Ryuichi Sakamoto, Taeko Ohnuki - UTAU

Made in Japan.

[u]The Japanese song annotations by Eiichi Yoshimura translate as follows:[/u]

● [b]美貌の青空 = Beautiful Blue Sky[/b]
[i]The original is the opening song of Ryuichi Sakamoto's solo album "master release" (Güt) released in 1995. Later it was re-recorded for "master release" ('96 / güt) and "release" ('04 / WARNER). In 2006, the instrumental version was used for the soundtrack to American movie "Babel", and it attracted attention again at home and abroad. The track has been fully used again on the single "Can't Be Friends" by R&B artist Trey Songz.[/i]
● [b]Tango[/b]
[i]The original song is included on Ryuichi Sakamoto's solo album "Smoochy" (güt) released in 1995. In 1997, Taeko Onuki made a new recording featuring her own vocals for her Sakamoto-produced album "master release" (EMI). The song was also part of the setlist during Ryuichi Sakamoto's tour in 2009 (with Onuki guesting). It could be claimed this song was the trigger for the birth of this album.[/i]
● [b]3びきのくま = 3 Bikki Bears[/b]
[i]The instrumental track (which took part in a commercial for Japan Post) became the title track of "release", Ryuichi Sakamoto's first single on Commmons released in 2008, for which Taeko Onuki wrote new lyrics to complete it as a song.[/i]
● [b]赤とんぼ = Red Dragonfly[/b]
[i]One of the songs that represents Japan. Kosaku Yamada added a vocal line to the poem written by Rofu Miki in 1918, to complete it as a song. Suffice to mention it has been sung by generations dating from prewar times to today, and up to this point many singers have recorded it. "release" ('07) released by commmons features recordings of it by Haruo Minami, Cornelius and Ren Takada.[/i]
● [b]夏色の服 = Summer Coloured Clothes[/b]
[i]Originally recorded for Taeko Onuki's solo album "master release" (BMG) released in 1982. This album track was made up of a song recorded in Tokyo and arranged by Ryuichi Sakamoto plus a song recorded in Paris and arranged by Jean Musy, who is known for his work with Francis Lai and arranged "Summer Coloured Clothes". After 28 years, it has again become an attraction in a new arrangement by Ryuichi Sakamoto.[/i]
● [b]Antinomy[/b]
[i]The original version of this track is "Lost theme - Femme Fatale - Piano version" recorded for the soundtrack album ('02 / WARNER) for the US movie "Femme Fatale" (director: Brian De Palma) released in 2002. Taeko Onuki wrote new lyrics for this instrumental piece, resulting in this song "Antinomy".[/i]
● [b]Flower[/b]
[i]The original is the piece with the same name written by Ryuichi Sakamoto for the debut album "master release" by Taiwanese erhu player Francis Lai in 1997. Sakamoto's own studio recording features on "release" (WARNER) released in 2005. It is often performed live, for example during the "Trio" tour. For this release, Taeko Onuki wrote new lyrics for this piece.[/i]
● [b]鉄道員 = Railwayman[/b]
[i]This is the theme song of the movie "Railwayman (Poppoya)" released in 1999. Lyrics were added to Ryuichi Sakamoto's music by Unicorn's Tamio Okuda, now active as a solo artist, Miu Sakamoto sang it, and it was released as a single that same year (on WARNER). That single included a instrumental piano version played by Ryuichi Sakamoto, which can also be heard on Sakamoto's film music collection "release" ('02 / WARNER).[/i]
● [b]a life[/b]
[i]A piece written specially for this album "UTAU".[/i]
● [b]四季 = Four Seasons[/b]
[i]Originally a song on Taeko Onuki's solo album "[m1852401]" (EMI) released in 1999. The fusion of the arrangement of Febian Reza Pane and the lyrics and singing of Onuki, which is unique to Japanese people, attracted a lot of attention. This is remake of the same song, which was also used in a commercial for cosmetics.[/i]
● [b]風の道 = Wind Road[/b]
[i]Like "Summer Coloured Clothes", originally this song was recorded for Taeko Onuki's solo album "Cliché" (BMG) released in 1982, and was recorded in Paris by Jean Musy. On Ryuichi Sakamoto's 2009 Tour (guest Taeko Onuki) it featured in a new arrangement with his piano accompaniment, and its development section was also recorded for this album.[/i]

[u]The Japanese liner notes by Kenichi Makimura translate as follows:[/u]

