Wednesday, May 31, 2006

Boris-Heavy Rocks[2002 Japan Experimental Rock]

Some recent heavy stuff from japan!
one of may favourite Boris records
for a biography go to
this one is only available in japan,maybe in the future
we can expect a release from Southern Lord.

I thought it necessary to review Boris' Heavy Rocks, which is not only my favorite record amongst the bottomless pit that is their discography, or in a mythical, supposed sense of one (I seemingly discover a fantastical seven way picture disc 8" split on some obscuro label site every other day or so), but Heavy Rocks could also contend for an album WHOLLY compromised of uncompromising and unrelenting SICK ROCK... an actualization that hasn't been quite realized since Blue Cheer and Black Sabbath. Boris are the only operation that hold an honors PhD in noisy-doom-rock-n-roll, specializing in a type of razor sharp delivery and execution, while simultaneously paying ode to the sweet leaf. And due to the prominent, hyper-detailed fixation on the latter--well, dudes, hate to break it to you--they're probably not even stoned. Yes, they have doomed doom and out-sabbathed Sabbath, all you headbangers can go home crying and cut that hair now. Or just pay attention and take notes on this 2002 opus, that hails somewhat insidiously as an import, still. (Southern Lord, are you reading?) The orange album (Orange Amps!), decorated with Roger Dean inspired-graphics is an instant signifier of the gloriously damaged groove-dirge mammothosity that is contained within. Akuma No Uta is still deemed as a great introduction to Boris' abounding multifold talents, but Heavy Rocks is a perfect prescriptive dose of solid rock 'n' roll, which precluded Akuma's more straightforward rock moments. Though straightforward is contextual within Boris' realm, as they define rock 'n' roll spatially within a realm that embraces various worlds of influences and inspiration, but also extends to crush their rogues and transcend the very predecessors, exalting to a sound that's wildly un-paragoned and truly unique.

Featuring (Guest appearances)
Lori (Acid King) / Track1
Maso Yamazaki (Masonna, Christine 23 onna, Space Machine) / Track3
Masami Akita (Merzbow) / Track7
Eddie Legend (Mad3) / Track8
Komi (Abnormals) / Track9


Gilberto Gil- Gilberto Gil [1968 excellent Tropicalia]

More Brazilian music,some heavier japanese rock will follow later today
Gil made his first self-titled recording in 1966, but his first hit single didn't come about until 1969, with "Aquele Abraco." His musical fusion of bossa nova, samba, and other styles was so revolutionary it frightened the country's military dictatorship into arresting him, and that's when he headed to Great Britain. (He and Caetano Veloso were placed in solitary confinement while authorities figured out what they wanted to do with the pair.) After three years in England, where he had the chance to work with groups like Pink Floyd, Yes, the Incredible String Band, and Rod Stewart's band(The Faces) in London clubs, he returned to Brazil in 1972
[More Info!!]

Gilberto Gil's second album is packed with some of the best songs of his career -- jubilant pop extravaganzas like "Domingo No Parque," "Pega a Voga, Cabeludo," and "Frevo Rasgado" that were equally inspired by the irresistible, brassy bombast of Carnaval and intelligent rock & roll from America and Britain. Even more than the other Tropicalistas, though, Gil blends his rock and native influences seamlessly, resulting in songs like "Ele Falava Nisso Todo Dia," which chart an intriguing fusion of Brazilian and British Invasion (before he breaks into Portuguese for the first verse, the intro sounds exactly like a few early Rolling Stones productions). Gil's occasional backing band, the teenage Tropicalia breakouts known as Os Mutantes, join in on the feel-good Brazilian pop anthem "Domingou." Enjoyable and never as experimental as his work would soon become, Gilberto Gil 1968 is one of the best Tropicalia albums ever released. []

Recommended!,its a excellent album

Tuesday, May 30, 2006

Cosmos Factory -Black Hole[1976 Japan Space Prog Rock]

One of my Favourite Cosmos Factory album's.
Great prog-rock with guitar work wich reminds
me a bit of the King Crimson,this is probally their heaviest record(in my opinion ,i dont have Metal Reflection)
Fav. Tracks:Black Hole and Mirror Freak,but to be honest
everything is great

This is some pretty heavy stuff and I am almost certian one of the most innovative things coming out of asia as far as music is concerned..even by todays standards...and this was nearly 30 years ago. The music is drenched in organ and hard rockin' guitars with nice bass anchoring the music and keyboards adding a moody...almost sinister overtone in some areas. Black hole is the best track, especially the ending.

1. Black hole (8:41)
2. The vague image (1:14)
3. The hard image (3:51)
4. Crystal solitaire (3:47)
5. A wandering young man (8:56)
6. Days in the past (4:43)
7. Mirror freak (7:59)

Brazilian Nuggets Volume 5

Excelent Brazilian Psychedelic Rock

From the land of the rising sun where going to the tropical Brazil

i assume this is some compilation serie's from brazil
some brazilian guy i know from slsk recommended this one
google doest find anything on this serie's(not even Freakemporium)
so if any of my visitors has some more info,please email

  1. Gilberto Gil & Beat Boys-Questão De Ordem
  2. Módulo 1000-Ferrugem & Fuligem
  3. Os Incríveis-Knock On Wood
  4. Os Incríveis-Vai, Meu Bem
  5. Os Brazoes-Gotham City
  6. Alceu Valença & Geraldo Azevedo-Me Dá Um Beijo
  7. The Beggers-Esses Homens Farrapos...
  8. Equipe Mercado-Rock
  9. Marcio Greyck-Mundo Vazio
  10. Roberto Carlos, Erasmo Carlos & Wanderléa-É Preciso Saber Viver
  11. Os Brasas-Ao Lhe Ver Chorando, Pedi Perdão Por Ser Feliz
  12. Os Brasas-Você Está Longe
  13. Umas & Outras-Oh!
  14. Colt 45-Gimme Some Lovin'
  15. Pão Com Manteiga-Micróbio Do Universo
  16. Pão Com Manteiga-Montanha Púrpura
  17. The Sunshines-Por Você Tudo Faria
  18. Caetano Veloso & Os Mutantes-É Proibido Proibir
  19. Liverpool-Renata
  20. Liverpool-Dança Da Chuva
  21. Liverpool-Marcelo
  22. The Outcasts-Weird Ties, Wild Belts And...
  23. Os Megatons-Cuidado

Monday, May 29, 2006

Cosmos Factory - A Journey With The Cosmos Factory[1975 Japan Space Prog Rock]

The second album by Cosmos Factory
A Journey With The Cosmos Factory'['75]
reputedly enters weirder realms and was well-received


