Minoru Niihara is the original and current lead singer of the Japanese heavy metal band, Loudness. His first band was Earthshaker, in which he sang, his vocal style was influenced by blues singers, but he adapted his voice to the high pitch tones requested in a heavy metal act. He was selected after an audition to become the lead singer of Loudness in 1981 and his voice, together with the flashy guitar work of guitarist Akira Takasaki were recognized as a trademark of the band. Although the first three albums were sung using Japanese lyrics, he started singing in English only on their 1984 album, Disillusion. After Loudness released Jealousy, he left the band in 1988 and was replaced by the American singer Mike Vescera. After working with several bands, as well as his solo career, he returned to Loudness in 2001, he released two solo albums: One in 1989 and Ashes To Glory in 2006, in addition to recording many albums with Sly and X. Y. Z.→A. In 2008 he formed a parallel band called Nishidera Minoru, with Show-Ya's singer Keiko Terada and Earthshaker's singer Masafumi ”Marcy” Nishida.
This new band produced and organized the HARD NA YAON 2009 festival. One Ashes to Glory R&R Gypsy Show Tower of Power Night Live The Birthday Eve Devil Soldier The Law of Devil's Land Live-Loud-Alive: Loudness in Tokyo Disillusion Disillusion - English version Odin Thunder in the East Shadows of War Lightning Strikes - U. S. remix of Shadows of War 8186 Live Hurricane Eyes Hurricane Eyes - Japanese Version Jealousy Eurobounds Spiritual Canoe The Soldier's Just Came Back Pandemonium Biosphere Loudness Live 2002 Terror RockShocks Racing Breaking The Taboo Metal Mad The Everlasting King of Pain Eve to Dawn 2012 The Sun Will Rise Again 1st Rock the Nation Final Revolution Sly Dreams of Dust Key Vulcan Wind Asian Typhoon Asian Typhoon - English version Metalization Metalization - English version Life IV X. Y. Z.→ALIVE Wings Learn from Yesterday! Live for Today! Hope for Tomorrow! Seventh Heaven Fuzoroi no Rock Tachi Sono 1 Akira Takasaki - Tusk of Jaguar M. T. Fuji - Human Transport Cozy Powell Forever ~ Tribute to Cozy Powell
Soldier of Fortune (Loudness album)
Soldier of Fortune is Japanese heavy metal band Loudness' eighth studio album, their first with American vocalist Mike Vescera. It's the third Loudness album produced by Max Norman after Thunder in the East in 1985 and Lightning Strikes in 1986; the album is co-produced by Fates Warning's producer Roger Probert. Despite the good critical reception and the strong support given by the label, the album failed to chart in the USA. All music by Akira Takasaki. Lyrics are credited to Loudness "Soldier of Fortune" - 3:55 "You Shook Me" - 4:42 "Danger of Love" - 5:02 "Twenty Five Days from Home" - 4:22 "Red Light Shooter" - 4:50 "Running for Cover" - 4:21 "Lost Without Your Love" - 4:56 "Faces in the Fire" - 4:08 "Long After Midnight" - 4:38 "Demon Disease" - 4:34 LoudnessMichael Vescera - vocals Akira Takasaki - guitars Masayoshi Yamashita - bass Munetaka Higuchi - drumsAdditional musiciansClaude Schnell - keyboardsProductionMax Norman - producer, mixing Roger Probert - producer Bill Freesh - engineer Charlie Brocco, Steve Sisco, Dave Carpenter, Joe Barresi, Pat MacDougall, Masanori Ihara - assistant engineers Chris Bellman - mastering
Disillusion is the fourth studio album by Japanese heavy metal band Loudness. It was recorded and mastered in London, England, in 1983 and released at the beginning of 1984; the sound engineer chosen for the recording sessions was the expert Julian Mendelsohn, who had worked with acts like Yes, Elton John, Jimmy Page and Bob Marley. The original Japanese version was licensed and released by Music for Nations in the UK and Roadrunner Records in Europe. Attention by major US labels for the band and the need to make their work accessible to Western audiences, prompted a new release of the album with vocal tracks sung in English on July 1, 1984; the English version opened the album with the instrumental "Anthem" by Akira Takasaki, missing in the original Japanese release. In 2005, Disillusion was ranked number 290 in Rock Hard magazine's book of The 500 Greatest Rock & Metal Albums of All Time. In September 2007, Rolling Stone Japan rated Disillusion No. 40 on its list of the "100 Greatest Japanese Rock Albums of All Time".
