body{ text-shadow: 0px 0px 4px rgba(150, 150, 150, 1); }

Saturday, 30 July 2016

Tin Pan Alley “Caramel Mama” 1975 Japan Prog Jazz Fusion




Tin Pan Alley “Caramel Mama” 1975 Japan Prog Jazz Fusion

full

https://vk.com/wall312142499_64

The Helpful Soul “First Album”1969 Japan Psych Blues Rock (Top 50 Japan Rock Albums by Julian Cope)

The Helpful Soul “First Album”1969 Japan Psych Blues Rock (Top 50 Japan Rock Albums by Julian Cope) 
full vk

This is mega rare  first pressing of legendary Japanese Garage/Blues/Psych legend! ...~


The Helpful Soul was a japanese pearl formed in Kyoto in 1968 and released only two LPs in 1969. The story that the leader, guitarist and vocalist of the group Junio ​​Nakahara after opening a show for the Blues Creation with Helpful Soul was “delighted” with the sound of the Blues Creation that decided to change his name to Tstomu Ogawa, ended the group and formed another band: Too Much, with a more distinctive sound and releasing an album in 71….


The career of the Helpful Soul was a real case of wrong place, wrong time - for they hit their blues stride just as heavy blues was becoming hard rock, and graduated to heavy rock too late to capitalise on even that brief fad. However, they recorded one outstanding track, the ten-minutes-plus of “Peace For Fools”, which appeared on their otherwise bog-standard blues dirge debut LP. This track in itself separates them from all Japanese blues bands for it is a Kim Fowleyan masterpiece of Jim Morrison mystical doggerel/truly possessed nihilist genius. Unfortunately, leader Junio Nakahara was so inspired by witnessing a performance by Blues Creation, when his band supported them at the Too Much Festival, that he was soon after driven to change his own name to Tstomu Ogawa while his band became known as … Too Much. ... Julian Cope …~


Junio Nakahara – lead vocalist and slide guitar 
Gene Shoji – lead guitar 
Charles Che - bass 
Eiichi Tsukasa – drums 



1 Blues for My Baby 8:06 
2 Fire 2:42 
3 Peace for Fools 10:33 
4 You Got Me Floatin’ 3:14 
5 Spoonful 14:48 
6 Kansas City 3:42 
7 Crossroads 5:13 

Bônus (CD): 
8 Little Wing 3:50 
9 Aldin’s Theme 2:35 




Discography:
  • A THOUSAND AND ONE NIGHTS (Victor, 1969)
  • ALDIN'S THEME 7" EP (Victor, 1969)
  • THE HELPFUL SOUL FIRST ALBUM (Victor, 1970)


John Lee Hooker And The Coast To Coast Blues Band - 12 July 1991 - Den Haag, The Netherlands Live bootleg



John Lee Hooker And The Coast To Coast Blues Band - 12 July 1991 - Den Haag, The Netherlands Live bootleg

full

https://vk.com/wall312142499_2229

Taj Mahal Travellers "Live In Stockholm" 1971 (bootleg) Japan Acid Experimental,Avant Garde (Top 50 Japan Rock Albums by Julian Cope)

Taj Mahal Travellers "Live In Stockholm" 1971  (bootleg) Japan Acid Experimental,Avant Garde (Top 50 Japan Rock Albums by Julian Cope) 
full vk

The Taj Mahal Travellers were a legendary improvisational group out of Tokyo, who combined Eastern and Western instruments, electronics and vocal chants, and used heavy post-production processing to create unique long flowing jams, with deep organic droning and pulsing, similar to some of the cosmic electronic stuff out of Germany at the same time, though filtered through a Japanese sensibility. Their music is considered at the pinnacle of Asian psychedelic music of the late 1960s and early 1970s. At the same time they were far closer to avant-garde minimalism, with some of the group even disavowing the psychedelic connection. Their few recordings feature long untitled freeform tracks, often taking up an entire side of the record. Formed in 1969 by Takehise Kosugi, a violinist who had already been associated with the Fluxus movement, along with Ryo Koike, Michihiro Kimura, Yukio Tsuchiya, Seiji Nagai, Tokio Hadegawa, and Kinji Hayashi, the Taj Mahal Travellers soon began to perform inter-media concerts in Japan. Between 1971 and 1972 they toured much of Europe and Asia, mostly traveling around in a Volkswagen mini-bus, and even performing at the Taj Mahal in India. For a concert at the Moderna Museet (Modern Museum) in Stockholm, released thirty years later on the double CD Live Stockholm July 1971 by Drone Syndicate, the group was down to the trio of Koike, Kimura, and Tsuchiya. Soon after the tour abroad live material was recorded at the Sohgetsu Hall in Tokyo and released as the LP July 15, 1972 on the Sony label. In 1973 another live performance was featured on one side of the double LP compilation Oz Days Live (also known as Live at Oz), from the underground Oz label. The next year the group went into the studio to record more material, and this was released as the double LP August 1974 on Sony in 1975. The group disbanded that year, and Kosugi continued a prolific solo career, as well as to help some of his music students to start the Taj Mahal Travellers-like group East Bionic Symphonia, who released a self-titled album in 1976. Seiji Nagai went on to study Indian music and electronic music, and finally released a CD Electronic Noise Improvisation 1999, which attempts to recreate the Taj Mahal Travellers spirit with the use of dense electronic drones. ..~


