He is like Taro Okamoto in the music world, leaving behind works that will be passed down to future generations.
There are many different types of singer-songwriters out there, and for example, with Noriyuki Makihara's songs, you can easily understand what he's singing even without the lyrics. On the other hand, with Kuwata's lyrics, it's often difficult to grasp the meaning of the words at first listen.
One particularly memorable experience was when I was in my third year of junior high school. I was shocked by the way the words were arranged in "Love Song for the Goddesses (Beyond the Unreported Y-Type)," the theme song for the TV program "If We Could Meet in Our Dreams" (Fuji TV). It was like, English? Japanese? I was already composing music myself at that time, but because I was a fan of overseas music, I would create melodies as I pleased, but I had a hard time matching the 16-beat rhythm to Japanese, and it bothered me for a long time.
Kuwata's style emphasizes the groove of his songs and mixes Japanese, English, and foreign words. Nowadays, it's a classic Japanese style, right down the middle, but at the time of his debut, it must have been quite revolutionary and unorthodox.
It's a unique, original style that didn't exist in the Japanese music scene before Southern All Stars. For those of us who grew up in Japan after the '80s, it's a technique that's as commonplace as miso soup. Even now, when I'm stuck, I listen to Kuwata's work and look for hints. I think he's had a major influence on the songwriting of not only me, but many of my juniors.
What's amazing about Kuwata is how he weaves gossip, scandal, erotic emotions, and intentionally vulgar language into his songs. Every song has a shocking part that you'll never forget after just one listen.
In this album, I love the line that suddenly appears in "Sorry, Mom," "I threw up in the bicycle parking lot again." Not "parking lot," but "bicycle parking lot." I feel like it's a phrase that's never been used in lyrics before (laughs). At the end of the song, he uses something like a voice changer to mutter about the current state of affairs (laughs). It's a part that's kind of excessive and unnecessary, and would normally be cut, but I feel it has something in common with Michael Jackson or Prince, who were the biggest sellers yet also the strangest and most extreme.
He created something that is generally incomprehensible, but because it is so incredible, it is loved and passed down to future generations. In that respect, I personally think of Kuwata as an "explosive genius" similar to Taro Okamoto.
I listened to "Kanashimi wa Boogie no Kanata ni" without knowing that it was written before their debut, and was surprised when I later learned that it was a song from nearly 50 years ago. I was immersed in the groove of The Band, a band that is somewhat reminiscent of Steely Dan. The following song, "Mitsuko to Kanji," also had great lyrics. While pursuing timeless wordplay and humor, they also produce lyrics that are heartbreaking and move people's hearts. I think that's why Kuwata and Southern All Stars' work are so beloved.
Hit Me Lyric
If you stop and think about it, what have you been seeking and risking your life for?
From "Mitsuko and Kanji"
My Favorite Southern
Love Song for the Goddesses (Beyond the Unreported Y-Type (Kei)) (1989)
"I love this song so much that I invited Satoshi Kadokura, who arranged it with Southern All Stars, to appear on our albums 'NONA REEVES' and 'SWEET REACTION'."
The Forgotten Big Wave (1990)
"This song was included on her comeback album, 'SOUTHERN ALL STARS,' and later on in 'Inamura Jane.' I still love all of the songs from that time."
Midsummer Fruit (1990)
"It was also included on the soundtrack for the movie 'Inamura Jane' (1990). I listened to it a lot, especially after I became a professional."
