Sunday, April 2, 2017

San Ul Lim (산울림) - 2011 - The Story of San Ul Lim

San Ul Lim (산울림) 
2011 
The Story of San Ul Lim


DISC01. 1집 - 아니 벌써 (1977)



01. 아니 벌써
02. 아마 늦은 여름이었을 거야
03. 골목길
04. 안타까운 마음
05. 그 얼굴 그 모습
06. 불꽃놀이
07. 문 좀 열어줘
08. 소녀
09. 청자 (아리랑)
10. 아마 늦은 여름이었을 거야 [Live Version: 1996.06. 문막 공연]
11. 안타까운 마음 [Live Version: 1996.06. 문막 공연]
12. 문 좀 열어줘 [Live Version: 1996.06. 문막 공연

DISC02. 2집 - 내 마음에 주단을 깔고 (1978)



01. 내 마음에 주단을 깔고
02. 노래 불러요
03. 안개 속에 핀 꽃
04. 둘이서
05. 기대어 잠든 아이처럼
06. 어느 날 피었네
07. 나 어떡해
08. 이 기쁨
09. 정말 그런 것 같애
10. 떠나는 우리 님
11. 내 마음에 주단을 깔고 [Demo]
12. 노래 불러요 [Demo]
13. 둘이서 [Demo]
14. 이 기쁨 [Demo]
15. 내 마음에 주단을 깔고 [연주곡]
16. 어느 날 피었네 [연주곡]
17. 정말 그런 것 같애 [Live: 1996. 문막 공연]

DISC03. 3집 - 내 마음 (1978)



01. 내 마음 (내 마음은 황무지)
02. 아무 말 안 해도
03. 한 마리 새 되어
04. 아무도 없는 밤에
05. 그대는 이미 나
06. 내 마음 (김창완 보컬) [Live: 1996. 카페 '곰팡이' 공연]

DISC04. 4집 - 특급열차 (1979)



01. 특급열차 (속에서)
02. 아무에게도 말할 수 없소
03. 풋내기들의 합창
04. 가을에 오시나요
05. 거인의 숲
06. 그리움
07. 유리 인형 [경음악]
08. 우리 강산
09. 여운
10. 카멜레온
11. 어디로 갈까
12. 내일 또 내일 [영화 주제가]
13. 바람 부는 강 언덕 [경음악]
14. 징글벨 [옴니버스 앨범 'X-Mas Carol' 수록곡]
15. 고요한 밤 거룩한 밤 [옴니버스 앨범 'X-Mas Carol' 수록곡]

DISC05. 5집 - 한낮의 모래시계 (1979)



01. 한낮의 모래시계
02. 오솔길
03. 봄
04. 포도밭으로 가요
05. 무녀도(巫女圖)
06. 이렇게 갑자기
07. 연 띄워라
08. 왜! 가
09. 백자

DISC06. 6집 - 조금만 기다려요 (1980)



01. 조금만 기다려요
02. 못 잊어
03. 이 노래가 끝나기 전에
04. 나 그대의 넓은 대지가 되고져
05. 한밤에
06. 백합 [경음악]
07. 어느 비 내리던 날
08. 창문 너머 어렴풋이 옛 생각이 나겠지요
09. 빨간 풍선
10. 해바라기가 있는 정물
11. 찻잔
12. 오후 [경음악]
13. 우는 아희야 [Unreleased Demo]
14. 눈 뜬 어린애 [Unreleased Demo]
15. 이 노래가 끝나기 전에 [Live: 1996. 카페 '곰팡이' 공연]

DISC07. 7집 - 가지 마오 (1981)



01. 가지 마오
02. 먼 나라 이야기
03. 독백
04. 하얀 밤
05. 그대 창가로 와요
06. 청춘
07. 꿈꾸는 인형
08. 하얀 달
09. 노모
10. 끊이지 않는 소리
11. 독백 [Original Version]
12. 청춘 [Original Version]
13. 가지 마오 [Live Version: 1996.11. 카페 '조커' 공연]
14. 독백 [Live Version: 1996.06. 문막 공연]

DISC08. 8집 - 새야 날아 (1982)



01. 새야 날아
02. 그럴 수도 있겠지
03. 누가 그랬었나요
04. 오늘같이 이상한 날
05. 지금은 잘 생각나질 않네
06. 내게 사랑은 너무 써
07. 회상
08. 돌아오려무나
09. 사랑하니까
10. 지나간 이야기
11. 지금은 잘 생각나질 않네 [Live: 1996. 카페 ‘곰팡이’ 공연]
12. 회상 (김창훈 보컬) [Live: 1996. 문막 공연]