1. Sunday's happening (4:14)
2. Daydream (2:42)
3. Hiver (3:47)
4. Confusion (2:15)
5. The infinite universe of our mind (4:28)
6. The sea (5:14)
7. A hidden trap (2:07)
8. Wind in the morning (a trip) (3:44)
9. Journey of no destination (4:52)
10. The cosmogram (2:24)


Pebbles vol. 25: Garage, Beat & Psych Rarities: Holland part 3

Excelent compilation of Dutch Garage,Beat & Psych

Tracklist[Vinyl Only Tracks]

  1. Johnny Kendall and The Heralds - Girl
  2. The Golden Earrings - Not To Find
  3. The Hunters - Russian Spy And I[a classic]
  4. Les Baroqus - I Was Wrong
  5. The Honest Men - In My Room
  6. The Phantoms - Cool Girl
  7. The Outsiders - Touch
  8. The Bumble Bees - You
  9. The Lazy Bones - I'm Driftin'
  10. Rob Hoeke Rhythm & Blues Group - So Blue
  11. Rob Hoeke Rhythm & Blues Group - Margio
  12. A B And C - Vies
  13. The Outsiders - Filthy Rich
  14. The Outsiders - You Remind Me
  15. The Zipps - Marijuana
  16. Linda Van Dyck With Boo And The Booboos - Stengun


Sunday, May 28, 2006

Cosmos Factory-An Old Castle of Transylvania['73 Japan Prog-Rock/Psych-Rock]

The starting line-up of this unique Japanese progrock band is: Tsutomu Izumi (keyboards, Moog synthesizer, vocals), Hisashi Mizutani (guitar, vocals), Toshkazu Taki (bass, vocals), Kazuo Okamoto (drums & percussion) and Misao on violin. They made a serie of albums in the Seventies with every time another sound: the debut album "An Old Castle of Transylvania" (’73) sounds like early FLOYD/VANILLA FUDGE, the third album "Black Hole" (75) is more in the vein of complex KING CRIMSON (nerve-racking FRIPPERIAN play), the second LP "The journey.." sound rather weird and freaky and their fourth entitled "Metal Reflection" is, as the title suggests, pure hardrock/metal.

The long title track (around 20 minutes) is a mind blowing blend of psychedelia and progrock with great build ups and eruptions, very compelling with strong hints from early PINK FLOYD but the swirling movements also brings the long live tracks from URIAH HEEP, DEEP PURPLE, IRON BUTTERFLY, VANILLA FUDGE and Krautrock like early JANE and ELOY on my mind. It contains sumptuous keyboard play including heavy floods of Hammond organ and Mellotron along biting guitar. The interplay between guitar and organ is like “Set the controls for the heart of the sun” from PINK FLOYD. The other songs are also loaded with Hammond and Mellotron, a real ‘keyboard nirvana’ for the fans of ‘vintage keyboards’.


The Golden Cups-Volume 1[1968 Japan Garage Rock/Group Sounds]

i couldnt choose what to put up(a japanese new folk comp. or the golden cups)

Shinki Chen played in a early line up for the band,not on this record

The Golden Cups were formed in November 1966 in Yokohama by Tokimune “Dave” Hirao and guitarist Eddie Ban, after Hirao returned from a four month stay in the States. Previously the two had played in separate band, and together they resolved to gather the best of the players in Yokohama, and in doing so drafted drummer Mamoru Manu (who had previously played with Hirao in Sphinx), bassist Louise Louis Kabe, and guitarist Kenneth Ito. Yokohama being a large port city, historically it has had a higher percentage of foreign visitors and foreign residents. A number of the band members were of mixed Japanese-American blood, as were some of their fans, and the band often played clubs catering to the US military stationed in the area. Originally the band called themselves Group and I, and adopted the Golden Cups name after playing a residency at a Yokohama club by that name. The band released their first single “Itoshi No Jizabel” on the Toshiba label in 1967. The band played were very much in the “group sounds” mold, a mix of UK influenced R&B, and did well releasing catchy singles such as “Nagai Kami No Shoujo” (“Long-haired Girl”)and “Aisuru Kimi Ni” (“Love to You”), while leaving the rougher sounds, mostly cover versions, to album cuts. The band was also influenced by the white blues movement in the States, their third album was titled Blues Message and contained three songs from the Butterfield Blues album of 1966 East-West, and their live album of 1969 Super Live Session, contained material from the famed Kooper-Bloomfield-Stills album Super Session. In July 1968 Kenneth Ito was required to return to Hawaii, and he was replaced by keyboard player Mickie Yoshino. After three months in Hawaii Ito returned, but in August of 1969 he and Eddie Ban left the group to form the Eddie Ban Group. At this point Kabe took over on lead guitar and after a few trials, Yanagi George(Strawberry Path and Flied Egg) joined on bass in September 1970. Around the same time Mamoru Manu left, and Ai Takano took over on drums. However the band’s career literally went up in flames a little over a year later. On Jan. 3, 1972 a fire broke out at the Okinawa venue they were playing at and the band ran for their lives from the building. While they were unhurt, their equipment burned, and the band decided to call it a day. Part of what has kept the Golden Cups popular over the years is that a number of their members have had successful careers afterward. Eddie Ban has stayed active in music since, with varying degrees of success. Yanagi George became a major star as a solo artist . Louise Louis Kabe later joined the cult band Speed, Glue and Shinki, then Johnny, Louis and Char, which evolved into the popular rock band Pink Cloud. The members have played together in various configurations from time to time, one version billed as Dave Hirao and the Golden Cups, as well as with other group sound band members. In March 2003 the band fully reformed and released a live album recorded in Yokohama, and later a best of album called Blues of Life. A documentary film of the band’s career called The Golden Cups One More Time was screened in November of 2004, and followed by a show at Shibuya Kokaido
more info at:[very interesting]
Im So Glad Video[mpg]

Saturday, May 27, 2006


Dont hit-and-run please!
post your opinion as a comment
because its nice to see
what people think of the music i post


Far East Family Band-Parallel World[1976 Japan Space Rock]

More music by this awesome band,probably one of
my fav. japanese band at this moment.

The Spaciest album by this band,also has one of my favourite album covers

This is without a doubt the best album FAR EAST FAMILY BAND has ever done. Unlike other albums where the band focused mainly on ballads influenced by PINK FLOYD, on "Parallel World" they decided to merge the prog rock style of the time with electronic music in the vein of Klaus SCHULZE. And just like their previous album, "Nipponjin", this album was also produced by SCHULZE, and you could swear he actually played on the album (he didn't). All the synth duties here are Fumio Miyata (who also played guitar and sang), Akira Ito, and Masanori Takasaki (who we all know as the future New Age star of the '80s and '90s, that is KITARO).

