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The arrangement of this song reminds of Deep Purple and Black Sabbath, probably because of Carmen Maki, the founder of Japanese female rock vocals, whom Keiko Terada has followed since she was in elementary school. It may be the influence of the tone of Carmen Maki's band OZ (1974-1977). ruclips.net/video/GmrY18ZUXo8/видео.html CARMEN MAKI & OZ "Carmen Maki & Oz - Last live" (1977) August 1, 1978 Released Kitty Records Japan

@@brianchar-bow3273 Thank you. The keyboards sounds are similar to Jon Lord's organ sounds.

@@GrayFox14 Thanks for your reply.

I agree, They are now my Favorite Band of All. Judas Priest was my Number one. But they are now number 2

For the past almost 60 years, Japanese popular music has actually spawned music and musicians at the same time as the popular trends of the Western scene. However, for almost 60 years up to the present, the Western music industry has ignored Japanese musicians and bands as if they did not exist on this earth. The Western music industry did not sign many Japanese musicians and bands to official sales contracts in the Western music market and did not supply their music to the world market. As a result, many people around the world have long been deprived of the opportunity to know that popular music exists in Japan and that there is a great deal of musical talent and musical works worth listening to in a variety of genres. The reason for this is that they have decided that Japanese lyrics will never sell in the West, and they do not consider Japanese music as a commercial product. However, the same was true for performance-oriented jazz and fusion bands, which are supposed to have no language barriers. For this reason, Japanese bands have been tied to the Japanese domestic market, wanting to perform overseas but not having the opportunity to do so. This invisible barrier in the Western music industry was broken down with the advent of the Internet after the millennium and new borderless media such as RUclips. The emergence of this new borderless media broke down the traditional barriers of the Western music industry and created opportunities for past Japanese music to be directly distributed privately and accidentally (through Internet functions such as recommendations) to the eyes and ears of people around the world. It then gradually came to be widely distributed by word of mouth from those who were interested. In this process, the existence of a vast amount of Japanese rock and other Japanese popular music from the 60s through the 90s finally became known to many people around the world after the millennium. The new distribution channel is not a corporate effort on the part of Japan to sell, nor is it a change in policy on the part of Western industries. What is important to note here is that contrary to the expectations of Western record companies, which concluded that “songs with Japanese lyrics would not sell in the Western market because there was no needs for them”, but the actual market response is that “good songs and artists were good”, and that people want to get them. It became clear that the Western industry's judgment of the language barrier was incorrect. As Internet distribution has proven, many of these past Japanese musicians were talented enough to create music that captured the hearts and minds of audiences on a global level, but were not given the opportunity to showcase their work when they were young and at the peak of their talent. The advent of the Internet has exposed these musicians to the eyes of the world and brought their works and talents, which had been buried in the Japanese market, to the forefront for recognition. However, the method of distribution is direct distribution, without the author's or copyright holder's consent, without negotiation of compensation, and without consideration of the author's intentions, the works are distributed without permission and flow unilaterally. However, it is a big step and an opportunity to discover that there is a need for Japanese popular music from the past in the global market, and the new question is how to turn this into a business model.

SHOW-YA ”In the city under martial law - CRY FOR THE FREEDOM” （KAIGEN REI no MACHI) Lyrics: Yoshihiko Ando, music: Miki Nakamura, arrangement: show-ya Released on September 6, 1989 (Rough English translation of Japanese lyrics) In a city bound by invisible chains A dark shadow approaches The sky burns red as if screaming The power of human words is always empty In the rubble of the city, stained with blood I searched for my dream But the answer is always found only in the raging flames Is there nothing to fear for a young soldier? I fear even my own shadow. Times change so fast that I'm swept along with the flow And yet, regardless, the world keeps moving To the free skies, the bird that spread its wings and flew away Someone's trembling fingers shot her down Still, the dream I believed in will never die I believe in tomorrow I wonder what the bird that spread her wings and flew away to the sad sky is thinking To the free sky, spreading my wings, I'm searching for my dream But the answer is always found only in the raging fire

Completely true! Miki Igarashi never fails to express what the respective song (and I myself) needs in that very moment. That's what I call perfection - when it comes to playing a guitar solo that embodies the song I consider her the most emotion-expressing guitarist on this planet.