DISC09. 9집 - 웃는 모습으로 간직하고 싶어 (1983)



01. 웃는 모습으로 간직하고 싶어
02. 더, 더, 더
03. 소낙비
04. TV도 끝났는데
05. 빨간 신호등
06. 황혼
07. 멀어져간 여자
08. 길엔 사람도 많네
09. 저기
10. 속도위반
11. 쉬운 일 아니에요
12. 더, 더, 더 [연주곡]
13. 소낙비 [연주곡]
14. 멀어져간 여자 [연주곡]
15. 길엔 사람도 많네 [연주곡]
16. 웃는 모습으로 간직하고 싶어/그럴 수도 있겠지 [Live: 1996. 카페 ‘곰팡이’ 공연]
17. 소낙비 [Live: 1996. 문막 공연]

DISC10. 10집 - 너의 의미 (1984)



01. 춤추는 밤
02. 꿈이야 생각하며 잊어줘
03. 숨길 수 없네
04. 동화의 성
05. 아직은 모르지만
06. 왜 난 고민이 없나
07. 지구가 왜 돌까
08. 독수리가 떴네 (2:24)
09. 너의 의미
10. 지금 나보다
11. 여기 있어 그대
12. 해 지는 곳으로
13. 여기 이 불빛이
14. 너의 의미 [Original Version]
15. 지금 나보다 [Original Version]
16. 지금 나보다 [Live Version: 1996.06. 문막 공연]

DISC11. 11집 - 그대 떠나는 날 비가 오는가? (1986)



01. 슬픈 장난감
02. 비의 마음
03. 그대 떠나는 날 비가 오는가?
04. 언제나 낯선 길
05. 순아의 노래
06. 안녕
07. 내가 고백을 하면 깜짝 놀랄 거야
08. 도시에 비가 내리면
09. 귀여운 소녀
10. 가지 마
11. 옷 젖는 건 괜찮아
12. 날 사랑하신 님이여 [정규 앨범 미수록곡]
13. 지나버린 날들 [정규 앨범 미수록곡]
14. 추억의 강 [정규 앨범 미수록곡]
15. 순아의 노래 [Live Version: 1996.06. 문막 공연]

DISC12. 12집 - 꿈꾸는 공원 (1991)


01. 꿈꾸는 공원
02. 내가 돌아갈 곳은
03. 불안한 행복
04. 동창생
05. 배추꽃 메밀꽃
06. 추억
07. 무감각
08. 슬픈 편지
09. 사랑의 종곡
10. 멈추지 않는 눈물
11. 누나야
12. 집에 있어 [Previously Unreleased Demo]

DISC13. 13집 - 기타로 오토바이를 타자 (1997)



01. 내가 왜 여기 있는지 몰라
02. 기타로 오토바이를 타자
03. 나도 너처럼
04. 잔인한 아침
05. 무지개
06. 외출
07. 오줌싸개
08. 142434
09. 부탁
10. 고양이 사냥꾼
11. Fax 잘 받았습니다
12. 내 마음은 황무지 [Live]
13. 가지 마오 [Live]
14. Forklift [New Song]

DISC14. 어린이에게 보내는 산울림의 동요선물 제1집 - 개구장이 (1979)



01. 개구장이
02. 저녁 바람
03. 바람 그리기
04. 끼리끼리
05. 내 별은 어느 걸까
06. 친구야
07. 밤길
08. 별아
09. 군밤 먹기
10. 예쁜 맘 예쁜 꿈
11. 제비
12. 눈은 하얀 고양이
13. 개구장이 [Live Version: 1997.03. 연강홀 공연]

DISC15. 어린이에게 보내는 산울림의 동요선물 제2집 - 산 할아버지 (1981)



01. 산 할아버지
02. 등산
03. 집에 갈래
04. 큰 나무
05. 행복의 나라로
06. 백합
07. 봄, 여름, 가을, 겨울
08. 별밭
09. 무지개
10. 매미
11. 종소리
12. 숲 속에는
13. 집에 갈래 [Live: 1996. 문막 공연]

DISC16. 어린이에게 보내는 산울림의 동요선물 제3집 - 이게 웬 긴 꼬리냐 (1982)



