1 - Flower Travellin' Band - Satori II (SATORI, 1971)

"In which Yuya Utchida's naked biker boys came of age and then some. For SATORI is one of the all-time great hard-rock rages to have been unleashed upon the world, a festival of guitar worship led by axe-wielding maniac Hideki Ishima, who Jeff Becked and Jimmy Paged a number of archetypal Tony Iommisms, interlacing each Satanic riff with a more dazzling stellar lick, and invigorating every troll-like sub-basement grunt with a bazillion squirly Hindu sitar figures. The magical results were regally exultant and wantonly barbaric simultaneously, yet so musically complete that they rendered vocalist Joe all but obsolete for the entire duration of the album and did away with the need for song titles entirely."

2 - Akira Ishikawa & Count Buffaloes - Na Tu Penda Sana (UGANDA, 1972)

"This rampant album of four enormous fuzz 'n' percussion wipe-outs almost fulfils its ambition to avoid American musical influence and achieve 'its poetic truth', tromping through long grazz with Ikuzo Orita's 'super session' guitar star Kimio Mizutani in tow. (...) Side one concludes with the nine minutes of 'Na Tu Penda Sana' (Asking For Love), whose African 'Sympathy for the Devil'-style introduction collapses into a tribal guitar chant of Sammy Hagar Montrose-period simplicity (!). The riffing subsides into lone wooden hand drums, before increasing pace into a formidable crescendo of utter Mizutani fuzz-axe destruction."

3- Speed, Glue & Shinki - Sniffin' & Snortin' Pt. 1 (EVE, 1971)

"Speed, Glue & Shinki were a drug-addled early '70s Japanese free-blues power trio whose eulogies to snorting speed, shooting heroin, toking marijuana and sniffing paint thinners and Marusan Pro Bond glue manifested in such songs as 'Sniffing & Snorting', 'Stoned Out Of My Mind' and their debut single 'Mr Walking Drugstore Man' (...)
There are only three recurring song themes that emerge from Speed, Glue & Shinki's entire canon of work, namely: 

1) I'm taking too many drugs; 
2) the Man is a Bitch so I'm taking too many drugs; and 
3) my Bitch is a Man so I'm taking too many drugs."

4 - Les Rallizes Denudés - Night Of The Assassins (HEAVIER THAN A DEATH IN THE FAMILY (LIVE '73-'77)

"Their career has been down in the dumps ever since bass player Moriyasu Wakabayashi helped hijack a JAL Boeing 737 back in 1970. Their last official release was a double live LP recorded back in 1977. And nobody even knows quite what the official name of the band is, or even what its most popular French form means because there are no such things as 'rallizes' in the French language. And yet the cult that surrounds Les Rallizes Denudés increases in size year after year."
5 - People - Flower Strewing (CEREMONY - BUDDHA MEETS ROCK, 1971)

"Released in answer to Ikuzo Orita's superb 'Polydor Super Session' series of LPs, this riposte/rip-off, written by Buddhist poet/songwriter Naoki Tachikawa and organised by Teichiku Records' A&R director Hideki Sakamoto, challenged every one of Orita's projects and beat most of them cold simply by working through Orita's own blueprint line by line. (...) Keyboard player Yusuke Hoguchi and Buddhist poet and songwriter Naoki Tachikawa agreed to create an inspirational rock album for Teichiku Records based on turning hip young Japanese rock kids back on to Japan's own version of Zen Buddhism, by making great play of its being similar to Western rockers' then current obsession with anything Hindu, Buddhist or Maoist."

6 - Helpful Soul - Peace For Fools (FIRST ALBUM, 1969)

"We're not here to praise this Helpful Soul album, it's shit. Who wants another quarter-of-an-hour of 'Spoonful'? No one. Who wants inept renditions of Hendrix's 'Fire'? Exactly. Which makes side one closing song - the 10-minutes-and-33-seconds of 'Peace For Fools' - all the more remarkable; it's a strung-out slab of monolithic genius down there with anything on Blue Cheer's VINCEBUS ERUPTUM, or the Guess Who's appalingly gauche Doors rip-offs 'Friends of Mine' and 'Trucking Off Across the Sky'. 'Peace For Fools' is the kind of nihilistic tragedy that kicks Lost Aaraaf's black-clad dick into the dust, and makes Keiji Haino sound like he secretely cares! (...) even appropriating Kim Fowley's OUTRAGEOUS vocal delivery from the 'California Hayride' freak-out, propelling it along with the bass riff from 'In-a-Gadda-Da-Vida' (...)"

*All descriptions written by Julian Cope from his book JAPROCKSAMPLER

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