Archive for Japan

Bloodstock 2018: The Friday

Posted in 1980s, Concerts, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , , , , , , , , , , , on August 17, 2018 by 80smetalman

Even having a crap night’s sleep the previous evening didn’t dent my enthusiasm for the first full day at Bloodstock. We started with a hardy bbq breakfast because we couldn’t have one the evening before on account of the waiting to get in and the brief rain. Therefore, we had it in the morning. After a breakfast of champions like that, which was washed down with beer, we decided to head for the arena.

Keeping with my established tradition, I made it a point to be present for the very first band out on the Ronnie James Dio Stage. That band happened be British punk band Feed The Rhino. If there is a textbook on how the opening band of a festival should act, then Feed The Rhino followed it to the letter. They exploded on stage at 300 mph with a song that grabs you by the throat and makes you listen to it nor did any of that energy dissipate after the first song. However, some purists may argue that the band broke protocol by organizing a mosh pit and then a wall of death. Whoever said opening bands weren’t allowed to do that? Especially when the lead singer, Lee Tobin, did a little crowd surf towards the wall. It was amazing and when they left, which was too soon, Feed The Rhino had set the mood not just for the day but for the entire weekend!

Feed The Rhino welcome everybody to Bloodstock

Lee Tobin carried by the crowd

In spite of the fact that I had seen and heard three bands I had never heard of previously who totally blew me away, I still went to the New Blood Stage to seek out more. Playing at my arrival was the band Garshkott. While they weren’t bad, their sound was in the vein of Feed The Rhino and Bloodshot Dawn, and I wouldn’t be surprised if they were ever signed, in my mind, they didn’t measure up to the two bands I have just mentioned. Then again, those two bands set the bar astronomically high.

Garshkott giving it their all

Heading back to the RJD Stage, I thought I should see Onslaught. I had seen them at my first Bloodstock in 2010 but I didn’t remember anything about them. Seeing them again, I remember why I didn’t remember them, there’s really nothing about them to remember. While their music was okay and I have since discovered from Youtube that their recorded material sounds pretty good, they just didn’t do anything for me when I’ve seen them live.

Onslaught coming out to play

Another shot of them

The uneventfulness of Onslaught meant that when the rains came down in the final minutes of their set, I fled for cover. The closest was the New Blood Stage. Providing the entertainment in my new found refuge was Democratus. They weren’t thrash but good solid metal. The singer did a great job in getting those in the tent to sing along. He would sing out, “Is this what you call?” and the audience, me included, would shout back, “Democracy!” Very relevant at the moment and I thought they were pretty good. If I was a scout, I would have signed them before the previous unsigned band on the day.

Democratus

Still raining down in buckets outside, I decided to stay in the New Blood Tent to remain dry. It turned out to be the will of the metal gods because coming on stage next was Vulgore. Of the three unsigned bands I had seen so far, these guys were the best. Their music was loud and brash but the guitarist could shred a little too. Still, their music is not for the faint hearted. They announced they have an EP coming out titled “Bliss.” I might have to hunt this one down.

The guitarist from Vulgore

More Vulgore

Vulgore made the rain stop, so after their departure, I headed outside. On the Dio Stage at the time was Memoriam. I only caught the last two songs from their set but they sounded all right. Plus, I noticed that the lead singer’s hair probably made many ladies jealous.

Memoriam, but this photo doesn’t show the singer’s hair properly.

Still looking for the music, I headed for the Sophie Lancaster Stage where I was treated to the doom metal sounds of Godthrymm. This trio was doom metal in the true sense of the word, even more than Black Sabbath. Most of the songs were about death. I remember one lyric, “Oh God, you lost your only son,” I think that explains a lot. Guitarist hammered out some good solos and he shared the lead vocal duties with the bassist. Godthrymm proved a great change of pace on the day.

Godthrymm playing doom

I’m not sure what this picture was. I think it was this person dressed up going through the crowd during Godthrymm

After a brief but necessary break, I returned to the Ronnie James Dio Stage for the first band I truly wanted to see. Before that band came out, I caught the last few minutes of Swedish death metal band Bloodbath. They sounded okay and I was amused at the shirtless guitar player whose torso was covered in fake blood.

Bloodbath, not sure if you can see the guitarist covered in blood

Then came the big bombshell. It was announced that Suicidal Tendencies were running late and wouldn’t be up next. They were re-scheduled to play at the Sophie Lancaster Stage two hours later. I had caught up with Teal and Joe and we decided to get some dinner. I kind of regret this in hindsight because swapping places with ST was the all female death metal Japanese band Love Bites. I heard they were really good and I’m liking what I’m hearing thus far. Oh well, I’ll put a song of theirs in tribute.

