Mandrake Live recording and interview with Susumu Hirasawa 1978

2020.01.30 Thursday

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    JUGEMテーマ:音楽

    Mandrake Live recording and interview with Susumu Hirasawa 1978

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    (Translation in English)

    0: Background music before the show: I'm Bugged by XTC [00:00-02:19]

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    Susumu Hirasawa: Hello, We are Mandrake.

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    1: 飾り窓の出来事/Kazari-mado no Dekigoto (Happening by the Windowsill) [02:19-04:55] Instrumental

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    Susumu Hirasawa: Hi. We are Mandrake. Good afternoon. It's been two months since our last gig. I'm happy to see more audience than usual today. For a change, we did the first song cheerfully today. Usually, we would play contemporary music and start our gig darkly. Today, we started like this. Not like usual. And I am trying to speak in a different way today. Some people criticized us and called us a negative band or something, so, we have reflected on ourselves and changed it.

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    Next song will be played because we want to do simple and clear songs first. The preparation on the keyboard is really hard again. Now, my speech has started to sound like mumbling. I will say my words out loud. I am even ready for a fight. The next song is called "Yoru ni Nattara(When the Night Comes*)". It was made simple and clear. We made it like that on purpose. (To the sound engineer,) Hey, could you make the vocals' reverb, I mean, the echo stronger? Ah, Ah, Ah, Ah. The feedback is a little too strong. A little smaller. Could you make the feedback a little smaller? Ah, Ah. OK, this is a song called "Yoru ni Nattara(When the Night Comes*)".

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    2: 夜になったら/Yoru ni Nattara (When the Night Comes*) [6:28−12:10] Vocals: Susumu Hirasawa / Toru Akutsu

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    Susumu Hirasawa: Thank you very much. It was "Yoru ni Nattara(When the Night Comes*)". Next, the staff in the back are going to change the stage setting. The next song is a big failure song. It is a song that attracted a lot of audience who had a wrong impression. I think it is the best we perform such a song earlier. We are going to play it at first, I mean, as a third song. What? Usually we would play this song at the end to make you feel, "Oh, we did hear the song", but today, we won't allow those people to feel that way. You might think, "The third song is my favorite." And there might be some people who would leave after hearing this song. Don't leave even though we play the climax song in the beginning. It's called "Okasareta Kyuuden (Violated Palace)". Today, we also have a new song later. You may think, "Is that the song that took them half a year to make? With that standard?" It's terrible. Eh, are you ready? I guess we are ready. Ready? "Okasareta Kyuuden (Violated Palace)".

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    3: 犯された宮殿/Okasareta Kyuuden (Violated Palace) [13:41-26:36] Vocals: Susumu Hirasawa

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    Susumu Hirasawa: Thank you very much. We did "Okasareta Kyuuden (Violated Palace)" earlier than usual today. We wanted to do the harder work earlier. Akutsu-kun, speak something.

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    Toru Akutsu: Hirasawa-kun on the guitar has some preparation to do for the next song. So, I will do the emcee. Today, we had a fine day, and eh...(The rest is omitted.)

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    Susumu Hirasawa: It's an instrumental tune called "Tales from Pornographic Ocean"

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    4: Tales from Pornographic Ocean [27:13-36:38]

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    Susumu Hirasawa: Thanks. For those who don't understand English, I want to explain what was said in English. In the beginning of the song, there was a narration by a man in English. What he said was:

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    Look, the boundless sperm Ocean

    Swallows the whole world without haste

    Get off your dress polluted in the hour

    And now will you sink with me?

    Tales from pornographic ocean

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    That was what was said. If I put it in Japanese, it will be like this:

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    見よ、果てしなく広がる愛液の海が[Miyo, hateshinaku hirogaru aieki no umi ga]

    ゆっくりと世界を飲み込む[Yukkurito sekai wo nomikomu]

    時に汚れたドレスを脱ぎ捨て[Toki ni yogoreta dorresu wo nugi sute]

    今、私と沈んでくれるか[Ima watashi to shizunde kureru ka?]

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    It would be like this.

    It was very hard for us to record the narration in English. We grabbed someone walking on the street, carrying a cassette tape recorder, and asked, "Excuse me, but..." and explained what we want in Japanese, and had a person do a narration for us. It was a news reporter from abroad, and he kindly tried his best for us.

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    Next song is a new one. (To the staff) It's in the way, so don't make it bigger. We are going to play a new song. "Kazari-mado no Dekigoto Part II (Happening by the Windowsill Part II)"

    Could you increase the echo a little? Ah, Ah, Ah, not too much. Ah, Ah, Ah, Ah, Ah, Ah, OK.

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    5: 飾り窓の出来事 Part II/Kazari-mado no Dekigoto Part II (Happening by the Windowsill Part II) [39:00-47:57] Vocals: Susumu Hirasawa

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    Susumu Hirasawa: Akutsu, you speak.

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    Toru Akutsu: I guess Mandrake would be easier to understand when Hirasawa-kun speaks, but anyway, today, I am so happy to have you here. well in Tokyo, sorry, ...(The rest is omitted.)

