Q「Kinki Kidsの「硝子の少年」予想外の音作りがすごく興味深かったんですが」
達郎「ボクのファンにはうるさい人が多いから、あの曲に関してはひとこと言いたい人もきっといるだろうな。でも、あの曲をつくるに当っては色々と苦労があってね」(中略)
Q「どのように状況を打破されたんですか?」
達郎「今、筒美京平さんだったらどういう曲を書くのかなって思って。僕にとってのジャニーズっていうのはジャニー喜多川さんが作られた40年近く続く一種の伝統芸能なわけ。(中略)僕はマッチや少年隊のプロジェクトを横から見ることができたんで、そうした「ジャニーズ的」な色合いについてある程度知識があった。それを形作ってきたのには筒美さんや馬飼野さんたちの作ったメロディーラインが大きな役割を果たしてるんだよね。だからひとことで言えば「よろしく哀愁」と接点を持てるような曲にしようと思って、それであれになったの」
Q「なるほど、だからあのマイナーメロディーなんだ」
達郎「販促用のパンフに載せた僕のコメントがあるんだよ。「フォーリーブスを生きたママたちと、今まさにKinkiを生きる娘たちとが、時を越えてつながる何かを表現できたらと思い、この曲を作りました」これがあの曲のコンセプトのすべて。(中略)作家の世界も今、転機でね。作家としてのプロがいない。みんなシンガーソングライターと呼ばれる人たちで。そういう人たちは得てして自己主張を過度にアイドルに押し付けようとする。(中略)自分で歌えない曲を作れるのが作家だって思ってるから。でも、そういう美学って今、あまり通用しないからなあ。素人音楽家に牛耳られてる時代だから」(TATSURO MANIA(ファンクラブ会報)No.23.1997Autumn)
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文芸誌をナナメに読むブログ(書評): ジャニーズワールドの現在(日本語ラップと自分探し5) (via hyperf) (via keinoma) (via gkojax) 2009-05-23 (via gkojay) (via takaakik) (via handa) (via rivzoe) (via ontheroad) (via otsune) |
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Q「Kinki Kidsの「硝子の少年」予想外の音作りがすごく興味深かったんですが」...
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