Returning from our late afternoon bbq, I followed Teal’s suggestion that I go with him to check out prog metal band, Kamelot. Full marks to his wisdom here because I thoroughly enjoyed them. I was duly impressed with the guitar work of Thomas Youngblood but I won’t take anything away from the rest of this band, they’re that good. They brought a female singer on for a few songs as well which made them more diverse. Let’s say I was very impressed.

Kamelot

A better shot of them

Thomas Youngblood jamming

I tried to get the female singer in this one

Instead of Kamelot following Suicidal Tendencies, we had Suicidal Tendencies following Kamelot. Which way around didn’t matter as we joined the throng heading for the Sophie Lancaster Stage. There was talk that the sheer weight of numbers in ST fans would knock the Sophie Tent off its foundations. Suicidal Tendencies exploded onto the stage with “Don’t Bring Me Down.” Almost immediately, Mike Muir had the crowd in his hand with everyone singing the chorus. The band darted around stage and Mike did his little dance. It seemed that the opening song might go for the entire set because every time it sounded like it would end, the band would pick it up again. When the song did end, the audience was screaming their appreciation. Afterwards, they played songs “I Shot the Devil,” The War in My Head” and “Subliminal.” When they played the “Skater’s Song,” Mike announced that the band had been inducted into the Skater’s Hall of Fame. A young boy was brought up to play drums along side of Dave Lombardo for one song and they also let a man in a wheelchair onto the stage. ST are definitely a class act! In between songs, Mike talked about not letting things get you down. His advice was to “Get up, stand up for yourself and you will be the person you want to be.” Great words of wisdom. When they left, the crowd was on a major high and it was also announced that it had been the largest crowd the Sophie Lancaster Stage ever had. They were phenomenal and like Teal converting me to Kamelot, I converted him to ST. It didn’t even matter that they didn’t play my two favourite songs again nor the fact that they pretty much played the same set they had at Download last year.

The crowd heading to the Sophie Stage to see Suicidal Tendencies

ST comes on stage

Guitarist Dean Pleasants can still jam.

Another shot of Dean

Mike leading the charge

After feeding my face some more, we all headed back to the Ronnie James Dio Stage for the main even, Judas Priest. They had a massive stage set up with what looked like cacti which lit up on the wall behind. When the band came out, Rob Halford looked like a bent over old man but he quickly straightened up when they started playing. They opened with “Fire Power” and played two more songs from the album. It was the fourth song that was the big thrill for me when they revealed their all time hidden gem, “The Ripper.” I think I was the only one in the crowd who went absolutely nuts at it. Both Teal and some young lady in front of me both stated, “You’re excited about this song.” Next, they revealed that it was the 40th anniversary of their “Stained Glass” album where they played “Saints in Hell” as a tribute. Other Priest greats included “Turbo Lover” and “Freewheel Burning.” While Rob was the great show man he has always been for more than four decades, I was impressed with guitarists Richie Faulkner. He seems to have learned from his mentors and if the band was to continue, he is more than capable to carry them on. Scott Travis was pretty cool too and I loved how he and Richie traded solos. Things seemed to end with an extended version of “You Got Another Thing Comin'” and “Painkiller,” both drawing large cheers from the crowd. But Judas Priest weren’t done. Obviously, there would be an encore and that’s when they sprung a surprise. Glenn Tipton came out to play with them for the four encore songs. He did look a little frail and Rob kept coming over to him but he stayed the course. He even played a solo on the closing song, “Living After Midnight” which followed on from “Breaking the Law.” When the mighty Priest did leave, it was to much adulation and a brief but cool fireworks display.

Blasted light show kept me from getting decent pictures of Priest

See again!

A little better

Even taking a photo of the big screen didn’t work.

I kept trying though

Teal and Joe called it a night but I had one more act to watch. As soon as Judas Priest was finished, I high tailed it over to the Sophie Lancaster Stage to catch Doro. My timing was perfect because as I entered the tent, she was performing one of my favourites, “I Rule the Ruins.” That wasn’t the only one she treated me to, a few songs later, I got to hear “East Meets West,” where she brought out a former guitarist Tommy Bowen. Therefore, for the rest of her show, she had a three guitar attack behind her. Sounded real good when she played “Burning the Witches.” Doro engaged the audience really well throughout and while her light show was nothing like Priest, it was still pretty cool. “All We Are” got the crowd really going and it carried on until she left the stage. When she came back out, Doro asked the audience what song they would like. I was too far away so she couldn’t hear me calling out for “I’ll Make It On My Own,” so she said, since nobody came forth with a song, she’d pick one, which she did. A second song was asked for and she picked one from a young lady in the front and that’s how the night ended, with loads of bows and “thank yous” before leaving. It was a great way to end the first day!

