"Figures of Animation — Yoshikazu Yasuhiko" — Animage November 1978 Coverage

A little overdue... I forgot how I stumbled upon this one. Maybe it was a suggestion from someone? Anyways, the November 1978 issue of Animage features an article highlighting Yoshikazu Yasuhiko as he answers some interview questions—this caught my interest, so I decided to commission an English translation of it for those looking to learn or read more about this creator.

Scans are by "Brenten958", translation is provided by "justj22".

----------------------------------------------------------------------------------------------------------------------------

Figures of Animation — Yasuhiko Yoshikazu
Nippon Sunrise, Prince Sharkin, handsome characters—only one name would naturally follow those words, and that is Yoshikazu Yasuhiko. However, that is only one facet of the man he actually is.

When asked why he'd recently bought the complete works of Kenji Miyazawa, Yasuhiko gave this answer: "Because Kenji depicts things that are beneath our consciousness, and he does it with grace and in meticulous detail. For example, his 'On the Fourth Day of the Narcissus Month' is, in essence, a story about a child lost in the snow, but he would describe the aspect of being lost almost stubbornly. In doing so, he captures—in beautiful detail—something that an ordinary adult would never feel, the anxiety that only a child could normally perceive. I find myself really drawn to that sense of anxiety."

With his son... "Daddy's in trouble!"

—His Youth—
Lake Saroma, Hokkaido, is famous for its bright red rugosa roses and the drift ice flowing from the Okhotsk Sea. About 20 kilometers inland from there lies Engaru, a town of 20,000 people. Another 10 kilometers further into the mountains and you'll find several small settlements. It was in one of these on December 9th, 1947 that Yasuhiko was born, the sixth of seven siblings. In that settlement of around 30 households, he spent his childhood.

In 1953, he enrolled at East Shanafuchi Elementary School.

The school had only 50 students, and unsurprisingly, just one teacher. The teacher for all six grades was also the principal.

"Naturally, there was only one classroom. Since the principal alone couldn't handle everything, even his wife (who didn't have a teaching license) would end up helping around at school...(laughs). It's just like 'Twenty-Four Eyes'. I mean, to get to the town (Engaru) you'd have to take a horse carriage in the summer, or a horse sled in the winter. It was that kind of settlement. So getting into town two or three times a year was as good as it gets."

When did you first start drawing?
I'm pretty sure I was drawing from a young age. Out in the mountains there weren't any bookstores, but in the countryside there was this old man that was sort of a mailman and newspaper deliveryman combined into one, and he would bring me a lot of old manga magazines, saying that "the kids love manga". He brought me magazines like "Bouken-Oh" and "Shonen"...


Who was your favorite manga artist?
That would be Mitsuteru Yokoyama and Mitsuaki Suzuki. Especially Suzuki's "Oda Nobunaga", I still remember it well. The story got up to Nobunaga's burning of Mount Hiei, and I ended up copying it myself, drawing the Battle of Kawanakajima in my brother's old notebooks. But since it used to be his notebook, I always had a limited amount of pages. I suppose that might actually be why I'm so used to drawing storyboards at the fixed 20-minute format now. (laughs)

In 1959, young Yasuhiko enrolled in Shanafuchi Junior High School, and threw himself into drawing what we'd now call "gekiga-style" manga in his school notebooks. While he did not have any clear goals in mind, he did think that it might be fun if he could become a manga artist.

However, in 1962, after enrolling at Engaru High School, he took a sudden interest in history. He says it might have been because he met "a truly wonderful history teacher" in high school.

"When I graduated, I actually told that teacher, 'I'll become a high school teacher!' Ever since then I've never seen them again. It's too awkward. (laughs)"

Having given up on becoming a manga artist and decided to become a teacher instead, he chose to get into university. In 1966, he enrolled in the Western History program in the Faculty of Humanities at Hirosaki University, Aomori. There he threw himself into his studies in pursuit of becoming a teacher. However, it was the 70s, right in the middle of university protest era. With no other way to avoid the student movement, he ended up dropping out in his fourth year, just one step away from fulfilling his dream of becoming a teacher.

"If I stayed and graduated, I would've actually become a teacher, or maybe gotten a job in the town hall or something. You never know how your life will unfold, I guess. (laughs)"

—Becoming an Animator—
Young Yasuhiko thought, "If I go to Tokyo, there's bound to be work", and the moment he dropped out of university, he hopped on a train. At first, he had this idea of becoming a printing worker, but by the time the train was nearing Ueno, he'd already changed his mind. He says he was "too scared to fully commit to blue-collar work".

With that in mind, his first job in Tokyo ended up being phototypesetting.

"This may sound weird, but I chose that job feeling that it's still something related to printing jobs. But anyway, it was a small place, a completely family-run operation with the owner's wife and kids around."

He spent about three months there as an apprentice, but it was not interesting work. One day, as he was reading the paper, he spotted a company in the job listings. For a moment, memories of his youth and his love of manga flashed through his mind.

It was a listing from Mushi Production's training school. Back then, however, he thought of it as nothing more than "a company that makes animation films, sounds like a fun job".

"To be honest, I didn't immediately apply for it. The reason is very simple: the pay. My salary at the time was 30,000 yen, and the training school only paid 18,000 yen. It was a very hard decision to make. (laughs)"

After much thought, he decided to take the entry exam anyway, and he found that there were 100 applicants for just 10 openings.

"So many people want this job. This job must be an interesting one."

He ended up convincing himself with that odd reason.

From there, he went on to his first job with "Wandering Sun", then "Brave Raideen", "Combattler V", ”Kum-Kum", "Zambot 3", and parts 1 and 2 of the "Space Battleship Yamato" movies. He has since continued to showcase his talents in both character design and animation.

How did you feel when you started working in this industry?
"Hmm, I think the ones who came in with big dreams and ideals quickly found out about the reality, of just how poor Japan's anime industry was, and quit right away. I'm not one of them, however."

In his second year working there, he saw a fully-animated Disney film for the very first time in his life. Up until then, he'd never seen a Disney film, and one of his friends basically had to drag him along. The film was "Snow White", shown at the Film Center in Kyobashi, Tokyo.

"As soon as it started playing, I found myself thinking, 'This is basically live-action!' (laughs). I thought that there was no way a human did this."

When did you start finding animation to be truly fun?
"Definitely "Kum-Kum". I had full control, they told me I can do what I want, so I did exactly that. I wrote the scenario myself, and I handled the animation too."

It seems like Sharkin from "Reideen" got a lot of fans...
"I think it's less about me and more because he's a character we gave our all to create, together."

Is there any project you'd like to realize right now?
"...If possible, I'd love to try and adapt one of Kenji Miyazawa's stories. The children in his works really feel like they are actual real children. Why, you ask? Because their dialogue is full of life. I think real children speak out of whatever thought is crossing their mind, so they don't always speak in proper, grammatically correct sentences. His writing values those small details, and that is why it resonates with the sensibilities of its reader."

Yoshikazu Yasuhiko and his obsession with Kenji Miyazawa... perhaps he sees a reflection of himself in that child lost in the snow.

 

 

Liner Notes from "Cool Cool Bye" (OST)

 

The original soundtrack release for Tomonori Kogawa's Cool Cool Bye OVA from the 80s contains an illustration insert booklet and an insert sleeve with lyrics, a tracklist, staff credits, and some written notes from Kogawa himself. I was interested in figuring out what he talks about here, and given my recently-ignited interest in album liner notes the past month or so, I took it upon myself to commission an English translation of this. Throughout these notes, you can find Kogawa talking a bit about how the production was like for this OVA, and he goes a little in-depth over the story too.

Translated by "justj22".

(Relevant, but the OST can be found on my YT channel here if you'd like to listen to it) 

----------------------------------------------------------------------------------------------------------------------------

The second original video COOL COOL BYE has finally been released. Unlike the first in the series, the goal of COOL COOL BYE was to capture the fun and joy of visual media while also showcasing the passion of our young staff.
    
