Loudness have released a new DOUBLE album called Sunburst, and in support of that new album comes the music video “Tengoku No Tobira (Heaven’s Door)”.
There’s a very 80s vibe to the music, while the production is modern and tough. The band still consists of original singer Minoru Niihara, shredder Akira Takasaki, bassist Masayoshi Yamashita, and drummer Masayuki Suzuki. What do you think of this track?
LOUDNESS – On The Prowl (1991 Atco)
Loudness made a distinctly commercial move when giving original lead singer Minoru Niihara his walking papers. They replaced him with American singer Mike Verscera, and on some tracks, they made a turn towards radio-playable rock. Their second record with Vescera was an interesting one. 1991’s On The Prowl features only three new songs, and eight re-writes from their first four Japanese albums. To most listeners, they would be like new songs anyway.
“Down ‘N Dirty” is predictably a hard rocker, slightly sleezy like something Extreme or Bulletboys would have put out. Not a bad song by any means. It surpasses many of its better-known contemporaries by being a bit heavier and by virtue of Vescera’s amazing voice. Having a schooled shredder like Akira Takasaki on lead guitar doesn’t hurt either. But this is a far cry from a “Rock and roll Crazy Night”!
Second track, “Playin’ Games” attempts to go back to the speedy metal of Loudness’ past. It is partially successful. There’s some ripping and shredding going on between Akira and drummer Munetaka Higuchi, who is awesome on this.
Third and last of the new songs, “Love Toys” does compete for “worst title”. Not a bad track actually, with some different playing from Akira, just a bad title. It seemed obvious they were trying for something that worked in America. No songs about crazy doctors this time. Good tune, cool riff, and some great drumming.
Vescera rewrote all the lyrics for the re-recordings. Not all the originals were in Japanese before, but perhaps Vescera was meant to make the lyrics more accessible. “Never Again” was once known as “Silent Sword” (single B-side), a fine ballad indeed, but you can see how the lyrical change would make it a little easier for some to digest. The chorus is also beefed up, massively. Keyboard adornments sweeten the tune further.
“Deadly Player” (formerly “Lonely Player) was an early thrashing diamondback snake in the original days, and it still kicks tremendous ass. There’s a Rush-like quality to the opening, but then Vescera gets a-screamin’. A frantic mixture of disparate metallic parts welded together, this tune is aimed at the brain. Akira even takes a jazzy guitar interlude.
1984’s Disillusion boasted a cool but challenging tune called “Milky Way”; here it is re-titled “Take It Or Leave It” but it is no less slammingly fun. The chorus is probably an improvement, but that’s highly subjective. The playing is awesome.
“Girl” is one of only two tracks not re-titled in some way. This oldie from Devil Soldier is one of the most twisty & turny tunes, with challenging timing. It is faithful to the 1982 original. Though far heavier, it even has a Zeppelin-like flavour to one of the main riff sections. You could picture Page and Bonham jamming on it, but then the track goes full metal (with some serious jazz to the guitars).
1988’s “Long Distance Love” is the most recent track on this album to get the re-recording treatment. From the Jealousy EP, it was never available in the States even though Loudness already had three studio records out in North America. It’s more mid-tempo and melodic than the earlier tracks tackled here. Presumably, Loudness felt it was overlooked. Re-titled “Long Distance”, it came pre-packed with a solid chorus and Van Halen-like hooks.
The legendary “In the Mirror” (no title change) was always one of the early band’s greatest triumphs. Like a lost Judas Priest classic, it combines riff and tempo in that magical way that gets the heads a-bangin’. Vescera’s high pitched screaming (his control is enviable!) adds a modern taste, but the song is just as fortified as ever.
“Sleepless Nights” is now a plural. The original (singular “Sleepless Night”) from The Law of Devil’s Land boasted one of Akira’s very best riffs. Recreated here, with modern production, it is like concrete. Perhaps Minoru Niihara’s original vocal was harder to digest, so here Mike sings with more attention to melodic sensibilities. What a riff though! Let’s not kid ourselves — this song is about the riff. The chorus is different though, and perhaps less of a fit than the original.
The last track is the earliest: “Find A Way” was originally known as “To Be Demon” on the Loudness debut album The Birthday Eve. This classic is half ballad, half monster riff-race! It’s shorter than the original, beginning as a ballad without the speed-rock intro. The vocal melody is completely different and certain memorable sections of the song are missing or altered. While the new version is undeniably more immediate, it might be at a cost. In both versions, Akira slays.
At the end of it all, On The Prowl is mostly an exercise in improved production. Those Japanese albums were not recorded with the kind of expertise that Loudness were able to employ in Los Angeles. The raw appeal of the originals will always be there, but the sonics here are clearly better. That’s On The Prowl‘s strength. Not to mention the new singer was no hack. But there’s a certain commercial slant to new tracks, particularly “Down ‘N Dirty” that feels out of place.