For "Parallel World", the band went to England to record at Richard Branson's Manor Studios to strike a deal with Virgin Records. Unfortunately Virgin rejected the album (their loss), so it was left released only in Japan (with two different album covers, depending what you got, mines is the lesser known one with the peering eyes cover). About these two different album covers, I am unable to determine if what I own is a reissue, but probably is. Let's say this new electronic direction for the band was an excellent move as they produced their ultimate masterpiece. Here you get "Metempsychosis" which shows the band in a more experimental setting, complete with synth drones and percussion. "Entering" will fool you for SCHULZE's own works, Shizuo Takasaki's drumming often reminds me of Harald Großkopf (WALLENSTEIN member who was often found playing on SCHULZE's albums), and it's packed with same kind of space electronic effects found on a SCHULZE album. It's the presence of guitar (from Fumio Miyata and Hirohito Fukushima) that separates this from a SCHULZE album. Then you have "Kokoro", which harkens back to their earlier works. This is basically a slow ballad, sung in Japanese that could easily fit on "The Cave: Down to the Earth". This is the only song like this on "Parallel World".

And then you get the 30 minute title track that is just so amazing that it totally justifies the five star rating I give this album! Here the band goes on a lengthy jam, with the Akira Fukakusa's bass dominating with tons of killer synths, lots of great spacy string synths and Moog. After about halfway through this piece, the bass and drums gives away to straigh-up synth experiments. Somewhere you hear some chanting and references to Zen Buddhism. There are some truly mindblowing use of Mellotron that pop up on occasions, and this one synth solo I am pretty sure none other than KITARO is responsible for. I can't believe this album, it's hard to believe that a guy whose later music is often dismissed as New Age fluff (KITARO, that is) is on this album. Truly a wonderful album and if the description of this album sounds good to you, find a copy.
5 stars


Friday, May 26, 2006

Far Out-Nihonjin[1973 Japan Space Rock]

this early 70’s psychedelic Japanese quartet were more or less the precursors of The FAR EAST FAMILY BAND (see this band’s biography), guitarist/vocalist Fumio Miyashita being the only link between the two. Miyashita would later join other musicians on FEFB which included among their ranks Masanori Takahashi, better known as “Kitaro”. Under the name FAR OUT, they released one album in 1973.

Although « Nihonjin » is definitely a spacey album, the keyboards are only prominent on the opening notes and the synths are used sparingly throughout, for the occasional sound effect. The psychedelic atmosphere comes mostly from the guitars, electric sitar and drums, resulting in a sound somewhat reminiscent of PINK FLOYD’s “A Saucerful of Secrets”. The original LP, replete with weird sound effects, consisted of two epic tracks clocking in at 18 and 20 minutes respectively

his is a fascinating album, reminding me sometimes of Wish You Were Here era Pink Floyd (particularly the long instrumental sections of Shine On You Crazy Diamond) which is quite an achievement considering that this album was released in 1973, two years before Wish You Were Here. There are also similarities in places to Black Sabbath, with one of the guitarists grinding out a very Iommi like riff midway through "Too Many People" (using an electric sitar no less!) Nihonjin is also a fantastic track, culminating in a mantra-like freak out suddenly ending in an eerie Japanese bamboo flute solo. The band are very talented musicians, with the drumming and bass playing deceptively simple but highly inventive, anchoring the Gilmour-like soloing of the lead guitarist and the interweaving electric sitar lines of the 2nd guitarist (who cannot really be described as just a rhythm player). The vocalist's soft, almost pleading vocals (which are still capable of rising to a ravaged howl during the closing sections of Nihonjin) are very moving at times, relaying very simple heavily Japanese accented English lyrics which still tug at the soul.


- Fumio Miyashita / vocal, nihonbue, acoustic guitar, harmonica, moog (custom)
- Eiichi Sayu / lead guitar, hammond organ, chorus
- Kei Ishikawa / vocal, bass guitar, electric sitar
- Manami Arai / drums, nihon-daiko, chorus


Thursday, May 25, 2006

Far East Family Band-The Cave Down To Earth [1974 Japan Space Rock/Prog-Rock]

This is a legendary Japanese band, the first line-up included the known synthesizer player KITARO. The FAR EAST FAMILY BAND released a lot of records in the Seventies and Eighties, they sound quite unique (an Eastern sound) with echoes from PINK FLOYD.

The first album "The Cave Down To Earth" from ’74 is mostly recommended, it has a spacey and slight psychdelic sound (like early PINK FLOYD) and contains ethnic elements which gives the music an original twist. Another fine album is "Nipponjin" (’75) with a keyboard version of FAR OUT’s "Nihonjin" (FAR OUT was the precursor of FEFB). It’s in the vein of the debut-album, the climates ranges from bombastic to more mellow. The album "Parallel World" was produced by the famous electronic pioneer KLAUS SCHULZE.

1975 Klaus Schulze In Tokyo with FAR EAST FAMILY
no password

Wednesday, May 24, 2006

High Rise-High Rise II[1986 Japan Underground Rock]

While LSD March sounds like Les Rallizes Denudes on their Record Mizutani
High Rise,who formed in '82
sounds more like Live '77 combined with the energy and attitude of Punk
before this record they released one record named
Psychedelic Speed Freaks['82]

When High Rise II was recorded in 1986, the power trio still reflected bassist/singer Ahahito Nanjo's and guitarist Munehiro Nirita's enthusiasm for punk rock. They loved the energy and attitude of punk, as well as the heaviness of Cream, Blue Cheer and Jimi Hendrix And Les Rallizes Denudes. On High Rise II, the overall result is an unorthodox, noisy, dissonant and very inspired fusion of punk, psychedelic rock and late 1960s heavy metal/hard rock. It might be hard to imagine combining the hyper, slam-pit recklessness of the Ramones or the Buzzcocks with the heaviness of psychedelic hard rock, but that's exactly what happens on "Monster a Go Go," "Cycle Goddess" and other in-your-face selections. Thankfully, High Rise's risk-taking pays off, and the album's combination of influences are united in a cohesive whole. Another thing that's unusual about High Rise is its production style: Nanjo's vocals are purposefully placed so far down in the mix that Nirita's screaming electric guitar drowns them out. Not a typical way to produce, but oddly enough, it works. When High Rise II first came out in Japan in 1986, it was hard to find in either the U.S. or Europe; however, the album finally came out in the U.S. when Squealer reissued it in late 1998.


