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VARIOUS - Even A Tree Can Shed Tears - CD JAPANESE FOLK & ROCK 1969 1973 Branco








Price: EUR 18.22 (incl. VAT) plus shipping

Shipping cost Germany: EUR 1.45
Shipping cost EU: EUR 4.50
Shipping cost international: EUR 4.50


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Category:

Rock / Folk
Manufacturer: Branco
Original release year:
Manufacturing year: 2017
Cat. Nr.: LITACD0000156
Medium:CD
Country:Japan
Processing time:unknown
Sound link:Listen to the album

Link auf die Plattform der EU-Kommission zur Online-Streitbeilegung: http://ec.europa.eu/consumers/odr

'JAPANESE FOLK & ROCK 1969-1973' - This compilation presents a wide range of artists that were influential in the Japanese rock and folk underground during the years 1969-1973, but are virtually unknown in the rest of the world. Included are a.o. Hachimitsu Pie with its The Band-like ragged Americana, Tetsuo Saito with his spacey folk, and the Happy End, a band that successfully combined American West Coast-vibes with Japanese lyrics. Also featured are tracks from more political oriented artists s.a. Takashi Nishioka and his progressive folk collective Itsutsu No Akai Fuusen, the 'Japanese Joni Mitchell' Sachiko Kanenobu, and The Dylan II. And to top things off you may expect the bluesy avant-garde stylings of Maki Asakawa, future Sadistic Mika Band founder Kazuhiko Kato with his fuzzy, progressive psychedelia, the beatnik acid folk of Masato Minami, and the intimate living room folk of Kenji Endo.

There was something in the air in the urban corners of late 60s Japan. Student protests and a rising youth culture gave way to the angura (short for 'underground) movement that thrived on subverting traditions of the post-war years. Rejection of the Beatlemania-inspired Group Sounds and the squeaky clean College Folk movements led the rise of what came to be known in Japan as 'New Music,' where authenticity mattered more than replicating the sounds of their idols.

Some of the most influential figures in Japanese pop music emerged from this vital period, yet very little of their work has ever been released or heard outside of Japan, until now. Light In The Attic is thrilled to present Even a Tree Can Shed Tears, the inaugural release in the label's Japan Archival Series. This is the first-ever, fully licensed collection of essential Japanese folk and rock songs from the peak years of the angura movement to reach Western audiences.

In mid-to-late 1960s Tokyo, young musicians and college students were drawn to Shibuya's Dogenzaka district for the jazz and rock kissas, or cafes, that dotted its winding hilly streets. Some of these spaces doubled as performance venues, providing a stage for local regulars like Hachimitsu Pie with their The Band-like ragged Americana, Tetsuo Saito with his spacey philosophical folk, and the influential Happy End, who successfully married the unique cadences of the Japanese language to the rhythms of the American West Coast. For many years Dogenzaka remained a center of the city's 'New Music' scene.

Meanwhile a different kind of music subculture was beginning to emerge in the Kansai region around Osaka, Kyoto, and Kobe. Far more political than their eastern counterparts, many of the Kansai-based 'underground' artists began in the realm of protest folk music. They include Takashi Nishioka and his progressive folk collective Itsutsu No Akai Fuusen, the 'Japanese Joni Mitchell' Sachiko Kanenobu, and The Dylan II, whose members ran The Dylan cafe in Osaka, which became a hub for the scene.

Even a Tree Can Shed Tears also includes the bluesy avant-garde stylings of Maki Asakawa, future Sadistic Mika Band founder Kazuhiko Kato with his fuzzy, progressive psychedelia, the beatnik acid folk of Masato Minami, and the intimate living room folk of Kenji Endo.

Nearly 50 years on, this 'New Music' is born anew.





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