Wednesday, 31 August 2016

Speed, Glue & Shinki “Speed, Glue & Shinki“ (ex-Powerhouse, Foodbrain) - (ex-Golden Cups)- (after-Juan de la Cruz) 1972 Japan Heavy Psych (Top 50 Japan Rock Albums by Julian Cope)

Speed, Glue & Shinki “Speed, Glue & Shinki“ (ex-Powerhouse, Foodbrain) - (ex-Golden Cups)- (after-Juan de la Cruz)   1972 Japan Heavy Psych  (Top 50 Japan Rock Albums by Julian Cope) 
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Speed, Glue & Shinki was a Japanese psychedelic rock power trio formed in late 1970 by guitarist Shinki Chen and his mentor Ikuzo Orita, Japanese label boss of Polydor Records. Believing Shinki to be the Japanese Jimi Hendrix, Orita released two Polydor LPs featuring the guitarist: first as part of the experimental quartet Food Brain (Polydor 1970) and next with the semi-successful ‘Shinki Chen & Friends’ in 1971. Ikuzo Orita next took over Atlantic Records’ Tokyo operation and brought Shinki Chen to the label, which was then enjoying massive success with 'heavy’ bands such as Led Zeppelin and Cactus. Orita, in his effort to create a suitable 'heavy’ vehicle for the guitarist’s talents, invited ex-Golden Cups superstar bassist Masayoshi Kabe to join the band, while Shinki discovered Filipino singing drummer Joey Smith (i.e. Joseph Feliciano Smith) playing in either Akasaka’s Mugen department store or Yokohama’s Astro shopping mall, with the quartet, Zero History. They took their name from Kabe’s love of sniffing Marusan Pro Band glue and Joey Smith’s obsession with amphetamines, as evidenced by the lyrics of many Speed, Glue & Shinki songs (all lyrics being written and sung by Smith). The resulting sound was extremely bleak and raw, with Kabe’s crunching atonal bass runs and Smith’s stop-start rhythms creating a unique foundation for Shinki Chen’s euphoric blues. Song titles such as 'Stoned Out of My Mind’, 'Mr Walking Drugstore Man’ and 'Sniffing and Snorting’, combined with Smith’s dangerous outlaw lyrics and caustic Iggy Pop-like vocal asides, gave the band an edge that no other Japanese band could (or would have wished to) achieve (Wikipedia). ….~


Second album by trio Speed, Glue & Shinki was recorded in early 1972 under the sight of Ikuzo Orita, who moved from Polydor to Atlantic the previous year. Pepe Joey Smith, drummer, vocalist and the leader of the band recorded the album at last even with Masayoshi Kabe’s absence and often persuadings to bring back to sessions unmotivated Shinki Chen. But finally, with Mike Hanopol, taken instead of Kabe, the band recorded the same-titled album that was the last one. Pepe Smith disappointed with further band perspectives and with low album sellings (that were caused firstly by original package into which was packed the record itself; due to it’s high retail price) together with Hanopol moved to his native Philippines, where he continued performing in the local band Juan De La Cruz… But at the same time leaving for us such brilliant record. ….~


