EIGHT-JAM 2025年3月30日 サザンオールスターズ特集
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00:00Southern All Stars
00:02Southern All Stars
00:04Southern All Stars
00:06Tonight's Eight Jam is...
00:07Tonight's Eight Jam is...
00:10It's here.
00:11Southern All Stars, Japan's representative band.
00:18They've won first place in four years, for CD singles and albums.
00:23Kudo-kun!
00:29Wow, it's been 80 years.
00:37There are so many good songs.
00:53I love the feeling of summer.
01:08They're all so strong, no matter what age they are.
01:13And this month, the 16th album, Thank You So Much, won first place.
01:19They've updated the record even further.
01:23It's a national record that has been supported for a long time.
01:29Actually, until now, the behind-the-scenes of making songs
01:33has rarely been talked about on TV.
01:40But tonight...
01:42For real?
01:46Good evening.
01:48It feels like it's real.
01:51Thank you for having us.
01:54Finally, Keisuke Kuwata's interview is happening.
01:59Looking for...
02:02What is looking for?
02:06I think it was a one-shot thing.
02:08Of course, we felt that it couldn't be public.
02:13A precious statement that had never been heard before.
02:18From a national hit to an aggressive song.
02:23Almost all of the songwriting and arrangement are done by him.
02:27What is Keisuke Kuwata, the central figure of Sazan, talking about?
02:35This interview is being recorded in the home ground of Sazan,
02:40where many of their famous songs were born from the beginning of their debut.
02:47Nice to meet you again.
02:50Do you sometimes talk about the program on the radio?
02:54Yes, I do.
02:56I watch it.
02:58I'm glad to hear that.
03:00I'm glad to hear that.
03:02When people from different generations,
03:05such as producers, talk about it,
03:08I can learn a lot about what's going on now.
03:15I've received a lot of questions from fans of Sazan.
03:20I'd like to ask you a lot of questions.
03:24He's kind.
03:26Mr. Kuwata is...
03:28Mr. Kuwata, who is performing, is watching,
03:31but it's hard to hear him talk.
03:34He's going to talk about something he's convinced of.
03:37He's going to talk about something he's convinced of.
03:42You are the center of popular music in Japan.
03:48I'm looking forward to seeing you on this show.
03:52I'm looking forward to seeing you on this show.
03:56I'm looking forward to seeing you on this show.
03:58I'm looking forward to seeing you on this show.
04:00In addition, in the studio...
04:06He has been in charge of the support keyboard at Sazan for many years.
04:10As an arranger, Atsuo Katayama is also involved in songwriting.
04:16Junichi Soga is involved in the production of many works with Mr. Katayama.
04:22Two people who have great trust in Mr. Kuwata have appeared.
04:26Mr. Soga and Mr. Katayama.
04:27Mr. Kuwata joined the studio and worked.
04:31That's right.
04:32It's the beginning of the first song.
04:34Mr. Kuwata told me about this song.
04:37Mr. Kuwata taught me how to play the guitar.
04:40The first simulation was done by three people.
04:43Does it start with three people?
04:45Has Mr. Kuwata ever talked to you like this?
04:49I don't think so.
04:51Mr. Kuwata is a mysterious person.
04:56He doesn't want to talk about himself.
04:58I think there is such a teacher.
05:01I secretly expect that Mr. Kuwata will approach the core of this song.
05:09Mr. Soga and Mr. Katayama, who work together nearby, don't know much about each other.
05:15How does Mr. Kuwata's songwriting begin?
05:23What do you start with when you make a song?
05:27When I make a song, I probably don't start with the guitar.
05:33There are various things.
05:37For example, when I moved from the bedroom to the study room in the house.
05:43There is such a thing.
05:46There is such a thing.
05:50I think I was in the living room before I went to bed.
06:00I think I saw a commercial in the living room.
06:04I saw a commercial in the living room and went to bed.
06:09When I entered the study room, I heard the sound of the commercial.
06:15I turned a little.
06:18I thought I could do it.
06:27I have something to do.
06:29You have something to do.
06:31I say it's a big trick.
06:34But I don't think it's such a thing.
06:37As a musician, I often say,
06:41The way to do it is a trick.
06:47I think everything is a trick.
06:51John Lennon is singing like this.
06:55But I like it, so let me do it.