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    Susumu Hirasawa: The next song is called, "Shuumatsu no Kajitsu (End-Time Fruit)". It is also a song easily misunderstood. It has ha flat kind of tune, and we have made it like a moody music that is loved by women, and some people misunderstand "shuumatsu" to be weekend. But it means "the end time of the world", not the weekend. And the "kajitsu(fruit)" means yourselves. I feel bitter I have to explain you everything to this extent.

    Now, "Shuumatsu no Kajitsu (End-Time Fruit)".

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    6: 終末の果実/Shuumatsu no Kajitsu (End-Time Fruit) [49:10-61:55] Vocals: Susumu Hirasawa / Backing Vocals: Toru Akutsu

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    Susumu Hirasawa: Thank you very much. That's all. Come again next time.

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    7: 平沢進 インタビュー/Interview with Susumu Hirasawa

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    [1:07:59-]

    Interviewer: (To the staff,) What? I'm not finishing here. I'm not gonna waste my time. Now, let's sit in a circle here.

    Someone: This is a real interview.

    Interviewer: It's a real interview.

    Someone: We know the backstage(laughs).

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    Interviewer: So, now, as a standard question, what does Mandrake aim to do... I mean, I've never done this before and I'm not good at it... What do you aim to do?

    Hirasawa: We have nothing that we want to aim to do.

    Interviewer: You have nothing?

    Hirasawa: We have no goal, but we want to seek our original music.

    Interviewer: So, like I have guessed, you are going to play your music in a barnyard taste?

    Hirasawa: Yes, we would love to do it in a b... barnyard taste.

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    Interviewer: What was the title? How did you come up with the song title, Pornographic Ocean?

    Hirasawa: You know the song by YES, [Tales from] Topographic Oceans? I took the title resembling it because it sounded good, simply. And I added other elements to the song later.

    Interviewer: What did you get the inspiration of the song from?

    Hirasawa: There are my true mind and the cover story. At first, we wanted to do something unique, and we added the English narration to the song at first. And in my true mind, the content of the narration in English. That's my true mind of the song. It's in English only, so there is a problem because only a few people understand it. So, we are thinking about displaying the words projected on the screen on the stage or something to solve that problem.

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    If the audience think it is just interesting because it is something unusual, or if they think it is an emotional song, it would mean it is a failure. Progressive rock fans might misunderstand even Mandrake because we still have moody and emotional aspects. I want to get rid of those things from us gradually.

    Interviewer: So, you want to get rid of the moody aspects.

    Hirasawa: I want to explain concretely to make the audience understand what we really mean by what seems to be moody in our music. I want to use some gadgets to make that happen.

    Interviewer: What the audience interpret your music would vary from person to person, I think, but what do you want the audience to think Mandrake to be like?

    Hirasawa: What do we want the audience to think of us?

    Interviewer: About your music.

    Hirasawa: If they don't think it is merely a kind of music, I am happy about it.

    Interviewer: You want them to understand how original your music is, right?

    Hirasawa: I don't only aim to play an original music, but my goal is something else. Personally, I don't place a big importance on the technique and what kind of music I play. I don't care about them that much. I mean, the purpose of the band is not to play songs well in a great technique, or to compose amazing songs. Mandrake is not a band to play music merely. That's what I think.

    Interviewer: Could you elaborate a little more?

    Hirasawa: If I elaborate, you would understand what I mean if you listen to the last song, "Shuumatsu no Kajitsu (End-Time Fruit)", and I just want to be a liver.

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    Interviewer: Who are your favorites musicians from abroad?

    Hirasawa: I love many musicians, but the only musician I believe in is Robert Fripp.

     

    Interviewer: How many years have passed since you started Mandrake?

    Hirasawa: I wonder how many years.

    Interviewer: Have you had any member change?

    Hirasawa: Members... We have had the first line up and the second line up.

    Interviewer: How long have you had the band since the first line up?

    Hirasawa: Including the first line up, it's been 4 or 5 years, I guess.

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    Interviewer: Do you have any plan of recording albums?

    Hirasawa: Well, actually, Victor record label contacted us and they first said to us, "Let's record an album and release it in April." But since then, they haven't said anything. They say, "It's not the best time." "It's not the best time to release your album." But we think, if it's not now, never. In the first place, our music is very old, I think. So, if they have us release an album, I want them to do it as soon as possible. (Laughs)

    Interviewer: Thank you. (To the staff,) Hey, is this really recording?

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    (日本語書き起こし)(筆者が聞き取れなかった部分は○○等にしております。ご容赦下さい。)

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    0: Background music before the show: I'm Bugged by XTC [00:00-02:19]

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    Susumu Hirasawa: こんにちは。マンドレイクです。

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    1: 飾り窓の出来事/Kazari-mado no Dekigoto (Happening by the Windowsill) [02:19-04:55] Instrumental

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    Susumu Hirasawa: どうも。マンドレイクです。こんにちは。2か月ぶりに、かな、出てきたんですけれども、今日はわりとお客さん多いようで。いつもの出だしとガラッと変わって今日は、陽気にやっちゃったんですけれどもね。いつもは現代音楽の○○から入って、陰気にやってるんですけれども。今日は一応、こういう感じでやってみたいと思います。いつもと違う。喋り方もちょっと変えてるんですけれどもね。いろいろ、落ち込んでるバンドとか、そういう噂があって、反省をしました。次の曲は、一応、単純明快なのを最初のうちにやっちゃうという、感じでやりますけれども。キーボードの用意がまたしても大変なんで。喋り方がだんだん、くちごもって来ましたけれども。はっきり言いますから。けんか腰ですので。「夜になったら」という曲なんですけれども、単純明快に作ってあります。それはわざと単純明快に作ってあるんですけれどもね。ボーカル、リバーブ、じゃなくてエコー入れてくれますか?あ、あ、あ、あ、ちょっと跳ね返りが強い。もう、ちょい。○○掛けてもうちょい跳ね返りをちいさい○○。あ、あ、じゃあ、「夜になったら」という曲です。

