English Translation 0:00 Next is a special feature. This week, we will be broadcasting the live performance of Masayoshi Takanaka, which took place in September, for three consecutive nights starting today. Now, please enjoy. 5:42 Sixteen years ago, I discovered a picture book called Rainbow Goblins. You know, it’s something I’d wanted to do for a long time, but how should I put it? It’s not exactly progressive rock, but I’ve been into that kind of thing for a long time, this could be a long story. bands like King Crimson, and Pink Floyd. You know, albums where the whole record tells a story? What’s the word for it? A concept album, right? I always wanted to make something like that myself, but I couldn’t create my own story, and I can’t draw. So, 16 years ago, by pure chance, I came across this picture book. That’s when I started thinking, “This is something I’ve wanted to do for so long.” Finally, I managed to complete that concept album. After that, I started thinking about how amazing picture books are. I even searched through picture book stores in the U.S., but I couldn’t find anything quite like those beautiful yet eerie illustrations by Ul de Rico. I realized it had to be their work, nothing else would do. But as the years went by and nothing new came out, I gave up hope. Then, 16 years later, just last year, actually, the sequel to Rainbow Goblins, called White Goblin, was announced. Of course, I felt like I absolutely had to do it. It was something I thought I’d never get to do in my lifetime, so I’m really glad it finally became possible. 11:58 Well, for the past three years or so, I’ve been going to the Bahamas to compose music. I’ve been working on it while looking at the ten or so illustrations in the picture book, starting from the very first image. If I had to describe it, I’d say it’s challenging. It’s not the kind of music where you think, “Oh, this rhythm feels good,” and then build a song from that feeling. Instead, it’s music that belongs entirely to the world of the picture book. In some ways, it’s like creating a soundtrack for a movie. But if it were just a soundtrack, it might feel a bit dull. I wanted the music to be something you could fully enjoy even without the picture book. That’s what made it so difficult. There were times when I stared at the same illustration for three days straight, struggling to figure out what kind of sound would fit. I couldn’t write anything, and I’d just sit there, stuck, wondering what to do. 29:10 Well, I think he’s something like a “forever guitar boy.” He’s always striving, always searching, and in the end, it’s about creating his own unique world. There’s no other way for him to express himself. He’s someone who’s constantly exploring that. Because of this, he naturally comes up with very pop-like, melodic tunes. At the same time, he has this way of incorporating a modern, up-to-date feel. This time, he’s built on the challenges and conversations from his previous works. I think he’s always approaching music with that “eternal guitar boy” mindset. But it’s not just about his skills as a guitarist. The way he approaches rhythm is incredibly unique and interesting too. 29:47 He’s not just a guitarist, he’s someone who thinks about rhythm in really fascinating ways. So, it’s not just about the guitar itself. I was honestly quite surprised by how much thought he puts into the ensemble as a whole. Does that answer your question? 30:08 Before getting into the whole music thing and all that, as a guitarist, being able to keep up a solo career for so many years is something I really envy as a fellow musician, and it's something really impressive. Of course, I also release my own solo albums, but constantly focusing only on your own stuff like that takes a lot of energy. The fact that he's been doing it for over 20 years just says it all, it's amazing. 41:45 I really think Takanaka’s playing is something special. It’s like a “singing guitar,” you know? He’s one of the rare Japanese guitarists who can really sing a melody through his guitar. He himself says he can’t really sing, and he admits his singing is terrible, but instead, he expresses the song through his guitar. And with that, he’s able to lead everyone with his playing. I think he’s an amazing guitarist. 