Doro on the Sophie Stage

Better pics with Doro

Tommy Bowen on guitar

Doro mesmerizes the crowd

Note: You may have noticed that I haven’t posted songs from every band I saw. I thought to do it with the ones I had never heard of before and now you have.

Next post: Saturday

To download Rock and Roll Children, go to: http://mediahubb.net/14510967/rock-and-roll-children.html

 

 

 

Great Metal Albums of 1984: Loudness- Disillusion

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , on May 3, 2018 by 80smetalman

No further proof is needed to support the fact that heavy metal had the world by the balls in 1984 than the album from Japanese metal greats Loudness, “Disillusion.” As far as I know, this was the first Loudness album to be sung in English. All previous albums had been sung in the band’s native tongue although that did not make them any less kick ass.

Thinking about the above statement, that leads to the one small problem with the album. Minoru Nihara’s vocals are sometimes difficult to hear. This is a shame because it is true he sings better English than what he speaks. I’ve heard interviews with him. What is a further shame is the fact that you can’t hear what a great voice he has. Some of you might remember that when I’ve posted about previous Loudness albums, I compared Minoru Nihara to the likes of Ronnie James Dio, Klaus Meine and Ian Gillan. He certainly belongs in the same league as those just mentioned.

While not being able to fully appreciate Nihara’s vocals on “Disillusion” is a little frustrating at times, it is only a small inconvenience because what does obscure the vocals is the brilliant guitar playing of Akira Takasaki. From the first note of the instrumental opener, he just shreds and riffs all over the album. The solos are superb and even his rhythm guitar parts are done amazingly well. He shines extremely well on the tracks “Butterfly” and his instrumental solo “Exploder.” However, my vote for the favourite track is still “Satisfaction Guaranteed” because Nihara’s vocals come through the clearest on it and he does a good job with them. Of course, Takasaki’s guitar playing guided by a good rhythm section help as well.

Track Listing:

  1. Anthem
  2. Crazy Doctor
  3. Esper
  4. Butterfly
  5. Revelation
  6. Exploder
  7. Dream Fantasy
  8. Milky Way
  9. Satisfaction Guaranteed
  10. Ares’ Lament

Loudness

Minoru Nihara- lead vocals

Akira Takasaki- guitar

Masayoshi Yamashita- bass, taurus pedals

Munetaka Higuchi- drums

“Disillusion” put Loudness on the metal map in the West and set the stage for the following album which would propel them to greatness. It also proved that culture, race, or national borders had nothing to do with enjoying great metal.

BTW, I will be purchasing my tickets for Sunday’s Download tonight.

Next post: Triumph- Thunder 7

To get Rock and Roll Children, go to: https://crreadac.cf/current/ebooks-free-download-rock-and-roll-children-fb2-by-michael-d-lefevre.html

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Great Metal Albums of 1983: The Plasmatics- Coup d’Etat

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , , , on November 19, 2015 by 80smetalman

220px-CoupdEtat

Here is the last of the great metal albums which came out in 1982 but it didn’t come to my attention until the early months of 1983 due to my being posted in Japan at the time. Like Billy Squier’s “Emotions in Motion” album, “Coup d’Etat” by the Plasmatics was an album that I have neglected for quite a long time. Saying that, I still have fond memories of seeing the video for the single, “The Damned” from this album on the video screens of Sgt Peppers on Okinawa. At this time, music video was still something I was only becoming familiar with, so seeing Wendy O Williams in that outfit while singing away while standing on the school bus as it crashed through walls of television sets was something else. Probably why “The Damned” is my favourite Plasmatics song of all time. It also helps that it’s a great song to begin with.

Wendy driving the school bus in "The Damned."

Wendy driving the school bus in “The Damned.”

For years, I have regarded this band as punk but as I listen to “Coup d’Etat” again after so many years, I firmly believe that the album holds all the classic trademarks of heavy metal. Track after track has some heavy metal hook that grasps my attention and leaves me wondering why I didn’t take notice of it more. First, the album has both a grabbing opener that makes you want to stick around for the rest of it and a closer that seals the belief that this is a great album once it’s over. Of course all the tracks in between keep things running along very nicely. Standout tracks, apart from “The Damned” of course are “No Class,” “Stop” and “Mistress of Taboo.”