Needless to say, On The Prowl did not reverse Loudness’ fortunes and they were soon without a singer once more. Abandoning the American adventure for the time being, they looked back to Japan for a new singer: E-Z-O’s Masaki Yamada. 1992’s incredible Loudness continued the story, with Yamada even adding “Down ‘N Dirty” to the setlist! Maybe it wasn’t so bad after all?
4/5 stars
“Forever, carry on! Turning up the sound and let it roll. Raise your fist up in the sky! The spirit of metal will never die!”
LOUDNESS – Metal Mad (2008 Tokuma Japan)
Loudness reunited their original lineup in 2000, but little did they know it would not last a full decade. Drummer Munetaka Higuchi was diagnosed with liver cancer only two months after the release of the 2008 album Metal Mad. He passed away in November of that year. Although they had enough drum tracks recorded to make one more record with Higuchi (2009’s The Everlasting), Metal Mad was the last in his lifetime.
Metal Mad is the 21st Loudness studio album, recorded in the midst of a flurry of studio activity, as Loudness never slowed down, and guitarist Akira Takasaki was pounding out solo work on top of it.
One certain thing about Loudness: just because they reunited the original lineup doesn’t mean they wanted to backtrack musically. Metal Mad is heavy. It continues the sonic experimentation that Loudness began in the mid 90s. Though it does contain one undeniable anthem, this album is a heavy grind of metal styles, all very loud.
The opening instrumental “Fire of Spirit” sets the tone with a heavy riff that could have come from one of Loudness’ thrash contemporaries like Megadeth or Metallica…but with far more weight, and with an absolute master on the drums. There’s a hint of the St. Anger snare, but it does not persist through the album. Instead the track fades into the anthem of the album: “Metal Mad”!
“Metal Mad” is a fast, simple track, but damn does it get the job done! “Forever! Carry on! Turning up the sound and let it roll. Raise your fist up in the sky! The spirit of metal will never die!” Custom built for the festival crowds. Akira takes a couple bananas solos as the perfect icing on this sweet piece of metal cake.
But that’s it for that style of metal on this album. They thrash through “High Flyer” with singer Minoru Niihara’s voice filtered through distortion. Then it’s a hint of rap metal on the very aggressive “Spellbound #9”. Funny thing is, Minoru can pull it off. This is heavy stuff, certainly strong enough to compete with the big name heavy bands that Loudness inspired in the first place. “Crimson Paradox” takes on groove metal, with a touch of exotic guitar added for spice.
The metal is heavy on “Black and White”, but with lyrics like “bullshit bullshit”, it’s a little too much of the “nu” variety. Same with the droning guitar and vocal of “Whatsoever”, though the melodic chorus isn’t bad. “Call of the Reaper” takes things back to centre with a riff similar to “Be Quick Or Be Dead” by Iron Maiden, but within a song that goes in a different direction. Mental solos! “Can’t Find My Way” starts promisingly, with quiet experimental guitars, and focuses strongly on vocal melody despite the heavy riffing going on. In fact the only thing wrong with it is one particular riff that too strongly resembles (ugh) “Loch Ness” by Judas Priest.
The end of the album is heralded by two interesting final tracks, “Gravity” and “Transformation”, both experimental with grooves and great guitar work. Akira uses so many different tones on this album, often within the same song. “Gravity” is guitar player nirvana, while “Transformation” even goes a little funky.
Metal Mad ain’t bad. Its strength is the musicianship. Metal Mad has the title track going for it, but not a lot of actual memorable songs besides that. By focusing so much on being heavy, it loses distinction between the songs.
3/5 stars
LOUDNESS – Once And For All (1994 WEA Japan)
When Loudness released their first live album with new singer Masaki Yamada Once And For All, they took the oft-misguided step that many bands with replacement singers make. Much like Van Halen, they dropped the majority of their earlier material from the set and focused on the new album. Unlike Van Halen, this wasn’t done due to ego, but because of changing styles of the 90s.
You hate when bands do that, don’t you? Well allow Loudness to open your mind on the concept.
In 1992, Loudness released their self-titled new album with Masaki on vocals. It is excellent. Like many late-period self-titles, it sounds like a new start. Masaki was a very different kind of singer from either Minoru Niihara or Mike Vescera. Truthfully his voice was not well suited to the old material (shades of Blaze Bayley). Focusing on the fine, new songs for their first live album together was a wise move.
Loudness opened this live set with some smokin’ guitar licks and the first two tracks from the new album: “Pray For the Dead” and “Slaughterhouse”. Masaki was in great vocal shape, able to hold it steady and belt. The slow, exotic groove of “Pray For the Dead” screams “early 90s” but in a good way. “Slaughterhouse” has a faster tempo and more “metal” vibe. Drummer Munetaka Higuchi (R.I.P.) has this song by the balls. He gets a wicked solo at the end, too.
