John UM
Japanese musician Heron Shiro, who is quite extensive in music, can control a variety of styles from pop music to cross-border music. Since the late 1970s, he has written songs for the famous Japanese SQUARE (now renamed T-SQUARE) band, and today he has contributed a lot of high-quality songs and idol songs to the world. For many years, as a composer and arranger, Mr. Lu was always active in the first line of the Japanese music industry, and has been associated with Japanese animation and special music for a long time. In addition to writing the relevant music for the “Evangelion” series, the theater version of “New Godzilla”, etc., he also wrote songs for many films and television works, as well as singers
This year, when the teacher Lu Yu’s 40th anniversary debuted, on the day of his 61st birthday, August 29th, he published the title “アニソン录プラス. The commemorative compilation, including its animated theme songs, character songs, play music and some unpublished sound sources, totals 73 songs and 4 CDs
Just list the animated songs, songs, or famous singers written by the teacher. There are Evangelion, Nadia in the Unbelievable Sea, MISIA, May’n (in the real name “Name%@@ もしも空を飞べたら” (The song is “The City of the Sky” Impression Song), Takeshi Hiroshi’s version of “burningえろヒーロー” (83 version of “Football” theme song) and other works. Animation enthusiasts must not be unfamiliar with the background of these animated songs, but when it comes to the well-known Fuji TV stations in Japan, Morita Ichiyuki smiles and laughs! In the chapter, the self-cover arranger named “TELEPHONE SHOCKING” is also from the teacher’s hand. Do you have any further understanding of the image of the stalwart of the Lulu Shilang musician?
It’s no wonder that the teacher can easily navigate such diverse animation songs in the unexpected areas of the average person. Then why did the teacher choose to release the animated music on the 40th anniversary of the debut?
According to Mr. Lu Xun, the “Lu Shi Lang’s Record” published last year is a collection of articles he serialized in the “bmr” (full name “Black Music Review”) magazine from 1998 to 2011. Made. In addition, in order to read the book, SonyMusic specially produced a companion compilation of “The SHIRO’S SONGBOOK Recording The Hidden Wonder of Music”
There is a collection of the songs of the musicians who have been composing, composing, or working as music producers in the same period. Since then, the teacher has begun to brew, and the next time there will be another compilation. Therefore, the teacher thought of his own deep relationship with animated music and songs for 40 years, and felt that it was time to summarize the time. After that, the EV RECORDS, the publishing company of EVA, took good care of the mediation, and with the help of the major record companies, finally realized the wish of the teacher Lu Xun as a landmark special album composed of 4 CDs. – “アニソン录プラス. 》
When talking about the experience of the song, the teacher believes that although the “network” is one of the most important tasks, in view of the title “プラス. The subject of the implication: that is, “to explain the ‘+α’ (additional part) that appears when the animated song is linked with the surrounding things.” Therefore, the teacher most hopes that the listeners can enjoy the animated songs together with the related surrounding music, and then understand that “the original, the diversity of the animated songs made by Lulu Shilang, the source is here!”
For example, the musical scenes presented in the musicals of musicals are in fact related to the cultural diversity of Broadway in New York and the surrounding areas of the West End of London. Similarly, the rich and varied Japanese animated songs are also from Japan. Idol music, songs, J-POP and other eclectic expressions of surrounding music. For a long time, animated music and these music categories have been intertwined and intertwined, and gradually matured. Therefore, if you try to analyze and understand the animated music more deeply, you should jump out of the original limitations, listen to the surrounding “sounds”, and feel and understand from it, the diversity and maturity of the creative source, and the development and change of animation music. The positive motivation brought by it, and then find out, the reason why animation music is increasingly accepted and loved by the wider population
As early as 40 years ago, the teacher of Heron Shiro was the first to let Japanese animated music be presented in front of everyone with a new fusion mode that broke the songs and jazz fixed barriers. Investigating its roots, the teacher felt that this was closely related to his father, Lu Hanfu, who was originally engaged in animation and special photography
