{"title":"Featured Les Rallizes Dénudés","description":"","products":[{"product_id":"drft05","title":"Les Rallizes Dénudés \/ '67-'69 STUDIO et LIVE (Cassette Tape)","description":"\u003cp\u003e \u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003eThe much talked about reissue of the Naked Rallizes on vinyl and CD has now been released on cassette tape, with the rare recording \"'67-'69 STUDIO et LIVE\" capturing the vibrant and vivid sound of the band's early days!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003eOriginally released in August 1991, the original album \"'67-'69 STUDIO et LIVE\" by Les Rallizes Dénudés is now available on cassette! This is a valuable collection of recordings from the early days of their career, packed with the electric guitar feedback that would determine their future direction.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e ----------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003e[Explanation of Naked Rallizes \"'67-'69 STUDIO et LIVE\" by Manabu Yuasa]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e This is a reissue of \"'67-'69 STUDIO et LIVE,\" originally released in August 1991. It features rare recordings from the earliest days of Rallizes Dénudé. The tracks were selected and edited by Takashi Mizutani. For this reissue, the recordings were re-examined to use the best available recordings, and the album was remastered by Makoto Kubota, a former member of Rallizes Dénudé. The CD version also includes two newly discovered bonus tracks.\u003c\/p\u003e \u003cp\u003eIn the fall of 1967, Takashi Mizutani and Takeshi Nakamura, who knew each other from the light music club at Doshisha University in Kyoto, decided to form a band. Nakamura apparently approached Mizutani. Mizutani had unusually long hair at the time, giving him a unique presence. Both played guitar, so they began looking for a bassist and drummer. However, they didn't hold auditions by listening to performances. They simply looked for someone cool, someone who clicked with them intuitively. That's how they found Moriaki Wakabayashi, who was also attending the same university.\u003c\/p\u003e\n\u003cp\u003e \"We decided to form a band that would revolutionize the Japanese music scene.\"\u003c\/p\u003e\n\u003cp\u003e Wakabayashi says (Interview published in October 2017 on Buzz Feed Japan, interviewer: Kanba Ryosuke).\u003c\/p\u003e \u003cp\u003eThe three hit it off right away. Wakabayashi says that when they approached him, he had heard about the \"October 8th Haneda Struggle\" and was thinking about confronting society. \"October 8th\" was a protest movement in which approximately 2,500 people, mostly university students, gathered around Haneda Airport to block Prime Minister Eisaku Sato's visit to Southeast Asia and Oceania, including South Vietnam, and clashed with 2,000 police officers, resulting in the death of one Kyoto University student. This was a time when expressions of distrust in the government and anti-war movements against the Vietnam War were growing day by day. Wakabayashi then expanded into Zenkyoto activities.\u003c\/p\u003e \u003cp\u003eVarious radical acts of protest were occurring daily in cities around the world. Political and cultural activities were occurring simultaneously. Various people were translating their protests and dissent against the dogmas and authority of the old order into actions, behaviors, and works. This movement, a culture of spontaneous protest, a counterculture, was expanding worldwide. From 1967 to 1968, it expanded rapidly, bringing about diverse changes across literature, art, music, film, and other genres. The \"Langlois Affair,\" in which French filmmakers rallied in January 1968 to protest the unilateral dismissal of Henri Langlois, director of the Cinémathèque Française, by French Minister of Culture André Malraux, canceling screenings and demonstrating, could be seen as a precursor to this movement. Four months later, in May 1968, the May Revolution occurred, in which the intensifying student movement in Paris spread to a general strike across France. Some were involved in anti-war activities, some in political struggles, some in environmental protection activities, some in performance art activities, some in sound performance activities, and some in street theater activities; each was devoted to their own unique form of protest.\u003c\/p\u003e \u003cp\u003eThe formation of Naked Rallizes was a response to this global movement.\u003c\/p\u003e\n\u003cp\u003e Although they hit it off, Wakabayashi had no experience playing an instrument. According to Nakamura, \"From the beginning, sensitivity and ideals were more important than instrumental technique.\" Mizutani likely felt the same way. Later, while the three were walking around the streets of Kyoto, the idea of ​​the band \"Rallizes\" came to mind. Wakabayashi says that the \"naked\" part was to indicate a lack of pretense, and was not a reference to William Burroughs's \"Naked Lunch.\"\u003c\/p\u003e \u003cp\u003eTakashi Kato, a jazz drummer and Nakamura's high school friend, was selected to play drums, and the four practiced in a warehouse in Kusatsu, Shiga Prefecture. Initially, without any original songs, they practiced songs like the Blues Magoos' version of \"Tobacco Road.\" Their unique approach to the song is evident in their decision to base their performance on the wild Blues Magoos version rather than the hit Nashville Teens version. The bonus track on this reissue CD features \"Tobacco Road\" by Mizutani, Nakamura, Wakabayashi, and Kato. This is likely the earliest recording of the \"original Rallizes Nude.\" Wakabayashi left the group in early summer 1968 due to his devotion to political activism. This recording dates to the spring of 1968. According to Wakabayashi, the group's first performance was at a dance party hosted by the Doshisha University Photography Club. The performance was arranged by the woman who shot the photo featured on the cover of \"'67-'69 STUDIO et LIVE.\" This was before they had even written any original songs. It was probably the spring of 1968, around the time of the May Revolution in France. At one point, Wakabayashi sang the Rolling Stones' \"As Tears Go By.\" Even after leaving the band, Wakabayashi often met Mizutani and the others on campus or at their hangout jazz cafe, Cianclere.\u003c\/p\u003e \u003cp\u003e\"Smokin' Cigarette Blues\" on this album was recorded live at Doshisha University's school festival in the fall of 1968. The performance took place in a large classroom used for general education courses at Doshisha University. A thunderous sound filled the dimly lit room. Mizutani, Kato, and Nakamura were playing bass. Mizutani's guitar roared in a completely improvised performance.\u003c\/p\u003e\n\u003cp\u003e This performance is a strong testament to Mizutani's statement in a fax interview published in the November 1991 issue of Music Magazine that \"the moment Mizutani's electric guitar feedback came back, the direction we should take was decided.\" It's clear that the foundations of the band's 30 years were already being laid just one year after the band's formation. Was there any other band in Japan that performed like this in the fall of 1968? Harmonica playing unfolds in the latter half of this song, courtesy of Wakabayashi, who joined the band on the spot.\u003c\/p\u003e \u003cp\u003eMizutani was a member of the poetry research group at Doshisha University. He had been writing poetry even before the band was formed. After Wakabayashi left the band, Takashi Tada joined on bass, and original songs began to take shape one after another.\u003c\/p\u003e \u003cp\u003eThe Naked Rallizes also had a close relationship with Kyoto's only underground theater company, the Gendai Gekijo. Rather than simply providing accompanying material for theatrical performances, the theater company and the Naked Rallizes had a collaborative relationship. The Gendai Gekijo had reportedly been involved in light art using strobe lights, black lights, and mirror balls since the spring of 1967. It's likely that light art became a key element of the Naked Rallizes through their collaboration with the Gendai Gekijo. The Gendai Gekijo was founded in December 1962, and its organizer, Tatsuo Komatsu, had been involved in numerous art events in addition to theater performances since the early 1960s. He was a poet, director, playwright, and pantomime performer. Komatsu had a negative view of established theater and theater. His productions were characterized by a high concentration of happenings. In this respect, there was no doubt a common sensibility between the Naked Rallizes and the group, who excelled in improvisation.\u003c\/p\u003e \u003cp\u003e\"Komatsu's theory was, 'Rather than limiting my activities to the field of theater, I want to maintain contact with a wide range of fields, including film, music, dance, and visual arts, and aim to create a truly comprehensive art form through fierce competition between them.'\" (Ota Yoshiro, \"Spring's Asura: An Introduction to Komatsu Tatsuo,\" in \"Dreams in the Wilderness: A Collection of Memorial Works for Komatsu Tatsuo,\" Sunlead, 1987)\u003c\/p\u003e\n\u003cp\u003e As for performances at the Gendai Gekijo, it has been revealed that Mizutani Takashi\/Naked Rallizes provided the music for PALODY or the Fantasy of the Rosicrucians, written and directed by Yanagisawa Masashi, which was performed at Play Spot Kyoto in November 1968 and was well received.\u003c\/p\u003e \u003cp\u003eOn April 12, 1969, the Naked Rallizes performed at the \"Barricade A Go Go\" event, held in a barricaded classroom in the Faculty of Liberal Arts at Kyoto University. This was one of the \"Bali Festival\" events, and Komatsu was in charge of the practical operations. Komatsu recalls the \"Bali Festival\" as follows:\u003c\/p\u003e \u003cp\u003e\"The Naked Rallizes sang, the bandwagoners who had timidly arrived in Bali were dancing wildly, Ichiro Araki, who had just been released on bail after being arrested for obscenity, sang and played guitar, private film screenings were held, and a series of happenings were held by artist groups such as Play and Zero Dimension. To top it all off, a group of Yamato-style hippies called the Tribe flocked in from all over the country, causing a great deal of scorn from sensible sectarians who wondered, 'What on earth is this, two men kissing each other? What on earth does this have to do with struggle?' (But this is the important part.)\" (Komatsu Tatsuo, \"A Personal Brief History of the Western Auditorium,\" op. cit.)\u003c\/p\u003e \u003cp\u003eThe following day, on April 26th, he held a performance entitled \"Recital as Indulgence\" at a space called \"Igita Gallery\" in Sanjo Kiyamachi. The performance was planned and produced by Komatsu. \"Igita Gallery\" was Kyoto's first gallery specializing in contemporary art. In 1969, it was a valuable venue for presenting contemporary art not only in Kyoto but throughout Japan.\u003c\/p\u003e \u003cp\u003eA second recital, titled \"Recital No. 2 as Indulgence,\" was held on October 18th at the Kyoto Education and Culture Center. This time, the drummer was replaced by Matsumoto Tsutomu. Makoto Kubota, who saw the performance that day, was amazed at the volume of Les Rallizes Dénudés' performance, later commenting, \"It was the first time in my life that I had ever heard such a loud sound.\" In any case, a student band that held two solo concerts in 1969 was extremely rare in Japan. This must be taken into account, as this was before venues for rock performances such as live music venues had been established. Les Rallizes Dénudés was a special entity.\u003c\/p\u003e \u003cp\u003eThe bass line for \"La Mal Rouge,\" included on this album, was conceived by Mizutani and recorded at Sagittarius on April 26th. \"Vertigo\" and \"The Last One\" were also recorded on the same day, with Mizutani, Kato, and Tada as the members, with Komatsu and Kato providing the shouts on \"The Last One.\" The bonus track on the CD, \"R_sonance,\" likely dates from around this time. \"Les Bulles De Savon,\" \"Memories Are Far Away,\" and \"Tori no Koe\" were recorded at Kato's home around the summer of 1969. \"My Conviction (2nd Version)\" appears to have been recorded on October 18th, or perhaps recorded elsewhere specifically for this date. The members were Mizutani and Tada, with Matsumoto Tsutomu on drums.\u003c\/p\u003e \u003cp\u003eOn \"Bird's Voice,\" Tada played lead guitar after Mizutani requested that he \"express the sound of birds on guitar.\" At the time, Mizutani enjoyed free jazz and San Francisco-style rock. Among his favorite albums was Frank Zappa's \"Freak Out!\" by the Mothers of Invention. Mizutani also purchased and listened to their first two singles, \"Tsurai Ukiyo\" (A Painful Ukiyo) and \"Motherly Love,\" released in Japan. There seems to be a connection between \"Tsurai Ukiyo = Trouble Comin' Everyday\" and Mizutani's \"Vertigo.\" Tada also purchased and listened to \"Freak Out!\" at the time, recommended by Mizutani. In \"Memories Are Far Away,\" Mizutani plays a kazoo attached to a harmonica holder while playing an electric guitar. \"The way it looked was quite innovative,\" Tada says. Where did the idea for using a kazoo come from? Perhaps it was from \"Freak Out!\" \"Freak Out!\" may have been inspired by the album. \"Freak Out!\" contains many memorable kazoo tracks, such as \"Hungry Freaks, Daddy,\" \"Motherly Love,\" and \"You Are Probably Wondering Why I'm Here.\" Mizutani's perspective and execution in turning these tracks into his own compositions are unparalleled. Both \"Memories Are Far Away\" and \"Bird's Voice\" are important songs that would remain in the repertoire of the Naked Rallizes for a long time to come.\u003c\/p\u003e \u003cp\u003e\"The Last One.\" This is exactly what Takashi Mizutani and Les Rallizes Dénudés were pursuing. This song continued to be performed throughout his life, with changes in lyrics, melody, and style. Mizutani once said, \"All of 'The Last One's' exist as one connected song.\"\u003c\/p\u003e\n\u003cp\u003e The Naked Rallizes took a break after a live performance at the Ikenobo Hall in the fall of 1969. Takashi Mizutani was 21 years old at the time.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e In the aforementioned fax interview, Mizutani responded to the call to \"please give a message to both new listeners (who have heard Les Rallizes Nude for the first time through the CD release) and long-time listeners (who actually saw the band live in the 1960s-80s),\" to which he replied:\u003c\/p\u003e\n\u003cp\u003e \"Even though times change, we (or Rallys) will not change. We will stay and keep moving forward. And if there is a wall between us, let's break it down too.\"\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003eMore than half a century later, Naked Rallies remains and keeps going.\u003c\/p\u003e\n\u003cp\u003e This record is proof of that.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003eJuly 2022 Manabu Yuasa\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e Tracklist\u003cbr\u003e\u003cp\u003e Side A\u003c\/p\u003e\n\n\n\u003cp\u003e 1. Smokin' Cigarette Blues (Live Version)\u003c\/p\u003e\n\n\n\u003cp\u003e 2. La Mal Rouge\u003c\/p\u003e\n\n\n\u003cp\u003e 3. Vertigo otherwise My Conviction \/ Vertigo otherwise My Conviction\u003c\/p\u003e\n\n\n\u003cp\u003e Side B\u003c\/p\u003e\n\n\n\u003cp\u003e 1. Les Bulles de Savon \/ Soap Bubbles\u003c\/p\u003e\n\n\n\u003cp\u003e 2. Memory is far away\u003c\/p\u003e\n\n\n\u003cp\u003e 3. Bird calls in the dusk\u003c\/p\u003e\n\n\n\u003cp\u003e 4. My Conviction (2nd. Version)\u003c\/p\u003e\n\n\n\u003cp\u003e 5. The Last One _1969 (Live Version)\u003c\/p\u003e\n\n\u003cbr\u003e Product information\u003cbr\u003e\u003cp\u003e [LP]\u003cbr\u003e\n Product number: DRFT05\u003cbr\u003e\n Released by Temporal Drift \/ Tuff Beats\u003c\/p\u003e\n\n\n\u003cp\u003e Release date: February 9, 2024\u003c\/p\u003e\n\n","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768550125612,"sku":"DRFT05","price":2273.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/DRFT05.avif?v=1760515306"},{"product_id":"drft06","title":"MIZUTANI \/ Les Rallizes Dénudés (Cassette Tape)","description":"\u003cp\u003e \u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003e\"MIZUTANI \/ Les Rallizes D_nud_s,\" which focuses on the static side of acoustic sound, is now available on cassette!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003e\"MIZUTANI \/ Les Rallizes D_nud_s,\" named after Takashi Mizutani of Les Rallizes D_nud_s, is now available on cassette! This important work, acoustic and introspective, offers a glimpse into the personal side of Mizutani, the core of Les Rallizes D_nud_s.\u003c\/p\u003e\n\u003cp\u003e The album is comprised entirely of recordings unique in the history of Rallizes, created after a chance encounter between Mizutani Takashi and Kubota Makoto in Kyoto in 1970.\u003c\/p\u003e\n\u003cp\u003e ----------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003e[Explanation of \"MIZUTANI \/ Les Rallizes D_nud_s\" by Shinya Matsuyama]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003eThis album is one of three limited-edition Rallizes D_nud_s albums released by the Rivista label in 1991. Takashi Mizutani personally participated in the track selection and mastering, making it the only official Rallizes album. However, each release was limited to 1,000 copies for \"'77 Live,\" 500 for \"'67-'69 Studio et Live,\" and 500 for this album, \"MIZUTANI \/ Les Rallizes D_nud_s.\" They quickly disappeared from the market. Since then, they have fetched sky-high prices on the secondhand market, and bootleg recordings have circulated worldwide. This reissue, the first in 31 years and remastered by Makoto Kubota, who was once a member of Rallizes, is sure to be a hit with fans worldwide.\u003c\/p\u003e \u003cp\u003eLast October (2021), with the announcement of Takashi Mizutani's death (December 2019) and the launch of his first official website https:\/\/www.lesrallizesdenudes-official.com\/top\/, the \"Rallizes Denudes Reissue\/Discovery Project\" was launched, and the label \"The Last One Musique\" was launched by people associated with the band. The website clearly declares the label's purpose: \"We are the only label in the world that holds the legal rights to the recordings of Rallizes Denudes, and we will provide Takashi Mizutani's music with a more vivid sound and precise production than the bootlegs that have been circulating for over 20 years.\" Last April, a US label released a two-disc album, \"THE OZ TAPES,\" which compiled the Rallizes recordings (including unreleased material) from the 1973 omnibus album \"OZ DAYS LIVE,\" but the reissues (CD and LP) of the three Rivista recordings, which were controlled in every way by \"The Last One Musique,\" could be said to be the true start of the project.\u003c\/p\u003e \u003cp\u003e　　　　　　　　　　　　　\u003c\/p\u003e \u003cp\u003eOnly 500 copies of the original 1991 pressing were pressed, and the content differs from the commonly-held image and perception of the naked Rallizes. It may be overlooked among fans, but this album is one of the most important of Rallizes' entire collection, including bootleg recordings. That's what I've always believed since its release. The joy brought by the thunderous guitar sound, saturated with feedback noise, and the overly reverbed vocals that seem to reverberate from the underworld, is a special magic unique to Rallizes. However, Rallizes is by no means equal to thunderous sound. It's unacceptable to discuss Rallizes solely in terms of thunderous sound. Beyond the violent, destructive roar, there's always a cool and sweet lyricism and eroticism, and it's precisely therein that the essence of Rallizes, or rather Takashi Mizutani, lies. Without this appreciation, one cannot understand the true greatness of Rallizes\/Mizutani—their noble cruelty and desperate emptiness. That is my firm view of Larry and the Rallions, having seen them live many times since the 1970s and listened to a huge amount of their recordings, including bootlegs.