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 eponymous 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 fad 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.
Speed, Glue & Shinki were a highly unorthodox trio comprised of three rock’n’roll kings of oblivion disguised as Pacific Rim gipsy mongrels who already had spent nearly a decade apiece performing a succession of groups and loose musical configurations. Previous bassist Masayoshi “Ruiseruis” Kabe had spent several years in the successful Group Sounds outfit The Golden Cups before subsequently joining fellow Yokohama native, guitarist Shinki Chen, in the premier Japanese supergroup Food Brain. And Shinki himself had cut his teeth in innumerable blues-based bands, the “New Rock” group Power House and many sporadic live jam sessions. By the end of 1970, Shinki quickly recorded his solo album “Shinki Chen & Friends” with various Power House members and included Kabe on bass on the album’s one true classic: the distended, 13-minute freak out, “Farewell To Hypocrites.” By this time, Shinki had already checked out Zero History, a Filipino quartet hired to perform in a circuit of Tokyo department stores. Although their repertoire was primarily cover versions of psychedelic top ten hits, it was the unforgettable power of longhaired vocalist/drummer Joey Smith who caught Shinki’s attention. Shinki performed several times with Zero History, and once Food Brain was no longer a going concern, Shinki invited Smith to form a band. Once Kabe was tracked down, the trio was complete. Smith’s pedigree went as far back as the late fifties performing as vocalist, drummer and sometimes both through a succession of popular Filipino rock’n’roll bands that were virtually all but unknown outside The Philippines. The best-known were The Downbeats, who scored a coveted opening slot for The Beatles at their notorious concert in Manila on July 4, 1966. And Smith’s vocals grew to be a yammer of a soul hammer while his drum fills were deft, hit hard and oftentimes spun out exaggeratedly as if replicating the sound of a sack of potatoes being flung down a corridor lined with floor toms and set-up crash cymbals and laced with extra volleys of spud-lobbing galore.
And on “Speed, Glue & Shinki” it was different kettle of mess boiling all over the kitchen to match the Little Rascals’ surprise cake, for the group were augmented by a further trio of musicians; the most prominent of which was drummer/vocalist Joey Smith’s longtime friend and bandmate Michael Hanopol, brought in to replace original bassist Masayoshi “Glue” Kabe at the onset of the album’s recording. It would be an inspired choice as Hanopol not only evenly matched Smith’s contributions song for song and brought to the shebang heavy bass, heavier vocals and the heaviest lyrics for tracks of the heaviest sludge properties, but also contributed occasional keyboards and even co-wrote side four’s synthesizer suite with Smith. And as the new Glue in town, Hanopol helped drive the band to their very outermost limits: igniting Shinki’s guitar playing to unlock his inner Jimi and through his re-connection with his previous Filipino Rock Brother No. 1, drove the drumming, lyrics and (especially) the vocals of Joey Smith right up the wall, and into an overall lower, larynx strangulating register.
When the world tries to make one feel meaningless of life, to join their robot parade, crank the music of the hard rock idiom loud to chase bad vibes off the cliff and reinforce inner fortress of mind, heart, spirit. For too soon are we all crushed into dust. Live we must. Love we trust. Hate is a bust. Break the crust. Blow out the must. Shake off rust. Pant with lust. Woman is all inside, outside log waits to jam up inside cream with flesh rag and dance continues. The people of big hassle remain balcony hidden with cheat masks of extra bad actor faceless like a sore crack in hell.
The air becomes heavy: feeling the energy which it tries probably to create good ones. The vigor fullest capacity is with the sound, which overflows. Rock soul is felt in the performance which is made dark slippery. When such dark sound is decided, it becomes the pleasant sensation which is hard to change into many things – In the vocal which is approached to the force perfect score darkly with thick voice; it is the case that the timbre of the functional guitar keeps being covered. Speed, Glue & Shinki have something to say, and say it over and over to make it stick. And it would, anyway: Woman do Joey wrong, so he sings pain how it is. You know. Terror you want no one to know, and tears well in your heart to stretch out time to infinity between minute and second hands of heart clock within and nothing familiar seems real or comfort provide as life merges into constant corner of crushing no change where once was only life: sun; with face. Then rain, on your head and all free forever.
Tiger Album the FirstSides 1&2 of Tiger Album the First starts off with sniffing, snorting and overall gleeful knocking stuff all over the place during a bargain basement jumble in the dark for “Sniffin’ & Snortin’ Pt. 1 (Vitamine C)” barges in and kicks down the door with a sonic moronic display driven off the edge with Shinki’s buzz-sawn-off Chuck Berry riffing shot up with immediate stomp appeal and Joey Smith’s lead foot kick drum stepping on the gas and bashing out at all around him…And to think that this is only a warm-up exercise for once the faders and mental house lights go up on “Run And Hide,” the band are firing on all cylinders at once, cutting loose like a retarded version of “The Immigrant Song.” Backwards. And slowed to 8rpm. Minus a handful of random notes. Sort of. Cradled in woman’s arms and your broken head. Forever. Joey sings like he plays drums; crude and willful to make a stand for himself and the people in the streets (IN THE STREETS!) but not bitter: rather, knowing ultimately of compassion not himself only but for all living things and none surviving impact of tsunami culture war but for all living things and no surviving brain cells. Shinki Chen rips and tears through the track like Food Brain LP never was but only looked: charging drunken elephant sleeve with big tease Amon Düül the Second gatefold masking a dozen overplayed Zoot Money overdrafts from the Hammond B-3 bank. Over-amplified bass dump from Kabe and Shinki’s alternating buzzsaw rhythm and multi-dubbed soloing like tattooed brain of small but effective “Electric Ladyland” detailing in both production and guitar. “Give us back the night..!” barks out Joey into the impending dusk, the sinking sun and the dying embers of old land.
