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Yasuo Shimura – soprano sax, synthesizer, flute
Renkichi Hayashi – guitar, sanza
Nobuyoshi Ino – bass, synthesizer, percussion, cello
Hiroshi Murakami – drums, percussion
Yuji Imamura – congas, tablas, percussion

During my research for Japrocksampler, I encountered the superb www.kosmigroov.com - a collective of funkonauts and '70s obsessives dedicated to locating lost rare grooves. They named this record by Air as one of the essential lost albums to fly the flag for Miles Davis's 1975 punk-funk ensemble. I have never found this record, though have occasionally seen it listed as being ‘By Yuji Imamura’. The proposed reissue at the end of the quote below has not yet happened but I'd suggest that the climate has changed and expect to see it surface soon.

This is what kosmigroov.com wrote:

“This Japanese quintet of Yasuo Shimura, Renkichi Hayashi, Nobuyoshi Ino, Hiroshi Murakami, and Yuji Imamura continued to preach the gospel of Get Up With It, years after even Miles himself lost the faith. Yessir, this is elevated music, pure in spirit and intention and absolutely mindblowing in effect. Air's sole (eponymous) album is two sidelong cuts of psychedelic electric jazz, testified by five heads who mix Eastern and Western instrumentation into a thick brew of prime Kozmigroov: ringmodulated guitar lines, windchime swirls, ARP dissonance, deep bass echoes, wood flute invocations, processed saxophone, tape effects, subtly assertive grooves, omnipresent layers of percussion... mercy! The brazen shuffle which seizes the last quarter of the record actually reaches the same jazz/rock peak intensity of Jack Johnson's "Right Off." Three Blind Mice are an audiophile label who've reissued an armful of their back-catalog titles on compact disc. Although this album still awaits aluminum rebirth as of May 1999, Takeshi "Tee" Fujii (TBM prez) has promised an XRCD version.”

Yuji Imamura plays congas on the LP TARO’S MOOD by Terumasa Hino.
Posted by Julian Cope, Sep 01, 2007
Hiroyoshi Yanagida – organ, piano
Eiji Kikuchi – lead guitar
Tadaki ‘Chu’ Kosaka – lead vocals
Haruomi Hosono – bass
Takashi Matsumoto – drums

Led by prime mover and ex-Floral organist Hiro Yaganida, the extremely cool and longhaired Apryl Fool quintet was one of the few New Rock bands even to approach the power and originality of their Western equivalents. Still suffering from weak-as-shit drumming and an inability to let go of their eary ‘60s influences, Apryl Fool nevertheless hit a coupla real peaks on their lone self-titled LP, released in 1969 on Nippon Columbia. For, while most of the record is perfunctory bar-room post-Animals blues, their attempt at real psychedelia on ‘The Lost Motherland’ does approach genuine meltdown, in much the same way as late ‘60s American LPs such as St. Stephen were want to do. If only there had been more of that stuff within the grooves, though… who really needed versions of Dylan’s ‘Pledging My Time’? Well, bass player Hosono and drummer Matsumoto, obviously, for the pair of them went in precisely that obvious direction with their next Band/Little Feat-styled project Happy End. And mightily successful they were, too. Nothing more was heard from lead guitarist Eiji Kikuchi, but vocalist Tadaki Kosaka joined the chorus of the musical HAIR. Keyboardist Yanagida also worked on HAIR, but in the far more lofty position of keyboard player in the house band. Thereafter, he recorded two solo LPs, MILK TIME and a self-titled second effort, as well as contributing major to the sessions for Love Live Life +1 and Foodbrain.
Posted by Julian Cope, Sep 01, 2007
Kazutaka Tazaki - synthesizer manipulator & sound designer
Motoaki Suzuka - composer & synthesizer manipulator
Akiro Kamio - composer & sound planner

This avant-garde trio of heavyweight synthesiser operators were considered to be of such cultural importance that their LPs were released on RCAs prestigious Red Seal label. Their records are extraordinarily hard to get ahold of, and there are many 'auxiliary'-style releases featuring one or two members plus additional musicians.
Posted by Julian Cope, Sep 01, 2007
Taisuke Morishita – guitar, vocals
Yoshiki Iwamoto – guitar
Furuchin ‘Balls Out’ - bass
Yu Toda – drums

