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

21 Oct 2017

Funkadelic “Let’s Take It To The Stage”1975 US Psych Funk Rock

Funkadelic “Let’s Take It To The Stage”1975 US Psych Funk Rock
full  vk


In the 24 hours prior to me starting this essay, Barack Obama led a group of mourners in singing ‘Amazing Grace’ and Bree Newsome sang the same song while a flag memorialising death and oppression was taken down. It was a time, like so many other times, where saying anything directly felt unnecessary. So many others, for whom the pain and the pleasure was truly being shared were telling their own stories instead. (Consider Greg Howard on Obama’s speech and song, merely one reflection of many; consider Newsome herself two days before her action.) 

More times than I can count lately, I’ve experienced the simple feeling of doing things - via RTs and links - that essentially state (albeit without saying it explicitly): “Why in the hell are you listening to me, why in the hell aren’t you simply reading and understanding and taking it in yourself, reacting TO that?” (One friend who in many ways is very different from me tried to start a debate with me on something when I had to stop him and point out his argument was with the author and other friend I was quoting - and that by trying to address me about her thoughts, he was ignoring and removing her from the conversation, not to mention addressing a fellow white guy about a black woman’s words. Thankfully, he took the hint.) 

The idea that America can’t listen to itself properly has a framing which is terrible and limiting. It has a gaze that only focuses inwardly to see what it already knows, so the stories and images must be shared again and again. To call what I do anything close to activism is an insult to those who do that work, but to provide a self-erasing focus for those that need and deserve the attention, who need to be heard and seen, is its own silent if absolute bottom-of-the-list-in-terms-of-true-work calling. Which is why saying a lot more here about an album celebrating its fortieth anniversary this year than I have directly elsewhere about current events may feel perverse, but at the same time, there’s a goal here to share another voice. Or rather a multitude of voices, following one key voice perhaps. When it comes to Funkadelic in their amazing 1970s pomp and circumstance, it’s pleasure acknowledging the pain; it’s celebration and sorrow and something that, like the past few days, takes in human emotions and makes the point of a humanity that will not be silenced. And, much like this weekend of officially acknowledged joy following the Supreme Court decision on gay marriage, it is ever a party, and with a real freak flag flying high. Because what else can you say about an album like 1975’s Let’s Take It To The Stage starting with a song called 'Good To Your Earhole’ that has a lyric like the gleefully sung: “Mashing your brain like Silly Putty!” 

The story of George Clinton’s at once chaotic and carefully-controlled mob of inspired geniuses is something that I can’t tell in the space of one appreciative essay. They brought the party so well that too many people missed the forest for the trees and only saw the party. It’s also true that being only four years old at the time I couldn’t tell you anything about the impact of hearing Let’s Take It To The Stage, the band’s last proper album for Westbound before making the leap to Warner Brothers (even as Parliament kept on over at Casablanca), or anything from P-Funk as a whole, when it came out. (I only first heard of Clinton himself a couple of years later, seeing the famous photo of him riding the dolphins, wondering what the heck was up, as much of a, “Oh… this is music?” moment as knowing that Kiss were out there, in all their make-up.) The full story of who was in, who was out, who did what, and what they did or didn’t get at the hands of their label, or from Clinton himself, takes more time than the simplest of retrospectives will ever allow. The fact that Eddie Hazel himself, the genius guitarist of Maggot Brain and so much else, was barely on this album due to being in prison is its own individual reminder that it was never as simple as the name……Ned Raggett ……………..

I am slowly re-building my Vinyl collection with albums that are missing. I always wanted the early Funkadelic on vinyl and I was using another on-line source and every time I place an order it would take 4 weeks for my purchase to arrive. After searching for another source I checked Amazon and almost everything I wanted was in stock and since I am a Prime customer they arrived in days not weeks. I also have to say that I was worried about purchasing Vinyl on-line since I am an old school guy who like to look and feel before I purchase. The packaging that Amazon uses is awesome and I have yet to have any damaged product come my way.By the way the music is incredible and while George Clinton and the boys are not for everyone I highly suggest you give this music a try. It will blow your mind….By bobliwienski………………

One of the more diverse Funkadelic albums in my opinion. Some of this sounds like it would have fit a Parliament release. Every song pounds you with thick grooves and unmistakeable funk. Again, another funk canon album and a must own for funk fans. Better By The Pound, the title track and of course Get Off Your Ass And Jam stand out as exceptional. Again every song delivers and will not disappoint….By Thingfish33………………..