The first of Michael Hanopol’s contributions enters with “Bad Woman”, setting Speed, Glue & Shinki off into West, Pappalardi & Laing territory but with half the calories, the map being read upside down and topped off with the stinky tiara of “Mississippi Queen” and Hanopol handling the Steve Knight role on organ. And with its Leslie (!) speaker-filtered guitar solo, tops off an already overqualified Mountain metaphor about as unwieldy as the Les Weinstein of old hisself. Hanopol lets loose a bevy of insane bass propulsions near the coda, and it’s equally weird that this is the sole song of Hanopol’s that Smith sings – and in his newfound slow and strained, near-Louis Armstrong holler.
“Red Doll” is another Hanopol composition, performed at the speed of burning barge and oozing kooze with Hanopol on accompanying spook-o-rama spidery organ fills following his overdubbed bass propulsions following Joey Smith’s raining blows of sticks upon his tiny kit, clearing a 2mph riff and drumming to approximate a desert belly crawl with no oasis sighted for days and at the speed of surgery at the pace of exhaustion that presses on regardless. In all certainty, if it stopped for one moment to think it would perish outright. Shinki tosses in a Leslie-fed guitar solo, flanked by Smith’s errant drum fills that always fling themselves just across the tempo’s finish line every damn time. And although sung by Hanopol, the character here is Joey, for:
I always imagined Red Doll is ginger lady Joey walks to over his bed to kiss naked and only he cares and Joey and her both know but no bother for Speed brother. Red sister and Joey draw together and big bang later make them both go dead to disperse bad world silt from their ocean souls. They want whole world to get tired so they sleep in each others hair and walk better as people. You kiss a red hair sister and hair fire shoots into your belly and her body lays fine and two breast shine below only moonlight attic window in Joey’s crash pad. It’s dark and next morning not so and Joey smokes big cigarette to make things whole and light again. Red woman is circle unbroken for Joey. Not clean, but cleansed. Apple woman she says take a bite, my wound is your head inside, then we fall. Fire in the darkness from red sister spark cream delight inside. Rejoice. Joey Smith: motherfucker drummer with two team totem pole sticks twice as big as wood, looking through the knothole of goddess unblinking and rolling a jay. Heaving big log in forest of silence only he hears, up against open seam of woman and push into love dish of sugar outside in the rain. Stay and awake the stamen.
Album side the Second of Album No. One begins with a gradual build of super-phased drumming that projects outward through a massive mushroom cloud exhalation of cannabis sativa and they’re off and walking through “Flat Fret Swing.” Joey’s vocals once more swell like a big Louis Armstrong (and a little headstrong Mark E. Smith) soul holler lodged in the throat against the horizontal, mid-tempo backing. Joey’s trying to get his head together for the umpteenth time, and the greatest lines of the album are: “And leave all the miseries behind me/Cradle all of the good things in mind…” Joey’s thinking things over and hanging out, making air whistle out of his head and trying to figure out how to get up off the floor and leave so he can get back once more to some more good times. At first listen, I never thought too much of this track, but it’s now grown to anthem proportions in my head. Forever.
A reprise of the opener, “Sniffin’ & Snortin’ Pt. 2 (Vitamine C)” follows and bears about as much resemblance to the version on the previous side as the two versions of “Revolution” by The Beatles…Which is to say, they’re night and day and this one’s high noon and with a far wilder speed differential to and all the while continually cops successive quick feels off of Jimi’s “Come On (Part 1).” It’s probably Masayoshi Kabe pounding out the bass here, for his style always easily reached those rave up qualities of an amphetamine’d Paul Samwell-Smith channeling through Jack Bruce’s amplification. As it races into hyperspace stereo “War Pigs” tape-sped warp conclusion, the soothing Shinki Chen instrumental “Don’t Say No” wafts in like a summer breeze through opened window. In your head. Forever. Shinki collaborates here with drummer Hiroshi Oguchi and keyboardist Shigeki Watanabe (two musicians he’d team up with the following year in the short-lived and unrecorded band, Orange.) It gathers together becalmed organ buoyancy floating above the surface of low slung bass, drums as a wordless wail of content melodiously sounds over the instrumental’s slow and measured paces like “Careful With That Axe, Eugene” in dub and capturing that same heartfelt sense of farewell Steve Winwood channeled through his organ playing so poignantly well on “Sea of Joy.” It approximates that feeling of being suddenly caught within the cool shadow of a huge, dark and imperceptibly moving cloud formation on an otherwise clear and sunny day. Oddly, there’s only one appearance from Shinki’s guitar here and it is a single, small but perfectly placed overdubbed ‘woman tone’ solo – inserted like a perfect crystal within this organically framed setting.
The entire scene turns upside down with the entry of “Calm Down” as wave upon wave of crazily hit fills and cymbals part for a two-toned BRAANNGGG-INGGG guitar to steam shoveling all to the side in its wake all silence up against the wall and out of existence. Guitar tone is a loud and bronzed blur, fried from the sun, hallucinogens and who the fuck knows what else. Tremendous wah-wah guitar from Shinki over a second fuzz rhythm combined with Hanopol’s piledriving bass with a vocal delivery that sidles right up against the rhythm and feels it up just to get off. Here, my mind is already drowning in all the colours, especially with a musical bridge cut from the most rudimentary material I’ve ever heard. Giddily, the song falls away and into a drum solo like no other: Namely, taking its fucking time taking a major tumble down a ravine while going out of its way to hit as many branches, boulders and rocky outcroppings as possible before finally landing crumpled on the valley floor two miles down.