01. 이게 웬 긴 꼬리냐 (줄다리기)
02. 산울림 행진곡
03. 뱅뱅 굴러 (달리기)
04. 운동회날
05. 먼 길
06. 거울
07. 엄마 품
08. 꽃과 소년
09. 뭉게구름
10. 민들레
11. 새 봄
12. 귀뚜라미

DISC17. 동심의 노래 (1984)



01. 꼬마 인형에 날개를 달자
02. 앞으로
03. 내 사랑
04. 내 별은 어느 걸까
05. 외계인 이티
06. 가을이 오고 또 겨울이 오면
07. 귀여운 나의 태양
08. 엄마야 누나야
09. 귀염둥이
10. 엄마 품
11. 언제나 웃는 아이 (웃음동자)
12. 내 사랑 [Alternate Version]



Sanullim (산울림, 1971~2008), also spelled Sanulrim, is a South Korean power trio rock band. The name of the band is the combination of words, "san" (산, mountain) and "ullim" (울림, echo). The band is considered to be one of the most influential figures in Korean rock music. Their musical experiments varied from songs for children to progressive/psychedelic rock.

Sanullim broke up after the death of the drummer, Kim Chang-ik (김창익), in 2008.


The three members of Sanulrim are brothers, not unlike the bands Gentle Giant and the Bee Gees. They were Kim Chang-wan (김창완, 1954-), Kim Chang-hoon (김창훈, 1956-), Kim Chang-ik (김창익, 1958-2008).

The band, formed when the three were university students, was initially called 무이 (Mui) and was never meant to be professional. Kim Chang-hoon's other college band, named "Sand Pebbles," won the MBC College K-pop Festival with their song, "나 어떡해 (What Shall I Do)". Mui was initially nominated to win with their song, "문좀 열어줘 (Please Open the Door)" but was not qualified because Kim Chang-wan had already graduated from the university.

Gaining confidence, the band looked for a music agency and changed the name of the band into 'Sanulrim' by their new manager's demand.

The band released their first album in December 1977. The album largely impacted the Korean music scene and became both critically and commercially successful. The album, entitled vol.1 아니벌써 (vol.1 What, Already?) brought new type of music which Koreans had never heard before. People were absorbed with the psychedelic/hard rock sound the band produced. Sanulrim's appearance in the music scene was also dramatic and significant because they vitalized the Korean music scene, which was currently devastated after several major musicians were arrested for marijuana possession around the middle of 1970's.

During 1977-1984, they released 10 or more albums and helped other musicians. With the K-pop retrospective boom during the 1990s, all of their the albums were reissued and a tribute album was released. Sanulrim performed in Seoul on July 5, 2007 and July 6, 2007 for their 30th anniversary and planned to release a vol. 14 album within the same year.

On January 29, 2008, drummer Kim Chang-ik was killed in a traffic accident while driving a forklift during heavy snow in Vancouver, British Columbia, Canada.[3][4] Kim Chang-wan announced the end of the band after his brother's death.

After the breakup, Kim Chang-wan has been actively performing as a musician, actor, writer and broadcast celebrity. He was one of the antagonists in the hit South Korean medical drama White Tower, and had a supporting role in the romantic comedy Coffee Prince. Kim Chang-hoon resides in Los Angeles with his family.


PYG! - 1972 - Free With PYG

PYG! 
1972 
Free With PYG
.

01. Black Night
02. Walking My Shadow
03. Every Mother's Son
04. Country Comfort
05. Bitch
06. Speed King
07. Cowboy
08. Love In Vain
09. To Love Somebody
10. Travelin'g In The Dark
11. The Day I Knew A Love
12. A Road Named No Return
13. Nothing Free
14. Sympathy For The Devil
15. I Put A Spell On You
16. Now The Time For Love
17. I Want To Take You Higher
18. Babe, I'm Gonna Leave You
19. To Pray

Bass – Osami Kishibe
Drums – Hiroshi Oguchi
Guitar – Takayuki Inoue
Organ – Katsuo Ohno
Vocals – Kenichi Hagiwara, Kenji Sawada



Their second and final release was a live album recorded in Aug, 1971, and comprised of mostly of hard rock covers, bearing a strong resemblance to Deep Purple at times. Unfortunately, there is a rather weak selection of mat'l. However, this album does seem to be considerably better than their studio debut to my ears, and is also quite consistent.