43:42 24 years ago, I dyed my hair and was playing guitar in a band called the Sadistic Mika Band. How should I put it? Back then, it was the peak of the folk era, and even though we thought we were doing pretty cool rock, it was frustrating that folk music was selling so much more. I remember feeling upset about that. But, despite that, I ended up joining Yoshida Takuro’s tour. I’ve been working with folk artists since over 20 years ago, but what really stands out for me from that time is the live recording “Yoshida Takuro Live '73.” Of course, I played guitar on that, but I especially love the songs “Haru Datta Ne” and “Rakuyou.” 48:14 The last time I performed with the Mika Band was almost 20 years ago, so in that sense, music really has this timeless quality that makes you forget the passage of time. Today, during rehearsal, I was talking to my bandmates, and I immediately felt like we were right back where we left off. Back then, I was determined not to let Takanaka's guitar sound overshadow mine. I would sing at full volume, even though I was way off pitch (laughs). I wonder how it will go today. It was a time I really loved. 55:03 How many times has it been? I was asked to do a recording before. So, going with that, in a way, for us, performance is like a conversation. At that moment, I thought, 'This person has such a wide vocabulary.' And then... I thought, 'Maybe this is what they really want to do,' and I considered many things. But, well, I can only do jazz. So, in that sense, since it was a recording, it was like a conversation in a closed space. But today, performing in front of the audience, it's a conversation, and I’m really looking forward to it." 59:07 It's been a long time, 25 years. So, it's really been a while. I think a lot has changed since then, but the main reason I wanted to do it this way is that, first of all, to play something like hard rock, I feel like I'm at the point where it's probably my last chance due to my age. Also, lately, people have been thinking of me mainly for my lyrics, and they say, 'He seems to play drums too.' I don’t like that. 1:01:51 Back in the day, I was with Hiro Tsunoda and we were doing Strawberry Path. At that time, I was playing the organ, guitar, and bass. I played the bass with the organ pedals, the keyboard with my right hand, and the guitar with my left hand. But I realized there were limits to that, so I decided to try to bring in a bass player. We auditioned a lot of bass players, but every time we did an audition, they would quit halfway, saying they couldn't keep up with us. So, I thought it might be impossible to find a bass player. Then, I heard a rumor about a high school student who was incredibly good at bass. When I went to see him, I was amazed at how good he was at guitar. I thought, 'Since he’s a high school student, maybe if we force him, he’ll do it,' and so, Hiro and I, after some back and forth, ended up forcing him to play bass. 1:07:20 A long time ago, I had the chance to talk to George Benson, just once. You know, George Benson plays these incredible, flowing, super-fast, and smooth phrases on the fly. I always wondered: is he just playing because it feels good? Or is he sweating buckets, giving it his all, trying desperately to come up with cool phrases? I was really curious about which it was. So, when I got to meet him, I asked. And he said it wasn’t that he was just playing because it felt good. He said he was giving it everything he had, constantly thinking, “What should I play next?” Sure, the sounds he was making felt great, but behind the scenes, he was working as hard as he could. When I heard that, I thought, “Oh, thank goodness. He’s just like me.” I mean, yeah, it’d be nice if we could all play smooth, feel-good phrases effortlessly, but it’s not that simple. When it’s a concert, it’s the same. No matter how I feel, I end up giving my all for even a single song. Sometimes I think, “Maybe I’m still inexperienced,” but that’s just how it is.