06:58I'm still doing it at this age.
07:01It's amazing to be able to say this.
07:05If you do it in the dark in the basement,
07:08I don't think many people will come.
07:10You don't feel like you're going to make it.
07:13I'm not good at it at all.
07:17The best thing is to take a walk.
07:21I think it's best to take a walk than to think about things.
07:25I'm in the living room, but I'm moving the car alone.
07:30I think about various things there.
07:34Sometimes I sing.
07:36In the car?
07:37I sing.
07:39It's a song-making story.
07:41I used to start talking from the window.
07:45In the bedroom and living room of the house.
07:48I've been thinking about how to write a song.
07:54I've been thinking about it for a long time.
07:57I think it's more like an athlete.
08:00What kind of mental state should I be in?
08:03I'm always thinking about how to make the melody easier to remember.
08:07I think that's why those words come out.
08:10It's a different dimension from the beginning.
08:15You know what I mean, right?
08:18There's a living room, there's a synth, and there's a library.
08:21He's saying it's a magic trick.
08:24Tazan's songs are all about Sazan.
08:27He's the most magical person.
08:31I think it's amazing how humble he is.
08:35I think it's amazing how humble he is.
08:38Do you take a walk every day?
08:40I don't take a walk every day.
08:42When I'm writing lyrics or songs, I go for a walk.
08:48The information that comes from the eyes and ears changes in my head.
08:55The sensation of the skin or the wind.
08:58It leads to the realization that there is such a thing.
09:02Do you record the phrases you come up with at that time?
09:07Yes, I do. I put it on my smartphone.
09:11I have a question from Soga, who is also involved in the production of Sazan's songs.
09:17I have a question from Soga.
09:19When you make a song, do the harmony and the melody come out together?
09:24Also, do you improve the melody and harmony in detail?
09:29Yes, that's right.
09:31The harmony and melody come out roughly.
09:37But I ask him to decide what kind of tension and harmony to make.
09:45But I don't think it's rough.
09:51By the way, do you write the chorus?
09:54No, I don't write the chorus.
09:56I only write the chords.
09:58For example, I only write the break, C, C7, F, and so on.
10:11I see.
10:12I can't help it if it takes time.
10:15By the way, what did Kuwata say in a special episode of Harayuko?
10:22When I make a song and have a little trouble, I ask her for her opinion.
10:29I ask her to read the material and listen to it.
10:33She gives me her opinion.
10:38She is the closest person to me and I can trust her.
10:44In that sense, I sometimes ask her what she thinks.
10:49I wonder if this harmony is good.
10:51She is quite strict.
10:54Her songs are like a time machine.
11:07I made this song and asked her to sing a lullaby.
11:17I don't know if it's a lullaby or a lullaby.
11:20I asked her to sing a lullaby.
11:23She looked at me and said,
11:27I don't like it.
11:30I'm afraid at that time.
11:33I should have asked her to sing at this stage.
11:36I made a lullaby again and asked her to sing a lullaby.
11:42She started to sing a lullaby.
11:45I thought it was good.
11:47Don't have a hard time.
11:51You have a very good personality.
11:54Charming.
11:55By the way, when did you come up with the arrangement of the song?
12:00Originally, the group was a head arranger.
12:05We all played instruments.
12:08That's where it started.
12:11As an arranger, I didn't think Tatsuro Yamashita was this good.
12:16He is this good.
12:18I sometimes think it would be nice if I could read the score properly.
12:22I think he's careful about things that can't be denied by the score.
12:27For example, with his mouth and instruments.
12:31I think he's careful about that.
12:37I think it was good for us to have such a conversation.
12:43It's very valuable.
12:45It's amazing.
12:47It's interesting.
12:50I thought it was a band.
12:52The members gathered to arrange the song.
12:55There are some parts that change after doing it.
12:59Rather than conveying it in a lullaby,
13:01I want to convey it in a lullaby.
13:04I want to do this.
13:06He's very good at conveying that.
13:09That's the essence of Mr. Kuwata.
13:12He has his own expression.
13:14It's a band, so I can respond to it right away.
13:18When I listen to the song,
13:20there is always a solid foundation.
13:24The melody and harmony that becomes the skeleton
13:27are very cool.
13:30It's thick as a trunk.