\u003c\/p\u003e \u003cp\u003eAnyone who's seen a live performance will remember it. Even after the scheduled start time, Mizutani didn't appear on stage, leaving the audience waiting for two or even three hours. The audience waited silently in the dimly lit venue, with the lights of a mirror ball sparkling and cool jazz music by modern jazz quartets playing softly in the background. But I didn't mind it at all. I knew that the Rallizes live performance had already begun, as I continued to immerse myself in solitude in this dim, cold space. I believed that the profound loneliness contained in that suspended silence was the essence of Rallizes\/Mizutani. Mizutani wasn't simply delaying the start of the show out of selfish whimsy or whimsy; I believe he was offering us the unknown wait, the emptiness and anxiety of being left unattended, as a sweet overture, two sides of the same coin. According to what Kubota Makoto heard from Mizutani's relatives, Mizutani would often listen to the organ instrumental version of the theme song from Serge Gainsbourg's film Je t'aime moi non plus (performed by Jean-Pierre Savard, who also composed the soundtrack) at full volume at home. The ecstasy and anguish that permeate that instrumental version are the very essence of Gainsbourg, who spent his entire life wandering in the void, shifting between light and darkness, life and death, but I believe that the essence of Mizutani Takashi was also present there. And it is this album that most clearly expresses that.\u003c\/p\u003e \u003cp\u003e　　　　　　　　　　　　　\u003c\/p\u003e \u003cp\u003e\"I'm tired. I want to play some quiet music. Can you help me?\" Mizutani allegedly said this to Kubota Makoto when they met by chance on the Doshisha University campus in the fall of 1969. From 1968 to 1969, a storm of student protest raged at universities across Japan, and members of the Naked Rallizes (formed in November 1967) were caught up in it. Mizutani was said to have been a Black Hell (anarchist), but I'm skeptical that he was truly interested in student activism. Mizutani's first encounter with Kubota, a fellow member of the light music club, took place shortly after the Rallizes concert \"Recital IV as Indulgence\" held at the Kyoto Education and Culture Center on October 18, 1969. This was the first Rallizes concert, and it was also Kubota's first experience of loud rock music as an audience member. Kubota had always loved jazz and R\u0026amp;B, and played bossa nova and other genres in the light music club. He was also a home recording enthusiast who enjoyed playing the ping-pong rhythm with two reel-to-reel tape recorders. Kubota began visiting Mizutani's apartment around December, and together they began writing songs while playing guitar. While doing so, they decided to try recording a demo tape, and in one night they recorded tracks 10-12 of this album in what was then known as the broadcasting room in the Doshisha University student center. This was around February 1970.\u003c\/p\u003e \u003cp\u003eThe broadcasting room contained two mono tape recorders, a simple mixer, and a microphone. Kubota was familiar with the process from his ping-pong recordings at home, so the recording process went smoothly. First, a basic track, including vocals, was recorded in one take, and then guitar and other parts were dubbed into another tape recorder while this was played back. Mizutani sang while playing a Yamaha semi-acoustic guitar, while Kubota played a Martin-like acoustic guitar with a soundhole pickup that Mizutani borrowed. Mizutani generally played rhythm guitar and Kubota played lead guitar, but Kubota also played on single-guitar tracks such as \"Morning Light,\" which Mizutani and Kubota co-wrote. At the time, Kubota was a big fan of the singer-songwriter\/guitarists of the new American folk scene (Richie Havens, Tim Hardin, Joni Mitchell, etc.), and was particularly influenced by the playing style of Bruce Langhorne (the man who served as the model for Bob Dylan's \"Mr. Tambourine Man\").\u003c\/p\u003e \u003cp\u003eRegarding percussionist Tadao Makino, Kubota says, \"Mizutani-kun brought him in. He would pound on teapots with leather or paper stretched over the rim.\" His mood is similar to that of Steve Took during his Tyrannosaurus Rex days. While Makino also plays triangle on \"Fragment 2,\" Kubota plays the glockenspiel on \"Morning Light\" and \"Crack.\"\u003c\/p\u003e \u003cp\u003eFurthermore, while various sources claim that Konno Masaki, credited as the lyricist for \"Fansho 1,\" was an early member of the band Rallizes, he was actually not a member but rather a close friend of the band, and a fellow member of the Doshisha Poetry Research Society. While little is known about Tsuka Ikko, the lyricist for \"Fansho 2,\" he is likely the man who published a collection of poems titled \"Message: Tsuka Ikko Poetry Collection\" in 1971 through the publisher Assassination Order Company. Furthermore, I believe that Tsuka Ikko was Takashi Mizutani himself (and if so, was \"Tsuka\" taken from the poet and chanson critic Tsukamoto Kunio?). The surreal string of words beginning with \"The Aurora is cigarette smoke...\" feels like the very embodiment of Mizutani's worldview, who was well-versed in French literature, particularly the fin de siècle Symbolist movement.\u003c\/p\u003e \u003cp\u003eMizutani, Kubota, and Makino continued to work together for some time after this recording, performing two or three times live in 1970. One of their first recordings is the track \"The Last One _1970\" on this album. According to Kubota's recollection, this was a student-organized concert held at Doshisha University in May 1970 to welcome new students, where they appeared alongside Masato Minami and Kenji Endo. Mizutani would later participate in the recording of Masato Minami's album \"Capricorn\" the following year, but this concert may have been their first meeting. The performance on \"The Last One\" also began with Mizutani on rhythm guitar and vocals and Kubota on lead guitar, but midway through, Mizutani suddenly stepped on the fuzz and switched to lead guitar. This performance is unique to the transitional period of Rallizes. This song continued to be performed as a signature number for the Rallizes, but its structure and sound changed over the years, so much so that it was almost like two different songs with the same name. Perhaps for this reason, the track titles on this reissue have been deliberately suffixed with \"_1970.\" Please compare this with \"The Last One,\" which is included on the simultaneously reissued \"'67-'69 Studio et Live\" and \"'77 Live.\"\u003c\/p\u003e \u003cp\u003eThe trio version of Rallizes with Kubota and Makino later appeared at the \"Maruyama Odyssey\" event at the Maruyama Open-Air Concert Hall in Kyoto on September 13, 1970, featuring the Flower Travellin' Band and others. Around this time, Mizutani had also begun performing with groups including Char-Bo and Fujio Yamaguchi (later known as Murahachibu), creating the strange situation of two Rallizes appearing on the concert day: this one and the one with Kubota and others. Shortly after this concert, in late September, Kubota took a leave of absence from university to travel to the United States. He returned to Japan at the end of March 1971 and joined the new Rallizes (bassist Mikio Nagata and drummer Shunichiro Shoda), which Mizutani had reassembled in Tokyo in the fall of 1970. He played bass and side guitar at gigs such as the \"Hadaka no Rallizes 3 Days\" at Shibuya BYG in June 1971 (with daily bands including Happy End, Minami Masato, and Tsunoda Hiro), the August festival \"Shojiko Rockoon,\" and at Kichijoji OZ in 1972-73. However, from 1974 he became busy with his own band, \"Yuyake Gakudan,\" and left the Rallizes. His first solo album, \"Machibouke\" (1973), released around the same time as the launch of Yuyake Gakudan, includes a self-cover version of \"Asa no Hikari,\" a song he composed himself and which appears on this album.\u003c\/p\u003e \u003cp\u003eThe only track included on this reissue, \"Romanse of Black Sadness,\" is a live recording from 1973 (Meiji Gakuin University) not by the trio with Kubota and Makino, but by Mizutani, Nagata Mikio, Shoda Shunichiro, and Takeshi Nakamura (now a photographer), the original Rallizes guitarist who returned as a side guitarist in 1972. The guitar's slow rhythmic intro would later be absorbed into \"The Last One,\" which continued to evolve. The sound of Rallizes Naked that many fans imagine and recognize was nearing completion around this time.\u003c\/p\u003e \u003cp\u003eIncidentally, Nakamura is the only member other than Mizutani whose performances appear on all three of the newly reissued Rivista albums (and on \"OZ DAYS LIVE\"). He was a key figure in the formation of Rallizes (Nakamura approached Mizutani, a fellow member of the light music club), but he left the band in early 1969 to pursue his long-standing passion for photography. Even before returning to Rallizes as guitarist in 1972, he maintained a close bond with the band, photographing them at live shows. I also visited his photo exhibition held in Kyoto in October 2021, and while most of the works were unrelated to Rallizes, the space was beautifully reminiscent of the Rallizes world, embodying the essence of Takashi Mizutani, as mentioned above. I still remember the words Nakamura said to me at the exhibition.\u003c\/p\u003e \u003cp\u003e\"It's something that's ingrained in me. Even though my method of expression is different, I've always had that awareness. And I think it's something I've been carrying with me ever since my days with Rallizing. I'm sure that's the case for everyone involved with Rallizing. Meeting Mizutani was the starting point for everything. Of course, he had a great personal charm, but I think we all sensed something even more profound than that and sublimated it in our own way.\"\u003c\/p\u003e\n\u003cp\u003e Nakamura left Rallizes again at the end of 1977, and various other musicians joined the band afterwards, but Nakamura's words were probably a common sentiment shared by all the members. Mizutani Takashi was both an angel and a devil.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003eJuly 28, 2022 Shinya Matsuyama\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e Tracklist\u003cbr\u003e\u003cp\u003e FACE A\u003c\/p\u003e\n\n\n\u003cp\u003e 1. Memory is far away\u003cbr\u003e \n2. Morning Light, L'Aube\u003cbr\u003e\n 3. Fragment I\u003cbr\u003e\n 4. Fragment II\u003cbr\u003e\n 5. Fissure\u003c\/p\u003e\n\n\n\u003cp\u003e FACE B\u003cbr\u003e\n 1. The Last One _1970\u003c\/p\u003e\n\n\u003cbr\u003e Product information\u003cbr\u003e\u003cp\u003e [LP]\u003cbr\u003e\n Product number: DRFT06\u003cbr\u003e\n Released by Temporal Drift \/ Tuff Beats\u003c\/p\u003e\n\n\n\u003cp\u003e Release date: February 9, 2024\u003c\/p\u003e\n\n","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768550191148,"sku":"DRFT06","price":2273.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/DRFT06.avif?v=1760515271"},{"product_id":"drft07","title":"Les Rallizes Dénudés \/ '77 LIVE (Cassette Tape)","description":"\u003cp\u003e \u003cspan style=\"color: #4d7526;\"\u003e\u003cstrong\u003eThe definitive cassette release of \"'77 LIVE,\" featuring the complete recording of the thunderous live performance by Naked Rallizes, which became a hot topic when it was released on vinyl for the first time, shows off their true essence!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \"'77 LIVE,\" a recording of the Naked Rallizes' live performance in Tachikawa, Tokyo on March 12, 1977, is now available on cassette!\u003cbr\u003e The content allows you to relive the overwhelming flood of sound and ever-changing improvisations of this miraculous hour and a half live performance.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e ----------------------------------\u003c\/p\u003e\n\n \u003cp\u003e\u003cstrong\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e[ \u003cspan\u003e\u003cspan\u003eExplanation of\u003c\/span\u003e\u003c\/span\u003e \u003cspan\u003e\u003cspan\u003eNaked Rallizes\u003c\/span\u003e\u003c\/span\u003e \u003cspan\u003e\u003cspan\u003e\"\u003c\/span\u003e\u003c\/span\u003e \u003cspan\u003e\u003cspan\u003e'77 LIVE\u003c\/span\u003e\u003c\/span\u003e \u003cspan\u003e\u003cspan\u003e\"\u003c\/span\u003e\u003c\/span\u003e by Manabu Yuasa]\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eAll my thoughts vanished. When I first listened to this album in 1991, I was filled with joy. I truly felt that there are no limits to music.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThis album, produced by Takashi Mizutani, was released as a two-disc CD on August 15, 1991. It is a live recording of the Les Rallizes Dénudés concert held at the Tachikawa Social Education Hall in Tachikawa, Tokyo on March 12, 1977.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThirty-one years after the original release, Makoto Kubota, a former member of the Naked Rallizes, has re-examined the original sound source, remastered it, and created this new recording.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eIn 1991, Takashi Mizutani of Naked Rallizes released three albums simultaneously: \"'67-'69 Studio et Live,\" \"MIZUTANI,\" and \"'77 LIVE.\" In an interview in the November 1991 issue of Music Magazine (conducted via fax between Paris, France, and Tokyo; interviewer: author), he explained the reason for this: \"There was no connection in the ordinary sense. There was no grandiose intention. To put it in our terms, it was a kind of fireworks, or playing with fire. However, the actual work that followed turned out to be extremely hard.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eWhen we decided to make \u003cspan\u003e\u003cspan\u003ea CD\u003c\/span\u003e\u003c\/span\u003e \u003cspan\u003e\u003cspan\u003e, HEAD had no idea what the inclusion criteria would be. Of course, we hadn't thought about it beforehand, but the initial criteria was to cover everything from the band's original formation to their live performance at Bell Commons in the late 1970s.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eIn the 12 years between the formation of Les Rallizes Dénudés in the fall of 1967 and their performance at Bell Commons in Aoyama, Tokyo on November 1, 1978, Les Rallizes Dénudés performed numerous live shows. It is likely that they also recorded in studios quite a few times. Mizutani continued:\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\"I wasn't satisfied until I checked all the tapes we had during this period. I listened to about 200 to 300 tapes (most of them 90 to 120 minutes long). It was a wonderful period. I didn't expect that we, who are not easily shocked by small things, would be so strict.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThese three works are carefully selected recordings. This is one of the things that Rallizes Dénudé is confident about. I think they represent the expression of Rallizes Dénudé that Takashi Mizutani has experienced.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eFurthermore, when it came to turning the tape recordings into a CD, it took a lot of tenacious and thorough research. Mizutani says:\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\"During the analog-to-digital conversion, we were constantly in the studio, and to put it simply, we had to thoroughly destroy the unsightly digital sound and bring it closer to the original sound. This must have been extremely hard work for the studio engineers, but they put in as much effort as they could to achieve the sound we were able to achieve. I'm sure there were some parts that had to be cut out, but digital sound is a tricky thing to work with.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eNo sounds were added to the original live recording. Mizutani's comments reveal the difficulty of capturing the sound that Takashi Mizutani felt at the time, the sound of Les Rallizes Naked that had been ringing inside him since March 12, 1977, on a single album.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThe sound image of \"'77LIVE\" is something quite rare. It brings with it an unknown listening sensation. There is even more distortion within distortion. The foreground and background of the sound rub against each other, causing waves of sound to expand in all directions. It's not just that a mass of sound hits the listener. The whole body is drawn into the sound, and it's impossible to escape.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eIt was not something calculated or constructed, but rather something that emerged from the overlap of various factors, a mixture of chance and inevitability. Of course, the venue had its acoustics designed, but you can't really know what the sound will be like until you play it. Live performances are particularly influenced by the circumstances of the day. They were completely different from today's stages, which are controlled by digital equipment. This is precisely why each of the remaining recordings is imbued with a different atmosphere and color. Was the March 12, 1977 live performance a culmination of the Naked Rallizes, who had been active since 1967? Or was it a new beginning?\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThe performers on this album were Takashi Mizutani (guitar, vocals), Takeshi Nakamura (guitar), Hiroshi Narazaki (bass), and Toshiaki Mimaki (drums). Nakamura was an original member of Rallizes Dénudés. Mimaki was a former staff member at OZ. Narazaki joined Rallizes Dénudés after being a member of Datetenryu and Zuno Keisatsu. He subsequently performed with his own bands, Portcus and Nipritz, while also pursuing solo careers under the names Hiroshi and Kun Yuri. The rhythm section of Narazaki and Mimaki produces a diverse range of beats. The 12-beat rhythm of \"Ice Flame\" evokes Turkish music, \"Deeper Than the Night\" has an R\u0026amp;B feel, and \"Night, Assassin's Night\" has a pop sensibility reminiscent of \"I Will Follow Him.\" A multifaceted musicality ripples beneath the intense sound.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThis time, manager Tezuka Minoru has contributed a valuable piece of writing that describes what it was like at the time.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eI was surprised to learn that the live show that day was performed using a 4-way sound speaker system.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\"I remember clearly that the sound in the hall was amazing and it gave me goosebumps.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eWhen I read this passage, I got goosebumps.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\"That was the day the new Rallys sound was born, with clearly amplified noise.\"\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eTezuka also wrote:\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThe Naked Rallizes kept on going. The unparalleled miracle of \"'77LIVE\" was just one part of the Naked Rallizes.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eIn the aforementioned fax interview, Mizutani Takashi stated the following:\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\"Fickle\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003ethings, sweet things\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eUnchanging yet still sweet\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eMore than the sweetness found in changeability\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eSomething strict\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThe realm of night, space and dimension, and then deviation\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eResulting deviation Unintended deviation\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eWhen a pre-planned deviation is achieved\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eDeviation from a pre-planned trajectory\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThere will be no more.”\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eSeptember\u003c\/span\u003e\u003c\/span\u003e \u003cspan\u003e\u003cspan\u003e2022\u003c\/span\u003e\u003c\/span\u003e Manabu Yuasa\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e＜77 Tachikawa LIVE Memorandum Text by MINORU TEZUKA＞\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eI would like to write a little about the staff involved with Rallys.