The methods we've adopted to define the direction of our video productions are basically a series of adventures and challenges. In GREED, the production itself was an adventure in the name of schedule management. In COOL COOL BYE, the adventure is how to create something and be considerate on top.

All of our animation staff, each with their own style, put everything they had into the project, despite the video being a one-off 30-minute episode.

The staff referred to the project by its initials 'C.C.B.'. They would ask things like 'Kogawa! Is the storyboard for C.C.B. finished yet?"

For the production, I had several young staff members flesh out my plot into storyboards and organized them into something whole. For the animation, our key animators established the overall direction for everyone to work on together. I just let the coloring staff do whatever they needed to do, but they handled it with tremendous care and as far as color design goes, I can only express my gratitude to them. For art direction, I entrusted someone I had worked with before, and despite the tight schedule and demanding conditions, they pulled it off. Filming was a desperate struggle won with a shorthanded team. The sound team, as always, made their presence heard, delivering something both powerful and gentle. It was my first time meeting the composer, but we share the same hometown, same generation, even similar sensibilities, and they were very open to my ideas. As for the editing, it was handled by a highly accomplished veteran.
    
Together, the staff somehow managed to give shape to images and ideas of myself, an inexperienced rookie, to the video medium on a modest budget. It was an inspirational show of professionalism, which gave me a glimpse of what the future might hold.

As for the story itself, the objective this time around was less about vanquishing evil, and more about defeating the giant robot Penguine which had appeared nearby at first. That's because while we all know what the word 'evil' is, it's not exactly easy to comprehend. After Penguine was defeated later in the story, that should've been the end of our objective, yet the real question was Tanguine, and how to deal with him. With only 30 minutes of runtime, the only way to explain his story would have been through exposition, so we decided to omit it altogether.
Perhaps it's because I myself resonate with Tanguine. Everyone has a hidden talent deep inside, but when it begins to awaken and we start to recognize it, we can become so obsessed with it and lose sight of everything else. But once you overcome it, your horizons will open without limitations...

There's someone else in C.C.B. we should talk about. I'm talking about Klee. Not Cooly, even though it does fit her when you think about it, but as far as her name goes, it's Klee.

Not much has been revealed about Klee, but if this story does become a series, I intend to slowly develop and integrate ideas about her character into the story.  In C.C.B, she effortlessly acted like she governed life itself, but I hope you treat that scene and C.C.B in general as a prologue to Klee's story. What if the idea of 'life' itself, the big question of humanity itself, exists on the screen?  Would it be possible to objectively value ourselves as humanity from the perspective of life itself? I'd like you to think of Klee as my attempt to give a form to the great question of life, which is why future incarnations of Klee might be a different character every time you see them—but I'm thinking of using the character as a way to express all my thoughts on what life entails.

I believe I mentioned this in my comments for GREED—video production remains an uncertain business, and it's not even clear where it is headed. However, after we made the shift to self-contained 30-minute works (or to be precise, 26 minutes of actual runtime), I believe we've begun to see a way forward. For our third and fourth entries, we still plan to continue the original concept of our productions, and starting with the fifth, we should be able to develop and create a more concrete vision for our original videos. With that in mind, I want each of our first four videos to be of the best quality possible.
    
I believe that with C.C.B., our animation staff at Bebow have come to understand what will be necessary for our future original video productions. As our workflow has begun to take shape (including long-term ones), as far as animation as a comprehensive creative endeavor is concerned, we're on the verge of a breakthrough, and we must get there, or else we'll be stuck in a dull world where there is no room to talk about artistic individuality and people would just dismiss it all as 'it's just a cartoon!'. I believe that we must always discover new things through our ventures, and I hope other staff feels the same. Even if one such venture ends in failure, there will be always countless adventures waiting for us.
    
-Tomonori Kogawa

Liner Notes from Takeo Miyate's "Za Za Za"

 

"Za Za Za" was a Japanese synth-pop LP from 1984 by Takeo Miyate which I had made my own digitally-restored vinyl rip of back in the not-so-distant past of 2022. Unfortunately, the upload I had put up for this album didn't quite make it big as much as I had hoped for (which is a shame, cause it's a really neat album), but regardless, I still hold some appreciation for this album and I have recently demonstrated that by commissioning an English translation of the liner notes included on this album, written by music critic Yasufumi Amatatsu.

I found this to be a pretty interesting read. If what the notes say are to be believed, Takeo had been good friends with Yuji Toriyama (the arranger for this album) for a while now, and their relationship appears to have been what led to Toriyama's involvement on this album. Both the subjects of these tracks and the lyrics are simple, and Miyate specifically recommended this album for junior high schoolers for those reasons alone—regretfully, I cannot comment on this any further as I don't have translations for the songs at all 😅 but reading these liner notes convinced me to go and give it a shot someday.

Anyways, the liner notes can be ready below. Thanks to "justj22" for translating this.

(Unrelated note, but if you'd like to check the album, you can do so here)

----------------------------------------------------------------------------------------------------------------------------

Imagine, an afternoon in September. You're walking through the crowd on Shibuya's Koen-dori in a hurry. You're supposed to meet your friend, and yet you're already late. But as you pass a lady bearing the faint smell of autumn, you begin to wonder if maybe, just maybe, your friend would forgive you for stopping. To savor the lingering aftertaste, to take a breath, just a little deeper than usual.
    
That is what Takeo Miyate's debut album, Za Za Za, feels like. A record that evokes familiar yet strikingly vibrant encounters around the town. It slips effortlessly into the city landscape, yet never quite becomes one with it, as it brings with it a stubborn breeze blowing in from a new horizon. Whether that comes from Takeo being the man that he is, or from something that has taken shape within his songs, I'm still not sure.

This may be his first album, but if you ask the circle around Bread & Butter, his debut was always something long overdue. Before his debut, one of his songs was previously introduced in the omnibus record Summer Breeze, which eventually became the title track of this album. Born and raised in Shonan in February 1957, his journey began when he started singing and playing the guitar in junior high. His musical encounters during his high school days eventually defined his path as a professional artist. From Bob Dylan at the center, all the way to The Band, PP&M and The Ventures. On the Japanese side, he said he was drawn to Kansai folk artists, represented by Nobuyasu Okabayashi. However, as he himself recalls, "I did listen to all kind of music to broaden my horizon, but there was never any particular artist I became obsessed with". When it came to his folk songs, he also never liked expressing direct anti-war sentiments.

For his debut album, Fuyumi Iwasawa of Bread & Butter himself provided his full support as producer. The arrangements were handled by Yuji Toriyama. The two have been friends since they first began working within the Bread & Butter circle, and they had apparently been talking about working together since then. "For my first album, I wanted to introduce a new sound to my music. I wanted something not limited to a certain audience, but something with broader appeal. I'm the type of person that would be content just playing acoustic guitars and I know that might not be a good thing. That's why I wanted to work with Toriyama, because he's always interested in trying out novel ideas" Personally, I'd say the combination was a success, giving his songs a youthful feeling of contemporary life, complementing the simple yet already powerful music of his.

Of the ten songs in this album, you could argue that half are songs he wrote entirely himself, while the other half are songs he originally wrote, but later entrusted others to refine. The youthful momentum and bold arrangements of "Seaside Highway" and the dynamic funky rhtyhms of "Sayonara Lady no Tame ni". The tropical mood created by the percussion in "Ai no Adlib", or the exotic atmosphere of "Za Za Za". The creeping sorrow of "Hoshizora no TAO" and a glimpse of something massive in "Maria". And so many more.
    
There is nothing new or experimental about the arrangements themselves. The subjects he chooses to sing about are also very mundane, everyday concepts. Sketches of what he saw in his daily life in his hometown of Shonan. It might be a song he conceived while walking alone along the shoreline, or a song created from moments of drinking together with dear friends. Memories of summer taken away by the waves, yet brought back by the winds of autumn. This feeling of a refreshing breeze is what I felt as I found myself enjoying "Shiokaze", "Gogo no Kishibe", and other songs in the album.
    