Tiger Album No. TwoSides 3&4 of Tiger LP No. Two begins with a word from behind the now streaming, sweaty and belaboured kit of Smith after downing a long, tall cool one. Smacking his lips, he do declare “That’s the best wine I’ve ever tasted” and he’s already crashed into his cymbals, prefaced with another quick drum roll and is already headlong into his Armstrong-along-60-second-long holler, “Doodle Song.” After which, they just grease most of the album side out in the most wrecked and transcendental way possible. Smith calls out to regroup with a “Right!” “Yeah!” and “Ya ready?” and they break directly into the epic “Search For Love.” Oh, Motherfucker. What a track. The running time sez 8:44, which is ridiculous: for time seems all but suspended for the duration of the raging depths of this howling, sprawling track. The intro to “Moby Dick” off “Zeppelin Album No. One” is all but hustled roughly into a burlap sack with the drum solo thrown off the back of the Speed, Glue & Shinki 18-wheeler as they head steaming down the highway on 24 hour beaver patrol: But at 80mph in fourth gear with their collective scroti dragging behind them alongside a case of empty Sapporo beer cans and 12 drained plastic gallon jugs of Happy Sunshine cough mixture marked ‘For Institutional Use Only’; set off by two oversized silver foil pinwheels that catch, refract and shine into all eyes of creation sun’s bright rays of illuminated genius at the gates of dusk as impromptu sunspots get caused by residual white powder still alighting on the surface from the previous night’s snort-sesh. The main part is hazardously heavy and simple and Hanopol brays out the vocals swaggering all the way. All else cuts out during the guitar solo number 1: overlaid with the very same number 1 and staggered directly at the only point where it could and does extend into a 3D topographic mind map of the DNA emotion spiral in ancient memory banks’ nighttime deposits of the contact high as exquisitely overdriven bass amplitudes in a howling buzz discharged from the belching innards of Rock Behemoth until all fades out to leave Shinki alone perched upon a cloud with his guitar, plugging into the rising sun rays extending from behind as they exchange complimentary, throbbing hues and using them as amplification. It all vanishes like the techincolour daydream it is, awakening back to the “Moby Dick”-ed up introduction and the vocals. Bass resounds, thunder craps, rain and wind storm and through this weather pattern breaks through another insane guitar solo. Out cuts a trap door from within and TADA out falls Joey Smith still rapping out his spastically insistent drum heads while Pinoy brother Michael brays out his will to get woman, get high, get good and stoked and fucked. Enter guitar solo two number up causing heavens to thunder and split and crack open with rain to make the parched drains green with moss and make love grow in one’s head, body caught in uncontrollable shudder, to shake your brains to the core, body to the mantle and spirit out of baked seasonal crust. Dough girl smiles from within, winking. Me, too…a pinky. Thunderclaps drown it out as crickets and other mossy denizens resound in humid black air.
Dropping in for a brief, mood-breaking baroque keyboard not unlike the “Lake Isle of Innisfree” upchuck on Sir Lord Baltimore’s “Kingdom Come” is the nonplussing “Chuppy.” This hiccough sounds nothing like the rest of the album and is a saccharine-sweet nightmare performed on cembalo; a keyboard that looks like a spinet (apparently), sounds like a harpsichord and is entirely incongruous to its surroundings. The only annoying moment of the album, “Chuppy” is light years away in approach from Shigeki Watanabe’s far more subtle and unstudied keyboard performance on “Don’t Say No.”
“Wanna Take You Home” commences as the final blare’n’bump’n’grind of the album, as well as being the slowest moment of the album outside of the near-standstill “Red Doll.” Originally written and recorded in 1969 by the obscure San Franciscan trio Fields as “Take You Home,” here it’s appropriated by Speed, Glue, Shinki & Friends, which is more than all right: ‘Specially as Fields’ version was nothing less than taking Cream’s cover of Albert “Flying V” King’s “Born Under A Bad Sign”, dropping a few notes, adding new lyrics and PRESTO came up with this bird-doggin’ come-on supreme for all the sweet young things of heaving nubile bosom with stars in their eyes at their West Coast ballroom gigs opening for John Mayall (This track would also spill over into a third version by Juan de la Cruz, the Filipino power trio Smith would form the following year back home with Hanopol and guitarist Wally Gonzalez.) The Blue Cheer sand in the grease grinding of the original is greatly adhered to, especially since it was already such an integral part of Speed, Glue & Shinki’s lexicon of sound and a long lost cousin that they could’ve written, anyway. Michael Hanopol, with a fantastic sense of the appropriate and appropriation judged it as worthy noise to work into the loose collage that is this huge and expansive double album. Because:
Where there’s nothing left and day is caught darkness on its tail, the last people left waiting dazed are collected up and into black drug pit at nighttime Texas Pop Festival ’69 when Zeps unfurl “Dazed And Confused” for people who forgot their name yet remember nighttime soul and no hangnail hang-ups on monkey’s uncle backside besides. Evening is balm to head, silence no longer crazy and no mystery any longer left: so Joey Smith reminds heaven and earth through tinny portable sounds Grundig machine and he grokks and all are zonked as well: remembering their reason for being by taking a form under circling sun so many times half in darkness left.
Completing an ingenious album that is one of the best records of the hard rock idiom stoned emperor 100 percent comes the run-on suite of “Sun”/“Planets”/“Life”/“Moon” and “Song For An Angel” performed on Moog synthesizer for Side four’s entire seventeen minute duration. A lift-off from all earthly desires prostrate on the floor as a series of charged electronic trajectories waft and smear together. Even on Moog synthesizer, Joey Smith makes it as Rock as his vocals, drumming and guitar playing because his attitude is so strong, careless and perfect, discharging a slow motion round of rocket launchings, pink noise twittering and knuckle dragging undertows as the air-locked elevation of soul continues to jettison all with Moog starship to lift-off beyond prefecture of asteroid, stratospheric inner space where neurons circle and spark brain coral of interior pink neon to litter all around sensation’s head quarters to ultimate collision with your only self. Self and soul unite. In your head. Forever. …by Julian Cope..