Also shows up on various sites / sources with a black & white cover. Two solid mind-altering hours of pure TMT to thoroughly soak in. Loved disc one - a single lengthy cut "Improvisation, Part 1", clocking in at 58:36 every bit as much as I dug the well-received (in my opinion, at least) disc two "Improvisation, Part 2" - running at 59:43. Possibly might o a bit too over-the top for some. Also, check out their other two CD releases 'July 15, 1972' and 'august, 1974' 2-CD (see my review of both). Think - Tangerine Dream meets Acid Mothers Temple. An absolute must-hear....by...Mike Reed ...~ 


The Taj Mahal Travellers were a legendary improvisational group out of Tokyo, who combined Eastern and Western instruments, electronics and vocal chants, and used heavy post-production processing to create unique long flowing jams, with deep organic droning and pulsing, similar to some of the cosmic electronic stuff out of Germany at the same time, though filtered through a Japanese sensibility. Their music is considered at the pinnacle of Asian psychedelic music of the late 1960s and early 1970s. At the same time they were far closer to avant-garde minimalism, with some of the group even disavowing the psychedelic connection. Their few recordings feature long untitled freeform tracks, often taking up an entire side of the record. Formed in 1969 by Takehise Kosugi, a violinist who had already been associated with the Fluxus movement, along with Ryo Koike, Michihiro Kimura, Yukio Tsuchiya, Seiji Nagai, Tokio Hadegawa, and Kinji Hayashi, the Taj Mahal Travellers soon began to perform inter-media concerts in Japan. Between 1971 and 1972 they toured much of Europe and Asia, mostly traveling around in a Volkswagen mini-bus, and even performing at the Taj Mahal in India. For a concert at the Moderna Museet (Modern Museum) in Stockholm, released thirty years later on the double CD Live Stockholm July 1971 by Drone Syndicate, the group was down to the trio of Koike, Kimura, and Tsuchiya. Soon after the tour abroad live material was recorded at the Sohgetsu Hall in Tokyo and released as the LP July 15, 1972 on the Sony label. In 1973 another live performance was featured on one side of the double LP compilation Oz Days Live (also known as Live at Oz), from the underground Oz label. The next year the group went into the studio to record more material, and this was released as the double LP August 1974 on Sony in 1975. The group disbanded that year, and Kosugi continued a prolific solo career, as well as to help some of his music students to start the Taj Mahal Travellers-like group East Bionic Symphonia, who released a self-titled album in 1976. Seiji Nagai went on to study Indian music and electronic music, and finally released a CD Electronic Noise Improvisation 1999, which attempts to recreate the Taj Mahal Travellers spirit with the use of dense electronic drones...by Rolf Semprebon.....~ 