More info here


Tuesday, May 23, 2006

LSD March-Totsuzen Honoo No Gotoku[2002 Japan Underground Psych-Rock]

this album was released in to the rest of the world as Suddenly Like Flames in 2004

While other Les Rallizes Denudes influenced bands like DMBQ & High Rise represent the bands heavy side.
LSD March represents a other side of Les Rallizes Denudes which can be heard on their record Mizutani(recorded between '70-'73,released on cd in 1990),where they build up the tension song by song and ending with two heavier songs(The Last One and a other song]
[written by myself]

"Downer murk and amp-flaming distorto rock from a young Japanese psychedelic rock trio in the wasted, wigged-out tradition of many on those PSF Tokyo Flashback comps, also harking further back of course to underground '70s lo-fi legends Les Rallizes Denudes! LSD-march, named for a track on the first, heaviest album by krautrockers Guru Guru, slowly whisper and wander through a veil of feedback and plodding rhythms. There's both gentle and searing stuff to be found here. These guys are more serious, mysterious and melancholy than Acid Mothers Temple, with a definite Velvets vibe at times. And when the guitars get cranked, this sounds like the Neil Youngiest of Nagisa Ni Te freakouts. With liner notes (and stamp of approval) from translator/psych expert Alan Cummings."
--Aquarius Records

Comparisons could be made to Les Rallizes Denudes, the first PSF Fushitsusha, White Heaven, Shizuka, and perhaps most appropriately Miminokoto. Known mostly because of their tracks on the Night Gallery compilations, LSD-march has become almost as legendary for their unavailability as they have for their incredible music.

Highly Recommended Album!
Please post your opinion

Monday, May 22, 2006

Far East Family Band-Nipponjin[1975 Japan Space Rock/Prog Rock]

When I first heard this album I wasn't sure what I was listening to. Tangerine Dream and Pink Floyd were my first guesses at the band's identity but somehow there was something else there that just didn't fit in. Thus I discovered the Far East Family Band and the very talented keyboardist (and future new age composer) Kitaro. I am glad I did!

This album contains re-mastered and re-recorded tracks of their eponymous previous (1973) album under the name of Far Out (without Kitaro) and the ambience and serenity that fills the atmosphere makes it really remarkable. Not much in the vocals department but I doubt if this will upset anyone at all. The long title track "Nipponjin" and the following "The Cave" are probably the highlights of the album without this going to say that the remaining tracks are by any means inferior of fillers. Frankly I think it would be difficult to select a favourite track on this album, all the tracks have a beauty of their own and as far as musicians go, these guys are an example of talent personified. Not surprisingly, both Fumio Miyata and Kitaro went on to well-deserved stardom.

Highly recommended!
[ user review]

Sunday, May 21, 2006

Turkish Delights: Beat, Psych & Garage. Ultrarities from Beyond the Sea of Marmara

Turkish Delights: Beat, Psych & Garage. Ultrarities from Beyond the Sea of Marmara
Imagine the Nuggets collection, Istanbul stylee. An archaeological recovery of mysterious, weirdly delectable and hitherto virtually unknown pleasures, culled from 45s recorded by Turkish psychedelic garage bands during the sixties and seventies. The Turkish rock scene was first inspired by The Shadows, a British guitar-driven instrumental outfit that was huge internationally (but never really noticed in the US), but it really took off with The Beatles and psychedelia. This wacky assemblage includes covers (including Izmir Özul Karsiyaka Lisesi's divine version of The Yardbirds' "Over Under Sideways Down"), psychedelic originals sung in Turkish (Bunalimlar's "Taz Var Köpek Yok" is a raw gem), and rock remakes of traditional Turkish tunes. This massive assortment (a total of 26 songs) is pure and unadulterated fun from beginning to end, but it is not merely kitsch, for many of the groups demonstrate as much creativity, energy, and musicality as, well, those brilliant American garage groups on Nuggets. Turkish Delights also forces us to revise any stereotypical notions that Turkey is simply a backward "Eastern" and "Islamic" country. This is crossover country, redolent with the aroma of Turkish hashish.


Saturday, May 20, 2006

Pink Floyd - 1968.05.06 - Rome VPRO. Piper Club, Rome, Italy

High Quality Artwork included
All tracks: First European International Pop Festival, Piper Club, Rome, Italy. May 6th, 1968. VPRO(Dutch radio) Rebroadcast.

A very strange version of 'Interstellar Overdrive' if I may say so, it starts with drumming and Dave making a peculiar 'birdy' clicking noise on his guitar, then it goes into sort of a free form jam, one wouldn't think it was 'Interstellar Overdrive' one listened to until the familiar chords sequence set in near the end.

all information here

1. Italian announcer (0:39)
2. Astronomy Domine (6:44)
3. Roger Waters Interview (2:48)
4. Set The Controls For The Heart Of The Sun (8:28)
5. Interstellar Overdrive (6:38)

Running length: 25 min 17 sec

Quality: EX

Friday, May 19, 2006

The Sonics-Boom[1966 US Garage Rock]

Highly Recommended for people who love raw rock & roll and garage rock

The Sonics' second album is every bit as explosive and influential as their debut outing, loaded with gritty Northwest rock & roll. Sandwiched in between the abrasive classics of "Cinderella" and "Don't Be Afraid of the Dark" (with the Wailers on backing vocals), the funk sass of "The Hustler" and "Shot Down," the demonic "He's Waitin'," and the sledgehammer, inside-out version of "Louie, Louie" (only three chords to play and they don't even play 'em) are the band's straight-ahead takes on old R&B chestnuts like "Skinny Minnie," "Let the Good Times Roll," "Don't You Just Know It," "Since I Fell for You," "Hitch Hike," and a nice barn-burning version of "Jenny Jenny." Where the Wailers cut down the trees and paved the highway, the Sonics were the first group from their neck of the woods to take that music somewhere wilder than their original inspirations. The second chapter of Northwest rock & roll after you absorb the Wailers' Golden Crest sides.


Thursday, May 18, 2006

Pärson Sound-Recorded 1966-1968 [Swedish Underground Experimental Rock]

As precursors to International Harvester, Harvester, and Träd, Gräs & Stenar, Parson Sound are of historical importance to the Swedish underground experimental rock scene. These archival recordings date from 1966 to 1968, and except for part of "Sov Gott Rose-Marie," which appeared on the International Harvester album of the same name, none of this has previously been released. This double-CD offers up over two hours of mind-bending music that draws on the Velvet Underground, West Coast psychedelic bands, and Terry Riley and 1960's minimalism, as filtered through a Krautrock-like angst and with some Swedish folk influences thrown in. Most tracks are droning, lumbering raga-rock with moaning group vocals and a prominent electric cello, coming off something like early bootleg Velvet Underground trance jamming, with the band often locking into a single repetitive riff for 15 or 20 minutes. At five cuts per disc, most of the pieces are quite long, and most lack any song structure. No Stones or Yardbirds covers here either, though the first part of "Sov Gott Rose-Marie" does sport a "Wild Thing"/"Louie Louie" type riff, though hyped up and with strange chanting. For diversity there's the track "On How to Live," a weird acoustic folk instrumental with bird noises, and "Blastlaten," with processed horns and flutes similar to Terry Riley in his Poppy Nogood phase. There is also an early solo piece by Parson founder Bo Anders Persson, "A Glimpse Inside the Glyptotec-66," consisting of drones created by modified tape recorders and voice. Most of the CD was recorded professionally, either by the band or for Swedish radio, so the sound quality is very good for the era, matching that of Träd, Gräs's Gardet 12.6.1970.