Like their music, the personal and creative relationships of Japanese rock & roll deviants Speed, Glue & Shinki were in a state of total disarray during the recording of their eponymous double-vinyl sophomore album in 1972. The ostensible bandleader, guitarist Shinki Chen, was already partially distracted from the proceedings, and original bassist Masayoshi “Glue” Kabe had completely checked out to resume his hobo-like travels, which left preternaturally wired vocalist and drummer Joey “Speed” Smith to jump into the driver’s seat and accelerate the band’s psychedelic rock school bus right over the cliff of reason. Replacement bassist Mike Hanopol was a handpicked ex-accomplice of Joey who assisted him in composing the majority of the album’s songs, and these were a vast catalog of typically loose, ultra-distorted, proto-metallic acid blues grinds like “Run and Hide,” “Calm Down,” “Wanna Take You Home,” and a wastoid anthem for the ages in “Sniffin’ & Snortin’, Pt. 1” and “Pt. 2” (which came complete with appropriate sound effects). The cumulative emotional effect of all this gloriously demented garage rock drudgery (think the MC5 meets Grand Funk meets Black Sabbath meets the 13th Floor Elevators) was so disconcerting that when a flute suddenly flutters into view midway through “Don’t Say No” (one of Shinki’s few songwriting contributions), listeners may find themselves instinctively swatting at it in panic, shrieking like uniformed Japanese schoolgirls. In all fairness, Shinki’s Hendrix-worthy talents did shine through on numerous occasions, even reaching religious fervor all over the epic “Search for Love” and in the backwards solo of the aforementioned “Wanna Take You Home,” while Hanopol tunes like “Bad Woman” and “Red Doll” revealed his passion for American power trio Mountain. But there was no mistaking Joey Smith’s dominant role throughout the LP, whether that meant croaking like Louis Armstrong across “Flat Fret Swing” or jamming together a 13-minute ambient sound experiment on Moog synthesizer entitled “Sun/Planets/Life/Moon,” which, along with the slightly less free-form “Song for an Angel,” took up all of the fourth vinyl side. Aaaand exhale…COUGH-COUGH-COUGH! As if you hadn’t guessed already, and in spite (heck, perhaps because) of the all-consuming chaos, what Speed, Glue & Shinki conjured here was a bona fide proto-stoner rock landmark. It may not have translated into record sales, and the band’s messy collapse soon after its release no doubt left a bitter taste in everyone’s mouths (particularly their free-spending, un-recouped label backers), but at least the short-lived trio’s unique cult legacy was now signed, sealed, and delivered for posterity….by all music….~




