01. Descension (2:05) 02. Tenkujin (5:11) 03. Timeless Phase (6:53) 04. Nagare (7:21) 05. From Far east (8:43) 06. Ascension (4:11)
Fumio Miyashita / lead vocals, acoustic & electric guitars, synths, bamboo flute, mixing Hirohito Fukushima / electric guitar, koto, vocals Akira Fukakusa / bass Yujin Harada / drums, percussion
With: Mitsuo Miyamoto / string arrangements
The last hurrah for the Far East Family Band, a Japanese space/symphonic rock prog group active for a short period of a few years in the early to late Seventies, `Tenkujin' from 1977 was their fourth and final disc sung in both Japanese and English, and while the three works that came before it are far superior, it remains a very respectable and lovely LP with much to recommend it. Even though future new-age keyboard icon Kitaro had departed the band by this point, `Tenkujin' still offered plenty of the lengthy flowing keyboard-heavy spacey atmospheres, dreamy Pink Floyd-like guitar reaches and gentle ethnic elements the group was known for.
After an sedate yet experimental sound-collage of twitching electronics to introduce the album, the title-track `Tenkujin' launches straight into reaching glissando-like strains, skittering drumming over quickening programmed beats, chiming guitar shimmers and placid washes of deep-space synths wrapping around a plaintive lead vocal. The mellow `Timeless Phase' rather shamelessly borrows the chords and melodies of Pink Floyd's `Brain Damage', but there's also a pleasantly plodding quality that reminds of the similar Floydian laid-back moments of German band Jane throughout.
The second side's `Nagare' marries Sensations' Fix-like bleeding and whirring synth caresses over aching Camel-esque phasing guitar wisps, sweetly murmuring bass and a steady beat that turns frantic and racing in the final moments. `From Far East' is a softly bouncing and pleasing chill-out tune that grooves gently with swallowing bass and brisk drumming, slowly drifting into unhurried and softly stormy deep-space instrumental floating that reveals little traces of German group Novalis seeping out, in the way that the Far East Family Band always did so well. Gentle trilling Kitaro-like synth prettiness and dignified Mellotron choirs close the album on `Ascension', but some overly swooning orchestration that eventually enters the piece is completely unnecessary and overbearing.
The Far East Family Band are like groups such as Fruupp and Finch, bands that retain a nice compact run of consistently good albums from the vintage progressive rock era, some of which approach true greatness and are very special, much-loved works. They arrived and left before the rot of disco, punk and the over-commercialisation of so many progressive rock-related bands fully set in, which ensures the Far East Family Band have a perfectly satisfying and untarnished legacy, nicely wrapped up with the constantly lovely and humble `Tenkujin'.
01. Metempsychosis (4:47) 02. Entering / Times (15:54) 03. Kokoro (9:11) 04. Parallel World (30:08) - i. Amanezcan - ii. Origin - iii. Zen - iv. Reality - v. New Lights - vi. In the Year 2000
Fumio Miyashita / lead vocals, acoustic & electric guitars, harmonica, flute, producer Hirohito Fukushima / electric & slide guitars, electric sitar, mini-harp, percussion Akira Ito / Hammond organ, Mellotron, electric piano, synths Masanori Takahashi aka "Kitaro" / organs, Mellotron, synths, electric piano Akira Fukakusa / bass Shizuo Takasaki / drums, gong
With: - Klaus Schulze / mixing
Like Vangelis, Kitaro had been involved in prog rock bands, in this case, Far East Family Band. At that time he was going by his real name, Masanori Takahashi. Parallel World was also produced by Klaus Schulze, as was their previous album, Nipponjin (which was mainly an English language remake of The Cave - Down to the Earth, and two songs removed for a version of a song off the Far Out album that now includes additional synths and Mellotron). Parallel World finds the band moving its furthest into electronic territory, it seems like Schulze's influence was undeniable. And even if you shy away from Kitaro thinking he's pretty much a lightweight, you'll be surprised how much this album will remind you of what Schulze was doing at the time, with extra guitar and drums. This was recorded in Oxfordshire, England, at Richard Branson's Manor Studios, in hopes for a contract with Virgin (since Schulze was recording for that label, which makes sense). For some reason, the label didn't like the length of the recording and didn't release it, at least it was released at home in Japan on MU Land, first with the boat cover, then later with the peering doll eyes cover. The original version came with a giant poster (the peering doll eyes cover comes with an insert), with a ton of stuff written in Japanese (not knowing Japanese, I'm unable to get much use of it). Naturally, this came with an Obi, as with just about everything made in Japan. I have noticed that "Entering" was to have lyrics (thanks to the poster that included what few lyrics there are on the album), but in reality it didn't. Instead those lyrics were used on "Timeless Phase" on their next (and final) album Tenkujin.