For some, his songs might blend effortlessly into their lives. It is undeniable that his songs have a certain simplicity to it. Yet for others, there is also defined purpose, a firm stubbornness that refuses to be absorbed into the modern landscape. I would think that this is born from his strong relationship with music, one nurtured through his experiences ever since he immersed himself in folk music. In this album, that relationship takes form into a delicate expression, fit for a new age. To me, his musical sensibilities show that the new currents emerging in the world of pop over the past year or so definitely has their merits, and in it his tenacious voice with charming mid-range is most certainly his strength.
    
When asked if he has something to say, he answered, with an embarrassed smile, "I'd be happy if junior high schoolers listened to it. I know the lyrics are quite simple and may lack the impact they wanted. But junior high school age is when we are most receptive to new ideas, and personally, my experience from back then still form the basis for how I perceive things today."

-Yasufumi Amatatsu (July 1984)

Liner Notes from Rie Murakami's "SAHARA" (Part 3)

Part three of the translated liner notes from Rie Murakami's SAHARA. This part contains the newly-added written commentary included in the 2022 JP CD release of the album, written by Hitoshi Kurimoto.

Read Part 1 here.
Read Part 2 here.

As usual, thanks to Windii for translating this.

----------------------------------------------------------------------------------------------------------------------------

Years after their initial release, these works are being reevaluated from unexpected angles. Such phenomena have been occurring frequently in the Japanese music scene over the past few years. Led by the pop music of the 1970s and 1980s—known as "City Pop"—the so-called "Japanese Groove" boom continues to gain momentum. The trend spans a wide range of genres, extending beyond pop to include jazz fusion, new wave, ambient music, and more, giving rise to new keywords such as "Cosmic" "Obscure," and "Walearic." Listening to music through these new lenses is incredibly enjoyable and leads to great discoveries.

Rie Murakami's sole album, "SAHARA," released in 1984, is one such work that has been steadily gaining recognition amid this trend. Fundamentally, could she be described as a jazz singer? She is reportedly the niece of jazz drummer Hiroshi Murakami—known for his collaborations with Sadao Watanabe and Masabumi Kikuchi—but little else is known about her. However, this sole album, "SAHARA," is a highly unique vocal album that cannot be fully captured by the label of "jazz" alone.

One major reason for this is likely the fact that it was produced by Masanori Sasaji. While today he is best known as a hit producer who has worked with bands like UNICORN, SPITZ, and KOBUKURO, back then he was an avant-garde musician with a background in jazz fusion. In particular, the band Mariah, active from 1980 to 1983, was categorized as fusion, but in reality, they delivered an intense, eclectic sound that incorporated elements of new wave and even techno. Recently, the band has garnered high acclaim overseas, and their albums have even been reissued on vinyl.

This album, "SAHARA," features guitarist Takayuki Hijikata, a longtime ally of Mariah. It showcases a genre-defying sound that draws directly from Mariah's legacy. Starting with the opening track "FALL IN LOVE," which has a techno-pop feel, followed by "SAHARA" with its ethno-funk vibe reminiscent of Mariah, and then "EVERY SONG IS SING," which evokes Steely Dan, the album features a lineup of unique tracks that cannot simply be dismissed as a jazz singer's album. It is also interesting to note that the list of original songwriters includes not only Masanori Sasaji but also Masahiro Andoh (THE SQUARE*), Etsuko Yamakawa, and Yasuo Inada. The lineup is impressive, bringing together musicians who have recently been gaining renewed recognition across various fields: Jun Aoyama (drums), Yuuichi Tokashiki (drums), Kenji Takamizu (bass), Yasuo Tomikura (bass), Takehiro Honda (piano), and Yumi Murata (backing vocals). The song selection for covers—featuring artists like Paul Williams and Leon Ware—is also outstanding. Rie Murakami, who sings all tracks in English, brings a sense of unity to this seemingly eclectic collection of songs, resulting in an album that strikes a truly unique balance.

If listening with a modern sensibility, "SAY CHEESE"—which could be appreciated from a city pop perspective—is particularly recommended. This track features a medium groove with a subtly mellow feel, and the fusion of the vocals—which sing a floating melody reminiscent of Tomoko Aran's "Midnight Pretenders" (which became a major talking point after being sampled by The Weeknd)—with a stylish, black contemporary-flavored backing track is outstanding. This track was also composed by Masahiro Andoh, but it is the only song on the album featuring a different lineup of musicians. In addition to Masanori Sasaji and Takayuki Hijikata, the entire backing band consists of members from NAZCA—the progressive pop band Sasaji had formed—namely Norio Sakai (bass) and Reuben Tsujino (drums). The result is an edgy take on city pop.

That said, Rie Murakami's talent is undeniable—she effortlessly navigates this incredibly diverse range of sounds and delivers her vocals with a cool, poised presence. It's a real shame that this is her only recorded work, but that's precisely why it's an album I want to cherish and listen to over and over again.

October 2022
Hiroshi Kurimoto (Travel & Music Writer/Music Curator)

*Band name and spelling as of 1984

Liner Notes from Rie Murakami's "SAHARA" (Part 2)

Part two of the translated liner notes from Rie Murakami's SAHARA. This part, as previously mentioned in the previous post (which you can read here) goes over the track list descriptions for each song on this album. Still written by Hiraku Aoki, and still translated by Windii.

---------------------------------------------------------------------------------------------------------------------------- 

[Side A]

1) Fall In Love
An original song expressing the anticipation and joy of falling in love. The techno-pop-style sound, which incorporates LinnDrum, is intriguing, and Rie's vocals are fantastic.

2) Sahara
This is also an original, written by Sasaji and Linda Hennrick (English lyrics; based in Tokyo). A fine track infused with an exotic charm. The backing vocals and horn section are also wonderful. It makes me happy to think of it as a 1980s version of the Ellington number "Caravan."

3) Every Song I Sing
Written by Sasaji and Linda. A cheerful love song about how there's a song in my heart and everything is going great thanks to you… Rie's vivid, swinging vocals are also delightful.

4) I Won't Last A Day Without You
Co-written by Paul Williams (lyrics) and Roger Nichols (music) in 1972. It became a hit in 1973 with Maureen McGovern and again in 1973 with the Carpenters. Rie Murakami's sweet vocals, Masami Nakagawa's flute, and the handling of the rhythm are all very impressive.

5) T.N.T.
This is a different song from the hit "TNT" sung by drummer Grady Tate. It's a song about an amazing 17-year-old girl who's as powerful as a bomb.

[Side B]

6) Eternally ~ Smile
A number by the King of Comedy, Charlie Chaplin. "Eternally" is "Terry's Theme" from the 1952 film "Limelight," but here it's an instrumental only. "Smile" is the "Love Theme" from the 1936 film "Modern Times." Tony Bennett's recording of it was a hit in 1959.

7) Say Cheese
A witty original. Rie pleads, "Be my lover…," and Takayuki Hijikata's guitar solo is excellent.

8) I'm The One For You
An original that showcases Rie Murakami's talent as a songwriter. A beautiful love ballad. Kousuke Mine's tenor saxophone brilliantly builds the atmosphere.

9) If I Ever Lose This Heaven
Written by Leon Ware and Pam Sawyer. Originally performed by Ware and Minnie Riperton on Quincy Jones' 1974 album "Body Heat," it was released as a single and became a hit that fall. Rie delivers a powerful and compelling performance.

10) Take Me Home
An original ballad that brings to mind the style of Randy Newman. In a duet with Takehiro Honda, Rie sings beautifully and with deep emotion.

1984.3. Aoki Hiraku

*The liner notes from the time of the LP's release are included here.
The spelling of Takehiro Honda's name is as it appeared in 1984 (including the credits on the lyrics sheet).

Liner Notes from Rie Murakami's "SAHARA" (Part 1)

I recently posted onto my main YT channel a CD rip of the 1984 album SAHARA by Rie Murakami. All the existing rips on YouTube, as of me writing this out, were sourced from a rather poor vinyl rip and nobody else had seemingly ripped the JP CD release at all. Privately or publicly, at least... to my knowledge.