Damn, P-funk was on fire in 1975. This is probably the best pfunk album since America eats it’s young, and they released it the same year they released the funk masterpiece Mother ship connection. I wonder what they were on that year, because jeeze that’s a good album and a great album in one year. Hell, i might say this album is great except for a few subpar tracks, but Good in your earhole is that perfect psychedelic rock meets funk sound with just perfect guitar. Listening to this record made me glad i checked out funkadelic past maggot brain. Great great stuff….by….Famepollution ………

Funkadelic continues to frustratingly falter just short of greatness for the second time in a row here. For a band all about sex and freedom it’s ironic how many blue balls it’s been giving. Let’s just put it this way, for an album to get to 4 is like an album getting me to orgasm. It’s got the whole package down for being worth a tumble, doesn’t make it amazing sex? But it’s got it down (4.5’s and 5’s are where that sort of magic happens). So yeah, blue balls indeed. Let’s Take It has lots of things going for it just like Standing on the Verge did. It’s still a Funkadelic that has come back from the wilderness and I’m happy about that. But damn it if the gold old early 70’s hasn’t yet returned. What’s going on at this point though? Well see it might just be super ironic stuff. When George Clinton began the 70’s Funkadelic was his vehicle, and Parliament? That name was relegated as the fun side thing, they released one album as Parliament during the heights of Funkadelic which was mostly just them screwing around and trying random things, a record called Osmium. The previous year? 74? They once more revived the Parliament side project in order to channel their more funk oriented purist pursuits, but it was probably still just the fun side project. Welllllll….yeah. Within just a year….I think that role has switched entirely. Yes, I think in 75’ that Parliament became their main project and band, and that Funkadelic had suddenly found itself the side project vehicle. In terms of release dates Take It To The Stage is wedged in the center of 75’ between the much more confident and accomplished Chocolate City and the universally acclaimed landmark that is Mothership Connection. It’s a valley! A pleasant valley, but a valley nonetheless! Clinton and company (excepting probably Eddie Hazel) all sound like they’re having fun sure, but they also sound a bit like they stopped by to just screw around a little bit and let off some rock steam. Afterwards they go and begin to continue to build the Funk monolith city of aliens, horns, and synths that is now their real job. A real job I have to remark…they sounded like they had even MORE fun making. So this poor album comes off less like an almost truly great record that was mishandled slightly…than it does a well taken care of but only slightly nurtured middle child. One wonders if it HAD been the group’s main focus if it would have been a masterwork! Or at the least a great record? But alas it has been crowded out of the limelight. For people who can only appreciate rock music this probably comes off as a tragedy, but truth be told the work being done in Parliament at this same time REALLY is worth the focus and so forth. And hey, this is still pretty darn good. Like I said Eddie Hazel has put his full muscle into his parts here and the first side is pretty much a rollicking good time. It’s more that the second side falters with longer duller material (aside from Stuffs and Things, but that’s like two minutes)….by….Zephos ………….

Woohah, let the funk out! This has to be one of the tightest and grooviest funk albums I have heard in my entire life, with so many instrumental elements going on at all points, and just blasting out a great groove. Excellent melodies, good vocals and extremely big catchyness. 

What not too many people seem to have commented here is that this has to be one of the first albums with rap/hip hop elements as we know it featured. I am now thinking about “Let’s Take It To The Stage” and the spoken parts in the beginning of the track, excellent rap with a good flow fitting in precisely to the music and beat as well. 

Towards the finish of the album, it gets rather progressively funky with some psychedelia involved too. All in all a great mix of funk and some rock along with lots of innovative things….by…..oh6gdx ………………
Clearly George Clinton and the Funkadelic/Parliament family are not for everyone. I’ll admit that there are plenty of times when I don’t want to get within a mile of their catalog. That said, 1975’s “Let’s Take It To the Stage” stands as a wonderful example of what makes them simultaneously a great band and one of music’s biggest frustrations. 