Another thing which not only I but probably many others had is the lack of appreciation for the talents of the rest of the band. Yes, Wendy was the main feature of the Plasmatics, both for her looks and her very unique vocals and I have already sung the praises of lead guitarist Ritchie Stotts when I reviewed the “Metal Priestess” album. He’s even better on this album by the way. I submit “Paths of Glory” into evidence. However, nothing should be taken away from the rhythm section of Beech, Romanelli and Tolliver. These guys are definitely tighter on this album and the results prove itself in the music. What this album has done is to look at the entire band in a whole new way and give them the respect they are long overdue.

Track Listing

  1. Put Your Love Into Me
  2. Stop
  3. Rock’ N Roll
  4. Lightning Breaks
  5. No Class
  6. Mistress of Taboo
  7. Country Fairs
  8. Paths of Glory
  9. Just Like on TV
  10. The Damned
  11. Uniformed Guards
The Plasmatics

The Plasmatics

Wendy O Williams- lead vocals

Ritchie Stotts- lead guitar

Wes Beech- rhythm guitar, lead guitar on tracks 2, 9, 5

Junior Romanelli- bass, keyboards

T. C. Tolliver-drums, percussion

I’ve just had a thought, I wonder if the opening track on this album was a response to a song on AC/DC’s “Back in Black” album. Interesting thought, though. What I do know is that this album helped start my 1983 in style and while I may have neglected it for a long time, (fool, me), it gave me a video that has stuck well in my mind for over thirty years.

Next post: Utopia

To buy Rock And Roll Children, go to http://www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London

 

 

 

 

Great Metal Albums of 1983: Billy Squier- Emotions in Motion

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , on November 16, 2015 by 80smetalman

220px-Sqmot

Like I’ve probably said a million times on here, one of the greatest things about writing this blog is that it allows me to reminisce about some of the great albums of the time. Albums that I might not have listened to for nearly three decades or more! Not listening to an album for that extreme length of time, one forgets how great an album can be. Therefore, it is a pleasant surprise when you put such an album on and just realise that very thing. All of the above can be said for the “Emotions in Motion” album from Billy Squier. The reason why I haven’t listened to this one in such a long time was the fact that I never bought it because my sister had it and while she was away at college, I would sometimes borrow it and listen to it. Dawn, if you’re reading this, I hope you’re not too upset with me for borrowing this fine album without asking.

A year ago, when I visited Squier’s “Don’t Say No” album, I commented that Billy was the best American artist not to have cracked Great Britain. However, since I was in Okinawa when I first saw the video for the album’s single, “Everybody Wants You,” I can safely say that Billy Squier did make it in Japan. Listening to “Emotions in Motion” again after so many years, it’s easy to see why. I like this album even more than the more commercially successful “Don’t Say No.”

Billy_Squier_-_Don't_Say_No

First, like so many albums that were released in 1982, (this one didn’t come to my attention until 1983) it starts off with the single. “Everybody Wants You” is a good song and probably a good choice to be released as a single, especially with the catchy riff it contains, but it’s not the best song on the album. In fact, I’ve been having great difficulty in choosing such as all of the songs are that good here. Another fact I’ve forgotten about the album is that the title track is much harder than I remembered it being and that’s a good thing. Damn my Swiss cheese memory!

As I said, after the first two songs, the hit single and title track, “Emotions in Motion” continues to kick some serious ass. “Learn How To Live” suckers you in with an alluring acoustic intro before blasting you away with more powerful chords. Furthermore, the song is suited fine to Billy’s vocals and would not work with anyone else. “In Your Eyes” is a power ballad worthy to included with many of the others I’ve mentioned in so many posts. It nearly touches the bar set by April Wine in 1981. However, the rest of the album are all just simply great rockers, period. Another surprise after a 30 year non listening famine is that I had forgotten that Squier can play a guitar. The problem is that his best known songs, including “Everybody Wants You” don’t have noteworthy solos. Any doubts about his guitar ability is silenced once you hear him go to town on “Keep Me Satisfied” and his lead guitar intro on “One Good Woman” is quite impressive as well. There are others as well. In the end, I must say shame on me for neglecting such a great album for all of these years.