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eIn the beginning, Antonio and his team were in charge of lighting at many venues. The sound company changed from time to time, and we didn't have a dedicated mixer yet, but at some point, I forget when, Hisashi Kato joined the mixer team.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThe lighting team was settled on a team led by Taku Yamada.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eI met Taku at Horagai, a cafe in Kokubunji, Tokyo, said to be Japan's first rock cafe.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eI think Conch Shell was a mecca in the 1960s and 1970s for poets, revolutionaries, artists, farmers, and dream-chasing travelers who called themselves tribes.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eI started going there often, becoming familiar with the faces and they helped me set up a number of events.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eMako Takashima, the designer who created the posters and flyers, shared a house with drummer Shunichiro Shoda, who was a student at Musashino Art University, near where we lived at the time in Fussa's Japamar Heights.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eI think he was also the one who put up the rose flags that were hanging backstage for a while and the tie-dyed cloth on the Guyatone amps, but it's a distant memory.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eI think the photos used for the posters and flyers for the 77 Live concert were chosen by Mr. Mizutani.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eI took the manuscript to Tamura Masanobu Aki of CCC Printing, an affiliate of the tribe, and asked him to print it.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThe text quotes from \"Puppets Play\" using a photograph by the surrealist Hans Bellmer, which would likely be unavailable due to copyright restrictions today. In those days, paper media was the norm, and if you went to put up posters in the middle of the night, you'd see posters for Butoh and tent theaters lined up next to them, and next to them was a bizarre poster for Rallizes.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eI placed 4-way surround speakers against the wall and used my first guitar, a Gibson SG, which I had just purchased.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThe song we rehearsed was \"Night Harvesters.\" It was the first time I'd heard that song, but I was immediately convinced it would be a success. I clearly remember the sound in the hall being so good it gave me goosebumps.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003e\u003cspan\u003eThe recording was done in two ways: one by connecting a cassette directly from the mixer, and the other by recording with a microphone on an open reel by Kiyohiro Tadoko.It was the day when a new Rallys sound was born, with noise clearly amplified.\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Tracklist\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e TAPE 1\u003c\/p\u003e\n\n\u003cp\u003e Side A\u003cbr\u003e 1. Enter the Mirror\u003cbr\u003e 2. The Night, Assassin's Night\u003c\/p\u003e\n\n\u003cp\u003e Side B\u003cbr\u003e 1. Flame of Ice\u003cbr\u003e 2. Memory is far away\u003c\/p\u003e\n\n\u003cp\u003e TAPE 2\u003c\/p\u003e\n\n\u003cp\u003e Side C\u003cbr\u003e 1. Deeper than the Night\u003cbr\u003e 2. Reapers of the Night\u003c\/p\u003e\n\n\u003cp\u003e Side D\u003cbr\u003e 1. The Last One _1977\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Product information\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e [3LP]\u003cbr\u003e Product number: DRFT07\u003cbr\u003e Released by Temporal Drift \/ Tuff Beats\u003c\/p\u003e\n\n\u003cp\u003e Release date: February 9, 2024\u003c\/p\u003e","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768550223916,"sku":"DRFT07","price":2727.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/DRFT07.avif?v=1760515232"},{"product_id":"tbv-0033","title":"Les Rallizes Dénudés \/ '67-'69 STUDIO et LIVE (LP)","description":"\u003cp\u003e \u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003eThe long-awaited official release of the rare recording collection \"'67-'69 STUDIO et LIVE,\" capturing the vibrant and vivid image of the band's early days, is now available on LP for the first time!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003e★As a \"Tuff Beats Online Store original bonus,\" a set of two square postcards (one for each product\/3 types in total) will be included.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003eOriginally released in August 1991, the original album \"'67-'69 STUDIO et LIVE\" by Les Rallizes Dénudés is being reissued with two previously unreleased bonus tracks! This is a rare collection of recordings from the early days of their career, packed with the electric guitar feedback that would define their future direction. \u0026lt;Jacket with obi\u0026gt;\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e ----------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003e[Explanation of Naked Rallizes \"'67-'69 STUDIO et LIVE\" by Manabu Yuasa]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003eThis is a reissue of \"'67-'69 STUDIO et LIVE,\" originally released in August 1991. It features rare recordings from the earliest days of Rallizes Dénudé. The tracks were selected and edited by Takashi Mizutani. For this reissue, the recordings were re-examined to use the best available recordings, and the album was remastered by Makoto Kubota, a former member of Rallizes Dénudé. The CD version also includes two newly discovered bonus tracks.\u003c\/p\u003e \u003cp\u003eIn the fall of 1967, Takashi Mizutani and Takeshi Nakamura, who knew each other from the light music club at Doshisha University in Kyoto, decided to form a band. Nakamura apparently approached Mizutani. Mizutani had unusually long hair at the time, giving him a unique presence. Both played guitar, so they began looking for a bassist and drummer. However, they didn't hold auditions by listening to performances. They simply looked for someone cool, someone who clicked with them intuitively. That's how they found Moriaki Wakabayashi, who was also attending the same university.\u003c\/p\u003e\n\u003cp\u003e \"We decided to form a band that would revolutionize the Japanese music scene.\"\u003c\/p\u003e\n\u003cp\u003e Wakabayashi says (Interview published in October 2017 on Buzz Feed Japan, interviewer: Kanba Ryosuke).\u003c\/p\u003e \u003cp\u003eThe three hit it off right away. Wakabayashi says that when they approached him, he had heard about the \"October 8th Haneda Struggle\" and was thinking about confronting society. \"October 8th\" was a protest movement in which approximately 2,500 people, mostly university students, gathered around Haneda Airport to block Prime Minister Eisaku Sato's visit to Southeast Asia and Oceania, including South Vietnam, and clashed with 2,000 police officers, resulting in the death of one Kyoto University student. This was a time when expressions of distrust in the government and anti-war movements against the Vietnam War were growing day by day. Wakabayashi then expanded into Zenkyoto activities.\u003c\/p\u003e \u003cp\u003eVarious radical acts of protest were occurring daily in cities around the world. Political and cultural activities were occurring simultaneously. Various people were translating their protests and dissent against the dogmas and authority of the old order into actions, behaviors, and works. This movement, a culture of spontaneous protest, a counterculture, was expanding worldwide. From 1967 to 1968, it expanded rapidly, bringing about diverse changes across literature, art, music, film, and other genres. The \"Langlois Affair,\" in which French filmmakers rallied in January 1968 to protest the unilateral dismissal of Henri Langlois, director of the Cinémathèque Française, by French Minister of Culture André Malraux, canceling screenings and demonstrating, could be seen as a precursor to this movement. Four months later, in May 1968, the May Revolution occurred, in which the intensifying student movement in Paris spread to a general strike across France. Some were involved in anti-war activities, some in political struggles, some in environmental protection activities, some in performance art activities, some in sound performance activities, and some in street theater activities; each was devoted to their own unique form of protest.\u003c\/p\u003e \u003cp\u003eThe formation of Naked Rallizes was a response to this global movement.\u003c\/p\u003e\n\u003cp\u003e Although they hit it off, Wakabayashi had no experience playing an instrument. According to Nakamura, \"From the beginning, sensitivity and ideals were more important than instrumental technique.\" Mizutani likely felt the same way. Later, while the three were walking around the streets of Kyoto, the idea of ​​the band \"Rallizes\" came to mind. Wakabayashi says that the \"naked\" part was to indicate a lack of pretense, and was not a reference to William Burroughs's \"Naked Lunch.\"\u003c\/p\u003e \u003cp\u003eTakashi Kato, a jazz drummer and Nakamura's high school friend, was selected to play drums, and the four practiced in a warehouse in Kusatsu, Shiga Prefecture. Initially, without any original songs, they practiced songs like the Blues Magoos' version of \"Tobacco Road.\" Their unique approach to the song is evident in their decision to base their performance on the wild Blues Magoos version rather than the hit Nashville Teens version. The bonus track on this reissue CD features \"Tobacco Road\" by Mizutani, Nakamura, Wakabayashi, and Kato. This is likely the earliest recording of the \"original Rallizes Nude.\" Wakabayashi left the group in early summer 1968 due to his devotion to political activism. This recording dates to the spring of 1968. According to Wakabayashi, the group's first performance was at a dance party hosted by the Doshisha University Photography Club. The performance was arranged by the woman who shot the photo featured on the cover of \"'67-'69 STUDIO et LIVE.\" This was before they had even written any original songs. It was probably the spring of 1968, around the time of the May Revolution in France. At one point, Wakabayashi sang the Rolling Stones' \"As Tears Go By.\" Even after leaving the band, Wakabayashi often met Mizutani and the others on campus or at their hangout jazz cafe, Cianclere.\u003c\/p\u003e \u003cp\u003e\"Smokin' Cigarette Blues\" on this album was recorded live at Doshisha University's school festival in the fall of 1968. The performance took place in a large classroom used for general education courses at Doshisha University. A thunderous sound filled the dimly lit room. Mizutani, Kato, and Nakamura were playing bass. Mizutani's guitar roared in a completely improvised performance.\u003c\/p\u003e\n\u003cp\u003e This performance is a strong testament to Mizutani's statement in a fax interview published in the November 1991 issue of Music Magazine that \"the moment Mizutani's electric guitar feedback came back, the direction we should take was decided.\" It's clear that the foundations of the band's 30 years were already being laid just one year after the band's formation. Was there any other band in Japan that performed like this in the fall of 1968? Harmonica playing unfolds in the latter half of this song, courtesy of Wakabayashi, who joined the band on the spot.\u003c\/p\u003e \u003cp\u003eMizutani was a member of the poetry research group at Doshisha University. He had been writing poetry even before the band was formed. After Wakabayashi left the band, Takashi Tada joined on bass, and original songs began to take shape one after another.\u003c\/p\u003e \u003cp\u003eThe Naked Rallizes also had a close relationship with Kyoto's only underground theater company, the Gendai Gekijo. Rather than simply providing accompanying material for theatrical performances, the theater company and the Naked Rallizes had a collaborative relationship. The Gendai Gekijo had reportedly been involved in light art using strobe lights, black lights, and mirror balls since the spring of 1967. It's likely that light art became a key element of the Naked Rallizes through their collaboration with the Gendai Gekijo. The Gendai Gekijo was founded in December 1962, and its organizer, Tatsuo Komatsu, had been involved in numerous art events in addition to theater performances since the early 1960s. He was a poet, director, playwright, and pantomime performer. Komatsu had a negative view of established theater and theater. His productions were characterized by a high concentration of happenings. In this respect, there was no doubt a common sensibility between the Naked Rallizes and the group, who excelled in improvisation.\u003c\/p\u003e \u003cp\u003e\"Komatsu's theory was, 'Rather than limiting my activities to the field of theater, I want to maintain contact with a wide range of fields, including film, music, dance, and visual arts, and aim to create a truly comprehensive art form through fierce competition between them.'\" (Ota Yoshiro, \"Spring's Asura: An Introduction to Komatsu Tatsuo,\" in \"Dreams in the Wilderness: A Collection of Memorial Works for Komatsu Tatsuo,\" Sunlead, 1987)\u003c\/p\u003e\n\u003cp\u003e As for performances at the Gendai Gekijo, it has been revealed that Mizutani Takashi\/Naked Rallizes provided the music for PALODY or the Fantasy of the Rosicrucians, written and directed by Yanagisawa Masashi, which was performed at Play Spot Kyoto in November 1968 and was well received.\u003c\/p\u003e \u003cp\u003eOn April 12, 1969, the Naked Rallizes performed at the \"Barricade A Go Go\" event, held in a barricaded classroom in the Faculty of Liberal Arts at Kyoto University. This was one of the \"Bali Festival\" events, and Komatsu was in charge of the practical operations. Komatsu recalls the \"Bali Festival\" as follows:\u003c\/p\u003e \u003cp\u003e\"The Naked Rallizes sang, the bandwagoners who had timidly arrived in Bali were dancing wildly, Ichiro Araki, who had just been released on bail after being arrested for obscenity, sang and played guitar, private film screenings were held, and a series of happenings were held by artist groups such as Play and Zero Dimension. To top it all off, a group of Yamato-style hippies called the Tribe flocked in from all over the country, causing a great deal of scorn from sensible sectarians who wondered, 'What on earth is this, two men kissing each other? What on earth does this have to do with struggle?' (But this is the important part.)\" (Komatsu Tatsuo, \"A Personal Brief History of the Western Auditorium,\" op. cit.)\u003c\/p\u003e \u003cp\u003eThe following day, on April 26th, he held a performance entitled \"Recital as Indulgence\" at a space called \"Igita Gallery\" in Sanjo Kiyamachi. The performance was planned and produced by Komatsu. \"Igita Gallery\" was Kyoto's first gallery specializing in contemporary art. In 1969, it was a valuable venue for presenting contemporary art not only in Kyoto but throughout Japan.\u003c\/p\u003e \u003cp\u003eA second recital, titled \"Recital No. 2 as Indulgence,\" was held on October 18th at the Kyoto Education and Culture Center. This time, the drummer was replaced by Matsumoto Tsutomu. Makoto Kubota, who saw the performance that day, was amazed at the volume of Les Rallizes Dénudés' performance, later commenting, \"It was the first time in my life that I had ever heard such a loud sound.\" In any case, a student band that held two solo concerts in 1969 was extremely rare in Japan. This must be taken into account, as this was before venues for rock performances such as live music venues had been established. Les Rallizes Dénudés was a special entity.\u003c\/p\u003e \u003cp\u003eThe bass line for \"La Mal Rouge,\" included on this album, was conceived by Mizutani and recorded at Sagittarius on April 26th. \"Vertigo\" and \"The Last One\" were also recorded on the same day, with Mizutani, Kato, and Tada as the members, with Komatsu and Kato providing the shouts on \"The Last One.\" The bonus track on the CD, \"R_sonance,\" likely dates from around this time. \"Les Bulles De Savon,\" \"Memories Are Far Away,\" and \"Tori no Koe\" were recorded at Kato's home around the summer of 1969. \"My Conviction (2nd Version)\" appears to have been recorded on October 18th, or perhaps recorded elsewhere specifically for this date. The members were Mizutani and Tada, with Matsumoto Tsutomu on drums.\u003c\/p\u003e \u003cp\u003eOn \"Bird's Voice,\" Tada played lead guitar after Mizutani requested that he \"express the sound of birds on guitar.\" At the time, Mizutani enjoyed free jazz and San Francisco-style rock. Among his favorite albums was Frank Zappa's \"Freak Out!\" by the Mothers of Invention. Mizutani also purchased and listened to their first two singles, \"Tsurai Ukiyo\" (A Painful Ukiyo) and \"Motherly Love,\" released in Japan. There seems to be a connection between \"Tsurai Ukiyo = Trouble Comin' Everyday\" and Mizutani's \"Vertigo.\" Tada also purchased and listened to \"Freak Out!\" at the time, recommended by Mizutani. In \"Memories Are Far Away,\" Mizutani plays a kazoo attached to a harmonica holder while playing an electric guitar. \"The way it looked was quite innovative,\" Tada says. Where did the idea for using a kazoo come from? Perhaps it was from \"Freak Out!\" \"Freak Out!\" may have been inspired by the album. \"Freak Out!\" contains many memorable kazoo tracks, such as \"Hungry Freaks, Daddy,\" \"Motherly Love,\" and \"You Are Probably Wondering Why I'm Here.\" Mizutani's perspective and execution in turning these tracks into his own compositions are unparalleled. Both \"Memories Are Far Away\" and \"Bird's Voice\" are important songs that would remain in the repertoire of the Naked Rallizes for a long time to come.\u003c\/p\u003e \u003cp\u003e\"The Last One.\" This is exactly what Takashi Mizutani and Les Rallizes Dénudés were pursuing. This song continued to be performed throughout his life, with changes in lyrics, melody, and style. Mizutani once said, \"All of 'The Last One's' exist as one connected song.\"\u003c\/p\u003e\n\u003cp\u003e The Naked Rallizes took a break after a live performance at the Ikenobo Hall in the fall of 1969. Takashi Mizutani was 21 years old at the time.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e In the aforementioned fax interview, Mizutani responded to the call to \"please give a message to both new listeners (who have heard Les Rallizes Nude for the first time through the CD release) and long-time listeners (who actually saw the band live in the 1960s-80s),\" to which he replied:\u003c\/p\u003e\n\u003cp\u003e \"Even though times change, we (or Rallys) will not change. We will stay and keep moving forward. And if there is a wall between us, let's break it down too.\"\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003eMore than half a century later, Naked Rallys remains and keeps going.\u003c\/p\u003e\n\u003cp\u003e This record is proof of that.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003eJuly 2022 Manabu Yuasa\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e Tracklist\u003cbr\u003e\u003cp\u003e FACE A\u003c\/p\u003e\n\n\n\u003cp\u003e 1. Smokin' Cigarette Blues (Live Version)\u003c\/p\u003e\n\n\n\u003cp\u003e 2. La Mal Rouge\u003c\/p\u003e\n\n\n\u003cp\u003e 3. My Conviction otherwise My Conviction\u003c\/p\u003e\n\n\n\u003cp\u003e Vertigo otherwise My Conviction\u003c\/p\u003e\n\n\n\u003cp\u003e FACE B\u003c\/p\u003e\n\n\n\u003cp\u003e 1. Les Bulles de Savon\u003c\/p\u003e\n\n\n\u003cp\u003e Soap Bubbles\u003c\/p\u003e\n\n\n\u003cp\u003e 2. Distant Memories\u003c\/p\u003e\n\n\n\u003cp\u003e Memory is far away\u003c\/p\u003e\n\n\n\u003cp\u003e 3. Bird sounds\u003c\/p\u003e\n\n\n\u003cp\u003e Bird calls in the dusk\u003c\/p\u003e\n\n\n\u003cp\u003e 4. My Conviction (2nd. Version)\u003c\/p\u003e\n\n\n\u003cp\u003e 5. The Last One _1969 (Live Version)\u003c\/p\u003e\n\n\u003cbr\u003e Product information\u003cbr\u003e\u003cp\u003e [LP]\u003cbr\u003e\n Product code: TBV-0033\u003cbr\u003e\n Released by The Last One Musique \/ Tuff Beats\u003c\/p\u003e\n\n\n\u003cp\u003e Release date: December 7, 2022\u003c\/p\u003e\n\n","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768553107500,"sku":"TBV-0033","price":4000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBV-0033.jpg?v=1758010795"},{"product_id":"tbv-0034","title":"Les Rallizes Dénudés \/ MIZUTANI \/ Les Rallizes Dénudés (LP)","description":"\u003cp\u003e \u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003e\"MIZUTANI \/ Les Rallizes D_nud_s,\" which focuses on the static side of acoustic sound, is now available on LP for the first time, a long-awaited official release!