Posts Tagged ‘Tokyo’

Made In Japan Deep Purple

One of the most celebrated live rock albums in history made its big entrance on 6th January 1973. “Made In Japan”, the double live album recorded in the summer of 1972 during the first tour of Japan by Deep Purple, debuted on the UK chart. Its US debut followed on 21st April. The band were well known for their strong stage act, and had privately recorded several shows, or broadcast them on radio, but were unenthusiastic about recording a live album until their Japanese record company decided it would be good for publicity. They insisted on supervising the live production, including using Martin Birch, who had previously collaborated with the band, as engineer, and were not particularly interested in the album’s release, even after recording, the band’s musical skill and structure meant there was sufficient improvisation within the songs to keep things fresh. The tour was successful, with strong media interest and a positive response from fans. there was a demand for bootleg recordings of the band. The most notorious of these was an LP entitled H Bomb, recorded at Achen on 11th July 1970. This success, along with albums from other artists such as the Who’s Live at Leeds and the Rolling Stones’ Get Yer Ya-Ya’s Out convinced the band that an official live album would be commercially successful. At the time, Glover told Sounds magazine that “there are so many bootlegs of us going around, if we put out our own live set, it should kill their market.

The album featured only seven tracks across the four sides of the original vinyl release, four of them taped at their show at the Festival Hall in Osaka on 16th August; one at the same venue the night before; and the other two at probably the best-known venue in those early days of Western bands exploring that market, Tokyo’s Budokan.

In just the seven cuts, Deep Purple deliver four sides of excitement and indulgence. From Ian Paice’s dizzying drum solo during “The Mule” to Jon Lord’s winking organ vamp at the start of “Lazy,” from the trick ending of the 20-minute “Space Truckin'” to Ian Gillan and Ritchie Blackmore’s voice-and-guitar duel during “Strange Kind of Women,” the metal progenitors plunder (and arguably establish) a near-complete arsenal of onstage tricks and tropes. Cheaply made, wildly popular and frequently reissued, Made in Japan was captured during the three nights in Osaka and Tokyo. The set feels ever casual, as if the band is performing less for the crowd or the tape machine and more for the sheer enjoyment of stretching these tunes out like playdates. “We were all so unconcerned about the whole thing that nobody was actually aware of being recorded,” Lord later confirmed in Dave Thompson’s book Smoke on the Water. “There was no diminution of the interplay, spontaneity and feeling that we usually got onstage.

This was already Purple’s second live album, but a very different animal to their first, the 1969 recording of Jon Lord’s Concerto For Group and Orchestra. This time, chiefly at the request of their Japanese label, the idea was to create a record of the band’s powerful live show. It was also a chance to present an in concert version of the band’s anthem-in-the-making from the Machine Head album of only a few months earlier, ‘Smoke On The Water.’

Included on Made in Japan in live form are three more songs from Machine Head, which had been on the UK charts for 24 weeks after its April 1972 debut. The live set’s opening ‘Highway Star’ was another new Purple favourite, while ‘Lazy,’ a seven-minute track on Machine Head, extended to nearly 11 tracks on the live record. The closer, taking up the whole of side four of the vinyl release, was ‘Space Truckin,’’ which expanded from a four-minute original to an epic of nearly 20 minutes on Made In Japan.

The band considered the gig at Tokyo on 17th August to be the best of the tour. Glover remembered “twelve or thirteen thousand Japanese kids were singing along to ‘Child in Time'” and considered it a career highlight, as did Gillan. Lord listed it as his favourite Deep Purple album, saying, “The band was at the height of its powers. That album was the epitome of what we stood for in those days. At the venue, a row of bodyguards manned the front of the stage. When Blackmore smashed his guitar during the end of “Space Truckin'” and threw it into the audience, several of them clambered past fans to try and retrieve it. Blackmore was annoyed, but the rest of the band found the incident amusing. The gig was not as well recorded as the Osaka shows, though “The Mule” and “Lazy” were considered of sufficient quality to make the final release.

Deep Purple were on a hot streak in which both Machine Head and its predecessor Fireball had topped the British chart, but as often with live albums, there was less chart glory to be had this time. The album debuted in the UK that first week of 1973. “Made in Japan is Deep Purple’s definitive metal monster, a spark-filled execution,” wrote Rolling Stone. Deep Purple can still cut the mustard in concert.

