The Group Sounds scene was contrived, commercialized, and controlled to the point of absurdity. Record companies wouldn’t let bands associate with each other! There are exceptions, but even my favorite groups have picture sleeves that are downright embarrassing.

The Japanese folk-rock movement of the late ’60s was partly a reaction against Group Sounds. By 1968, the record-buying public was looking for ‘authenticity’ and more complex lyrics, while the authorities preferred the subdued music. As a commercial genre, however, folk-rock seems to have been short-lived.

This 45 from Norihiko Hashida and the Shoebelts shows how closely ‘folk-rock’ could adhere to pop standards. “Nanimo Iwazuni” works very well on a pop level, but gives just lip service to any idea of ‘folk’. The A-side, “Kaze”, is similarly orchestrated and even more sentimental. There’s a film clip that shows the band earnestly working in the studio, playing acoustic guitars and standup bass on stage in some ridiculous garb, and receiving a gold record and munching sushi at a press party!

Norihiko Hashida had started out with the Folk Crusaders, a little more earnest but no less commercial. In the Crusaders video clips he’s the short one in the middle. With the Shoebelts he had several more releases that I haven’t heard.

Those searching for authenticity had to look underground or overseas. Most of the public followed the next pop trend, a diluted r&b sound. Folk stayed vital into the ’70s as a contrast to heavy blues and rock, but the mainstream ignored the best artists (like the Jacks) as much as their heavier rock contemporaries.