All music composed by all lyrics by Minoru Niihara. English lyrics by Tommy McClendon. Side one"Crazy Doctor" - 4:13 "Esper" - 3:45 "Butterfly" - 5:12 "Revelation" - 4:19Side two"Exploder" - 2:29 "Dream Fantasy" - 4:34 "Milky Way" - 4:17 "Satisfaction Guaranteed" - 3:39 "Ares' Lament" - 5:302004 Japanese CD edition bonus tracks"Crazy Doctor" - 4:18 "Dream Fantasy" - 4:372005 Japanese "Disillusion" CD edition bonus tracks"Eruption" - 3:14 "Flash Out" - 4:07 LoudnessMinoru Niihara - vocals Akira Takasaki - guitars Masayoshi Yamashita - bass, Taurus pedals Munetaka Higuchi - drumsProductionJulian Mendelsohn - engineer Stuart Bruce - assistant engineer Geoff Pesche - mastering at Tape One Studios, London Mikio Shimizu, Toshi Nakashita - executive producers
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Munetaka Higuchi was a Japanese musician and record producer. He is best known as the original drummer of the heavy metal band Loudness, but first rose to prominence as a member of Lazy in the 1970s. From a young age, he was considered a talented drummer. During his high school years, Higuchi played in seven bands, but he was not happy with this situation, wanting to focus his time on only one band. That's when schoolmate and future bandmate Akira Takasaki came along and they formed Lazy. Lazy was formed by young musicians and started playing easy-listening pop-rock, that progressed to more complex music. Higuchi was identified in the band by the moniker "Davy"; when he and Takasaki shifted their musical interests to hard rock and heavy metal, they founded Loudness in 1981. During his time with Loudness, Higuchi released his first solo album, Destruction, in 1983. In the same year he produced and played drums in Mari Hamada's studio albums Lunatic Doll and Romantic Night, he left Loudness in 1992, resumed his solo career in the late-1990s, working on side projects, including Sly, Rose of Rose, the Rock'n' Roll Standard Club Band, besides collaborating with dozens of Japanese artists, both as producer and as drummer.
In 1997, as "Munetaka Higuchi & Dream Castle", he released the album Free World. The band featured many famous musicians from the jazz and rock/metal spheres, like Steve Vai, Stanley Clarke, Billy Sheehan, Ty Tabor, Terry Bozzio, T. M. Stevens, Ronnie James Dio, Richie Kotzen, Paulinho Da Costa and others; the album was released on February 1997 in Japan. In 1998, he produced Cozy Powell Forever ~ Tribute to Cozy Powell, a tribute album to the deceased drummer Cozy Powell popular in Japan. For the album, Higuchi had the collaboration of the best Japanese heavy metal musicians and was able to reunite his former bandmates of Loudness. A tour in support of the album was made with musicians from Sly, he returned to Loudness in 2000. On April 14, 2008, just two months after Loudness released the album, Metal Mad, it was announced that he was diagnosed with hepatocellular carcinoma, a type of liver cancer. On November 30, 2008, Munetaka died at the age of 49 in a hospital in Japan, his death had a vast echo in the entertainment biz.
