to design a record sleeve for an artist named Dan K.
I feel like my whole life has been a series of these lucky “connections.”

— So you didn’t know Dan K beforehand?

Fujita: Not at all. But I said, “Sure, I’ll do it!” That was my first record sleeve. I made it on a tiny Mac at home (laughs).

— The photo direction was quite distinctive.

Fujita: Yes, I asked a photographer friend to shoot a woman through a shower. I wanted to create a slightly melancholic atmosphere—like a medical or painkiller package vibe. Since I was also doing CG back then, I thought it might be interesting to mix photography with CG.

— Did that jacket also have the same color issues?

Fujita: That one was printed in one color, and I later learned that even with single-color printing, you can get much deeper colors by giving more contrast to the data.

— And your encounter with Calm came after Dan K?

Fujita: Yes. That Osaka label was planning their third release with Calm, and they told me, “Jiro, go meet him.” I met Calm at a small café in Shibuya, and he said, “I want you to paint something.”

— And that’s how that jacket came to be.

Fujita: Yes. The title was Shadow of the Earth. Calm described it as “like watching African landscapes on television from the comfort of an air-conditioned room,” and when I listened to the demo, that description was spot on. The more I listened, the more images emerged—the smell, the temperature, the scenery—and I just visualized that.

— And he approved it on the first try?

Fujita: Yes, which is rare. Calm is very particular, and it’s almost unheard of for him to approve something on the first try. That piece became a major turning point for me.

— Did that lead to more requests?

Fujita: Yes, from that point on, I started receiving more work for record and CD sleeves.

— How did your style develop over time?

Fujita: Honestly, I don’t consciously think, “this is my style.” I approach each job as problem-solving—thinking about why the client came to me, and choosing the right expression from my toolbox.

— Is there something consistent in your work?

Fujita: My approach is more about “response” than “self-expression.” I try to understand what the client wants to convey and translate that in my own way. Maybe something “Fujita-like” naturally comes through, but I don’t aim for that.

— Your father was also a painter, right?

Fujita: Yes. He used to travel to southern islands like Borneo and Sumatra, live with local people, and paint. He’d come back, hold a solo exhibition, then go off again. He even tried living in a headhunting tribe’s village and was once featured in a weekly magazine as part of an “eccentric family relocation” (laughs).

— That sounds like a movie.
Fujita: It does (laughs).

— Did your father influence your sense of color?

Fujita: Yes. I tend to use a lot of grayish mid-tones, probably influenced by him. He used to say, “Don’t use black paint as black—make black by mixing other colors.”

— So you didn’t learn techniques from him, but rather grew up surrounded by art.

Fujita: Exactly. His studio was near our house, filled with mongoose and cobra taxidermy, baskets for shrunken heads—like something out of Crazy Journey. Having that around me as a kid probably shaped the roots of my expression today.

Next time: Encounters and Farewells with Nujabes

Part 2 will be released on September 26

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Chapter 2 —

The Words Nujabes Gave Me: “Let’s Make Your Masterpiece Together”

— How did you first connect with Nujabes?

Fujita : He emailed me on my birthday in 2008. We’d never met before, but he said, “I’d like you to design an album cover.”

— Your first contact was that birthday email?

Fujita : Yes (laughs). He soon came to my office to meet me.

— What was your first impression of him?

Fujita : Right away he said, “Since Calm, you haven’t had any representative work, have you?”

— That must have been surprising!

Fujita : It was, but then he said, “So let’s make your masterpiece together.” I still remember that moment vividly.

— And it wasn’t just one jacket?

Fujita : Right. He immediately said, “I want to ask you for four.” The first was modal soul classics, the second Uyama Hiroto, the third Kenmochi Hideomi, and the fourth was going to be his own album.

— He already had the full concept planned.

Fujita : Yes, including the order. He wanted the four to be a set. Sadly, he passed away during the planning for the fourth. The only memo left just said “land, sea, sky.” I completed it with Takumi Koizumi, who was his manager then.