Anyways, this was an album that I had been listening to pretty frequently several months ago. The album contains an enormous quantity of liner notes—considering the scarce amount of info that exists for this artist online, I decided to go ahead and commission an English translation of it to rectify that a little bit (and because I was admittedly interested in checking out Murakami's background myself).

There's a lot to unpack here, but just as a quick summary: exactly what I had gotten translated into English will be split into three parts. The first part (which is what you're currently on right now) talks about Murakami's musical background and the origins of it from when she was a child, and ends with a "Where will she go from here?" type of epilogue. The second part goes over the track list descriptions, and the final part is a translation of a new piece of written commentary that was included in the album's 2022 JP CD release. Both the first & second parts are written by Hiraku Aoki (青木啓), and the third part is written by Hitoshi Kurimoto (栗本斉).

Site note: interestingly enough, she is apparently related to drummer Hiroshi Murakami... or so these liner notes say. Not that I don't believe it, I just find it surprising because no other English sites seem to make any mention of this. 

Anyways, the translation for part 1 can be found below. Thanks to Windii for translating this!

----------------------------------------------------------------------------------------------------------------------------

This album marks the debut of Rie Murakami, a rising star making waves in the music scene. Packed with a diverse selection of excellent tracks—including original songs brimming with contemporary pop sensibilities, BCM numbers, and jazz standards—this album sees the young lady Rie Murakami make a dazzling debut, radiating a truly fresh charm.

Although Rie Murakami has only recently begun her career as a professional singer, she has already gained popularity by performing at famous Tokyo jazz spots and live music clubs—such as Satin Doll in Ginza, The Carnival in Shinjuku, and Swing in Shinbashi—and is garnering attention on par with her more seasoned peers. I imagine that some of you who have picked up this album have had the chance to experience her live performances. For some of you, an image of what kind of singer Rie Murakami is may already be taking shape. However, by listening to this album, you will likely find yourself nodding in agreement, realizing, "Ah, so she is this kind of singer as well."

First, I suppose I should introduce RIe Murakami's background. She was born in Tokyo on February 21, 1961 (Shouwa 36). She loved music and singing, and it all began when she joined a children's song class near her home at the age of three. She also began taking classical piano lessons at age eight, steadily developing her musical talents. At that time, her uncle, Hiroshi Murakami, was living with her family. He was a renowned drummer who later achieved great success with groups led by Masabumi Kikuch iand Sadao Watanabe, as well as with Native Son, which featured Takehiro Honda and Kousuke Mine. There is no doubt that Rie Murakami was influenced to no small extent by this wonderful uncle.

Reportedly, Rie Murakami was deeply moved after watching the film "Lady Sings the Blues" (starring Diana Ross; released in Japan in 1973) when she was in the fifth grade. This film was not a strictly factual portrayal of the life of the one-and-only genius jazz singer Billie Holiday, nor does it fully demonstrate just how unique and exceptional her singing was; however, Diana Ross's passionate performance left a strong impression, and it was an interesting film that sparked a renewed appreciation for Billie Holiday—or rather, a movement to bring her to the attention of the general public. It's fascinating to think that Rie, a fifth-grader, was so moved by this that it sparked her awareness of jazz and became the starting point for her growing interest in the genre. Come to think of it, though it's quite an old story, I recall Sadao Watanabe telling me how he was blown away by the film "Birth of the Blues" back when he was studying electrical engineering at Utsunomiya Technical High School. The film tells the story of a group of young white men in New Orleans shortly after the birth of jazz who form a jazz band, struggle to spread the appeal of jazz to the public, and eventually make their way to the big city. Jack Teagarden, a giant of the jazz trombone and a renowned singer, also appeared in the film, but Sadao Watanabe was captivated by the clarinet played by the lead actor, Bing Crosby. It is said that learning the clarinet became his motivation for entering the jazz world, which is also quite interesting.

That aside, Rie Murakami went on from junior high school to Seijo Gakuen High School, where she took vocal and classical guitar lessons alongside her academic studies. She left for the United States immediately after finishing the first semester of her senior year of high school. She spent a year studying abroad at Caledonia High School in Minnesota. During this time, she took private vocal lessons and joined a chorus group; it seems she gained a great deal in terms of her vocal training, and life in America itself must have been a valuable experience in many ways.

Although she had been singing in a band with friends since her school days, she decided to pursue a career as a professional singer after returning to Japan and began studying jazz. For the past two years or so, she has been performing on stages across the country as a guest singer with Native Son, and has further honed her skills by performing with groups led by Takehiro Honda, Kousuke Mine, Mikio Masuda, Tsuyoshi Yamamoto, Isao Suzuki, Toshio Osumi, and other top-tier jazz musicians.

Rie Murakami often sang jazz standards accompanied by a jazz combo at live music clubs. This is truly excellent training for a singer; it can be said to lay the foundation for her career. So, will Rie Murakami pursue a career as a jazz singer? Will she become a singer who expresses herself by applying the same idioms as instrumental jazz musicians—that is, through improvisational ad-libs, instrumental phrasing, and infusing her creativity and individuality into the feel of the music? I believe that possibility exists. However, the current Rie Murakami exudes a truly fresh charm in her work as a pop singer who, while influenced by jazz and utilizing its free, creative expression techniques, sings faithfully to the original compositions. If I were to cite American singers of that type here (though, of course, their styles and tones differ from Rie's), the names of women like Patti Austin, Randy Crawford, Jean Carn, Melba Moore, Angela Bofill, and Phyllis Hyman come to mind. These singers can be viewed as either fusion-style artists or Black Contemporary Music (BCM) artists; while veterans like Dee Dee Bridgewater and Marina Shaw also fall into this category, they can be described as contemporary pop singers. There are few Japanese female singers of this type. For that very reason, the presence of the young Rie Murakami is a cause for great joy and deserves our attention.

Rie Murakami has a very cute voice and a charming, endearing expression. Saying that might make her sound like some kind of "gaudy gal" or "cutie" singer, which could be misleading, but she is not one of those young singers with a squeaky, whiny voice. Her appealing charm lies in the way her carefree openness and clarity, her vital punch and sharp precision, her infectious energy, and her beautiful emotional expression all come together—creating a sense of substance in her singing that goes beyond simply flowing pleasantly by. Singing is truly a difficult art, and while Rie Murakami still has much to learn and will likely grow through life experiences to eventually deliver songs of maturity, the youthful vitality she displays today—along with the charm of her singing, which shines with a flexible and sharp sensibility—is immense and thoroughly enjoyable.

This debut album was produced by Masanori Sasaji (though track 5 on side B was produced by Takehiro Honda). Sasaji (born in 1955) is a keyboardist who is currently very active primarily in the fusion scene and is also famous for his great talent in composition and arrangement. Here, he has gathered a large number of accomplished jazz and fusion musicians, demonstrating his prowess as a sound creator while showcasing Rie Murakami's talent, charm, and vast potential as a contemporary pop singer. It is an album where Rie's vocals and Sasaji's sound come together on equal footing.

"Good-Bye My Love" ("Heavy Metal L-Gaim" Short Story Epilogue) - Part 3

Part 3 of the written L-Gaim short story epilogue that was published in Animedia sometime in 1985. This is the final part. 

Read Part 1 here:
https://translationmartyzone.blogspot.com/2026/03/good-bye-my-love-heavy-metal-l-gaim.html

Part 2:
https://translationmartyzone.blogspot.com/2026/03/good-bye-my-love-heavy-metal-l-gaim_17.html

---------------------------------------------------------------------------------------------------------------------------- 

-Chapter 3- 

Buzz.

At the sound of the machine's nozzle, Leccee reflexively jumped out of bed. She gave a wry smile at her own habit and stretched widely.

She was on a bed in one of Daba's rooms.

I still haven't completely shaken off my soldier habits. I can't exactly laugh at Daba like this, can I?

Leccee stretched again, then looked out the window where morning sunlight streamed in, surveying the land stretching out before her.

