#j.a. caesar

Cosa fai qui? Anche se te ne vai in giro non succederà niente. Lo schermo è bianco. Qui sono tutti stanchi come te di starsene con le mani in mano. Chissà se qualcuno conosce qualche barzelletta… Sai qual è la differenza tra me e te? Tu non puoi fumare ma io, io sono libero. Non dovresti arrabbiarti così. Prova a distrarti un attimo. Posa la mano sulla ragazza a fianco a te. Avanti, stringi il suo ginocchio. Se non funziona non ti arrabbiare. Nessuno sa chi sei. Nessuno sa chi sono io; il mio nome non è mai finito sui giornali. Non ho un nome, sono senza soldi e sono sporco. […] Dopo quel film, quello con Ken Takakura che lotta come un demonio, sei uscito muovendo le spalle come se fossi stato tu a uccidere due o tre persone. Sì, tu! Che ti prende? Io non dimentico. Piangevo da solo nell’oscurità del cinema. Il mio nome è…

Doesn't quite have the energy of the old 70′s bootleg but it's still pretty great

Orphée Hiroshima J.A. Seazer, from the recording, “Kokkyou Junreika Recital” 1973

https://www.youtube.com/watch?v=nxl6yHFv8To http://www.lifo.gr/team/music/56638 full discography on discogs…… https://www.discogs.com/artist/746370-J-A-Seazer "It’s like a cross between a funeral procession, a live performance of The Doors’s “The End” taken to its furthest possible extreme, and the incendiary rantings of a street-corner prophet. J.A. Seazer’s Kokkyō Junreika (“A Pilgrimage Across National Borders”) distills most if not all of the glorious excess from the career of one of Japan’s counter-culture rock gods. It’s not a compilation record, but it might as well be — most everything you’d hear in a J.A. Seazer production is all here, in one 53-minute package. Invocations to the gods, tantrums, chants, Buddhist mantras, cries to the heavens, fuzztone guitar vamps — it’s all here. And yet it all doesn’t sound like an embarrassing leftover from the acid era; it sounds ageless instead of aged. I’ve argued with friends about whether or not this is ethnocentric — i.e., does it sound that much more powerful and exotic by dint of simply not being in English? I don’t think so. There’s something about the way Japan continually transmutes its spiritual roots into popular culture of one kind or another, all without seeming to cheapen it or turn it into just another roadside attraction. When “outsider folk” artists like Shuji Inaba, Kazuki Tomokawa or Kan Mikami (a frequent Seazer collaborator) step up and deliver with speaker-cone-tearing vigor, they transmit something not only deeply felt but deeply believed. It’s not slumming." - Text from Genji Press Named 5th best japrock album in Julian Cope's Japrocksampler Top 50. J.A. Seazer with his many ways to romanize his name is a pain to tag, he is also known as J.A. Caesar and J.A. Ceaser with and without the dots. J・A・シーザー - 国境巡礼歌 越後つついし親不知 [Echigo tsutsuishi oyashirazu] 転生譚 [Tenshoutan] 母恋しやサンゴ礁 [Haha koishiya sangoshou] 狂女節 [Kyoujo bushi] 英明詩篇 [Eimei shihen] 和讃 [Wasan] 人力飛行機の為の演説草案 [Jinriki hikouki no tame no enzetsu souan] 民間医療術 [Minkan iryou jutsu] 大鳥の来る日 [Ootori no kuru hi]

Tracks.  こどもぼさつ 謎が笛吹く影絵が踊る 化鳥の詩 地獄篇 桜暗黒方丈記 惜春鳥 短歌 空気女の唄 カラス 和讃 せきれい心中 人々はどこへ