How Molly Meldrum Almost Created A Japanese Juggernaut

Ian “Molly” Meldrum, one of Australia’s most prominent figures in the popular music world, came within a whisker in 1984 of making a then rising Japanese band reach superstardom while using Down Under as a launching pad to hit the top.

Sandii and the Sunsetz had become only the second-ever Japanese act to reach the Top 10 in Australia with their 1983 hit, Sticky Music, but they were about to get kicked out of the country in disgrace.

Meldrum, probably one of the world’s best-known rock journalists despite being notorious for poor elocution, stepped in and asked for help on behalf of the band, whose members had overstayed their visas and faced heavy fines and possibly even detention.

Australian Minister for Immigration and Ethnic Affairs Stewart West responded to Meldrum’s pleas for leniency by granting a special extension, and Sandii and the Sunsetz could leave with a clean slate and an excellent reputation Down Under after a triumphant tour.

The band had been touring Australia in support of local group, INXS, which was on the verge of global superstardom.

The rise of INXS had much to do with Japan, too, as it had filmed its acclaimed videos for I Send A Message and Original Sin at Gokokuji Temple and Harumi Wharf in Tokyo.

Sandii and the Sunsetz would warm up for INXS and built up a strong following of their own as they did so.

The band was helped by the highly attractive appearance of the members, their sharp attire, warm personalities, and catchy songs, with Sandii being likened to Debbie Harry of Blondie.

It helped that Sandii, born Sandra Hohn to an American father and Japanese mother, was a bilingual native speaker of Japanese and English. This eliminated the communication obstacle, though some said she had difficulties in an appearance on the influential TV music show Countdown, not because of any shortcomings on her part, but because host Meldrum was so inarticulate!

The 1984 Australian stay was an eventful one for Sandii and the Sunsetz. Apart from the visa issue, they had played a concert in Adelaide in January that ended in a riot, through no fault of their own,

They also helped INXS. Sandii was an acquaintance of renowned British producer Chris Thomas, and would introduce him to INXS lead singer Michael Hutchence, who convinced Thomas to work with his band. They produced The Swing, the album that would make INXS an international act.

Sandii and the Sunsetz played a triumphant return show at Nakano Sunplaza after getting back to Japan. Considering they had built ties with the likes of David Bowie, David Sylvian and Japan and Ryuichi Sakamoto and Yellow Magic Orchestra among others. (Sakamoto had beaten the Sunsetz by a few months to becoming the first Japanese artist to have a major hit in Australia with his haunting theme for the joint Australia-Japan production, Merry Christmas, Mr. Lawrence.)

The group looked to use its success in Australia to catapult onto the world stage.

Minor recognition came in Britain, notably, but not much in the United States market.

Expectations were high when the Sunsetz returned to Australia for another tour in 1986, but by then the tide had turned.

Unlike a few years earlier, Sandii and the Sunsetz failed to capture the attention of the Australian public and critics were merciless.

The group would adopt a more reggae tone as the 1980s progressed, then broke up upon entering the 1990s. Sandii would go into teaching hula, drawing on her experiences of having grown up in Hawaii.

Makoto Kubota, the driving musical force of the Sunsetz, remains an influential figure in the Japanese music world.

Molly, meanwhile, would continue to be a fervent and enthusiastic supporter of music and musicians. He wouldn’t get many more opportunities to plug Japanese bands in Australia, though, and none have yet arisen to mimic the success, however fleeting, of Sandii and the Sunsetz.

豪で日本人アーティストのパイオニアだったSandiiはSunsetzから再びSunrise