Operating the farming machine was Daba.

Beside him, scooping soil with her hands, was what appeared to be Olibee. Daba should have returned late last night. After the long conversation with Rey and Olibee ended, Leccee had slipped into this bed. Exhausted from the long journey and the excitement of reuniting with Daba, she had fallen into a deep sleep immediately and hadn't known of Daba's return.

An hour later, Leccee stood beside Daba at work.

Without wiping the sweat streaming down his face, he mixed the soil with a milky-white chemical, ran it through the analyzer attached to the farming machine, and then, with a serious expression, entered the data into the computer.

The grime on the computer spoke volumes about the tens of thousands of times he must have repeated this simple yet mind-numbing task over the past five years.

"You see, Myroad..."
Rey's words from last night came back to her.

"You see, Myroad has become something like an advisor to the villagers now, like today... but when he first came back here, he went through a period where he was completely lost. Maybe it was because he was finally released from the tension of so many years of fighting. Even though he had that sense of mission to restore Olibee's consciousness... he was losing his confidence."

"I thought Daba had a superhuman spirit."

It was when Leccee asked Rey about her puzzlement over why Daba focused so much on soil improvement, despite the fact that fresh produce manufacturing relied on established artificial solar systems in each district, eliminating the need to plow the land.

"I wonder how many times the whole village has asked the same question you did. Yet it seems Myroad couldn't find the right words to answer it."

"He's not good with words," Leccee said, recalling how he'd always frown in frustration while trying to explain things to her and Amu.

Daba's soil improvement efforts were met with the village's cold stares and uncooperative responses.

Certainly, using Daba Myroad's name as the hero who led Pentagona to liberation could have forced cooperation, but Daba disliked that.

And amid the mockery of futile effort and the whispers that he'd lost his edge in battle, even Daba nearly lost his confidence.

"But what saved him was that single flower growing in the stone wall Olibee planted. That gave him the certainty that his instinct to bring Olibee back here from Gastogal wasn't wrong."
"..."
"Do you know how a mother holds her baby?"
"Huh? Well..."

Leccee stammered, flustered by the sudden question.

"She rests the head on her left arm. That way, the heartbeat reaches the baby... That rhythm becomes a message from the mother. The baby can fall asleep feeling safe... Tomorrow, watch Myroad at work. I think you'll understand what I mean. You didn't come all this way to meet him just for a vacation, did you...?"

As if reading Leccee's mind, Rey gently smiled at her while mimicking the act of cradling a baby.

Daba loves the soil, she thought.

And she remembered how she, too, felt a sense of nostalgia for this earthy scent. She finally felt like she understood why Daba had said he would take Olibee, who had lost her memories due to the bio-sensor, back to Koam.

This smell of soil is the scent of humans. The earth itself is the mother of all people.

By letting Olibee, corrupted by the machine, keep smelling it, Daba must be trying to restore her human heart.

He probably thought of this because he himself grew up smelling the earth's scent.

"Ah..." A sigh escaped her involuntarily.

What a wonderful person Daba was, sensing the greatness of the earth that people had forgotten. Thinking this, she felt ashamed of her own jealousy toward Olibee.

"Gablae, you see..."

Daba suddenly spoke up, perhaps apologetically for having been so absorbed in his work he'd neglected his visitor from afar.

"Gablae, you see, keeps finding excuses to stop by here. He doesn't say anything, but I suppose he's concerned about Olibee."
"That reminds me, he became an autonomous official in Koam, didn't he... Having returned to his hometown in glory, he must be feeling pretty smug."

Even during this conversation, villagers passing by invariably called out to Daba. Some even offered to help, and Daba struggled to decline.

"It's nice of them to offer... but the invitations to the feast afterward come back tenfold," he said with a delightful smile.

That smile shone with the confidence of a man who had found a new purpose in life, different from the toughness he'd shown on the battlefield. He was a man who had grown even more mentally mature than he had been five years ago.

Daba had fully integrated into the village.

Not as the hero who liberated Pentagona, but as a reliable man whom the entire village needed. It was also a sign of the great man Pentagona would soon need.

During Leccee's stay, villagers came constantly seeking Daba's advice, and she lost her chance to confide her feelings.

Yet Leccee was satisfied.

Daba's actions helped her understand that people walk their own paths. The passage of time would separate the youngsters, but that too was a sign of growth.

I can take pride in having loved this man for a time.

Her hesitation had vanished without her noticing. She, who had abandoned her clan for Daba, would now return to her clan because of Daba. That too, she thought, was life.

"Leccee..."

Daba, who had come to see her off, spoke as they waited for the return bus.

"I can't do any more for you... but don't do anything you'll regret."

Unexpected words left Leccee speechless.

Unable to bear it, Leccee threw herself into the bulky chest of the beloved one she would likely never see again.

"Good-bye... my love..."

Her whisper was drowned out by the sound of the approaching bus's nozzle.

It was the end of Leccee's love.

(The End)

 

"Good-Bye My Love" ("Heavy Metal L-Gaim" Short Story Epilogue) - Part 2

 

Part 2 of the written L-Gaim short story epilogue that was published in Animedia sometime in 1985.

Read Part 1 here:
https://translationmartyzone.blogspot.com/2026/03/good-bye-my-love-heavy-metal-l-gaim.html

---------------------------------------------------------------------------------------------------------------------------- 

-Chapter 2- 

Her heart began to pound furiously.

I should turn back.

Just the thought that showing up suddenly might make him angry made Leccee feel her legs gradually go weak.

She regretted acting so rashly without considering the consequences. It was a thoughtless, selfish act, showing no consideration for Daba's feelings.

Yet, contrary to her heart's desire, her feet slowly carried her into the village of Ugoor.

Two-story buildings lined the perimeter of the square. Each was plain, without much decoration or character, but they carried the human scent Leccee had been seeking.

Taking a deep breath, she asked an old man dozing in front of a shop about Daba Myroad's whereabouts, her voice slightly trembling. She forced a strained smile, knowing she had no choice but to resolve herself.

Following the old man's directions, she climbed the narrow slope. When the buildings ended and she saw the expanse of cultivated land beyond, Leccee stopped involuntarily to steady her racing heart.

Her gaze was captured by the back of a shirtless young man who had jumped off a farming machine and was checking the soil.

Daba!

Before Leccee could call out, Daba turned and looked at her. He showed a moment of surprise, but quickly composed himself, waving at Leccee.

"Watch your step!"

Daba shouted a warning to Leccee, but immediately corrected himself, "No, I'll come over there instead." His skin, glistening with sweat and now even more robustly tanned than before, was dazzling. Seeing Daba's bright smile revealing his white teeth, Leccee realized her earlier fears had been unfounded.

"I'm near finished at last."

Daba said suddenly.

"Look at this."

Before he could even ask why Leccee had come here, he pointed at her feet.

There, from the gray-brown, sandy earth, countless green sprouts the size of adzuki beans peeked out everywhere.

"What's this?"
"I finally succeeded in improving Koam's soil... It took five years."
"..."
"I never understood why there was no green on Koam. But meeting Lilith during that battle solved the mystery."
"Lilith..."

Leccee recalled the endearing figure of Lilith Fau, who had departed after defeating Poseidal, saying she was going to search for her comrades. Subsequent reports stated she had found dozens of allies on the planet Fa. The report concluded that while the winged people's homeland might be Fa, no definitive conclusion had yet been reached.

"In the end, the nuclear war thousands of years ago not only caused climate change on Pentagona World itself... that might also be the cause of the phenomenon called Jemaah. It changed this planet's soil too, didn't it?"

Daba crouched down, scooped up some soil, and let it trickle through his fingers. 

"In two more years..."

Suddenly, Daba looked straight at Leccee, who was mesmerized by the beauty of the dancing dust. Leccee flustered under Daba's unchanging gaze.

"In two more years... we can turn Koam into a green land. Then we can give people peace of mind and prosperity. If we apply this method to Gastogal too, that planet can regain its greenery as well."
"That's wonderful," Leccee said, then couldn't help but chuckle softly.