PYG! - 1971 - PYG ! Original First Album

PYG! 
1971 
PYG ! Original First Album



01. A Road Named No Return = 戻れない道 2:52
02. For Our Bright Future = 明日の旅 4:22
03. The Days Already Past = もどらない日々 3:16
04. Sunday Driver = サンデー・ドライバー 1:38
05. No Longer On The Earth = やすらぎを求めて 9:55
06. Flower, Sun, Rain = 花・太陽・雨 5:08
07. Nothing Free = 何もない部屋 5:12
08. Dark Afternoon = 白い昼下り 2:48
09. Jeff (Sir, Loreal Julie Of Peacock Hill) = ジェフ (サァー・ロレアル・ジュリー・オブ・ピーコック・ヒル) 1:43
10. Love Of Peace And Hope = ラヴ・オブ・ピース・アンド・ホープ 3:10
11. To Pray = 祈る 4:55


Bass [Uncredited] – Osami Kishibe
Drums [Uncredited] – Hiroshi Oguchi
Guitar [Uncredited] – Takayuki Inoue
Organ [Uncredited] – Katsuo Ohno
Vocals [Uncredited] – Kenichi Hagiwara, Kenji Sawada



PYG (Pyg) was a super-group from Japan, made up of members of the most famous bands of the Group Sounds era: The Tempters, The Spiders and The Tigers. The band was named by Tokyo resident foreign recording artist Alan Merrill, who shared the same management at the time, Watanabe Productions.

Formed in 1971, the unit was fronted by the two biggest stars of the era: lead singers Kenji Sawada of The Tigers and Kenichi Hagiwara of The Tempters. The musical director of the band was guitarist Takayuki Inouye of The Spiders. The remaining members were Katsuo Ohno on keyboards, Hiroshi Oguchi on drums, and Ittoku "Sally" Kishibe on bass. Session man Yuji Harada, a non "Group Sounds" star, was also added to the line-up as a second drummer. The band were a seven piece ensemble on stage.

Mostly slow, plodding, vocal prog rock, with one decent guitar driven cut. All lyrics are Japanese. Despite being quite collectable, their albums do not carry much prestige, and their reputation as a quality prog outfit has gone largely unfulfilled. The original vinyl issue came in an extremely thick gatefold cover, designed to house a gimmick device in the hog's nose that you could push, and which would simulate a pig's grunt. Unfortunately, these were not high quality components, and the overwhelming majority of them are completely blown out from use.

Melting Glass Box - 1971 - Meltin Glass Box

Melting Glass Box 
1971
Meltin Glass Box 
(溶け出したガラス箱)


01. あんまり深すぎて 5:22
02. 何がなんだかわからない時 5:56
03 君はだれなんだ 2:57
04. まるで君と同じのっぺら坊で 3:59
05. ボクの右手の二本の指 1:42
06. マイケルの髪 5:41
07. 小さな花が道ばたに・・・ 3:41
08. さっき君が 2:44

Vocals, Guitar– 西岡たかし (Takashi Nishioka)
Bass – さえきまさし (Masashi Oki)
Drums, Flute – 木田高介 (Takaaki Kida)
Guitar – 加藤和彦 (Kazuhiko Kato)
Lead Guitar – 竹田和夫 (Kazuo Takeda)
Orchestra – Sun Orchestra
Vocals – 斉藤哲夫 (Tetsuo Saito)


Recorded September 26, 27, 29, 30 1970 at Aoi Studio.


The Jacks' drummer Kida Takasuke became, after he left the Jacks, involved in one of Japan’s legendary acid folk recordings, being the “Tokedashita Garasu Hako” (溶け出したガラス箱/ Melting Glass Box) which was released in 1970 on URC Records. The main player and concept mastermind originator of this venture was Nishioka Takashi (西岡たかし) who was initially not a musician but a man who provided artists with conceptual ideas. For this effort however, he sat behind the wheels of creation himself.
The album turned out to be one of URC’s uncrowned acid folk and psychedelic rock products that embraced a surrealistic sound, which Nishioka himself referred to as being almost Dadaistic in nature. Next to him the other main participants in the creation of this album were Kida Takasuke and folk singer Saito Tetsuo (斉藤哲夫). The three of them formed the main forces of the Tokedashita Garasu Hako unit and called in, during the recording of their sonic master plan, the help of some friends to assist them such a............ guitarist Kato Kazuhiko(加藤和彦), Apryl Fool and Happy End key figure Hosono Haruomi (細野春臣), Blues Creation guitar mangler Takeda Kazuo (竹田知夫) and bassist Saeki Masashi (佐伯正志), perfuming the overall atmosphere of the recording session with the scents of avant-garde and experimental components............