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    2: 夜になったら/Yoru ni Nattara (When the Night Comes*) [6:28−12:10] Vocals: Susumu Hirasawa / Toru Akutsu

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    Susumu Hirasawa: どうもありがとう。「夜になったら」という曲でした。次にですね、なんか、後ろの人が、いろいろ、ステージのセッティングを変えるそうですが。マンドレイクの大失敗作。誤解編。誤解者を多数、呼び起こしたというろくでもない曲なんですけれども、こういうのは、早くやっちゃうに越したことがないと思って、今日はいっとう最初にやっちゃうんですけど、最初じゃないか、3番目にやっちゃう。ええ?いつもなら、最後に取っといて、ああ、聞いたな、という気にさせるんですけれども、今日はそういう人は容赦しませんから。3曲目が楽しみだ、と。3曲目で、これ終わって帰った人は...これ、やっちゃうんですけど終わりじゃありませんから帰んないでくださいね。「犯された宮殿」ですけど。今日は新曲も一曲用意してあるんですけど、だいたい半年ぐらいかけてやっとできて、この程度だ、というのを皆さんにお目にかけたいと思うんですけれども、ひどいもんですから。えーと、いいですか。準備OKかな。いい?「犯された宮殿」です。

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    3: 犯された宮殿/Okasareta Kyuuden (Violated Palace) [13:41-26:36] Vocals: Susumu Hirasawa

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    Susumu Hirasawa: どうもありがとう。今日は早めに「犯された宮殿」をやっちゃいました。大変な仕事は最初にやっちゃうと。阿久津君、なんかしゃべって。

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    Toru Akutsu: ギターの平沢君が、準備がいろいろありますので、進行僕が。今日は天気が良かったんですけれどもね、えっと、あの...。

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    Susumu Hirasawa: インストゥルメンタルです。「Tales from Pornographic Ocean」

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    4: Tales from Pornographic Ocean [27:13-36:38]

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    Susumu Hirasawa: どうも。語学力のない人のために解説などしたいと思いますけど。一番最初に男の人のナレーションでもってなんかしゃべったんですけれども、何て言ってるかというとね、

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    Look the boundless sperm Ocean.

    Swallow the whole world without haste.

    Get off your dress polluted in the hour.

    And now will you sink with me?

    Tales from pornographic ocean. っつってたんですけども。日本語に訳すとどうかっていうと、

    見よ、果てしなく広がる愛液の海が

    ゆっくりと世界を飲み込む

    時に汚れたドレスを脱ぎ捨て

    今、私と沈んでくれるか

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    そういう感じなんだけれども。

    声を録るのはすごく大変で、表に歩いてる外人をひっ捕まえて、カセットデッキを担いで行って、あの、すいません、つって日本語で言って、何とか説明して録ってもらったんですよね。新聞記者か何かの外人の人で、一生懸命やってくれたんで。

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    次がね、新曲やるんだけども、じゃまですから、大きくしたりあまりしないでください。新曲やるんですけども。新曲をやります。「飾り窓の出来事 Part II」

    ちょっとエコー入れてくれますかね?あ、あ、あ、あんまりたくさん入れなくても。あ、あ、あ、あ、あ、あ、はい。

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    5: 飾り窓の出来事 Part II/Kazari-mado no Dekigoto Part II (Happening by the Windowsill Part II) [39:00-47:57] Vocals: Susumu Hirasawa

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    Susumu Hirasawa: 阿久津がしゃべって。

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    Toru Akutsu: 平沢君がしゃべった方が、マンドレイクは一番分かりやすいんじゃないかと思うんですけれども、ほんとに今日は、皆さんが来て、ほんとにうれしい事にね、いろいろと、都内に、ごめんなさい(後略)

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    Susumu Hirasawa: 次の曲なんですけど、「終末の果実」っていう曲なんですけれども、これも誤解を生みやすい曲で、ノターっとしている、ムードミュージックみたいな、女性が好きなような、作り方してるんだけども、「終末の果実」の「シュウマツ」というのは土曜日のことと間違える人が良くいるんですけど、土曜日のことじゃなくて、もう世の中が終わっちゃう「終末」ですから。「果実」というのは皆さんのことです。ここまで言わなきゃなんないのが辛いなあ。

    じゃあ「終末の果実」です。

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    6: 終末の果実/Shuumatsu no Kajitsu (End-Time Fruit) [49:10-61:55] Vocals: Susumu Hirasawa / Backing Vocals: Toru Akutsu

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    Susumu Hirasawa: どうもありがとう。これで終わりです。また来てください。

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    7: 平沢進 インタビュー/Interview with Susumu Hirasawa

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    [1:07:59-]

    Interviewer: (スタッフに向かって)え?終わらないよ。勿体ない。まず、じゃ、この辺に輪を描いて。

    Someone: これは本当のインタビューだね。

    Interviewer: インタビューだね。

    Someone: 裏を知ってる(笑)

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    interviewer: じゃあさ、お決まりの、マンドレイクの目指す...こういうのやったこと無いから苦手なんだよな...音楽性というか、どういうものを目指してる?