I guess if I had to explain why this is one of my favorite Funkadelic sets it would have something to do with the fact tracks like 'Better By the Pound’ and the title track (with its slaps at other bands - 'Fool and the Gang, 'Earth, Hot Air and No Fire’, 'Slick and the Family Brick’) found Clinton and company largely abandoning their earlier love of extended jams in favor of shorter, somewhat more commercial song structures. That and the fact guitarist Garry Shider turned in some killer fuzz guitar leads. Anyone doubting these guys could rock need only check out the blazing opener 'Good To Your Earhole’ or 'Get Off Your Ass and Jam’ (the latter guaranteed to never get within a mile of commercial radio). The album also has it’s requisite set of goofiness. Check out Bootsy’s 'Be My Beach’, the hysterically inappropriate 'No Head, No Backstage Pass’, or Bernie Worrell’s extended keyboard meltdown 'Atmosphere’. By the way, in case anyone wondered, 'G. Cook’ was apparently a pseudonym for Eddie Hazel.  by…RDTEN1 ……….
George and Co. are rarely perfect at album length. Their best ones always leave you a spot or two where you can run to the kitchen and get the snacks; where you’ll skip to the next track; where you won’t bother ripping some songs to your Ipod; and this one is no exception. That said, I enjoy it all even if not all equally. I count four great ones and six lesser ones, including the lengthy Bernie Worrell organ and synth workout with George’s dirty mouth embedded deep down in the intro. But the overall mood is great; off the cuff nasty, funky, funny, soulful, rocking - everything you’d ask of these guys (and gals). And it’s perhaps the best representation of their late-Westbound period; the point where they’d given up on the extended druggy drones of the early albums but had not yet achieved the slicker sound of their Warner Bros. years. It starts out great, hits another winner with the utterly un-P.C. “No Head No Backstage Pass,” scores a classic to close the A with “Get Off Your Ass And Jam” and then opens the B with the almost Gothic-metal “Baby I Owe You Something Good.” These four great ones are surrounded by fun, by funk, and by as solid an outing as they’d make under the name Funkadelic (and yes, I’m including Maggot Brain) or would make until One Nation Under A Groove. Great, but not perfect - and isn’t that more or less what you’d expect from George?…..nervenet …………..
It bothers me when Parliament and Funkadelic are lumped together as the same entity. For example, VH1 claims that the 99th greatest rock act of all time is Parliament/Funkadelic. Although both groups, spearheaded by George Clinton, had rotating line-ups of musicians that usually overlapped, each band had their own sound and boasts an impressive catalogue of music that is not related to the other in any way. In my opinion, BOTH Parliament and Funkadelic should be included separately in any “Greatest” list, and both in at least the top 20! I just had to get that off of my chest. On to the review. 

Let’s Take it to the Stage is easily a top-3 Funkadelic album, maybe even the best. It opens with the rocking one-two punch of “Good to Your Earhole” and “Better by the Pound”. I’ve always considered Funkadelic a rock band that is extremely funky, not vice versa, and these two tracks add credence to that way of thinking. Next is “Be My Beach” which is one of the most unique, trippy songs they have ever made. Bootsy’s vocals are fantastic. Fourth is Clinton’s updated take on Sly and the Family Stone’s “Jane is a Groupie”. “No Head, No Backstage Pass” is hilarious, sleazy, biting and to the point. It’s also on the verge of heavy metal, a concept that was being invented by Black Sabbath. Next is the title track which is the biggest “hit” off of the album. Memorable for the funk mob’s playful skewering of their contemporaries, this statement of dominance doesn’t hold up as well, to me, as the wonderfully crafted tunes that surround it. One track that holds up exceedingly well, however, is “Get Off You’re Ass and Jam”. Fueled by Michael Hampton’s frenzied guitar solos, this live staple practically assaults you when you listen to it. Hampton (along with his predecessor and inspiration, Eddie Hazel) still ranks among rock’s greatest guitarists, and his performance on this album is one of the reasons why. “Baby I Owe You Something Good” is an epic track with tremendous vocals by Gary Shider (I think…). “Stuffs and Things” is a ludicrously suggestive and goofy track that lampoons traditional R&B’s less than subtle use of innuendo to talk about sex. It literally cracks me up every time I hear it (“I’m gonna do my utmost to your stuff…”). Musically, its the funkiest track on the disc with Bernie Worrell’s synths doing crazy things in the background. Alas, Funkadelic can’t quite keep up the incredible pace, and the last 2 songs are somewhat of a drop-off. “The Song is Familiar” is a nice-enough ballad, and “Atmosphere” is an eerily catchy little keyboard experiment. 

