The amazing thing about Southern is that they've managed to turn closed localism into open pop music.
Like many people of my generation, my mother was a huge fan of Southern All Stars. I grew up hearing her boastful stories, like, "I played a game against Kuwata's baseball team," or "I saw their secret live performance at Shibuya Eggman" (laughs).
So, I used to listen to Southern All Stars' songs at home when I was a kid, and I remember them always giving off a very foreign vibe, in a good way, even when I saw them on TV. For example, "Manpee no G★SPOT" has a straightforwardly vulgar image, but if you read the lyrics carefully, you'll be overwhelmed by the intelligence and incredible vocabulary hidden within.
Looking back, I think I enjoyed that alluring ambivalence even as a child. The first time I bought a Southern All Stars album with my own money was in 1998, when I was in my second year of junior high school. I bought their greatest hits album, "Umi no Yeah!!," and their latest album at the time, "Sakura," and became totally hooked.
I even listened to it every day when I walked my dog (laughs). When I listen to Kuwata's songs, I can't help but want to sing along, and when I do, it feels good to sing along. That's partly due to Kuwata's liaison-like singing style, where he connects words together, and that unique liaison was on full display on this album as well.
The part in "The Most Terrifying Monster in History" where they sing "O Angry Dragon God, Stop Me, Thunder God" is really satisfying. When I think about it, before Southern All Stars, there was probably no one who could sing Japanese with such a unique liaison. Even now, no one can imitate them.
Also, when it comes to Kuwata's lyrics, he is known for his skillful use of furigana. I have actually been greatly influenced by this so-called "furigana art."
I wrote "analysis room" and sang it as "cabinet" (from "Tableaux" by Cero), which is clearly an influence from Kuwata Keisuke (laughs).
Putting that aside, the ultimate ruby trick in this album is "Bongiri Koiuta." In the part where he sings "Yoshio's place," the name of the store is written in ruby as "Natsu Club." I was blown away. It's a trick that only Kuwata could pull off.
They have a sense of closed-off localism, yet they have managed to create universal pop music that is open to the outside world. It's amazing that a band of this size can still be considered "our town's band."
This album expresses respect for their predecessors and a desire to connect with the next generation, while also conveying the feeling that Southern All Stars are still a band that continues to communicate with society and the times. Of course, the sharpness of their protest songs is still alive and well.
The determination to express this in a way that is open to everyone, and the strength of that attitude, may be something that musicians today, myself included, lack a little.
Hit Me Lyric
If you want to pick up girls at Southern Beach, come to Yoshio's (Summer Club) Show!!
From "Bongiri Love Song"
My Favorite Southern
YOU (1990)
"I thought the structure of the song, such as the way the key changes, was actually very intricate and complex. When I listen to it now, I feel it has something in common with YMO."
Love (1992)
"It's a song that I can't leave out, and it's included in songs like 'Yo ni Manyo no Hana ga Sakunari' (When Manyo Flowers Bloom). I love it so much that I've asked to have it played at my funeral."
BLUE HEAVEN (1997)
"There are many Southern All Stars songs that suit clear skies, but I love this song that makes me feel like I'm on a cloudy day, and I'm listening to it a lot now."