Track Listing:

  1. Everybody Wants You
  2. Emotions in Motion
  3. Learn How to Live
  4. In Your Eyes
  5. Keep Me Satisfied
  6. It Keeps You Rocking
  7. One Good Woman
  8. She’s a Runner
  9. Catch 22
  10. Listen to the Heartbeat
Billy Squier

Billy Squier

Billy Squier- lead vocals, lead guitar

Kevin Osborn- guitar

Jeff Golub- guitar

Allen St John- keyboards, synthesizers, backing vocals

Greg Lubahn- bass, backing vocals

Bobby Chouinard- drums

Freddie Mercury and Roger Taylor- backing vocals on “Everybody Wants You” and emotional support

While I admit that I have neglected many a fine album over the years, there hasn’t been one making me feel this guilty about it like “Emotions in Motion” from Billy Squier. I just had a thought and I hope my British friends will support this. Since he’s the best American not to have made it in Britain, maybe it’s time he does. So I urge all of my British friends, as well as the rest of you reading this, to go out and listen to this album. I know you won’t be disappointed. Hell, maybe I’ll go and put him on the wishlist for this year’s Bloodstock Festival.

Next post: The Plasmatics- Coup d’ Etat

To buy Rock And Roll Children, go to http://www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London

Great Metal Albums of 1983: The Scorpions- Blackout

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , on November 11, 2015 by 80smetalman

 220px-Scorpions_Backout

First of all, let me say a well done to Deke for picking out all four albums on display in the last post. He gets 50 80smetalman points for that, not that they’re worth anything in the real world. For those who didn’t get all four and many got some, the albums were Van Halen I, Twisted Sister- “Stay Hungry,” Led Zeppelin- “Remastered” and Grace Slick- “Dreams.” Thank you all who participated and I hope everyone is happy that they finally got to see those famous ammo cans. It is really a cool way to store cassettes.

Now onto the album. “Blackout” by the Scorpions might have been released in 1982 but it brought my 1983 in rocking style. I spent the first seven weeks of the year at a small camp near Mt Fuji, Japan so music news was something scarce. It was when I returned to Okinawa that I heard this album though I can’t remember if I first heard it at Sgt Pepper’s or Kin Loo. It’s not important, what was important was the fact that when I heard “Blackout,” I was totally blown away.

It just happens that the album starts out with my favourite Scorpions song of all time. The title track is such an energy producing song that it’s only right that it should open the album. I mean talk about power chords. What is really cool is that after your ears are pummeled by “Blackout,” the album doesn’t stop to catch a breath but immediately goes into another great song, “Can’t Live Without You.” This song praises the fans who buy Scorpions records and see them live. And as the song goes, I do play an imaginary guitar when I hear these songs.

Things continue nicely over the next four songs. The single, “No One Like You,” follows on perfectly from its predecessors and goes very well into the next few after. After those three harder songs, things go slightly melodic with my second favourite Scorpions of all time, “Arizona.” The power chords are very melodically done in such away that I just say ‘wow’ each time I hear the song. Maybe they should have released that one as a single. After “Arizona,” there is what seems to be a concept song in “China White” before closing with the eerie sounding ballad, “When the Smoke is Going Down,” which is the best song to end things with on this great album.

One constant which is heard on every song on “Blackout” is the great lead guitar work from Mathias Jabs and at times Rudy Schenker. Jabs has been called underrated by many metal fans and the way he smokes the finger board here supports that statement. As always, I won’t take anything away from the rest of the band, especially as I have always considered Klaus Meine to be one of the best in the business.

Track Listing:

  1. Blackout
  2. Can’t Live Without You
  3. No One Like You
  4. You Give Me All I Need
  5. Now
  6. Dynamite
  7. Arizona
  8. China White
  9. When the Smoke is Going Down
The Scorpions

The Scorpions

Klaus Meine- lead vocals

Rudy Schenker- rhythm and lead guitar

Matthias Jabs- lead and rhythm guitar

Francis Buchholz- bass

Herman Rarebell- drums

I can’t think of any way better to start of a year than with “Blackout” by the Scorpions. It is such a great metal album and it brought my 1983 in just right. However, even after all these years, I still don’t grow tired of it.