While Let’s Take it to the Stage doesn’t get the recognition of Maggot Brain or One Nation Under a Groove, it is every bit as essential. Clinton and company were at a song-writing apex, giving us several 2-5 minute blasts of brilliance. The assertion that Funkadelic is the “black Beatles” is not far off base. Strip away the psychedelia, the dark humor, the monstrous bass of Bootsy and the general Funkadelic craziness, and you’ve got a perfectly crafted pop album. Of course, strip all of that away, and you don’t have Funkadelic….by….Dolemic …….
Let’s Take It To The Stage is an excellent album, and has some of Funkadelic’s coolest jams (and greatest one-liners!). The tracks are short, but pack as much funk as anything they’ve ever done. 

It’s also an interesting step in the P-Funk’s transformation from a psychedelic '60s rock band to a looser, weirder group of alien circus freaks. The social commentary of records like Maggot Brain is absent – but really, what did you expect from titles like “No head, no backstage pass” and “Get off your ass and jam”? 

The remaster includes a bonus track: a 1972 version of “Baby I owe you something good” (also available on the Music For Your Mother compilation). It’s inferior to the dirge-metal rendition sung by Cal Simon, but shows how far the group’s sound evolved in 3 years. 

Sound quality on this release is very good, but it loses a star because the guy doing the mastering somehow cut off the first part of “Atmosphere”. (Didn’t anybody listen to the damn thing through before it went to press?) 

The tiny liner notes can’t do justice to Pedro Bell’s original artwork, but there’s not much they could’ve done about this (short of including a poster). 

In all, a few flaws, but still a welcome reissue….by….cheesechoker ………
This is my first review, so I would ask you to bear in mind the words of that great moral figure George Michael when he proclaimed: 'read without predjudice’ (to paraphrase a little). 
Anyway, that wimpy pre-justification out the way, I’ll follow the time-honoured path taken by many other reviewers and do the old track-by-track breakdown, but first, a short introduction. This was a mid period album, coming a few before their percieved magnum opus 'One Nation Under A Groove’, and bears much less of a disco influence, for some part sticking with the hard funk of 'Standing On The Verge Of Gettin’ It On’. However, this album possesess much more of a playful spirit, and the music is indeed more eclectic, with heavier use of synths throughout. Bootst Collins, Eddie Hazel and George Clinton of course are all present. 

Track 1: Good To Your Earhole. A great opener. A stomping, tight monster of funk, with multiple guitars flying, twirling, noodling all over the place. Ride cymbals clang, and the group reveals one of their best vocal hooks. This is most redolent of the previous album, but better. 

Track 2: Better By The Pound. Bounces in with a typically funky Collins ™ bassline and clattering percussion, before settling into an uptempo ska'ish groove with the standard melody like scatting over the top. That’s the song pretty much, but enticing nontheless. 

Track 3 - Be My Beach. Classic Clinton lyrics, as what appears to be the crew’s version of a smooth ballad is enhanced hugely by intonations of 'let me be your bridge over troubled water’ and 'mama be my beach, beach/what’s in the sand ah, ah’. The sad thing is, some pop artists actually use these kind of lyrics seriously. Kudos for the stonsey middle part, as well. 

Track 4 - No Head, No Backstage Pass. The lyrics do what is says on the tin. Seedy tales of backstage groupies ('She said I know the drummer/will you let me in’) + brilliantly menacing Clinton vocal x Spiralling Hazel arabian guitar riffs (squared) + another oddly catchy chorus = one of the highlights of the album. 

Track 5 - Let’s Take It To The Stage. Some more genius scatology (upbeat lyrics about bestiality as a euphemism for society, anyone?), plus a laidback chicken scratch groove and 'snoopus’. Love the ultra camp 'Ha!’s’ every now and then. Songwise, almost like an interlude, but still engaging. 

