Tokedashita Garasubako-Selftitled['70 Japan Acid Folk)
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thanks to Johhny Roberts for this
excellent psychedelic folk
this is not acoustic
enough electric guitar and other things
the song Kimi Wa Dare Nanda was on the Love Peace and Poetry
volume dedicated to japan(where the song was badly tagged)
wich is one of the best volumes in the whole series(the turkish one is also good)
this might apeal to Happy End/Hosono fans
becuase he had a certain role in it
guitar is done by the guitarist of Blues Creation
contains correctly tagged song titles in Romaji
this is probaly one of my favourite "folk" albums
but enough by me
information provided by ...... from the japan based label tiliqua records
Regarding Tokedashuta Garasu Hako – . In any case, it is a wonderful album, not really poppy – I guess you got that description from a site that had this Australian guy writing a lot of wrong imformation about a lot of albums….almost all he wrote had some mistakes in it. But anyway it was a sympathetic attempt. Anyway, brief sketch on Tokedashita
Jack’s drummer Kida Takasuke became, after he left the Jacks, involved in one of Japan’s legendary acid folk recordings, being the “Tokedashita Garasu Hako” (溶け出したガラス箱/ Melting Glass Box) which was released in 1970 on URC Records. The main player and concept mastermind originator of this venture was Nishioka Takashi (西岡たかし) who was initially not a musician but a man who provided artists with conceptual ideas. For this effort however, he sat behind the wheels of creation himself.
The album turned out to be one of URC’s uncrowned acid folk and psychedelic rock products that embraced a surrealistic sound, which Nishioka himself referred to as being almost Dadaistic in nature. Next to him the other main participants in the creation of this album were Kida Takasuke and folk singer Saito Tetsuo (斉藤哲夫). The three of them formed the main forces of the Tokedashita Garasu Hako unit and called in, during the recording of their sonic master plan, the help of some friends to assist them such as guitarist Kato Kazuhiko(加藤和彦), Apryl Fool and Happy End key figure Hosono Haruomi (細野春臣), Blues Creation guitar mangler Takeda Kazuo (竹田知夫) and bassist Saeki Masashi (佐伯正志), perfuming the overall atmosphere of the recording session with the scents of avant-garde and experimental components. In a manner of speaking, it can be adhered to as an experiment spinning out one single image fusing words and sound. After all, it was an attempt that, through the merger of personal and characteristic feelings omnipresent amongst these radical musicians, could unravel a sonic picture scroll that beheld surrealistic color sensations.
The mysterious and other worldy sounding flute play of Kitada, which evoked and incorporated a closely resembling Jacks garage-tinted, Hosono’s bass playing that resembles scenes drifting in from the other side of the shore and the acidic guitar licks dripping out Takeda’s flowing playing style all add extra texture to the ethereal sonic experience. After the Tokedashita Garasu Hako experiment, Toshioka joined the Itsutsu no Akai Fûsen folk group, whose “Open Sky” LP of July 1971 contained a one side long progressive folk piece “Tokidoki Sore Wa” (時々それは) that to some extent tried to recapture some of the sonically spheres present on Garasu Hako.