"Metempsychosis" is largely a percussion-dominated piece with lots of electronic effects. "Entering/Times" is very much in Schulze territory, starting off slowly, with lots of electronic effects, before things start kicking in with drums and guitars. "Kokoro" could easily fit on their earlier releases, more of a ballad, with singing in Japanese. The side-length title track really blows me away! A great jam dominated by synthesizers, but about halfway, the drumming fades and left with lots of electronic effects, some Buddhist chanting, and a wonderful synth solo that I am certain has to be from Kitaro himself. Of the four albums they done, this is without a doubt my favorite from them.
01. Nipponjin (16:51) 02. The Cave (8:37) 03. Undiscovered Northern Land (2:54) 04. Timeless (4:26) 05. The God of Water (2:06) 06. River of Soul (8:28) 07. The God of Wind (2:33) 08. Movin' Lookin' (1:39) 09. Yamato (0:48) 10. Mystery of Northern Space (5:57)
With: Mitsuo Miyamoto / string arrangements Klaus Schulze / mixing
It's plain to see that Far East Family Band wanted international exposure. They knew the all-Japanese language debut, The Cave - Down to the Earth wasn't going to cut it. So they rerecorded most of these songs in English for the international market, and have Klaus Schulze participate in the production. They also took an old Far Out song (Far Out being guitarist/vocalist/keyboardist Fumio Miyashita's previous band, who released one album in 1973), "Nihonjin" (retitled "Nipponjin") and have additional aynths and Mellotron added on (it simply sounded like they used the original recording and have Masanori Takahashi aka the future Kitaro, as well as Akira Ito add on keyboards). Vertigo Records in Germany had it released over there. I am certain more people might be familiar with Nipponjin than the original The Cave. The title track is typical FEFB in a nutshell, although there's a short passage with some singing in Japanese, the rest is in English. Japanese influences show up from time to time on the album, especially the use of shakuhachi (Japanese bamboo flute). "Movin' Lookin'" tends to have a more '60s feel for some strange reason. Akira Ito plays organ in a more '60s style. "Mystery of Northern Space" is a Pink Floyd-like number, although I could live without those strings (given they had a Mellotron). If you've heard the original The Cave, it's not all that different, aside from the language the music is sung in. Oh yeah, two songs from The Cave, "Four Minds" and "Transmigration" were removed to make room for the title track, as I mentioned, the synth and Mellotron doctored version of the Far Out song. And since I'm familiar with the Far Out album, I can tell you the original works fine even without the synths and Mellotron, this version is basically what I call icing on the cake. It may not be as electronic as their following effort, Parallel World, but it's still one of the great Japanese prog albums.
When I first heard this album I wasn't sure what I was listening to. Tangerine Dream and Pink Floyd were my first guesses at the band's identity but somehow there was something else there that just didn't fit in. Thus I discovered the Far East Family Band and the very talented keyboardist (and future new age composer) Kitaro. I am glad I did!
This album contains re-mastered and re-recorded tracks of their eponymous previous (1973) album under the name of Far Out (without Kitaro) and the ambience and serenity that fills the atmosphere makes it really remarkable. Not much in the vocals department but I doubt if this will upset anyone at all. The long title track "Nipponjin" and the following "The Cave" are probably the highlights of the album without this going to say that the remaining tracks are by any means inferior of fillers. Frankly I think it would be difficult to select a favourite track on this album, all the tracks have a beauty of their own and as far as musicians go, these guys are an example of talent personified. Not surprisingly, both Fumio Miyashita and Kitaro went on to well-deserved stardom.