"You haven't changed a bit, Daba."
"Hm?"
"That habit of yours—once you fixate on something, you can't see anything else—it hasn't changed one bit."
"U-Uh..."

Daba finally remembered he was meeting Leccee again after five years and flushed, looking embarrassed.

But it certainly helped to erase the awkwardness of the five-year gap between them.
 
Daba's home was a humble, log-built, single-storied house halfway up a hill a few blocks away. Beyond the terrace lay the vast land Daba had cultivated, and along the stone walls, countless small, delicate, colorful flowers of unknown names bloomed profusely.

The sweet, tangy scent of the flowers tickled Leccee's nose on the breeze that blew in just then.

"I can't believe it. To think one could live in such a wonderful place."
"After the magnetic storm, once you're the one cleaning this place up, you won't be saying that anymore."
"But here—"

Leccee had been itching to voice something that had been on her mind, yet for some reason, she hesitated.

"The one who planted those flowers..."
Daba pointed to the small flowers resembling cosmos blooming on the stone wall.

"It was Olibee. For some reason, when we arrived here, that flower was the only thing she seemed to remember... She dug it up from the mountain herself and planted it there. Now look how many there are."

As if sensing Leccee's deepest concern, Daba added,

"She's doing well too... getting better little by little. Her memories are becoming clearer bit by bit."
"I see."

Complicated emotions washed over her. The complexity of a woman's heart.

Just then, the inner door opened.

The face that appeared belonged to an old woman nearing sixty, her hair pure white. Behind her, the familiar face of a woman flickered in and out of view. Perhaps embarrassed by the visitors from afar, she refused to show herself from behind the old woman.

"Olibee?"
"Yeah, and this lady is my aunt. Olibee's mother."
"Ah."

Leccee hurriedly bowed her head. Seeing this, Daba, in turn, chuckled.

"Did you think Olibee and I lived alone together, Leccee?"

Caught red-handed, Leccee flushed bright red.

She looked at Olibee again. Five years had erased the harshness from the expression she'd worn on that battlefield, restoring a gentle, composed demeanor.

It's not just a hairstyle change.
Leccee thought, looking at Olibee's short hair that seemed to hide her broad forehead. Olibee stared back at Leccee as if she were something unusual.

The severance from the bio-sensor seemed to have erased even the memories of the time it had been active.

"It's such a relief to lose bad memories..."

Daba said to Olibee with eyes full of fondness. For some reason, Lecce felt a refreshing sensation at the sound of those words and was surprised.

Olibee's mother, Rey, cut a fragrant pie. Olibee poured warm tea and guided Leccee to sit at a table that smelled of fresh wood.

This was after Daba had left to give the village men advice on digging a well.

The conversation focused almost entirely on the city's transformation.

"Amu is putting her knowledge from her old acting days to use, focusing her efforts on cultural enrichment."
"How wonderful. For a time, freak shows were the main form of entertainment... So, what about you?"
"Still can't put down my gun."
"So, you're the security captain, then?"

At Rey's question, Leccee nodded bashfully. Even though the fighting had ended, she felt a little self-conscious about still carrying a weapon.

"Myroad is completely absorbed in soil improvement."
Rey sighed.

"He really should head back to the capital. Otherwise, everyone will forget about Myroad."
"That won't happen. Daba's achievements are eternal."
"Olibee is fine now. I can handle it alone... Myroad really is hopeless, making such a beautiful young lady fret like this. And he's always jumping at invitations from the village men."

Leccee laughed at Rey's grumbling. She found herself unexpectedly relaxed, thinking it wasn't so bad when things took an unexpected turn. 

"Good-Bye My Love" ("Heavy Metal L-Gaim" Short Story Epilogue) - Part 1

Those of you who know me closely might probably know by now that I formerly enjoyed Heavy Metal L-Gaim at first, many years ago as I was watching it... before I eventually finished the show and was super disappointed by how it ended to the point of me just straight up disliking the whole show now.

 

Well, as it turns out—to my surprise, apparently the show has an epilogue? Yes, you heard that right. Sometime in 1985, an L-Gaim-themed special volume of Animedia was released, and within that volume is a short story written by screenwriter Yuji Watanabe that focuses on Leccee as she goes to visit Daba after the great war that occurs during the show's final episodes.

 

Without spoiling anything... jeez. Even if the epilogue is still somewhat bittersweet, it's a hell of a lot better of an ending than how the TV show ended. Why couldn't Sunrise have animated this as an extra episode? Or heck, even as a short separate OVA? This story was really enjoyable to read through and it has now changed my mindset on how I view L-Gaim as a whole.

 

The short story is several pages long—I'll be splitting it into separate "chapters" on here. Scans come from a Bluesky post by Konanne & the English translation was provided by Windii.

----------------------------------------------------------------------------------------------------------------------------

Animedia Exclusive Original Story

Heavy Metal L-Gaim
Good-Bye My Love

Five years have passed since the battle ended—the youths who once fought together now walked their own paths. Then one day, a turning point arrived for Leccee. It was the moment to bid farewell to a love...

An L-Gaim original story by Yuji Watanabe! 

 

-Chapter 1-

In the crowded lobby of Quito Spaceport, Leccee fidgeted with a letter from her mother, Telles, while waiting for the boarding announcement.

Even now, she was still hesitating.

As an executive of the New Pentagona World Construction Committee, using the name Gaw Ha Leccee would have allowed her to reach her destination, Ugoor, via a government-exclusive ship without using this disordered civilian airport. Yet she had deliberately chosen a civilian spacecraft, one that had been in service for quite some time since the port reopened. Perhaps it was because she wanted a little more time to think.

Still, in this lobby bustling with excited travelers, she was tormented by a strange loneliness, like a lost child.

Six years had passed since then...

It had been six years since she, as a former Poseidal military officer, had met Daba Myroad and left the planet Koam, as if chasing after him.

A mixture of nostalgia and loneliness washed over her as she looked around once more.

The tense weariness, sickness, and decay of that time had been swept away; a sparkle shone in people's eyes. Outside the spaceport, the cold wind still blew relentlessly, but inside the buildings, the heating kept them warm.

It was clearly a symbolic sight, showing a planetary world racing up the slope toward the new world Leccee and the others aimed for.

Yet, for some reason, Leccee couldn't bring herself to covet that sight. She felt nostalgia for a more rustic, more human-like cityscape. Perhaps it was the scent of the battlefield soil, mixed with dust and sweat, that she had once raced through alongside Daba Myroad.

Shaking her head as if to shake off the gloom creeping into her heart once more, Leccee scanned the words of the letter from her mother, Telles.

'I feel I can understand the mental strain you must endure now, holding such a demanding position and laboring to build a new nation. At one time, I tried to convince myself to accept your father's words, to resign myself to thinking of you as dead, given your series of actions. But now, hearing rumors of your achievements, I can only say one thing: splendid. We who failed to understand you back then may not be worthy to call ourselves your parents. But knowing full well the risk of being called unfilial, I must make this request. I will be frank with you. Since Father's passing, factional strife within the prestigious Ha clan of Gastogal has begun to surface. If you would return, I believe the Ha clan could unite once more, with you at its pinnacle...'

What followed was a relentless stream of words expressing her mother's love, selfishness, and complaints. How many times had Leccee reread this desperate plea? A plea born from the desire to protect the pride of a distinguished family that had reigned as King of Ha for centuries, and survived as the Ha clan even after the formation of the unified nation under Gastogal.

Each time, she let out a deep sigh.

That was...

It was after the committee had decided to increase the personnel of the Interstellar Security Force—Leccee recalled the day the servant arrived bearing her mother's letter.

It had already been five years since Daba had returned to the village of Ugoor on the planet Koam with Olibee.

The youths who shattered the corrupt adults' false utopia established a new Interstellar Federation, entrusting its governance to the so-called ‘Five-Person Committee’ composed of representatives from each planet. Among them were neither Leccee, Amu, Kyao, nor Semuj. They were merely heads of various sections assisting the ‘Five-Person Committee’.

