31 May 2010

Comus - First Utterance

Comus - First Utterance
Genre:Prog Folk/Psych Folk/Freak Folk/Female Vocal

A1 Diana   
A2 The Herald   
A3 Drip Drip   
B1 Song to Comus   
B2 The Bite  
B3 Bitten  
B4 The Prisoner

30 May 2010

The Plastic People Of The Universe-Jak Bude Po Smrti

The Plastic People Of The Universe-Jak Bude Po Smrti
The Plastic People of the Universe biography"What's it like making rock n' roll in a police state? The same as anywhere else, only harder. Much harder" (Paul Wilson, Musician magazine, 1983)

THE PLASTIC PEOPLE OF THE UNIVERSE were a rather innovative but otherwise unexceptional post-psychedelic band. They wouldn't likely stand out in the history of modern music were it not for their completely remarkable story of persistence in the shadow of suppression behind the Iron Curtain in post-'Prague Spring' Czechoslovakia. Their story is one of vision, and serves as a symbol of the power of human will in the face of soulless oppression.

The Plastics were born amid the Soviet invasion of Czechoslovakia in late 1968. They were formed by bassist Milan Hlavsa, already a veteran of local bands THE UNDERTAKERS, NEW ELECTRIC POTATOES, and FIERY FACTORY. Hlavsa recruited former schoolmates Jiří Števich, Michal Jernek, and drummer Pavel Zeman into the original lineup. In addition to a repertoire of VELVET UNDERGROUND, DOORS, and MOTHERS OF INVENTION covers, the band distinguished themselves with garish face paint, satin togas, and wild original compositions that made up in energy what they lacked in style or complexity.

In the spring of 1969 the band enlisted PRIMITIVES GROUP veteran Ivan Jirous as artistic director, and added former TEENAGERS violist Jiří Kabeš the following year. Around the same time Jirous enlisted the help of Canadian language teacher Paul Wilson to provide vocals and to teach the band English lyrics for their compositions. 1972 also saw the addition of saxophonist Vratislav Brabenec.

The Plastics endured many years of government harassment and persecution, all while continuing to develop their sound and an ardent following while cementing their place as fathers of the Czech musical underground. Having lost state sanction as professional musicians early in the Soviet occupation the band often appeared in the guise of amateur entertainment at weddings, dances and family parties, as well as in the occasional underground festival. Their equipment was often laboriously hand-made, and rehearsals were usually conducted without amplification in the secrecy of friend's and family's crowded apartments. Arrangements were typically practiced as individual parts, with the combined works being put together in impromptu fashion only on those rare occasions when the band found themselves with an opportunity to perform on stage.

The band managed to record their first album, "Egon Bondy's Happy Hearts Club Banned" in 1974, although it would not be released until 1978 in France. Members of both the band and their audiences were often arrested, and at one such underground performance at Budejovice in 1974, state police rounded up hundreds of student fans and band members, imprisoning six and expelling dozens from their universities.

In the spring of 1976 Czech police raided dozens of flats and communal homes; arrested twenty-seven members of the Plastics and other underground bands; confiscated and destroyed most of their instruments and equipment; and seized countless texts, music sheets, tapes and photos. Five members of the Plastics were imprisoned including Jirous, who would suffer three more arrests and convictions in the coming years. By the late seventies several members of the band had relocated to Vienna, where they continued to perform and record. The band would ultimately release "Co znamená vésti koně" in 1981, "Kolejnice duní" the following year, and "Půlnoční myš" in 1986. They also recorded but did not release "Hovězí porážka" in 1984. "Co znamená vésti koně" had to be completely re-recorded after the original tapes were destroyed in a mysterious fire the day after they were produced. The album was ultimately released on the mysterious Canadian label Boží Mlýn, which was registered in Canada with the same address registered to former band member and friend Paul Wilson.

The band dissolved in 1989 shortly before the collapse of the communist regime in Czechoslovakia. Hlavsa's subsequent band PŮLNOC launched an American tour later that year and dedicated each performance to the still-jailed Jirous. In 1997 the Plastics reformed for a triumphant tour of their homeland and recorded the live CD "1997". Milan Hlavsa died of cancer in his home town of Prague in 2001.

