Tag: loudness

This is album number six for Japan’s loudest musical export, and for some reason it was remixed and renamed for the North American market. The album’s original title was Shadows Of War. I think the remix was done by producer Max Norman. I have not heard the original, but end result has a very huge American radio-friendly sound.

Opener Let It Go has a huge sound with a very catchy chorus, and thankfully plenty of Akira on the fretboard. Dark Desire has a Dokken groove and feel, as does a lot of the album. My favourite tune of the rockin’ side is 1000 Eyes, especially with the Randy-style riffing from Akira. I’m glad to report that there are still some full on metal assaults with tracks like  Face To Face and my favourite of the metal side is Black Star Oblivion. I’m always a sucker for a heavier tune with a nice drum groove and lots of guitar.

Was the record company trying to sanitize the band for the US market? Probably, and that’s why Dissolution and Thunder In The East are my favourite albums.

8/10 from The Grooveman.

Loudness are probably the best metal/rock band to come from Japan. This live album was released in ’83 before their biggest albums were released in the west. I’m a huge fan of Akira Takasaki whose guitar playing is exceptiona, he is also a bit of a hero in his homeland.

If you only know them by Thunder In The East and Dissolution then you may not have heard any of these songs before. A lot more hard rock than metal, this is still a killer live album and worthy of buying just to hear Akira killing it. Highlights for me are the slow brooding and almost Sabbath track I Was The Sun, it has a superb solo. As well, Black Wall which builds from a Scorpions sounding intro to a double kick melodic metal romp where Akira really rips in. Akira gets his solo spot as part of Heavenward with over six minutes worth of fretwork destruction. My favourite track is Tusk Of Jaguar which is serious guitar overload with a drum solo at the end.

Great band and a great early live recording.

8.5/10 from The Grooveman.

A mind blowing fact to start with is that Loudness have released 26 studio albums and at least 9 live albums. This is album number four (which was also recorded in Japanese) and was released in ’84. Of course the main interest for me in the band is guitarist Akira Takasaki who is the EVH equivalent in Japan.

This album is very NWOBHM in style and sound, with a little bit of thrash thrown in – but with insane guitar breaks on every song. The first two tracks, Crazy Doctor and Esper, blast by with some ripping guitar. The third track, Butterfly, is a bit of a left turn with a funky guitar pattern and choppy riff that seems totally out of place, until the instrumental section where the song almost goes Prog, and then we get a Maiden gallop. A totally weird arrangement! Side 1 ends with a full on metal assault of Revelation.

Side 2 opens with Exploder, which is Akira’s Eruption moment as he entertains us with this little shred fest. Dream Factory is next and is my favourite track on the album. It has killer guitar throughout, and I love the picked chorus effect guitar in the verse. Milky Way has a nice riff with an odd drum pattern to change things up and a killer middle eight. Satisfaction Guaranteed has a stock Judas Priest riff and groove. The album closes out with Ares Lament, which I would describe as a metal ballad…and we all know how I love those. This is my favourite of the early albums.

8.5/10 from The Grooveman.

Even though every rock band under the sun went to Japan and seemed to be huge, there weren’t that many Japanese bands coming the other way for their chance at world domination. The best metal band to leave the land of the rising sun were Loudness and this is not open to debate. Mainly due to the extraordinary talents of guitarist, Akita Takasaki, who formed the band in ’81. They were the first Japanese metal act to sign a record deal outside of their own country. This is the 5th studio album released after the mighty Disillusion, which did really well around the world.

The first thing that you notice when opening track Crazy Nights kicks in, is how similar they sound to Accept – who also have that hard edged sound. Huge riff and killer solo. Like Hell follows, and again, as soon as the riff starts there is a very European approach to the sound. Heavy Chains is all about Akira right from the intro to the Manowar riff and the killer solo. Get Away has a very NWOBHM opening riff and vibe to the whole song. We Could Be Together closes out Side 1 and the opening riff is very reminiscent of Randy era Ozzy.

Side 2 starts with Run For Your Life with a really cool guitar heavy intro, and stands out as the most unusual track on the record as they are trying something a little different, which in my opinion, works really well. Clockwork Toy is fat riff city with double kicks and is the heaviest track on the album. No Way Out is very Schenker era UFO in sound, and a big mention to producer Max Norman for a killer production, and gave the band the huge sound that lifts the whole album. The Lines Are Down is back to NWOBHM territory with the riff and the Iron Maiden gallop. Album close out track, Never Change Your Mind, has an intro that is a near lift from Closer To The Heart, and to be honest, is a disappointing end to what is a pretty good album with its cigarette lighter feel. Remember this is 1985, and for the time it’s a good album, but listening to it now it still feels like I’m in a time warp.

7/10 from The Grooveman.