Track 6 - Get Off Your Ass And Jam. Along with track 1, the other hard funk stunner on the album. Wailing intro leads into 4 to the floor drums, and then……the funkiest bass playing around kicks in with an insanely simple riff, along with the title chant. As if that wasn’t enough to blow your pre-frontal cortex, Hazel stomps in and burns the place down with a white hot solo. Yet it’s only 2:27 long. (sampled by public enemy, among others) 

Track 7 - Baby I Owe You Something Good. Ok, so it’s a bit of a comedown. I mean, Clinton isnt really a great SINGER of sorts, more a speaker, and though the song does posses heft, the odd switches between cod-operatic chorus and folky picking doesn’t do anything for me, really. 

Track 8 - Stuffs And Things. And Things And Stuffs, actually. I mean, this is DEEP, man. Mind you, references to 'livin your life on credit’ are perhaps relevant to the recession? or maybe not. However, the group locks into a very nice groove for the first time in ooh…2 tracks, and the title chant really is an earworm. Then a synth comes and urinates all over it. Oh well. 

Track 9 - This Song Is Familiar. Yes, George, you’re right. The Intro sounds exactly like track 7! Luckily, the band drag him kicking and screaming out of another pained vocal, and the song basically develops into a serious version of track 3, smooth keyboards lapping away behind the sweet vocal. It also contains a boogie piano led part in the outro. A nice place to 'take a breather’, as it were. 

Track 10 - Atmoshpere. Rounding off these ten shots to the dome (any LL Cool J fans here?) is a truly mental/silly/inspired/indulgent 7 minute epic of cheesy fairground organ. A full seven minutes. A typical way to end the album, and though not really a song as such, it seems fittng. The last two minutes of this sound oddly like the *** Buttons, minus the toy microphones. 

So there you have it. In conclusion, a very good (but not quite great) album, wonderfully zany in the true Funkadelic spirit, that suffers a little from a side 2 dip. The good points though, are Everest like. 
That was my very first review, hope you enjoyed it, please comment etc. Personally, I think I did quite well not to use the suffix ’-on acid’ once, therefore disqualifying me from a job at Pitchfork……by Andre3000 ….Sputnik………..
Despite it’s misleading title, funkadelic’s 'let’s take it to the stage’ is not a live album. this 1975 studio release is what many funkadelic aficionados consider the band’s last true rock-funk album, before clinton and co. concentrated entirely on more dance-based and radio-friendly material. it is also the first parliament-funkadelic release to prominently feature the talents of the groups’ recently acquired bassist, the outrageous bootsy collins, whom many regard as the very embodiment of funk. 'let’s take it to the stage’ also finds parliament-funkadelic on the verge of shedding its long-lived cult status and finally reaching wide spread commercial success. the title track, in which shots are taken at other popular '70s funk figures (such as sly and even the godfather of soul, james brown), gloriously displays the band’s sense of humour. so do the sexually suggestive 'no head no backstage pass’ and the album’s party-anthem highlight, 'get off your ass and jam.’ other top funk workouts include 'stuffs and things,’ 'better by the pound,’ 'good to your earhole,’ the more serene 'be my beach,’ and the album-closing, largely instrumental 'atmosphere.’ 'let’s take it to the stage’ continues funkadelic’s winning '70s streak. the cd adds one bonus track 'baby i owe you something good’ from us music with funkadelic……… 

A1 Good To Your Earhole 4:30 
A2 Better By The Pound 2:40 
A3 Be My Beach 2:35 
A4 No Head, No Backstage Pass 2:36 
A5 Let’s Take It To The Stage 3:32 
A6 Get Of Your Ass And Jam 2:00 
B1 I Owe You Something Good 5:43 
B2 Stuffs & Things 2:11 
B3 The Song Is Familiar 3:05 
B4 Atmosphere 7:05 

Yura Yura Teikoku “Are You Ra? 1996 Japan Psych Rock

Yura Yura Teikoku “Are You Ra? 1996 Japan Psych Rock recommended...