Higuchi endorsed Sabian Cymbals, Remo drumheads and Vic Firth drumsticks. Destruction ~破壊凱旋録~（12/10/1983） Munetaka Higuchi with Dream Castle - Free World （02/21/1997） Cozy Powell Forever Super Rock Summit - Cozy Powell Forever Tour Super Rock Summit - Stairway to Heaven Super Rock Summit - Rainbow Eyes Munetaka Higuchi Drum Collection (08/23/2006）
Odin: Photon Sailer Starlight
Odin: Photon Sailer Starlight known as Odin: Starlight Mutiny, is a 1985 Japanese anime film produced by Yoshinobu Nishizaki's West Cape Corporation, known for Space Battleship Yamato. It was directed by Toshio Masuda with a music score by Hiroshi Miyagawa, both of whom worked on the Yamato series. Odin centers around the novice crew of the laser sailing space schooner Starlight as they embark on a historic interstellar test flight, they are intercepted by what seems to be a wrecked spaceship only to find that it contains a lone survivor. Unknown to the crew at this time, a mechanized space fleet approaches Earth and a scout vessel from that fleet was responsible for the destruction of Sara's ship. Sara begins to have strange dreams about a place called Odin and a series of artifacts discovered on a lonely asteroid point to an ancient Norwegian mariner's folk song which mentioned the Norse god Odin; the crew decipher these artifacts and deduce that Odin may exist as a place, the paradise planet so spoken of in mythology.
The young crew is eager to make the journey but the captain and the ship's senior officers observe the need to follow the orders of Earth Command and return to Earth immediately. The crew mutinies and locks the senior officers in the officer's lounge and warp the ship to the location given in the artifacts. Upon arrival, the Starlight meet a cosmic being, he identifies himself as Asgard and declares that he will block the gateway to paradise against corrupt beings of flesh and all other non-believers. As a result, the Starlight faces an endless swarm of mechanized attack ships; the Starlight crew fights its way through to land on what appears to be a mechanized world only to face hordes of mechanized soldiers. Surviving the onslaught and the crew is horrified to learn that these soldiers are part living beings. A dying soldier hands a crew member a crystal memory chip and asks him to insert it into a computer display readout. Through it, the crew learn of the soldier's memories of Odin and the entire story of the alien people's exodus.
Legends once told of a paradise destroyed by a kingdom of fire. Odin was once a planet that faced destruction by the radiation of Canopus, its people built giant computerized starships to monitor their exodus to find another world yet many stayed on Odin in the hopes that the fires of Canopus would die out. The computers on the ships developed sentience and transformed its humanoid refugees into cyborgs leaving those remaining on Odin the only ones who remained as themselves; the machines built larger machines to ensure that the mission succeeds resulting in an eventual corruption of the original purpose. Now these machines sought only to destroy all organic life; the dying soldier, noted that Sara not only looked like the queen of Odin's people, but that Sara was the queen's name. Sara confirms that there might be a connection as she recounts her own memories of The Tree of Life and how she was sheltered by two giants in her childhood; the cyborg soldier's dying words suggest that if Sara has these memories Odin and its people may still live.
The crew promises to dedicate themselves to finding Odin. However, they must still defeat the master computer of this machine world; the crew finds a way to insert a computer virus which causes Belgel to overload and destroy the world-fortress. The movie ends with the Starlight crew pressing on, unhindered, to begin its search for the legendary planet Odin; the movie came out in the popularity wake of Space Battleship Yamato, which had ended its run two years earlier with Final Yamato. Although sharing many similar directorial elements, it failed to gain any lasting popularity; the movie was released in the U. S. by U. S. Manga Corps in both a dubbed format and an uncut subtitled format, of which it has the distinction of suffering the harshest editing for English release length. In contrast to the original uncut version, running 2 hours 15 minutes, the English dub runs only 90 minutes. Despite attractive ship designs and beautiful animation, this movie is panned by critics and mainstream fans alike as slow and plodding.