凄いなー✨ 高中さんが若い時に、 関わっている大御所は、 高中さんが、 物凄いミュージシャンに成ることを、知っていたのかな🎉 今になって凄いよね❤
村田英夫さん髪の毛フサフサだな〜 懐かしい！
ギター弾き続けて、高中サウンドで、感動与えて、軽井沢に、家を、建てて、高中さん、頑張ったなぁ🎉幸せな、高中さんを、見ていると、幸せな、気持ちに、なります。
復活 ありがとうございます‼️ アマゾンズより 大好き❤️
サンタナっぽい色気のあるギターですね
虫がいっぱい来そうだな。
English Translation 0:00 Next is a special feature. This week, we will be broadcasting the live performance of Masayoshi Takanaka, which took place in September, for three consecutive nights starting today. Now, please enjoy. 5:42 Sixteen years ago, I discovered a picture book called Rainbow Goblins. You know, it’s something I’d wanted to do for a long time, but how should I put it? It’s not exactly progressive rock, but I’ve been into that kind of thing for a long time, this could be a long story. bands like King Crimson, and Pink Floyd. You know, albums where the whole record tells a story? What’s the word for it? A concept album, right? I always wanted to make something like that myself, but I couldn’t create my own story, and I can’t draw. So, 16 years ago, by pure chance, I came across this picture book. That’s when I started thinking, “This is something I’ve wanted to do for so long.” Finally, I managed to complete that concept album. After that, I started thinking about how amazing picture books are. I even searched through picture book stores in the U.S., but I couldn’t find anything quite like those beautiful yet eerie illustrations by Ul de Rico. I realized it had to be their work, nothing else would do. But as the years went by and nothing new came out, I gave up hope. Then, 16 years later, just last year, actually, the sequel to Rainbow Goblins, called White Goblin, was announced. Of course, I felt like I absolutely had to do it. It was something I thought I’d never get to do in my lifetime, so I’m really glad it finally became possible. 11:58 Well, for the past three years or so, I’ve been going to the Bahamas to compose music. I’ve been working on it while looking at the ten or so illustrations in the picture book, starting from the very first image. If I had to describe it, I’d say it’s challenging. It’s not the kind of music where you think, “Oh, this rhythm feels good,” and then build a song from that feeling. Instead, it’s music that belongs entirely to the world of the picture book. In some ways, it’s like creating a soundtrack for a movie. But if it were just a soundtrack, it might feel a bit dull. I wanted the music to be something you could fully enjoy even without the picture book. That’s what made it so difficult. There were times when I stared at the same illustration for three days straight, struggling to figure out what kind of sound would fit. I couldn’t write anything, and I’d just sit there, stuck, wondering what to do. 29:10 Well, I think he’s something like a “forever guitar boy.” He’s always striving, always searching, and in the end, it’s about creating his own unique world. There’s no other way for him to express himself. He’s someone who’s constantly exploring that. Because of this, he naturally comes up with very pop-like, melodic tunes. At the same time, he has this way of incorporating a modern, up-to-date feel. This time, he’s built on the challenges and conversations from his previous works. I think he’s always approaching music with that “eternal guitar boy” mindset. But it’s not just about his skills as a guitarist. The way he approaches rhythm is incredibly unique and interesting too. 29:47 He’s not just a guitarist, he’s someone who thinks about rhythm in really fascinating ways. So, it’s not just about the guitar itself. I was honestly quite surprised by how much thought he puts into the ensemble as a whole. Does that answer your question? 