Classic wasted stoner rock from 1971. Joint 1st in Julian Cope’s Top 50 Japanese album chart (along with Flower Traveling Band’s Satori). Speed, Glue & Shinki's landmark debut album, 1971's Eve, is one of the greatest contradictions of its time (maybe all time): a primitive, deranged, and at times downright sloppy mutation of acid blues and proto-metal, akin to the Bloomfield/Kooper/Stills Super Session crashing headlong into earliest Zeppelin and Sabbath records, as performed by musicians whose instrumental chops were actually beyond reproach…but you'd never be able to tell from this!

In fact, guitarist and group linchpin Shinki Chen was often referred to as "the Japanese Hendrix," and both bassist Masayoshi "Glue" Kabe and drummer Joey "Speed" Smith possessed impressive résumés of their own before forming this unholy union under the guidance of Atlantic Records Japan executive Ikuzo Orita. As if you hadn't guessed, it was Speed, Glue & Shinki's mutual enthusiasm for various illegal pharmaceuticals that informed not only their crude garage rock aesthetic (the Stooges' debut album sounds almost civilized by comparison), but also the barefaced paeans to massive drug consumption that pass for their lyrics. Take "Mr. Walking Drugstore Man," Eve's opening statement of Neanderthal heavy blues, for example (and take these reds too, maaaaaan…), where Joey's dangerously distorted vocals plead their amphetamine craze-case to his pusher, or the shamelessly direct, musically tighter, and somewhat less lethargic "Stoned Out of My Mind," where Shinki's guitar mastery reflects the rising pulse and paranoia caused by, among other things, "all of the straight people staring" at the band's long hair. Sandwiched between these twin towers (containing nothing but 13th Floor Elevators) is the frankly hilarious "Big Headed Woman," which inhales Link Wray's "Rumble" through the bong that spawned Zeppelin's cover of "You Shake Me" at half-speed, and pillories the young lady who dared smoke all of Joey Smith's "stuff" while "balling another man at night." For shame! Another cut, "Keep It Cool," pretty much reprises this same, sordid cuckold tale just a little while later (and far less effectively), but "Ode to the Bad People" finally lays off the meds long enough to impart some typically utopian hippie messages against the album's most urgent, lucid sonic background. And while the instrumental bass solo, "M Glue," merely soundtracks Masayoshi Kabe's raging addiction to Marusan Pro Bond Glue, the album-closing "Someday We'll All Fall Down" takes a truly astonishing detour into Dylanesque acoustic guitars and soft-spoken philosophies that literally sound like the work of another band. What a trip! So don't be fooled by the innocent trio of schoolgirls gracing Eve's dust jacket; Speed, Glue & Shinki provided one of the most harrowing glimpses into rock & roll's heart of darkness with this lo-fi masterpiece. ...~