    Hirasawa: いちおう目指しているものは、何もありません。

    Interviewer: 何もありませんか?

    Hirasawa: 何もありません。オリジナルを追求したいと思います。

    Interviewer: やっぱり、あの、卑猥な感じで?

    Hirasawa: ええ、ぜひとも、ひ...卑猥な感じにやりたいと思います。

    Interviewer: なんだっけな、Pornographic Oceanというのは、どういう所で思いついたんですか?

    Hirasawa: YESの、あれ、あるでしょ?[Tales from] Topographic Oceans っていうの。ただ、語呂がいいからそういう風に付けたというだけの話でね、後からいろいろこじつけたという。

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    Interviewer: あれ、発想はどのへんで?

    Hirasawa: 本音と建て前が。ようするに本音は、一番最初にまず、変わったことをやろうっていうので、あれをやったのとね、ああいう声を入れたっていうのと、もう一つは、やっぱり最初に英語で言ってるナレーションあるでしょ、あれが本音なんですよね。あれが今んところ英語だから、いろいろ問題あるんで、英語言ってる時にスライドで前に文字を出そうか、とか、いろんな考えが有るんだけれども、そういう、そうなんですよね。

    ああいうのをただ、面白いとか、ムード的に捉えると非常に失敗だということなんだけれども、プログレッシブロックのファンというのは、いろいろ、誤解されそうなところが有るんでね。マンドレイクでも、いろいろ、ムード的なところがまだ有るんで、そういうところは徐々に削って行きたいと思います。

    Interviewer: ムード的なものを削って。

    Hirasawa: ムード的に解釈されそうなところをね、もっと手取り足取り、誤解の無いように、いろいろな仕掛けをして行きたいと思います。

    Interviewer: どういうふうに、取り方は千差万別だと思うんだけども、マンドレイクとしては、解釈してもらえるといい、と。

    Hirasawa: どういうふうに解釈してもらえるといいか、って?

    Interviewer: 自分たちの音楽を。

    Hirasawa: 別に、ただの音楽じゃなければ、どうでもいいです。

    Interviewer: オリジナリティを解ってほしい、と。

    Hirasawa: ただ、別に音楽面だけのオリジナリティっていうんじゃなくて、別に、僕個人としてはさ、テクニックとか、音楽性ていうのは、あまり気にしないんだよね。気にしないというか、バンド自体、上手い演奏をすることが目的じゃないと思ってるから。それに、すごい曲を作ることが目的だとは、思ってない。マンドレイクは、音楽を演奏することが目的のバンドじゃないと思ってるからね。と思ってるんですよ。僕は。

    Interviewer: 具体的には?もうちょっと。

    Hirasawa: 具体的には、もうちょっと、何というか、さっきの最後の「終末の果実」を聴いてもらうと解るんだけれども、とにかく、ただの生活者でありたいと思います。

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    Interviewer: 向うのミュージシャンでは、どんなのが、好きですか?

    Hirasawa: 好きなのはいっぱいあるけども、信じられるのはロバート・フリップだけです。

    .

    Interviewer: マンドレイクって始めて何年ぐらい?

    Hirasawa: 何年ぐらいだろうね?

    Interviewer: メンツの変化とかあるの?

    Hirasawa: メンツの...第一期と第二期とがありまして。

    Interviewer: 第一期含めると何年ぐらい?

    Hirasawa: 第一期含めるとね、4年か5年ぐらい、経つんじゃないかな?

    .

    Interviewer: レコーディングの予定とか?

    Hirasawa: あのね、いちおうね、ビクターからね、声がかかってるのよね。最初来た話では「今年の4月頃には録って出したいね」なんて向うは意気込んでたんだけども、音沙汰無いんですよね、それ以来(笑)。なんか「時期が悪い」って言うのね。「今、出す時期じゃない」って。でも今、出せなかったら、僕らとしては、もう出す時期無いと思ってるし、だいたいが、僕らのやってる音楽はすごく古いと思ってるからね。だから、出すんなら、早くして欲しいと思います(笑).

    Interviewer: どうも。(スタッフに向かって)入ってんのかね、これ?ねえ。

    .

