The Maker Speaks
■ Next, about Spitz. You are said to have met them when you were just a new figure…
T: I entered Polydor in 1989 February and met Spitz for the first time in 1989 May. Finding them at a popular live music club: Shinjuku Loft, seeing Kusano Masamune sing with an acoustic guitar of Yamaha in a hairdo like a Japanese cook and in an overall, I was pretty upset. The rock music called Tatenori was in its glory at the time and the bands were booming. So their style, its vocalist plays acoustic guitar, was seldom found. Notwithstanding, their songs truly resonated in my heart. Then, right away I got their cassette tape and their flexi disc, and went back to Polydor. I listened there and my senior was pleased with Spitz.
■ Then, did you start contract discussion?
T: At the time, some had already caught onto Spitz. Finally, they resulted in conferring with about eight companies. They decided against dealing by themselves, and desired to belong to an office first. Thereupon, my senior introduced an office “Road & Sky” to them. The beginning of our relationship was that.
■ How did you hold your presentation in Polydor, sir?
T: I was too young, only a nothing, to make anything political. I had nothing but my zeal. Polydor was as small-scale as I could glance over all employees on a meeting. There was an atmosphere as they said “Takeuchi is showing zeal somehow. Then, let us help for him.” Spitz needed about five years to become popular. Polydor gave them five years though they didn't so sell. It is, of course, by also patience of the office not just the record company.
■ Now, shall we talk about their tenth studio album “Mikazuki Rock?”
T: In 1999, Spitz had to release their best album for unilateral decision of Universal Music. I am sorry to have to say, they made and released their ninth studio album “Hayabusa” based on their first intention in 2000, as a reaction of their disappointment. That was done, and “Mikazuki Rock” was born.
■ “Hayabusa” was produced by Spitz and Ishida Shokichi. But “Mikazuki Rock” was by Spitz and Kameda Seiji.
T: I can say the two are rightly separated, in the sense. I had worked with Mr. Kameda before that and was fond of his works. In Spitz, Tamura (bass guitar) is supposed to have been familiar. They had been next to each other in works like recording. It was natural for us to work with Mr. Kameda.
■ In a present view, what is “Mikazuki Rock?”
T: Spitz has produced with Kameda Seiji since “Mikazuki Rock.” Then, I can say it is a start of Spitz of presence. One-sidedly, the 1999 best album; “Recycle” whose central roles were the hit songs in the middle of 1990s, recapitulated their works that were built from their debut to the time. Then, against the unsatisfactory work, showing their original punk spirit and hard rock style, Spitz made “Hayabusa” with Ishida Shokichi. What they wanted to do was all done at the point. Spitz needed to look for the next Spitz. “Mikazuki Rock” is the entrance of the labyrinth to the present.
■ How come Spitz released “ハネモノ (hanemono)” and “水色の街 (mizuiro no machi)” together as the advance singles?
T: “ハネモノ” was used by Calpis as their commercial song and became a single. Then, there was a question that said “Is it truly right to make the song represent the album?” It might be, but “Mikazuki Rock” is an album of variety. So we wanted another representative single. “水色の街,” its hook sings only ♪La la la. And I guessed it sounded punk and would thrill more to be a single.
T: I entered Polydor in 1989 February and met Spitz for the first time in 1989 May. Finding them at a popular live music club: Shinjuku Loft, seeing Kusano Masamune sing with an acoustic guitar of Yamaha in a hairdo like a Japanese cook and in an overall, I was pretty upset. The rock music called Tatenori was in its glory at the time and the bands were booming. So their style, its vocalist plays acoustic guitar, was seldom found. Notwithstanding, their songs truly resonated in my heart. Then, right away I got their cassette tape and their flexi disc, and went back to Polydor. I listened there and my senior was pleased with Spitz.
■ Then, did you start contract discussion?
T: At the time, some had already caught onto Spitz. Finally, they resulted in conferring with about eight companies. They decided against dealing by themselves, and desired to belong to an office first. Thereupon, my senior introduced an office “Road & Sky” to them. The beginning of our relationship was that.
■ How did you hold your presentation in Polydor, sir?
T: I was too young, only a nothing, to make anything political. I had nothing but my zeal. Polydor was as small-scale as I could glance over all employees on a meeting. There was an atmosphere as they said “Takeuchi is showing zeal somehow. Then, let us help for him.” Spitz needed about five years to become popular. Polydor gave them five years though they didn't so sell. It is, of course, by also patience of the office not just the record company.
Takeuchi Osamu Free-lance Creative Director Born in 1963 Niigata, Japan. Entered Polydor in 1989 Feb. Has worked with many artists like Spitz, Ultratower and Read Aloud and so on, as a free-lance producer or creative director, under the style of "wilsonic" since 2009. Incidentally, "wilsonic" is from his favorite musician: Brian Douglas Wilson. |
T: In 1999, Spitz had to release their best album for unilateral decision of Universal Music. I am sorry to have to say, they made and released their ninth studio album “Hayabusa” based on their first intention in 2000, as a reaction of their disappointment. That was done, and “Mikazuki Rock” was born.
■ “Hayabusa” was produced by Spitz and Ishida Shokichi. But “Mikazuki Rock” was by Spitz and Kameda Seiji.
T: I can say the two are rightly separated, in the sense. I had worked with Mr. Kameda before that and was fond of his works. In Spitz, Tamura (bass guitar) is supposed to have been familiar. They had been next to each other in works like recording. It was natural for us to work with Mr. Kameda.
■ In a present view, what is “Mikazuki Rock?”
T: Spitz has produced with Kameda Seiji since “Mikazuki Rock.” Then, I can say it is a start of Spitz of presence. One-sidedly, the 1999 best album; “Recycle” whose central roles were the hit songs in the middle of 1990s, recapitulated their works that were built from their debut to the time. Then, against the unsatisfactory work, showing their original punk spirit and hard rock style, Spitz made “Hayabusa” with Ishida Shokichi. What they wanted to do was all done at the point. Spitz needed to look for the next Spitz. “Mikazuki Rock” is the entrance of the labyrinth to the present.
■ How come Spitz released “ハネモノ (hanemono)” and “水色の街 (mizuiro no machi)” together as the advance singles?
T: “ハネモノ” was used by Calpis as their commercial song and became a single. Then, there was a question that said “Is it truly right to make the song represent the album?” It might be, but “Mikazuki Rock” is an album of variety. So we wanted another representative single. “水色の街,” its hook sings only ♪La la la. And I guessed it sounded punk and would thrill more to be a single.