Takehisa Kosugi is a hippie become avantgarde composer. Born in Tokyo in 1938, and graduated in 1962 at the Tokyo University of Arts, Kosugi founded the Japanese equivalent of the Fluxus movement, called "Group Ongaku", a group devoted to improvisation and multi-media performances. In 1969 he formed the Taj Mahal Travellers, a psychedelic-rock group that played lengthy improvised jams that can be summarized in three principles: a Far-eastern approach to music as a living organism, an intense electronic processing of instruments and voices, a semi-mathematical overlapping of frequencies. Basically: LaMonte Young on acid. Kosugi mainly played violin. He was on the road with this group between 1971 and 1972, traveling in a Volkswagen minibus from Holland to the Taj Mahal itself. Two albums were made out of that experience: Taj-Mahal Travellers (Sony, 1972), also known as July 15 1972 (reissued in 2002 by Drone Syndicate) and performed by a seven-unit line-up, and Taj Mahal Travellers (Denon, 1983), also known as August 1974 (reissued in 1998 by P-Vine), four tracks over two LPs performed by eight players, plus one side (two tracks) of the legendary double-LP bootleg Live At Oz (Oz, 1973 - OZ Days, 2001), which also includes live performances by obscure Japanese musicians Acid Seven, Minami Masato and Hadaka no Rallizes. Thirty years later the Live Stockholm July 1971 (Drone Syndicate, 2001), a two-hour long jam, also resurfaced from the vault. 
The four sides of August 1974, each about 20-minute long (the length that fit on an LP side), present the Travellers at their most sophisticated. The first jam is a concert of cosmic hisses that ebb and flow, distortions that scour the abysses of the psyche, sinister wailing and rattling that create a metaphysical suspense. At first, it straddles the line between Pink Floyd's Astronomy Domine and Klaus Schulze's Irrlicht, but then it becomes more and more abstract, recalling Sun Ra's extraterrestrial jazz-rock. Percussions are used sparingly. Violin, harmonica, bass, tuba, trumpet, synthesizer, mandolin duet in a subliminal and obscure manner. There is no melody, there is no logic. Just "voices", both subhuman and supernatural, that resonate with a universal inner voice. The second jam is a cacophonous gathering of timbres and gamelan-like tinkling, over which Tibetan chanting and droning intone a demented psalm. Halfway into the piece, the band seems to lose interest in playing, so the rest of the track is a rarified wind of tenuous sounds. The third track continues this silent journey into the unknown, with odd percussive patterns and random dissonance. As the chaos increases and exuberant voices join in, the bacchanal turns into a surreal pow-wow dance. 
The last jam continues the program of eerie noises and unlikely counterpoint in an atmosphere that is both dreamy and austere. We are transported to a floating zen garden, traveling on a flying saucer. A wavering harp-like melody invites to meditation, and, for a while, the spiritual mood prevails. Then the percussions break the spell, introducing the usual element of indeterminacy and heresy, and the trip ends, one more time, in the resonating depths of distant galaxies. 

Kosugi later became a classical composer, in particular composing scores for the Merce Cunningham Dance Company and presenting sound installations at a number of international art festivals. His early solo works, Improvisation (Iskra, 1975), Catch-Wave (Sony, 1975 - Showboat, 2002 - World Psychedelia, 2008) for electronically-processed violin, both considered among his masterpieces (and not too different from Tangerine Dream's contemporary works), and Distant Voices (Columbia, 1976), were in the vein of the jazz improvisations of the time (Anthony Braxton, Derek Bailey, etc). 

His style became to approach the classical avantgarde with Violin Solo 1980 N.Y.C (P-Vine), released only 20 years later, New Sense of Hearing (ALM, 1980), Perspective (Flowerdogs, 1981), Kosugi (Bellows, 1981), En Ban (Fukyosha, 1983). 

Melodien (Kunstverein, 1986), Global Village Suite (FMP, 1988), Violin Improvisations (Lovely, 1990), Music for Merce Cunningham (Mode, 1991), Echo (Apollo, 1992) are his mature works. 

Improvisation Sep 1975 (Iskra) documents a session of drone improvisations by Toshi Ichiyanagi (Yoko Ono's former husband), the Taj Mahal Travellers' founder Takehisa Kosugi and Stockhausen's percussionist Michael Ranta.....~ 



Credits 

Double Bass [Electric], Santoor, Voice – Ryo Koike 
Electronics, Engineer – Kinji Hayashi 
Mastered By [Remastering] – H. Proudy 
Photography By – Christopher Davies (2) 
Trumpet, Synthesizer [Mini-korg Synthesizer], Timpani – Seiji Nagai 
Tuba, Percussion – Yukio Tsuchiya 
Violin [Electric], Harmonica, Voice – Takehisa Kosugi 
Voice, Percussion – Tokio Hasegawa 
Voice, Percussion, Mandolin – Michihiro Kimura 



Tracklist 
1-1 Improvisation, Part 1 58:36 
2-1 Improvisation, Part 2 59:43 

Kazuki Tomokawa “Nikusei” 1976 Jäpan Acid Folk,Avant Folk


Kazuki Tomokawa “Nikusei” 1976 Japan Acid Folk,Avant Folk

full vk

https://vk.com/wall312142499_55


Second album by avant/acid folk singer Kazuki Tomokawa,one of my favourite japanese folk singers next to Kan Mikami the title Nikusei means Human Voice 
and what an emotional voice this guy has! sometimes you wonder where he gets all that air from Kazuki Tomokawa is a prolific Japanese avantgarde-folk singer, poet, and often described as a “screaming philosopher” due to his idiosyncratic singing style. His music has been used in the films of cult directors Takashi Miike and Koji Wakamatsu, and he also appears in person in Miike’s Izo (2004)...~