Superb limited edition card digipak reissue of this 1971 album from the Japanese supergroup containing an eight page booklet with band info, photos and complete English lyrics. Created by famous Japanese producer Ikuzo Orita, Speed, Glue & Shinki were a Japanese supergroup made up of Shinki Chen (ex-Powerhouse and Foodbrain) on guitar, Masayoshi Kabe (ex-Golden Cups) on bass and Filipino Joseph 'Pepe' Smith (ex-Zero History) on vocals and drums. The resulting sound was extremely bleak and raw, with Kabe's crunching atonal bass runs and Smith's stop-start rhythms creating a unique base for Shinki Chen's euphoric blues. Erebus. 2008....~  


SPEED, GLUE, AND SHINKI released two albums between '71-'72. Both, featuring the sonic devastation of guitarist Shinki Chen, qualify as essential albums not just for fans of Japanese hard psych/proto-metal/prog/stoner rock weirdness, but for fans of hard psych/proto-metal/prog/stoner rock weirdness in general. The first album "Eve" from '71 is probably the more rewarding of the two if you're just looking for killer early 70's heavy rock with a bit of drugged out blues, short (like under a minute) prog-styled interludes, and TONS of stoned out fuzz & wah pedal guitar madness. The vocals are also quite enjoyable on "Eve" with the whole album sung in English (with surprisingly little accent) and the at times hilarious lyrics dealing with gettin' high, having your dope stolen by a uppity woman, etc. Put simply, "Eve" is just a fun, well-crafted album which I often recommend to those interested in an introduction to Japanese heavy rock.
The second SPEED, GLUE, AND SHINKI release, a double-LP simply titled "Speed, Glue, And Shinki", was released in '72 and is a far more difficult, although at times more rewarding record than '71's "Eve". Whereas "Eve" was a basically straight forward riff heavy LP which blows by the listener in 35 minutes, the 4 sides which encompass '72's "Speed, Glue, And Shinki" are far from easy to digest. While there are some very obvious similarities between the two, "Speed, Glue, And Shinki" is a much more experimental affair (than "Eve") which has a tendency to grow on the listener after repeated listens versus "Eve's" ability to grab ya after the first tune. Much of this has to do with the differing attitudes concerning song-structures between the two albums. "Speed, Glue, And Shinki" is a more "progressive" record (but not in the normal sense of the term) with much experimentation with sound, ambience, etc. It's a fantastic record to listen to if you're a fan of the 1971 SHINKI CHEN & FRIENDS-"Shinki Chen" LP.
In the end however, I'd still recommend '71's "Eve" LP as a starting point for those interested in, but unfamiliar with, Shinki Chen or early 70's Japanese heavy rock in general. While certainly FLOWER TRAVELLIN' BAND and BLUES CREATION both each have legendary material which could be used as a great intro to the unique wonders Japan had to offer to those in search of all things "heavy" from the late 60's-early 70's, I still feel SPEED, GLUE, AND SHINKI's "Eve" LP from '71 is just a perfect starting point.
So if you are unfamiliar with Shinki Chen, or with Japanese post-psych heavy rock, it's totally an avenue worth exploring and "Eve" is the perfect album to get you rollin'! So pick up some SPEED, GLUE, AND SHINKI, fire one up, pop the disc in, press play and have a blast!. ..by.. T. Kasuboski ...~



