Album Review - Loudness's Rise To Glory

Hello there fellow Otaku & Metalheads!

Well, here we are. We’re now at the end of our 2nd leg of this metallic trip through Japan, and so far Loudness has been treating us well. Everything I’ve listened to so far has been fantastic, but today’s review might be it. Today’s album might be the one that’s genuinely perfect, and one that you should not avoid. So, sharpen your katana, check the rooftops for any shinobi that might be spying on you, and get ready for my review of 2018's colossus, Rise To Glory. Let the review begin!

Background
On September the 1st, 2006, original bassist Hiroyuki Tanaka died from heart failure at 46 years of age, and his replacement came. In April of 2008, just two months after the release of Metal Mad, Loudness would take a hiatus when drummer Munetaka Higuchi got a diagnosis of liver cancer. They would play with Mötley Crüe in October of that year at the Greater Tokyo Area's Saitama Super Arena, and have session drummer Kozo Suganuma filling in. Just a month later on the 30th of November, Higuchi would sadly pass away because of said illness at the age of 49. As stated by the band:

“Munetaka Higuchi passed away from liver cancer at a hospital in Osaka city in the morning of 30 November 2008. With permission from his family, we are officially announcing his passing. We realize this announcement came late and we apologize for that. With his and his family's request, a wake and funeral will be held privately. For the press and the fans, we will make sure that you have an opportunity to say your goodbyes to him at later time. For the last eight months since he was diagnosed with liver cancer, he had been in and out of the hospital several times for the treatment. For the entire time, he was very positive and bravely fighting this disease. He had this strong desire to come back to the stage to play for the fans again. His death came very suddenly and was a very immature one. He lived his life to the fullest as a rock drummer who always gave us hopes and dreams. His heart and soul for music will be succeeded for a long time to come. Munetaka, we are grateful for all your hard work and the great 49 years you lived with us here in this world. We would like to express our appreciation for all your condolences sent here for him.”

As stated by Wikipedia:

“The band confirmed through Takasaki that, despite the recent loss of drummer Munetaka Higuchi, they would be recording a new studio album titled The Everlasting, which was released in May 2009. The new material was based on drum tracks recorded by Higuchi before his death. Upon the album's release, they introduced their new drummer in Masayuki Suzuki. The band went on tour in 2009, presenting only material from their first four albums and announced their following album titled King of Pain, which was released in May 2010. Also in 2010, Loudness was featured at the Bang Your Head!!! festival in Germany and did a brief European tour. Loudness returned to America for their 30th Anniversary tour in May and June 2011.”

The band would continue to rock Japan & the world, and this would all eventually lead to the subject of today’s review. In January of 2008, the band’s 27th studio album, Rise To Glory, to much fanfare in Japan (And probably in other parts of the world also). However, there would be some tragedy, as Suzuki would suffer a mild stroke and be hospitalized for it. The band would call upon the services of Ra:IN drummer Ryuichi Nishida to fulfill the tour until Suzuki's full recovery & return to the band in September of 2018.

Basic Description
Modern Metal Mastery.

Loudness has managed to withstand the test of time. For nearly 4 decades by the time this album came out in 2018, one of Japan’s finest bands has managed to roll with the punches & adapt to the changing times. In regards to Rise To Glory, it can be safe to say that the band aren’t going anywhere! They’ve got one foot in the past: many of the beats & rhythms have a distinct old-school feel, and Minoru Niihara’s vocal work sounds just as beastly now as it did back in the 80s. As for their other foot, it just so happens to lie within the present. More specifically, this album has modern day recording & production behind it. This makes for the crispest & most clean Loudness album to date, and while that might be an issue with some (More on that below), it does make it a little easier to access when it comes to listening to it.

Best Track
Soul On Fire, as a statement of intent, is just so good. It has the energy of something like This Lonely Heart from Hurricane Eyes (A great track in it’s own right. Listen here.), but the instrumentation is heavier, and the vocal work has more depth to it. You’ll definitely headbang as you listen to this, and I can think of no other way to start off this album than this track.