    ---------------------------------------------------------

    The link to niconico video

    https://www.nicovideo.jp/watch/sm36284374

    黒田節/Kuroda-Bushi

    2015.11.01 Sunday

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      Kuroda-Bushi
       
      (Lyrics in Japanese)
       
      一節
      酒は呑め呑め 呑むならば 
      日の本一のこの槍を 
      呑みとるほどに呑むならば 
      これぞまことの黒田武士(くろだぶし)
      (高井ト知定作の今様が転じたとされる)
      二節
      峰のあらしか松風か 
      訪ぬる人の琴の音か 
      駒をひきとめ立よれば 
      爪音しるき想夫恋 (そうぶれん)
      (二川相近作)
      三節
      春の弥生のあけぼのに 
      四方の山辺を見わたせば 
      花のさかりも 白雲の 
      かからぬ峰こそなかりけれ
       
      (Lyrics in Romanized Japanese )
       
      Sake wa nome nome Nomu naraba 
      Hinomoto ichi no kono yari wo 
      Nomi toru hodo ni nomu naraba 
      Kore zo makoto no Kuroda Bushi
       
      Mine no arashi ka matu-kaze ka 
      Tazunuru hito no koto no ne ka 
      Koma wo hikitome tachiyoreba 
      Tsuma oto shiruki souburen
      Haru no Yayoi no akebono ni 

      Yomo no yama-be wo miwataseba 
      Hana no sakari mo shira-kumo no 
      Kakaranu mine koso nakari kere
       
      (Translation to English)
       
      Drink, drink this sake 
      If you drink,
      The finest spear in the Land of the Rising Sun 
      Will be yours  
      Drink all sake in the cup to show 
      You are a true Kuroda warrior
       
      Is that the storm from the mountain or the wind through the pines?
      Or the lady who I am searching for is playing the *koto?
      When I stop my horse and stand to listen,
      The koto played the tune of loving one's husband, 'Soburen'
       
      In the dawn of March in the spring
      When I see the mountain line on every direction,
      The blossoms are in the full bloom
      Covering every mountain top 
      As if they were the white clouds

      秋田音頭/Akita Ondo

      2015.06.24 Wednesday

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        • ●秋田音頭は、秋田県の民謡。1663年(寛文3年)、久保田藩(秋田藩)藩主、佐竹義隆の前で演奏されたのが始まりと言われています。古くは単に「音頭」と呼ばれており、明治時代(1868年 – 1912年)の始め頃に「秋田音頭」という名がついたと言われています。

          三味線、笛、太鼓、鐘などの伴奏で滑稽な歌詞をリズミカルに並び上げるのが特徴。出だしの「ヤートナー」もしくは「ヤートセー」というかけ声以外はあまり音程がなく、7-7-9を基本としたリズムに乗せて台詞を述べ上げる形式。いわゆるラップのようなものです。

          多くの歌詞がありますが、「秋田名物八森ハタハタ…」と秋田名物を並べたものが有名。その他にも、小野小町(おののこまち)が秋田美人の代表であるなどを歌った歌詞など有名なものがいくつかありますが、本来は即興でおもしろおかしい事を歌うという形式であったそうです。長らく庶民の間では時事風刺や春歌(一般的に卑猥なものとみなされる性風俗的歌詞の俗謡)として歌い継がれていました。他の民謡同様、レコード産業やラジオ放送コードの出現によって、現在では「お国自慢」の歌詞が最も有名となっています。

        ●'Akita Ondo', meaning 'the Akita Dance Song' is a folk song of Akita Prefecture, Japan.  It is said that it was created when Kubota domain in Akita Prefecture was inspected by Yoshitaka Satake, the domain lord, in 1663.  It was originally known simply as the 'Ondo' (Dance Song), but it is said that around the beginning of the Meiji Era (1868-1912), it became known as 'Akita Ondo'.  

        The unique characteristic of Akita Ondo is its litany of humorous lyrics, accompanied by instruments like the shamisen, flute, taiko(Japanese drums), and bell.  Except for the initial chorus 'Ya-to-na' or 'ya-to-se', little musical intervals or melodies are used. The verses are simply laid out on a 7-7-9-syllable rhythm, in style similar to modern rap music.
         

        'Akita Ondo' has a huge variety of verses, but the most famous is the one that introduces the local specialties such as hatahata fish, Hiyama natto(fermented soybeans), Noshiro Shunkei(lacquer ware), Odate Mage-wappa(cedar bent-woodware), and so on. Another famous verse sings about Onono Komachi, the famous rare beauty in the early 800's(the 9th Century), was born in Akita.  Meanwhile, 'Akita Ondo' was sung with impromptu verse of funny and humorous remarks originally.  This kind of Akita Ondo often included social satire and erotic verses and has long been sung among common people.  However, extremely satirical and erotic verses have gone out of use after radio broadcasting and music records became common and consequently the banned words guidelines were enforced.  The same happened to other Minyo, the Japanese folk songs.  
          

        (日本語歌詞/Lyrics in Japanese)

        (ヤートセー)コラ、秋田音頭です(ハイ、キタカサッサー、コイサッサー、コイナー)

        コラ、いずれこれよりご免こうむり音頭の無駄をいう(アーソレソレ)お耳障りもあろうけれどもさっさと出しかける

        *(以降、歌詞の終わりに入る掛け声)ハイ、キタカサッサー、コイサッサー、コイナー

        コラ、秋田名物八森(はちもり)ハタハタ、男鹿で男鹿ブリコ(アーソレソレ)能代春慶、桧山納豆、大舘曲げわっぱ

        コラ、秋田の国では雨が降っても唐傘などいらぬ(アーソレソレ)手ごろな蕗の葉さらりとからげてサッサと出ていがえ

        コラ、秋田の女ご何どして綺麗だと聞くだけ野暮だんす(アーソレソレ)小野小町の生まれ在所お前(め)はん知らねのげ

        コラ、何につけでも一杯呑まねば物事はかどらね(アーソレソレ)呑めば呑むほど気持ちコ開けて踊りコなど出はる

        コラ、時勢はどうでも世間は何でも踊りコ踊らせ(アーソレソレ)日本開闢(かいびゃく)天の岩戸も踊りで夜が明けた

        コラ、妻君ある人秋田に来るなら心コ固く持て(アーソレソレ)小野小町の生まれ在所美人がうようよだ

        コラ、お前(め)がたお前(め)がた踊りコ見るならあんまり口開ぐな(アーソレソレ)今だばええども春先などだば雀コ巣コかける

         