01. Undiscovered Northern Land (2:53) 02. Birds Flying To The Cave (4:33) 03. The God Of Water (1:53) 04. Saying To The Land (8:22) 05. The God Of Wind (2:21) 06. Moving, Looking, Trying, Jumping (1:40) 07. Wa, Wa (0:48) 08. Mystery Of Northern Space (5:56) 09. The Cave, Down To The Earth (8:18) 10. Four Minds (5:55) 11. Transmigration (11:03)
The true debut from Far East Family Band. Far Out is often thought of as a FEFB album, but in reality was a totally different band with only Fumio Miyashita in common. The Cave is their actual debut, released in 1975. The original LP came with a gimmick cut-out cover (both front and back) as well as an insert showing the band members and their equipment (obviously inspired by the back photo of Pink Floyd's Ummagumma, I noticed Austrian prog band Eela Craig did a similar photo shoot on their 1976 album One Niter on the back cover). The Cave was their only all-Japanese language album, and if you've heard Nipponjin, you'll learn real quickly that album was largely an English language version for the international market when The Cave was strictly for the Japanese market. Of course, "Four Minds" and "Transmigration" was removed on Nipponjin to make room with "Nihonjin" from the Far Out album with extra electronic and Mellotron treatment.
I noticed the band hadn't really honed their electronic skills at this stage of their career. The way it seems is that Akira Ito stuck with organ, while Kitaro stuck with synth effects. Fumio Miyashita apparently included lead synth, but he was mainly a guitarist and vocalist (Hirohito Fukushima also provided extra guitar). It seemed their encounter with Klaus Schulze was the big reason why their next album of all-original material, Parallel World, took a much stronger electronic approach. They apparently had some American named "Bob (USA)" playing flutes, including a shakuhachi (Japanese bamboo flute) giving it that nice Japanese feel, particularly "Saying to the Land".
Much of The Cave, with the different in language is basically the same. Of course, "Four Minds", not on Nipponjin was more of a ballad, maybe the kind of ballad that might not appeal to everyone, while "Transmigration" is more in prog territory. So if you enjoy Nipponjin and want to hear these songs in their original Japanese language, then go for this album.
The album is a concept album as "The Cave" is arriving onto our planet, and the group is generally celebrating the beauties of nature. Obviously heavily influenced by Floyd (From AHM to DSOTM era), the group lays down some very credible ambiances that even Floyd could've pulled off. Of course, the similarities are no accident, because the guitars often sound like Gilmour's, while some keyboards layers could easily have been from Wright. The album glides smoothly, but not unnoticed, because they are enough delightful moments to make you forgive them for their too-obvious influences. And as if to prove me wrong the closing track, the 11-min Transmigration shows more Moody Blues vocal harmonies over a pedestrian Floyd soundscape, the whole thing underlined by a Mellotron and ending on newborn's crying before picking up again (hey Nick Mason is on drums, right?) only to have a siren warn us that the album is over.
This album will draw Klaus Schulze's attention and he will collaborate with FEFB on their next album (a rehash of the first two albums' highlights for the European market) Nipponjin and again for Parallel World. In the meantime, this album often gets overlooked, but it fully deserves the proghead's attention, as much as their Far Out release. I rounded this album to a fourth star, for I always liked this one, even if it is far from perfect.
Bonus tracks on 2000 CD release: 03. Birds Flying To The Cave (4:32) 04. Saying To The Land (8:21) 05. Moving, Looking, Trying, Jumping (1:39) 06. Wa Wa (0:48) 07. The Cave Down To The Earth (8:17) 08. Four Minds (5:53) 09. Transmigration (11:01)
This early 70's psychedelic Japanese quartet were more or less the precursors of The FAR EAST FAMILY BAND, guitarist/vocalist Fumio Miyashita being the only link between the two. Miyashita would later join other musicians on FEFB which included among their ranks Masanori Takahashi, better known as "Kitaro". Under the name FAR OUT, they released one album in 1973.
Although « Nihonjin » is definitely a spacey album, the keyboards are only prominent on the opening notes and the synths are used sparingly throughout, for the occasional sound effect. The psychedelic atmosphere comes mostly from the guitars, electric sitar and drums, resulting in a sound somewhat reminiscent of PINK FLOYD's "A Saucerful of Secrets". The original LP, replete with weird sound effects, consisted of two epic tracks clocking in at 18 and 20 minutes respectively. The 7 bonus tracks of the CD edition are actually taken from The FAR EAST FAMILY BAND's first album "The Cave Down to the Earth" and feature some Japanese vocals that turn out in English on "The Cave" album. These tracks also lack the spacey synths of the latter.