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e \u003cp\u003e\u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003e★As a \"Tuff Beats Online Store original bonus,\" a set of two square postcards (one for each product\/3 types in total) will be included.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \"MIZUTANI \/ Les Rallizes D_nud_s,\" named after Takashi Mizutani of Les Rallizes D_nud_s, has been remastered by Makoto Kubota, a member of the band at the time, and is a significant work that offers a glimpse into the personal side of Mizutani, the core of Les Rallizes D_nud_s, with its acoustic and introspective sound. \u0026lt;Jacket with obi\u0026gt;\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e Due to recording time constraints, \"Romance of Black Sadness Otherwise Fallin' Love With,\" which is included at the end of the CD, has been cut from the analog LP.\u003c\/p\u003e \u003cp\u003eAs a result, this record is comprised entirely of recordings unique in the history of Rallizes, created after a chance encounter between Mizutani Takashi and Kubota Makoto in Kyoto in 1970. The cut track, \"Romanse of Black Kanashimi, Otherwise Fallin' Love With,\" has been recorded separately on a 12-inch record along with two bonus tracks from the CD reissue of \"'67-'69 STUDIO et LIVE.\" It will be sold as an attachment to the set purchased together with the three LP titles being reissued this time.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e ----------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003e[Explanation of \"MIZUTANI \/ Les Rallizes D_nud_s\" by Shinya Matsuyama]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003eThis album is one of three limited-edition Rallizes D_nud_s albums released by the Rivista label in 1991. Takashi Mizutani personally participated in the track selection and mastering, making it the only official Rallizes album. However, each release was limited to 1,000 copies for \"'77 Live,\" 500 for \"'67-'69 Studio et Live,\" and 500 for this album, \"MIZUTANI \/ Les Rallizes D_nud_s.\" They quickly disappeared from the market. Since then, they have fetched sky-high prices on the secondhand market, and bootleg recordings have circulated worldwide. This reissue, the first in 31 years and remastered by Makoto Kubota, who was once a member of Rallizes, is sure to be a hit with fans worldwide.\u003c\/p\u003e \u003cp\u003eLast October (2021), with the announcement of Takashi Mizutani's death (December 2019) and the launch of his first official website https:\/\/www.lesrallizesdenudes-official.com\/top\/, the \"Rallizes Denudes Reissue\/Discovery Project\" was launched, and the label \"The Last One Musique\" was launched by people associated with the band. The website clearly declares the label's purpose: \"We are the only label in the world that holds the legal rights to the recordings of Rallizes Denudes, and we will provide Takashi Mizutani's music with a more vivid sound and precise production than the bootlegs that have been circulating for over 20 years.\" Last April, a US label released a two-disc album, \"THE OZ TAPES,\" which compiled the Rallizes recordings (including unreleased material) from the 1973 omnibus album \"OZ DAYS LIVE,\" but the reissues (CD and LP) of the three Rivista recordings, which were controlled in every way by \"The Last One Musique,\" could be said to be the true start of the project.\u003c\/p\u003e \u003cp\u003e　　　　　　　　　　　　　\u003c\/p\u003e \u003cp\u003eOnly 500 copies of the original 1991 pressing were pressed, and the content differs from the commonly-held image and perception of the naked Rallizes. It may be overlooked among fans, but this album is one of the most important of Rallizes' entire collection, including bootleg recordings. That's what I've always believed since its release. The joy brought by the thunderous guitar sound, saturated with feedback noise, and the overly reverbed vocals that seem to reverberate from the underworld, is a special magic unique to Rallizes. However, Rallizes is by no means equal to thunderous sound. It's unacceptable to discuss Rallizes solely in terms of thunderous sound. Beyond the violent, destructive roar, there's always a cool and sweet lyricism and eroticism, and it's precisely therein that the essence of Rallizes, or rather Takashi Mizutani, lies. Without this appreciation, one cannot understand the true greatness of Rallizes\/Mizutani—their noble cruelty and desperate emptiness. That is my firm view of Larry and the Rallions, having seen them live many times since the 1970s and listened to a huge amount of their recordings, including bootlegs.\u003c\/p\u003e \u003cp\u003eAnyone who's seen a live performance will remember it. Even after the scheduled start time, Mizutani didn't appear on stage, leaving the audience waiting for two or even three hours. The audience waited silently in the dimly lit venue, with the lights of a mirror ball sparkling and cool jazz music by modern jazz quartets playing softly in the background. But I didn't mind it at all. I knew that the Rallizes live performance had already begun, as I continued to immerse myself in solitude in this dim, cold space. I believed that the profound loneliness contained in that suspended silence was the essence of Rallizes\/Mizutani. Mizutani wasn't simply delaying the start of the show out of selfish whimsy or whimsy; I believe he was offering us the unknown wait, the emptiness and anxiety of being left unattended, as a sweet overture, two sides of the same coin. According to what Kubota Makoto heard from Mizutani's relatives, Mizutani would often listen to the organ instrumental version of the theme song from Serge Gainsbourg's film Je t'aime moi non plus (performed by Jean-Pierre Savard, who also composed the soundtrack) at full volume at home. The ecstasy and anguish that permeate that instrumental version are the very essence of Gainsbourg, who spent his entire life wandering in the void, shifting between light and darkness, life and death, but I believe that the essence of Mizutani Takashi was also present there. And it is this album that most clearly expresses that.\u003c\/p\u003e \u003cp\u003e　　　　　　　　　　　　　\u003c\/p\u003e \u003cp\u003e\"I'm tired. I want to play some quiet music. Can you help me?\" Mizutani allegedly said this to Kubota Makoto when they met by chance on the Doshisha University campus in the fall of 1969. From 1968 to 1969, a storm of student protest raged at universities across Japan, and members of the Naked Rallizes (formed in November 1967) were caught up in it. Mizutani was said to have been a Black Hell (anarchist), but I'm skeptical that he was truly interested in student activism. Mizutani's first encounter with Kubota, a fellow member of the light music club, took place shortly after the Rallizes concert \"Recital IV as Indulgence\" held at the Kyoto Education and Culture Center on October 18, 1969. This was the first Rallizes concert, and it was also Kubota's first experience of loud rock music as an audience member. Kubota had always loved jazz and R\u0026amp;B, and played bossa nova and other genres in the light music club. He was also a home recording enthusiast who enjoyed playing the ping-pong rhythm with two reel-to-reel tape recorders. Kubota began visiting Mizutani's apartment around December, and together they began writing songs while playing guitar. While doing so, they decided to try recording a demo tape, and in one night they recorded tracks 10-12 of this album in what was then known as the broadcasting room in the Doshisha University student center. This was around February 1970.\u003c\/p\u003e \u003cp\u003eThe broadcasting room contained two mono tape recorders, a simple mixer, and a microphone. Kubota was familiar with the process from his ping-pong recordings at home, so the recording process went smoothly. First, a basic track, including vocals, was recorded in one take, and then guitar and other parts were dubbed into another tape recorder while this was played back. Mizutani sang while playing a Yamaha semi-acoustic guitar, while Kubota played a Martin-like acoustic guitar with a soundhole pickup that Mizutani borrowed. Mizutani generally played rhythm guitar and Kubota played lead guitar, but Kubota also played on single-guitar tracks such as \"Morning Light,\" which Mizutani and Kubota co-wrote. At the time, Kubota was a big fan of the singer-songwriter\/guitarists of the new American folk scene (Richie Havens, Tim Hardin, Joni Mitchell, etc.), and was particularly influenced by the playing style of Bruce Langhorne (the man who served as the model for Bob Dylan's \"Mr. Tambourine Man\").\u003c\/p\u003e \u003cp\u003eRegarding percussionist Tadao Makino, Kubota says, \"Mizutani-kun brought him in. He would pound on teapots with leather or paper stretched over the rim.\" His mood is similar to that of Steve Took during his Tyrannosaurus Rex days. While Makino also plays triangle on \"Fragment 2,\" Kubota plays the glockenspiel on \"Morning Light\" and \"Crack.\"\u003c\/p\u003e \u003cp\u003eFurthermore, while various sources claim that Konno Masaki, credited as the lyricist for \"Fansho 1,\" was an early member of the band Rallizes, he was actually not a member but rather a close friend of the band, and a fellow member of the Doshisha Poetry Research Society. While little is known about Tsuka Ikko, the lyricist for \"Fansho 2,\" he is likely the man who published a collection of poems titled \"Message: Tsuka Ikko Poetry Collection\" in 1971 through the publisher Assassination Order Company. Furthermore, I believe that Tsuka Ikko was Takashi Mizutani himself (and if so, was \"Tsuka\" taken from the poet and chanson critic Tsukamoto Kunio?). The surreal string of words beginning with \"The Aurora is cigarette smoke...\" feels like the very embodiment of Mizutani's worldview, who was well-versed in French literature, particularly the fin de siècle Symbolist movement.\u003c\/p\u003e \u003cp\u003eMizutani, Kubota, and Makino continued to work together for some time after this recording, performing two or three times live in 1970. One of their first recordings is the track \"The Last One _1970\" on this album. According to Kubota's recollection, this was a student-organized concert held at Doshisha University in May 1970 to welcome new students, where they appeared alongside Masato Minami and Kenji Endo. Mizutani would later participate in the recording of Masato Minami's album \"Capricorn\" the following year, but this concert may have been their first meeting. The performance on \"The Last One\" also began with Mizutani on rhythm guitar and vocals and Kubota on lead guitar, but midway through, Mizutani suddenly stepped on the fuzz and switched to lead guitar. This performance is unique to the transitional period of Rallizes. This song continued to be performed as a signature number for the Rallizes, but its structure and sound changed over the years, so much so that it was almost like two different songs with the same name. Perhaps for this reason, the track titles on this reissue have been deliberately suffixed with \"_1970.\" Please compare this with \"The Last One,\" which is included on the simultaneously reissued \"'67-'69 Studio et Live\" and \"'77 Live.\"\u003c\/p\u003e \u003cp\u003eThe trio version of Rallizes with Kubota and Makino later appeared at the \"Maruyama Odyssey\" event at the Maruyama Open-Air Concert Hall in Kyoto on September 13, 1970, featuring the Flower Travellin' Band and others. Around this time, Mizutani had also begun performing with groups including Char-Bo and Fujio Yamaguchi (later known as Murahachibu), creating the strange situation of two Rallizes appearing on the concert day: this one and the one with Kubota and others. Shortly after this concert, in late September, Kubota took a leave of absence from university to travel to the United States. He returned to Japan at the end of March 1971 and joined the new Rallizes (bassist Mikio Nagata and drummer Shunichiro Shoda), which Mizutani had reassembled in Tokyo in the fall of 1970. He played bass and side guitar at gigs such as the \"Hadaka no Rallizes 3 Days\" at Shibuya BYG in June 1971 (with daily bands including Happy End, Minami Masato, and Tsunoda Hiro), the August festival \"Shojiko Rockoon,\" and at Kichijoji OZ in 1972-73. However, from 1974 he became busy with his own band, \"Yuyake Gakudan,\" and left the Rallizes. His first solo album, \"Machibouke\" (1973), released around the same time as the launch of Yuyake Gakudan, includes a self-cover version of \"Asa no Hikari,\" a song he composed himself and which appears on this album.\u003c\/p\u003e \u003cp\u003eThe only track included on this reissue, \"Romanse of Black Sadness,\" is a live recording from 1973 (Meiji Gakuin University) not by the trio with Kubota and Makino, but by Mizutani, Nagata Mikio, Shoda Shunichiro, and Takeshi Nakamura (now a photographer), the original Rallizes guitarist who returned as a side guitarist in 1972. The guitar's slow rhythmic intro would later be absorbed into \"The Last One,\" which continued to evolve. The sound of Rallizes Naked that many fans imagine and recognize was nearing completion around this time.\u003c\/p\u003e \u003cp\u003eIncidentally, Nakamura is the only member other than Mizutani whose performances appear on all three of the newly reissued Rivista albums (and on \"OZ DAYS LIVE\"). He was a key figure in the formation of Rallizes (Nakamura approached Mizutani, a fellow member of the light music club), but he left the band in early 1969 to pursue his long-standing passion for photography. Even before returning to Rallizes as guitarist in 1972, he maintained a close bond with the band, photographing them at live shows. I also visited his photo exhibition held in Kyoto in October 2021, and while most of the works were unrelated to Rallizes, the space was beautifully reminiscent of the Rallizes world, embodying the essence of Takashi Mizutani, as mentioned above. I still remember the words Nakamura said to me at the exhibition.\u003c\/p\u003e \u003cp\u003e\"It's something that's ingrained in me. Even though my method of expression is different, I've always had that awareness. And I think it's something I've been carrying with me ever since my days with Rallizing. I'm sure that's the case for everyone involved with Rallizing. Meeting Mizutani was the starting point for everything. Of course, he had a great personal charm, but I think we all sensed something even more profound than that and sublimated it in our own way.\"\u003c\/p\u003e\n\u003cp\u003e Nakamura left Rallizes again at the end of 1977, and various other musicians joined the band afterwards, but Nakamura's words were probably a common sentiment shared by all the members. Mizutani Takashi was both an angel and a devil.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003eJuly 28, 2022 Shinya Matsuyama\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e Tracklist\u003cbr\u003e\u003cp\u003e FACE A\u003c\/p\u003e\n\n\n\u003cp\u003e 1. Distant Memories\u003cbr\u003e\n Memory is far away\u003cbr\u003e \n2. Morning Light L'AUBE\u003cbr\u003e\n Morning Light, L'Aube\u003cbr\u003e\n 3. Fragment\u003cbr\u003e\n Fragment I\u003cbr\u003e\n 4. Fragment\u003cbr\u003e\n Fragment II\u003cbr\u003e\n 5. Cracks\u003cbr\u003e\n Fissure\u003c\/p\u003e\n\n\n\u003cp\u003e FACE B\u003cbr\u003e\n 1. The Last One _1970\u003c\/p\u003e\n\n\u003cbr\u003e Product information\u003cbr\u003e\u003cp\u003e [LP]\u003cbr\u003e\n Product code: TBV-0034\u003cbr\u003e\n Released by The Last One Musique \/ Tuff Beats\u003c\/p\u003e\n\n\n\u003cp\u003e Release date: December 7, 2022\u003c\/p\u003e\n\n","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768553140268,"sku":"TBV-0034","price":4000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBV-0034.jpg?v=1758010796"},{"product_id":"tbv-0042","title":"Les Rallizes Dénudés \/ 3-piece set with bonus 12\" (LP+LP+3LP+12\")","description":"\u003cp\u003e \u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003eA limited-edition simultaneous purchase set featuring three original LP albums by Les Rallizes Naked plus a bonus 12-inch record is now available!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003e★As a \"Tuff Beats Online Store original bonus,\" a total of 6 square postcards will be included.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e Bonus 12-inch included! A limited-edition simultaneous purchase set of three of Les Rallizes Nude's original LP albums is now available.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003e■Les Rallizes D_nud_s (Les Rallizes D_nud_s) \/ '67-'69 STUDIO et LIVE (LP)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003eThe long-awaited official release of the rare recording collection \"'67-'69 STUDIO et LIVE,\" capturing the fresh and vivid image of the Naked Rallizes in their early days, is now available on LP for the first time!\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e Originally released in August 1991, the original album \"'67-'69 STUDIO et LIVE\" by Les Rallizes Dénudés is now available for the first time on LP format! This is a valuable collection of recordings from the early days of their career, packed with the electric guitar feedback that would determine their future direction.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003e■Les Rallizes D_nud_s (Naked Rallizes) \/ MIZUTANI \/ Les Rallizes D_nud_s (LP)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e The long-awaited official release of \"MIZUTANI \/ Les Rallizes D_nud_s,\" which focuses on the static side of acoustic sound, is now available on LP for the first time!\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003e\"MIZUTANI \/ Les Rallizes D_nud_s,\" named after Takashi Mizutani of Les Rallizes D_nud_s, is being released for the first time in LP format! This important work, acoustic and introspective, offers a glimpse into the personal side of Mizutani, the core of Les Rallizes D_nud_s.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e Due to recording time constraints, \"Romance of Black Sadness Otherwise Fallin' Love With,\" which is included at the end of the CD, has been cut from the analog LP.\u003c\/p\u003e\n\u003cp\u003e As a result, this record is comprised entirely of recordings unique in the history of Rallizes, created after a chance encounter between Mizutani Takashi and Kubota Makoto in Kyoto in 1970. The cut track, \"Romanse of Black Kanashimi, Otherwise Fallin' Love With,\" has been recorded separately on a 12-inch record along with two bonus tracks from the CD reissue of \"'67-'69 STUDIO et LIVE.\" It will be sold as an attachment to the set purchased together with the three LP titles being reissued this time.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003e\u003cstrong\u003e■Les Rallizes D_nud_s (Les Rallizes D_nud_s) \/ '77 LIVE (3LP)\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e The long-awaited official release of the definitive \"'77 LIVE\" album, which captures the thunderous live performance of the Naked Rallizes at their best, is now available on LP for the first time!\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \"'77 LIVE,\" a recording of the Naked Rallizes' live performance in Tachikawa, Tokyo on March 12, 1977, is being released for the first time as a 3-LP set! This album allows you to relive the miraculous hour and a half live performance, featuring an overwhelming flood of sound and ever-changing improvisations.