Tomokawa Kazuki: “Nukusei” (Harvest – YC-8006 – 1976) (Record: Mint/ Jacket: Mint) Comes with 4-paged booklet. This was Tomokawa’s second record he released. Great copy of this early Tomokawa record. He is undoubtedly the unequaled master of possessed song-spirit. Here the young Tomokawa wails and screams emotionally hard enough in order to strip the paint of thewalls. Nevertheless at times he gets quite emotional and laid back in order to hush his haunting demons to sleep. Just a splendid piece of Japanese acid folk and chant exorcism. Tomokawa’s music is violent, emotionally charged with insane screaming modes, piercing sensitivity, cathartic rhythmic purge, thrashing acoustic guitar aesthetic and harsh, reflecting the atmosphere of the bleak northern prefecture of Aomori. Hardly turns up these days. Stunningly great psychedelic-acid-avant-outsider folk music. For fans of Mikami Kan, Jandek, acid folk, Iuchi Kengo, J.A.Seazer, psych heads all around and adventurous music geeks. Highly recommended original pressing in top condition. Very rare early (2nd) Tomokawa disc. Hardly, if never, resurfaces. Act smooth and swift. This record will certainly enhance your sorry ass existence....~




Tracklist
A1 おじっちゃ 4:24 
A2 冬は莫迦くへなあ 2:20 
A3 あめらんくゆらん 3:32 
A4 だがつぐ 2:42 
A5 似合った青春 3:22 
A6 歩道橋 6:15 
B1 春だなあ 
Arranged By – 武市昌久* 
2:57 
B2 冷蔵庫 0:50 
B3 木端微塵 3:10 
B4 トドを殺すな 2:47 
B5 ハーモニカ 4:22 
B6 ちいさな詩 3:26 
B7 石 3:10 


Coupla Prog “Death is a Great Gambler” 1972 Kraut Rock Prog Rock




Coupla Prog “Death is a Great Gambler” 1972 Kraut Rock Prog Rock

full

https://vk.com/wall312142499_2225

The old legend Coupla Prog originally published this album in 1972. "Death Is A Great Gambler" is a refined, ecclectic krautrock album dominated by Hammond organs, solid guitar rythms and frantic technical drums. With a bands like Improved Sound Limited, Coupla Prog represents a more accessible and less obscure side of krautrock. Their music alternates conventional, melodic & energic psych pop songs (closed to the 60's British psych scene) with "lysergic" epics under an hippie's attitude and musical aesthetism. My favourite composition is the moody and mysterious "Tochter Im Delirium - Daughter's Delirium" : an "acid" rock trip with haunted, furious Hammond organs, obsessional & menacing guitar chords, bizarre sound manipulations and bass wha wha effects. Not essential but highly recommended for those who are into the krautrock / space-psychedelic rock subgenres. An excellent listening with good weed.......

1971 was a fateful year for COUPLA PROG as singer and guitarist Rolf Peters died of a sleeping-pill and alcohol overdose. As the band's main musical influence and songwriter he left a huge gap that the other musicians were at first unable to fill asking themselves whether COUPLA PROG should continue or split.

It took the remaining members, Wolfgang Schindhelm (organ, piano, and vocals), Reiner Niketta (bass, organ and piano) und Hubert Donauer (drums), a few months to get to grips with the shock of their loss. They decided to have a go anyway and recruited a friend of Schindhelm's, Walter Kümmich, as the new guitarist. Vocals were shared between Schindhelm and Niketta who had started writing new material together. At the end of the year the band was ready to play a live set of new and old material. It was also time to go into the studio and it was a great help to COUPLA PROG that they were, together with Fashion Pink (Long Hair LHC 3), one of SWF Producer Walther Krause's favourite bands, resulting in him booking the band into SWF's studio. In the meantime drummer and founding member Donauer left the band and for the SWF-Studio U1 session on 18. 02. 1972 Reinhold Hirt, who has since made a career as a professional musician (amongst others Hubert K.), was drafted in.

With this line-up COUPLA PROG recorded four songs which form the basis of this CD. One of the most outstanding tracks on the CD is the 18 minute long title track "Death Is A Great Gambler ...", a true emotive, dynamic and hypnotic masterpiece of psychedelic underground rock dedicated to Rolf Peters. The rest of the tracks on the CD are made up of a previously unreleased SWF session from 16. 02. 1970, with a highly individual interpretation of Donovan's "Season Of The Witch". Also included on this CD is "Your Time Has Come", an early version of "Pamphlet To Mr. M. Thompson" which appears on COUPLA PROG's rock opera Edmundo Lopez.

This CD rounds off the SWF produced COUPLA PROG trilogy. Further information about the band can be obtained by purchasing the following CDs: COUPLA PROG "Sprite" SWF-Session Vol. 2 (Long Hair LHC 2) and "Edmundo Lopez" SWF-Session Vol. 4 (Long Hair LHC 4).