While most of the psychedelic music of the 60s and 70s was a European and American affair oozing out of every nook and cranny of those continents, it's easy to forget that other nations like Japan had their own local scenes making an impact. FAR OUT was one of the many Japanese bands that took the influences of the English and American psychedelic scenes and added a new slant to them. FAR OUT only released one album "日本人 (Nihonjin)" (which means Japanese people), but continued on afterwards as Far East Family Band and not only released four more albums but was where Masanori Takahashi or better known as Kitaro got his start, so in effect FAR OUT is a pretty important band in the historical development of Japanese psychedelia and ambient music. The sole album of FAR OUT originally only contained two long sprawling tracks indicative of the excessive prog scene of the year 1973 when "日本人 (Nihonjin)" was released with ties not only to the heavy psych of the 60s but found themselves heavily smitten with the likes of Pink Floyd and other more progressive psychedelic and Indo-raga bands. While many of these bands were going for the jugular in terms of complexity was concerned FAR OUT took a much gentler approach and composed two lengthy tracks that utilized serene melodies as their vehicle of compositional style. The result was much like Mike Oldfield's "Tubular Bells" which came out the very same year as the melodic development of "日本人 (Nihonjin)" isn't complex it all but it displays its magic in the ever changing dynamics that surround it.
"Too Many People" begins with a simple percussive beat sounding somewhat like a heartbeat and then gives way to a gusty wind as if the steady succession of rhythmic sounds were supplicating the gods to grant us an escapist's relief from the warmongering dimension called planet Earth. After a couple minutes a beautiful acoustic guitar slowly fades in as the atmospheric turbulence drifts away into the nether worlds. A beautiful chord progression builds slowly in a repetitive but highly melodic manner in a gentle nonchalant series of arpeggios. Finally after four minutes the vocalist joins in bringing melancholy and lament in the form of lyrics and then finally the tempo picks up ever so slightly. While vocals are utilized at different stages, the long 17 minute and 56 second track is mostly composed of instrumental passages that begin soft and easy and slowly ratchet up to staccato rock chords also including twangy Eastern influenced scales for enhancing the melody. In fact the mid-section reminds me a lot of "Icky Thump" by The White Stripes but of course this was 1973 long before Jack Black had music on his his horizons and never in the context of psychedelic rock . Close to the eleven minute mark the track becomes Indo-raga rock with a sitar twanging away as the lead instrument while the rock chords and tom-tom drum call continues to beckon the higher forces of the universe in some sort of ritualistic practice that induces a trance like state. At the twelve and a half minute mark it all comes crashing down and appears that the track has completed, but the acoustic guitar has different ideas and reverts to the opening arpeggios in slow speed while a Pink Floyd inspired guitar solo slowly eggs the track on to pick up steam again. The vocalist makes a reprise repeating the earlier lyrics and then the music plays for a while before the Floydian influences really take off towards the end as female vocalists do the oooo and aaah thing and ends with a huge power chord banter abruptly.
"日本人 (Nihonjin)" begins with gongs calling out as if a meditation practice were commencing in some Bhuddist temple in the Himalayas. This track sounds much more like German Krautrock as it begins with a hazy flurry of light drum activity and musical noodlings without form but a lone sitar steps in and steers the chaos into order as a tribal drum beat joins in and the two dominate the soundscape. As these two continue it sounds more like a classical Indian raga than anything related to psychedelic rock but they suddenly disappear, a guitar begins to strum a melodic chord progression and then power chords usher in the vocalist's English lyrics as the acoustic guitars gently rock back and forth building intensity slowly and surely until the Floydian guitar solos fly into the scene. Around seven minutes the Floydian influences suddenly acquiesce to a more jittery duet of guitars that transition the track into a slightly heavier feel with the tempo increasing a bit as well. A melodic solo carries the track on for a while but there is tension in the air as everything feels unresolved for quite some time keeping a very effective transitional stage on life support for a lengthy period but then at ten and a half minutes suddenly ends and is replaced by a more Japanese traditional sound which reminds me of a samisen type of sound but is obviously a sitar. Around thirteen minutes it suddenly ends the melodic dance and becomes drony. Then the vocalist starts to deliver a chant like vocal performance as the sitar becomes subordinate to his charismatic spell. The rock guitar and bass join in and add power to the chants as does backing drone-like vocalizations. The language is now in Japanese (previous English) and this musical style carries the track to its conclusion. The chants are repeated as if we have been transported to a bizarre cult ritual and are then suddenly in the middle of a rock concert as well. As all becomes a hypnotic trance of repeating lyrics that go from subdued to shouted, the guitar solos also flair up as do the back ground call and response type vocalizations. The intensity continues the 16:30 mark and then abruptly ends. This is where my CD ends but other earlier albums include an extra three minutes of unrelated music that sounds like a flute, a Hammond organ in a traditional Japanese musical fashion as if it's some outro. The impression with the abrupt ending version is that the gods have granted the praying beings their wish to be portaled up and away from the war ravaged Earth and allowed to spend their days in a more peaceful sector of the universe.