THE PLASTIC PEOPLE OF THE UNIVERSE were an inspirational force for underground music in the former Soviet bloc, blending jazz, blues, folk, and avant-garde compositions into an eclectic and unique sound that celebrated art, expression, and life. While many bands boast more refined pedigrees, few (if any) can claim to have sacrificed more in their dedication to freedom of expression. For this reason, the Plastics are an undying symbol of rock in opposition, and are highly recommended for all students and fans of progressive music of any kind.


01 - Jak bude po smrti
02 - Slavná nemesis
03 - Jsem absolutní vúle 


29 May 2010


Don't have much information but highly recommended !

1. 二重人格
2. シンシア
3. 狂「パートII」
4. ひとりごと
5. 警告 

Password: anekdoten

28 May 2010

友川かずき(Kazuki Tomokawa)

"Japanese acid-folk singer, poet, author, artist and racing tipster, 
active in the Japanese music scene since the early seventies. 
Often described as a “screaming philosopher” due to his 
idiosyncratic singing style. Whether screaming his lungs out 
while thrashing his guitar within an inch of its life (his 
legendarily wild performances frequently end up with all 
strings snapped during a single song), creating gorgeously 
romantic and limpid tone-scapes, Tomokawa never remains 
any less than himself. He walks a path of untutored intelligence, 
piercing sensitivity, and fully exorcised passions all too rare
in the shallow husk of today’s debased world." 


[studio albums]  1975 - Finally, The First Album  1976 - A Natural Voice  1977 - Senbazuru Wo Kuchi Ni Kuwaeta Hibi  1978 - Poems That Won’t Stop Crying From Within Me  1980 - Within the Country of Falling Cherry Blossoms  1981 - The Sea Is Silent, The Voice’s Soul Is Suffering  1986 - Beauty Without Mercy  1994 - Fault Of Flowers  1994 - Playing with Phantoms  1995 - Dance A Bonodori Alone  1996 - Fat in the Morning Light  1998 - Day by Day Dreams Die With Blithe  1998 - The Process of Stars  1999 - Sky Fish  2000 - Red Polyanthus  2001 - The Eyes of Elise  2002 - A Blow By Kenshin  2003 - Nakahara Chuya Sakuhinnshu ['78 re-interpretation]   2008 - Blue Water, Red Water  2009 - A Bumpkin’s Empty Bravado  [live albums]  1979 - A Dog - Live in Akita  1995 - GOEN: Live In Nihon Seinenkan  1995 - Shibuya Apia Document  2005 - Live 2005 Osaka Banana Hall  [compilation album]  Itsuka, Toku O Miteita  [extra songs]  Can’t Comprehend the Meaning Behind these Emotions  The Spring that Never Comes

26 May 2010


三上寛(mikami kan)-ベスト・アルバム(Mikami Kan No Sekai)(三上寛の世界)
Year: 2007-11-27

1-1 馬鹿ぶし
1-2 ものな子守歌
1-3 カラス
1-4 数珠の玉切れる日に
1-5 おど
1-6 なぜ
1-7 ピストル魔の少年
1-8 木
1-9 黒い小さな貨物列車
1-10 小便だらけの湖
1-11 夢は夜ひらく
1-12 夢でよかった
1-13 砂丘
1-14 ブルースは俺のものじゃない
1-15 コップは壊れるだろう
1-16 かけおち
1-17 おととし泣いた夕暮れと
1-18 ギターを持った渡り鳥

24 May 2010


三上寛 (mikami kan)-Bang
Year: 2003-05-05

1-1(5:57) このレコードを私に下さい
1-2(3:34) 逢えてよかった
1-3(4:58) 華麗なる絶望
1-4(7:37) BANG!
1-5(5:50) 密漁の夜
1-6(8:39) なんてひどい唄なんだ
1-7(7:02) 赤い馬
1-8(4:01) 最後の最後の最後のサンバ


23 May 2010

ルメン•マキ (Carmen Maki )