"Sprite" includes three of five tracks from the first SWF session (26.02.1970) and all four tracks from the third recording session (16. 04. 1971). The usage of the term "session" does not stand for spontaneous improvisation (although some of the tracks last over twelve minutes!) but describes the circumstances and conditions that COUPLA PROG had to put up with at these radio sessions. All of the tracks were recorded live in the studio with no possibility for overdubbing and editing. The best tracks were then chosen for broadcast. "Sprite" was first released in September 2000 to the acclaim of underground and progressive rock fans.

Finding these wonderful recordings from a mainly unknown band could be compared with striking gold. The quality of the music has been widely celebrated in the media:

Oldie Markt (04/02): Listening to the quality of this record it is hard to understand why the record companies didn't give this band a chance.

Good Times (04/01): Referring to the song "Ode To The Vanilla Fudge" COUPLA PROG were a cross between the American band of the same name via a musical slaughtering of classic Stax soul such as Arthur Conley's "I Wanna Be Free" best known in Europe in a grooving version by the VIPs to their own long wild and dreamy compositions such as "Auf dass er sich im Grabe umdrehe" (engl. that he would turn in his grave)
"Edmundo Lopez", COUPLA PROG´s masterpiece, recorded on the 16.07.1970, is a German rock opera about a young South American who escaped military service by fleeing to the mountain calling on others to desert. Good Times (04/01) compared the band to The Doors and The Nice and Wolfgang Schindhelm's vocals to Jim Morrison. The 60 minutes were recorded "live" in the studio in two takes. The recordings were then offered to the label Liberty (Amon Düül 2, Can etc.) and inexplicably refused.

It is left up to every listener themselves to judge COUPLA PROGs significance within the German underground and progressive rock scene. For LONG HAIR the band is an enrichment within this genre. Many thanks to SWF for producing, archiving and licensing these recordings.

Manfred Steinheuer, November 2002
Translation: Trevor Wilson....

Line-up / Musicians

- Hubert Donauer / drums
- Rolf Peters / guitar, vocals
- Reiner Niketta / bass, organ, piano, vocals
- Wolfgang Schindhelm / organ, piano, vocals
- Reinhold Hirt / drums
- Walter Kümmich / guitar

1. Chandra (6.30)
2. That's The Way It Goes (4.12)
3. Tochter Im Delirium - Daughter's Delirium (9.15)
4. Death Is A Great Gambler But If I Win, Finally I Can Die (18.34)
5. Your Time Has Come (4.25)
6. Season Of The Witch (13.47)

Prefix “Brustna Illusioner” 1974 ultra rare Private Swedish Underground Psych




Prefix “Brustna Illusioner” 1974 ultra rare Private Swedish Underground Psych

http://www.dailymotion.com/video/x2hu77d_prefix-brust..

Here's the rarest Swedish 70s underground LP!!! Record in 1973 to 1974 and pressed in less than 100 copies in 1974. Not even the big wig Swedish collectors have it and it's an amazing record. Totally homemade underground private press that sort of reminds me of some UK Holyground lps like Astral Navigations and A to Austr. with everything from heavy acid underground fuzz sounds to beautiful Beatleesque piano based ballads, with slight, understated but deep psych effects,...but done underground in Sweden by definitive acid casualties. more than 1/2 of the songs are sung in English. I was floored by it. No one I know have ever heard about it or seen it anywhere except now in the 4001 Record Collectors Dreams book. .....

ngrid Blom (guitar, percussion, backing vocals)
Largely the work of singer/songwriter and multi-instrumentalist Pierre Blom, this is a charmingly lo-fi album, alternating between folky ballads and uptempo rock with fuzz guitar. There’s a strong Paul McCartney influence in the songwriting, whilst much of the material reflects the style of Holyground ventures like A-Austr and the first side of Astral Navigations. As a footnote, band member Âke Eriksson (who apparently contributed only vocals here) went on to drum with several prolific underground Swedish bands.

1. Alla Noter Är Ledsna
2. Doris With The Eye
3. Min Kära
4. The Bobby Medger's Tune
5. Mellanöl
6. Happy New Year
7. Good Old Woman
8. Ett Ord Som Finns Mening Uti
9. Duke Of War
10. Jag Målar En Tavla
11. Samhällstillvänd
12. Son Of A Woman
13. Stupid Record Company


Robert Stephen Band “Du Méist Lo Ufänken”1979 ultra rare private Psych,Folk/Pop/Rock album from Luxembourg







Robert Stephen Band “Du Méist Lo Ufänken”1979 ultra rare private Psych,Folk/Pop/Rock album from Luxembourg, 

http://www.dailymotion.com/video/x3298kq_robert-stephen-band-du-meist-lo-ufanken-b5-du-meist-lo-ufanken-gollo-musek-literatur-80008-8-88_music

Friday, 29 July 2016

Ak Musick “Ak Musick” 1972 mega rare Private German Free Jazz Experimental only 150 copies pressed




Ak Musick “Ak Musick” 1972 mega rare Private German Free Jazz Experimental only 150 copies pressed

interview by Psyĉhedelic baby..

http://www.psychedelicbabymag.com/2012/12/ak-musick-i..

http://www.dailymotion.com/video/x2htzuw_ak-musick-b2..