If musicians and musicians are considered as a specific group, then this group, in the former Japan, was once regarded as another category that could not be beaten by the animation industry. To be honest, the teacher Lu Yu had not touched the early animation works, and naturally did not understand. However, if you encounter a so-called tie-up when you pick up a living, you have to let yourself “see at least the pig running.” Fortunately, the family of the teacher’s family provided him with a good opportunity to get the first month of the water, and the teacher laughed. It is acknowledged that this is from the shade of the fathers. For other children, it is a typical “winning on the starting line” foul
When asked, did the teacher’s “big-span general-duty” and his early participation in many 80-year-old idol singers, such as Matsumoto Ide’s debut single “センチメンタル・ジャーニー” When the song and the production site were affected, Mr. Lu said that there was a period when Japanese idol songs had a near paranoid hobby for the creation of the lyrics worldview. Compared with the popular lyrics that are characterized by love and sorrow, and the two major types of love emotions, the lyrics of Japanese idol songs seem to be unwritten to include animation elements such as science fiction and fantasy. This can be seen in the words “if I am XXX” and other “intentional imaginary” words. Thus, idol songs seem to have a dominating edge with animated songs. Here, the teacher said that he has never been aware of the significant gap between the two, or the need to adjust the mood of change, which is an excellent testimony
As a “model driver” who has been working for many years, what is the change in the “landscape” and “road conditions” that I have seen along the road for 40 years? According to the description of the parties, a recent obvious feeling is that since the Pingcheng, the artist is no longer than unfettered as he was more than 10 years ago, and he must put the “closely integrated plot” and “implementation of supervision intention” in the first place. And the main creative staff of the animator, this is the phenomenon of co-singer fans is also more and more common, this may be the advantage of the entertainment industry after its maturity
Similar phenomena are also mentioned in the Liner notes attached to this commemorative album. The theme song of the same name, such as “Space Battleship Yamato”, “The Cosmic Shipヤマト”, and the title song of “Cherry Maruko” “おどるポンポコリン 》 (everyone dances) and other milestone songs in the history of Japanese animation, in the past, not to mention a decade, but also at least five years of work, but looking at the present, but basically half a year The frequency comes out, and the style is also “various, not one.” It is estimated that the artists of the moment are also fascinated by the brains and the composing of music
With the emergence of such innovative works, it marks the progress of the maturity of animation music. Take the idol song, the teacher of the year, Qiu Yuankang for the Koizumi today tailor-made “なんてったってIdol” (arranger: Lu Xie Shi Lang), the first time I let the idol himself sing The lyrics of “I am an idol”. The other one included in this album is “アニメじゃない- 梦 を忘れた古い地球人よ-》, the one written by Qiu Yuankang The self-guided self-acting nature of “this is not an animation of the door” has become an epoch-making hand. Since then, he has led the creation of Japanese idol song lyrics, and has stepped into a new realm of freedom. Teacher Akimoto’s move is an outstanding achievement
In the same period, the composing community showed similar signs. A long time ago, Xiaolin Yaxing’s move to inject the elements of African music into the theme song of “Wolf Boy Ken” once brought a huge impact to the industry peers. The cynicism in “Everyone Comes to Dance” is certainly an impetuous attitude in the era of the bubble economy. However, the Japanese audience at that time must not be able to restrain it. “The lyrics can actually be swayed, not in the same way!” “Amazing. Of course, as a creator, the teacher admits that there is indeed an impulsive impulse in his heart that “willing to be the best in the world”
This time, “アニソン录プラス. In the “New Evangelion Air / Heart for You”, ARIANNE sang “Komm, susser Tod ~ Ganき死よ、たれ》 and LOREN&MASH sing “THANATOS -if I can’t be yours- 》. In the Liner notes, the teacher Lulu wrote “the two songs that opened the new direction of the animated song, I am very happy” comment. The teacher explained that before that, even though he also Japanese songs and idol songs have taken a lot of nutrients, making them mutually reinforcing, but as of that time, animated music and Western POPS are far from being intimately interchangeable. The teacher speculated that there were certainly people in the industry who tried to break the ice in the year, but the fans at that time were stubbornly determined that Japanese lyrics and Japanese local expressions were more heart-warming
However, in the course of the two songs mentioned above, the teacher Lu Yu uncharacteristically throws all kinds of concerns and entanglements in the weekdays into the outer world. On the one hand, this matter must be “returned” to the “hybrid food” supervised by Takino Hideo. On the other hand, in the 1990s when the teacher took over the “EVA”, the whole animation music industry gradually became more and more popular. From then on, from classic to jazz, how to “derail” is not a problem!