● [b]Autumn 2010[/b]
[i]For a long time, I liked "songs" that stir the air. That breathe like "songs", this was the story before I encountered the "piano". Now I'm listening to this newly born album. This dignified "music" consisting of only the singing plus the piano cuts me up in two.
One half of me listens and closes his eyes and is fascinated by the music. The other half starts to surrender to the memories of the past. From here to there, we are going back and forth between the present and the past.[/i]
● [b]January 1976[/b]
[i]One day, "master release" was being recorded at Onkio Haus. The chorus on one of the songs, written by Tatsuro Yamashita, featured Taeko Onuki, a member of Sugar Babe. At the time, my position was to provide management support to Sugar Babe. Our staff usually referred to Ms. Onuki as Turbo. One of her discoverers, Makoto Yano, described her to be "like a refreshing icecream", and although she was being called Turbo, she was actually the most delicate girl of all. That day, Turbo seemed to be deep in thought all of the time. After a while, I took the plunge and talked to her. During this short conversation, I got the feeling Sugar Babe were about to break up. I felt the cold air and dark vibes coming through the glass in the studio. On my way home, I started preparing. To give up on a second album by Sugar Babe. And propose to Turbo, no, Onuki-san, to do a solo album.[/i]
● [b]June 1976[/b]
[i]Ms. Onuki's debut was released on the Panam label (part of Crown Records) on which Caramel Mama (by Tin Pan Alley) had also been released. Recording started on June 12th. Tatsuro Yamashita, Makoto Yano, Tin Pan Alley and Ryuichi Sakamoto all participated in this first solo album called "master release". On 23 December 1975, Mr. Sakamoto had been in charge of the piano for Ms. Onuki's solo spot at Sugar Babe's "Christmas Concert". Yoshi Nagato, who was the first manager of Sugar Babe, was saying he goes in and out of Ogikubo Loft, and he's good at playing the piano, isn't he from the Tokyo University of the Arts or something? So he was aiming to involve Mr. Sakamoto, who had the look and the moves. (Laughing) There would be a few live performances before announcing this debut album. I was in my early 20s, for the first time we got some momentum going, and my face was always fluttering.[/i]
● [b]May 1977[/b]
[i]During the making of the second album, I left the staff. Aki Ikuta and Ryuichi Sakamoto took over the production. "master release" was produced in May of the following year after requesting participation from STUFF's Chris Parker, who had come to Japan for a concert to make an appeal against whaling and for protection of the environment.[/i]
● [b]1978[/b]
[i]In 1978 I returned to be part of the staff again. Ms. Onuki, Ms. Mariya Takeuchi, and Mr. Kazuhiko Kato (Tonovan) were to participate in the newly established company. After transferring to RVC, "master release" was produced by Eeji Ogura, and arranged by Mr. Sakamoto and Mr. Ichizo Seo. Sakamoto had been recording his first album "Thousand Knives" since April of this year.[/i]
● [b]1980[/b]
[i]I was to produce Ms. Onuki, for which I asked the cooperation of Mr. Shigeki Miyata, who was in charge of RVC productions. We welcomed messrs Sakamoto and Tonovan for the arrangements and creation of the sound. This resulted in "master release". This album was also a success in terms of sales, and in the following year, 1981, "master release" was produced, which overlapped with Mr. Sakamoto being in the middle of YMO's activities. Following these two works, the production of "master release" started as well.[/i]
● [b]1982[/b]
[i]In terms of record production, "Cliché" was the last album I participated in. My answer in an interview at that time was as follows. "I'm going to pass the baton on to Taeko Onuki, the best producer", a reality that turned out to be even better. "色彩都市=Colour City" was created. It was Taeko Onuki's monument, played on by Ryuichi Sakamoto, and led to the here and now: Ryuichi Sakamoto sung by Taeko Onuki. As an aside, that year there was also the production of "い・け・な・いルージュマジック=Rouge Magic" with messrs Sakamoto and Kiyoshiro Imawano.[/i]
● [b]2009[/b]
[i]23 December in Hibiya Public Hall, a Christmas concert similar to what took place 34 years ago with "からっぽの椅子=Empty Chair", a performance by just two persons. Now it's "色彩都市=Colour City", "Tango" and "風の道=Wind Road", again featuring only vocal and piano. Each of their encounters has a farewell and a promise of we'll meet again. After they co-starred on "master release" in the mid-1980s, this is the first time in 13 years Ms. Onuki and Mr. Sakamoto meet since "master release" in 1997, and it marks the start of their joint production of the "UTAU" album.[/i]
● [b]Autumn 2010 again[/b]
[i]Recently, I've become particular about these two words "colour" and "city". Now that the four seasons are disappearing and the colours associated with the seasons are disappearing. Now that the city of Tokyo is being played around with as if it's fictitious. Ms. Onuki and Mr. Sakamoto, who are both genuine Tokyo people, while living in different countries, are worried about Tokyo, worried about Japan, worried about the earth, and worried about the universe. Similarly, I love animals, I love plants, I love my family, I love people.
The track "a life" written for this album speaks to us. "And let's meet nice people and give the living a voice", this is definitely another version of "Colour City" but now for 2010. Breathing, stirring the air, it's the word "UTAU" that resonates. The lips closed with U are separated by TA and meet again by U in that wonderful title "UTAU".[/i]

Kenichi Makimura
Participated in the establishment of Yui Music Studio while attending Waseda University. Subsequently he founded OUR HOUSE, a promotion and production company for Sugar Babe and Sentimental City Romance. He was involved in productions for artists including Taeko Onuki, Mariya Takeuchi, Kazuhiko Kato, Flipper's Guitar and more, and has worked for various labels including indie label Trattoria. Currently a lecturer at Todai.