GoodThunder “ GoodThunder “1972 US Prog Rock






GoodThunder “ GoodThunder “1972 US Prog Rock


full

http://www.dailymotion.com/video/x23iinx_goodthunder-..

https://vk.com/wall312142499_2212

Good Thunder were a young, heavy progressive five piece from Los Angeles, comprising of James Cahoon Lindsay (lead vocals, percussion), John Desautels (drums), David Hanson (guitars, vocals), Bill Rhodes (bass) & Wayne Cook (keyboards). Their short-lived existence produced only one album, 1972’s 8 track, eponymous debut, released through Continental records, a sub division of Elektra.

Their album is now largely forgotten and certainly didn’t attempt to break new ground within the field of Californian bands writing hard, guitar oriented art-rock with a progressive/ psychedelic edge, during the early 70’s. That said, the musicianship behind the crunchy guitars, driving bass-lines and underpinning Hammond organ rhythms, demonstrate a more than competent level of proficiency. Indeed, the construction of their more progressive tracks (such as ‘Barking At The Ants’, the stand-out track of the album) leave one wondering what might have been, with a couple more albums under their belts.

This album would appeal to those who enjoy their traditional, heavy progressive rock with an overtly melodic, pre-AOR commercial feel in the vein of early Angel & White Witch, mixed with Deep Purple, High Tide & Uriah Heep classic rock, with the odd touch of Allman Brothers quirkiness.

Jared Butcher (2009)

GoodThunder is practically unkown, which is really a shame considering they released one of the best albums of 1972!

I Can’t Get Thru to You - Is a short, but powerful, number loaded with heavy guitars and beautiful organ and piano use.

For a Breath - Starts with some wind-sounding effects, then the main guitar riff fades in. Great guitar solos follows not to long after the vocal parts. Other than the powerful guitars, you also get some nice keyboard work. Then the song changes to a nice and slower melodic piece, which only lasts less than 30 seconds before going back to the main riff and a short bass solo. Then the song picks up right where it started.

Moonship - is another short song, but one of my favorites. Opening up with organ and guitar. This song has haunting vocals and lyrics, the keyboards are the key piece to this haunting puzzle. Moonship pretty much describes GoodThunder in a nutshell.

Home Again - is about a man who is misses his home, family, and friends. This song starts out tame, but don’t let that mislead you! For you will be treated with a nice lengthy guitar solo!

Sentries - The shortest song from this album. It opens with an oddly placed circus sounding intro…trust me this band wasn’t without a great sense of humor! Sentries is a nice hard rock song that sounds like it was made to be the leading single from this album….which it was! As with the rest of the album, this song is full of great guitaring and keyboarding!

P.O.W. - is, in my opinion, their masterpiece (along with Barking at the Ants). Expert guitaring and keyboarding. Starts with a piano and acoustic intro which then opens to a nice guitar part. James Cahoon Lindsay gives his best vocals to this song. As I said before, this is simply a masterpiece. Not much else I can say. You definitely have to hear this.

Rollin’ Up My Mind - possibly their heaviest song. Beautiful guitaring and lyrics, also one of my favorites from this amazing album.

Barking at the Ants - don’t know what the song title means or is about, but it starts with a great guitar riff. As said above in parenthesis, this is their other masterpiece. The guys give the best vocal harmonies and instrumentation on Barking at the Ants. Lyrics are just suberb!

For a bands that’s unknown, there sure as hell made on of the best heavy prog albums of the early 70s that effortlessly stands the test of time.

Oh and did I mention the best vocal harmonies of Heavy Prog? I did? Shame on me for being so redundant.

