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LP
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SVVRCH 101LP
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$20.50
PREORDER
RELEASE DATE: 5/23/2025
Formed in Tokyo in 1969, Blues Creation made their mark with this ultra-rare debut album, a raw and electrifying set of American blues covers. Featuring tracks originally by Sonny Boy Williamson, Chester Burnett, Memphis Slim, Willie Dixon, and others, it stands as the finest testament to Japan's deep-rooted love for the blues. The band went on to release several more records before evolving into Creation, but nothing quite captured the pure blues-rock intensity of their first outing.
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LP
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BAM 7001LP
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LP version. Japan's Blues Creation was formed by guitarists Kazuo Takeda, Koh Eiryu and singer Fumio Nunoya, in early 1969, after the dissolution of their Group Sounds outfit The Bickies. Highly influenced by Cream and The Yardbirds, Takeda joined forces with school friends Takayuki Noji, Shinichi Tashiro, and lead singer Fumio Nunoya. Formerly vocalist with Taboo, a heavy band led by future Happy End guitarist Eiichi Otaki, Nunoya was also searching for an even heavier sound, and the results of the new American-influenced experiment were released in October 1969, as Blues Creation. Singer Fumio Nunoya soon found himself edged out of artistic decisions by the supremely confident Takeda, and thereafter left to form his own band, Dew. While searching around throughout 1970 for a new singer, guitarist Takeda heard the new, even more strung-out music of Led Zeppelin, Black Sabbath, Eric Clapton's solo LP Clapton, and Leslie West's Mountain, and decided he should take the opportunity to start again from scratch. Takeda enlisted bassist Masashi Saeki and drummer Akiyoshi Higuchi for the new line-up, and eschewed the previous style in favor of his own compositions. With the new Blues Creation fronted by singer Hiromi Osawa, Kazuo Takeda recorded what has come to be regarded as his masterpiece in the form of Demon & Eleven Children, originally released in 1971 on Denon. This album was recorded at the Japan Folk Jamboree, and is a full-on gem of a record, but Takeda was now widely-known as a true Japanese guitar hero, and -- as ever -- had set his sights higher and higher. He split Blues Creation the following year, leaving for London in late 1972. This sludge-y slab of big, loud, brain-busting heaviness sits at #17 on Julian Cope's Japrocksampler top 50 list. Includes original LP insert and lyric sheet.
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CD
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BAM 7001CD
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2012 repress, now in regular jewel case -- a major blow to the "card-wallet collector" scene. Japan's Blues Creation was formed by guitarists Kazuo Takeda, Koh Eiryu and singer Fumio Nunoya, in early 1969, after the dissolution of their Group Sounds outfit The Bickies. Highly influenced by Cream and The Yardbirds, Takeda joined forces with school friends Takayuki Noji, Shinichi Tashiro, and lead singer Fumio Nunoya. Formerly vocalist with Taboo, a heavy band led by future Happy End guitarist Eiichi Otaki, Nunoya was also searching for an even heavier sound, and the results of the new American-influenced experiment were released in October 1969, as Blues Creation. Singer Fumio Nunoya soon found himself edged out of artistic decisions by the supremely confident Takeda, and thereafter left to form his own band, Dew. While searching around throughout 1970 for a new singer, guitarist Takeda heard the new, even more strung-out music of Led Zeppelin, Black Sabbath, Eric Clapton's solo LP Clapton, and Leslie West's Mountain, and decided he should take the opportunity to start again from scratch. Takeda enlisted bassist Masashi Saeki and drummer Akiyoshi Higuchi for the new line-up, and eschewed the previous cover's style in favor of his own compositions. With the new Blues Creation fronted by singer Hiromi Osawa, Kazuo Takeda recorded what has come to be regarded as his masterpiece in the form of Demon & Eleven Children, originally released in 1971 on Denon. This album was recorded at the Japan Folk Jamboree, and is a full-on gem of a record, but Takeda was now widely-known as a true Japanese guitar hero, and -- as ever -- had set his sights higher and higher. He split Blues Creation the following year, leaving for London in late 1972. This sludge-y slab of big, loud, brain-busting heaviness sits at #17 on Julian Cope's Japrocksampler top 50 list.
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