In the 1990s, while the cartoon itself was revealing the diversity of its species, it was also trying to explore all aspects. Of course, it was inevitably accompanied by examples of success and failure
Lu Yi teacher pointed out that the extraordinary point of the supervision of the wilderness lies in the difference between the purpose and means of controlling the trend. As far as Heron himself is concerned, the European and American pop music borrowed and used in the music of “EVA” is only a concrete means of dealing with the problem. This kind of form-based approach will indeed attract the eye to “early adopters” in the short term, but it will only stop at the “follow-up challenge” and will soon lose its direction and disappear. However, in the world, like the wilderness supervision, the “behavioral art” trend of thought is transformed into a clear purpose, and it is permanently fixed on the video works that can be passed on to future generations. Therefore, from this point of view, the two songs are not a targetless release test, but have become a major opportunity for the combination of Japanese animated music and European and American pop music
By the way, in 1997, when “Yu Xin for You” was released, it happened that Dai was in the same year because of the car accident and the turmoil. That year, the famous English singer Elton John sang the song “Candle In The Wind” (“Candle In The Wind” 1997), through the media networks all over the world, in the ears of hundreds of millions of people Resounding through the air, this song has become a popular hit song in the world. According to the teacher’s recollection, at the time of FM radio station in Japan, “THANATOS” “Ganき死” is often associated with Elton’s famous music. Play together. Before that, it was simply unthinkable that overseas hot songs and domestic animated songs were placed in the same column. From this, it can be seen that the visionary and thinking dimensions of the supervision of the wilderness are not at the same level as the Japanese general
“甘き死よ》 In the song, the various elements of the gospel music were absorbed, including the works published by the teacher Lu Yu and Martin Lascelles in the name of “MASH”, and later, in the series “SHIRO’S SONGBOOK”, which was developed by Lulu teacher. The modern dance has a lingering and inextricable connection
In order to better clarify the far-reaching influence, the teacher also recorded “アニソンプラス. Included, the BLEACH episode “Number One”, which has been used by the supervision of Abe. Together with another English song “Ganき死”, it relies on YouTube’s platform to resound through every corner of the world. It is undeniable, like “cruelな天使のテーゼ”ONE PIECE” theme songs, songs that carry the excellent characteristics of the Japanese nation, and J-POP animated songs are also sought after by overseas fans. But even Lulu’s teacher never imagined that 20 years ago, these works, which were different from the traditional, emphasizing the interaction between music and Anglo-American POPS, would be so active for Japanese animated music to go global. The driving force
In addition, the album also includes “めぐりあい” by Inoue Daisuke (Theatrical version of “Mobile Suit Gundam III Meets in the Universe” theme song), Xinjing Zhengren’s “アニメじゃない- 梦を忘れた古い地球人よ-》(“Mobile Suit Gundam ZZ” OP1), and MISIA “オルフェンズの涙” (“Mobile Suit Gundam’s Irony Orphan” ED1), etc. 3 “Gundam” related tracks
巣 在 在By the way, he never thought that the history of “Gundam” would continue to this day, and he never thought that he would deal with it for most of his life
Nowadays, the singer who sings the theme song “Gundam” will also do his best to recommend it only because of the name of the work. This is naturally because even if it is not the “Gundam” series that Fuye has personally checked by Yu Ji, it will haunt the lingering “Fuye”. Teacher Lulu is very fortunate that in the series of famous history, it is a blessing for a music practitioner to have the space to “plug in”. But the teacher did not forget to spit a little, and recently he had no chance to even have a “face”! However, at the thought of the fact that the rich wild god hides in a corner that is unknown to somewhere, and can also accurately position himself for “distance control”, he can not help but think deeply.The
Commemorative album is only a staged review of the 40-year animation work of Lulu Shilang, and the teacher’s creative career has not stopped. Not long ago, the teacher also took over the writing task of this season’s TV animation “SSSS.GRIDMAN” drama music, so fans will also hear more new works created by teachers. Speaking of the challenges in animation music in the future, Mr. Lu Xun first mentioned the “New Evangelion Theatrical Edition:|▎” which is currently under preparation
As for the time, “EVA” has gone through more than 20 years. Teacher Lu said that there are many highlights in the theatrical version. However, as of now, there is still a lot of information that is inconvenient to disclose to the public, but the teacher described it as arranged in the film. In a lot of similar “balanced picking games”, an operational error will trigger a continuous burst of the entire chain collapse. “EVA”, like the one that is being applied to the “camouflage”, is constantly added, and even leads to a “playing fire” game in which the work itself collapses, and the discordant paragraphs. The composer, by controlling the tension of the music, renders the atmosphere of “fueling on the fire”, and thus, step by step, exciting everywhere. Therefore, before 2020, I am afraid that there will be no more challenges than what the Eluan teacher can’t stop
References:
- [インタビュー】『シン・エヴァンゲリオンTheatrical Edition』と2020に向かう今,鹭巣诗郎が语ったアニメMusicの40 years.その始まりは『Mobile gentlemanガンダムIIIだった