The sole Mike Vescera song that lingered in the setlist is “Down N’ Dirty” from 1991’s On The Prowl. A little dated-sounding, its persistence in sets over the years is surprising. New bassist Taiji Sawada (R.I.P.) has the opportunity to shine on the slinky opening. The Masaki-era version is heavied-up, but that chorus can’t be saved. Never cared for it. But personal favourite “Everyone Lies” comes next in the set, a punchy fast groove with an angry vocal.
Masaki’s old group E-Z-O were not unknowns; they put two albums out on Geffen and are something of a cult band. Their “House of 1,000 Pleasures” is deservedly visited for track five. Akira Takasaki takes a wicked solo here, in a song that definitely owns its place on the album. It’s also nice to get tracks that are not on regular Loudness studio albums when you pick up a live disc.
Track six would fall where “side two” should begin — the single “Black Widow”. This menacing groove is performed to perfection. All the tracks are. Album accuracy is not an issue, but the live versions do have more energy. “Black Widow” kills, as it should.
Two more of the newer songs follow before they finally dip into classics: “Twisted” and “Waking the Dead”. Akira blazes for a bit before “Twisted”, just a prelude to the extended jam in the middle of this funky rocker. The three instrumentalists Akira, Taiji and Higuchi really get a chance to show off their chops as the song goes on for 10 minutes. After that workout, the straight-ahead riffing of “Waking the Dead” is almost a relief.
The two classics from the Minoru Niihara days are the two most obvious songs: “Crazy Night” and “S.D.I.”. Masaki’s style transforms “Crazy Night” into something more 90s. He simply isn’t the kind of singer to belt out a melody. Masaki tortures the melody and bends it to his range and growl. It is not a bad version of “Crazy Night”, but it is a different take than Minoru’s. “S.D.I.” is the encore, a blitzkrieg of metal that fares well with Masaki leading the charge. It was always a bit of a screamer.
Once And For All isn’t easy to find, and is often prohibitively expensive. This isn’t the kind of album you’re likely to just find sitting on the shelf at your favourite used CD store. It’s the kind of thing that must be sought. If it were a 5/5 star live album, I’d say “seek it”. But very few live albums are an 5/5.
4/5 stars
LOUDNESS – Live-Loud-Alive – Loudess in Tokyo (1983 Columbia)
Like many classic rock bands, Loudness waited three studio albums before going double live. The Birthday Eve, Devil Soldier and The Law of Devil’s Land were ripe and ready for live album immortality. English is minimal, but you don’t need a Japanese dictionary to enjoy the metal within Live-Loud-Alive. It is the most galvanized of the metal; Loudness’ integrity uncompromised, with Akira Takasaki in lead shred mode.
With a double length album so early in Loudness’ career, they played plenty of non-album material to fill it. And it’s good!
Opening with a recording of Holst’s “Mars, the Bringer of War” the band rip right into the riff for “In the Mirror”. That guitar sounds so classic, you’ll be questioning which Scorpions or Metallica album it’s from. A heavy chug named “Road Racer” (originally a non-album Loudness single) is paired with one of Minoru Niihara’s most melodic lead vocals. Only the thick and shimmery (probably embellished) chorus is in English. On guitar, Akira Takasaki’s solo sounds like he is re-entering the atmosphere after an alien/robot conference in space. “I Was the Sun” has a slower beat, pounding sheet metal into lethal form, with an elementary riff. Ordinary as the riff may be, it isn’t the highlight this time. The chorus takes center stage. The first side of the original vinyl ended on “Fly Away”, a mammoth of a song mixing the delicate and the heavy.
“Black Wall” opens on what sounds like bass synth, but Akira soon takes command with a melancholy and precise guitar pattern. Then, like any good Sabbath song, he breaks into a completely different lick, just as catchy. An instrumental track from Akira’s solo album follows, including a wicked drum solo by Munetaka Higuchi. This side of the record blows out with “Mr. Yesman”, a complex track like “2112” crossed with “Children of the Damned”.
On side three, a new song is previewed: “Exploder”, a Van Halen-like guitar instrumental destined for album #4. This transitions into another instrumental called “Heavenward”, similar to Akira’s solo work. It’s all just good music that flows track intro track. Guitar shrieks tell us that “Loudness” is next, a brilliant mid-tempo rocker of radio-ready nature. It sounds like vintage, early 80s Scorpions. Another killer riff in “Sleepless Night” brings the side to a solid close.
“Speed” does what it says. That’s no surprise. What may be surprising is the quality of the non-album B-side “Shinkiro”. This cool track has some great melodic twists and an absolutely brilliant and varied Akira solo. One of his best! From volume-knob twists to full-on speed, it’s brilliant. The only way to end it is by going back to the beginning, and “Burning Love”, the first non-album single by the band. It’s a blistering way to go out.