The 8-track tapes of the three shows were carefully put in storage by Warner Bros. Japan for future use. For the album’s 21st anniversary in 1993, Deep Purple author and archivist Simon Robinson decided to enquire via the band’s management if the tapes could be located. He discovered the entire show had been recorded well, including all the encores. In July, Robinson and Darron Goodwin remixed the tapes at Abbey Road Studios for an expanded edition, that was then mastered by Peter Mew in September. To compromise between including as much of the shows as possible and setting a realistic price that most fans would accept, they decided to release a 3-CD box set, titled “Live in Japan”. This included all of the three main shows except for two tracks already available on the original album. In their place were two previously unreleased encores.

Robinson subsequently oversaw a new reissue of the original album in 1998 on CD, The colour scheme of the cover was reversed to show gold text on a black background. The remastered Made in Japan has further edits to make a contiguous performance, making it shorter than the original release. At the same time, a limited edition of 4,000 double LPs was released on purple vinyl, while in Spain,

In 2014,Universal Music announced that the album would be reissued in a number of formats in May. The deluxe option is a set of four CDs or 9 LPs containing a new remix of the three concerts in full, a DVD containing previously unseen video footage, a hardback book and other memorabilia. The original LP was reissued in 180g vinyl as per the original release with the original 1972.

Deep Purple
  • Ritchie Blackmore – lead guitar
  • Ian Gillan – vocals, harmonica (uncredited), percussion (uncredited)
  • Roger Glover – bass
  • Jon Lord – organ, piano
  • Ian Paice – drums

Kikagaku Moyo’s debut album exerts an elemental power. Enlivening their sound with sitars, percussive drums, theremins, wind instruments and ethereal vocals, the band manages to sound powerfully spacious and lazily serene all at once. Their songs can be light as air, or heavy as earth. Many evolve out of intense experiences of engagement with the natural world. The album’s first track, “Can You Imagine Nothing?” was written over a night spent jamming on a suspended footbridge in remote mountains. As the song progressed the bridge began to sway, making band members feel as though they were floating weightless in midair.

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KIKAGAKU MOYO are
Tomo Katsurada,
Daoud Popal,
Ryu Kurosawa,
Kotsu Guy,
Go Kurosawa,

Oriinally released April 21st, 2017

 

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Dream-pop group Luby Sparks is shrouded in mystery. Comprised of five university friends bonded by their disinterest in popular Japanese music and fascination of brooding British bands, the Tokyo-based outfit has learned to craft a sound less at home in their modern neon city than it would be, say, in the 90s UK grunge scene with the floppy-haired youth penning angsty tracks to be performed in underground venues littered with DIY punk flyers and touches of ironic confetti here and there.

Both Luby Sparks’ self-titled LP and (I’m) Lost in SadnessEP arrived this year with little fanfare, which is surprising considering  a) the current level of enthusiasm for Japanese music, b) both were produced by Max Bloom of Yuck, and c) they’re fantastic.  It’s safe to assume these kids have been on a steady dose of Loveless, Heaven or Las Vegas, Disintegration, and NME C86. But rather than regurgitating the remnants of those touchtones, they’ve crafted a brilliant debut that’s enjoyable after repeated listens.

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The shifting dimensions of Masana Temples, fourth album from psychedelic explorers Kikagaku Moyo,are informed by various experiences the band had with traveling through life together, ranging from the months spent on tour to making a pilgrimage to Lisbon to record the album with jazz musician Bruno Pernadas. The band sought out Pernadas both out of admiration for his music and in an intentional move to work with a producer who came from a wildly different background. With Masana Temples, the band wanted to challenge their own concepts of what psychedelic music could be. Elements of both the attentive folk and wild-eyed rocking sides of the band are still intact throughout, but they’re sharper and more defined.
More than the literal interpretation of being on a journey, the album’s always changing sonic panorama reflects the spiritual connection of the band moving through this all together. Life for a traveling band is a series of constant metamorphoses, with languages, cultures, climates and vibes changing with each new town. The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. The music is the product of time spent in motion and all of the bending mindsets that come with it.
releases October 5th, 2018

Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

Kikagaku Moyo is the musical union between five free spirits. Go Kurosawa (drums, Vocals) and Tomo Katsurada (Guitar, Vocals) formed the band in 2012 as a free artist’s collective. They met Kotsuguy (Bass) while he was recording noise from vending machines and Akira (Guitar) through their university. Ryu Kurosawa had been studying Sitar in India, upon returning home he found the perfect outlet for his practice.