This was partly because Daba, the greatest contributor, had relinquished the highest position. But it was also the conscious choice of Leccee and the others themselves—they believed that automatically placing battle heroes at the top would merely repeat the mistakes of past nation-building.

They prioritized reviving the interstellar development agreement, which had become a mere formality during the Poseidal regime, and restoring the vitality of the era when the Five Star Dynasty flourished. Their goal was to rekindle people's desire to work, their faithfulness to their way of life, and to bring back songs and laughter.

Both Leccee and Amu had calmed their attitudes to the point where they could now look back fondly on the days of fierce romantic rivalry over Daba, treating it as a laughing matter. When Kyao grumbled, "Those cold-hearted women," they just smiled wryly.

It was simply because they had found a different purpose in life by immersing themselves in building the new nation.

That said, she had never truly given up on Daba. There were moments, like when she happened to gaze at the stars shining in the night sky, that she would recall the color of their twinkling—the same stars she and Daba had looked up at during brief respites on the battlefield—and her chest would tighten with a mix of longing and sweet ache that she struggled desperately to suppress.

It was during one such moment that an old servant of the Gaw household arrived bearing a letter from her mother.

"Your mother, my lady, has been so troubled by the factional dispute that she spends more days confined to her bed than not lately."
"But I abandoned my family."
"I believe she made that request fully aware of that fact... Even if you say you abandoned them, you are still bound by blood. It is a bond that can never be severed for life."

With teary eyes, the servant gazed at Leccee, who had grown strikingly beautiful over the years.

For some reason, Leccee couldn't meet his eyes.

Was it a feeling of indebtedness towards her parents?

No, that wasn't it.

Was it because the construction of New Pentagona World was still underway?

No, that wasn't it either.

Leccee endlessly repeated this internal dialogue, finally arriving at the answer: it was her lingering attachment to Daba.

She instinctively understood that returning to the Ha clan now would make meeting Daba impossible. Shouldering the Ha clan would mean she could no longer act on her own free will.

The eyes of her servant pleaded this truth.

She realized anew then that her ability to immerse herself so completely in nation-building had stemmed from her strong belief that her beloved Daba would return someday.

And she wavered...

It was two days later that she told Amu and Kyao she was taking a few days' leave to go on a journey without revealing her destination.

She desperately wanted to see Daba.

Indeed, just as on that battlefield, whenever doubt arose, seeing Daba's fierce expression and gentle gaze had allowed her to make up her mind.

But she didn't know what answer she could possibly get from seeing Daba.

Leccee boarded the domestic flight to Pryamo from Quito Spaceport three hours late. 

From there, she took a transit bus, the Mobile Works, and traveled for two days to reach the village of Ugoor. 

Armor Hunter Mellowlink - BGM Collection Liner Notes

  

The liner notes for this soundtrack were also translated at around the same time that the notes for "THE MUSIC FROM LAYZNER" were TL'ed & finished, though I must admit that laziness was partially to blame for me not having posted this earlier.

In any case, here are the liner notes from the vinyl version of Mellowlink's OST. Not as detailed as my previous post... and I do wish it could have been a little bit longer, but this still has some interesting bits regardless. This includes comments from both director Takeyuki Kanda and Votoms creator Ryousuke Takahashi.

Translation provided by OverworkedSalaryman (@osalaryman on Twitter).

----------------------------------------------------------------------------------------------------------------------------

A series' BGM can change a lot depending on the story—but approximately 80-100 songs are recorded at once, composed before the film is even done by conveying the song's story & image (etc.) to the composer. Something long can be about three to four minutes, while a short piece like "Ding... ♪" can be a mere 1.5 seconds.
At this point, if you think about it—from the perspective of those listening, having to go through an insanely huge collection of BGM like this can make listening to everything difficult. However, as the art gets done, the story flows, and it becomes a very satisfying feeling when the BGM overlaps with it.

Additionally, when you're done with the series, it has the strange effect of bringing back to mind the scene at the time when you're listening to it again.
During my time working on the sound, there's one thing I regret a lot: it's that feeling of "If the scene was just ten seconds longer, the entire thing could've been played..." or "This line—if it didn't have that specific sound effect, the BGM would've been able to hype things up more..." and so on. My apologies to Inui.

With this in mind, I would be honored if you enjoy this BGM collection and it causes you to remember all of the different scenes.

-Takeyuki Kanda (Director)

<The Winds of Nepal Blowing in the World of Mellowlink>

It has been 6 years since I met with Inui. My impression of him has not changed. He's a quiet but cheerful and bubbly person. It's likely because he drinks good alcohol and eats plenty of delicious first, I think...

More so than my outward image, though, Inui left me with a very strong impression of "one who goes to Nepal." Requesting work from Inui is, in a way, to also adjust the schedule to fit in his journey to Nepal. I once asked him why he goes to Nepal, but there isn't really a reason. He probably just really likes Nepal.

The world of Votoms is brutal and unmoving. After all, in order to survive, the protagonist is willing to kill without hesitation. He does not feel guilt. The protagonist's heart is... devoid.

Over the course of a year, the protagonist's empty heart grows to feel sadness, happiness, friendship and love. And in the end, we reach a happy ending... this means that to those of us who wanted to borrow the form of a serious mecha story and turn it on its head—even though the vibes are brutal, that's just a part of the style. We really wanted to avoid developing it into a brutal, unredeemable atmosphere... but the story and imagery sometimes happened to exceed that boundary. In the end, I feel like it was saved by the music instead.

This time, with Armor Hunter Mellowlink, we have a story of revenge. With a goal in mind, the 17-year-old youth continues on his journey of murder... if we messed up, it ran the risk of giving birth to a work which would leave a bad taste in one's mouth.

However, Inui's music probably helped to purify the actions and emotions of the protagonist. Somehow, when I listened to the music this time, the winds and great plains of Nepal were being etched into my mind.

By the way, how many times has Inui gone to Nepal?

-Ryousuke Takahashi (Original Work)

Liner Notes from Hiroki Inui's "THE MUSIC FROM LAYZNER"

Back with some more liner note translations.

This one had actually been translated since May of this year, though I had chosen not to post it immediately since I wanted to wait first until I could get new scans of this album.

They were just finished recently, so I decided now would be a good time to finally put these up.
(Slightly unrelated—I actually have some liner notes translated from some other OSTs... they were translated around the same time that Layzner's notes were worked on, but I'm unsure when I'll be putting up here).

Having said that—the liner notes for this album were written up by Tatsuo Oba, who had previously been the producer/director on various other Starchild albums. He talks a little bit about the music's production before providing some descriptions for each track on the album.

Translation provided by OverworkedSalaryman (@osalaryman on Twitter).

---------------------------------------------------------------------------------------------------------------------------- 

"The Music From LAYZNER" has an ethnic sound!

The Layzner project was born on a Saturday early in the afternoon—four to five days after talks with Inui over pizza and beer at the end of June, near the live house Ruido in Shinjuku. You likely already know "The Music Of VOTOMS" and this album can be considered a sequel to it.

In performance, a "One Night Stand Band" is the name for an ad-hoc one night band of musicians created at live houses and the like.

This time, aside from guitarist Toru Aoyama, drummer Yuichi Togashiki and bassist Akira Okazawa were added as new members—and they all put on a splendid performance. Whatever the case, they are all first-rate musicians, and if you listen to it, you'll hard agree on the members.

Also, when it comes to composing, editing and his performance on the keyboard, Inui—who demonstrated his abilities on an unregrettable level—is a big shot who graduated from the music science faculty of Tokyo's University of the Arts because he has a kind look in his eyes and is someone I hold very dear to me. While Inui was busy composing and editing for NHK's Minna no Uta and Okaa-san to Issho, he flew to Nepal when he found the time for it and planned the compositions while gazing at Mount Everest. This album was made using both Layzner's BGM as a motif while incorporating these experiences of his as well.