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003e■ Bonus 12-inch gift for purchasing all three titles at once\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e The album will include \"Romanse of Black Sadness Otherwise Fallin' Love With,\" which was cut from the vinyl LP of \"MIZUTANI \/ Les Rallizes D_nud_s\" due to recording time constraints, as well as two bonus tracks from the reissued CD of \"'67-'69 STUDIO et LIVE.\"\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cbr\u003e Tracklist\u003cbr\u003e\u003cp\u003e \u003cstrong\u003e\"'67-'69 STUDIO et LIVE\"\u003c\/strong\u003e\u003c\/p\u003e\n\n\n\u003cp\u003e FACE A\u003c\/p\u003e\n\n\n \u003cp\u003e1. Smokin' Cigarette Blues (Live Version)\u003c\/p\u003e\n\n\n\u003cp\u003e 2. La Mal Rouge\u003c\/p\u003e\n\n\n\u003cp\u003e 3. My Conviction otherwise My Conviction\u003c\/p\u003e\n\n\n\u003cp\u003e Vertigo otherwise My Conviction\u003c\/p\u003e\n\n\n\u003cp\u003e FACE B\u003c\/p\u003e\n\n\n\u003cp\u003e 1. Les Bulles de Savon\u003c\/p\u003e\n\n\n\u003cp\u003e Soap Bubbles\u003c\/p\u003e\n\n\n\u003cp\u003e 2. Distant Memories\u003c\/p\u003e\n\n\n\u003cp\u003e Memory is far away\u003c\/p\u003e\n\n\n\u003cp\u003e 3. Bird sounds\u003c\/p\u003e\n\n\n\u003cp\u003e Bird calls in the dusk\u003c\/p\u003e\n\n\n\u003cp\u003e 4. My Conviction (2nd. Version)\u003c\/p\u003e\n\n\n\u003cp\u003e 5. The Last One _1969 (Live Version)\u003c\/p\u003e\n\n\n\u003cp\u003e *The two bonus tracks \"R_sonance\" and \"Tobacco Road\" from the reissued CD of the same title will not be included on the vinyl LP.\u003c\/p\u003e\n\n\n\u003cp\u003e\u003c\/p\u003e\n\n\n\u003cp\u003e \u003cstrong\u003e『MIZUTANI \/ Les Rallizes D_nud_s』\u003c\/strong\u003e\u003c\/p\u003e\n\n\n\u003cp\u003e FACE A\u003c\/p\u003e\n\n\n\u003cp\u003e 1. Distant Memories\u003c\/p\u003e\n\n\n\u003cp\u003e Memory is far away\u003c\/p\u003e\n\n\n\u003cp\u003e 2. Morning Light L'AUBE\u003c\/p\u003e\n\n\n\u003cp\u003e Morning Light, L'Aube\u003c\/p\u003e\n\n\n\u003cp\u003e 3. Fragment\u003c\/p\u003e\n\n\n\u003cp\u003e Fragment I\u003c\/p\u003e\n\n\n\u003cp\u003e 4. Fragment\u003c\/p\u003e\n\n\n\u003cp\u003e Fragment II\u003c\/p\u003e\n\n\n\u003cp\u003e 5. Cracks\u003c\/p\u003e\n\n\n\u003cp\u003e Fissure\u003c\/p\u003e\n\n\n\u003cp\u003e FACE B\u003c\/p\u003e\n\n\n\u003cp\u003e 1. The Last One _1970\u003c\/p\u003e\n\n\n\u003cp\u003e\u003c\/p\u003e\n\n\n\u003cp\u003e \u003cstrong\u003e\"'77 LIVE (3LP)\"\u003c\/strong\u003e\u003c\/p\u003e\n\n\n\u003cp\u003e FACE A\u003cbr\u003e\n 1. Enter the Mirror\u003cbr\u003e\n 2. Night, Night of the Assassin\u003cbr\u003e\n The Night, Assassin's Night\u003c\/p\u003e\n\n\n\u003cp\u003e FACE B\u003cbr\u003e\n 1. Ice and Fire\u003cbr\u003e\n Flame of Ice\u003c\/p\u003e\n\n\n\u003cp\u003e FACE C\u003cbr\u003e\n 1. Distant Memories\u003cbr\u003e\n Memory is far away\u003c\/p\u003e\n\n\n\u003cp\u003e FACE D\u003cbr\u003e\n 1. Deeper than Night\u003cbr\u003e \nDeeper than the Night\u003c\/p\u003e\n\n\n\u003cp\u003e FACE E\u003cbr\u003e\n 1. Night Harvesters\u003cbr\u003e\n Reapers of the Night\u003c\/p\u003e\n\n\n\u003cp\u003e FACE F\u003cbr\u003e\n 1. The Last One _1977\u003c\/p\u003e\n\n\n\u003cp\u003e\u003c\/p\u003e\n\n\n\u003cp\u003e \u003cstrong\u003e\"12-inch bonus for purchasing all three titles at the same time\"\u003c\/strong\u003e\u003c\/p\u003e\n\n\n\u003cp\u003e FACE A\u003c\/p\u003e\n\n\n\u003cp\u003e 1. Black Sadness Romance Otherwise Fallin' Love With\u003c\/p\u003e\n\n\n\u003cp\u003e Romance of the Black Pain otherwise Fallin' Love With\u003c\/p\u003e\n\n\n\u003cp\u003e FACE AA\u003c\/p\u003e\n\n\n\u003cp\u003e 1. R_sonance\u003c\/p\u003e\n\n\n\u003cp\u003e 2. Tobacco Road\u003c\/p\u003e\n\n\u003cbr\u003e Product information\u003cbr\u003e\u003cp\u003e [LP+LP+3LP+Bonus 12”]\u003cbr\u003e\n Product code: TBV-0042\u003cbr\u003e\n Released by The Last One Musique \/ Tuff Beats\u003c\/p\u003e\n\n\n\u003cp\u003e Release date: December 7, 2022\u003c\/p\u003e\n\n","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768553304108,"sku":"TBV-0042","price":16500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBV-0042.jpg?v=1758010796"},{"product_id":"tbv-0046","title":"Les Rallizes Dénudés \/ CITTA''93 (3LP)","description":"\u003cp\u003e \u003cstrong\u003e\u003cspan style=\"color:#4d7526;\"\u003eThe complete album of Naked Rallizes' live performance at CLUB CITTA' in 1993\u003c\/span\u003e has been released \u003cspan style=\"color:#4d7526;\"\u003eas\u003c\/span\u003e a 3-disc vinyl set \u003cspan style=\"color:#4d7526;\"\u003e!\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003e★As a \"Tuff Beats Online Store exclusive benefit,\" all LP purchasers will receive a portrait card (A4 size).\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color:#cb2026;\"\u003e*If you would like to purchase both the \"CITTA' '93\" CD (released June 28th) and LP (released July 26th) and would like the CD delivered first on the release date, please place a separate order.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003eRallizes Hadaka, who released three original albums in 1991, resumed live performances in 1993, appearing before fans for the first time since 1988. Following their comeback show at the Baus Theater on February 13th, their performance at CLUB CITTA' four days later on the 17th became one of the most notable performances in Rallizes' history and remains legendary to this day. The incredible volume of the guitar, surpassing even their previous loudest performances, is said to have shook the doors of the venue, causing the audience to seek refuge in the lobby.\u003c\/p\u003e \u003cp\u003eThe entire concert, which delivered an astonishing performance that shook all of the audience's senses, was captured on an 8-channel digital recorder. This album, based on multi-track audio that had been secretly stored for nearly 30 years, reconstructed with audio recordings from the venue and mixed with the soul of Makoto Kubota, recreates the \"something beyond the roar\" that resounded that night as an album. Experience the Rallys sound as never before heard.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e The band members were Takashi Mizutani (Vo, G), Katsuhiko Ishii (G), Yokai Takahashi (B), and Yukimichi Noma (Dr). The album jacket artwork features a photo taken by Takehiko Nakafuji. Liner notes by Shinya Matsuyama are included.\u003c\/p\u003e\n\u003cbr\u003e Tracklist\u003cbr\u003e\u003cp\u003e Side A\u003cbr\u003e\n 1. The Night, Assassin's Night\u003cbr\u003e\n 2. Memory is Far Away\u003c\/p\u003e\n\n\n\u003cp\u003e Side B\u003cbr\u003e \n1. Deeper Than the Night\u003cbr\u003e\n 2. Eternally Now\u003c\/p\u003e\n\n\n\u003cp\u003e Side C\u003cbr\u003e\n 1. White Awakening_1993\u003cbr\u003e\n 2. Bird Calls in the Dusk\u003c\/p\u003e\n\n\n\u003cp\u003e Side D\u003cbr\u003e\n 1. Darkness Returns 2\u003c\/p\u003e\n\n\n\u003cp\u003e Side E\u003cbr\u003e\n 1. The Last One_1993(Part 1)\u003c\/p\u003e\n\n\n\u003cp\u003e Side F\u003cbr\u003e\n 1. The Last One_1993(Part 2)\u003c\/p\u003e\n\n\u003cbr\u003e Product information\u003cbr\u003e\u003cp\u003e [3LP]\u003cbr\u003e\n Product code: TBV-0046\u003cbr\u003e\n Released by The Last One Musique \/ Tuff Beats\u003c\/p\u003e\n\n\n\u003cp\u003e Release date: July 26, 2023\u003c\/p\u003e\n\n","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768553435180,"sku":"TBV-0046","price":8200.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBV-0046_BOX.jpg?v=1758010796"},{"product_id":"tbv-0047","title":"Les Rallizes Dénudés \/ BAUS '93 (2LP)","description":"\u003cp\u003e \u003cspan style=\"color:#cb2026;\"\u003e\u003cstrong\u003e*If you would like to purchase both the \"BAUS '93\" CD+DVD (released November 8th) and 2LP (released December 6th) and would like the CD+DVD delivered first on the release date, please place a separate order.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003eFollowing their previous release, the Naked Rallizes' legendary comeback live performance held at Kichijoji Baus Theater on February 13, 1993, has been released as an album from digital multi-track recordings.\u003c\/strong\u003e\u003c\/span\u003e \u003cbr\u003eThe analog version will be released as a two-disc set with obi.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color:#000000;\"\u003e\u003cstrong\u003e★As a \"Tuff Beats Online Store exclusive\" bonus, a sticker will be included with all purchases of the 2LP★\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e Following on from \"CITTA' '93,\" which has already been released worldwide and has generated a huge response, the performance held at Kichijoji Baus Theater on February 13th, four days prior, has been made into a work titled \"BAUS '93.\" This performance, which marked the first live performance for Rallizes in five years, is also known as a legendary performance. \u003cbr\u003eAs with \"CITTA' '93,\" the master is an 8-channel digital multi-track, with cassette recordings made in the venue and stereo output from the mixing console added, and Makoto Kubota has once again poured her heart and soul into mixing and mastering. With this latest release, \"BAUS '93,\" she has once again reconstructed a Rallizes concert with a sound image no one has ever heard before.\u003cbr\u003e The lineup for the day was Mizutani Takashi (Vocals, Guitar), Ishii Katsuhiko (Guitar), Takada Kiyohiro (Bass), and Mimaki Toshiaki (Drums). The rhythm section will be different from the performance four days later, and you can expect to hear a performance with a different feel to their previous album, \"CITTA' '93.\" The vinyl version will be released as a two-disc set with a obi.\u003c\/p\u003e\n\u003cp\u003e \u003cbr\u003eThe commentary was written by Jennifer Lucy Allan, a writer who has worked on shows like \"The Wire\" and \"The Quietus\" and who also hosts a show on BBC Radio. Julian Cope, renowned for his book \"Jap Rock Sampler,\" which introduced the world to Japanese underground rock, including Rallizes, has also contributed a special article.\u003c\/p\u003e\n\u003cbr\u003e Songs included\u003cbr\u003e\u003cp\u003e Side A\u003cbr\u003e\n 1. The Night, Assassin's Night\u003cbr\u003e\n 2. Romance of the Black Pain Otherwise Fallin' Love With\u003c\/p\u003e\n\n\n\u003cp\u003e Side B\u003cbr\u003e\n 1. Reapers of the Night 1993\u003c\/p\u003e\n\n\n\u003cp\u003e Side C\u003cbr\u003e\n 1. Darkness Returns (Part 1)\u003c\/p\u003e\n\n\n\u003cp\u003e Side D\u003cbr\u003e\n 1. Darkness Returns (Part 2)\u003cbr\u003e\n\u003c\/p\u003e\n\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cbr\u003e Product information\u003cbr\u003e\u003cp\u003e [2LP]\u003c\/p\u003e\n\n\n\u003cp\u003e Product code: TBV-0047\u003c\/p\u003e\n\n\n\u003cp\u003e Released by The Last One Musique \/ Tuff Beats\u003c\/p\u003e\n\n\n\u003cp\u003e Release date: Wednesday, December 6, 2023\u003c\/p\u003e\n\n","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768553467948,"sku":"TBV-0047","price":5500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBV-0047.jpg?v=1758010796"},{"product_id":"tbv-0057","title":"Les Rallizes Dénudés \/ YaneUra Oct.'80 (2LP)","description":"\u003cp\u003e \u003cspan style=\"color:#15a95f;\"\u003e\u003cstrong\u003eThe historic live performance that Naked Rallizes, featuring Fujio Yamaguchi, held at the Yaneura in Shibuya in October 1980, is finally officially released!\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color:#cb2026;\"\u003e*Purchases are limited to two tickets per person.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003eIn 1980, Hadaka no Rallizes welcomed Fujio Yamaguchi (The Dynamites\/Murahachibu\/Teardrops) as another guitarist. Although their run ended in March of the following year, the performances with Yamaguchi included were unique for the group and left a strong impression, thrilling many fans.\u003cbr\u003e Of the seven shows they performed, the performance at Shibuya Yaneura on October 29th was particularly well-received, and now it is finally being released in its entirety with the best sound quality available.\u003cbr\u003e With a tight rhythm section in the background, the two guitars collide and intertwine, creating a space filled with a blackness deeper than pitch black, which is now brought back to life with overwhelming vividness. \u003cbr\u003eThe over 30-minute performance from \"I Am Darkness\" to \"Ice Flame\" (note that on the LP, the track order is changed and they are the first tracks on sides A and B), can be said to be one of the most noteworthy performances in the entire career of Rallizes.\u003cbr\u003e The jacket features an unpublished photograph taken by Uji Akira.\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e Songs included\u003cbr\u003e\u003cp\u003e Side A\u003cbr\u003e\n 1. I'm the Darkness\u003cbr\u003e\n\u003c\/p\u003e\n\n\n\u003cp\u003e Side B\u003cbr\u003e\n 1. Flame of Ice\u003cbr\u003e\n 2. Enter the Mirror\u003cbr\u003e\n\u003c\/p\u003e\n\n\n\u003cp\u003e Side C\u003cbr\u003e\n 1. The Night, Assassin's Night\u003cbr\u003e\n 2. Deeper than the Night_1980\u003cbr\u003e\n\u003c\/p\u003e\n\n\n\u003cp\u003e Side D\u003cbr\u003e\n 1. The Last One_1980\u003c\/p\u003e\n\n\u003cbr\u003e Product information\u003cbr\u003e\u003cp\u003e [2LP]\u003c\/p\u003e\n\n\n\u003cp\u003e Product code: TBV-0057\u003c\/p\u003e\n\n\n\u003cp\u003e Released by The Last One Musique \/ Tuff Beats\u003c\/p\u003e\n\n\n\u003cp\u003e Release date: Wednesday, July 17, 2024\u003c\/p\u003e\n\n","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768553762860,"sku":"TBV-0057","price":5500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBV-0057.jpg?v=1758010796"},{"product_id":"tbv-0070","title":"Les Rallizes Dénudés (The Naked Rallizes) \/ YaneUra Sept.'80 (LP)","description":"\u003cp\u003e \u003cspan style=\"color: #cb2026;\"\u003eThe distribution of the bonus has ended.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n \u003cp\u003eThe recently announced release of \"MARS STUDIO - The First Session -\" was based on the judgment of the original band members and other related parties regarding the contents of the discovered tape, and it was determined that it was a recording made at Mars Studios. However, someone else recently pointed out that it might be a performance that took place at the Shibuya Yaneura on September 11, 1980, and further investigation revealed that it was in fact a recording of a live performance that day. \u003cbr\u003eThe tape left behind by Mizutani Takashi has a sound image that sounds like a live studio performance, with no hint of an audience. However, this is also a valuable record and is undoubtedly worth listening to. As a companion piece to the previously released \"Yaneura YaneUra Oct.'80,\" we have renamed it \"Yaneura YaneUra Sept.'80\" and are releasing it as such.\u003cbr\u003e We are continuing to investigate not only Mars Studios recordings but also other studio recordings, so please look forward to future updates. We will proceed with our work with even greater vigilance and caution.\u003c\/p\u003e\n\n\u003cp\u003e The Last One Music \/ Tuff Beats\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e・━・━・━・━・━・━・━・━・━・━・━・━・━・━・━・━・\u003cbr\u003eSeptember 11, 1980, Shibuya Yaneura. The Naked Rallizes, featuring Fujio Yamaguchi, \u003cbr\u003eThe fiery live performance is now brought back to life with a brilliant sound!\u003cbr\u003e・━・━・━・━・━・━・━・━・━・━・━・━・━・━・━・━・\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eDuring the production process of the album \"Yaneura Oct. '80,\" work was underway to re-examine the recordings of Rallizes left behind during Fujio Yamaguchi's time with the band, when a tape left behind by Takashi Mizutani was discovered.\u003cbr\u003e Because the recording data is unknown, there is no doubt that the two guitars heard on the tape, which was initially called \"Unknown,\" are those of Takashi Mizutani and Fujio Yamaguchi.\u003cbr\u003e The band members and other people involved at the time determined that this must be an unreleased studio recording. \u003cbr\u003eThe tape, which had a sound image that did not evoke the atmosphere of a live house, was eventually discovered to be a desk-out recording of a performance at the Yaneura in Shibuya on September 11, 1980.\u003cbr\u003e What was recorded there was an explosive performance that was completely different from the one that was delivered just one month later at YaneUra Oct.'80.\u003cbr\u003e The tempo gradually increases from the middle of the song, heating up intensely with \"Fire and Ice.\" From there, the band avalanches into the wilder than usual \"Night Harvesters,\" \"Night, Assassin's Night,\" and \"The Last One.\"\u003cbr\u003e This work records the fleeting flashes of light that appeared during the Fujio period, which lasted just over six months, and at the same time, it is filled with the boundless potential that was contained within the 1980 Naked Rallizes.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n \u003cp\u003eCD https:\/\/www.tuff-beats.com\/product-page\/tbvc-0008\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e Produced by: Makoto Kubota Artwork: Shigeo Matsumoto Photography: Akira Mochizuki Liner notes: Manabu Yuasa\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Songs included\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e Side A\u003cbr\u003e 1. Flame of Ice\u003cbr\u003e 2. Reapers of the Night\u003c\/p\u003e\n\n\u003cp\u003e Side B\u003cbr\u003e 1. The Night, Assassin's Night\u003cbr\u003e 2. The Last One_1980\u003c\/p\u003e\n\n\u003cp\u003e Listen \u003ca href=\"https:\/\/www.tuff-beats.com\/yaneurasept80-sample\" target=\"_blank\"\u003ehere\u003c\/a\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Product information\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e Label: The Last One Musique \/ Tuff Beats\u003cbr\u003e Format: LP (Color Vinyl)\u003cbr\u003e Cat No.: TBV-0070\u003cbr\u003e Barcode: 4580187181311\u003cbr\u003e Price: 4,800 yen + tax Release date: Wednesday, December 25, 2024\u003c\/p\u003e","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768554188844,"sku":"TBV-0070","price":4800.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBV-0070.jpg?v=1758010797"},{"product_id":"tbv-0080","title":"Les Rallizes Dénudés (The Naked Rallizes) \/ Jittoku '76 (2LP)","description":"\u003cp\u003e \u003cstrong\u003e\u003cspan style=\"color:#ffffff;\"\u003e\u003cspan style=\"background-color:#89298d;\"\u003eThe stunning performance by the Naked Rallizes in 1976 at Shidoku, Kyoto, is now revived.\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color:#ffffff;\"\u003e\u003cspan style=\"background-color:#cb2026;\"\u003e*When you purchase a CD or LP from the TUFF BEATS ONLINE STORE, you will receive an additional jacket (card) of the same size as the jacket for each CD or LP as a pre-order\/purchase bonus.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e \u003cp\u003e\u003cspan style=\"color:#cb2026;\"\u003e*The second product image is the image of the bonus.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e The new album \"Jittoku '76\" will be released simultaneously on Wednesday, July 23rd as a 2-disc vinyl record and CD.\u003cbr\u003e In 1976, the Naked Rallizes were made up of Takashi Mizutani (vocals\/guitar), Takeshi Nakamura (guitar), who was also a founding member, Hiroshi (bass), also known as Hiroshi Narasaki, who had been a member of Zuno Keisatsu and Date Tenryu, and Sammy (drums), also known as Toshiaki Mimaki, a former staff member at the Kichijoji live house OZ and a member of the OZ band.\u003cbr\u003e Many Rallyeze researchers believe that \"this period was the peak of Rallyeze.\"\u003cbr\u003e In fact, in 1976, under the leadership of Akira Hazama, the band began recording with the aim of signing a contract with Virgin Records in the UK, while also energetically performing live shows at a rate of almost once a month at the Shibuya Attic, which had just opened in 1975. \u003cbr\u003eFollowing on from the previous year, they also took part in the outdoor festival \"The 3rd Sunset Festival\" held in Ishikawa Prefecture (August 3rd-4th). On that occasion, they were booked to perform two consecutive nights at \"Shuttoku\" in Kyoto on July 29th and 30th, in conjunction with their tour of the Hokuriku region.