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.
I saw Deep Purple three times during Mark II and once during Mark III, as well as Led Zeppelin and Black Sabbath, and I would gladly trade any of those to have seen Show-Ya live. Wow, what an amazing band.
SHOW-YA ”In the City Under Martial Law - CRY FOR THE FREEDOM” - YAON of NAON, from Live 2008 （The meaning of YAON of NAON is "Hibiya Open-Air Concert Hall Live Show by all-women bands".） SHOW-YA is a pioneer of Japanese girls metal bands composed entirely of women in the 1980s. The predecessor of the band was the band "Medusa" with vocalist Keiko Terada and keyboardist Miki Nakamura, which later changed its name to "SHOW-YA". In 1982, the band won the grand prize in the ladies' division of a band contest sponsored by YAMAHA. In 1985, they made their major label debut with Toshiba EMI Japan. Two songs from their seventh album "Outerlimits" released in 1989, their 8th single "Marginal (GENKAI)Lovers" and 9th single " I Am a Stormy Woman (WATASHI WA ARASHI)" became consecutive hits, and the album sold over 600,000 copies, making them the most popular girl metal band in Japan at that time. The band went through member changes, breakups, and reunions, and is one of those rare bands where the original members are still active with a career spanning over 35 years. It is truly regrettable that SHOW-YA did not have the chance to sign a contract with a Western record company to release their works（CDs, DVD） in the global market during their young heyday. SHOW-YA are... KeikoTerada: Vocal Satomi Senba: Bass, chorus Miki (Captain) Nakamura - Keyboards, chorus Miki (Mittan) Tsunoda- Drums, chorus Miki (Sangou ,Third) Igarashi - Guitar, chorus,
I love ALL the songs of Show-Ya... But this is my favorite 💝💝💝 The sound of her voice.. the guitarwork💝 the bass, drums everything.. MASTERPIECE 😍 I LOVE SHOW-YA 🤘💝🤘
Love this song ,full of power and raw emotion that drills right through ya.show-ya is getting even better as time moves on. listened to Show-ya for over 4 years , only goes from strength to strength.
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
I have a hard time not being furious with the American music industry for giving up on good music, and burying us for the past 30+ years in absolute shit. Here is a band that was doing it right all this time, and I only found them by accident on youtube?
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.
Just because they have a keyboard player? Nope. They sound nothing like Deep Purple, and better to me because they don’t do indulgent jammings or meandering keyboard or guitar solos live. This band is tight.
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
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
出たしのキーボード演奏部分、キャプテンがかなりこだわった曲らしいですね、素晴らしい
詞の中は、戦争という争いの中、１人の若い兵士がどんな思いで、その場に立ち、どんな思いでいるのかを歌いあげてる歌、少し切なくなる歌詞ですが好きです。
しょうやで一番好きな曲です！
下手にアレンジせず、若いときと同様にshoutして歌ってくれるのは素晴らしい。
I just love the way the drummer smiles and play!
この曲は天安門事件で犠牲になった学生達への鎮魂歌なんですよね。
懐かしいです。
名バンドの名曲。大好き。
いつ聞いてもい曲です！
やっぱ、最高‼
魂の歌声に、引き込まれる💖😍
最高‼よろしく(*^^*)
I have listened to this song for three hours straight and that guitar solo takes a piece of my soul every time ❣️
I absolutely love it ❣️
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.
姐さんのボーカルもさることながら、やっぱりこの演奏力は凄いですね‼ Sun ╴goさんの ライブバージョンのギターソロも最高です。(2018年1月10日)
ハチャメチャイケてる！本当に本当にロックってこうゆうことだなー！邦楽も捨てたもんじゃない。
One of my favorite songs from show-ya
First time to hear the live version.
Thank u for posting!
I saw Deep Purple three times during Mark II and once during Mark III, as well as Led Zeppelin and Black Sabbath, and I would gladly trade any of those to have seen Show-Ya live. Wow, what an amazing band.
Me Also
SHOW-YA ”In the City Under Martial Law - CRY FOR THE FREEDOM” -
YAON of NAON, from Live 2008
（The meaning of YAON of NAON is "Hibiya Open-Air Concert Hall Live Show by all-women bands".）
SHOW-YA is a pioneer of Japanese girls metal bands composed entirely of women in the 1980s.
The predecessor of the band was the band "Medusa" with vocalist Keiko Terada and keyboardist Miki Nakamura,
which later changed its name to "SHOW-YA".
In 1982, the band won the grand prize in the ladies' division of a band contest sponsored by YAMAHA.
In 1985, they made their major label debut with Toshiba EMI Japan.
Two songs from their seventh album "Outerlimits" released in 1989, their 8th single "Marginal (GENKAI)Lovers"
and 9th single " I Am a Stormy Woman (WATASHI WA ARASHI)" became consecutive hits, and the album sold over 600,000 copies, making them the most popular girl metal band in Japan at that time.
The band went through member changes, breakups, and reunions, and is one of those rare bands where the original members are still active with a career spanning over 35 years.
It is truly regrettable that SHOW-YA did not have the chance to sign a contract with a Western record company to release their works（CDs, DVD） in the global market during their young heyday.
SHOW-YA are...
KeikoTerada: Vocal
Satomi Senba: Bass, chorus
Miki (Captain) Nakamura - Keyboards, chorus
Miki (Mittan) Tsunoda- Drums, chorus
Miki (Sangou ,Third) Igarashi - Guitar, chorus,
すごく奇麗な映像と音質です
ミッタンが美しいです、好きです
素晴らしい カッコいい
I love ALL the songs of Show-Ya...