Träd, Gräs & Stenar Website
Band Page at Subliminal Sounds
Mp3 samples
Tio Minuter


Wednesday, May 17, 2006

Winston McAnuff-Diary Of The Silent Years [1977-2000](Rare Roots Reggea)

Excelent Roots Reggea

Winston Mcanuff is not an artist whose albums you will often find at record dealers. He's rather one of the obscure names of reggae, one you will discover by chance an old and long forgotten single of yours. He was born as a son of a preacher in 1957, in the hills of Manchester parish, near Christiana, in Jamaica. After his father's death in 1971 he left his native home, moved to Kingston and soon became friends with Hugh Mundell, Earl Sixteen and Wayne Wade. From 1975 on, he recorded several songs for Derrick Harriot, which in 1977 gave birth to his first album 'Pick Hits To Click'. Up to 1986 he made two more full length albums for the Inner Circle label Top Ranking and recorded some cuts at Channel One with his band The Black Kush. Today, Winston Mcanuff seriously wants to go back to his singing and composing career and currently the French label Maka Sound compiled this anthology of previously unreleased songs hailing from 1977 to 2000. The album comes complete with some 8 dubs, all of them mixed in 2001. Here you will find some great pure roots reggae, from this unique and underrated singer, who deserves much more than mere critical success. Check out the second tune Head Corner Stone, a wonderful song recorded in 1977 and you know what we mean. From 1985 comes Secret, an awesome song with live instruments, recorded when the digital reggae sound was sweeping the dancehalls. From the same year comes the praising song I Do Love You. He also wrote the anthemic Malcolm X, a song recorded by Dennis Brown and Earl Sixteen, but here you will hear his own version. Recorded in 1990 is Get Thee Hence Satan. The tune Sun Setting In The Sea is present here in three versions. First comes the straight mix, then there's the raw acoustic mix, which brings forward a pure authentic feeling, and finally the excellent dub version.
The tracks, including the dubs, were recorded and mixed at Dynamic Sounds, Aquarius, Music Mountain, Bunny Lee's and Leggo Beast. Involved musicians and background singers include Carlton 'Santa' Davis, Earl 'Chinna' Smith, The Tamlins, Bongo Hermann, Aston 'Familyman' Barrett and Earl 'Wire' Lindo among others. The CD comes with a lovely illustrated 14-page booklet including all the lyrics, liner notes and many photos.
Take a look at Winston McAnuff diary, you won't be disappointed!
review taken from here
  1. Fear
  2. Head Corner Stone
  3. Secret
  4. Peace
  5. Sun Setting In The Sea
  6. I Do Love You
  7. Malcolm X
  8. Burning Bridges
  9. Get Thee Hence Satan
  10. Sun Setting In The Sea (Acoustic Version)
  11. Fear Dub
  12. Dub Corner Stone
  13. Secret Dub
  14. Peace Dub
  15. Dub Setting In The Sea
  16. I Do Love Dub
  17. X Dub
  18. Burning Dub
  19. Repatriated Soul (Hidden Bonus Track)


Tuesday, May 16, 2006

Blues Creation-Live[1971 Japan Blues Rock/Hard Rock]

Blues Creation
- Live! CD. Reissue of rare Japanese heavy blues acid psychedelic hard rock concert album from 1971!(

website of the
is worth visiting for pictures of Creation(the bands name after the band disbanded?)


Monday, May 15, 2006

The Flower Travelin' Band-Make Up [1973 Japan Hard Rock/Prog Rock]

As promised:
'Make Up' [Atlantic, 1973] was a double LP,
and had Yuya Uchida
guesting on vocals.
The album featured studio and live material,
including a
20-minute version of 'Hiroshima'
from the previous album [with bass solo] and a
live-in-studio version of 'Satori Part 2'.
Of the studio material,some is in a
heavy progressive vein [though leaning more towards an
oriental King Crimson in parts then their older style]
was also a single-CD version of 'Make Up' which left out
the live version of Satori pt2

this is the single disc version!

Sunday, May 14, 2006

Speed,Glue And Shinki-Eve [1971 Japan Psychedelic Rock]

High Quality Artwork included
debut album by crazy japanese band Speed,Glue And Shinki

excelent psych rock with a touch of blues

Guitarist Shinki Chen had been in Foodbrain
and recorded a solo album
bassist M. Glue [Masayoshi Kabe] had
previously been in Foodbrain
drummer and vocalist Joey 'Pepe' Smith was a
Filipino Vietnam veteran with a large speed habit!
read the whole short bio here
Review on
  1. Mr. Walking Drugstore Man (5:25)
  2. Big Headed Woman (6:15)
  3. Stoned out of my Mind (6:01)
  4. Ode to the Bad People (4:53)
  5. M Glue (2:43)
  6. Keep it Cool (4:17)
  7. Someday We'll All Fall Down (5:23)
If you dig Blues Creation, Too Much, Strawberry Path, Juan Dela Cruz, Shinki Chen & Friends then this is for you!


Saturday, May 13, 2006

DMBQ-The Essential Sounds From The Far East(2005 Japan Underground Rock)

Excellent stuff! for people who love Les Rellizes Denudes and other heavy music

No discussion of Tokyo underground scene would be complete without mentioning DMBQ. They are the missing link between the much-divided Japanese Noise/Alternative music and garage rock scene.
Their Hard Rock/Psychedelic-based music, infused with elements of Noise and Free Improvisation, still unleashes an unstoppable power to embrace the whole spectrum of underground music.

DMBQ was formed around 1988 in Sapporo. By 1990, the band relocated to Tokyo and engaged in genreless activities, with Guitar Wolf,Boredoms and their family, Buffalo Daughter, Merzbow, and Violent Onsen Geisha,etc...
Their sound, which was a complete deviation from the trend at the time, stood out in the local music scene and the band began to garner respect, especially from musicians. They released their first album in 1995 and were soon attracting more and more followers. The band continued to release albums on a regular basis and in 1999, they moved to a major label, Parco/Columbia. In 2001, after 3 albums, they released a remix album"Resonated” featuring old friends Buffalo Daughter, EYE (Boredoms), etc. The following year, they signed a new record deal with Avex Trax, the Japanese biggest major record label. They have released 2 albums since then. DMBQ has also performed with many overseas artists, sharing the stage at major rock festivals such as Fuji Rock Festival and Summer Sonic. They have toured the country supporting the likes of J.S.B.X., Fugazi, AxCx, Mudhoney, The Dirtbombs, Bob Log III, and 20 miles, etc.