Though not singing primarily in English yet, their musical influences were clearly the same ones from North America and Europe that we know and love too. While you may not recognize the songs, many will sound familiar because they draw from the same pool. It’s the best of early Loudness, void of commercial ambition. While you do lose the ability to sing along, you can at least slam to the riffs. One can hear why this album is held in such high esteem by the faithful. It sounds like an experience.
4/5 stars
LOUDNESS – World Tour 2018 – Rise to Glory – Live in Tokyo (2019 Ear Music)
In an unfortunate twist of events, Loudness drummer Masayuki Suzuki was sidelined by stroke and could not perform on the Rise to Glory tour. Ryuichi “Dragon” Nishida filled in beat-for-beat and appears on the live album World Tour 2018 – Rise to Glory – Live in Tokyo. This 2 CD/1 DVD combo set is compiled from three days in Tokyo, with a bonus: the DVD features one track with Masayuki Suzuki from the fourth day. His performance on “Loudness” is as if there was nothing wrong with him, and he appears delighted to be playing live again.
Live in Tokyo is an energized performance, focusing almost entirely on early Loudness. This being a hometown crowd, many of the songs are performed with their original Japanese lyrics. 1985’s Thunder in the East takes the early focus on disc one with the first six tracks all being sourced from the “big” album. These tracks are intense, with solos by Akira Takasaki that melt the face. Classic Loudness with jagged riffs and still-powerful vocals from Minoru Niihara.
Oldies abound. Disc 1 also includes “Loudness” (the version with Ryuichi Nishida on drums) from the 1981 debut The Birthday Eve. A slick, well-received version. There’s also a punishing “In the Mirror” from third LP The Law of Devil’s Land, and the memorable “Crazy Doctor” from 1984’s Disillusion.
The second disc spotlights two lesser-known albums. First is The Law of Devil’s Land from 1983. The first five heavy numbers (including a second version of “In the Mirror”) all come from that platter. This is the heavy proto-thrash that Loudness were peddling at the start of the 80s, and vicious stuff it is. But not without hooks! The last five originated on Disillusion, regarded by some aficionados as Loudness’ best. From “Crazy Doctor” through the ballad “Ares’ Lament” and the finisher “Esper”, these are some great metal songs.
Impressively, the third disc (the DVD) highlights another batch of songs missed on the first two discs: newer material. “Soul on Fire”, “Go For Broke”, “Until I See the Light”, “I’m Still Alive” and a pair of instrumentals from the new Rise to Glory (2018) stand up to the earlier material. The awesome “The Sun Will Rise Again” from the 2014 album of the same name rounds out the freshest material. The new tunes are still heavy, riffy and melodic, but with a very slight modern edge. “I’m Still Alive” goes thrash metal, but that’s part of Loudness’ origins. Besides the return of Suzuki on drums for one song, the highlight of the DVD is a ballad. After so many brutal songs, Minoru breaks out an acoustic guitar for an unplugged “Ares’ Lament”. This is completely different than the version on CD 2, which was done fully electric.
Any classic band from the 80s or earlier, still trying to pull it off today, has the same question to answer: How good is the singer? Minoru Niihara is excellent. As if no years have passed. None of the material presents a challenge.
Considering the mixture of material over the three discs, Rise to Glory – Live in Tokyo would be a suitable entry point for any rock fan wanting to check out Loudness. You’ll get the hits from Thunder in the East, ample early deep cuts, and a sampling of quality new stuff. Value for the money and time invested.
4.5/5 stars
This week I’ve realized that regular readers here are not as familiar as they should be with the legendary Japanese metal band Loudness! I’ve done my best to educate with my Loudness reviews, but there is nothing better than hearing the story directly from the source. This brief 2015 interview with the affable Loudness is from the Tuska Open Air Festival in Helsinki, and conducted in English!
The surviving original members Masayoshi Yamashita, Minoru Niihara, and Akira Takasaki are questioned by interviewer Kati Rausch about their history. Subjects covered:
A great little 5 minute interview with three guys you can’t help but like. Check out some Loudness today.
LOUDNESS REVIEWS
AKIRA TAKASAKI – Tusk of Jaguar (Take Another Bite) (1982, 2009 Columbia CD reissue)
In 1982, Loudness guitarist Akira Takasaki and a Japanese keyboardist named Masanori Sasaji teamed up to record an album of music that was different from the usual Loudness rock. Though the cover art and title Tusk of Jaguar screams “pure metal”, this is actually a combination of rock, pop and jazz fusion among other influences. The cool thing about the album is that Loudness play on almost all of it, including singer Minoru Niihara on a couple of vocal tracks. Some songs are all but considered part of the Loudness discography.