A really great example of original creative songwriting and music on the interesting, early URC label, that was launched after a first folk boom influence from America, this meant the exploration of an original new Japanese identity and sound. Tokedashita Garasu Baku was a super group that featured many members that came from early psych bands. It was led by Takashi Nishioka (vocals,guitar,percussion, words and music), a singer who was part of the early acid/psychfolk band Itsutsu no Akai Fusen in the 60s. After this he would become an important singer-songwriter with a solo career. The band also featured members from Happy End/Apryl Fool/ Yellow Magic Orchestra (the bass player), Jacks (the drummer, flutist, arranger), Blues Creation (the guitarist,the bassist and the keyboard player), Folk Crusaders (guitarist ; -he later will be part of the Sadistic Mika Band-), all early psych bands, besides folk singer Saito Tetsuo. Like in Itsutsu no Akai Fusen and Folk Crusaders there has been some interesting subtle fusing experiments between Japanese folk and psych music, like on the opener or on the fifth track, or some garage pop psych influence like with Jacks, like on the third track. Mostly we hear sad ballads in a specific song style with effects of droning organ, stoned acoustic guitars and subtle stoned overdubs on voice (on the fourth track), fuzz guitars, attractive rhythms and a few subtle folky arrangements, and improvised flute, and here and there a weird electronic keyboard effect. The fourth track has some violin orchestration, especially the last song is fully orchestrated besides simple acoustic guitar. The album has a really attractive sound and shows really subtle the early avant-garde experiments of mixing various influences together even when the pop ballads still lead the music.

Magma - 1981 - Magma

Magma 
1981 
Magma
마그마 - 1981 - 마그마



01. 알 수 없어 (You never can tell)
02. 이럴 수가 있을까 (Jesus wept)
03. 아름다운 곳 (A beautiful place)
04. 기다리는 마음 (Long-awaited mind)
05. 우린 서로 사랑하니까 (We love each other)
06. 해야 (Sun)
07. 잊혀진 사랑 (Forgotten love)
08. 그날 (That day)
09. 탈출(경음악) (Escape : Instrumental)


Drums – 문영식
Guitar – 김광현
Lead Vocals, Bass – 조하문




Rare and very obscure Korean hard psych from 1981,with excellent fuzz guitar and the typical Far East vocals.Would appeal to all fans of Terry Brooks,Blue Cheer, Leafhood, etc.
Again, something I found in cyberspace and have little to no info about... anyone know more about this one?

Harumi - 1968 - Harumi

Harumi 
1968 
Harumi


01. Talk About It 4:10
02. First Impressions 3:10
03. Don't Know What I'm Gonna Do 3:09
04. Hello 4:02
05. Sugar In Your Tea 3:22
06. Caravan 3:05
07. Hunters Of Heaven 2:52
08. Hurry Up Now 3:51
09. What A Day For Me 2:47
10. We Love 2:17
11. Fire By The River 3:35
12. Samurai Memories 19:15
13. Twice Told Tales Of The Pomegranate Forest 24:00


There are many albums by  unknown artists that deserve to be dug up and reexamined (or perhaps examined for the first time). Then there are the very few that reach up and grab you by the ears, making you wonder why they were ever forgotten in the first place.  Harumi falls into the second category.

Somehow an unknown from Japan (with feminine name) managed to locate one of the most renowned producers of the day to record his self titled debut record for Verve in 1968. Tom Wilson, the impresario behind both Dylan and Nico’s best loved albums heard something special in Harumi’s psyched out English-penned originals and we are still reaping the benefits of that union today.

Comparisons don’t give this music its due. Easy references like mid period Byrds or Jefferson Airplane might be obvious because of the relatively familiar aesthetic (for the time period) , but there is much to this record that greatly sets it apart from the more successful contemporary acts.

The main draw here is Harumi’s exceptional original songs and the way his drugged out voice navigates them. “First Impressions” begins with a Zombie-esque guitar and organ lick before catapulting into full pop mode with strings and brass. Harumi sounds haunting here, especially when he glides back in after the baroque instrumental break in the middle. This track drips with an endless summer vibe that spills over on the rest of the record.

Organ and jazzy vibraphone (along with assorted Japanese instruments) are present on nearly every track, filling out an already tight rhythm section. Little subtleties, like the phase effect on Harumi’s vocals on “Sugar in Your Tea”, or the Eastern sounding guitar on “We Love” crawl to the fore on repeat listens. The latter song is one of the best here- it grooves steadily through the haze and features some lyrical highlights like “Would you like to say hello to everyone that you have ever known?” and “You are me and I am you- there is no comparison for two”.