Underground mover Taisuke Morishita played some fairly wild guitar and bass at times in the very early 1970s, his artistic height being reached as vocalist/bass player, in 1972, with the power trio Yellow and their astounding megajam ‘Watch Out!’ However, when Morishita formed the BE quartet, in 1973, as a vehicle for his own guitar talents, nothing of real importance seems to have been achieved. Two tracks only have survived, recorded at the 1975 ALL NIGHT RAINBOW SHOW, neither seeing the light of day until the 21st century release of the double-LP compilation UNDERGROUND TRACKS ‘70s. But, despite both clocking in at over five minutes and seven minutes respectively, unfortunately neither 'Yukino no Shojo' (Snow Virgin) nor ‘One Day There’ll Be More Light’ come across as nothing more than pretty country rock fluff. Of special note, however, is the name of BE’s bass player Furuchin, which means literally ‘genitals showing’!
Posted by Julian Cope, Sep 01, 2007
Kenji Todoroki – vocals
Kimio Muzutani – lead guitar
Mamoru Tsuchiya - organ
Hideaki Senhara – bass
Yukio Kawakami - drums

Formed in 1968 from the ashes of the Out Cast GS outfit, Mizutani and Todoroki formed Adams as a New Rock band. Inspired by the big post-psychedelic American outfits, Adams was really a grand scale symphonic rock band, with choir and orchestra, and were the first artists signed to CBS/Sony Records. Adams released the singles 'Nemureru Otome' (Sleeping Girl), 'Chikyu Wa Semasugira' (The Earth Is Too Narrow) and ‘Asu Naki Sekai' (World Without Tomorrow). Their debut LP was entitled KYUYAKU SEISHO (‘Old Testament’), but was such a disaster that the record company dumped all their albums. Adams broke up in 1969, organist Mamoru Tsuchiya going on to join Hiroshi Satomi & Ichibanboshi, whilst Mizutani became a guitar legend via his Super Sessions and solo LP A PATH THROUGH HAZE.
Posted by Julian Cope, Sep 01, 2007
The ubiquitous Dr Acid Seven was one of Japan’s counterculture mainmen being there for the beginning of Tokyo’s Shinjuku Futen scene in 1968. He ran his own freak out ensemble The Acid Seven Group, organised street happenings, befriended stranded young futens arriving from rural areas, and was highly respected by the ‘foku gerira' (folk guerrilla) extremists and commune leaders alike. Coming on like a mixture of Timothy Leary, Detroit’s acid guru John Sinclair and the British spy 007, from whom he took the number of his last name, Dr. Seven was one of the earliest Japanese on San Francisco’s Haight-Ashbury scene, and claims even to have lived in a commune and hung out with The Grateful Dead. As a part of the scene that spawned les Rallizes Denudes, Murahatchibu, etc., Dr Seven was in constant confrontation with the authorities, who eventually caused him to drop the ‘Acid’ element from his name. In 1973, Seven organised the ‘Oz days’ three day festival that included Taj Mahal Travellers, Les Rallizes Denudes and his own Acid Seven Group, and which gained such underground legend through the bootleg vinyl LP that was widely distributed in the West. Seven was the organiser behind such legendary mid-70s festivals as the ‘All Night Rainbow Show’ series, the ‘Rainbow 2000’ shows, and ‘The Festival of Life’, which attempted to continue Japan’s ancient and traditional ‘Yuyake Matsuri’ (celebration of the ancestors) in an updated form. These were presented in 1975 and ’76, and featured Rallizes Denudes, Mentampin, Sheriff, Weeping Herp Seno’o & His Rollercoaster, Masaki Ueda & South To South, Idlewild South, Sentimental City Romans, Makoto Kubota, Yuyake Gakudan (Sunset Band) and Orange County Brothers, as well as The Acid Seven Group. Also in 1975, Acid Seven contributed music to the soundtrack the snappily-titled 1975 hippy documentary ‘Dokko Nigenbushi-Kotobukijiyu Rodosha No Machi’(Heave Ho Human Song & The Town Of Free Labourers). Nowadays, Dr Seven does poetry readings and public performances, and recently contributed sleeve notes to the UNDERGROUND series of historical CDs.
Posted by Julian Cope, Sep 01, 2007
Takashi Kubo – lead vocals
Yoichi Suzuki – lead guitar
Hitoshi Nishi - rhythm guitar
Kenji Misaki – organ
Hisao Horiuchi - bass
Mitsuo Nagai - drums

