ZIGGY (ジギー) is a Japanese rock band formed around 1984 by Juichi Morishige (vocal).
And ZIGGY,giving glory to the debut 30th anniversary releases new single “CELEBRATION DAY”! (March,2017)
The number of Japanese people traveling abroad seems to increase every year, and so have the chances of meeting foreigners, both officially and privately. However, the bias toward and misinterpretation in foreign countries of the so-called “Faceless Japanese” still remains.
For people who want to understand Japan better, and for those who want to explain Japan and its culture as simply as possible to interested non-Japanese…
I just want you to know this band.
☆★☆ ZIGGY ☆★☆
For listening pleasure, young Japanese show interest in a variety of music on the hit charts in the U.S. and the U.K. such as rock, hip hop, reggae, R&B, Eurobeat, and new techno pop and so on…
However, when it comes to singing songs themselves, domestic Japanese pop and rock music is more popular.
ZIGGY was one of them, too.😃
♪ GLORIA ♪
ZIGGY is rock ‘n’ roll band of Japan. Since its formation, they had repeated the withdrawal, subscription and return-hiatus of members. They were wearing dark makeup in bright colors of long hair, flashy costumes.
♪ Sing my song ♪
80s, Motley Crue and Guns N ‘Roses were active overseas, in Japan BOØWY and REBECCA and ZIGGY were gaining popularity.
Among the unprecedented band boom, ZIGGY was also continue gaining popularity, even after the end of the boom they have been continuing to operate even now.
June is RAINY BLUES
They are one of the few surviving band.
Their sound of the early days, had been the keynote of the rock ‘n’ roll and hard rock. It’s up-tempo songs there were many. Vocal in melodious, popular song element was strong.
♪ In One World ♪
If you wanted to play rock music in Tokyo back in 80’s, you basically had two places you could do it: Loft in Shinjuku or La Mama in Shibuya. However, within a few short years, there were dozens — and soon hundreds — of venues, mostly clustered around the western fringes of the city.
What drove this explosion in live music was the “band boom” of the mid-1980s. It was famous for producing classic major label rock acts such as Boøwy, Jun Sky Walker(s) and The Blue Hearts and ZIGGY, but it was supported by a wide-ranging enthusiasm for music from thousands of energetic, ambitious young kids.
To zoom out a bit and look at the broader picture, almost the whole structure of the contemporary Japanese indie music scene — both good and bad — can be traced back to the seismic changes wrought by the band boom of the ’80s.
For musicians encountering the present-day Tokyo music scene for the first time, the atmosphere often seems like what one British music fan described to me as a grasping and unwelcoming “wall of no.”
However, the Tokyo indie world’s intertwined threads of social opening-up and financial shutting-out are often opposed to each other, even as they share common roots in the ’80s band boom. Unravelling them is not as easy a task as many doubtless wish.
At the same time, that combination of high-quality infrastructure and cold financial bottom lines provides the tools and the impetus for musicians to get together into communities that work together to circumvent the financial restraints, pooling audiences and setting up their own shows and scenes — often with outrageously creative results, like the indie artisanry of the Twee Grrrls Club collective or the raucous punk-rock parties held at Koenji Studio Dom.
Tokyo’s live-music scene can be an unwelcoming place at first, but in a way its many frustrations come entangled with the weapons needed to fight them.
Keep going! ZIGGY!!!
Go For It! ZIGGY!!!