From start to finish (including the 2 extended cuts that make up the second half of this double album), Harumi is a remarkable listen that sets a very persistent vibe.

Harumi was a Japanese ex-pat (with a woman's name) who jumped across the ocean and had the fortune to under the guiding hand of legendary producer Tom Wilson. This self titled disc is a double album that deserves to be as such as it functions basically as two completely different sets: one a set of blue eyed soul and AM pop sounds thrown through a psychedelic pop prism, while the other consists of two side long experimental freak outs.

The first eleven songs are pretty solid psychedelic pop that usually ends up echoing another artist. "Hunters Of Heaven" recalls the Grass Roots a little too much for my tastes, while "Don't Know What I'm Gonna Do" is like a psychedelicized Righteous Brothers. "Hurry Up Now" and "What A Day For Me" channel a little bit of the Stax Records sound. Tom Wilson throws some production curveballs by slathering on the phasing and adding some occasional orchestration and oddball instrumentation. Then we have Harumi himself. Although going for a pop sound that generally harbours powerful vocalists, he often sounds more like a stoned cosmonaut. I think this makes this more charming than it would be otherwise.

Fortunately, there are several home run tracks hanging in the grooves. "Talk About It" blasts through with it's phasing, screeching strings and horn charts as a pretty wacked out soul number. "First Impressions" trades in the soul (but keeps the horns), for a great track that mixes British style whimsy with the lighter side of San Fran acid rock. Plus it has vibraphone, which as you may know, is always a plus for me. "Hello" is an awesome psych groover (with more vibraphone!) that was awesome enough to get sampled on the first track of Edan's Beauty And The Beat. Later we find "We Love," which is a fun raga-rock song which kind of recalls the better songs on the soundtracks of 60's psychedelic exploitation films.

Then we get to the second disc, which is a much stranger set of stream-of-consciousness ramblings, traditional Japanese instrumentation, and the ambience of a blue-smoke filled club at 5am when only the most freaked out heads are still hanging around. "Twice Told Tales Of The Pomegranate Forest" inhabits the first side, and is by far the lesser of the two. Resting mostly on koto and strange spoken word, it takes some effort to make it through the whole 24 minutes. Much better is side two's "Samurai Memories," which is supported by a churning band. On top of this are lots of muttering in Japanese, warped sound effects, and orchestration invading the aural space in strange and unexpected ways. The 20 minute track feels like a missing link between the stranger part of Frank Zappa's Freak Out and the long, driving sonic journeys of Acid Mothers Temple.

With what basically amounts to two albums present here, you're bound to find a couple tracks that hit a bulls-eye on Harumi. It's underground music, but with the steady hand of a pro at the helm.

New York, 1967. Tom Wilson, man behind the mixing desk for such legendary artists as Bob Dylan, Frank Zappa, The Velvet Underground, and Simon and Garfunkel, has persuaded Verve Records to sign and fund his newest project for distribution on their Forecast imprint. Unlike the other acts that Wilson helped shape into the defining sounds of an era, this artist will barely make a mark on history. His name is Harumi, he's from Japan, and he creates a psychedelic pop album that would eventually be heralded as everything from lost classic to hopelessly frazzled to Holy Grail among squares and psych-heads decades later, but not before he manages to completely disappear from the music industry and into the void of complete and total obscurity.

There is very little known about the man named Harumi, if that's even his real name (and it's debatable, as "Harumi" has female connotations in Japanese). Virtually every source-every blog, every website-has the exact same information on him: He came from Japan to New York to record an album, and disappeared. Did he remain in America to take part in the flower power movement? Could he have returned to Japan, sealing the fate on his obscurity by becoming a salaryman? Presumably, nobody outside his family knows. He could be anywhere in the world. He could be dead.

The actual album itself only adds to the mystery. Recorded between 1967 and 1968, it was a product of its time: a psychedelic gem released at the height and in the heyday of the genre's popularity and ubiquity. A double LP with a gatefold sleeve, its richly colored artwork (courtesy of "Sherri Berri") stands out even considering the acid-and-sun soaked milieu of the time. Inside, though, there is little information regarding its musicians. Harumi does indeed seem to be the singer's name (as evidenced by the strange side story written on the back end of the sleeve), but aside from the usual professional credits such as Producer (Tom Wilson), Arranger (Larry Fallon, Harvey Vinson, and Harumi), and Engineer (Val Valentin), there is nothing regarding who played the actual music.