13:32We always have a thick trunk.
13:35It doesn't shake anymore.
13:38From there, I think about whether to add more or not.
13:44I do that with Mr. Katayama every day.
13:47Mr. Kuwata is very quick to make that decision.
13:50He's very precise.
13:52So I can present it in various ways.
13:55Do you have a good idea?
13:57Let's do anything.
14:00We can freely express our opinions.
14:04You can freely express your opinion.
14:07From the many famous songs made in this way,
14:10a professional who respects Sazan is selected.
14:14This time, in addition to the guest of the studio,
14:16this artist who loves Sazan participated in the survey.
14:22Mizuno and Love Psychedelic Naoki chose
14:25a shocking debut song called
14:27I Want to See the Treasure Chest of Ideas.
14:38At that time, it was called a tongue twister.
14:42If you listen to it now,
14:44you will realize that it was the invention of
14:46making Japanese into Groovy.
14:50This humor called tongue twister
14:53and the boundary between serious and funk are genius.
14:57That's why it will reach the world.
15:01At the time of his debut,
15:03it is a song that shows how Mr. Kuwata
15:06was moving forward in time.
15:08I see.
15:12It's cool.
15:26The live performance will be exciting.
15:28It's cool.
15:42It's cool.
15:48Next is a ballad that represents Japan
15:51chosen by three professionals,
15:54Avicii, Ieiri, and Konma.
15:59Oh, this is it.
16:01It's a good song.
16:13It's cool.
16:25It's cool.
16:30It's cool.
16:42It's cool.
16:52It's a good song.
16:57Satou, the drummer of Indigo La Endo,
16:59said that his favorite song is
17:02the coupling song of the hit single Minna no Uta.
17:05What?
17:12The production is unstable and emotional,
17:15and the lyrics are self-criticism,
17:17including music industry criticism.
17:19The song is full of sarcasm and conflict,
17:22but it is not a one-line story
17:25that announces as a B-side of Minna no Uta.
17:28I feel the charm that cannot be easily digested.
17:42It's cool.
17:47It's cool.
18:03The song Souga chose is
18:05a duet song of Kuwata and Hara,
18:07released in 1980.
18:12Let me try to be back to this place every day
18:19Let me try to be back to this place every day
18:26Let me try to be back to this place every day
18:33Let me try to be back to this place every day
18:40Let me try to be back to this place every day
18:47No woman is as weak as a man
18:53Even if you get caught up in a messy life
18:59In Yokohama, there is a traditional way of saying goodbye
19:06Let me try to be back to this place every day
19:11Saito Makoto, who has been a support guitarist for Sazan for many years, chose the 50th single, which is the theme song of the drama O-Oku.
19:21I will take you higher
19:25I need more you looking to make it
19:29Baby it's your desire
19:33I don't know what you're trying to do
19:35I'm alright
19:37Oh my baby, I fell in love with you
19:40Give me, give me one more chance
19:44I can do it with a cute woman
19:48So give it to me one more time
19:52I can do it with a cute woman
19:59Next, Mizuno released the famous ballad, which was announced in 1996, that was chosen for a completely personal reason.
20:11When I was an innocent child chasing a dream
20:20Now I know why I was scolded
20:30Just before his debut, he had a chance to watch the live performance of Yokohama Arena of Sazan All-Stars.
20:36The last song of the live performance was this song.
20:41It's not me as expected
20:45He ignored his parents' opposition and tried to go down the path of music.
20:49At that time, the lyrics were too direct for him.
20:55At that time, the live performance of Sazan All-Stars was an entertainment where an old man and a woman could enjoy without any anxiety from the beginning to the end.
21:06That's right, we should aim for this scene
21:12It was a live performance that made us see the scene we should aim for.
21:17Who did Mizuno go with?
21:19I went with three people
21:21It's not me as expected
21:33I met a wonderful person
21:42If my tears are about to overflow
21:52I'm sorry, I can't say anything
22:01When I hear the reason for choosing this song
22:06There are many elements in the music of Sazan All-Stars.
22:10There are many elements that can be analyzed in this program.
22:15It's not easy to say that you can make a good song because you've collected those elements.
22:20Sazan All-Stars is a song that will definitely touch the memories of each generation.
22:27I thought that the secret of Sazan All-Stars could be solved.