● Side 1

1) Blue Diamond
This piece, which starts off with a piano solo, is a light-hearted one that fits very well as the album's opening piece. The title, "Blue Diamond", is the name of the hotel that Inui frequented while residing in Kathmandu.

2) Prithvi Highway
It starts with a unique, oriental motif. That sound in the intro and midway through that sounds like a percussive instrument was made using a synthesizer. Additionally, the melody in the middle segment which sounds like a synthy merry-go-round was made by sampling a bicycle bell. The title is the name of the highway going from Kathmandu to Pokhara.

3) Capriccio
"Capriccio" doesn't refer to the name of the cake shop in Roppongi. In music terms, it refers to a "Kisoukyoku" (a short, cheerful and whimsical piano piece). Inui's piano solo was really solid.

4) Contemplation
To be deep in thought. The straightforward start to the piece, followed by bassist Akira Okazawa's solo & continued by Aoyama's guitar solo, steadily builds up then fades out. The finger cymbal that clings during the piece belongs to Inui and was made in Nepal with an Adamski UFO shape.

● Side 2

1) Last-Minutes
The final moment. The executioners platform. It's a jazz-like piece that starts with a thrilling drum solo with a drum solo wedge in the middle of the song, fitting perfectly with the performance. It's a piece I'd really want to listen to in a live house.

2) Walk Upstream
It means to walk against the flow. I wonder if the melody came to them while they were trekking along the base of Everest. In the BGM, this should have been M-29.

3) Night Owl
One who remains awake long after dark. While everyone is silently asleep, at night is the best time to be making a song. Even tonight, Inui is likely facing his Fender Rose (Electric Piano) and continuing to produce some splendid music.

4) Capriccio II
In the BGM, it is used a lot in the main show as EM-11—but unfortunately, it wasn't recorded in the LP. For this album, all the string instrument sounds were created with a synthesizer.

5) Orchid
This refers to the orchid flower. Whenever Inui goes to Nepal, the Thai Airline he frequently uses has an inflight service called the Royal Orchid Service—passengers are all given an orchid as a present. If you put it in a cup of water at the hotel, it will continue to bloom on. I hope this album continues to become one of your favorite pieces from here on out...


- 1986.6.22 (T. OBA) 

"Yuji Ohno — World of Sound" — Animage December 1978 Coverage (Part 3)

 

 

The final part (out of three) of Animage's December 1978 coverage of composer Yuji Ohno. Probably the longest one compared to Parts 1 & 2, but this should wrap everything up.

Part 1 can be read here:
https://translationmartyzone.blogspot.com/2025/05/yuji-ohno-world-of-sound-animage.html

Part 2:
https://translationmartyzone.blogspot.com/2025/05/yuji-ohno-world-of-sound-animage_27.html

-----------------------------------------------------------------------------------------------------------------------------

<Jazz is my hometown>

In your music, there's a jazz vibe that has never been a thing in animation music. Has that freshness been something that audiences have welcomed?

Ohno
I don't like splitting music into genres but... if I were forced to, I'd say jazz is like my hometown. I began as a jazz artist, after all. As a result, I wasn't able to understand music except through the concepts of jazz. But one day, I started to feel like I wanted to fly out from the jazz directing world. That's how I ended up now with jazz being one field of music among the many that I'm in.

Essentially, jazz is just one filter that I possess, I feel like.

However, along with the 4-beat of pop and other music genres, there might also be some 8-beat with the music I make. This is because I treat rhythm very seriously.

Your stance on not fixating on the genre is something that can really be said about your composing as well, but...

Ohno
CM (commercial break) songs, TV drama music... I've made various things, but the way I go about composing never changes. This is a job where everyone tries to give form to what they imagine through music, after all.

However, when it comes to anime, it takes a little longer for me to complete a piece. With "Captain Future", that was the case as well. When I'm requested to make music, there are times when the character is all that is done with the characters, and that is when they do not move at all. Unlike a movie, where everything is already filmed & I can watch it while making the music, I cannot do that here. So I have to go off of feel based on the still art before me. It's a battle of image, you could say.

■Testimony 2
I've known Ohno for about 10 years now, back from when he was a jazz pianist who performed with a delicate touch. The fact that someone with solid jazz fundamentals like him is getting work making anime & movie themes means that the once-immature jazz scene is becoming more mainstream and established, even among TV movies—and I think that's a wonderful thing.

(Composer: Hiroshi Miyagawa)

■Testimony 3
At first, we heard Ohno's jazz records and decided we wanted to work together with him. At this point, we consider him one of our own and have been working with him for a long time. Among the 3 movie theme songs he did, we like the one for "Proof of the Man" the most. We expect to see more of his breadth in music activity going forward.

(Haruki Kadokawa Corporation)

I'd imagine that deciding what prose to use for your lyrics and who to get for the vocals can be big problems.

Ohno
There's a lyricist, Keisuke Yamakawa, who I've worked with on "Never Give Up" and some commercials. With him, out of all the lyrics he's written, I pick the ones that I like and use that as a base to compose. With the compositions I've made, I leave those lyrics in and get him to write the rest of it. That's how we work. This might be time-consuming, but we get something satisfactory out of it.

Right now, someone I really want to try working with is Yuu Aku. He is probably the only person that is the most methodical in all of Japan in the way he composes lyrics. If he has a target, he never misses. I would love to get the chance to work with him.

As for singers, Godiego's Yukihide Takekawa. This might get fulfilled with the theme of "Captain Future", but... he has talent and his voice is very fresh.
 

 

In the movie "Proof of the Man", it seemed like you managed to create a hit together with Joe Yamanaka, but...

Ohno
Joe is someone I treasure deeply as a musician. However, when it comes to the electric sound I'm trying for now and how rhythmical it is, it doesn't work as well with him. I'd rather let his unique hard and heavy style shine, if possible...

■Testimony 4
Ohno is someone who enjoys music from the bottom of his heart. In spite of our age game, even around someone like me, we can joke around while working. His sound is modern and clean, but there's a charm to it. Anyway, I hope to continue enjoying music with his going forward.

(Yukihide Takekawa)

 

 

Who's a composer you deeply respect?

Ohno
Within Japan, it's Isao Tomita. I think his cool and feverish feel is very impressive. He sits at home in front of his synth alone, gloves on and does everything on his own. That's not something anyone can do without being that feverish.

For me, that change massive change in movement he goes through from a prick of a sensation, be it a plus or minus, is something I really like...

 

 

Lastly, for people in such a creative job as composing, what kind of lifestyle and during what times do compositions get born is a question we have...

Ohno
The ideas come to my mind when I first get up and stand in the garden, bathing in the sun in my pajamas.

You ask about lifestyle, but I don't think I do anything that special. But...

When I'm free, I watch TV all day long. I'm all about visuals, so I don't really read. I don't really watch home dramas nor music variety shows, but foreign TV movies and late night movies. I really watch a lot of documentaries, too.

But when something makes me go "Ah!", I start to get more into work mode—like, "Ah, they do things like this" and I start taking notes. There's a lot of that. Sometimes, those things might help with analyzing the target audience when I compose.

Also, I listen to a huge number of records. Every time I go to the record store, I end up spending about 50,000 yen easily. My room is a flood of records and there's barely space left to sit.

I'm a pretty normal person, so the most I do that I can say is very composer-like might just be that...

-----------------------------------------------------------------------------------------------------------------------------

—Thank you so much for your time—

Ohno's music is a peculiar balance of wild liberty and accuracy. He has the precision to pick up on what his target audience likes with his cold and composed antenna like the pro composer that he is. At the same time, he has devout originality to make such expressions about wanting to follow his own direction.

These two sides being constantly balanced at odds with each other is what likely gives birth to this music. Perhaps this unique constant opposition he goes through internally is what is needed to make music that captures the hearts of so many.

However, what I want to bring attention to that he is clear in his answer on "his own direction". This answer is what is bringing a new wind of change to the animation music industry, which has lost its light as it has gotten more standardized over the years... 

Yuji Ohno is bringing fresh vibrations to the animation music scene. We'll continue to pay close attention to his activities going forward.