Soul On Fire

Worst Track
Can’t pick one out. Apart from the fact that maybe things sound a little too clean sometimes (Which might cause some sticklers to turn away), and that it can be tricky to find outside Japan like the majority of their work, Rise To Glory from top to bottom is a modern day classic. Loudness have always been at the top of their game, and even when they may have experimented a little too much on some releases, the band always has a seal of quality that listeners could recognize.

Other
If you’re curious about listening to this album, click on the link below:

Rise To Glory (Download Link)

Overall Impression & Rating
Rise To Glory is modern Loudness at their best. Things may be a little too clean for some people, but the band are on their A-game regardless. If there is a modern album from this group that’s essential to sit down & listen to, it’s this one. Just be sure to pet your wallet, cause it’s definitely going to bleed a little when you buy this.

Rise To Glory gets a 9.5 out of 10.

And that was Rise To Glory. Even by the late 2010s, Loudness prove that they’re still metallic titans, and they can still make their native Japan shake. So with that, part 2 of our metallic trip through the land of the rising sun comes to an end. Join me in August, when we’ll travel down some more obscure paths in the final leg of our trip. See you soon!

Album Review: Loudness's Spiritual Canoe

This has been an interesting trip fellow Otaku & Metalheads!                 

Our trip through Loudness’s territory in Japan has been fun! The Birthday Eve from the beginning of the 80s was a smash, and while On The Prowl from 1991 had issues, it still had some fun material on it. Now, we turn our attention to the year 2001. How did the group survive the rest of the 1990s, and did they change in any significant way? Well, let’s take a look at the oddly named Spiritual Canoe, and see what’s up.

Background
Taken from Wikipedia:

“In 1993, the band was again on the verge of falling apart, with the departure of both Higuchi, who went to play in Niihara’s Sly, and Sawada, who founded D.T.R. Takasaki remained the only founding member, with a band to reinvent. In this period he traveled to India and converted to Buddhism, and found the right motivations to not disband Loudness. He convinced Yamada to stay as singer and, with his help, recruited former Ezo drummer Hirotsugu Homma to the band. The trio produced in 1994 Heavy Metal Hippies, a transitional studio album, where Takasaki tried to mix the old Loudness’ sound with grunge and world music influences. To bring the band on tour, Takasaki completed the roster with Naoto Shibata, bassist and leader of the then disbanded Japanese heavy metal band Anthem. This new incarnation of Loudness released three other studio albums (Ghetto Machine, Dragon and Engine) and one live album (Loud 'n' Raw) between 1994 and 1999. The sound of these releases is quite different from the band’s earlier works, with Takasaki’s compositions veering strongly towards groove metal with heavy psychedelic and ethnic influences. Homma’s double bass drum beat is another important difference from earlier Loudness’ sound. The band toured regularly in Asia and went to Europe, where they participated to the 1999 edition of the Dynamo Open Air Festival.

In 2000, Yamada manifested his wish to quit Loudness and suggested a reunion with the original line-up to celebrate the band's 20th Anniversary. Takasaki agreed with him and dismissed Homma and Shibata, asking at the same time Higuchi, Niihara and Yamashita to rejoin the band for the event. The original members of the band reunited in 2001,  releasing the album Spiritual Canoe and doing a celebratory tour. Although intended to be a one-time event, the popularity of the band's reunion in their native Japan was overwhelming and the band decided to continue recording and live activities. At least one studio album and one DVD release have followed every year since the 2001 reunion, in addition to one-off recordings, like 2005's theme song for famed K-1 fighter Musashi ("The Battleship Musashi").”

Basic Description
Odd. Weird. Experimental. Nu.