        (Japanese Lyrics in Roman letters)

        (Ya-to-se) Kora Akita Ondo desu (Hai kitaka sassa koi sassa koi na)

        Kora izure kore yori gomen koumuri ondo no muda wo yuu (Ah sore sore) Omimi zawari mo arou keredomo sassato dashikakeru

        *Repeat chorus after every verse: Hai kitaka sassa koi sassa koi na

        Kora Akita meibutsu Hachimori hatahata, Oga de Oga buri-ko (Ah sore sore) Noshiro Shunkei, Hiyama natto, Ohdate mage-wappa

        Kora Akita no kuni dewa ame ga futte mo karakasa nado iranu (Ah sore sore) Tegorona fuki no ha sarari to karage te sassa to dete igae

        Kora Akita no onago nadoshite kireida to kiku dake yabo dansu (Ah sore sore) Onono Komachi no umare zaisho ome-han shirane noge

        Kora nani ni tukede mo ippai nobane ba monogoto hakadorane (Ah sore sore) Nome ba nomu hodo kimochi-ko hirakete odori-ko nado deharu

        Kora jisei wa dou demo seken wa nan demo odori-ko odorase (Ah sore sore) nippon kaibyaku Ame-no Iwato mo odori de yo ga aketa

        Kora saikun aru hito Akita ni kuru nara kokoro-ko kataku mote (Ah sore sore) Onono Komachi no umare zaisho bijin ga uyouyo da

        Kora ome-gata ome-gata odori-ko miru nara anmari kuchi agu na (Ah sore sore) ima daba ee domo harusaki nado daba suzume-ko su-ko kakeru

         

        (English translation of lyrics)

        (Ya-to-se) Kora! This is the Akita Ondo (Hai kitaka sassa koi sassa koi na)

        Kora! From now, I will sing a nonsense song for you (Ah sore sore) It may sound bad to your ear but I will sing it quickly anyway

        *Each verse is followed by the shout: Hai kitaka sassa koi sassa koi na

        Kora! Akita's specialties are hatahata(sailfin sandfish), Oga buri(yellowtail) in Oga, (Ah sore sore) Noshiro Shunkei(lacquer ware), Hiyama natto(fermented soybeans) and Ohdate Mage-wappa(cedar bent-woodware)

        Kora! You don't need a Chinese umbrella when it rains in Akita (Ah sore sore) You can take a handy fuki(Japanese butterbur) leaf and go out quickly

        Kora! It is a cornball thing to ask why Akita women are beautiful (Ah sore sore) Don't you know it is where Onono Komachi was born?

        Kora! Things work better if you drink a cup of sake on all occasions (Ah sore sore) The more you drink, the more you feel open and you want to dance

        Kora! No matter how the times are or what the world is like Let's dance (Ah sore sore) The dawn of history started when the dancer danced in front of Ama no Iwato(the cave of heaven) 

        Kora! Married man, keep your faith to your wife if you come to Akita (Ah sore sore) So many beautiful women will dazzle your eyes here where Onono Kowachi was born.

        Kora! You gentlemen, you gentlemen, your jaws are dropped when watching the dance (Ah sore sore) Keep your mouths shut otherwise sparrows will make nests in your mouths if it's spring Thank god it's not spring

        茶碗蒸しの歌/Chawan-mushi no Uta

        2015.06.22 Monday

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          ●「茶碗蒸しの歌」は鹿児島県民に広く愛されている俗謡。その発祥は大正末期の1921年、鹿児島霧島市の宮内小学校に勤務していた石黒ヒデさんが、学芸会で披露した劇「行きくれし旅の子」の劇中歌として作詞・作曲。戦後、鹿児島民謡の発掘や普及活動に努めた久保けんおさんが楽譜に起こした事で、広く知られるようになったといわれる。

          鹿児島弁で歌われるその内容は、「茶碗蒸し」と「茶碗虫」を勘違いするというユーモラスなもの。

          茶碗蒸しを知らない飲食店の女店主が、お客から注文された「茶碗蒸し」を「茶碗についた虫」と勘違い。洗い物を担当する店員を呼びつけて「お前は茶わんを洗ったのか?茶わんに虫がついているとお客さんが言っているぞ」と言いつける。それに対して、店員が以下の歌詞のように反論、そのやりとりを聞いたお客はたまらず大笑いしてしまう。

          まったくそれは どんな物なのですか? 
          私の家の茶碗は
          毎日、日に3回も洗っているため
          清潔なものです
          茶碗についた虫のことでしょうか
          洗い物かごなどをけちらして歩く虫のことでしょうか
          まったく恥ずかしいことです
          わっはっは

          ●Chawan-mushi is a Japanese dish.  It is described as 'steamed egg custard.'  It is cooked and served in china cups with lids.