22:36It's a true Yokozuna
22:40I'm in a position to talk about the musicality of Sazan All-Stars.
22:46When I see this, I want to raise a white flag.
22:51It's too big, I don't know where to start.
22:56I'd like to ask you about the album.
22:59How did you start making it?
23:02I didn't start making an album.
23:06I was thinking that something was about to happen.
23:10For example, I had a live performance in Shigasaki.
23:13I had a live performance at a festival.
23:16I was thinking that something was about to happen as Sazan All-Stars.
23:23That's how I started making songs.
23:29Let's take a look at the latest album, Thank You So Much.
23:41I've seen this a lot in dramas.
23:59Sazan All-Stars, the first Japanese TV drama about love.
24:08It's like Sazan All-Stars.
24:10It's a genre.
24:12Sazan All-Stars, the first Japanese TV drama about love.
24:21I was surprised.
24:23Sazan All-Stars, the first Japanese TV drama about love.
24:28It's a song that was made before the debut.
24:42It's a side track.
24:44Sazan All-Stars, the first Japanese TV drama about love.
24:56The color of the track is different, but it's all Sazan.
25:01It's like thickness and depth.
25:04You can tell just by looking at it.
25:06It's a song before the debut.
25:11Even if it's in the album, it's Sazan.
25:17I had the idea of putting it in a new place.
25:20Everyone gathered in the studio.
25:23Makoto Saito and I participated in the guitar.
25:27We recorded it.
25:29It's been a long time since I've done that.
25:33It was so much fun.
25:36It's a song from 50 years ago.
25:40I'm so happy to be able to play it now.
25:46Why did you decide to put it in at that time?
25:50Mr. Hara found the demo tape at that time.
25:55Mr. Kuwa listened to it and said,
25:57If you're going to put it in, you have to do it now.
26:02How did you come up with the idea?
26:04It was Mr. Kuwa's idea.
26:07I wanted to go with the sound of the band.
26:12How did Mr. Kuwa make this latest album?
26:17I listened to it on my own radio and fixed it.
26:21Is it possible?
26:23I think it's possible.
26:25How long did it take to make this album?
26:28It took 21 months to make this album.
26:3121 months? Really?
26:34It's written there.
26:36What was the most time-consuming part?
26:40I often go in with the demo tape and say,
26:43It's a demo tape.
26:46Don't worry about it.
26:49I'm not serious.
26:51It started off smoothly.
26:54The song was taking shape.
26:57I got a little serious.
27:00After the song was piling up,
27:03The rhythm was bad.
27:05I was listening to my own radio.
27:08Oh, I can't do it.
27:11So I had it fixed.
27:14Raise the chorus a little.
27:16Put a little more compressor on it.
27:19That's pretty much it.
27:22In fact, all the songs that were released before the album release
27:27The details such as mixing and mastering have changed.
27:32The listeners who listen to it normally don't notice it.
27:39You fixed it after it was aired on the radio.
27:42Is that possible?
27:45I don't usually do that.
27:47I think it's possible.
27:52The latest album was made in 21 months.
27:56There is a song that was a turning point in the production.
28:02There's a song called Boogie Woogie Night.
28:05It's the first song.
28:07Boogie Woogie Night
28:12I've been taking care of my operator for a long time.
28:15Mr. Kadoya.
28:17He's a guy named Kawacho.
28:19I got in touch with him.
28:21It's like a rhythm loop.
28:24I said,
28:27Can you play a rhythm loop for me?
28:31He said, okay.
28:33I went to the studio.
28:35I asked him to listen to the rhythm loop.
28:37I said, this is not good.
28:39I said, this is boring.
28:41I said, this is good.
28:43Boogie Woogie Night
28:47I made a song while playing it on the guitar.
28:51It's not the first time I've done that.
28:55I think it's evolving.
28:57New technology
29:00How to record
29:02It's becoming very important in our current activities.
29:07I have a question about the evolution of this new technology.
29:12In music production and recording,
29:14Have you ever felt resistant to accepting new technology?
29:19I don't feel resistant at all.
29:22Young people
29:24For example, engineers.
29:27We're young, so we're directors.
29:30When we work with people like that,
29:33Of course, we have to talk about new generation technology.
29:39And we have to talk about how it used to be.