Masuko is a well-known music/subculture writer. He has regular columns in several magazines.

Review 1:
Review 2:
Live photo's:
Short Live Video:
Bigger Bio:
Official Site:


Friday, May 12, 2006

Funkadelic-One Nation Under a Groove(1978 Funk/Funk Rock]

One Nation Under a Groove was not only Funkadelic's greatest moment, it was their most popul
ar album, bringing them an unprecedented commercial breakthrough by going platinum and spawning a number one R&B smash in the title track. It was a landmark LP for the so-called "black rock" movement, best-typified in the statement of purpose "Who Says a Funk Band Can't Play Rock?!"; more than that, though, the whole album is full of fuzzed-out, Hendrix-style guitar licks, even when the music is clearly meant for the dancefloor. This may not have been a new concept for Funkadelic, but it's executed here with the greatest clarity and accessibility in their catalog. Furthermore, out of George Clinton's many conceptual albums (serious and otherwise), One Nation Under a Groove is the pinnacle of his political consciousness. It's unified by a refusal to acknowledge boundaries -- social, sexual, or musical -- and, by extension, the uptight society that created them. The tone is positive, not militant -- this funk is about community, freedom, and independence, and you can hear it in every cut (even the bizarre, outrageously scatological "P.E. Squad"). The title cut is one of funk's greatest anthems, and "Groovallegiance" and the terrific "Cholly" both dovetail nicely with its concerns. The aforementioned "Who Says a Funk Band Can't Play Rock?!" is a seamless hybrid that perfectly encapsulates the band's musical agenda, while "Into You" is one of their few truly successful slow numbers. The original LP included a three-song bonus EP featuring the heavy riff rock of "Lunchmeataphobia," an unnecessary instrumental version of "P.E. Squad," and a live "Maggot Brain"; these tracks were appended to the CD reissue. In any form, One Nation Under a Groove is the best realization of Funkadelic's ambitions, and one of the best funk albums ever released.


Thursday, May 11, 2006

Apryl Fool-Apryl Fool(1969 Japan Psychedelic Rock)

more Hiro Yanagida/Foodbrain related stuff:
a hard psychedelic rock group, playing in a west coast style with
swelling organ and great gnarly lead guitar.
They recorded one album, 'Apryl Fool"[1969]
Some of it's pretty trippy,
with one track sounding a
little like C.A. Quintet at their weirdest, but arguably better!
Keyboardist Hiro Yanagida later went on to Foodbrain and solo career
drummer Takashi Matsumoto and bassist Harumi Hosono went on to the band Happy End. later Harumi Hosono went to Yellow Magic Orchestra

  1. Tomorrow's Child
  2. Another Time
  3. April Blues
  4. The Lost Mother Land (Part 1)
  5. Tanger
  6. Pledging My Time
  7. Sunday
  8. Honky Tonk Jam

Wednesday, May 10, 2006

Shinki Chen-Shinki Chen & His Friends(1971 Japan Acid Rock)

more Foodbrain related stuff:

i was choosing if i should post this one or Apryl Fool
it became this one so have fun!

Shinki Chen - after Foodbrain guitarist Chen collaborated again
with Hiro Yanagida and others, including George Yanagi - [ vocalist from Strawberry Path and briefly Flied Egg
he also plays bass on this album]
to record a great solo album, 'Shinki Chen & His Friends
' Musically, it hints at the bluesy heavy acid rock of his next band,
Speed, Glue & Shinki
[the bassist of that group also played on one track here],
with some experimental bits here and there reminiscent of his tenure with
Foodbrain; it is considered a classic album by fans of the genre.

  1. The Dark Sea Dream
  2. Requiem of Confusion
  3. Freedom of a Mad Paper Lantern
  4. Gloomy Reflections
  5. It was only Yesterday
  6. Corpse
  7. Farewell to Hypocrites

Tuesday, May 09, 2006

Hiro Yanagida-Milktime('70)+Hiro Yanagida('71) (Japan Psychedelic Rock/Prog Rock)

if you liked Foodbrain then this is must download has great guitar work by Kimio Muzutani(wich if you didnt download that yet from my blog,Do it now!

Hiro Yanagida - this keyboardist really got around! He was in Apryl Fool, Foodbrain, Masahiko Satoh & Sound Brakers, Love Live Life + One, and also played on Shinki Chen's solo album. Throughout this time he was putting out solo albums with some of the same musicians, such as Kimio Mizutani . His debut was 'Milk Time' [Liberty, 1970], which has a cool photo of a stern-looking gorilla on the cover, done by the same artist who did the Foodbrain album cover. The backing band included Hiro Tsunoda from Foodbrain, Strawberry Path and Flied Egg , guitarist Kimio Mizutani and electric violinist Hiroki Tamaki [see below], as well as flautist Nozumu Nakatani and bassist Keiju Ishikawa [who later played with Akira Ito The music is in part similar to Foodbrain, but more varied, with lighter, jaunty short tracks and some tripped out sounds.
This was followed by 'Hiro Yanagida' [Atlantic, 1971], with great cartoon psychedelic artwork. He's again joined by Kimio Mizutani, and Joey Smith from Speed, Glue & Shinki and Juan De La Cruz [ sings on one track, a silly doo-wop ballad! The album as a whole covers slightly similar territory to that of 'Milk Time', though more accomplished, and some of the mellower keyboard-oriented stuff here is a bit more experimental and progressive. One track reminds me of Supersister and oddly, Stereolab from more than 20 years later! His 3rd album, 'Hiro' [URC, 1972], seems to be obscure and I can't find any information about it. 'Hirocosmos' [CBS, 1973] was reputedly another great album, in a more progressive vein. There are a few more album which I know nothing about - 'UFO' [CBS, 1978], 'Shichi Sai No Rojin Tengoku' [label? year?] and 'Ma-Ya' [Substance, 2003]. I've seen another album listed, 'Planets in Rock Age [1971], but I don't know how that fits in or if it's just rumour. 'Milk Time' was reissued on CD by P-Vine, but appears to be out of print; 'Hiro Yanagida' and 'Hirocosmos' have been reissued on CD by Showboat and are tricky to track down outside of Japanese retailers. Yanagida played on J.A. Caesar's 'Matihedeyou Syowosuteyo' , and also recorded some material with Tokyo Kid Brothers
source: http://progressive.homestead.com 