5 Stars to an that really deserves it!……

Practically unknown North-American band GOODTHUNDER ( 6 ratings and only one reviews, until now ) makes a sound between the hard-rock and heavy-prog with influences from Leslie West’s MOUNTAIN, DEEP PURPLE and something from URIAH HEEP.The disk in itself presents sime high points. These high points are in the track 1 “I Can’t Get Through To You” with a “groovy” rhythm and a very progressive moment which starts about to 1 min 08 sec with an organ “bridge” and end 1min 39 sec with a unison scale played by organ,guitar,bass and drums.,The track 2 “For A Breath” shows a guitar solo that reminds me “Look at Yourself” from Uriah Heep.,The track 6 “ P. O . W ” starts to a typically oriental theme and progress to a psychedelic flavor and in the track 8 “Barking At The Ants” one of the more progressive moments of whole disk. The other four tracks in the disk isn’t bad tracks, but in my vision having a tendency much more to hard rock or blues and are far from the progressive “border lines” . For this balance between the 8 tracks ( 4 close to prog and 4 far from prog ) my rate is the medium note 3 stars !!! …….

James Cahoon Lindsay / lead vocals, percussion
- John Desautels / drums
- David Hanson / guitars, vocals
- Bill Rhodes / bass
- Wayne Cook / keyboards

1. I Can’t Get Through To You (3:18)
2. For A Breath (5.35)
3. Moonship (2.46)
4. Home Again (6.48)
5. Sentries (2.36)
6. P.O.W (6.50)
7. Rollin’ Up My Mind (4.11)
8. Barking At The Ants (6.39)

Datetenryu “Datetenryu” 1971 Japan Heavy Psych,Hard Rock Prog Punk (Top 50 Japan Rock Albums by Julian Cope)

Datetenryu “Datetenryu” 1971 Japan Heavy Psych,Hard Rock Prog Punk (Top 50 Japan Rock Albums by Julian Cope) 
full 
Namely, the first track name “Bukkowareta Boku” is “Myself Broken In Pieces” in English. The frontman Masao’s aggressive keyboard solo could be goin’ too fast to stop, and as though it crashed through the audience - my honest impression. Hiroshi’s vocal is not only aggressive but also rampant and desperate, like Boz in King Crimson’s Earthbound - this voices can lead us to a brave new world named DATETENRYU - Cool Flying Dragon! This strongest energy can be heard in the next “Harugeshiki”, with more rampant (but rigidly steady and somewhat attractive) rhythm section by Yosһitaka’s rumblin’ drums and Hiroshi’s deep bass. Exactly they seems to give rise to a thunder storm of improvised and non-traditional psychedelic sounds. Kyoto, Japan is a traditional city with lots of temples or idols indeed, but their energetic plays may blow this tradition and conventional atmosphere easily away I imagine? The three or four liberal intellectuals can do so. “Doromamire” is really their living way and the masterpiece … the sound quality, remixing, and even their playing itself are not good but suitable for the word encourager. Their soundscape can sometimes float up and sometimes sink down, with lots of brilliant noises and dirty earaches around them. Please you easily imagine how the audience might feel. Through a weird terrorvision “Part-4”, we can rush with them into the last irresponsible and apathetic song “Abuku No Aji”. Hiroshi’s slipshod voices are cool but warm, yeah why cannot we enthuse ourselves over this album, and these terrific stuffs? ……..
Included here as representatives of the early ’70s festival scene, Datetenryu was an obscure cousin to Communist agitator bands Zuno Keisatsu (Brain Police), Yellow, Les Rallizes Denudιs and Murahatchibu. Led by organist Masao Tonari, the band on UNTO[album] played a frantic hogwash of soul-based progressive space rock that inhabited the same territory as The the Soft Machine’s debut- LP period (imagine ‘Why Are We Sleeping?’ or ‘Hope For for Happiness’ by way of ‘21st Century Schizoid Man’). Mainly instrumental, their music is a space trek through endless R&B riffs and classic soul moments, like some ever- unfolding medley. UNTO purports to be what the band members would have chosen had they had the opportunity to release an official debut album at the time, ie: a total barrage of lo-fi progressive garage rock. The 20-minute epic ‘Doromamire (Covered All Over In in Mud)’ is the killer, but really it’s all one insane 47-minute-long rush. Formed in May 1971, at Kyoto Sangyo (‘Industrial’) University, Datetenryu was a right bunch of refusenik longhairs. Masao Tonari set up sideways on to the rest of the band, while drummer Shogo Ueda played, head down, facing away from the stage pointing towards Tonari’s Yamaha organ. Indeed, guitarist Kei Yamashita appears to have been permanently out of proceedings in the same way that Yes’s Pete Banks and the Nice’s Davy O’List were forever being sidelined. Datetenryu’s biggest claim to fame, however, was the presence of bassist/singer Hiroshi Narazaki, who later became Hiroshi Nar and joined Les Rallizes Denudιs, thereafter forming his own very excellent band the Niplets, who continue to perform right up to the present time. … 
“Progressive punk” might seem like an oxymoron of the most moronic kind, but once you get down to the brass tacks nitty gritty of it all the concept really ain’t as strange as one might think. Take the genre of “krautrock” (at its best) f'rinstance, a perfect example of what happens when you mix up late-sixties Amerigan garage band concepts with Karlheinz Stockhausen (and don’t tell me that there weren’t a whole buncha late-sixties U. S. of Ayers who were tossing about their Stooges with King Crimson coming up with some rather smart sounds of their own!), and hey, once you get past the Blondies and Talking Heads in En Why See you’d notice that groups like Kongress (late-sixties punk meets krautrock) and even the Shirts at least on the LIVE AT CBGB’S album sounded more like some sixties punksters who discovered early-FM free form radio and decided to do a little mix and match of their own! Yeah I know that progressive is pretty much a dirty word in rock music and considering the many early/mid-seventies turdbombs progrock left us it sure deserves the image that it has, but at least with some good end results in the offering why should I complain, or at least complain that loud?