\u003cbr\u003e Opened in 1973, Shutoku is known for its unique design, having been renovated from a sake brewery, and is a long-established live music venue that represents Kyoto.\u003cbr\u003e The Rallizes have been performing in Kyoto for some time, and their shows in this ancient capital, which they consider their home town, have always been attended by many enthusiastic fans.\u003cbr\u003e The newly discovered tape was found on July 30th and was recorded using the built-in microphone of a Marantz radio cassette player. \u003cbr\u003eUnfortunately, the recording cuts off midway through the final song, \"The Last One,\" but producer Makoto Kubota, who recognized the hidden potential in this recording, once again used her skills to revive the raw dynamism and compile it into an album.\u003cbr\u003e As those involved testified, \"There was something different about the Rallys in Kyoto, a different sound,\" and from this tape we can hear a sound on an enormous scale that is hard to believe was ringing out in the space of Shudoku.\u003cbr\u003e Along with Nakamura's solid supporting playing, Hiroshi's bass creates a rough groove, and Sammy's intense drumming erupts with fresh energy, and as if responding to them, Mizutani's guitar also shows a more emotional expression than usual. \u003cbr\u003eMany people will be surprised by the difference between \"Fire on Ice\" and \"Enter the Mirror,\" which are also included on \"'77 LIVE.\"\u003cbr\u003e Eight months after Shudoku, the same lineup of Mizutani, Nakamura, Hiroshi and Sammy performed on \"'77 LIVE,\" which captured a solitary sound image thanks to the miraculous \"OVER LEVEL\" phenomenon. Although very different from Shudoku, \"Shudoku '76\" also records a unique sound image that could only have been produced by Rallizes at that moment.\u003cbr\u003e The setlist has changed significantly from \"'77 LIVE,\" creating a fresh impression. Three songs, \"Dreams Today,\" \"Carnival,\" and \"I Saw the Night in Your Eyes,\" are featured on the album for the first time. \u003cbr\u003e\"Artificial Flower Field\" is an up-tempo, aggressive version, and \"Ibiscus Flower\" is a hard and heavy song that is completely different from the one included in \"The Last One〈Po_sies: Les Rallizes D_nud_s〉Naked Rallizes Poetry Collection,\" and these can essentially be said to be being released for the first time.\u003cbr\u003e This album, \"Shutoku '76,\" directly records the primitive energy that was at the core of the band, and may be an album that should be placed alongside \"'77 LIVE.\"\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e The vinyl record includes two bonus tracks (guitar solos at 1 minute 16 seconds and 1 minute 18 seconds, respectively).\u003cbr\u003e ●Mr. Waki, who was a staff member of Rallizes in 1976 and accompanied them to the Shudoku performance, contributed the liner notes. \u003cbr\u003e●The artwork uses photographs taken by Nakamura Takeshi (currently working as photographer Nakamura_), who played side guitar in this performance, when he revisited Shutoku in 2025.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003e\u0026lt;Caution\u0026gt;\u003cbr\u003e This LP has been cut to the allowable limits of each recording surface to maximize volume throughout.\u003cbr\u003e Therefore, on some record players with an auto-return function, the arm may return in the middle of a song, or the auto-return function may not work.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e Songs included\u003cbr\u003e\u003cp\u003e Side A\u003cbr\u003e\n 1. Dream Again Today\u003cbr\u003e\n 2. Wilderness of False Flowers_1976\u003cbr\u003e\n 3. White Awakening\u003cbr\u003e\n 4. Guitar Solo 1 (Bonus Track \u0026lt;Time 1:16\u0026gt; *Vinyl Only)\u003c\/p\u003e\n\n\n\u003cp\u003e Side B\u003cbr\u003e\n 1. Carnival\u003cbr\u003e\n 2. Flame of Ice\u003c\/p\u003e\n\n\n\u003cp\u003e Side C\u003cbr\u003e \n1. Guitar Solo 2 (Bonus Track \u0026lt;Time 1:18\u0026gt; *Vinyl Only)\u003cbr\u003e\n 2. The Night, Assassin's Night\u003cbr\u003e\n 3. Saw the Night in Your Eyes\u003c\/p\u003e\n\n\n\u003cp\u003e Side D\u003cbr\u003e\n 1. Hibiscus Flower otherwise Dying Satisfied\u003cbr\u003e\n 2. Enter the Mirror\u003cbr\u003e\n\u003c\/p\u003e\n\n\u003cbr\u003e Product information\u003cbr\u003e\u003cp\u003e Artist: Les Rallizes D_nud_s (Les Rallizes D_nud_s)\u003cbr\u003e\n Title: Jittoku '76\u003cbr\u003e\n Label: The Last One Musique \/ Tuff Beats\u003cbr\u003e\n Format: 2LP\u003cbr\u003e\n Cat No.: TBV-0080\u003cbr\u003e\n Barcode: 4580187181427\u003cbr\u003e\n Price: 6,300 yen + tax\u003cbr\u003e\n Release date: Wednesday, July 23, 2025\u003c\/p\u003e\n\n","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768554549292,"sku":"TBV-0080","price":6300.0,"currency_code":"JPY","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBV-0080_TBVC-0009.jpg?v=1758010795"},{"product_id":"tbvc-0003","title":"Les Rallizes Dénudés \/ CITTA''93 (2CD)","description":"\u003cp\u003e \u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003eThe album featuring the complete live performance by Naked Rallizes at CLUB CITTA' in 1993 has finally been released!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color:#cb2026;\"\u003e\u003cspan style=\"background-color:#ffffff;\"\u003e*If you would like to purchase both the \"CITTA' '93\" CD (released June 28th) and LP (released July 26th) and would like the CD delivered first on the release date, please place a separate order.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003eRallizes Hadaka, who released three original albums in 1991, resumed live performances in 1993, appearing before fans for the first time since 1988. Following their comeback show at the Baus Theater on February 13th, their performance at CLUB CITTA' four days later on the 17th became one of the most notable performances in Rallizes' history and remains legendary to this day. The incredible volume of the guitar, surpassing even their previous loudest performances, is said to have shook the doors of the venue, causing the audience to seek refuge in the lobby.\u003cbr\u003e The entire performance, which delivered an astonishing performance that shook all of the audience's senses, was captured on an 8-channel digital recorder. \u003cbr\u003eThis album is based on multi-track recordings that had been secretly stored for nearly 30 years, and reconstructed with the addition of recordings from the venue, and mixed with the soul of Makoto Kubota, it recreates the \"something beyond the roar\" that resounded that night as an album. Experience the never-before-heard Rally's sound.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e The members on the day were Mizutani Takashi (Vo, G), Ishii Katsuhiko (G), Takahashi Yokai (B), and Noma Yukimichi (Dr).\u003cbr\u003e The jacket artwork features a photograph taken by Takehiko Nakafuji.\u003cbr\u003e Comes with liner notes by Matsuyama Shinya and comes in a paper jacket.\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e Tracklist\u003cbr\u003e\u003cp\u003e Disc 1\u003cbr\u003e\n 1. The Night, Assassin's Night\u003cbr\u003e\n 2. Memory is Far Away\u003cbr\u003e\n 3. Deeper Than the Night\u003cbr\u003e\n 4. Eternally Now\u003cbr\u003e\n 5. White Awakening_1993\u003cbr\u003e\n 6. Bird Calls in the Dusk\u003c\/p\u003e\n\n\n\u003cp\u003e Disc 2\u003cbr\u003e\n 1. Darkness Returns 2\u003cbr\u003e\n 2. The Last One_1993\u003c\/p\u003e\n\n \u003cbr\u003eProduct information\u003cbr\u003e\u003cp\u003e [2CD]\u003cbr\u003e\n Product code: TBVC-0003\u003cbr\u003e\n Released by The Last One Musique \/ Tuff Beats\u003c\/p\u003e\n\n\n\u003cp\u003e Release date: June 28, 2023\u003c\/p\u003e\n\n","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768554975276,"sku":"TBVC-0003","price":5000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBVC-0003.jpg?v=1759999923"},{"product_id":"tbvc-0004","title":"Les Rallizes Dénudés \/ BAUS '93 (CD+DVD)","description":"\u003cp\u003e \u003cspan style=\"color:#cb2026;\"\u003e\u003cstrong\u003e*If you would like to purchase both the \"BAUS '93\" CD+DVD (released November 8th) and 2LP (released December 6th) and would like the CD+DVD delivered first on the release date, please place a separate order.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003eFollowing on from their previous release, the legendary revival live performance by Naked Rallizes held at Kichijoji Baus Theater on February 13, 1993, has been released as an album from digital multi-track recordings. The first production run of the CD comes with a DVD containing a video work created using footage from the live performance on that day.\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003eFollowing on from \"CITTA' '93,\" which has already been released worldwide and has generated a huge response, the performance held at Kichijoji Baus Theater on February 13th, four days prior, has been made into a work titled \"BAUS '93.\" This performance, which marked the first live performance for Rallizes in five years, is also known as a legendary performance.\u003cbr\u003e As with \"CITTA' '93,\" the master is an 8-channel digital multi-track, with cassette recordings made in the venue and stereo output from the mixing console added, and Makoto Kubota has once again poured her heart and soul into mixing and mastering. With this latest release, \"BAUS '93,\" she has once again reconstructed a Rallizes concert with a sound image no one has ever heard before. \u003cbr\u003eThe line-up for the day was Takashi Mizutani (vocals, guitar), Katsuhiko Ishii (guitar), Kiyohiro Takada (bass), and Toshiaki Mimaki (drums). The rhythm section was different from the performance four days later, and the band was expected to perform with a different feel to their previous album, \"CITTA' '93.\"\u003cbr\u003e The first production run of the CD also comes with a DVD containing a video work created by Akira Uji, who was previously in charge of visual direction for Rallys, using video footage taken of the stage performance on the same day.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e The commentary was written by Jennifer Lucy Allan, a writer who has worked on shows like \"The Wire\" and \"The Quietus\" and who also hosts a show on BBC Radio. Julian Cope, renowned for his book \"Jap Rock Sampler,\" which introduced the world to Japanese underground rock, including Rallizes, has also contributed a special article.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cbr\u003e Songs included\u003cbr\u003e\u003cp\u003e 1. The Night, Assassin's Night\u003cbr\u003e \n2. Romance of the Black Pain Otherwise Fallin' Love With\u003cbr\u003e\n 3. Reapers of the Night 1993\u003cbr\u003e\n 4. Darkness Returns\u003c\/p\u003e\n\n\n\u003cp\u003e Includes DVD \"Live at Baus Theater on February 13, 1993\" (23 minutes)\u003cbr\u003e\n\u003c\/p\u003e\n\n\u003cbr\u003e Product information\u003cbr\u003e\u003cp\u003e [CD+DVD]\u003c\/p\u003e\n\n\n\u003cp\u003e Product code: TBVC-0004\u003c\/p\u003e\n\n\n\u003cp\u003e Released by The Last One Musique \/ Tuff Beats\u003c\/p\u003e\n\n\n\u003cp\u003e Release date: Wednesday, November 8, 2023\u003c\/p\u003e\n\n","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768555008044,"sku":"TBVC-0004","price":4200.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBVC-0004_e6a04d4e-8d04-48d9-a0ae-d4ac90f85297.jpg?v=1760512125"},{"product_id":"tbvc-0007","title":"Les Rallizes Dénudés (The Naked Rallizes) \/ YaneUra Oct.'80 (2CD)","description":"\u003cp\u003e\u003cspan style=\"color: #15a95f;\"\u003e\u003cstrong\u003eThe historic live performance that Naked Rallizes, featuring Fujio Yamaguchi, held at the Yaneura in Shibuya in October 1980, is finally officially released!\u003c\/strong\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan style=\"color: #cb2026;\"\u003e*Purchases are limited to two tickets per person.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e In 1980, Hadaka no Rallizes welcomed Fujio Yamaguchi (The Dynamites\/Murahachibu\/Teardrops) as another guitarist. Although their run ended in March of the following year, the performances with Yamaguchi included were unique for the group and left a strong impression, thrilling many fans.\u003cbr\u003e Of the seven shows they performed, the performance at Shibuya Yaneura on October 29th was particularly well-received, and now it is finally being released in its entirety with the best sound quality available. \u003cbr\u003eWith a tight rhythm section in the background, the two guitars collide and intertwine, creating a space filled with a blackness deeper than pitch black, which is now brought back to life with overwhelming vividness.\u003cbr\u003e The over 30-minute performance from \"I Am Darkness\" to \"Ice Flame\" (note that on the LP, the track order is changed and they are the first tracks on sides A and B), can be said to be one of the most noteworthy performances in the entire career of Rallizes.\u003cbr\u003e The jacket features an unpublished photograph taken by Uji Akira.\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Songs included\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Disc 1\u003cbr\u003e 1. Deeper than the Night_1980\u003cbr\u003e 2. I'm the Darkness\u003cbr\u003e 3. Flame of Ice\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e Disc 2\u003cbr\u003e 1. Enter the Mirror\u003cbr\u003e 2. The Night, Assassin's Night\u003cbr\u003e 3. The Last One_1980\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Product information\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e [2CD]\u003c\/p\u003e\n\n\u003cp\u003e Product code: TBVC-0007\u003c\/p\u003e\n\n\u003cp\u003e Released by The Last One Musique \/ Tuff Beats\u003c\/p\u003e\n\n\u003cp\u003e Release date: Wednesday, July 17, 2024\u003c\/p\u003e","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768555073580,"sku":"TBVC-0007","price":4500.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBVC-0007.jpg?v=1760514765"},{"product_id":"tbvc-0008","title":"Les Rallizes Dénudés (The Naked Rallizes) \/ YaneUra Sept.'80 (CD)","description":"\u003cp\u003e \u003cspan style=\"color: #cb2026;\"\u003eThe distribution of the bonus has ended.\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e The recently announced release of \"MARS STUDIO - The First Session -\" was based on the judgment of the original band members and other related parties regarding the contents of the discovered tape, and it was determined that it was a recording made at Mars Studios. However, someone else recently pointed out that it might be a performance that took place at the Shibuya Yaneura on September 11, 1980, and further investigation revealed that it was in fact a recording of a live performance that day. \u003cbr\u003eThe tape left behind by Mizutani Takashi has a sound image that sounds like a live studio performance, with no hint of an audience. However, this is also a valuable record and is undoubtedly worth listening to. As a companion piece to the previously released \"Yaneura YaneUra Oct.'80,\" we have renamed it \"Yaneura YaneUra Sept.'80\" and are releasing it as such.\u003cbr\u003e We are continuing to investigate not only Mars Studios recordings but also other studio recordings, so please look forward to future updates. We will proceed with our work with even greater vigilance and caution.\u003c\/p\u003e\n\n\u003cp\u003e The Last One Music \/ Tuff Beats\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e・━・━・━・━・━・━・━・━・━・━・━・━・━・━・━・━・\u003cbr\u003eSeptember 11, 1980, Shibuya Yaneura. The Naked Rallizes, featuring Fujio Yamaguchi, \u003cbr\u003eThe fiery live performance is now brought back to life with a brilliant sound!\u003cbr\u003e・━・━・━・━・━・━・━・━・━・━・━・━・━・━・━・━・\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003eDuring the production process of the album \"Yaneura Oct. '80,\" work was underway to re-examine the recordings of Rallizes left behind during Fujio Yamaguchi's time with the band, when a tape left behind by Takashi Mizutani was discovered.\u003cbr\u003e Because the recording data is unknown, there is no doubt that the two guitars heard on the tape, which was initially called \"Unknown,\" are those of Takashi Mizutani and Fujio Yamaguchi.\u003cbr\u003e The band members and other people involved at the time determined that this must be an unreleased studio recording. \u003cbr\u003eThe tape, which had a sound image that did not evoke the atmosphere of a live house, was eventually discovered to be a desk-out recording of a performance at the Yaneura in Shibuya on September 11, 1980.\u003cbr\u003e What was recorded there was an explosive performance that was completely different from the one that was delivered just one month later at YaneUra Oct.'80.\u003cbr\u003e The tempo gradually increases from the middle of the song, heating up intensely with \"Fire and Ice.\" From there, the band avalanches into the wilder than usual \"Night Harvesters,\" \"Night, Assassin's Night,\" and \"The Last One.\"\u003cbr\u003e This work records the fleeting flashes of light that appeared during the Fujio period, which lasted just over six months, and at the same time, it is filled with the boundless potential that was contained within the 1980 Naked Rallizes.\u003c\/p\u003e\n\n\u003cp\u003e \u003cbr\u003e*Customers who pre-order or purchase either the LP or CD will receive a poster (Photo 2, size: A3) as a special gift.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e LP https:\/\/www.tuff-beats.com\/product-page\/tbv-0070\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e Produced by: Makoto Kubota Artwork: Shigeo Matsumoto Photography: Akira Mochizuki Liner notes: Manabu Yuasa\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Songs included\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e 1. Flame of Ice\u003cbr\u003e 2. Reapers of the Night\u003cbr\u003e 3. The Night, Assassin's Night\u003cbr\u003e 4. The Last One_1980\u003c\/p\u003e\n\n\u003cp\u003e Listen \u003ca href=\"https:\/\/www.tuff-beats.com\/yaneurasept80-sample\" target=\"_blank\"\u003ehere\u003c\/a\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Product information\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e Label: The Last One Musique \/ Tuff Beats\u003cbr\u003e Format: CD\u003cbr\u003e Cat No.: TBVC-0008\u003cbr\u003e Barcode: 4580187181328\u003cbr\u003e Price: 3,000 yen + tax Release date: Wednesday, December 25, 2024\u003c\/p\u003e","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768555106348,"sku":"TBVC-0008","price":3000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBV-0070.jpg?v=1758010797"},{"product_id":"tbvc-0009","title":"Les Rallizes Dénudés \/ Jittoku '76 (CD)","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"color: #ffffff;\"\u003e\u003cspan style=\"background-color: #89298d;\"\u003eThe stunning performance by the Naked Rallizes in 1976 at Shidoku, Kyoto, is now revived.\u003c\/span\u003e\u003c\/span\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cspan style=\"color: #ffffff;\"\u003e\u003cspan style=\"background-color: #cb2026;\"\u003e*When you purchase a CD or LP from the TUFF BEATS ONLINE STORE, you will receive an additional jacket (card) of the same size as the jacket for each CD or LP as a pre-order\/purchase bonus.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e The new album \"Jittoku '76\" will be released simultaneously on Wednesday, July 23rd as a 2-disc vinyl record and CD. \u003cbr\u003eIn 1976, the Naked Rallizes were made up of Takashi Mizutani (vocals\/guitar), Takeshi Nakamura (guitar), who was also a founding member, Hiroshi (bass), also known as Hiroshi Narasaki, who had been a member of Zuno Keisatsu and Date Tenryu, and Sammy (drums), also known as Toshiaki Mimaki, a former staff member at the Kichijoji live house OZ and a member of the OZ band.\u003cbr\u003e Many Rallyeze researchers believe that \"this period was the peak of Rallyeze.\"\u003cbr\u003e In fact, in 1976, under the leadership of Akira Hazama, the band began recording with the aim of signing a contract with Virgin Records in the UK, while also energetically performing live shows at a rate of almost once a month at the Shibuya Attic, which had just opened in 1975. \u003cbr\u003eFollowing on from the previous year, they also took part in the outdoor festival \"The 3rd Sunset Festival\" held in Ishikawa Prefecture (August 3rd-4th). On that occasion, they were booked to perform two consecutive nights at \"Shuttoku\" in Kyoto on July 29th and 30th, in conjunction with their tour of the Hokuriku region.