This album has been released many times. While the original release and some remastered versions such as the one i own contain only the two long epic tracks, there are some versions that contain seven bonus tracks. I have listened to these and they are of much inferior quality as the Pink Floyd influences are far too obvious and none of these tracks have the sublimeness of spirituality as do the two original lengthy tracks, so after having listened to all possible versions of this album, i have come to the conclusion that my 2010 Phoenix Records version is the best as it eliminates the extra three minutes from the title track and simple jettisons the inferior bonus tracks leaving the listener with the proper experience however if you're a purist go for the original. The bonus tracks are nice to hear but hardly essential. The two epic tracks IMHO indeed are.
This is the first chapter (or prologue if you wish) to the Far East Family Band group, one of the Japanese prog precursors. The album was released under this name, but has the same line-up than FEFB's Cave Down To Earth album. The TRC semi-legit reissue of this album present a glove hanging from a clothesline and even manages to misspell the name of the group (For Out ;-) and even forget the album's name, avoids staring the tracks and the line-up, but the transcription was rather good as the sound is quite satisfying (even though I never saw or heard the original vinyl). The line-up includes future new age stars Kitaro, Myi[&*!#]a and Akira Ito, so this album also has its historical importance.
Just two sidelong tracks on this album, but both are excellent and not holding any lengths or are not indulging in themselves. Both are a bit influenced by Pink's psychedelic Floyd influences as well as a good dose of early 70's UK proto-prog sound, but there is an undeniable personal feel as well, lying in an Indian music influence. Definitely lying in the last rays of the hippy culture, this album radiates a contagious happiness much the same way that Sweet Smoke was doing in their short discography.
Definitely worthy of investigation, even essential, especially in regards with the Japanese prog scene, this album deploys its charms to the listener and despite some obvious inspiration that are not concealed enough, the charms are operating an aural seduction to your brains. Recommended for those enjoying the early 70's pastoral hippy ambiances.
This sounds so much like Krautrock, and we get two side long suites of psychedelic bliss !
"Too Many People" is quiet for about a minute, when you can start to hear what sounds like the wind blowing. This sound actually becomes quite harsh on the ears. Then the sounds of acoustic guitar slowly rise out of the wind storm until that is all you hear. Vocals 4 minutes in are in English and suit the music pefectly. We get some absolutely blistering guitar 7 minutes in, as a dark BLACK SABBATH like riff comes and goes.The drums are great as is the sitar. What a heavy, hypnotic melody ! The song pretty much stops and starts over again as vocals come back along with some ear piercing guitar melodies played slowly. The drumming is incredible.
"Nihonjin" features some sitar and methodical drumming before the song kicks in after 3 minutes with vocals. This is such a mellow, drifting song. Some killer guitar after 8 minutes. Vocals are back.
My re-issue cd has 7 bonus tracks. "Birds Flying to the Cave" has organ and Japanese vocals. The guitar is outstanding ! "Saying To The Land" is mellow with flute, organ and vocals. Drums and guitar come in at 4 minutes, but it's still a laid back tune. "Moving,Looking, Trying, Jumping" and "Wa Wa" blend together. Waves of synths flow as vocals are spoken in Japanese. "The Cave Down to the Earth" sounds so much like a PINK FLOYD song from after 3 minutes to the end of the song. Especially the organ play. "Four Minds" is a spacey, slow moving song. "Transmigration" is the longest bonus track. It is another dreamy tune with vocals. The sound of a baby crying can be heard as drums, organ and synths create the melody.
I highly recommend this album to both Krautrock and Psychedelic fans.This was a real find for me. I really like the aggressive guitar that is often played on this record, but there are too many highlights to mention that make this a must have.