Certainly the opening title track sounds like Loudness. That speed metal pace can only have been set by Munetaka Higuchi on drums and Masayoshi Yamashita on bass. “Tusk of Jaguar” is a strange amalgam of shredding metal and jazz-rock interludes. It sounds a bit like the Ian Gillan Band but with Eddie Van Malmsteen on lead guitar instead of Berne Torme. Tremendously enjoyable, but way over the heads of most of the masses.
Minoru makes his first appearance on “Steal Away”, a song difficult to describe. It’s Styx-like and has a big organ sounds like Dennis DeYoung. Cinematic, progressive pop dance rock? Then it goes pure Burn-era Deep Purple! I don’t know what it is, and even with Minoru it sounds little like Loudness. It’s also one of only a few songs without Higuchi and Yamashita.
“Macula (Far from Mother Land)” is based on synthesizer until it transforms into a more traditional guitar instrumental, with clear Brian May influences. The way Akira Takasaki stacks his guitar harmonies can only be described as Queen-like. For that reason, this song is the most accessible to rock fanatics, who will eat up every note that Akira celeverly lays down. For those curious to know more about the critically acclaimed guitarist, check out “Ebony Eyes”, a serious hard rocker on which he takes lead vocals himself! His voice is higher in timbre than Minoru’s, and while he is not an amazing vocalist, he does have some pretty incredible guitar solos on this track.
“Wild Boogie Run” is an interesting tune, sounding almost exactly like Dixie Dregs. The violins, the acoustic & electric guitars, and slight western leanings make this a track that will make your friends wonder what Dregs album it was from. This could be the track worth buying the album for. Rock returns on “Gunshots” but even when Akira is just riffing, the rhythms beneath are complex and jazzy. Hard to describe, but heavy! A jazzy funk opens “Mid-Day Hunter”. Takasaki is nothing if not diverse on Tusk of Jaguar, but even if the rhythms throw you for a loop, you can surely dig into his always memorable lead work. In their early pre-Steve Perry days, Journey wrote songs like this.
Minoru Niihara returns on a song that is basically a Loudness track: “Show Me Something Good”. Though it also has Masanori Sasaji on keyboards, it is the entire Loudness lineup otherwise. A pop rock track like this could have sat on an album like Lightning Strikes if it was produced with heavier intent. The album closer is called “Say What?” which you might in fact be saying by the end of it. Blazing tempos and synth solos adorn a track that is beyond the comprehension of mere mortals.
This is a challenging album, no word of a lie. It’s certainly not immediate, and though parts of it sound familiar, it takes a bit of listening to really start to penetrate. Loudness fans, and anybody into challenging progressive rock should give it a go.
3/5 stars
LOUDNESS – Hurricane Eyes – 30th Anniversary Limited Edition (originally 1987, 2017 Warner Japan)
In most timelines and biographies, they’ll have you believe that the original lineup of Loudness had already peaked by 1987 and were creatively and commercially going downhill. While the commercial side of things was out of their control, creatively Loudness were still writing great songs. Though they did have one more EP in them, Hurricane Eyes is the final album of the original Minoru Niihara era of Loudness. It was recorded by Kiss and Jimi Hendrix producer Eddie Kramer with one track by Andy Johns. Though not as heavy or complex as Disillusion or noteworthy as Thunder in the East, it is thoroughly enjoyable from side A to side B. The commercial bent is obvious on some songs, but it doesn’t really blunt the impact.
Like most Loudness albums from the classic era, the band recorded lyrics in both English and Japanese and both versions of the album are included in this luxurious 5 CD box set. In Japan, the Loudness catalogue has been treated reverently but this is the beefiest of all their deluxe sets. Along with both versions of Hurricane Eyes (including minor musical differences), the set includes a disc of album demos, and another disc of alternate mixes and rhythm tracks. The fifth CD is a live set from the Hammersmith Odeon from 1986. Like any set of this nature, you’ll be listening to the same songs in four or five versions, but fortunately they stand up to such immersion.
Though Hurricane Eyes represents a peak effort to break into the American market, and some songs verge on Dokken homages, it’s a strong album loaded with hooks and enviable guitar theatrics & riffs. And regardless of some of the more radio-friendly material, it also boasts the thrash-like “S.D.I.”, a speed metal riff-fest that remained in the Loudness set list long after after Minoru was let go. The technical playing on “S.D.I.” is outstanding, and that’s laid bare for you to hear in the instrumental mix on Disc 4. The guitar solo is pure Eddie meets Yngwie. “S.D.I.” opens the English version of the album, but closes the Japanese. It works excellently in either configuration.
