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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
See Japrocksampler Book Two, Chapter 10


SHO-O-SUTETE SUTEYO, MACHI E DEYO (‘High Teen Symphony’) (Tenjo Sajiki 1970)
JASUMON (‘Heresy’) (Victor 1972)
BARAMON (‘Gay Revolution’) (Victor 1973)
DENEN NI SHISU (‘Death in the Country’) (Sony 1974)
SHIN TOKU MARU (‘Poison Body Circle’) (Victor 1978)
NUHIKUN (‘Directions to Servants’) (Cassette-only 1979)
SEALBREAKING SONGS (Ain’t Group Sounds, rec. 1980)
KUSA MEIKYU (‘Grass labyrinth’) (1983)
THE LEMMINGS (Cassette-only, 1984; Banyu Inryoku 2000)
SARABA HAKOBUNE (‘Farewell To to The the Ark’) (SMS 1984)
KING LEAR (Cassette-only 1991)
OKAMI SHONEN aka PILGRIMAGE OF BLOOD (P-Vine Compilation compilation 2002)
Posted by Julian Cope, Sep 01, 2007