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Since 2013 the band has released three full lengths, an EP, and several singles. They have toured Australia, the United States, Europe, Australia and Japan extensively. Kikagaku Moyo love to connect with people through performing

Following last year’s album House In The Tall Grass, Tokyo’s Kikagaku Moyo have announced plans for a new EP alongside summer European live dates. Stone Garden has been released on vinyl and digital on April 21st via the record label the band run, Guruguru Brain.

Stone Garden, we’re told, started in a basement studio in Prague with a nearly continuous session over several days and nights. The original concept was ‘influenced by the raw and seemingly endless jams of psychedelic pioneers’. The freeform songs that emerged from these sessions were refined over several months at the band’s home in Tokyo, where each song was sculpted into an uncommon form.

The band run their own record label, Guruguru Brain, focusing on releasing underground artists from Asia, including Kikagaku Moyo. Last year they curated a stage at Liverpool International Festival of Psychedelia, and they will return to the UK this Summer for a headline tour (dates below).

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The EP “Stone Garden” will be released on Vinyl & Digital in April 21st 2017.

Released in October 1982, Joni Mitchell s 11th studio album, Wild Things Run Fast was, for some fans, a return to form. What this often meant in reality was that many such Mitchell enthusiasts had been somewhat perplexed by this remarkable composer and performer s output since 1975, when she introduced jazz and classical influences into her work, and even when such tendencies were included on such towering albums as Hissing Of The Summer Lawns and Hejira , a certain quarter longed still for the days of Big Yellow Taxi, The Circle Game and Woodstock. Nothing wrong, of course, with such majestic and beautiful songs, but to dismiss such a challenging and forward thinking artist s moves does appear to be a little stilted. But, when Joni Mitchell hit the road in early 1983 on one of her longest and widest reaching tours – taking in Europe, Asia and Australia in addition to dates in North America – it seems she was out to please all her fans: the sticklers, the modernists and the-somewhere-in-betweens. In fact so diverse and eclectic were the set-lists on this remarkable tour, they not only took in cuts from her classic years and her brace of mid-1970s challengers , she would often give numbers from her most reviled work (amongst the traditionalists), Mingus , a whirl. But she would always appease those disgruntled by a rendition of God Must Be A Boogie Man with a splendid A Case Of You, a well placed Both Sides Now or an encore of Carey. This superb FM radio broadcast, transmitted live from Joni s show at Tokyo s famous Nippon Budokan, is a fine example of such a show, mixing as it does the old, the new, the borrowed and – while the title track from her 1971 meisterwork is inconveniently absent – cuts from Hissing , Hejira and Mingus are all in evidence. Hopefully, therefore, a fine time was had by all those in attendance. For anyone listening today, a fine time is hereby guaranteed.

Let’s get straight to it, the reason you’re reading this review, you want to know what the sound quality is like. You can see the setlist, you know whether you like the songs, you’re already a fan and are familiar with this particular Joni era, but before you fork out for it. what is the recording quality like? Well, I’m pleased to report it is excellent. There are a lot of these old radio broadcasts floating around now and the sound quality varies from awful to excellent, I’ve been quite taken aback by the sound quality of this one, it is only just short of what you’d expect of an officially released live album, it really is that good. So if you’re holding back wondering whether or not this sounds like it was recorded in a tin can, hold back no,longer this is one of the very best of the plethora of old radio broadcasts that are being released now.

Songs On Joni Mitchell A Woman In The East:

1. Free Man in Paris
2. Edith and the Kingpin
3. You Dream Flat Tires
4. Refugee of the Road
5. You’re So Square
6. For Free
7. Big Yellow Taxi
8. A Case of You
9. God Must Be a Boogie Man
10. Wild Things Run Fast
11. Don’t Interrupt the Sorrow
12. Solid Love
13. Chinese Cafe/Unchained Melody
14. Help Me
15. You Turn Me On I’m A Radio
16. Love
17. Both Sides Now
18. Underneath the Streetlight
19. Woodstock
20. Carey

To anyone who has heard the music of Kikagaku Moyo, it should come as no surprise that the band’s origins lie in hours upon hours of late-night jamming, illuminated by nothing more than the geometric patterns playing behind the band’s eyelids, resulting in a natural, free-floating sound, as of-the-earth as it is intergalactic. It may be surprising that the band sharpened their improvisational skills by busking on the streets of their native Tokyo. It may be surprising that the band’s overall sound may owe as much or more to the Incredible String Band as it does to Acid Mother’s Temple.