30:08 Before getting into the whole music thing and all that, as a guitarist, being able to keep up a solo career for so many years is something I really envy as a fellow musician, and it's something really impressive. Of course, I also release my own solo albums, but constantly focusing only on your own stuff like that takes a lot of energy. The fact that he's been doing it for over 20 years just says it all, it's amazing. 41:45 I really think Takanaka’s playing is something special. It’s like a “singing guitar,” you know? He’s one of the rare Japanese guitarists who can really sing a melody through his guitar. He himself says he can’t really sing, and he admits his singing is terrible, but instead, he expresses the song through his guitar. And with that, he’s able to lead everyone with his playing. I think he’s an amazing guitarist. 43:42 24 years ago, I dyed my hair and was playing guitar in a band called the Sadistic Mika Band. How should I put it? Back then, it was the peak of the folk era, and even though we thought we were doing pretty cool rock, it was frustrating that folk music was selling so much more. I remember feeling upset about that. But, despite that, I ended up joining Yoshida Takuro’s tour. I’ve been working with folk artists since over 20 years ago, but what really stands out for me from that time is the live recording “Yoshida Takuro Live '73.” Of course, I played guitar on that, but I especially love the songs “Haru Datta Ne” and “Rakuyou.” 48:14 The last time I performed with the Mika Band was almost 20 years ago, so in that sense, music really has this timeless quality that makes you forget the passage of time. Today, during rehearsal, I was talking to my bandmates, and I immediately felt like we were right back where we left off. Back then, I was determined not to let Takanaka's guitar sound overshadow mine. I would sing at full volume, even though I was way off pitch (laughs). I wonder how it will go today. It was a time I really loved. 55:03 How many times has it been? I was asked to do a recording before. So, going with that, in a way, for us, performance is like a conversation. At that moment, I thought, 'This person has such a wide vocabulary.' And then... I thought, 'Maybe this is what they really want to do,' and I considered many things. But, well, I can only do jazz. So, in that sense, since it was a recording, it was like a conversation in a closed space. But today, performing in front of the audience, it's a conversation, and I’m really looking forward to it." 59:07 It's been a long time, 25 years. So, it's really been a while. I think a lot has changed since then, but the main reason I wanted to do it this way is that, first of all, to play something like hard rock, I feel like I'm at the point where it's probably my last chance due to my age. Also, lately, people have been thinking of me mainly for my lyrics, and they say, 'He seems to play drums too.' I don’t like that. 1:01:51 Back in the day, I was with Hiro Tsunoda and we were doing Strawberry Path. At that time, I was playing the organ, guitar, and bass. I played the bass with the organ pedals, the keyboard with my right hand, and the guitar with my left hand. But I realized there were limits to that, so I decided to try to bring in a bass player. We auditioned a lot of bass players, but every time we did an audition, they would quit halfway, saying they couldn't keep up with us. So, I thought it might be impossible to find a bass player. Then, I heard a rumor about a high school