\u003cbr\u003e Opened in 1973, Shutoku is known for its unique design, having been renovated from a sake brewery, and is a long-established live music venue that represents Kyoto.\u003cbr\u003e The Rallizes have been performing in Kyoto for some time, and their shows in this ancient capital, which they consider their home town, have always been attended by many enthusiastic fans.\u003cbr\u003e The newly discovered tape was found on July 30th and was recorded using the built-in microphone of a Marantz radio cassette player. \u003cbr\u003eUnfortunately, the recording cuts off midway through the final song, \"The Last One,\" but producer Makoto Kubota, who recognized the hidden potential in this recording, once again used her skills to revive the raw dynamism and compile it into an album.\u003cbr\u003e As those involved testified, \"There was something different about the Rallys in Kyoto, a different sound,\" and from this tape we can hear a sound on an enormous scale that is hard to believe was ringing out in the space of Shudoku.\u003cbr\u003e Along with Nakamura's solid supporting playing, Hiroshi's bass creates a rough groove, and Sammy's intense drumming erupts with fresh energy, and as if responding to them, Mizutani's guitar also shows a more emotional expression than usual. \u003cbr\u003eMany people will be surprised by the difference between \"Fire on Ice\" and \"Enter the Mirror,\" which are also included on \"'77 LIVE.\"\u003cbr\u003e Eight months after Shudoku, the same lineup of Mizutani, Nakamura, Hiroshi and Sammy performed on \"'77 LIVE,\" which captured a solitary sound image thanks to the miraculous \"OVER LEVEL\" phenomenon. Although very different from Shudoku, \"Shudoku '76\" also records a unique sound image that could only have been produced by Rallizes at that moment.\u003cbr\u003e The setlist has changed significantly from \"'77 LIVE,\" creating a fresh impression. Three songs, \"Dreams Today,\" \"Carnival,\" and \"I Saw the Night in Your Eyes,\" are featured on the album for the first time. \u003cbr\u003e\"Artificial Flower Field\" is an up-tempo, aggressive version, and \"Ibiscus Flower\" is a hard and heavy song that is completely different from the one included in \"The Last One〈Po_sies: Les Rallizes D_nud_s〉Naked Rallizes Poetry Collection,\" and these can essentially be said to be being released for the first time.\u003cbr\u003e This album, \"Shutoku '76,\" directly records the primitive energy that was at the core of the band, and may be an album that should be placed alongside \"'77 LIVE.\"\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e The vinyl record includes two bonus tracks (guitar solos at 1 minute 16 seconds and 1 minute 18 seconds, respectively).\u003cbr\u003e ●Mr. Waki, who was a staff member of Rallizes in 1976 and accompanied them to the Shudoku performance, contributed the liner notes. \u003cbr\u003e●The artwork uses photographs taken by Nakamura Takeshi (currently working as photographer Nakamura_), who played side guitar in this performance, when he revisited Shutoku in 2025.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Songs included\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e 1. Dream Again Today\u003c\/p\u003e\n\n\u003cp\u003e 2. Wilderness of False Flowers_1976\u003c\/p\u003e\n\n\u003cp\u003e 3. White Awakening\u003c\/p\u003e\n\n\u003cp\u003e 4. Carnival\u003c\/p\u003e\n\n\u003cp\u003e 5. Flame of Ice\u003c\/p\u003e\n\n\u003cp\u003e 6. The Night, Assassin's Night\u003c\/p\u003e\n\n\u003cp\u003e 7. Saw the Night in Your Eyes\u003c\/p\u003e\n\n\u003cp\u003e 8. Hibiscus Flower otherwise Dying Satisfied\u003c\/p\u003e\n\n\u003cp\u003e 9. Enter the Mirror\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Product information\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e Artist: Les Rallizes D_nud_s (Les Rallizes D_nud_s)\u003cbr\u003e Title: Jittoku '76\u003cbr\u003e Label: The Last One Musique \/ Tuff Beats\u003cbr\u003e Format: CD\u003cbr\u003e Cat No.: TBVC-0009\u003cbr\u003e Barcode: 4580187181434\u003cbr\u003e List price: 3,000 yen + tax Wholesale price: yen + tax Release date: Wednesday, July 23, 2025\u003c\/p\u003e","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768555139116,"sku":"TBVC-0009","price":3000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/TBV-0080_TBVC-0009.jpg?v=1758010795"},{"product_id":"ubca-1073","title":"Les Rallizes Dénudés \/ '67-'69 STUDIO et LIVE (CD)","description":"\u003cp\u003e \u003cspan style=\"color: #4d7526;\"\u003e\u003cstrong\u003eThe long-awaited reissue of the rare recording collection \"'67-'69 STUDIO et LIVE,\" which captures the fresh and vivid image of the Naked Rallizes band in their early days, has been newly remastered and includes two unreleased bonus tracks!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e Originally released in August 1991, the original album by Les Rallizes Dénudés, \"'67-'69 STUDIO et LIVE,\" has been reissued with two previously unreleased bonus tracks! This is a valuable collection of recordings from the early days of their band, packed with the electric guitar feedback that would determine their future direction.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003e*This product is scheduled to ship from Friday, October 28th onwards.\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e ----------------------------------\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n \u003cp\u003e\u003cstrong\u003e[Explanation of Naked Rallizes \"'67-'69 STUDIO et LIVE\" by Manabu Yuasa]\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e This is a reissue of \"'67-'69 STUDIO et LIVE,\" originally released in August 1991. It features rare recordings from the earliest days of Rallizes Dénudé. The tracks were selected and edited by Takashi Mizutani. For this reissue, the recordings were re-examined to use the best available recordings, and the album was remastered by Makoto Kubota, a former member of Rallizes Dénudé. The CD version also includes two newly discovered bonus tracks.\u003c\/p\u003e\n\n \u003cp\u003eIn the fall of 1967, Takashi Mizutani and Takeshi Nakamura, who knew each other from the light music club at Doshisha University in Kyoto, decided to form a band. Nakamura apparently approached Mizutani. Mizutani had unusually long hair at the time, giving him a unique presence. Both played guitar, so they began looking for a bassist and drummer. However, they didn't hold auditions by listening to performances. They simply looked for someone cool, someone who clicked with them intuitively. That's how they found Moriaki Wakabayashi, who was also attending the same university.\u003c\/p\u003e\n\n\u003cp\u003e \"We decided to form a band that would revolutionize the Japanese music scene.\"\u003c\/p\u003e\n\n\u003cp\u003e Wakabayashi says (Interview published in October 2017 on Buzz Feed Japan, interviewer: Kanba Ryosuke).\u003c\/p\u003e\n\n \u003cp\u003eThe three hit it off right away. Wakabayashi says that when they approached him, he had heard about the \"October 8th Haneda Struggle\" and was thinking about confronting society. \"October 8th\" was a protest movement in which approximately 2,500 people, mostly university students, gathered around Haneda Airport to block Prime Minister Eisaku Sato's visit to Southeast Asia and Oceania, including South Vietnam, and clashed with 2,000 police officers, resulting in the death of one Kyoto University student. This was a time when expressions of distrust in the government and anti-war movements against the Vietnam War were growing day by day. Wakabayashi then expanded into Zenkyoto activities.\u003c\/p\u003e\n\n \u003cp\u003eVarious radical acts of protest were occurring daily in cities around the world. Political and cultural activities were occurring simultaneously. Various people were translating their protests and dissent against the dogmas and authority of the old order into actions, behaviors, and works. This movement, a culture of spontaneous protest, a counterculture, was expanding worldwide. From 1967 to 1968, it expanded rapidly, bringing about diverse changes across literature, art, music, film, and other genres. The \"Langlois Affair,\" in which French filmmakers rallied in January 1968 to protest the unilateral dismissal of Henri Langlois, director of the Cinémathèque Française, by French Minister of Culture André Malraux, canceling screenings and demonstrating, could be seen as a precursor to this movement. Four months later, in May 1968, the May Revolution occurred, in which the intensifying student movement in Paris spread to a general strike across France. Some were involved in anti-war activities, some in political struggles, some in environmental protection activities, some in performance art activities, some in sound performance activities, and some in street theater activities; each was devoted to their own unique form of protest.\u003c\/p\u003e\n\n \u003cp\u003eThe formation of Naked Rallizes was a response to this global movement.\u003c\/p\u003e\n\n\u003cp\u003e Although they hit it off, Wakabayashi had no experience playing an instrument. According to Nakamura, \"From the beginning, sensitivity and ideals were more important than instrumental technique.\" Mizutani likely felt the same way. Later, while the three were walking around the streets of Kyoto, the idea of ​​the band \"Rallizes\" came to mind. Wakabayashi says that the \"naked\" part was to indicate a lack of pretense, and was not a reference to William Burroughs's \"Naked Lunch.\"\u003c\/p\u003e\n\n \u003cp\u003eTakashi Kato, a jazz drummer and Nakamura's high school friend, was selected to play drums, and the four practiced in a warehouse in Kusatsu, Shiga Prefecture. Initially, without any original songs, they practiced songs like the Blues Magoos' version of \"Tobacco Road.\" Their unique approach to the song is evident in their decision to base their performance on the wild Blues Magoos version rather than the hit Nashville Teens version. The bonus track on this reissue CD features \"Tobacco Road\" by Mizutani, Nakamura, Wakabayashi, and Kato. This is likely the earliest recording of the \"original Rallizes Nude.\" Wakabayashi left the group in early summer 1968 due to his devotion to political activism. This recording dates to the spring of 1968. According to Wakabayashi, the group's first performance was at a dance party hosted by the Doshisha University Photography Club. The performance was arranged by the woman who shot the photo featured on the cover of \"'67-'69 STUDIO et LIVE.\" This was before they had even written any original songs. It was probably the spring of 1968, around the time of the May Revolution in France. At one point, Wakabayashi sang the Rolling Stones' \"As Tears Go By.\" Even after leaving the band, Wakabayashi often met Mizutani and the others on campus or at their hangout jazz cafe, Cianclere.\u003c\/p\u003e\n\n \u003cp\u003e\"Smokin' Cigarette Blues\" on this album was recorded live at Doshisha University's school festival in the fall of 1968. The performance took place in a large classroom used for general education courses at Doshisha University. A thunderous sound filled the dimly lit room. Mizutani, Kato, and Nakamura were playing bass. Mizutani's guitar roared in a completely improvised performance.\u003c\/p\u003e\n\n\u003cp\u003e This performance is a strong testament to Mizutani's statement in a fax interview published in the November 1991 issue of Music Magazine that \"the moment Mizutani's electric guitar feedback came back, the direction we should take was decided.\" It's clear that the foundations of the band's 30 years were already being laid just one year after the band's formation. Was there any other band in Japan that performed like this in the fall of 1968? Harmonica playing unfolds in the latter half of this song, courtesy of Wakabayashi, who joined the band on the spot.\u003c\/p\u003e\n\n \u003cp\u003eMizutani was a member of the poetry research group at Doshisha University. He had been writing poetry even before the band was formed. After Wakabayashi left the band, Takashi Tada joined on bass, and original songs began to take shape one after another.\u003c\/p\u003e\n\n \u003cp\u003eThe Naked Rallizes also had a close relationship with Kyoto's only underground theater company, the Gendai Gekijo. Rather than simply providing accompanying material for theatrical performances, the theater company and the Naked Rallizes had a collaborative relationship. The Gendai Gekijo had reportedly been involved in light art using strobe lights, black lights, and mirror balls since the spring of 1967. It's likely that light art became a key element of the Naked Rallizes through their collaboration with the Gendai Gekijo. The Gendai Gekijo was founded in December 1962, and its organizer, Tatsuo Komatsu, had been involved in numerous art events in addition to theater performances since the early 1960s. He was a poet, director, playwright, and pantomime performer. Komatsu had a negative view of established theater and theater. His productions were characterized by a high concentration of happenings. In this respect, there was no doubt a common sensibility between the Naked Rallizes and the group, who excelled in improvisation.\u003c\/p\u003e\n\n \u003cp\u003e\"Komatsu's theory was, 'Rather than limiting my activities to the field of theater, I want to maintain contact with a wide range of fields, including film, music, dance, and visual arts, and aim to create a truly comprehensive art form through fierce competition between them.'\" (Ota Yoshiro, \"Spring's Asura: An Introduction to Komatsu Tatsuo,\" in \"Dreams in the Wilderness: A Collection of Memorial Works for Komatsu Tatsuo,\" Sunlead, 1987)\u003c\/p\u003e\n\n\u003cp\u003e As for performances at the Gendai Gekijo, it has been revealed that Mizutani Takashi\/Naked Rallizes provided the music for PALODY or the Fantasy of the Rosicrucians, written and directed by Yanagisawa Masashi, which was performed at Play Spot Kyoto in November 1968 and was well received.\u003c\/p\u003e\n\n \u003cp\u003eOn April 12, 1969, the Naked Rallizes performed at the \"Barricade A Go Go\" event, held in a barricaded classroom in the Faculty of Liberal Arts at Kyoto University. This was one of the \"Bali Festival\" events, and Komatsu was in charge of the practical operations. Komatsu recalls the \"Bali Festival\" as follows:\u003c\/p\u003e\n\n \u003cp\u003e\"The Naked Rallizes sang, the bandwagoners who had timidly arrived in Bali were dancing wildly, Ichiro Araki, who had just been released on bail after being arrested for obscenity, sang and played guitar, private film screenings were held, and a series of happenings were held by artist groups such as Play and Zero Dimension. To top it all off, a group of Yamato-style hippies called the Tribe flocked in from all over the country, causing a great deal of scorn from sensible sectarians who wondered, 'What on earth is this, two men kissing each other? What on earth does this have to do with struggle?' (But this is the important part.)\" (Komatsu Tatsuo, \"A Personal Brief History of the Western Auditorium,\" op. cit.)\u003c\/p\u003e\n\n \u003cp\u003eThe following day, on April 26th, he held a performance entitled \"Recital as Indulgence\" at a space called \"Igita Gallery\" in Sanjo Kiyamachi. The performance was planned and produced by Komatsu. \"Igita Gallery\" was Kyoto's first gallery specializing in contemporary art. In 1969, it was a valuable venue for presenting contemporary art not only in Kyoto but throughout Japan.\u003c\/p\u003e\n\n \u003cp\u003eA second recital, titled \"Recital No. 2 as Indulgence,\" was held on October 18th at the Kyoto Education and Culture Center. This time, the drummer was replaced by Matsumoto Tsutomu. Makoto Kubota, who saw the performance that day, was amazed at the volume of Les Rallizes Dénudés' performance, later commenting, \"It was the first time in my life that I had ever heard such a loud sound.\" In any case, a student band that held two solo concerts in 1969 was extremely rare in Japan. This must be taken into account, as this was before venues for rock performances such as live music venues had been established. Les Rallizes Dénudés was a special entity.\u003c\/p\u003e\n\n \u003cp\u003eThe bass line for \"La Mal Rouge,\" included on this album, was conceived by Mizutani and recorded at Sagittarius on April 26th. \"Vertigo\" and \"The Last One\" were also recorded on the same day, with Mizutani, Kato, and Tada as the members, with Komatsu and Kato providing the shouts on \"The Last One.\" The bonus track on the CD, \"R_sonance,\" likely dates from around this time. \"Les Bulles De Savon,\" \"Memories Are Far Away,\" and \"Tori no Koe\" were recorded at Kato's home around the summer of 1969. \"My Conviction (2nd Version)\" appears to have been recorded on October 18th, or perhaps recorded elsewhere specifically for this date. The members were Mizutani and Tada, with Matsumoto Tsutomu on drums.\u003c\/p\u003e\n\n \u003cp\u003eOn \"Bird's Voice,\" Tada played lead guitar after Mizutani requested that he \"express the sound of birds on guitar.\" At the time, Mizutani enjoyed free jazz and San Francisco-style rock. Among his favorite albums was Frank Zappa's \"Freak Out!\" by the Mothers of Invention. Mizutani also purchased and listened to their first two singles, \"Tsurai Ukiyo\" (A Painful Ukiyo) and \"Motherly Love,\" released in Japan. There seems to be a connection between \"Tsurai Ukiyo = Trouble Comin' Everyday\" and Mizutani's \"Vertigo.\" Tada also purchased and listened to \"Freak Out!\" at the time, recommended by Mizutani. In \"Memories Are Far Away,\" Mizutani plays a kazoo attached to a harmonica holder while playing an electric guitar. \"The way it looked was quite innovative,\" Tada says. Where did the idea for using a kazoo come from? Perhaps it was from \"Freak Out!\" \"Freak Out!\" may have been inspired by the album. \"Freak Out!\" contains many memorable kazoo tracks, such as \"Hungry Freaks, Daddy,\" \"Motherly Love,\" and \"You Are Probably Wondering Why I'm Here.\" Mizutani's perspective and execution in turning these tracks into his own compositions are unparalleled. Both \"Memories Are Far Away\" and \"Bird's Voice\" are important songs that would remain in the repertoire of the Naked Rallizes for a long time to come.\u003c\/p\u003e\n\n \u003cp\u003e\"The Last One.\" This is exactly what Takashi Mizutani and Les Rallizes Dénudés were pursuing. This song continued to be performed throughout his life, with changes in lyrics, melody, and style. Mizutani once said, \"All of 'The Last One's' exist as one connected song.\"\u003c\/p\u003e\n\n\u003cp\u003e The Naked Rallizes took a break after a live performance at the Ikenobo Hall in the fall of 1969. Takashi Mizutani was 21 years old at the time.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e In the aforementioned fax interview, Mizutani responded to the call to \"please give a message to both new listeners (who have heard Les Rallizes Nude for the first time through the CD release) and long-time listeners (who actually saw the band live in the 1960s-80s),\" to which he replied:\u003c\/p\u003e\n\n\u003cp\u003e \"Even though times change, we (or Rallys) will not change. We will stay and keep moving forward. And if there is a wall between us, let's break it down too.\"\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n \u003cp\u003eMore than half a century later, Naked Rallys remains and keeps going.\u003c\/p\u003e\n\n\u003cp\u003e This record is proof of that.