The English album continues with “This Lonely Heart”, a hook-laden hard rocker anchored by a solid riff and soaring chorus. Lynch and Dokken must have been jealous they didn’t write it because it’s right up their alley. The album title Hurricane Eyes comes from a lyric in “This Lonely Heart” but what you’ll remember mostly is that indelible chorus. Keyboards are poured into “Rock ‘N Roll Gypsy”, an obvious choice for a radio single. Though it didn’t hit the charts you can certainly hear the effort in it. On the Japanese version of the track, the keyboards are present but not mixed in as prominently. It’s the better of the two mixes, with more of that Akira Takasaki guitar up front.
“In My Dreams” is the first power ballad, with focus on the power part. Akari has some sweet anthemic guitar melodies in his pocket for this very Scorpions-sounding track. This gives way to another blitz of a song, though not as over the top as “S.D.I.” was. “Take Me Home” has similar urgency but more deliberate pace. “Strike of the Sword” is in similar metal territory with a fab Akari riff. The vocal melodies sound a little disconnected from the song though.
Don Dokken’s turf is revisited on “Rock This Way”, a mid-tempo ditty within hit territory. You could imagine this being written for the concert stage, so you can have a singalong chorus — “Rock this way!” Picking up the pace, “In This World Beyond” is a bit more complex though retaining an insanely cool chorus. The Loudness guys really developed an absurdly good chorus-writing ability by this point! But stick around to be strafed out of the sky by Akira’s machine-gun solo. “Hungry Hunter” returns us to mid-tempo rock ground, though it’s not their most remarkable song.
The American album ends with “So Lonely”, a re-recording of “Ares’ Lament” from 1984’s Disillusion, also in the closing position. Disillusion didn’t get a lot of attention outside Japan, and “Ares’ Lament” was a clear highlight. Though the structure is essentially the same, “So Lonely” is a tamed version” of the more traditional metal original. Keyboards are added, replacing the Akira-shred of the original. The chorus is beefed up and placed front-and-center. It suits Hurricane Eyes and though it’s merely a blunted version, it’s still quite excellent. It’s a demonstration of how you can take a song and tweak it into a different direction.
“So Lonely” isn’t present on the demo CD, presumably because they didn’t need to demo their own classic tune. Instead there are two tracks that didn’t make the album, but would be finished in the future: “Jealousy” and “Love Toys”. The 1988 Jealousy EP would see the first track released (but only in Japan). This is the most Dokken of all the songs, with one of those concrete riffs that George Lynch was prone to writing with ease. Maybe when Dokken broke up, Don should have given Akira Takasaki a phone call. The more frantic and metal “Love Toys” was revisited in 1991 with new lead singer Mike Vescera, for the On The Prowl album of re-recordings. Both tracks had potential in the unfinished demo stage. In fact all the Loudness demos on this disc are nearly album-ready. They’re rougher but also appealing for that same reason.
Disc 4, Behind the Hurricane Eyes is a hodgepodge of alternate mixes and rhythm tracks. The eight rhythm tracks (essentially mixes without vocals and solos) include another version of “Love Toys”. The mercilessly tight rhythm section of Munetaka Huguchi and Masayoshi Yamashita come to the fore on these tracks, as does Akira Takasaki as the riffmaster. “S.D.I.” is present on this CD twice, in rhythm track form and as a straight instrumental. You will be getting plenty of “S.D.I.” in this box set! You’ll also enjoy the brighter “Top 40 Mix” of “Rock This Way”, a really good remix that sounds perfect for the hits of the era. A mix of “So Lonely” with an earlier fade-out isn’t that interesting, but still desired by the collector. “Hungry Hunter” and “This Lonely Heart” are present in “old mix” and “rough mix” respectively. Differences are minor.
You could find yourself with a bit of ear fatigue after hearing so many versions of the same songs. Fortunately Disc 5 is a live set from the previous tour with none of the same songs. Buckle up. Opening for Saxon at the Hammersmith Odeon, Loudness went straight into “Crazy Doctor” from Disillusion after a glowing intro from Biff Byford. It’s right to the throat from the start and this CD has their full set. “1000 Eyes” from Lightning Strikes follows, the album for which they were touring. Loudness could have used some backing vocals live to beef up the chorus, but Minoru does a remarkable job on his own, givin’ ‘er all over the place. It’s also cool to hear Akira go from rhythm to lead so effortlessly live.
There is honestly something charming about someone who isn’t a native English speaker really giving their all to talk to an audience in English. Minoru is clearly happy to be in “London rock and roll city!” and the audience lets him know he’s welcome. The awesome “Dark Desire”, also from Lightning Strikes, follows and Akira lays down a mesmerising solo. Then a long dramatic intro opens “Ashes in the Sky / Shadows of War”, a highpoint of an already great set.