29:43In the old days, for example,
29:45Five or six years after our debut,
29:49Let's do it.
29:51A band of members came together.
29:53Let's do it.
29:55I'll give it back to you later.
29:58On the contrary,
30:00Band activity and recording
30:05I think it's a subtle difference.
30:08Recording is a place for music production.
30:13It's a little different from a band activity or a band session.
30:21That's cool.
30:24What about this song, which is also familiar in commercials?
30:46How did you decide on the theme and the sound?
30:50I made a demo tape in the studio.
30:54I asked my drummer, Hiroshi Matsuza,
30:58It's like David Bowie.
31:00It's like Elton John.
31:02That's right.
31:04That's what it feels like.
31:06It's a common thread of our generation.
31:10David Bowie, T-Rex, Elton John.
31:14It's a British atmosphere.
31:20Gram Rock.
31:22Our generation was influenced by that era.
31:27And the chorus.
31:29I have a tempo song.
31:32I usually sing a tempo song.
31:37No matter how many times I sing,
31:41Looking for
31:43Looking for
31:48Looking for
31:50I don't know what it is.
31:52It's good to come out with a tempo song.
31:55I'm looking for something.
31:57Looking for
31:59From there, the lyrics are left.
32:01Looking for
32:03It's not like there's a looking for in the beginning.
32:06When I sing a tempo song,
32:08It comes out impulsively.
32:10I can't help it, so I'm going to put it together.
32:15Space came out.
32:17What is space?
32:19Is it space?
32:21It's a song like that.
32:23From there, it's a space trip.
32:25I'm looking for something.
32:27I don't know if it's a sense of life or a space trip.
32:31The main character is looking for something.
32:34You don't have to be stupid.
32:37Space.
32:39What is space?
32:41It's space.
32:43It spreads from there.
32:45And what Soga paid attention to was
32:47This guitar phrase of a love song.
32:59There's a guitar phrase.
33:03When this phrase came out,
33:05Soga-san said,
33:07The core of this song was decided.
33:09Really?
33:11I think it's a phrase that Soga-san came up with
33:14because there is no non-genre.
33:17It has Asian-like sounds and various sounds,
33:20but it doesn't depend on anything.
33:22It's symbolized by this phrase.
33:24It's like Soga-san did a counterattack.
33:26That's it.
33:30This is it.
33:33Actually, this is it.
33:41In the legendary SF anthology of the United States,
33:44it is a tribute to a TV program
33:46that gained popularity in Japan
33:48under the title of Mystery Zone.
33:52Furthermore,
33:54There's something like this.
33:56There's something like this in it.
33:58If you listen carefully,
34:03There's something like this.
34:08There's something like this.
34:11This is 007.
34:13007.
34:15Is that so?
34:17This is 007.
34:20Oh, my.
34:28This is 007.
34:30007.
34:32007.
34:34007.
34:36007.
34:38007.
34:40007.
34:42Anyway, that song is an Asian-like song.
34:46It's a world where everything is a mess.
34:49It's a song that's like a lot of material.
34:52It's a song that's like a lot of material.
34:56I happened to include 007, which was mentioned in the chat.
35:00Chalalila, Chalalila.
35:02It's a bit like the 60s.
35:05It's like the tension between the U.S. and the Soviet Union during the Cold War.
35:10I think it's a reaction to that.
35:15I thought I'd put it in.
35:17Well, to some extent, the engineers who were there.
35:21Soma and Kutayama.
35:23I don't know if there was a target, but...
35:26What do you think?
35:28What do you think?
35:30What do you think about this?
35:32It's like a costume.
35:34It's like a costume.
35:39It's not like this because I decided it.
35:42I'm always checking with you guys.
35:45There's an environment where you can accept whatever you play.
35:53The mood of the band, including the studio, is very good.
35:58How do you feel about the tension?
36:00To be honest, I don't have much about recording.
36:05When you make it, you accept a lot of opinions.
36:08The entrance is loose, but the exit is tight.
36:14It's a great balance.
36:18And the question from the professionals raised a lot.
36:22How do you put words on sound?
36:26Love Psychedelic Naoki.
36:29At that time, he was in between rock and roll and Japanese.
36:33He's got a lot of creativity.
36:35The secret to how to handle Japanese in rock music.
