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Genre: Psychedelic Rock, Blues Rock, Hard Rock
Number Of Tracks: 8
A type of Lo-fi psychedelic blues in the vain of the Yardbirds, John Mayall and Cream in a interesting and wonderful Japanese offering from 1969.
Oliver_White3, on july 25, 2014 1 of 1 people found this review helpful
Sound: Blues Creation would be the name this band would be known by changing the name simply to Creation later. Blues Creation was the experimental project of guitarist and singer Kazuo Takeda. They were known as Blues Creation, 1969-1972 and after a three year hiatus, returned just as the Creation, in 1975, not to be confused with the mid-60's British pop blues band known as the Creation. In 1969, BluesCreation made this epopymous album of American blues covers, with songs written by Sonny Boy Williamson, Memphis Slim, Chester Burnett, Mayall J., E. Clapton, Blind Willie Johnson, Willie Dixon and Otis Rush all standard classics by legends done in an alright form; not the best but also not bad with small nuances of decent guitar licks and solos surfacing from time to time. // 8
Lyrics: This album was heavily influenced by Cream, Deep Purple and Black Sabbath and interestingly, released the same day as Carmen Maki & Blues Creation, which had led by young female pop band star Carmen Maki. The intro itself opens up with some trippy sound effects after a man says "Here we go, let's do it right" the vocals thereafter are somewhat Jefferson Airplane sounding although not as good, these guys weren't that bad as the bassist and drummer are constantly on the right track with some superb blues harp, a bit repetitive of a riff but it's still solid and transitions to small licks so "Checkin' on My Baby" is a food way to get an idea of what is to come with decent vocals but I wish they were more pronounced but I guess it adds to the mysticism the bass and the guitar really going back and forth at it are the standouts here on this album almost as if they're battling one another.
"Steppin' Out" is another catchy hard hook with buzzing and fuzzed out psych bass, the constant blues noodling proves yet again to be the album's real gem that it has to offer and is quite consistent it makes me not want to put these guys down too much and it seems as though they are almost overlooked, after hearing a strenuous soloing loop like that I would think it's safe to say this is at the very minimum a solid album even though it lacks originality it has it's own bravado and well planned out bluesy bass runs with bends at the right moment and good synchronization between the sole guitarist of the group. "Smoke Stack Lightnin'" has more mellow effort in a slow paced wah wah effect with more good blues harp work and psychedelic effects sort of experimented here with wah effect the middle progression with a perfect tremelo and blues harp finally breaks the whole soft mood barrier with raging guitar that slowly builds up going back and forth between the wailing blues harp, this track in particular would show that the band itself had its own identity among other songs.
"Spoonful" actually isn't all to bad in the vocals but it's far from perfect, it's that recklessness that makes it an art and kind of late psyched work of garage kind of song with a third rate punk kind of vocal, I'm not trying to necessarily degrade this album though it still finds its niche in blues rock as a good garage effort and cover band of youngsters and the soul and passion that would ignite is really the aptitude that these guys have as a band. It's a good slab of blues rock nostalgia if you like electric blues then this album would be right up your alley. There are many things to criticize about this record, but the power and passion simply are not two of them. Is it blues rock? Yes, with a healthy heap of psychedelic. But it's done with such raw emotion and verve that whatever musical shortcomings exist are easily overcome by the delivery of these classic blues songs with vocals that are a bit off but scream that zeal and passion. Music shouldn't know any national bounds, that's part of what makes music so great and you shouldn't really listen to this album being biased or realizing they're Japanese just forget about that when you hear this and expect some slow and heavy blues psych as Kazuo Takeda furiously tears it up on the guitar, the vocals are actually not too bad as you progress through along with other weak points. If you want to hear a heavy psychedelic blues album from 1969 Japan, complete with Hendrix influence, look no further. // 8
Overall Impression: A type of Lo-fi psychedelic blues in the vain of the Yardbirds, John Mayall and Cream (as the songs they cover are in the same blues genre and style) in a interesting and wonderful Japanese offering from 1969. The Japanese pronunciation of some of the English lyrics is a bit of a giggle as other bands from the country at this time wouldn't put much emphasis on the either and the singing is not the strong point nor, is the originality of the how they play these tunes but the dedication and passion thy have for these songs and the excellent out front guitar work makes for a quality listen and proves to be the strong point and. This is a great example of late '60s English hard rock played by people in Japan and a not bad album their next album "Demon & Eleven Children" would prove to be their finest they had to offer but this wasn't all that bad itself and has some decent blues harp soloing and ravenous fuzz bass. // 8