The big Loudness single in 1986 was “Let It Go“, a truly special pop metal song. This version opening for Saxon at the Hammersmith might be the best live recording if not the most energetic. Afterwards the late Munetaka Higuchi takes a drum solo (presumably to give Minoru’s voice a rest after this workout!). There’s a brief segue into Beethoven’s 5th Symphony, and Minoru introduces the band. That pumps up the crowd for Loudness’ biggest hit “Crazy Nights” complete with crowd singalong. “MZA!” After smoking through this one, Akira takes a blistering solo break. The set closes with “Speed” from their third album The Law of Devil’s Land. They saved the most aggressive song for last. Couldn’t let Saxon have it too easy, right?
Though hard to get, these Loudness deluxe editions from Japan are really beautiful to hold in hand. The thick booklet is printed on glossy paper, and though the liner notes are in Japanese, lyrics are provided in both languages. The rest of the booklet is stuffed full of tour photographs whose only language is rock and roll. Loudness certainly looked the part. The set also includes a little reproduction backstage pass, but the main feature is the music. Diehards are going to love it.
4/5 stars
LOUDNESS – Masters of Loudness (1996 Warner Japan, 2010 Wounded Bird reissue)
By 1996, Loudness already had three singers, 11 studio albums, and numerous EPs, compilations and live records. 15 years on from their debut album The Birthday Eve, it was time for an anthology. Masters of Loudness is made up of 29 tracks (eight live ones) including all singers and all eras. It uses Japanese mixes of some songs, different from their US counterparts, and what appears to be one exclusive new tune.
How the mixture is balanced can only be determined by a solid listen.
The original Loudness commences the anthology, which is mostly in chronological order but not entirely. Minoru Niihara has always been a hell of a singer, and his melodic singing helps make “Angel Dust” accessible as a speed metal rocker can be. Like a cross between vintage Scorpions and Priest, pedal fully to the floor. It doesn’t matter that most of the words are in Japanese. From the excellent Disillusion album, “Dream Fantasy” is included in all its Maiden-esque glory. Not “Crazy Doctor” though — Masters of Loudness chooses to include some of the biggest and best songs in live form instead. This is an unfortunate though popular strategy used on numerous anthologies and it is a win/lose proposition. In the “win” column, it breaks up monotony, represents more releases, and allows you to hear lesser-known versions of popular songs. On the other side of the coin, it means you don’t get the best known versions of the best songs. You get, frankly, inferior versions of possibly the only songs you know. And that’s why it’s unfortunate.
The third track “Speed” is one such live inclusion, from 1983’s Live-Loud-Alive. It does allow you to hear how hot Loudness were on stage so early in their career. The entire Thunder in the East album is bafflingly skipped over. It is possible, from the Japanese perspective, that Thunder in the East is not as significant as it is here. Instead we jump ahead to 1986’s Shadows of War (released here as Lightning Strikes) and 1987’s Hurricane Eyes. The Japanese mix of “Let It Go”, their most commercial track, is notably different. The vocals are more distant and there are additional shouts and bits of guitar included. The US mix was more streamlined and polished for radio. “Shadows of War” and “S.D.I.” are also Japanese mixes each awesome in its own right. “Shadows of War” just has the vibe, right in the middle of darkness and light. Meanwhile “S.D.I.” is an iconic thrash that goes down easy thanks to Minoru Niihara’s vocal prowess.
This anthology skips past the final release with Niihara (1988’s Jealousy EP) and picks up with new vocalist Mike Vescera, their first and only American member. Strangely the first Vescera track is “Slap in the Face” which is actually from his last release with the band, a 1991 EP. It’s biting and heavy, but the loss of Minoru Niihara changed not only the voice of Loudness, but also their identity. Where they used to sound uniquely Japanese, Vescera made them sound like a band from anywhere. He was and is a great singer with grit and remarkable range and power. He could certainly take on Minoru in terms of vocal ability. But they sounded less like Loudness. That said, “Slap in the Face” is a heavy stomper that was perfectly in line with the direction bands like Metallica and Megadeth were going in the early 90s.
“You Shook Me” (their biggest track with Vescera) and “Demon Disease” represent 1989’s Soldier of Fortune album which still has a cult following. Loudness only made two albums with Mike, and that era is unfortunately weighted too heavily on this set. Nothing against the songs themselves, but this brief period gets far more disc time than all of the Niihara era.
Mike’s final Loudness album was 1991’s On the Prowl which mixed new material and new English re-recordings of selections from some of the older Japanese albums. One of the new ones, “Down N’ Dirty” is predictably a stumble. It sounds like some sassy band from Hollywood, not a band with the regal history of Loudness. Trying to sound like Poison? Perhaps. At least “In the Mirror” and “Sleepless Nights” sound like Loudness, and they should, being re-recordings of the same songs from The Law of Devil’s Island. Truthfully, Vescera sounds heroic here, like a true metal warrior come to rid the town of its evil.