Let me get this out of the way: this is not the Loudness that old-school fans will be familiar with. This is not their heyday in the 1980s, nor is it their brief classic period at the beginning of the 1990s. Spiritual Canoe lies firmly in their experimental era: full of Funk, Groove, Rhythm, experimentation, you name it. The band were beyond their past, and it seemed as if this experimenting phase was what they would be going with for the rest of their career. This has some issues (More on that in a bit), but at the same time there’s something endearing about Loudness trying a bunch of new things in their music. I kinda dig that the group is going all over the place, and it’s probably why it’s got the fans that it does.

Best Track
The Power Of Love is such a interesting way to end the album. The track opts for a more Blues-like approach with it’s instrumentation, as the guitar, bass, and drums are played a little more slowly when compared to most of the other songs on Spiritual Canoe. Even Minoru Niihara’s vocal work on this song is more downplayed in terms of pacing, as he has a bit of an old-school crooner attitude about him as he sings. Blues has never been my thing, but this is a rare example of me enjoying something from that genre.

The Power Of Love (No Link)

Worst Track
For starters, let’s complain about the name. Spiritual Canoe is without a doubt the goofiest name I’ve ever seen among album names. Yeah, this is a rather minor issue, and I kinda agree with anybody who’d see me complaining about this as silly. I won’t press on this issue too much more, as Akira Takasaki has converted to Buddhism a few years earlier in the 90s, so my guess is that his spirituality was some influence behind this record’s name.

My biggest complaint, however, would be that Loudness may have been experimenting a bit too much on Spiritual Canoe. After the early 90s, the band was influenced by the likes of Pantera, the early days of Nu Metal, Funk, Groove, Rhythm, you name it! Because of all of these influences, the band went all over the place in terms of their songs.....but at the cost of, in my opinion, a solid identity. From the moment they began their experimental phase, the albums they released never had a firm character to them. Again, all of what influenced the band may have spread things out a little too thin in my opinion. Say what you will about Sabaton’s 2016 release The Last Stand, but at the very least there was still a complete identity on that record. Here? There’s an overall solid sense of quality, but you can’t really identify it’s personality.

Other
If you’re curious about listening to this album, then click on the link below:

Spiritual Canoe (Download Only)

Overall Impression & Rating
Spiritual Canoe is definitely not for everybody. Like I said above, it’s nothing like the band’s output in the 1980s, and it’s not even like their early 90s work either. This release is a mix of Pantera-style attitude, coupled with Funk & Experimentation, and just a hint of odd. Yet, it’s oddness is endearing in a way. It shows that Loudness is willing to step outside their comfort zone, and is willing to try out a different sound. Those of you who are fans of Loudness’s classic sound may be put off by Spiritual Canoe, but for anyone wanting to expand their personal musical bubble, then this might be something to consider listening to.

Spiritual Canoe gets a 7 out of 10.

And that was Spiritual Canoe. It’s certainly not for everybody, but it definitely fills out the Experimental/Nu Metal niche that some music fans might want sometimes. Well, our 2nd leg of this trip is just about done everybody, so join me next time for when we travel back to the relatively recent year of 2018 for Loudness’s most current release. See you soon!

Album Review: Loudness's On The Prowl

Hi fellow Otaku & Metalheads!

Our 2nd portion of our trip through Japan began earlier this month with our look at The Birthday Eve, released by the legends known as Loudness. It may have been dated, but their first release was a hell of a record. It gave the band quite a bit of attention, and set them on the path to stardom. Now, we’re at the start of the 90s once again. How have the gang faired since 1981? Well, let’s take a look at 1991's On The Prowl, and see what’s been going on!