Heavy Japanese psych. Carmen Maki was originally a Japanese "blues" singer but joined forces with a prog rock band in the early 70s. This is what makes the internet a truly useful tool. CARMEN MAKI, half American and half Japanese, was born in Kamakura, Japan. Originally having an ambition to be an actress, she studied drama and performances under Shuji Terayama, one of the most famous Japanese stage directors. Her singing ability on the stage moved CBS-Sony Label and in 1969 she could make her debut with the pop song titled "Tokiniwa Haha No Nai Ko No Yoni (Sometimes be like an orphan)". She made a topic with her slipshod, fascinating singing but she could not be amazed enough at pop songs and suddenly changed her musical style for Rock in the next year. Via CARMEN MAKI & BLUES CREATION, a new Japanese rock outfit, she formed CARMEN MAKI & OZ with some talented musicians in 1972. After going through hardships, they released the debut single "A sketch at one o'clock" from Polydor Japan in 1974. Until breaking up in 1977 they could release three studio albums and a live one, all of those were great successes in Japanese Rock scene. MAKI is still active now, with touring various areas and playing on stage.

ルメン•マキ & LAFF-ルメン•マキ & LAFF
Carmen Maki And Salamandre- Carmen Maki And Salamandre

カルメン マキ &Oz-カルメン マキ &Oz  
Carmen Maki &Oz-Ⅲ
Carmen Maki-閉ざされた町

 Carmen Maki-Tokiniwa HahanonaikonoyouniDownload
Carmen Maki-Moon Songs
Carmen Maki - BEST&CULT 

Carmen Maki & Blues Creation - Carmen Maki & Blues Creation 
Download(Part 1)& (Part 2)

Carmen Maki - Adam & Eve 

カルメン・マキ/ゴールデン☆ベスト(best 70's rock)
Password: rocksoul

Carmen Maki-ペルソナ
40 years anniversary cd published on 2009

Carmen Maki-Rousoku No Kieru Made(ろうそくの消えるまで)(Poems in the Midnight )

Carmen Maki & Oz - Live (1977) 
Download (Part 1) & (Part 2)

21 May 2010

Speed, Glue & Shinki – Speed, Glue & Shinki

EVA-Speed, Glue and Shinki

“This far flung, double yellow Tiger bomber wrapped brown bag in paper was unleashed in Japan on Atlantic Records, Speed, Glue & Shinki’s second album did the impossible by being even more of a wrecked and loose a masterpiece as their previous album, Eve. Two separate LPs came tethered together in the oversized obi enclosure of one wraparound brown paper bag sleeve designed by the Taj Mahal Travellers’ self-made instrumentalist Michihiro Kimura. And the album’s lyric and credits sheet were littered with typos, crossed out words and all the reproductive cut marks, tape and detritus no white-out or non-repro blue zone exposure of all fuckups unmasking. And most of the music here on their final and eponymous named effort mirrored this, comprised of one-takes mishandled with searing guitar overdubs, occasional phasing on the drums and a direction mapped out not by some flimsy, preconceived fad but by a truly unselfconscious and of-the-moment reaching, succeeding and staggering just over the finish line in such a sublimely wrecked and burnt manner that it made an art form out of just teetering on the edge of falling apart altogether. It’s a miracle it was ever played and recorded, let alone released for Speed, Glue & Shinki were loose cannons on the loosest ship of the loosest navy ever and seemed more like three stringless kites that soared so high upon the currents of Rock they never came down. Nothing was ever a big deal for these guys, they were so damn loose.

Sides 1&2 of Tiger Album the First starts off with sniffing, snorting and overall gleeful knocking stuff all over the place during a bargain basement jumble in the dark for “Sniffin’ & Snortin’ Pt. 1 (Vitamine C)” barges in and kicks down the door with a sonic moronic display driven off the edge with Shinki’s buzz-sawn-off Chuck Berry riffing shot up with immediate stomp appeal and Joey Smith’s lead foot kick drum stepping on the gas and bashing out at all around him…And to think that this is only a warm-up exercise for once the faders and mental house lights go up on “Run And Hide,” the band are firing on all cylinders at once, cutting loose like a retarded version of “The Immigrant Song.” Backwards. And slowed to 8rpm. Minus a handful of random notes. Sort of. Album side the Second of Album No. 1 begins with a gradual build of super-phased drumming that projects outward through a massive mushroom cloud exhalation of cannabis sativa and they’re off and walking through “Flat Fret Swing.” Joey’s vocals once more swell like a big Louis Armstrong (and a little headstrong Mark E. Smith) soul holler lodged in the throat against the horizontal, mid-tempo backing.

