“Can I get some nachos, please?”
Konjo-san, the owner, smiled. “Coming right up.”
I’d been in Takamatsu City, just off the coast of the Seto Inland Sea, for about three weeks, and the remaining 11 months and one week stretched out before me like a childhood dream come true.
But childhood dream or not, I was craving Mexican food. Having basically grown up in and around Austin, I was used to Tex-Mex 24/7. For the past three weeks I’d indulged in every kind of sushi and seafood I could get my hands on, some of it so fresh that it wiggled out of my hands at the supermarket, causing me to cry out in surprise. Causing no fewer than half dozen supermarket workers to rush over and see what was wrong. Causing no fewer than half dozen supermarket workers to shake their heads in disbelief, muttering at the foolishness of the clumsy gaijin.
I looked around at the tiny establishment. Ruff House Bar was basically fifty feet away from where I worked, and was very popular among the gaijin. Famous for its ‘open mic’ nights, the place would fill up very quickly on any given night of the week. Of course, it only held about 30 people before the fire marshal had to be called in. Located downstairs from street level, there was an actual tree growing through the bar and into the street above. I was wondering how they’d managed to build the place while preserving the tree when Konjo-san showed up with my nachos.
I thanked him profusely in my ragged Japanese and looked down. I tried to hide my disappointment as I handed him his five dollars. Doritos. In a cup. With a slice of American cheese melted over it. In the microwave. And Pace picante sauce.
Oh well, I thought. You don’t go to Japan to eat nachos.
You go to Japan to eat incredible sushi. You go to Japan to play at Konjo-san’s open mic nights. You go to Japan to have Konjo-san applaud your efforts, only to join you at the mic and proceed to blow you away with his amazing lead guitar technique.
And on Friday nights, in Takamatsu, you go to Japan to hear Konjo-san crank up Loudness’ “Crazy Nights” so loud that you can hear it a block away.
“It’s Japan’s Heavy Metal National Anthem,” Konjo-san proudly told me, clearly relishing my look of delight. “It took the world by storm.”
“I know,” I replied. “I loved Thunder In The East right away when it came out, but I never got into anything after that first album.”
“That wasn’t their first album,” he told me with a bit of a pious grin. “It was their FIFTH!”
I was clearly out of my depth, and I knew it. I decided to swallow what was left of my pride.
“So what do you like about this album?” I asked.
“Let me break it down for you,” he said, reaching down beneath the bar to start the cd at the beginning again.
Konjo-san Breaks It Down
1) Crazy Nights: First off, the opening guitar riff pretty much epitomizes the “scooped mids” guitar tone that defined the early- to mid-80’s metal scene, even internationally. Akira Takasaki (高崎 晃) plays flashy but solid guitar throughout the album. And right away, you English-speakers get to hear Minoru Niihara (二井原 実) singing in English. Kinda like Sukiyaki Western Django. Anthemic, heavy opening. Lots of chanting “hey!”, and the solo… oh my god… Starts off with some sweet bends, then into some sweet 8-finger tapping. Takasaki tears it up. Drums and bass are locked in tight. Outro solo has whammy madness and double-stops galore. He’s fluid, fast, and ferocious.
2) Like Hell: Drummer Munetaka Higuchi (樋口 宗孝) and bassist Masayoshi Yamashita (山下 昌良) join Takasaki on the opening of this one. Heavy, bright, and melodic, again with the entire band chanting the chorus, “Like Hell”. Typical cheesy 80’s lyrics (I’m gonna rock you Like Hell!), but you knew that when you bought the album. And that’s why you still love it today.
3) Heavy Chains: Nice clean opening with dirty, bluesy lead over it for the intro. Then vocals come in… kind of power-ballad-ey. Super kick-ass vocals. Then a heavy galloping rhythm (think Maiden) comes in, with screaming leads… a bit reminiscent of Mercyful Fate… but the lead flourishes are a lot tighter and more complex than just simple, throw-away pentatonic blues scale stuff. Nice break down in the middle before the rhythm changes to a slow heavy thing, then back to double-time for the solo section. Beautiful build, with a lot of Yngwie-style lead stuff. Then a beautiful screaming dive, and back to the galloping rhythm. Gorgeous.