36:39I can't measure the achievements he's made for the next generation.
36:45A-Witch, who was influenced by the technique of putting Japanese into the rhythm of music.
36:53Mr. Kuwata's lyrics are connected to everyday words.
36:57It's integrated with the groove of the music.
37:03The characteristic of Sazan's song is the unique lyrics that fit the music comfortably.
37:21How does Mr. Kuwata actually work on the lyrics?
37:29In the past, I really liked the melody and sound of Western music.
37:39For example, the Beatles' I Wanna Hold Your Hand.
37:44When I heard it when I was in the third grade of elementary school, I wondered what it was.
37:48That's how I grew up and made my debut.
37:53What we want to do is melody, shout, and sound.
37:59To be honest, I don't care about the lyrics.
38:03That was when I was in my early twenties.
38:06I didn't care about anything.
38:08But after I made my debut for a while, my fans told me that the lyrics were good.
38:16I didn't care about the lyrics, but I was moved by the lyrics.
38:21I said, I didn't mean that.
38:24When our members were making the album Kamakura,
38:29I saw the lyrics made by Hiroshi Matsuzawa and Yuko Hara.
38:33I thought it was good.
38:35There was a time when I looked at the lyrics and said,
38:39I'm looking at the lyrics.
38:42That's when I was in my thirties.
38:47From then on, I realized that if the lyrics were messed up, the melody would be conveyed differently.
38:57Now that I'm in my thirties,
39:00I feel grateful that I can communicate with the members, the audience, and the staff in various ways.
39:12I think I've become more careful about that.
39:18What's more,
39:21I think the biggest attraction of Southern All-Stars is the songwriting that utilizes the resonance and rhythm of Japanese to the fullest extent.
39:30Keisuke Kuwata's sense of writing and composing is a master of playing with words.
39:35The depth of the sense of the lyrics and the musicality that transcends the genre
39:40give a unique presence in Japanese music history.
39:47That's crazy.
39:51What should I do?
39:53Do you value the resonance of Japanese language?
40:00The resonance of Japanese language?
40:02I've been told that I don't value Japanese language the most.
40:06I've been told that I don't know what I'm talking about.
40:09I think it's okay.
40:11I started music because I liked Western music.
40:18However, Japanese language is a little distorted.
40:26The flow of Western music,
40:29the resonance of the rhythm of Western music,
40:34and the resonance of words are not often found in Japanese.
40:39At that time, I found the word Ryuan Kamei in the song Sakura Hirari.
41:09Ryuan Kamei
41:16The words in the kanji are stiff, but the flow is good.
41:23I sometimes use that.
41:28I think it's a great example of Japanese language.
41:34It's a great example of Japanese language.
41:45The words of love are also important.
41:50That's right.
42:11That's cool.
42:19That's cool.
42:40What do you mean by TOA?
42:43Do you mean TOA because TOA comes from TOA?
42:49That's right.
42:51The number of Japanese words is small, so TOA ends there.
42:59If you don't include the meaning of TOA in other words, it's like a synonym.
43:05I wanted to include the meaning of space and life in the lyrics.
43:11Speaking of TOA, I wanted to include TOA.
43:15You wanted to include TOA.
43:17I wanted to include TOA.
43:19I wanted to express the resonance of Western music.
43:24That's amazing.
43:26TOA
43:35Mr. Kuwata said that the words came out while he was singing.
43:41There's a long way to go before it's included in the work.
43:45We sometimes use the words that come out while we're singing.
43:49I can't take the nuance of the pronunciation and make it meaningful.
43:56That's the secret.
43:59Everyone can do it.
44:01Everyone can do it, so they can talk lightly and laugh.
44:05I think it's his fear that he's stepping in here.
44:09He made it into a world view.
44:12It's well-organized.
44:14We're all the same age.
44:18When we're trying to make an original album, we're a little determined.
44:22It might be the last one.
44:27This week, it was broadcast on Terasa TVer.
44:30What is looking for?
44:33We don't have weight.
44:35We don't have charisma.
44:37I think it was a one-shot.
44:40Why do you continue the Southern All-Stars that Keisuke Kuwata talks about?
44:45It came out because I was told that it was a pale student band.
44:50Of course, we felt that it couldn't be a big hit.
44:56The response to Amanpi's G-spot was amazing.