Now it ain’t like I’m gonna run straight to the hip Cee-Dee supermarket and buy up a whole slew of progressive rock discs like Chuck Eddy did during his I’M GONNA PISS OFF ALL THE SQUARE PUNKS AND CHAMPION CORPORATE MAINSTREAM ROCK days when he was caught proudly sporting a copy of TALES FROM THE TOPOGRAPHIC OCEAN, but the next time I hear that people like Chuck Dukowski were spinnin’ some Yes with their Sabbath and Stooges back in the shoulda-known-better-by-now seventies maybe I won’t do as much flinching as I would have even a good ten years back!
Which brings us to Datetenryu. This Japanese group, probably best known for giving the world bassist Hiroshi Nar (he also of Les Rallizes Denudes, Zuno Keisatsu and Jokers fame amongst others), exemplifies the concept of progpunk almost as well as all of those krautsters and Amerigan punks into the German Expressionism game put togedder! And sheesh, what else could I say about a group that perhaps even goes further than all those Europeons in mixing and matching their musical influences, for Datetenryu actually remind me of the perfect cross between the early-seventies pomp progressive rock of Emerson Lake and Palmer and the mid-sixties Amerigan thud of ? and the Mysterians! Yes, if you can imagine the sweeping parlor trick keyboard stylings of Keith Emerson and Rick Wakeman being played on a cheap portable organ (interspersed with some crunchy cheeze chording) while the rest of the band seems straight outta suburban garage 1966 then you’ll get an idea, albeit slight, of what Datetenryu have in store for you on this not-so-easy-to-find archival digup.
And whatever Datetenryu do, it sure ain’t anything that Manticore records would have been willing to sign up during those great days of import bin hunting! Thankfully the portable organ sound helps the proceedings, and without the use of 1001 keyboards powered by the sun there thankfully are no sylvan images of damsels in distress or fairy British fantasy gunk being conjured up here! In fact, Nar’s screaming vocals also sound closer to the 1966 mid-Amerigan throat scrape than they do to the sweet dulcet tones of Jon Anderson’s castrati and that certainly is a plus in my book of rock & roll being written soon.
The only group that I think comes close to what Datetenryu are up to here is Ainigma, whose DILUVIUM album seemed to straddle a similar English prog meets Amerigan punk style. Interesting true, and admittedly nothing I will be spinning on a nightly basis the same way I’ll play a recently-unearthed Denudes live side ad infinitum (to coin a cliche), but still something like 1971 with Nar’s over-the-top screaming vocals and those arpeggios and classical swipes that come off as clunky as anything on BACK FROM THE GRAVE have me wondering what else might be in store in the world of undiscovered Japanese underground rock. And did I tell you that Datetenryu even have their own Kyu Sakamoto moment which seems to be about as par for the course as any Japanese protopunk aggregate that might come to mind???… Julian Cope ...

Line-up / Musicians

- Masao Tonari / organ, keyboards
- Hiroshi Narazaki / bass, voices
- Yosһitaka Nakamura / drums
- Kei Yamasһita / guitars

Songs / Tracks Listing

1. Bukkowareta Boku (4:10)
2. Harugeshiki (10:08)
3. Doromamire (26:12)
4. Part-4 (3:58)
5. Abuku No Aji (8:34 

johnkatsmc5, welcome music..

volume

volume

Fuzz

Fuzz

Analogue

Analogue

Cassette Deck

Cassette Deck

Akai

Akai

vinyl

vinyl

Music

Music

sound

sound

Hi`s Master`s Voice

Hi`s Master`s Voice

Vinyl

Vinyl

music forever

music forever

“A Revolutionary New Triumph in Tape” 1958

“A Revolutionary New Triumph in Tape” 1958

vinyl

vinyl