Which, of course, is the most mysterious and intriguing part of all, akin to coming to the center of a maze only to find a completed puzzle with the center piece missing, nowhere to be found. Opener "Talk About It" sounds like Sgt. Pepper-era Beatles trying to play classic Motown as Harumi searches for his mind instead of his girl. "First Impressions" switches between spidery guitar lines and blaring horn calls. The gently trippy "Don't Know What I'm Gonna Do" (apparently known as "Love Song" on the original album sleeve) adds sweet strings and subtle vibraphone (there's tons of both on the record) to an already irresistible "La la la laa" refrain. Acidic hippie anthem "Hello" was sampled by hip hopper Edan on his Beauty and the Beat album and "Sugar in Your Tea" has a great drumbeat and phased vocals (One of Wilson's favorite tricks on the album, there's liberal amounts of phase everywhere), ending with an almost holy organ solo. "Caravan" (once again seemingly under a different title on the original sleeve, as "I Took a Ride (in Your Caravan))" has got some smooth guitar lines and prominent organ following its slow, heavily phased intro. "Hunters of Heaven" brings back the string and horn sections, rushing and sudden, and features spooky echoing vocals in the middle. "Hurry Up Now" and "What a Day For Me" are both laid back jams, the former with a vibraphone solo towards the end and the latter a thinly veiled tribute to a day trip on acid; our hero even seems to forget a line or two. Rounding out the first LP is "We Love," an idealistic semi raga, and "Fire by the River," another great organ and guitar tune with a catchy, wordless chorus.

While the first LP is all accessible, colorful pop, the second disc consists of only two songs, each a side long. The first, "Twice Told Tales of the Pomegranate Forest," is a strange meditative piece that consists of Harumi and "Rosko" (by some accounts Wilson himself, by others a prominent New York DJ) engaging in what would be a stretch to call a conversation. Harumi is almost certainly out of his mind (you can tell by his giggles) while Rosko/Wilson/whoever is completely trapped inside his (you can tell by his woah-dude narrative). Beyond that, there is a the constant beat of a tabla and the wandering notes of a koto, a vibraphone, and possibly a cello. Atmosphere is everything for the track, and it's perfect for a late night listen. The other song is "Samurai Memories," a full out acid jam where Wilson turns a blind eye to the proceedings and lets anything go, even spoken appearances from Harumi's parents and sister. Both tracks are quite long and usually warrant overlooking in favor of the great pop songs, but both are worth it and make for a great complete listen in context with the rest of the album.

Harumi isn't perfect, but in its imperfections it creates a certain charm and allure completely unique to itself. Harumi sounds like Your Friendly Neighborhood Acid-Head (though psychedelic blogger/uberenthusiast Dr. Schluss likened him to "a stoned cosmonaut," which actually seems to work pretty well as a compliment, I guess) and the album itself plays out as such; innocent rock, folk, or soul filtered through the lysergic brain of a Japanese expatriate and the adventurous producer willing to capture it all on tape.

Harumi does deserve the praise and cult following its gathered over the years, and the title of "lost classic" is well earned. In fact, if it hadn't been for Fallout Records, it might truly be lost; copies of the original double LP are rare and go for upwards of 50 dollars, and that's considering someone is even willing to part with their treasure. As we'll see, though, Fallout was deserving of its name, and in bringing it back, they ultimately only contributed to the murkiness surrounding the album.

And the search hasn't even begun..

Shin Joong Hyun - 1974 - Shin Joong Hyun & Yup Juns

Shin Joong Hyun 
1974 
Shin Joong Hyun & Yup Juns



01. Beautiful Woman 4:29
02. Think 4:25
03. I Think There Was Someone Else 5:50
04. Long, Long Night 4:34
05. I Love You 3:08
06. Lady 4:06
07. Anticipation 4:18
08. I've Got Nothing To Say 4:21
09. I Do Not Know 3:04
10. The Rising Sun (Instrumental) 6:59