4) Get Away: One of the most up-tempo songs on the album. “Don’t look back, run for cover. Save yourself, save your lover. Overkill, undercover. Kick and scream at midnight.” Well, okay. Again, we knew what we were signing up for, and Loudness doesn’t disappoint. Personally, this was always one of the low spots on the album for me, but I always looked forward to it because after it comes…
5) We Could Be Together: From the opening pick slide to the crashing drum intro to the blindingly-quick guitar licks that Takasaki-san throws in the spaces (???) between the rhythm lines to the super-anthemic chorus, this song is pretty much the perfect 80’s metal power ballad. Heavy and fast while still melodic, this song has got it all. Intro to the guitar solo is amazing… like a separate song unto itself… then into the solo proper. Nice vibrato… then some quick tapping stuff, then ascending arpeggio stuff that’s too quick to follow. Song closes with yet ANOTHER anthemic chorus, chanted/sung by the entire band: “I’ve got your real love, baby…” Okay, it sounds better than it looks on paper.
6) Run For Your Life: This one starts with some cool synth thing, setting up a simple, but moody 4/4 feel. Then everybody else comes crashing in, briefly joining the synth groove. Then comes a sweet 9/4 guitar groove that HAD to have been an influence on Marty Friedman when he wrote “Lucretia”. Then we’re in 3/4 for a brief respite… clean and ballad-ey… the calm before the storm. Then heavy, but still slow. Building, then suddenly we’re into a double-time section once again characterized by that muted melody picking that we all love so much. Through the cycle again, through the 2nd chorus, and then 7/8 alternates with 8/8 for a pretty sweet proggy-sounding solo section. Lots of echo and reverb on this. Then back to 4/4 whammy-bar madness and out.
7) Clockwork Toy: We can taste old Van Halen influences (first two albums) here a bit in the beginning… Then we’re off and running. Another super up-tempo rocker. Double bass mania. Excellent vocal range. Sweet chorus. Nice slow-down section, kind of Megadeth-ey in its halftime feel. Solo sounds like Alcatrazz-era Yngwie, or even more like Uli Roth’s earlier stuff. Very sweet.
8) No Way Out: If any of the songs sound like they belong on a different album, it’s this one. Actually sounds more like a B.O.C. song being covered by a Japanese metal band. Which isn’t necessarily a bad thing. Almost a little S.R.V. feel in there, in the beginning, with just a shade more distortion. Pretty bluesy, at first. The melody line for the bridge is most intriguing: “Screaming, I shout: There’s no way out!” fa, mi, (up to) DO, sol. Whoa. Not exactly the smoothest, but certainly something that’s hard to forget. Which is good. I think. Then onto a really sweet-sounding chorus. Solo starts with a very basic melody line, then repeats. Then, goes into a frenzy of flailing fingers. Arpeggios and modal runs galore. Very Vai. Pushing Satriani. Rumor has it he loved Blackmore, as well.
9) The Lines Are Down: Another fast one, with breakneck speed gallop-picking. Chord progression is pretty simple on this one: vi-V-vi-V-vi-V for the verses… but that’s okay. The heavy drums really help to round things out. It’s not the best song on the album, but it does incorporate one of the most blatant Eddie Van Halen-isms at the 1:19 mark. Which, once again, isn’t necessarily a bad thing. Not my favorite song on the album, but just as Get Away played the perfect foil to We Could Be Together, this song serves as the perfect preface for…
10) Never Change Your Mind: The style of the opening finger picked guitar part reminds me of the beginning of Dio’s Last In Line. Maybe a little quicker, but the basic feel is there. Then on to some very (!) bluesy licks. (To show that he can?) Still, it works. When this song comes on, you may as well pull out both Bic lighters and start slowly waving your arms above your head, from side to side. Because that’s exactly what this song is about. It pretends to get quicker toward the middle, but it’s just a ploy. We get the breakdown and some cool Who-influenced bass riffage just before the solo. Which is almost slow enough to sing. Then a very pretty outro solo, with guitar trading licks with vocals. All in all, a feelgood closing tune.
Arigato gozaimasu, Konjo-san!
Black Wax Reviews Rating: Ten Stars out of Eleven. Practically perfect.