          'Chawan-mushi no Uta' is a popular song among all people in Kagoshima Prefecture.  The song, both the lyrics and the music, was written by Hide Ishiguro, a teacher at Miyauchi Elementary School in 1921 during Taisho Era, as a song for a school play called 'Yuki-Kureshi Tabi no Ko(The Bewildered Child).'  After World War II, Ken'o Kubo scored the song as one of his projects to collect and popularize folk songs in Kagoshima. 

          It is sung in Kagoshima dialect.  One has to know the episode of the play to understand the humorous meaning of this song.  It is a song about mistaking the name of the Japanese dish, 'chawan-mushi' (steamed in china cup) for 'Chawan and Mushi' (china cup and a bug).  The episode goes like this:

          The customer ordered 'chawan-mushi' at a Japanese restaurant.  The hostess of the restaurant had never heard of the dish and thought the customer meant 'A bug in the china.'  She scolded the washer-up and said, "The customer said there was a bug in the china.  Did you really wash the china well?"   Hearing this conversation, the customer burst into laughter.  The song includes the conversation between the hostess and the washer-up, followed by the customer's laughter.  The following is the English translation of the first verse of the song.

          Oh my goodness What on earth is it?
          The china bowls in my house
          Are washed three times a day every day
          So they are very clean
          Is it a bug(mushi) on the china bowl?
          Or is it a bug crawling on the dish basket?
          It is really embarrassing
          Wa ha ha 
           

          (鹿児島弁歌詞/Original lyrics in Kagoshima dialect)
          うんだもこら いけなもんな
          あたいげんどん ちゃわんなんだ
          日に日に三度もあるもんせば
          きれいなもんごわんさー
          ちゃわんについた虫じゃろかい
          めごなどけあるく虫じゃろかい
          まこてげんねこっじゃ
          わっはっは
           
          んだもこら いけなもんな
          あたいげぇどん嫁じょなんだ
          日に日に三度もちけもんせぇば
          きれいなもんごゎんさぁ
          顔についたけしょじゃろかい
          化粧についた顔じゃろかい
          まこてげんねこっじゃ
          わっはっは

          んだもこら いけなもんな
          あたいげぇどんむひこぉなんだ
          日に日にろっどもくろもんせぇば
          たまげたもんごゎんさぁ
          あたいがちかたがすねたろかい
          あてごた茶碗がこめたろかい
          まこてげんねこっじゃ
          わっはっは
           
          (標準語訳/Translation in standard Japanese)
          まったくそれは どんなものですか 
          私の家の茶碗は
          毎日、日に3回も洗っているため
          清潔なものです
          茶碗についた虫のことでしょうか
          洗い物かごなどを蹴り歩く虫のことでしょうか
          まったく恥ずかしいことです
          わっはっは

           
          あらまぁ これはどんなものでしょう
          私の家のお嫁さんは
          毎日3度も化粧(ちけもん=付け物)しているから
          綺麗なもんですよ
          顔に付いた化粧なんだか
          化粧に付いた顔なんだか
          まったく恥ずかしいことです
          わっはっは

          あらまぁ これはどんなものでしょう
          私の家の息子は
          毎日6度もおかわりするから
          驚いてしまいます
          私のよそい方が少ないのか
          あてがった茶碗が小さいのか
          まったく恥ずかしいことです
          わっはっは

           
          (Lyrics in Roman letters)
          Unda mo kora ikena mon na
          Atai gen don chawan nanda
          Hi ni hi ni san-do mo arumon seba
          Kireina mon gowansa
          Chawan ni tsuita mushi jaro kai
          Mego nado kearuku mushi jaro kai
          Makote genne kojja
          Wa ha ha
           
          Unda mo kora ikena mon na
          Atai ge don yomejo nanda
          Hi ni hi ni san-do mo chikemon seba
          Kireina mon gowansa
          Kao ni tsuita kesho jaro kai
          Keshouni tsuita kao jaro kai
          Makote genne kojja
          Wa ha ha
           
          Unda mo kora ikena mon na
          Atai ge don muhiko nanda
          Hi ni hi ni rod-do mo kuromon seba
          Tamageta mon gowansa
          Atai ga chikata ga sunetaro kai
          Ategota chawan ga kometaro kai
          Makote genne kojja 
          Wa ha ha
           
          (Translation in English)
          Oh my goodness What on earth is it?
          The china bowls in my house
          Are washed three times a day every day
          So they are very clean
          Is it a bug(mushi) on the china bowl?
          Or is it a bug crawling on the dish basket?
          It is really embarrassing
          Ha ha ha 
           
          Oh my goodness What on earth is it?
          The newly-wed bride in my house
          Puts on make-up three times a day every day
          Se she is very beautyful
          Is it a make-up on her face?
          Or is it the face on the make-up?
          It is really embarrassing
          Ha ha ha 
           
          Oh my goodness What on earth is it?
          The son in my house
          Has six servings of bowl of rice every day
          So I am very surprised
          Do I serve too little rice for him?
          Or the rice bowl is too little for him?
          It is really embarrassing
          Ha ha ha 
           