2015 jewel case repress coming soon... Following on from the gutsy blues-rock groove of the band's first and probably only genuine studio release, 1971's Eve, Speed, Glue & Shinki's second release, originally released in 1972 on Atlantic and often referred to as Tiger, brought together a number of tracks not included on Eve, as well as some new recordings that took a very different musical slant. Joey Smith decided that since he could he handle himself admirably on drums, it was time to challenge a new instrument, so he bought a synthesizer. Drafting in friend Mike Hanopol to take over the bass-playing duties from the departed Masayoshi "Glue" Kabe, Smith managed to produce an album of two halves, the first being some of the strongest SGS-esque material ever, the second being some fine electronic instrumentals in the Tangerine Dream mode. Following the release of the album, Smith and Hanopol flew back to Manila to become Filipino superstars, while Shinki Chen eschewed the recording of his music in preference to live recordings and Kabe found alternative employment in the highly popular band, Pink Cloud. However, the band's legacy lives on in Tiger, a compendium of the sound of Eve and a taste of where the band might have gone had time, personalities and huge amounts of illicit drugs not exerted their influences....~ 




Credits 

*Shinki Chen - guitar, vocals
*Masayoshi Kabe - bass 
*Joe 'Pepe’ Smith - drums 


Tracks Listing 

01. Sniffin & Snortin Pt. 1 
02. Run and Hide
03. Bad Woman 
04. Red Doll 
05. Flat Fret Swing 
06. Sniffin & Snortin Pt. 2 
07. Don’t Say No 
08. Calm Down 
09. Doodle Song 
10. Search for Love 
11. Chuppy 
12. Wanna Take You Home 
13. a) Sun b) Planets c) Life d) Moon 
14. Song for an Angel




watch...
Speed, Glue & Shinki “Eve"(ex-Powerhouse,Foodbrain) - (ex-Golden Cups)- (after-Juan de la Cruz) 1971 debut album Japan Heavy Psych Rock (Top 50 Japan Rock Albums by Julian Cope) 

johnkatsmc5, welcome music..

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“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958

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