↓The notes in the photo were drawn by Fujita as he recalled the exchanges from that time.

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— That shows how much he trusted you.

Fujita : I later heard he hesitated to ask me because I had done Calm’s covers.

— Why was that?

Fujita : I once asked him who his biggest rival was, and he instantly said, “Calm.” So he said he was hesitant to ask someone who had worked with Calm—but he still felt I was the right person.

— That sounds very honest and sincere.

Fujita : He really was very sincere about creation.

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— Did you also spend time together outside of work?

Fujita : Yes. One day he suddenly messaged, “Want to go get ramen?” I said I was too busy, and he replied, “Okay, I’m waiting downstairs in my car.”

— He actually came to your office!?

Fujita : Yes (laughs). He really came. If he wanted to do something, he acted on it immediately.

— That passion carried into his work, too.

Fujita : Definitely. He never compromised. Even in choosing featuring artists, once he decided on someone, he wouldn’t stop until he got them.

— That determination even showed up in ramen.

Fujita : Yes. If he felt “I want ramen with Fujita now,” he’d make it happen. Everything he did was like that—sharing something, then instantly turning it into form.

— Did you end up going?

Fujita : Yes. He messaged “I’m still waiting,” so I gave in (laughs).

— You seem to have opposite temperaments.

Fujita : Yes. I tend to think things through carefully; he was always straightforward and never wavered.

— Was that overwhelming?

Fujita : Sometimes, but it also drew me in.

— He never compromised in production either?

Fujita : Not at all. He’d ask for very fine adjustments and wouldn’t stop until he was satisfied.

— Very stoic as an artist.
— By the way, someone at MION had contact with Nujabes…

Fujita : Really?

— Yes, a staff member named Nakamura. As a student, he found out about Nujabes’ favorite record shop in Hotdog magazine and sent him a letter. One day his mom said, “Someone named Seba is on the phone.” (laughs)

Fujita : Wow, that’s amazing (laughs).

— He went to the shop, and Nujabes was very friendly. But Nakamura didn’t realize he was Nujabes until after he passed away.

Fujita : Incredible. He responded to people regardless of fame.

— He really responded to people’s passion.

Fujita : Yes, that was very like him—very straightforward.

Chapter 3 — Fujita × Kosaka (CEO of MION)

AI and the Future of “Love”: What Fujita Sees in Expression to Come

Kosaka : Fujita, AI is a big topic lately. Do you use it in your work?

Fujita : I use ChatGPT. Not image generation, but for research and rough structuring of ideas.

Kosaka : So more as an efficiency tool. But image generation is different?

Fujita : Yes. I’ve tried it, but my images are too specific, and the results always feel off.

Kosaka : Maybe AI suits abstract prompts better.

Fujita : Exactly. I’m not against it—if it works for someone, they should use it. It just doesn’t fit my style right now.

Kosaka : That’s because you’ve built your own foundation since ’96.

Fujita : True. But it’s a tough era for younger creators. They don’t even get small starter jobs now because AI takes them.

Kosaka : If small tasks go to AI, young people can’t build experience.

Fujita : Yes, and that experience is what builds your backbone.

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Kosaka : The world is full of similar-looking works now.

Fujita : I feel that. AI makes dozens of patterns, and “choosing” becomes the creative act.

Kosaka : That’s more corporate than artistic.

Fujita : Right, and it can kill an artist’s drive.

Fujita : There are also copyright issues—AI images resembling existing works.

Kosaka : Like a blue robot cat without ears (laughs). If it’s “similar but different,” it’s hard to judge.

Kosaka : Same in music—friends who recorded guitar BGM now get replaced by AI.

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The Artist Interview

DJ JIN（RHYMESTER / breakthrough）Interview

Jiro Fujita (Art Director / Graphic Designer) Interview Part 1

Jiro Fujita (Art Director / Graphic Designer) Interview Part 2 “Encounter with Nujabes”