Sides 3&4 of Tiger LP No. 2 begins with a word from behind the now streaming, sweaty and belaboured kit of Smith after downing a long, tall cool one. Smacking his lips, he do declare “That’s the best wine I’ve ever tasted” and he’s already crashed into his cymbals, prefaced with another quick drum roll and is already headlong into his Armstrong-along-60-second-long holler, “Doodle Song.” After which, they just grease most of the album side out in the most wrecked and transcendental way possible. Smith calls out to regroup with a “Right!” “Yeah!” and “Ya ready?” and they break directly into the epic “Search For Love.” Oh, Motherfucker. What a track. The running time sez 8:44, which is ridiculous: for time seems all but suspended for the duration of the raging depths of this howling, sprawling track. The intro to “Moby Dick” off “Zeppelin Album No. One” is all but hustled roughly into a burlap sack with the drum solo thrown off the back of the Speed, Glue & Shinki 18-wheeler as they head steaming down the highway on 24 hour beaver patrol: But at 80mph in fourth gear with their collective scroti dragging behind them alongside a case of empty Sapporo beer cans and 12 drained plastic gallon jugs of Happy Sunshine cough mixture marked ‘For Institutional Use Only’; set off by two oversized silver foil pinwheels that catch, refract and shine into all eyes of creation sun’s bright rays of illuminated genius at the gates of dusk as impromptu sunspots get caused by residual white powder still alighting on the surface from the previous night’s snort-sesh. The main part is hazardously heavy and simple and Hanopol brays out the vocals swaggering all the way. All else cuts out during the guitar solo number 1: overlaid with the very same number 1 and staggered directly at the only point where it could and does extend into a 3D topographic mind map of the DNA emotion spiral in ancient memory banks’ nighttime deposits of the contact high as exquisitely overdriven bass amplitudes in a howling buzz discharged from the belching innards of Rock Behemoth until all fades out to leave Shinki alone perched upon a cloud with his guitar, plugging into the rising sun rays extending from behind as they exchange complimentary, throbbing hues and using them as amplification. It all vanishes like the techincolour daydream it is, awakening back to the “Moby Dick”-ed up introduction and the vocals. Bass resounds, thunder craps, rain and wind storm and through this weather pattern breaks through another insane guitar solo. Out cuts a trap door from within and TADA out falls Joey Smith still rapping out his spastically insistent drum heads while Pinoy brother Michael brays out his will to get woman, get high, get good and stoked and fucked. Enter guitar solo two number up causing heavens to thunder and split and crack open with rain to make the parched drains green with moss and make love grow in one’s head, body caught in uncontrollable shudder, to shake your brains to the core, body to the mantle and spirit out of baked seasonal crust. Dough girl smiles from within, winking. Me, too…a pinky. Thunderclaps drown it out as crickets and other mossy denizens resound in humid black air.

Completing an ingenious album that is one of the best records of the hard rock idiom stoned emperor 100 percent comes the run-on suite of “Sun”/“Planets”/“Life”/“Moon” and “Song For An Angel” performed on Moog synthesizer for Side four’s entire seventeen minute duration. A lift-off from all earthly desires prostrate on the floor as a series of charged electronic trajectories waft and smear together. Even on Moog synthesizer, Joey Smith makes it as Rock as his vocals, drumming and guitar playing because his attitude is so strong, careless and perfect, discharging a slow motion round of rocket launchings, pink noise twittering and knuckle dragging undertows as the air-locked elevation of soul continues to jettison all with Moog starship to lift-off beyond prefecture of asteroid, stratospheric inner space where neurons circle and spark brain coral of interior pink neon to litter all around sensation’s head quarters to ultimate collision with your only self. Self and soul unite. In your head. Forever.”