student who was incredibly good at bass. When I went to see him, I was amazed at how good he was at guitar. I thought, 'Since he’s a high school student, maybe if we force him, he’ll do it,' and so, Hiro and I, after some back and forth, ended up forcing him to play bass. 1:07:20 A long time ago, I had the chance to talk to George Benson, just once. You know, George Benson plays these incredible, flowing, super-fast, and smooth phrases on the fly. I always wondered: is he just playing because it feels good? Or is he sweating buckets, giving it his all, trying desperately to come up with cool phrases? I was really curious about which it was. So, when I got to meet him, I asked. And he said it wasn’t that he was just playing because it felt good. He said he was giving it everything he had, constantly thinking, “What should I play next?” Sure, the sounds he was making felt great, but behind the scenes, he was working as hard as he could. When I heard that, I thought, “Oh, thank goodness. He’s just like me.” I mean, yeah, it’d be nice if we could all play smooth, feel-good phrases effortlessly, but it’s not that simple. When it’s a concert, it’s the same. No matter how I feel, I end up giving my all for even a single song. Sometimes I think, “Maybe I’m still inexperienced,” but that’s just how it is.
such a beautiful home…
thanks for the video !! i love him ❤❤❤
Hai hai hai hai!
いいね～～～～👌 黒船は、いつ聴いてもやっぱいいね～～～～。
高中さんのメロディは車で家で一生聴くでしょう❤
この頃に戻ってこのライブに行きたい😭
みうらじゅんの「はなまるカフェ」をどなたかアップしてください。お願いします
高中氏の「貴重な」サングラス無しの時代ですよね。 当時、氏の大ファンの私はテレビ出演を全てVに録画していたのですが、この出演は見落としていたようです。 シャイな氏は、インタビュー中にギターを弾いていたの思い出しました。 貴重な映像、ありがとうございました。
いたのを
ギター🎸の天才ですわ。
とてもいい時代ですね こういう音楽をまた聞かせてほしい。作ってほしい
じか箸/// しかも何回も
シールド挿さってないけど、なんで？
江戸時代の方ですか〜👂
シャカタクっぽい楽曲
マーちゃんごめんね！
ミュージシャンの物真似はうまいという印象があるけど、この人のひょうきん族は無理があった。
ギターで歌うことを生業としているが故か、あまり喋り慣れてない感じがシンパシーを感じる😊
高中って人はどの部分が凄いのですか？ 作曲能力？
そうだと思います。
歌メロ巧いよね
良い曲が沢山有りますね。
サディスティックミカバンド出身では高橋幸宏と並んで出世頭
作曲やアレンジが上手く音楽性の幅が非常に広い 「虹伝説」なんかそこら並のミュージシャンなら スーパーのBGMみたいなものになると思う。 あそこまでドラマチックに仕上げられる人はそうはいない。
つなぎ風の衣装とか オールバックではないけど、キチっとした髪型とか キティー時代の名残があって好きです😆 ※高中さんは正統的なハンサムとは全然違いますが なんとも色気があってすごくカッコいいです。
キティ (キティ･レコード)
お願い を歌詞カード皆が歌ってるジージャン女性はどなた？？
森川美穂さんかなと
ua-cam.com/video/kFg39vLy71w/v-deo.htmlsi=zEqqXwZ9jU2zm04l
17:38 "森川美穂"って 言ってるね
コーラスのEVEの皆さんは、お元気かしら？ベースはナルチョ？
夜ヒット専属の コーラスガールだったと思います。 EVEではないですね😅
後藤次利の嫁もいたね。ｗ
俺らリアルタイムに聞いてました。個人的には、ジャンピングテイクオフが盛り上がって良いかなと。
高中氏の奥様すごくキレイだったよね
この頃の高中さんをリアルタイムでみたかった❤ それにしてもスロー過ぎて脳内が⁉️
ミカさんのコメント( 48:18) が素敵だなぁ。「私は当時、絶対に高中くんのギターの音には負けないぞ！とフルボリュームで唄って思いっきし外してましたけどね」 48:18
高中、緊張して倒れそうな気配
そのくらいこの時代はメディア、レコード業界が一体だったんだな
おー山口もえがいる😊レアな動画だな😊
高中のシーン、大変失礼ながら面白い。 今の人は知らないと思うけど、昔の流しのギタリストみたいですね。
ミカのパワフルボーカル、凄😮
高中正義懐かしいなぁブルーラグーン
直箸でいくなよw
チャー!最高😊!
拓郎は いらない
hunpulged で、私はファンから抜けちゃったんだよねー。最近は同じセットリストで何度も参戦してるけど！！
Ringちゃん可愛い(°▽°)
高中さんイケメン
鳥山雄司さんもコメントありますが、20年以上も続けて出来るのは、すごい事。ホントそう思います。なかなか回り見渡しても少ないと思います。
高中さんの曲はもう40年以上聴いてきました。懐かしい映像ありがとうございます。しかし、昔も今も変わらない音楽スタイルは、職人気質を感じてしまいます。心地よい曲を、演奏を、いつまでも愉しめて幸せになります。また。ライブに行きます😊
アップをありがとうございます！サンタナとの横スタが高中初参戦でした。土曜日にZepp羽田のJ26で飛び跳ねて楽しんできました！！次は、BillBoardです！！！
個人的なことだが、2000年代初頭、アマゾンのマケプレで永井美奈子さんが自分の出品本を買ってくれたことがある。wikiを見ると、そのころ慶応院で学ばれていたらしい。礼儀正しい人で、後でご丁寧なお礼のメールが届いた。
アップありがとうございます。 いろんな曲をまぜこぜにして、途中でぶつ切りにしながらも一連を各楽器パートが合わせて演奏する。プロと言えどリハーサルを何回もやらないとタイミングが合わないでしょう。 こういう、作り込んだ番組は、構想、アレンジ、スケジュール合わせてリハ、本番、と、とっても手間・時間・スタジオ代がかかると思います。 デジタル音源伴奏の音楽番組さえ無くなった昨今、ましてや本番1回のためにアレンジもリハもやる音楽番組はやってられないのでしょうね。もう望むべくもありません。 “音楽は世界だ”や“ヒッパレ”は、音楽で遊ぶ、をコンセプトにした、知的で楽しい良い番組でした。きっとタモさんや三宅裕司さんはそこにプライドを持ってやっておられたと思います。 惜しいです。 若き高中先生、モト冬樹さんとの絡みも見事。フザケたいのにシャイさがまさって“引き芸”なのが愛されポイントですよね。 感謝と共にご健康を祈らずにいられません。 アップありがとうございました。楽しみました。
モト冬樹のギターも上手いよねっ