But this is my favorite 💝💝💝
The sound of her voice.. the guitarwork💝 the bass, drums everything.. MASTERPIECE 😍
I LOVE SHOW-YA 🤘💝🤘
The song opens like Deep Purple.
Love this song ,full of power and raw emotion that drills right through ya.show-ya is getting even better as time moves on. listened to Show-ya for over 4 years , only goes from strength to strength.
かっこよすぎたまらないよ🎵
もう…最高…
Great band, please come and play live in the UK (London and Manchester)
上手いしカッコいい。沁みるよ。
寺田惠子@wink,god deem good being a rocker🤘Ｒock 'n Roll forever👽🖖
One of my favorite track.... love the solo by Miki at 3:00 😘
この圧倒的な存在感。不動の名曲ですね。
Beautiful song from SHOW YA ! 👍👍👍 I remember DEEP PURPLE
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.
ええ曲
生まれて初めて自分で音楽DVDを買ったのがShow ya です♡。先週の事です!55才主婦ですけど♪ こんなカッコイイバンド、ずっと知らなかった〜(*_*) でもこの曲がどのDVDにも収録されてないのが残念です。こんな素晴らしい曲、なぜー????
私は中学から聞いてました。
今43ですが現役です（笑）
SHOW-YAは不滅です！
Love this song soooo much ❤❤❤
今、この時代に世界へ伝えたい曲。
今の、ウクライナ情勢に対して、この歌で伝えたい！
この曲に関しては、べーシストが主役だな。素晴らしい。
💕💕💕💕 💕💕Love Keiko, is the Queen to Heavy Metal
まさに今だから沁みる、ウラジミール、ダスビダーニャ
こうゆう単調になりがちな楽曲を聴かせるってのは力量ないとできないよね。
歳を重ねて、深みが増してる。
かめきちさん 懐かしいなぁ(^^)
コレとか限界LOVERSとかよくコピーしてました(^^)
良い楽曲ですね。
今、聴いてもちっとも色褪せてない
そうですね。この頃の曲って、今でも十分通用すると思います(^^)
禿同
懐かしさも否定はしませんが、良い楽曲が溢れてましたね。
ビルボードにも。
確かに(^^)
でもまさか、ここでかめきちさんとお話しできるとは！^ ^
amazing!
So Good, I'm glad I found them.❤
"Japanese GREAT! female rock band", come on get it right Great rock band full stop.
Una excelente cancion, son increibles, ojala pudiera conocer mas de ellas.
姐さん、健康に気を遣ってる。
リストバンドがファイテン。
幾つになってもパワフルで
いて欲しい。
ちなみに僕は
仙波さんのファンです。
素晴らしい‼️天安門はめちゃくちゃですね😃
Wow, they're better than ever!
歌が心に伝わり心に響く
さとちゃん大好き🎵
渋谷で聴けたら最高ですよ😃
期待してます！🎸🎙️🥁🎹
恵子姐さん最高♬
この歌が収録されたアルバムOuterlimitsは1989年9月の発売。
実は同年6月4日にいわゆる六四天安門事件が起こっています。
北京に戒厳令が敷かれ、人民解放軍が戦車を繰り出して多くの学生・市民が虐殺されました…
oh? rock goddess!
見えない鎖に 縛りつけられた 街には 暗い影が近付く 叫び声を上げ 空が燃え上がる 言葉は いつも虚しい 瓦礫の中で 血に汚れて 夢を探した いつも答えは 炎の中
So this is how band Mom of Saki from Mary's Blood looks ? Amazing !
姉さん、凄いロッカーですね‼️
buena cancion
この曲大好き。昔よくステージみたが変わらないね。パワーある声。女性シンガーでは浜田麻里と寺田恵子しかいない。
their best song ever!!! =)
やっぱりカッコイイア−ティスト。!!
この曲聞くと哭きます。
此のオバサンたち凄いよね！
恵子姐さんとジョー・リン・ターナーの二人でこの曲歌ってほしいな。みったん、シンバルの音色が素晴らしい！
やっぱり show-yaだなぁ。
限界超えられる女バンド出てくれるのかなぁー
姉さん方プロデュースしてくれたら 面白いかも
スキャンダルも好きですが。。。
歌唱力ですかねぇ～
魂力ですかねぇ～
お願いいたします。
❤❤❤❤❤
I have a hard time not being furious with the American music industry for giving up on good music, and burying us for the past 30+ years in absolute shit. Here is a band that was doing it right all this time, and I only found them by accident on youtube?
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.
Puta som lindo!! Show-ya classico!!!
3人のミキティたまらん
｢いつも答えは炎の中｣のサビが最高！セナを思い出すなあ。
amazing! better than joan jett.... great voice!!
この歌詞の内容、今のウクライナの人たちの思いだろうか?
Can anyone tell me..tis exist on dvd ?? What the name of this DVD or cd ?? I need this DVD in my collection 💝💝💝
SHOW-YA
Sounds very much like all-female Deep Purple...
Just because they have a keyboard player? Nope. They sound nothing like Deep Purple, and better to me because they don’t do indulgent jammings or meandering keyboard or guitar solos live. This band is tight.
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
2021 y las nuevas generaciones las escuchamos
Does anyone have any information about the meaning of this song?
If so please let me know!
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
歌の中にウクライナの情景が浮かび上がる
What year is it ?
🤘🤘🤘🤘
これからこれ以上のユニットは出て来ないよコンプライアンスやらで
SYOYA大好き♥️写真撮って頂きたい
ハードロック／ヘヴィメタルって
こういう社会派のテーマで書かれる曲が多いのに
誤解されてる気がするのはボクだけだろうか。
インギーのyou don't remember i'll never forgetにクリソツや！