Background
Taken from Wikipedia:

“Following the Jealousy EP in 1988, singer Niihara left the band, after producer Max Norman's suggestion that an English speaking vocalist could help the band break through in the American market. The chosen American vocalist was former Obsession frontman Mike Vescera. Minoru Niihara continued his singing career in Japan as frontman of the metal bands Ded Chaplin, Sly and X.Y.Z.?A, besides releasing a solo album. The new Loudness’ line-up recorded two studio albums, Soldier of Fortune in 1989 and On the Prowl in 1991. The latter included only three new songs among remakes of older material translated and sung by Vescera. Despite extensive tours and strong support from their label, the new albums did not improve the band's status in America and, on the contrary, reduced further the Japanese fanbase of Loudness. After the release of the single "Slap in the Face", Vescera left Loudness during their 1991 American tour, to join Yngwie J. Malmsteen's band. He was replaced by former Ezo vocalist Masaki Yamada to finish the tour. The change of personnel did not influence the success of the band, because the sudden predilection of the American audience for the gritty and aggressive sound of grunge and alternative rock bands at the beginning of the 90s, had already de facto put an end to the American adventure of Loudness, as well as to the careers of many other bands from the glam and heavy metal scene.”

Basic Description
East meets West.

For a majority of their time in the 80s, Loudness was one of the definitive Heavy Metal bands from Japan. Decked out in the finest instruments from the west, the band played loud & hard while keeping a distinct Japanese edge to their music. With their album in 1989 (Soldier Of Fortune), and the change to Mike Vescera as their new lead singer, something changed. A more western feel crept into their work, but once On The Prowl came out, something happened. Loudness became an even balance between Japanese & American Heavy Metal, and never once did they slip into any one style. It’s really neat when both styles collide, and the resulting explosion is definitely something to witness.

Best Track
Before I say which song is the best, I must say that it’s refreshing to heard older Loudness songs sung in English for the first time! Mike Vescera does a bang-up job with each track, letting his voice come at you like Samurai on horseback. The rest of the band is no slouch either, with Akira Takasaki & Masayoshi Yamashita kicking ass on the guitar & bass respectively, and Munetaka Higuchi grabbing his drums by the balls. Granted, there is one fault to be had with these older re-recorded tunes, but I’ll get to that in a little bit. The point is, is that it’s refreshing to have older material comeback with better recording & production behind them, and I’ll never complain about that!

As for what I think is the best track? I’m kind of inclined to say the three original tunes as the top shelf material of On The Prowl. Down ‘N’ Dirty, Playin’ Games, and Love Toys all sound & feel like tracks from their own album, not just pieces of a compilation. It would have been neat to hear these alongside other newer tunes, but even so they act as appropriate gatekeepers to the rest of what On The Prowl has to offer.

Down ‘N’ Dirty

Playin’ Games (No Link)

Love Toys

Worst Track
On The Prowl’s only fault is that most of the music on here has been on prior releases. Much like Anthem’s 2000 & 2019 albums respectively, the music on here is stuff we’ve heard before. It’s not so bad this time around, as the three original tracks give this record a little more of it’s own identity. It doesn’t feel like things are being 100% rehashed, but once those original songs are gone, things are fundamentally familiar again.

Other
If you’re curious about listening to this album, then click on the link below:

On The Prowl (Download Only)

Overall Impression & Rating
On The Prowl is a fun start to Loudness’s time in the 1990. Sure, the majority of material on here is stuff that was on prior albums, but as with what Anthem did in 2000 & 2019, it is nice to hear older stuff with better production & recording. If you like hearing revised tracks with newer stuff mixed in to shake things up, then this album is for you!

On The Prowl gets a 8 to 9 out of 10.

And that was On The Prowl. A great way to start off the decade that supposedly “killed” classic metal, but would Loudness keep kicking ass in the 1990s? Well, come back next week, when I’ll take a look at their first steps into the 2000s. See you then!

Album Review: Loudness's The Birthday Eve

Let’s resume our tour fellow Otaku & Metalheads!

A week or two ago, I took a look at Anthem’s most recent album Nucleus. Despite it’s issues, it was a juggernaut of a record, and finally managed to nab a spot in the European & U.S. Market. The subject of our second trip through Japan, however, did not need such an anchor. The subject of July’s portion actually had a fairly strong foothold in America, and Europe by extension. Over the course of this band’s career, they remarkably released 27 albums, cementing them as a metallic icon of the Land of the Rising Sun. So, get on your coat, rev up your motorcycle, and ride off to read my review of The Birthday Eve.....the first release by Japanese legends Loudness! Let’s begin!