Many criticize the movie's unresolved ending, as a trilogy was planned but canceled after underwhelming box office. It is seen by many as Nishizaki's transparent attempt to recycle the themes in Yamato; the inclusion of music by the Japanese metal band Loudness, is both ridiculed. Odin - Starlight Mutiny at Anime News Network's encyclopedia Odin: Photon Sailer Starlight on IMDb
Encyclopaedia Metallum: The Metal Archives is a website which lists bands from various forms of heavy metal music. Encyclopaedia Metallum was described by Matt Sullivan of Nashville Scene as "the Internet's central database for all that is'tr00' in the metal world." Terrorizer described the site as "a fully-exhaustive list of pretty much every metal band with full discographies, an active forum and an interlinking members list that shows the ever-incestuous beauty of the metal scene". There are exceptions for bands which fall under disputed genres not accepted by the website. Encyclopaedia Metallum attempts to provide comprehensive information on each band, such as a discography, pictures, line-ups, biography and user-submitted reviews; the site provides a system for submitting bands to the archives. The website is free of advertisements and is run independently; the Encyclopaedia Metallum was launched on July 17, 2002 by two Canadians from Montreal using the pseudonyms HellBlazer and Morrigan.
A couple years prior, HellBlazer had the idea of an encyclopedia for heavy metal and attempted to write each band's page using HTML. Although he gave up with that initial attempt, a automated site with contributions from its users was in the works; the site went live early in July 2002 and the first band added on July 7. In just over a year the site had amassed a database of over 10,000 bands; the site continues to grow at a rate of about 500 bands per month. On 1 January 2013, the site announced that bands with digital discographies could now be submitted to the Archives, changing the site's decade-long policy of physical releases only. Digital releases must have a fixed track listing, album art, professional or finished production and be available in a high-quality or lossless format through official distribution sources. On 13 November 2014, the number of bands listed in the database reached 100,000; the site has a tradition of April Fool's Day pranks. This started in 2009 with the addition of Korn into the Metal-Archives and several dozen user reviews praising their first self-titled album, with the news article of the day claiming that the first album was metal enough for the site.
A series of staged arguments between moderators appeared throughout the day on the site's forum. 2010 was the year. In 2012 the site posted an FBI logo on the main page, suggesting that the site was suspended by the FBI as a result from the SOPA and PIPA bill, a much-talked about phenomenon in the media around this time. Despite the ability to bypass this image just by clicking on it, many people took the prank and thought that Metal Archives had been shut down for promoting internet piracy. Nickelback was added to the Metal-Archives in 2013 in a prank, similar to the 2009 Korn prank, as it had user submitted joke reviews praising various Nickelback albums. In 2014, the prank consisted on the addition of several reviews of an EP called Penis Metal released by Chilean black metal band Hades Archer, followed by the addition of the band's logo and pictures which included penis on them; the band's style was changed to Penis Metal. A secondary prank involved the spontaneous deletion of controversial band Meshuggah, leading to another series of arguments between moderators on the site's forum, although not to the extent of the 2009 prank.
Meshuggah were reinstated the following day. For the 2015 prank a hoax news story was posted "announcing" that the site was no longer free to use and the site was introducing paid membership features. A following news post revealed. In 2016, following an argument between moderators and users alike on the question of moderating reviews, an announcement was made that reviews were no longer being accepted and that all existing ones would be deleted; the same day another announcement was made that the staff had changed their minds by bringing back the reviews as well as having every future review accepted automatically. This resulted in a wave of joke reviews. In 2017, the staff members announced that they would now produce articles commentating on the metal scene, proceeded to post tabloid and gossip articles on the site; these were taken down the next day. In 2018, the website announced that it was no longer accepting new band submissions, arguing, "We have over 120,000 bands, more than we thought possible.
That is more than enough to declare our database 100% complete. Safe to say, no other resource comes close to being as thorough and comprehensive." The "last" band to be added on the site was Michael Schenker Fest. That day, the website revealed that this was an April Fool's prank, wrote, "Band submissions are open again. Here's to another 120,000 bands and more!." In 2019, the website announced it was deleting most pages and would only list bands deemed "good" by the staff. Traditional heavy metal genres and era have stringent rulings; this is because in the past, some submissions labeled with those genres have turned out not to be metal, according to the site's guidelines. Some bands wh