Yura Yura Teikoku (ゆらゆら帝国) (literally “The Wobbling Empire”) is a 3-piece band from Tokyo’s underground music scene centered on Kōenji. They have an eclectic sound usually described as psychedelic rock. Whilst they have been renowned and highly influential within Japan, it took them 16 years since their formation in 1989 to play a show outside Japan, performing in New York City in 2005…

Catchy, unpretentious psychedelic guitar pop/rock (or Standing On The Verge Of Getting It On). 
This is the first record produced by You Ishihara as well as the last record with drummer Onsen Shimoda. In many ways this record sounds like a preparation for what was to follow. The performances are a bit less heavy handed than those on the previous “Live” record and the songwriting is strong, though still more epic and less focussed than on records like 3x3x3 or Yura Yura Teikoku III. Some of the tracks would be rerecorded later, two tracks even appear on the “Best & Rare” compilation. The sound and the performances are not as explosive and overdriven as they would be on 3x3x3, but the record holds up strong and has its own charm due to its more intimate nature……by….c deep .....

YURA YURA TEIKOKU was formed in 1989 with drummer Atsushi Yoshida and vocalist/guitarist Shintaro Sakamoto as leader, bassist Chiyo Kamekawa and a succession of other members. Drummer Ichiro Shibata joined in 1997 to form the current lineup, and the trio soon signed with Midi Records. The band released five studio albums, one live recording album and two greatest hits albums on Midi. 

In 2005, YURA YURA TEIKOKU signed with Sony Japan and released their ninth studio album, “SWEET SPOT”, and a remix 12-inch,“SOFT DEATH / FRANKIE TEARDROP" (Suicide cover). “SOFT DEATH" was embraced by the dance community, and “SWEET SPOT” was elected one of the best albums of the year in various media in Japan and overseas. The band also released a live album of material from their Midi years titled “” on New York-based Mesh-Key Records. 

In October of the same year, Mesh-Key Records organized two shows for the band in New York (their first shows ever outside Japan), and was welcomed with rave reviews by the local media. New and old fans alike packed into the venues to see the band’s one-of-a-kind performance. 

In June, 2006, the CD single “Into The Next Night” and remix 12-inch“Into The Next Night / You Can’t Fight Fate”were released. In July, Mesh-Key Records released the 12-inch“SOFT DEATH / IT WAS A ROBOT" and brought the band back for a second batch of New York shows, which were even more packed than the first. The “SOFT DEATH” 12-inch has been championed by such deejays as Rub'N Tug and DJ Harvey. 

In 2006, the band headlined at various major festivals in Japan and Taiwan. In May 2007, Mesh-Key Records released the US version of “SWEET SPOT.” In the same year, YURA YURA TEIKOKU went on their first Australian tour. 

In July 2007, they released the single “Beautiful" and in fall 2007 they released their first studio album in two and a half years, “Hollow Me.” DFA Records combined Beautiful and Hollow Me for a full-length CD release in November 2009. 

As of March 31, 2010, according to the band’s official website, after 21 years playing together the band has amicably broken up citing a loss of excitement. Each member plans to continue playing music in other projects in the future. 

Shintaro Sakamoto started his own record label, “zelone records”, and released his first solo single, “In A Phantom Mood”, on October 7, 2011. He has since released two acclaimed solo albums. 

Related notes: Vocalist Shintaro Sakamoto, who designs all the band’s artwork, published his first illustration/artwork anthology, “SHINTARO SAKAMOTO ARTWORKS 1994-2006” (Shogakukan) in July 2007. Bassist Chiyo Kamekawa has been a member of The Stars, led by producer You Ishihara (ex-White Heaven) since 1999. They have released three studio albums…

Shintaro Sakamoto (坂本慎太郎) – vocals, guitar 
Chiyo Kamekawa (亀川千代) – bass guitar 
Ichiro Shibata (柴田一郎) – drums

(1992) — Yura Yura Teikoku 
(1994) — Yura Yura Teikoku II 
(1995) — Live 
(1996) — Are You Ra? 
(1998) — 3x3x3 
(1999) — Me no Car 
(2001) — III 
(2003) — Yura Yura Teikoku no Memai 
(2003) — Yura Yura Teikoku no Shibire 
(2003) — 
(2005) — Sweet Spot 
(2007) — Hollow Me/Beautiful 
(1998) — Hakkoutai 
(1999) — Zukku Ni Rock 
(2006) — Into The Next Night 
(2010) — Dekinai 
(1998) — Hakkoutai / Itazurakozou 
(1999) — Taiyou No Shiroi Kona 
(2006) — Soft Death / It Was A Robot 
(2007) — Beautiful 