Spring of 1974 witnessed the birth of psychedelic power trio Shin Joong Hyun & Yup Juns. “In Korean, yupjun literally means a brass coin,” Shin explains. “However, during that time it was used as slang to describe a sense of unpleasantness and dislike. Since I was so unpleasant and dissatisfied [in my career], I told myself, ‘Ok, fine, I am just a yupjun,’ and named my band with a rebellious attitude.” He began by renting a room at Seoul’s Tower Hotel to serve as a creative base for the group. After six months of preparation, the group cut ten powerful songs filled with monster grooves, fuzz guitar, emotive singing, and top-notch songwriting. The album was pressed up as a broadcast-only promotional vinyl to test radio response; the response wasn’t what anyone expected, and the record label refused to release the album. The band re-recorded the album, but it is this, the original ten track version, that has become legendary—with good reason. An astounding record, and one that we are privileged to bring to the rest of the world for the first time.
Ask anyone familiar with the Korean music scene "who is the country's Godfather of Rock?" and you will hear one name mentioned--Shin Joong Hyun.
The groundbreaking guitarist, vocalist, songwriter and producer had a hand in dozens, if not hundreds, of rock singles to come out of the Korea from the late 1960s until 1975 when he was arrested and tortured by the Korean government for marijuana possession after refusing three years earlier to write a song praising then-president Park Chung Hee.
Though Shin (who also spells his name Shin Jung Hyeon) returned to performing and recording in 1980 and remains active to this day, it was an album he made one year before his imprisonment, "Shin Joong Hyun & Yup Juns" that was the culmination of all the work he had done up that point.
Combining rock, funk and blues all while weaving in an Eastern sensibility that consistently creates interesting results, "Shin Joong Hyun & Yup Juns" finds the guitarist in top form.
And he's not alone.
Bassist-vocalist Lee Nam Yi and drummer-percussionist Kim Ho Sik embody every retro rock guitar player's dream rhythm section--laying down infectious, thick backbeats while pulling of varying dynamics and remaining light on their feet.
From the Creedence Clearwater Revival-esque opening track "Lady" to the jazzy closing instrumental "The Rising Sun" the bassist and drummer provide each songs with exactly what it needs, nothing more and nothing less. This dynamic duo seems game for whatever musical direction Shin can dream up.
Other standout tracks include the swampy "Think," the irrepressible party starter "Long, Long Night" and the anthemic "I've Got Nothing To Say." The fact that these songs play in succession starting with track four, tells me someone knew what they were doing.
But all 10 of the tracks on "Shin Joong Hyun & Yup Juns" deserve their place on what is an undeniably epic album when taken as a whole. Even the album's penultimate song "I Love You," a dirge-like composition reminiscent of Alan Lomax's field recordings of the American South, reveal a band and producer not bound to any one particular genre, much like the hypnotic "We Will Fall" on The Stooges 1969 self-titled debut.
Music was more raw before 1975, no matter where in the world you were and this album captures all of the lo-fi bliss associated with that revered period. How much of that producer King Park can take credit for, we'll probably never know.
But if you want to hear one of the greatest musicians ever to come out of Korea at the peak of his talent, you don't need to look any further than "Shin Joong Hyun & Yup Juns."

Sunadokei - Yatsuhiro Koyama - 1973 - Firebird Volume 1

Sunadokei - Yatsuhiro Koyama 
1973
Firebird Volume 1
“火の鳥 Vol. 1” (Firebird vol.1)



01. 火の鳥
02. 鈴にさそわれて
03. 地に伏せる
04. Episode I
05. 笛を吹いたら
06. 愛らしきもの
07. 永劫回リ帯
08. 限りなき時の流れに
09. 金ぴかぴんの仏様
10. Episode II

小山恭弘 (Yatsuhiro Koyama) – piano, synthesizer, back vocal
松木恒秀 (Tsunehide Matsuki) - electric & acoustic guitar
岡沢章 (Akira Okazawa) – bass guitar
穂口雄右 (Yosuki Hoguchi) - hammond organ
田中清司 (Kiyoshi Tanaka) – drums, perc. – ex -“Sons Of Sun”
坂元昭二 (Shoji Sakamoto) – acoustic guitar, vocal
うすいよしのり(Yoshinori Yasuri) – vocal
應魚 – vocal – Mao - ex -“Sons Of Sun”
Amadeus Gurlit – vocal





Japanese obscurity whose information is practically nonexistent. This was possibly a studio project (including former members of the Suns of Sun) that resulted in a unique and rare single-issue LP. The work is divided into 10 tracks, mostly short and mixing psychedelia and folk, in most of the quiet and acoustic time, despite some experiments on the keyboards, which deserve to be highlighted. The lyrics are all in Japanese.

This one is another case of something I snatched from a blog a long time ago, and a visitor asked me if I had it, but outside the mp3's and a minimum info I just found, I know nuthin' about these guys... so... All help is welcome!