Monday, May 08, 2006

Pebbles vol. 23 (Garage, Beat & Psych Rarities: Holland part 2

after all the jap stuff something else
Garage Rock and beat music from the netherlands

Side One
The Fun Of It - Drollery
The Bumble Bees - Girl Of My Kind
The Phantoms - Someday I'm Somebody
Chapter II - East Of My Place
The Jets - I Was So Glad
The Haigs - Never Die
The Marquees - Call My Name
The Haigs - Where To Run

Side Two
The Jets - Worker In The Night
Lords - Day After Day
The Counsellors - I'll Be Your Man
Les Baroques - Working On A Tsjing Tsjang
The Motions - I've Got Misery
The Jay-Jays - Come Back If You Dare
Zen - Please Accept My Invitation
The Outsiders - If You Don't Treat Me Right


Sunday, May 07, 2006

Les Rallizes Denudes- Live '77 2CD (Japan Underground Experimental Rock)

1Enter the Mirror
2The Night of Assassin
3Flames Of Ice
4A Memory is Far

1Strong out Deeper than the Night
2Reapers of the Night
3The Last One

Revolving around guitarist and vocalist Mizutani Takashi, Les Rallizes Denudes formed in November of 1967 at Kyoto University, inspired by Exploding Plastic Inevitable-era Velvet Underground as well as the over-amplified rock of Blue Cheer. By 1968 they were gigging live and even began a regular collaborated with an avant-garde theater troupe, which ended the next year because of Les Rallizes's penchant for extreme volumes of sound. Not only did they use massive amounts of feedback at loud volumes, their stage shows used strobe lights, mirror balls and other effects for a live experience that was a total sensory assault.

The group also aligned themselves with radical left-wing politics, performing at the front lines of student demonstrations against Vietnam and even the student occupation of Kyoto University in April of 1969. One original member, Wakabayashi, was involved in the Japanese Red Army hijacking of a flight to North Korean, known as the Yodo-go incident, and because of Mizutani's own connections with the Red Army, the group's gigs became more infrequent and clandestine. The band didn't record much in the studio, and the only music of theirs to come out on vinyl at this time was one side of the double LP compilation Oz Days Live released by Oz Discs in 1973. In fact Les Rallizes kept going throughout the '70s and '80s without releasing a thing, and then suddenly they put out three CDs of archival recordings in 1991, and a video the next year. Of these, the double CD/LP '77 Live highlights them at the top of their form, with 10- to 20-minute tracks of intense guitar feedbacks and drones over repetitive rhythms and heavily distorted vocals.

Mizutani / vocal & lead guitar
Nakamura Takeshi / electric guitar
Hiroshi / bass guitar
Mimaki Toshirou / drums

Saturday, May 06, 2006

Les Rallizes Denudes-Studio & Soundboard 1969-1975(Japan Underground Experimental Rock)

<-----Les Rallizes Denudes around 1969

For almost 30 years this band, Les Rallizes Denudes, has made so many anti-career moves and stayed so far underground that it’s amazing that they lasted for any length of time at all. The entire band is shrouded in mystery, with precious little out there in the way of articles, proper recordings or interviews. Here’s what is known about them: They were formed in 1967 as a protest to the politics and the polished pop music of the time. And that the key member of the group is guitarist/vocalist Takashi Mizutani. And that’s about it.

Although the ultra-mysterious and rumour-cloaked Les Rallizes Denudes/Hadaka no Rallizes existed in various forms from November 1967 to their last gig in October 1996 they are practically unknown in - let alone out of - Japan. Their recorded output is incredibly rare and highly priced and interviews or articles in the music press virtually non-existent. Tie that in with links to radical left-wing politics, extreme sensory assault at live shows and a general revolutionary aura and you have what must be the ultimate cult group.

more information here

and more here

Very Rare!


Download here(Re-uploaded)

sorry i think i made a typo in the password when i compressed it

Love Peace And Poetry Vol 9:Turkish Psychedelic Music

This is number nine in the ongoing and continually astounding compilation series, after last year’s African volume, Turkish likewise confirms the presence of another fertile psychedelic scene lost to international obscurity. Several tracks, including a couple of my favorites by the still-active master Erkin Koray and truly unclassifiable Moğollar, come from bands already included in the Asian volume but welcome here alongside lesser-known and just as compelling artists. Like all of the Asian pysch I’ve heard, the Turkish variety is most compelling in the way the Western psychedelic rock archetype gets filtered through Eastern interpretation and augmented by local tradition.

Unlike Southeast Asian and Pacific Rim psych, which tends to either ape Western styles to amusingly warped degrees or let the music run over into the manic redirections of local pop music, Turkish psych achieves a leaner combination of styles. Almost every track here (save three or four) favors the clipped, driving psych sound of the popular West, with elements of Turkish folk (türkü) entering only with the vocal or the leading melodic line, usually guitar or traditional stringed instruments (saz, sitar, bouzouki).

Strangely, these songs tend not to drift into the freak-outs or heady textures that I associate with Middle Eastern or South Asian music’s preoccupation with transcendental states. (Perhaps this is more evidence of reactionary tendencies in the scene, or just the fallacy of my Western ear.) Adherence to the Western pop format is, for the most part, uniform, but this is never a deterrent. Hearing the beautiful Eastern lilts and intervals jostled within the fiery shuffle of Western psych breakdowns is invigorating for both, creating an urgency and timelessness that is always perfectly recovered on these comps, but really comes screaming out here, as on the Mexican volume.

Yes, there are always exceptions, and with Love, Peace, & Poetry, they’re often the best parts. On the previous Asian volume, Moğollar laid down a Durutti Column-esque bliss-out of plucked guitar and ocean ambience; here they drop the Eastern funk, the dreamy, firm Eastern funk, like Sun City Girls, except sober and enlightened, with a sweaty organ--brilliant. Moğollar truly has a unique sound, dubbed ‘Anadolu Pop’ upon its release and well worth checking out in full-album form, some of which are available through Shadoks and World Psychedelia labels. My favorites from this volume, however, are the two tracks from Selda: ragged raga jams, over-blasted and tight as hell (strange to hear these melodies with such makeup), with a female vocalist who sounds like a combination of Grace Slick and one of today’s throaty, art-damaged punkers.


Friday, May 05, 2006

Speed, Glue & Shinki-Speed, Glue & Shinki(1972 Japan heavy psych/progressive rock)

Excelent Music with great guitar work by Mr. Shinki

second album by Speed,Glue And Shinki
this is the band Shinki Chen(Guitar) formed when Food Brain disbanded but before starting this band he released a solo album,wich is excelent and will follow soon! after i post Eve their first record tomorrow

The Shinks are a big topic for your thinks.