1 アイツのテーマ (YuraYuraTeikoku Forever) 3:28 
2 されたがっている (Money Love Dance) 3:27 
3 最後の一匹 (The Last Tribe) 5:02 
4 グレープフルーツちょうだい (I Want A Guiter Like A Car) 3:05 
5 うそのアフリカ (Mad Man’s African Dream) 5:07 
6 アイドル (Idol) 4:54 
7 ファミリー (Family) 10:04 
8 わかって下さい (Twin Animals) 6:37 

Yura Yura Teikoku “3x3x3” 1998 Japan Psych Rock

Yura Yura Teikoku “3x3x3” 1998 Japan Psych Rock 

Yura Yura Teikoku first formed in 1989 as a four-piece, led by guitarist/ vocalist Shintaro Sakamoto, a graduate in design from Tama Art University . The group played out frequently at Koenji’s celebrated if tiny UFO Club, for which Sakamoto designed the interior. Their first recording appeared on Tokyo Flashback, a compilation put together by Tokyo’s PSF Records, home to a wealth of top flight psychedelia including Keiji Haino, Ghost, High Rise, White Heaven, and Acid Mothers Temple. Yura Yura Teikoku’s first full albums were of prog-ish psychedelic music on their own Jigoku (Hell) label. They later moved to the slightly larger independent label Captain Trip, where they released a live album in 1995 titled simply Live, and in 1996 Are You Ra?. Compared to other bands with psychedelic leanings, Yura Yura Teikoku has a distinct pop flavor to their sound, but of a quite odd variety that frequently had them compared to the 13th Floor Elevators. After a number of member changes, present bassist Chiyo Kamekawa joined the band in 1990. In 1992 the band became a trio when the second guitarist dropped out. The current, and perhaps “classic”, line-up of the band jelled in 1997 when Ichiro Shibata joined as drummer - the umpteenth to hold the position. In 1998 the group released 3 x 3 x 3, their first album on the major minor label MIDI. The album was very well received critically, and posted comparatively strong sales. For some fans it remains their most popular recording. Albums since include Shibire, Memai, Taiyou No Shiroi Kona, and Zukku Ni Rock, all four of which include guest appearances by Michio Kurihara of internationally celebrated Japanese psychedelic band Ghost. These albums were picked up for distribution in the United States by the Brooklyn based Mesh-Key Records, and in recent times the group has been receiving attention in the international media. In November 2003 they released Na Ma Shi Be Na Ma Me Ma, which they retailed for the bargain price of 1,000 yen - less than half the normal price of Japanese CDs. They also have a Double disc retrospective called 1998-2004. Yura Yura Teikoku continue to be a popular live band, and these days are able to fill considerably larger venues than in their early years. They played Fuji Rock’s main stages in 2000, 2001, and 2004, and often sell out shows that they headline. However they do not seem to be overly money minded; their shows in April 2005 at Tokyo’s Hibiya Yagai Onagkudo and at Osaka’s Hattori Ryokuchi Yagai Ongakudo were free to the public. In May 2005 the band plan to release a new album Sweet Spot…

In 1989, Sakamoto Shintarou formed Yura Yura Teikoku with the idea of creating original rock written in Japanese. From the beginning, Sakamoto was the leader of the band and clearly the creative driving force. He shows great proficiency with a number of styles, excelling whether he’s writing pop chord progressions, cool psychedelic grooves or meandering guitar solos. Sakamoto’s other great strength are his vocals, which fit well into every style that the Teikoku plays. The lyrics are ironic, biting, and nihilistic. 