But what’s perhaps most surprising about Forest of Lost Children, the band’s face-melting, recorded-ritual sophomore album, is how utterly centered and mature the band sounds, especially given their relatively short lifespan as a band. Boundless though they may be, Kikagaku Moyo here sound anything but lost, their child-like wonder manifested in a confident, courageous exploration of sound. Labels – psychedelic, folk, prog-rock, psychedelic-folk-mixed-with-prog-rock – do little to accurately reflect the spectrum of influences on display, let alone the more impactful realization of completeness in Kikagaku Moyo’s songs.

Easily one of the most shimmering crown-jewels in the rapidly expanding BBiB catalog, look for Kikagaku Moyo and Forest of Lost Children to be found taking shape in the expanded minds of listeners everywhere.

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Just in time for Kikagaku Moyo’s 2017 US and EU tours in May and June respectively, we’ve got a beautiful fresh pressing in the works with a brand-new Bone & Black A-side/B-side “swirl” variant. And the cover art for this fourth pressing of FoLC will be printed on heavy duty reverse-board jackets. The band will have a few of these on tour, but likely to sell out.

These will ship May 2017.

As an aside, between October 25 and November 5, 1977, Rory and his band played seven gigs in Japan in venues at Nagoya, Hiroshima, Tokyo, and Osaka. Shortly after the band’s final concert at the Nakano Sun-Plaza Hall in Tokyo on November 5, 1977, the band flew to LA to record a new album which remained unreleased until 2011. The album was eventually called Notes From San Francisco. The 1977 Japan gigs were to promote the Calling Card album, which was released in 1976.

Band Lineup:
Rory Gallagher: Guitar, Vocals
Gerry McAvoy: Bass
Rod de’Ath: Drums
Lou Martin: Keyboards

コレクターズCD <b>Rory</b> <b>Gallagher</b>(ロリー・ギャラガー)77 ...

Disc 1
Track 1. Introduction/Monitor Check
Track 2. Moonchild
Track 3. Bought And Sold
Track 4. Band Introduction
Track 5. Tattoo’d Lady
Track 6. Calling Card
Track 7. Secret Agent
Track 8. A Million Miles Away
Track 9. Do You Read Me
Track 10. Out On The Western Plain
Track 11. Too Much Alcohol
Track 12. Barley And Grope Rag (Pistol Slapper Blues)
Track 13. Going To My Hometown

Disc 2
Track 1. I Take What I Want
Track 2. Walk On Hot Coals
Track 3. Garbage Man
Track 4. Souped Up Ford
Track 5. Bullfrog Blues
Track 6. Bass Solo
Track 7. Drum Solo
Track 8. Bullfrog Blues
Track 9. UDO’s Announcement
Track 10. Country Mile
Track 11. Boogie
Track 12. Announcement

 

“A WOMEN IN THE EAST” deluxe vinyl available from http://www.plastichead.com order link below

http://www.plastichead.com/item.asp…

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Label: ‪#‎LETTHEMEATVINYL‬
‪#‎JoniMitchell‬
‪#‎Plastichead‬
DELUXE VINYL EDITION!!!
A Joni Mitchell broadcast live from the Budokan, Tokyo 1983. A wonderful, career-spanning concert release from a ground breaking artist. Intermingled songs from various albums creates a snapshot of just how eclectic Mitchell’s repertoire is. This is a great album, well worth it for any fan of the greatest female singer songwriter ever.
SIDE A
1.Free Man in Paris (Live)
2.Edith and the Kingpin (Live)
3.You Dream Flat Tires (Live)
4.Refuge of the Roads (Live)
5.You’re so Square (Live)

SIDE B
6.For Free (Live)
7.Big Yellow Taxi (Live)
8.A Case of You (Live)
9.God Must Be a Boogie Man (Live)
10.Wild Things Run Fast (Live)

SIDE C
11.Don’t Interrupt the Sorrow (Live)
12.Solid Love (Live)
13.Chinese Cafe / Unchained Melody (Live)
14.Help Me (Live)
15.You Turn Me on I’m a Radio (Live)

SIDE D
16.Love (Live)
17.Both Sides Now (Live)
18.Underneath the Streetlight (Live)
19.Woodstock (Live)
20.Carey (Live)