Next post: Billy Squier- Emotions in Motion

To buy Rock And Roll Children, go to http://www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London

 

 

80smetalman’s Choices for National Anthems

Posted in Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , , , , , , , , , , , on November 4, 2015 by 80smetalman

National Anthems inspire love for one’s country. Every one I’ve heard definitely does that. Some are hard driving like the US, UK or Canada while others are more somber like Japan or Wales. Even Italy’s which reminded me of a parade or Spain’s which sounds like a sixteenth century dance still can inspire love for the country. However, most national anthems are over a century old and while there’s nothing wrong with that, since they still inspire nationalistic feelings, I wonder if more modern ones could be used. See, I have come to associate certain songs by certain bands with the country they come from and that has me thinking. Maybe these songs should be national anthems for their country.

Lynyrd Skynyrd

Lynyrd Skynyrd

USA: Freebird by Lynyrd Skynyrd (I’m talking the full fifteen minute live version)

Led Zeppelin

Led Zeppelin

UK: Stairway to Heaven by Led Zeppelin

Rush

Rush

Canada: Tom Sawyer by Rush

Bonfire

Bonfire

Germany: Proud of My Country by Bonfire

TNT

TNT

Norway- Seven Seas by TNT

Yngwie Malmsteen

Yngwie Malmsteen

Sweden- As Above, So Below by Yngwie Malmsteen

Hanoi Rocks

Hanoi Rocks

Finland- Tragedy by Hanoi Rocks

Golden Earring

Golden Earring

The Netherlands: Radar Love by Golden Earring

U2

U2

Ireland- Sunday Bloody Sunday by U2

Loudness

Loudness

Japan- Crazy Nights by Loudness

AC/DC

AC/DC

Australia- Highway to Hell by AC/DC

Note: For Brazil, it would definitely be something by Seputura and France would be a suitable song by Gojira.

While this is meant to be a little bit of fun, I’m sure some of you are cracking your knuckles and limbering your typing fingers to contribute some of your own suggestions. Well, I’m waiting.

Next post: The Scorpions- Blackout

To buy Rock and Roll Children, go to http://www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London

Memories of Some Great Rock Clubs

Posted in 1980s, Heavy Metal, Heavy Metal and the 1980s, Music, Rock, Uncategorized with tags , , , , , , , , , , , , , , , on November 1, 2015 by 80smetalman

From October 1982 to April 1983, I was stationed on Okinawa although I did spend some time in South Korea and seven weeks near Mt Fuji in Japan. For an emerging young metalhead such as myself, the challenge was to find a good place to unwind and totally rock out. The enlisted club provided very cheap beer and live bands brought over from the Philippines that usually consisted of four or five musicians with a pretty girl on lead vocals. Some of these bands were quite good, others, not so. However, it didn’t quench my desire to find some real hard rock so I had to look elsewhere. The town outside my base, Henoko, didn’t provide anything of the like but there was a town, just a twenty minute bus ride away that did.

Kin

Kin

The town of Kin had several cool rock bars, the most notable of these was called Sgt Peppers. It had a great sound system with several really cool video screens. The best part was that they always played great rock and metal. It was here that I first learned about bands like Saxon, Whitesnake and the Plasmatics. However, they mixed it with some classic rock as well. I remember the live video of “War Pigs” by Black Sabbath as well as live footage from Nazereth playing “Love Hurts” and “Hair of the Dog.” The great thing about Sgt Peppers is that whenever you went in, you were never disappointed by the music being played.

One disadvantage with Sgt Peppers was the fact that beer was so expensive, $2.25 for a bottle was rather dear in 1982-3. So, if the funds were running low, I would go one street over to another cool rock bar called Kin Loo. The Kin Loo wasn’t as sophisticated as Sgt Peppers but the beers were only $1.50. Yes, I too wish I could pay those prices for a beer these days. It might not have had the video screens like the other place but the music was still good. The best thing was that you could request what you wanted to hear and they would not just play one song but an entire side of an album. That gave me a chance to reminisce about old favourites and get an idea of anything new. This gave me the opportunity to listen to the album that started my 1983 in great style, The Scorpions, “Blackout.”

Both of these bars were great in helping me unwind from the stresses of military life. I did manage to get to the very south of Okinawa where there was an even larger Sgt Peppers and a club called Condition Green with an in house band with the same name. But that was only the one time so I had to rely on those bars in Kin. Fortunately, they were both able to provide me with what I needed. That’s why I still remember them so fondly after so many years. Unfortunately, unlike the Driftwood, the internet didn’t have any photos of them so I can’t say if they’re still there.

Next post: National Anthems

To buy Rock and Roll Children, go to http://www.strategicpublishinggroup.com/title/RockAndRollChildren.html

Also available on Amazon, Barnes & Noble and Froogle and on sale at Foyles Book Shop in London