In 1990, Bassist Kamekawa Chiyo joined the band, which at the time was a quartet. In 1992, Yura Yura Teikoku underwent a member change and became a 3 piece with a more straightforward, poppy sound. It was also in ‘92 that Yura Yura Teikoku released their first self-titled album independently. Due to undeniable musical talent and charisma the band carved out a niche for itself in the Tokyo indie live scene. In 1994, the band released their second self-titled album, followed by their first live album in 1995 titled simply Live. The last album of their indie era, Are You Ra?, was released in March of 1996. Are You Ra? is actually the most straightforward of all the Yura Yura Teikoku albums that I have heard, which is an interesting counter to the more usual example of bands getting signed to a major label and being forced to churn out pop singles, losing their uniqueness. After countless drummer changes in 1997 the current drummer Shibata Ichirou joined, thrusting the band into its current form.
In April of 98, their first major label album 3x3x3 was released, receiving nearly universal rave reviews from music magazines as well as fellow musicians, a fitting reception for a band that paid its dues in the indie scene for 8 years. 3x3x3 is regarded by many fans as the band’s crowning achievement, carrying over much of the style of their earlier indie releases but executing it with greater cohesion. 

Since 3x3x3, they have released 4 studio albums: 3, Me no Car, Yura Yura Teikoku no Memai, and Yura Yura Teikoku no Shibire. Each consecutive release has ventured farther from the guitar pop territory into the realm of psychedelic rock. They have also released a live version of their Shibire and Memai records called and a best of album 1998 - 2004. Yura Yura Teikoku continues to play shows throughout Japan and has further plans to release studio albums…

Sakamoto Shintarou - guitar/vocals 
Kamekawa Chiyo - bass 
Shibata Ichirou - drums

A1 わかってほしい
A2 昆虫ロック
A3 ユラユラウゴク
A4 ドックンドール
A5 アイツのテーマ
B1 発光体
B2 つきぬけた
B3 パーティーはやらない
B4 Evil Car
B5 3x3x3

01. Wakattehoshii 
02. Konchuu Rokku 
03. Yurayuraugoku 
04. Dokkundo^Ru 
05. Hakkoutai 
06. Tsukinuketa 
07. Aitsu No Te^Ma 
08. 3 X 3 X 3 
09. Ta^Toruto^Ku 
10. Evil Car 
11. Pa^Tei^ Hayaranai 

Ohkami No Jikan “Live ’99″ (unreleased) Japan 1999 Psych Rock Experimental

Ohkami No Jikan “Live ’99″ (unreleased) Japan 1999 Psych Rock Experimental
According to the J-card, this is the first Ohkami No Jikan album and they "concentrate on the heaviness of minimal noise”. Unfortunately, as far as English is concerned, it doesn’t reveal who amongst the revolving membership are present for the recording. Obviously, Asahito Nanjo is here but all else would be speculation. ……. 
Is a special, but also relatively unexplored band on the Japanese psychedelic scene. The band members - the famous Asahito Nanjo (leader of the High Rise group) and Kawabata Makoto (the head of all the main and affiliated groups of Acid Mothers Temple, with whom we will meet) with the participation of Maki Miura (husband of Shizuka Miura, a member of such an avant-garde ensemble as Fushitsusha) in an absolutely mystical collective - it will be difficult to collect the group’s albums by groups - the compilations, mainly consisting of records of live performances, were published rarely and not in the largest edition, sometimes the date of recording and the names of the musicians were simply not possible to know if you are not acquainted with the group or label directly. 
The composition of the groups at concerts and on recordings of compilations is difficult to guess - sometimes you can hear the members of the famous Les Rallizes Denudes band playing their heavy, languid and slow music, sometimes the main role of Nanjo comes to the fore, and the participation of Kawabata Makoto in general can be guessed only because His sister Sachiko was engaged in the design of the album cover of the band. 
Speaking about the band, fans often refer to their album Mort Nuit (which we’ll get to know better in the future). But today we will listen to three records made by the band in the possible period of 1998-2000 during the session for the radio, for example as the Psychedelic Atmosphre Beatnik KFJC Radio Show 98. 

Bass – Shinya Nana* 
Drums – Shimura Koji 
Guitar, Effect – Kawabata Makoto* 
Guitar, Effect, Vocals – Nanjo Asahito* 

1 Koko 7:49 
2 Unforgiven 5:27 
3 Aruji / Unforgiven 16:52 
4 Koko 9:15 

Tracks 1, 2: Recorded live at Silver Lake Rounge, Los Angeles.15 July 1999 
Tracks 3, 4: Recorded live at EJ’s, Portland.8 July 1999 
Mastered at La Musica Studio 1999 

johnkatsmc5, welcome music..







Cassette Deck

Cassette Deck







music forever

music forever