\u003c\/p\u003e\n\n\u003cp\u003e\u003c\/p\u003e\n\n\u003cp\u003e \u003cstrong\u003eJuly 2022 Manabu Yuasa\u003c\/strong\u003e\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Tracklist\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e 1. Smokin' Cigarette Blues (Live Version)\u003c\/p\u003e\n\n\u003cp\u003e 2. La Mal Rouge\u003c\/p\u003e\n\n\u003cp\u003e 3. My Conviction otherwise My Conviction\u003c\/p\u003e\n\n\u003cp\u003e Vertigo otherwise My Conviction\u003c\/p\u003e\n\n\u003cp\u003e 4. Les Bulles de Savon\u003c\/p\u003e\n\n\u003cp\u003e Soap Bubbles\u003c\/p\u003e\n\n\u003cp\u003e 5. Distant Memories\u003c\/p\u003e\n\n\u003cp\u003e Memory is far away\u003c\/p\u003e\n\n\u003cp\u003e 6. Birdsong\u003c\/p\u003e\n\n\u003cp\u003e Bird calls in the dusk\u003c\/p\u003e\n\n\u003cp\u003e 7. My Conviction (2nd. Version)\u003c\/p\u003e\n\n\u003cp\u003e 8. The Last One _1969 (Live Version)\u003c\/p\u003e\n\n\u003cp\u003e -Bonus Track-\u003c\/p\u003e\n\n\u003cp\u003e 9. R_sonance #\u003c\/p\u003e\n\n\u003cp\u003e 10. Tobacco Road #\u003c\/p\u003e\n\n\u003cp\u003e #Unreleased music\u003c\/p\u003e\n\n\u003cp\u003e\u003cbr\u003e Product information\u003cbr\u003e\u003c\/p\u003e\n\n\u003cp\u003e [CD]\u003cbr\u003e Product code: UBCA-1073\u003cbr\u003e Released by The Last One Musique \/ Tuff Beats\u003c\/p\u003e\n\n\u003cp\u003e Release date: October 12, 2022\u003c\/p\u003e","brand":"TUFF BEATS ONLINE STORE","offers":[{"title":"Default Title","offer_id":44768557334572,"sku":"UBCA-1073","price":3000.0,"currency_code":"JPY","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0669\/4800\/5932\/files\/UBCA-1073.jpg?v=1760000304"},{"product_id":"ubca-1074","title":"Les Rallizes Dénudés \/ MIZUTANI \/ Les Rallizes D_nud_s (LP)","description":"\u003cp\u003e\u003cspan style=\"color:#4d7526;\"\u003e\u003cstrong\u003e\"MIZUTANI \/ Les Rallizes D_nud_s,\" which focuses on the static aspects of its acoustic sound, has been remastered by Makoto Kubota, a member of the band at the time, and is now being reissued!\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \"MIZUTANI \/ Les Rallizes D_nud_s,\" named after Takashi Mizutani of Les Rallizes D_nud_s, has been re-released with remastering by Makoto Kubota, a member of the band at the time! This important work, acoustic and introspective, offers a glimpse into the personal side of Mizutani, the core of Les Rallizes D_nud_s.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e ----------------------------------\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003e[Explanation of \"MIZUTANI \/ Les Rallizes D_nud_s\" by Shinya Matsuyama]\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e This album is one of three limited releases of Les Rallizes Naked that were released on the Rivista label in 1991. Takashi Mizutani himself selected the songs and created the master.\u003c\/p\u003e \u003cp\u003eThe Rivista albums related to Ring are the only official albums under the name of Les Rallizes, but each was released in limited pressings (1,000 copies for \"'77 Live,\" 500 for \"'67-'69 Studio et Live\" and this album, \"MIZUTANI \/ Les Rallizes D_nud_s\") and they quickly disappeared from the market. Since then, they have fetched sky-high prices on the second-hand market, and pirated recordings have been circulating around the world. This reissue, the first in 31 years and remastered by Makoto Kubota, who was also a member of Les Rallizes for a time, is sure to be met with acclaim from fans worldwide.\u003c\/p\u003e \u003cp\u003eLast October (2021), with the announcement of Takashi Mizutani's death (December 2019) and the launch of his first official website https:\/\/www.lesrallizesdenudes-official.com\/top\/, the \"Rallizes Denudes Reissue\/Discovery Project\" was launched, and the label \"The Last One Musique\" was launched by people associated with the band. The website clearly declares the label's purpose: \"We are the only label in the world that holds the legal rights to the recordings of Rallizes Denudes, and we will provide Takashi Mizutani's music with a more vivid sound and precise production than the bootlegs that have been circulating for over 20 years.\" Last April, a US label released a two-disc album, \"THE OZ TAPES,\" which compiled the Rallizes recordings (including unreleased material) from the 1973 omnibus album \"OZ DAYS LIVE,\" but the reissues (CD and LP) of the three Rivista recordings, which were controlled in every way by \"The Last One Musique,\" could be said to be the true start of the project.\u003c\/p\u003e \u003cp\u003e　　　　　　　　　　　　　　\u003c\/p\u003e \u003cp\u003eOnly 500 copies of the original 1991 pressing were pressed, and the content differs from the commonly-held image and perception of the naked Rallizes. It may be overlooked among fans, but this album is one of the most important of Rallizes' entire collection, including bootleg recordings. That's what I've always believed since its release. The joy brought by the thunderous guitar sound, saturated with feedback noise, and the overly reverbed vocals that seem to reverberate from the underworld, is a special magic unique to Rallizes. However, Rallizes is by no means equal to thunderous sound. It's unacceptable to discuss Rallizes solely in terms of thunderous sound. Beyond the violent, destructive roar, there's always a cool and sweet lyricism and eroticism, and it's precisely therein that the essence of Rallizes, or rather Takashi Mizutani, lies. Without this appreciation, one cannot understand the true greatness of Rallizes\/Mizutani—their noble cruelty and desperate emptiness. That is my firm view of Larry and the Rallions, having seen them live many times since the 1970s and listened to a huge amount of their recordings, including bootlegs.\u003c\/p\u003e \u003cp\u003eAnyone who has seen a live performance will remember it. Even after the start time, Mizutani did not appear on stage, and the audience was kept waiting for two or even three hours. The lights of the mirror ball sparkled, and the audience could only wait quietly in the dimly lit venue with cool jazz music by modern jazz quartets playing softly in the background. But I didn't mind it at all. I knew that the Rallizes live performance had already begun, as I continued to immerse myself in solitude in this dim, cold space. The depth of the loneliness contained in that suspended silence was what made Rallizes so special.\u003c\/p\u003e\n\u003cp\u003e I thought that this was Mizutani's true nature. Mizutani is not just delaying the start of the show out of selfishness or whim, but is wondering how long it will last.\u003c\/p\u003e \u003cp\u003eI believe the album offers us a sweet overture to the unknown waiting time, the emptiness and anxiety of abandonment, all of which are inextricably linked to the explosive music. According to what Kubota Makoto heard from Mizutani's relatives, Mizutani frequently listened to the organ instrumental version of the theme song from Serge Gainsbourg's film Je t'aime moi non plus (performed by Jean-Pierre Savard, who also composed the soundtrack) at full volume at home. The ecstasy and anguish that permeates that instrumental version are precisely what Gainsbourg himself was, a man who spent his entire life wandering through the void, shifting between light and darkness, life and death. I believe this also embodies the essence of Takashi Mizutani. And it is this album that most clearly expresses this.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e \u003cp\u003e\"I'm tired. I want to play some quiet music. Can you help me?\" Mizutani allegedly said this to Kubota Makoto when they met by chance on the Doshisha University campus in the fall of 1969. From 1968 to 1969, a storm of student protest raged at universities across Japan, and members of the Naked Rallizes (formed in November 1967) were caught up in it. Mizutani was said to have been a Black Hell (anarchist), but I'm skeptical that he was truly interested in student activism. Mizutani's first encounter with Kubota, a fellow member of the light music club, took place shortly after the Rallizes concert \"Recital IV as Indulgence\" held at the Kyoto Education and Culture Center on October 18, 1969. This was the first Rallizes concert, and it was also Kubota's first experience of loud rock music as an audience member. Kubota had always loved jazz and R\u0026amp;B, and played bossa nova and other genres in the light music club. He was also a home recording enthusiast who enjoyed playing the ping-pong rhythm with two reel-to-reel tape recorders. Kubota began visiting Mizutani's apartment around December, and together they began writing songs while playing guitar. While doing so, they decided to try recording a demo tape, and in one night they recorded tracks 10-12 of this album in what was then known as the broadcasting room in the Doshisha University student center. This was around February 1970.\u003c\/p\u003e \u003cp\u003eThe broadcasting room contained two mono tape recorders, a simple mixer, and a microphone. Kubota was familiar with the process from his ping-pong recordings at home, so the recording process went smoothly. First, a basic track, including vocals, was recorded in one take, and then guitar and other parts were dubbed into another tape recorder while this was played back. Mizutani sang while playing a Yamaha semi-acoustic guitar, while Kubota played a Martin-like acoustic guitar with a soundhole pickup that Mizutani borrowed. Mizutani generally played rhythm guitar and Kubota played lead guitar, but Kubota also played on single-guitar tracks such as \"Morning Light,\" which Mizutani and Kubota co-wrote. At the time, Kubota was a big fan of the singer-songwriter\/guitarists of the new American folk scene (Richie Havens, Tim Hardin, Joni Mitchell, etc.), and was particularly influenced by the playing style of Bruce Langhorne (the man who served as the model for Bob Dylan's \"Mr. Tambourine Man\").\u003c\/p\u003e \u003cp\u003eRegarding percussionist Tadao Makino, Kubota says, \"Mizutani-kun brought him in. He would pound on teapots with leather or paper stretched over the rim.\" His mood is similar to that of Steve Took during his Tyrannosaurus Rex days. While Makino also plays triangle on \"Fragment 2,\" Kubota plays the glockenspiel on \"Morning Light\" and \"Crack.\"\u003c\/p\u003e \u003cp\u003eFurthermore, while various sources claim that Konno Masaki, credited as the lyricist for \"Fansho 1,\" was an early member of the band Rallizes, he was actually not a member but rather a close friend of the band, and a fellow member of the Doshisha Poetry Research Society. While little is known about Tsuka Ikko, the lyricist for \"Fansho 2,\" he is likely the man who published a collection of poems titled \"Message: Tsuka Ikko Poetry Collection\" in 1971 through the publisher Assassination Order Company. Furthermore, I believe that Tsuka Ikko was Takashi Mizutani himself (and if so, was \"Tsuka\" taken from the poet and chanson critic Tsukamoto Kunio?). The surreal string of words beginning with \"The Aurora is cigarette smoke...\" feels like the very embodiment of Mizutani's worldview, who was well-versed in French literature, particularly the fin de siècle Symbolist movement.\u003c\/p\u003e \u003cp\u003eMizutani, Kubota, and Makino continued to work together for some time after this recording, performing two or three times live in 1970. One of their first recordings is the track \"The Last One _1970\" on this album. According to Kubota's recollection, this was a student-organized concert held at Doshisha University in May 1970 to welcome new students, where they appeared alongside Masato Minami and Kenji Endo. Mizutani would later participate in the recording of Masato Minami's album \"Capricorn\" the following year, but this concert may have been their first meeting. The performance on \"The Last One\" also began with Mizutani on rhythm guitar and vocals and Kubota on lead guitar, but midway through, Mizutani suddenly stepped on the fuzz and switched to lead guitar. This performance is unique to the transitional period of Rallizes. This song continued to be performed as a signature number for the Rallizes, but its structure and sound changed over the years, so much so that it was almost like two different songs with the same name. Perhaps for this reason, the track titles on this reissue have been deliberately suffixed with \"_1970.\" Please compare this with \"The Last One,\" which is included on the simultaneously reissued \"'67-'69 Studio et Live\" and \"'77 Live.\"\u003c\/p\u003e \u003cp\u003eThe trio version of Rallizes with Kubota and Makino later appeared at the \"Maruyama Odyssey\" event at the Maruyama Open-Air Concert Hall in Kyoto on September 13, 1970, featuring the Flower Travellin' Band and others. Around this time, Mizutani had also begun performing with groups including Char-Bo and Fujio Yamaguchi (later known as Murahachibu), creating the strange situation of two Rallizes appearing on the concert day: this one and the one with Kubota and others. Shortly after this concert, in late September, Kubota took a leave of absence from university to travel to the United States. He returned to Japan at the end of March 1971 and joined the new Rallizes (bassist Mikio Nagata and drummer Shunichiro Shoda), which Mizutani had reassembled in Tokyo in the fall of 1970. He played bass and side guitar at gigs such as the \"Hadaka no Rallizes 3 Days\" at Shibuya BYG in June 1971 (with daily bands including Happy End, Minami Masato, and Tsunoda Hiro), the August festival \"Shojiko Rockoon,\" and at Kichijoji OZ in 1972-73. However, from 1974 he became busy with his own band, \"Yuyake Gakudan,\" and left the Rallizes. His first solo album, \"Machibouke\" (1973), released around the same time as the launch of Yuyake Gakudan, includes a self-cover version of \"Asa no Hikari,\" a song he composed himself and which appears on this album.\u003c\/p\u003e \u003cp\u003eThe only track included on this reissue, \"Romanse of Black Sadness,\" is a live recording from 1973 (Meiji Gakuin University) not by the trio with Kubota and Makino, but by Mizutani, Nagata Mikio, Shoda Shunichiro, and Takeshi Nakamura (now a photographer), the original Rallizes guitarist who returned as a side guitarist in 1972. The guitar's slow rhythmic intro would later be absorbed into \"The Last One,\" which continued to evolve. The sound of Rallizes Naked that many fans imagine and recognize was nearing completion around this time.\u003c\/p\u003e \u003cp\u003eIncidentally, Nakamura is the only member other than Mizutani whose performances appear on all three of the newly reissued Rivista albums (and on \"OZ DAYS LIVE\"). He was a key figure in the formation of Rallizes (Nakamura approached Mizutani, a fellow member of the light music club), but he left the band in early 1969 to pursue his long-standing passion for photography. Even before returning to Rallizes as guitarist in 1972, he maintained a close bond with the band, photographing them at live shows. I also visited his photo exhibition held in Kyoto in October 2021, and while most of the works were unrelated to Rallizes, the space was beautifully reminiscent of the Rallizes world, embodying the essence of Takashi Mizutani, as mentioned above. I still remember the words Nakamura said to me at the exhibition.\u003c\/p\u003e \u003cp\u003e\"It's something that's ingrained in me. Even though my method of expression is different, I've always had that awareness. And I think it's something I've been carrying with me ever since my days with Rallizing. I'm sure that's the case for everyone involved with Rallizing. Meeting Mizutani was the starting point for everything. Of course, he had a great personal charm, but I think we all sensed something even more profound than that and sublimated it in our own way.\"\u003c\/p\u003e\n\u003cp\u003e Nakamura left Rallizes again at the end of 1977, and various other musicians joined the band afterwards, but Nakamura's words were probably a common sentiment shared by all the members. Mizutani Takashi was both an angel and a devil.\u003c\/p\u003e\n\u003cp\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003eJuly 28, 2022 Shinya Matsuyama\u003c\/strong\u003e\u003c\/p\u003e\n\u003cbr\u003e Tracklist\u003cbr\u003e\u003cp\u003e 1. Distant Memories\u003cbr\u003e\n Memory is far away\u003cbr\u003e\n 2. Morning Light L'AUBE\u003cbr\u003e \nMorning Light, L'Aube\u003cbr\u003e\n 3. Fragment\u003cbr\u003e\n Fragment I\u003cbr\u003e\n 4. Fragment\u003cbr\u003e\n Fragment II\u003cbr\u003e\n 5. Cracks\u003cbr\u003e\n Fissure\u003cbr\u003e\n 6. The Last One _1970\u003cbr\u003e\n 7. 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color: #ffffff;\"\u003e\u003cstrong\u003e裸のラリーズ 水谷孝が構想していた「第4のアルバム」、35年の時を経て遂に具現化。『Disque 4』と題したアルバムのリリースが決定。\u003c\/strong\u003e\u003c\/span\u003e\u003cstrong\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan style=\"background-color: #ffffff; color: #ff2a00;\"\u003e\u003cstrong\u003e本商品は日本\/アジアへのみ配送可能です。\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e裸のラリーズのニュー・アルバム『Disque 4 -’76 Studio et Live-』が、4月1日(水)にCDとLP（カラー・ヴァイナル）にて同時リリースが決定。また、今作の収録曲から先行して、シングル「白い目覚め」が2月13日（金）より全世界で配信開始された。\u003cbr\u003e1991年にリリースされたオリジナル・アルバム３タイトル（『’67-’69 STUDIO et LIVE』『MIZUTANI \/ Les Rallizes Dénudés』『’77 LIVE』）の制作時、水谷孝は並行してもう１つのアルバムのための作業を進めていた。\u003cbr\u003eユーマチック、オープンリール、DATなど、様々な媒体で準備された素材には、いずれも『Disque 4』や『Record No.4』といった表記を含め「４」という数字が書き込まれ、それらが「４番目のアルバム」のためのものであることを示している。さらには、そういった素材をアナログ盤の形（A・B面に分けて20数分程度ずつの長さ）にまとめようとしていた痕跡も確認できた。\u003cbr\u003e複数のソースからスタジオでの演奏をメインに集められた各曲は、1976年の録音で統一されているらしいことも判明。これは、かつて水谷自身が「リリースされた３枚のアルバムの他にもう１枚、『’77 LIVE』と同じメンバーで録音したスタジオ音源から成るアルバムが存在する」事実を仄めかしていた、という証言と一致する。\u003cbr\u003eしかし、90年代初頭、アナログ・レコードからコンパクト・ディスクへと体制が切り換わったばかりの状況下では、アナログ盤による発売が極めて実現困難であったことは想像に難くない。そのまま「第4のアルバム」は、幻の作品となってしまった。\u003cbr\u003e本作は、水谷が4番目のアルバムのために選りすぐった素材から、「イビスキュスの花 或いは 満ち足りた死」（※『拾得 Jittoku ’76』に収録）を除いた楽曲を再構成。水谷の残したマスターを基に、オリジナルに近いテープも発掘して使用し、再び久保田麻琴のプロダクション作業とマスタリングによって作り上げられた。\u003cbr\u003eライヴでは音量・演奏時間ともに膨大なヴォリュームで知られる裸のラリーズの音楽だが、この作品はスタジオ・レコーディング音源を中心に1枚のアナログ・レコードというサイズにまとめられたことで、アグレッシヴなノイズの洪水というイメージを超え、その芯にある「抒情性」が鮮明に浮かび上がっている。そして、それもまた現在、世界中のファンを惹きつけているラリーズの魅力であることは、あらためて言うまでもないだろう。\u003c\/p\u003e\n\u003cp\u003eまた本アルバムより先行配信シングル「白い目覚め \/ White Awakening」が各種配信サービスにて好評配信中。\u003c\/p\u003e\n\u003cp\u003e\u003ciframe data-testid=\"embed-iframe\" style=\"border-radius: 12px;\" src=\"https:\/\/open.spotify.com\/embed\/track\/59mw6Wqr519C1MTOpY27Mr?utm_source=generator\" width=\"100%\" height=\"352\" loading=\"lazy\"\u003e\u003c\/iframe\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e[参加メンバー]\u003c\/strong\u003e\u003cbr\u003e　水谷孝：ヴォーカル／ギター\u003cbr\u003e　中村武志：サイド・ギター\u003cbr\u003e　楢崎裕史：ベース\u003cbr\u003e　三巻敏朗：ドラムス\u003c\/p\u003e\n\u003cp\u003e------\u003cbr\u003e\u003cstrong\u003e『Disque 4』は、『’77 LIVE』と対になるものとして考えられていたのかもしれない。これまでにリリースされてきたどのアルバムよりも、詩想が高い。詩人・水谷孝のアルバムとさえ呼びたくなる。裸のラリーズとは、一音が数万語を伝える、そういう存在であったと改めて感じ入った。\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e湯浅学（ライナーノーツより引用）\u003c\/strong\u003e\u003cbr\u003e------\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e特典の配布は終了しました。 \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e［Les Rallizes Dénudés (裸のラリーズ)］\u003c\/strong\u003e\u003cbr\u003e1967年 水谷孝を中心に京都で結成。\u003cbr\u003e1970年 秋から東京へ拠点を移し、ライヴを中心に活動。\u003cbr\u003e1991年 3枚のオリジナル・アルバム『’67-’69 Studio et Live』『Mizutani \/ Les Rallizes Dénudés』『’77 Live』を同時リリース。\u003cbr\u003e2021年 オフィシャルサイトhttps:\/\/www.lesrallizesdenudes-official.com 公開。\u003cbr\u003e2022年 オリジナル・アルバム3枚をCDとLPにて復刻リリース。\u003cbr\u003e2023年 『CITTA’ ’93』(CD\/LP\/DIGITAL)『BAUS ’93』(CD\/LP)『The Last One〈Poésies : Les Rallizes Dénudés〉裸のラリーズ詩集』を発表。\u003cbr\u003e2024年『屋根裏 Oct. ’80』『屋根裏 Sept. ’80』 (CD\/LP\/DIGITAL)リリース。\u003cbr\u003e2025年『拾得 Jittoku ‘76』(CD\/LP\/DIGITAL)リリース。\u003cbr\u003e \u003cbr\u003e\u003cstrong\u003e【商品情報】\u003c\/strong\u003e\u003cbr\u003eArtist：Les Rallizes Dénudés(裸のラリーズ)\u003cbr\u003eTitle：Disque 4 - ‘76 Studio et Live -\u003cbr\u003eLabel：The Last One Musique \/ TUFF BEATS\u003cbr\u003eFormat：CD\u003cbr\u003eCatNo.：TBVC-0010\u003cbr\u003eBarcode：4580187181762\u003cbr\u003e定価：3,000円＋税\u003cbr\u003e発売日：2026年4月1日(水)\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e■収録楽曲：\u003c\/strong\u003e\u003cbr\u003e1. 黒い悲しみのロマンセ 或いはFallin’ Love With \/ Romance of the Black Pain Otherwise Fallin’ Love With\u003cbr\u003e2. 夜の収獲者たち \/ Reapers of the Night\u003cbr\u003e3. 夜の風 そして 夜明けのロウソクの炎 \/ The Night Wind, The Candle Flame at Dawn\u003cbr\u003e4. 鳥の声 \/ Bird Calls in the Dusk\u003cbr\u003e5. 白い目覚め \/ White Awakening\u003cbr\u003e6. 夜、暗殺者の夜 \/ The Night, Assassin's Night\u003cbr\u003e\u003cstrong\u003e※ボーナス・トラック（CDのみ）\u003c\/strong\u003e\u003cbr\u003e\u003cstrong\u003e7. 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