Led by the cute faced drummer Mitsuo Nagai, The Youngers were a actually factory band put together for Philips Records, the six band members having come from all over the country to audition. The Youngers were another band that combined wanton spangly guitar intros with disappointing songs. Maybe they tried hard to spice up the material their A&R man at Philips Records was hefting their way. At their best, The Youngers sounded like Paul Revere & The Raiders plays The Shadows Of Knight’s ‘Someone Like Me’ with late Electric Prunes guitar solos. But even their enthusiasm was dampened by their producer’s use of pizzicato strings, American Breed lounge harmonies and piccolo solos. The Youngers’ first single ‘My Love, My Love’ stole its opening from The Kinks’ ‘Tired Of Waiting For You’, whilst the B-side was the anonymous ‘Hanashitakunai (Don’t Wanna Let You Go)’. The second single ‘Koi O Oshiete (Teach Me About Love)’ b/w ‘Nogiku No Yona Anoko (That Girl Who Looks Like A Wild Daisy)’ was not much better.
Posted by Julian Cope, Sep 01, 2007
Yoshihito Machida – vocals
Kennichi Uwachi – vocals
Yasuo Yamamoto – lead guitar
Eisuke Takahashi – lead guitar
Shigeki Tsukaya - bass
Shigero Otake – drums

Although the bizarrely named Zoo Nee Voo were marketed by Columbia Records as yet another GS outfit, this outwardly-typical sextet were a feisty bunch who made a point, somewhat cantankerously, of insisting in interviews that they were an R&B band. Beginning life as the even more ridiculously-titled Dzoom Boom, the band was the brainchild of lead guitarist Yasuo Yamamoto, who spotted twin vocalists Yoshihito Machida and Kennichi Uwachi singing together in the folk outfit Castle & Gates, in 1966. Signing to Columbia, they made their release debut in October 1968, not with a single but with an LP, which took the English title WORLD OF ZOO NEE VOO. Their debut single later that month, entitled
‘Suifu no Nageki (Sailor’s Lament)’ failed to chart. Zoo Need Voo’s second single was the bizarre ‘Namida no Orugan (The Tearful Organ), but there was little radio interest until the flipside was discovered by a Tokyo DJ. Columbia then withdrew the single, re-releasing it with the more desirable B-side ‘Shiroi Sangosho (White Lagoon)’ as the featured song. This gave the band a number 18 hit, but no more were forthcoming. Thereafter, Zoo Nee Voo moved to Canyon Records, but had no success there either. Singer Machida went solo and drummer Shigero Otake was replaced by Yoichi Arai, but nothing more was heard of Zoo Nee Voo.
Posted by Julian Cope, Sep 01, 2007
See Japrocksampler Book Two, Chapter Seven
Posted by Julian Cope, Sep 01, 2007
Released in answer to Ikuzo Orita’s superb ‘Polydor Super Session’ series of LPs, this riposte/rip-off, written by Buddhist poet/songwriter Naoki Tachikawa and organised by Teichiku Records’ A&R director Hideki Sakamoto, challenged every one of Orita’s projects and beat most of them cold simply by working though Orita’s own blueprint line by line. People even deployed the arsenal of Orita’s own guitar star ex-Outcast hired gun Kimio Mizutani, whose subtle licks inform the entire work. Mizutani shines brightest on side one’s 12-minute drone chant ‘Shomyo Part One’, but the bluesy bell tone of ‘Shomyo Part Two’ is pure and exquisite cosmic monotony, as is that employed on ‘Flower Strewing’, which elevates the track right out of authentic religious bore into a Funkadelic Deadmarch. On the five-minute wa-funk of ‘Gatha’, the apparently egoless Mizutani conjures up a typical Hideki Ishema-style axe scrawl giving the track a sound just like Kuni Kawauchi’s KIRIKYOGEN. By the middle of side two, the tension has broken and the record starts to sound like Tim Leary’s 7UP collaboration with Ash Ra Tempel, as orgasmic Gille Lettmann/Rosi Muller-style female shrieks overwhelm ‘Prayer’. Director Sakamoto kept it all spacey and minimal, then adding plenty more LUMPY GRAVY-period Frank Zappa and mucho David Axelrod (whence came many of the original concepts) to the stew. As if to prove People’s pragmatism, ‘Epilogue’ concludes with 2-minutes of jamming over Axelrod’s immaculate ‘Holy Thursday’ from SONGS OF INNOCENCE. People’s success is their tenacity in holding on both to the drone and, therefore, to the metaphor, which permeates the entire recording and lays serious meditative usefulness on to the listener. This LP is featured at number 16 in Japrocksampler's Top 50, and its status as a so-called 'Super Session' is given further historical context in Book Two, Chapter Five (pages 133-136).
Posted by Julian Cope, Sep 01, 2007