A trio of live tracks with Vescera singing close off the first disc. At the time of release these would have been considered rarities, but in 2009 a full live album with Vescera was issued called Live Loudest at the Budokan ’91. These are cool live tracks and help fill in some songs that were missing from earlier. The power ballad “Never Enough” is a remake of an old B-side called “Silent Sword”. The cheese factor is cranked up, but let’s face it, this is the kind of song people were having hits with until grunge changed that forever. Akira Takasaki’s guitar solo is delectable. Then finally it’s “Crazy Doctor”, possibly the best riff that Akira ever wrote. Vescera has no issues with the notes or the power necessary to deliver them effectively. Finally the CD ends with a live cut of the very first song from the very first album: “Loudness”. It’s quite good and an excellent showcase of Mike’s abilities, not to mention the extended Takasaki solo, a composition until itself, where he shows Eddie Van Halen how guitar tapping is done.
Loudness changed once again, when Mike Vescera bailed to join Yngwie J. Malmsteen. They also lost original bassist Masayoshi Yamashita at this time. The second CD (mostly) represents the Masaki Yamada (E-Z-O) era of Loudness, their current singer at the time of release. With that in context, you can understand why so much time is dedicated to Masaki, who only had two Loudness studio albums under his belt so far.
The first Masaki, 1992’s Loudness, has five of its ten tracks represented here. They selected five of the best: “Pray for the Dead”, “Slaughter House”, “Black Widow”, “Hell Bites”, and “Firestorm”. By and large, the new Loudness was focused on heavy grooves. Banging heads was a priority once again. “Firestorm” thrashes as fast and heavy and any vintage Loudness classic. The big difference was Masaki’s clearly noncommercial voice. Unlike Vescera or even Minoru, you can’t really imagine Masaki’s songs on the radio. It was, however, the 1990s, and Masaki was able to harness the altera-heavy going on at that time.
From the 1994 live album Once and For All, “Waking the Dead” is included, another song from the first Masaki album. Then finally it’s “Crazy Night”, Loudness’ biggest and most beloved hit from Thunder in the East. Strangely though, instead of the Masaki live version from Once and For All, we are back to Mike Vescera again. It’s a fine version indeed, but this confusion could have been avoided by just putting the studio version on CD 1. It’s probably confusing for the listener to be bouncing around from one singer to another.
There are four songs from the second Masaki album, 1994’s Heavy Metal Hippies. This is when Loudness started their real 1990s evolution, focusing less on metal and loosely expanding into other styles. They also lost two more members at this point. Bassist Taiji Sawada, who replaced Masayoshi Yamashita in 1992, was out and Akira played bass on Heavy Metal Hippies. Original drummer Munetaka Higuchi also left and was replaced by E-Z-O drummer Hirotsugu Homma. By the numbers, at this point Loudness was actually more E-Z-O. The change is audible in the music, still heavy, but less melodic and more modern (“Howling Rain” being an exception). Though Heavy Metal Hippies was released only in Japan, they still managed to get a metal big namer to produce: Chris Tsangarides.
The Loudness lineup solidified once more with bassist Naoto Shibata, who appears on the live tracks “Desperation, Desecration” and “S.D.I” from 1995’s Loud ‘n’ Raw. Yes, “S.D.I.” is the only song to appear twice on this anthology. Why “S.D.I.”? Why not. It’s important to have live versions of old classics, but with the new singer at the microphone. Unfortunately in a comparison between Masaki and Minoru, Minoru wins. He wrote the song for his own voice, and Masaki’s growly style is barely compatible.
Masters of Loudness saved the best for last: “Master of the Highway”, an excellent song that seems to be an exclusive. It puts the focus right onto the riff, a sharp Takasaki blitz of six-string chunk. Masaki has never sounded so menacing as when growling this tune.
Black stars!
Coming down.
Power!
Pedal to the metal.
Night rider,
Machines of steel.
I am the master! Master of the highway!
Yeah yeah! Oh yeah!
As Masaki tears off through the “demon night”, he only turns up the menace further. “You’re with the master! Master of the highway!” Akira then lays down a face melter of a solo, and before you can get back up, it’s all over.
Rare is the single track that is worth buying a 2 CD anthology just to get, but there it is.
It would be fascinating to be a fly on the wall and to know exactly what the thinking process is in making a release like this. How was each track decided upon? Why was there a Mike Vescera version of “Crazy Night” right in the middle of a disc that is otherwise entirely Masaki Yamada material? Did somebody higher up say “Nope, we need a melodic version of the song, put on an earlier one”? And why live versions of such big hits anyway?
Masters of Loudness can be broken down this way:
But it can also be said that Masters of Loudness has:
As always, cost will be a factor and Japanese imports are rarely cheap. If you can afford it, it’s worth picking up Masters of Loudness and of course, playing it loud.
3.5/5 stars
mikeladano.com 