This far flung, double yellow Tiger bomber wrapped brown bag in paper was unleashed in Japan on Atlantic Records, Speed, Glue & Shinki’s second album did the impossible by being even more of a wrecked and loose a masterpiece as their previous album, “Eve.” Two separate LPs came tethered together in the oversized obi enclosure of one wraparound brown paper bag sleeve designed by the Taj Mahal Travellers’ self-made instrumentalist Michihiro Kimura. And the album’s lyric and credits sheet were littered with typos, crossed out words and all the reproductive cut marks, tape and detritus no white-out or non-repro blue zone exposure of all fuckups unmasking. And most of the music here on their final and eponymously named effort mirrored this, comprised of one-takes mishandled with searing guitar overdubs, occasional phasing on the drums and a direction mapped out not by some flimsy, preconceived fads but by a truly unselfconscious and of-the-moment reaching, succeeding and staggering just over the finish line in such a sublimely wrecked and burnt manner that it made an art form out of just teetering on the edge of falling apart altogether. It’s a miracle it was ever played and recorded, let alone released, for Speed, Glue & Shinki were loose cannons on the loosest ship of the loosest navy ever and seemed more like three stringless kites that soared so high upon the currents of Rock they never came down. Nothing was ever a big deal for these guys, they were so damn loose.
Read the whole(F*cking huge) review here
the whole review is just to big to post here


Thursday, May 04, 2006

V/A - Tropicalia(Brazilian "Psychedelic" Music)


The weather is good here
somewhere around 24 celcius i think
so i post some music that fits the weather
(a Os Mutantes compilation might follow later this week)

Tropicalismo, also known as Tropicália, is a Brazilian art movement that arose in the late 1960s and encompassed theatre, poetry and music, among other forms. It is said by some that Tropicalismo is somehow associated to poesia concreta, a genre of brazilian avant garde poetry embodied in the works of Augusto de Campos, Haroldo de Campos and Décio Pignatari, among a few others. [1]

"Tropicalismo" or "Tropicália" is associated almost exclusively with the movement's musical expression, both in Brazil and internationally; a form of Brazilian music that arose in the late 1960s from a melange of bossa nova, rock and roll, Bahia folk music, african music and portuguese fado. Artists commonly associated with the movement, notably Os Mutantes, have experimented with unusual time signatures and other means of heterodox song structures. A lot of Tropicalismo artists were driven by socially aware lyrics and political activism following the coup of 1964, much like its contemporary Brazilian film movement, Cinema Novo (brazilian new wave). The movement only lasted consistently for a few years, and, in part, is responsible for what is now known as MPB, Música Popular Brasileira (Brazilian Popular Music).

Although it attained little commercial success outside of Brazil, Tropicalismo has a growing popularity among indie rock hipsters and music geeks alike [2] [3], and has been cited as an influence by rock musicians such as David Byrne, Beck, Kurt Cobain, Arto Lindsay and Nelly Furtado. In 1998, Beck released Mutations (album), the title of which is a tribute to Tropicalismo pioneers Os Mutantes. Its hit single, "Tropicalia", went as high as #21 on the Billboard Modern Rock singles chart.

(from wikipedia)


Wednesday, May 03, 2006

Kuni Kawachi - & Flower Travelling Band-Kirikyogen(1970 Japan Psychedelic Rock/Prog Rock)

Kuni Kawachi - & Flower Travelling Band CD. Reissue of Kuni Kawachi's ultra-rare Kirikyogen album recorded in 1970 with members of The Flower Travellin' Band. Stunning record with great Hideki Ishema burning guitarwork and vocals from Joe! Sounds like a lost Flower Travellin' Band album except it's a bit more progressive overall.

Continuing as their producer, it was Uchida who picked Joe as their new singer. But how should their new band sound? Just as Jimmy Page had vacillated between making Led Zeppelin exclusively heavy and joining the CSN&Y brigade, so Yuya Uchida had grave doubts about the direction in which Flower Travellin’ Band should be seen to be travelling. And so, for their first few months, Flower went off in all directions. First, they recorded the monumental 27-minute guitar’n’atmosphere freakout “I’m Dead”, which transports the listener through every Amon Duul 2 jam session and burns every escape route as you pass along it. “I’m Dead” is a monument of experimentation, of highs and even of lows, yet it was a spectacular success, and – in terms of space and ambience - beyond what even the guitar-based Krautrock bands were later doing.
But this pure freak out music was not for Yuya Uchida, and his next step was to bring in Kuni Kawachi, organist and leader of Flowers’ former rivals The Happenings Four. Kawachi got on well with Joe and Ishima, and they spent the early part of 1970 putting together a series of recordings which were very melodic, but psychedelic and strung out. In places, songs such as ‘The Scientific Investigation’ and ‘Classroom’ echoed the more acoustic later side of the Velvet Underground, . But still Uchida remained unsatisfied, and the project was temporarily abandoned as a Flower album, surfacing later on RCA as the record KIRIKYOGEN.
(read the whole story here)

01 - Kirikyogen
02 - Works Composed Mainly by Humans
03 - Time Machine
04 - To Your World
05 - Graveyard of Love
06 - Classroom for Women
07 - Scientific Investigation


Tuesday, May 02, 2006

The Sonics-Here Are The Sonics (1965 US Garage Rock)

The Sonics that Wailers(not the Reggea band) bassist Buck Ormsby took into a small studio and unleashed on the world show a live band at the peak of its power, ready to mow down the competition without even blinking twice. Their debut long-player (originally issued on the Etiquette imprint) is reprised here with new liner notes by Norton prexy Miriam Linna in the original mono. The flame-throwing hits of "The Witch," "Psycho," "Boss Hoss," and "Strychnine" are aboard, along with versions of "Do You Love Me," "Dirty Robber," "Have Love Will Travel," and "Walkin' the Dog" that are no less potent. This long-play vinyl reissue also boasts the addition of four bonus tracks: "Keep a Knockin'" (the original B-side of "The Witch") and three selections from an Etiquette Christmas album, "Don't Believe in Christmas," "The Village Idiot," and "Santa Claus." Another important chunk of Seattle rock & roll history.

1. The Witch

2. Do You Love Me

3. Roll Over Beethoven

4. Boss Hoss

5. Dirty Robber

6. Have Love Will Travel

7. Psycho

8. Money

9. Walkin' The Dog

10. Night Time Is The Right Time

11. Strychnine

12. Good Golly Miss Molly

13. Keep A Knockin'

14. Don't Believe In Christmas

15. Santa Claus

16. The Village Idiot