Background
Our story begins in February of 1980. Guitarist Akira Takasaki, bassist Hiroyuki Tanaka and drummer Munetaka Higuchi had split up their Pop Rock band Lazy, with Takasaki in particular being unsatisfied with the musical direction that their previous band was going into, and wanted to test their abilities with something different. The rise of Heavy Metal acts like Bow Wow & Anthem fit the idea of what the guys wanted to do. Sadly, Tanaka soon renounced to be part of the new band, and instead searched for success in the anime soundtrack business with the band Neverland (Which itself was founded by ex-Lazy members). Takasaki decided to recruit his childhood friend Masayoshi Yamashita as the new bass player, and after a few auditions, they found their singer in former Earthshaker member Minoru Niihara.

With the line-up now finalized,  Loudness signed to Nippon Columbia and recorded their Japanese-language debut album, The Birthday Eve. Despite the reduced presence of Heavy Metal in the Japanese media at the time and the lack of a single, The Birthday Eve and the concerts to support it were quite successful. The guitar work of Takasaki and the solid musicianship the rest of the other band members soon became a trademark of their work. Loudness, excited by the good sales responses in their home country, produced four studio albums in rapid time, and guitarist Takasaki found the time to start his solo career, releasing the album Tusk of Jaguar, which the other group members played in.

Basic Description
Early 80s classic.

Like I said above, Loudness’s first album predates what Anthem would put out by a little under 4 years, and as such they had a little more breathing room in terms of being able to grow. The Birthday Eve is the ultimate example of a beginning record: full of potential, talented, raw, and most definitely loud. As goofy as Lazy was a few years prior, it did show that the band members were musically inclined. With Loudness, the poppy nature was shed, and they were allowed to bang out some of the finest metal from Japan. Coming in on 40 years old later this year (More on that in a little bit), it still holds up for the most part, and is a great gateway into the land of Japanese Metalwork.  

Best Track
While I find virtually every song on The Birthday Eve to be spectacular, my personal favorites have to be the tie between Sexy Woman & Street Woman. While I do find it redundant that both of these tracks are similarly named, they’re also opposite in terms of style. The former tracks almost comes across like a light Motörhead with the mild punk-ness from the guitars & bass, while the later track almost feels like a Doom Metal song due to the pacing. These two diametrically different songs complement each other with their opposites, but in the end are united in how well the instrumentation & vocals are!

Sexy Woman

Street Woman

Worst Track
Right off the bat, let me just say that every song on The Birthday Eve is damn good. From beginning to end, these 8 tracks (10 if you listened to the 2005 re-release) are some of the finest metal that the band would release. The only fault with this record is that it does come across sadly as somewhat dated. Turning 40 years old this November, it is easily a product of it’s time. Now I don’t necessarily have an issue with this since I love that early 80s metal nostalgia, but as time moved on, further advances in production & recording make The Birthday Eve sound old by today’s standard. I will give the production & recording credit in one regard, and that is the fact that it comes across nowhere near as rough as Anthem’s self-titled debut in 1985.

Other
If you’re curious about listening to this album, then click on the link below:

The Birthday Eve

Overall Impression & Rating
The Birthday Eve was definitely an out of the park success for Loudness. Despite it’s nearly 40 years of age, it’s still a great gateway into the band’s career, and by extension many other Japanese bands from that era.

The Birthday Eve gets a 9.5 out of 10.

And that was my review of The Birthday Eve. Loudness hit it out of the park with their first release, and over the course of the 1980s they’d not only conquer their native Japan, but gain a surprising foothold in Europe & even the United States! Now, we must depart for the early 90s, and observe how our boys start that decade off. See you soon!