Far East Family Band - 1977 - Tenkujin

Far East Family Band

1977

Tenkujin

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'.

Far East Family Band - 1976 - Parallel World

Far East Family Band

1976

Parallel World

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.

Far East Family Band - 1975 - Nipponjin (Join Our Mental Phase Sound)

Far East Family Band

1975

Nipponjin (Join Our Mental Phase Sound)

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)

Hirohito Fukushima / vocals, guitar
Fumio Miyashita / guitar, electric sitar, keyboards, vocals, producer
Akira Ito / keyboards
Masanori Takahashi aka "Kitaro" / keyboards, percussion
Akira Fukakusa / bass
Shizuo Takasaki / drums

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.

Highly recommended!

Far East Family Band - 1974 - The Cave Down to the Earth

Far East Family Band

1974

The Cave Down to the Earth

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)

Hirohito Fukushima / vocals, guitar
Fumio Miyashita / guitar, keyboards, producer
Akira Ito / keyboards
Masanori Takahashi aka "Kitaro" / keyboards, percussion
Akira Fukakusa / bass
Shizuo Takasaki / drums

With:
Mitsuo Miyamoto / string arrangements

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.