I was recently asked to contribute to a book known as The Dig showcasing Japanese metal. I was initially approached by veteran journalist Takashi Kanazawa for an interview offering up one person’s western world view on Japanese bands, but he decided to take it up a level and asked me to compose an actual article. Published exclusively in Japan by Shinko Music, the issue came out at the end of June. The original English text is below.
Die-hard Japanese metal fans may be put off by the fact that I only mention some of the most popular / best known bands. Note that if I’d been given the space the story would have been a lot longer, and I would have paid worthy attention to many of the Japanese bands that fly below international radar a lot of the time. Fact is that Loudness, Anthem, EZO and X Japan were the building blocks for my interest in the Japanese metal scene; this is a story about that.
I am by no means an authority on Japanese metal, so take this as one fan’s tribute to that scene.
By Carl Begai
My love affair with Japanese heavy metal began as it did for the vast majority of western world metalheads: Loudness.
It was 1986, and during an episode of the weekly Power Hour on MuchMusic (Canada’s answer to MTV) the band’s video for their new song ‘Let It Go’ was aired for the first time. I was immediately enthralled. Everything about the song was magic – the guitar riff, the vocals, the melodies, the solos – and I wanted more. The next day I bought the cassette version of the Lightning Strikes album from Sam The Record Man in downtown Toronto and, during the drive home, I was introduced to a band that captivates me to this day.
Hell, it was because of ‘Let It Go’ that I decided I wanted to learn how to play guitar. After over 25 years of practice I can almost play the whole song. Almost.
It was the purchase of Loudness’ Disillusion album several weeks later, however, that made me a Japanese metal addict for life. I found the vinyl LP at the Record Peddler import store, unaware the band’s label Music For Nations had pressed Japanese and English language versions of the record. I didn’t realize until I put it on at home that I’d picked up the Japanese version. It was the strangest and most amazing thing I’d ever heard. As a Canadian I come from one of the most culturally enriched countries in the world, yet the exposure I’d had to Japanese at that point in my life never prepared me for the metal blasting out of my stereo. Everything about it was unique to my ears, and so damn heavy. Even the ballad. I was amazed, and I must have played it 100 times in the first month.
From the moment I dropped the needle on the record I was hooked, and the hunt began… Continue reading JAPANESE METAL – Life With The Beast From The East
As first impressions go bassist Taiji Sawada and his new band, Taiji With Heaven’s, made it clear with their live debut that they mean business. Dubbed The Birthday Eve – with a tip of the hat to Loudness – what could have come off as a desperate attempt to cash in on Sawada’s past turned out to be an intimate introduction to a band with the ability to dominate on the merit of its own work. 
From where I sit one of the more mind-boggling cock-ups in metal is how North American and European labels managed to miss the boat completely on a band that was selling out multi-thousand seaters and large arenas in Japan two albums into their career. Particularly when folks like Mr. Moneybags himself, KISS merch / PR god Gene Simmons, was trolling around Japan in the late ‘80s looking for new talent and scooped up the far less popular metal punks Flatbacker (better known as EZO in the years that followed). Can’t blame the pass on the fact most of X’s songs were executed in Japanese either, given the early ‘80s international success of a little export called Loudness. And it’s not like X were a trendy new thing, having built up a loyal following at home since 1982. Me, I didn’t clue in until ’93, when my best friend handed me a tape of a band he’d discovered out of the blue and suggested I check them out. This was the album, and I couldn’t help but wonder how the hell they slipped beneath my radar and that of my favourite import record stores.