          斎太郎節/Saitarabushi  

          2015.06.21 Sunday

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            ●宮城県の民謡で、元は松島湾一帯で歌われた大漁唄。松島湾は大小何百もの緑に覆われた美しい島々を見渡す景観で有名。日本三景の一つに数えられる。
             
            (日本語歌詞)
              
            エンヤトット エンヤトット
            松島の サーヨー 瑞巌寺ほどの
            寺もないトエー
            アレワエーエ エトソーリャ大漁だエー
             
            前は海 サーヨー 後は山で
            小松原トエー
            アレハエーエ エトソーリャ大漁だエー
             
            石の巻 サーヨー   其の名も高い 
            日和山トエー
            アレハエーエ エトソーリャ大漁だエー
             
            西東 サーヨー  松島 遠島   
            目の下にトエー
            アレハエーエ エトソーリャ大漁だエー
             
            富山は サーヨー  高さも高い   
            名所山トエー
            アレハエーエ エトソーリャ大漁だエー
             
            見渡せば サーヨー  八百八島 
            目の下にトエー
            アレハエーエ エトソーリャ大漁だエー
             
            ********************
             
            ●It is an old work song of fishermen and their families in Miyagi Prefecture to celebrate a big catch of fish. 
            Matsushima bay area is famous for having a magnificent scenic beauty with hundreds of small islands covered with green trees.  Matsushima is one of the three most scenic spots in Japan. 
             
            (Lyrics in Roman letters)
             
            Chorus: En-ya-tot-to en-ya-tot-to
             
            Matsushima no sa-yo Zuiganji hodo no
            Tera mo nai to-e
            Are wa e-to-so-rya tairyou da e
             
            Mae wa umi sa-yo ushiro wa yama de
            Komatsubara to-e
            Are wa e-to-so-rya tairyou da e
             
            Ishinomaki sa-yo sono na mo takai
            Hiyori-yama to-e
            Are wa e-to-so-rya tairyou da e
             
            Nishi higashi sa-yo Matsushima Tojima
            Me no shita ni to-e
            Are wa e-to-so-rya tairyou da e
             
            Tomiyama wa sa-yo takasa mo takai
            Meisho yama to-e
            Are wa e-to-so-rya tairyou da e
             
            Miwataseba sa-yo happyaku-ya shima
            Me no shita ni to-e
            Are wa e-to-so-rya tairyou da e

            ********************
            (Click '続きを読む>>' bellow for English translation)

            炭坑節/Tankoubushi(Tanko Bushi)

            2015.06.20 Saturday

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              (日本語歌詞/Lyrics in Japanese)

              香春岳から 見下ろせば 伊田のたてこうが 真正面
              12時下がりの サマちゃんが ケージにもたれて 思案顔
              サノヨイヨイ

              ひとやま ふたやま みやま越え 奥に咲いたる 八重つばき
              なんぼ色よく 咲いたとて サマちゃんが 通わにゃ 仇(あだ)の花
              サノヨイヨイ

              月が出た出た 月が出た 三井炭坑の 上に出た
              あんまり煙突が 高いので さぞやお月さん 煙たかろ
              サノヨイヨイ

              格子窓から 月がさす サマちゃんの寝顔の 愛らしさ
              はずした枕を すけさしょか 思案なかばに 明けの鐘
              サノヨイヨイ


              **********


              (Lyrics in Roman letters)

              Kawara-dake kara mioroseba Ita no tatekou ga mashoumen
              Juuni-ji sagari no Sama-chan ga keeji ni motarete shian-gao
              Sa-no-yoi-yoi

              Hitoyama, futayama, miyama koe oku ni saitaru yae-tsubaki
              Nanbo iro yoku saita tote Sama-chan ga kayowanya ada no hana
              Sa-no-yoi-yoi

              Tsuki ga deta deta Tsuki ga deta Mitui Tankou no ue ni deta
              Anmari entotsu ga takai node sazoya o-Tsuki-san kemutakaro
              Sa-no-yoi-yoi

              Koushi mado kara Tsuki ga sasu Sama-chan no negao no airashisa
              Hazushita makura wo sukesasho ka shian nakaba ni ake no kane
              Sa-no-yoi-yoi

              **********

              (English translation)

              Looking down from top of Mt. Kawara-dake, I see Ita Shaft in front of me
              Sama-chan with a brooding look is leaning on the cage to start working at noon
              Sa-no-yoi-yoi

              If you cross the first mountain, the second, and the third, you would find a multi-petalous camellia blossom at last
              No matter how beautifully I bloom, it is no use if Sama-chan doesn't visit me
              Sa-no-yoi-yoi

              The full Moon is out, the full Moon is out. I see it above Mitzui Coal Mine
              The chimney is so tall that the Moon must be bothered by the smoke
              Sa-no-yoi-yoi

              Moon light coming in from the latticework window is on sleeping Sama-chan's lovely face
              While I was wondering if I should put the pillow back under his head, I hear the dawn bells from the temple
              Sa-no-yoi-yoi
               

              日本民謡/Minyo, Traditional Folk Songs in Japan

              2015.06.20 Saturday

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                このブログでは、日本民謡ファンとして、日本各地に伝わる民謡の音楽面と歌詞について思うことを記していきます。
                In This blog, I want to talk about Japanese traditional folk songs, Minyo, handed down through generations in every part of Japan, and its music and lyrics.
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