Many moons ago, someone interviewed me and asked me (to paraphrase them), “What makes you pick what you share on the site?”Now, if I remember correctly, I think I answered: “most of the time, it’s great music tied to a great story.” It’s with this in mind that today let’s do things a little differently. Today we’re going to let someone actually do most of the talking. It’s Makoto Shimomura who was in the presence to the recording of one of my all-time favorite Japanese reggae albums, the surprisingly, little-heralded, masterpiece, MI・LUV・YU by Sayoko. It’s Makoto who tells the story of this wonderful album that was carved out, largely from the strength, conviction, and love of one woman, working hard to see her dream through (against a few uncertain odds).
I imagine a few of you already know the name: Sayoko Takahashi. It’s Sayoko, who as a teenager, who as lead vocalist of the influential all-girl group ZELDA, carved out a fascinating early career fronting a band that began with huge post-punk leanings that eventually transitioned into something else, with great popularity. By the time she left the group in 1995, Sayoko had (somehow) transformed them into this much more interesting reggae and funk-tinged crew with roots in Nyabinghi.
It was her final work with ZELDA, 1993’s Fullmoon Pūjah, recorded in Jamaica with Sly & Robbie, Augustus Pablo, Yellow Man, and a whole other stunning cast of Jamaican characters, that seemingly, planted the seeds of Sayoko’s own rasta awakening. One says this, because rather than go full-throated with an island sound, they left things at a measure that Sayoko sensed was wanting. It’s something she aimed to rectify when she flew back solo.
This is what makes MI・LUV・YU such an intriguing release. Rather than act as a look back at Jamaica’s past, Sayoko tries to find her footing and voice in the evolution of Jamaican music. Her attempts to learn English, her experiments with dancehall and ragga, her seemingly thickheaded ideas to command a studio, all of the uneasiness that comes from standing on your own two feet, was in the service of something.
One could say MI・LUV・YU was the product of her deep affection for Jamaica and its music, and this album was her sincere expression of it. Yet, one could also say: it was on this album you see her showing how this love could be shaped by the contours of Japanese or Asian music. That both could attain a new feeling when working together. For her it was a no-brainer: the effort and risk were besides the point to her end goal.
I imagine you could ask Sly & Robbie, J.C. Lodge, Beenie Man, Eek-a-Mouse, and Danny Browne, to name precious few, that helped Sayoko out, whether their time was worth it. But you’d get the same answer. Unsurprisingly, you’ll hear some absolutely genius Jamaican-inspired reggae musicians like Kazufumi Miyazawa, Oto, and Kazufumi Kodama make their own statement on this record. Sometimes jah love needs no explanation…
MI・LUV・YU(ORIGINAL LINER NOTES)
[Jam-Flavored-Asian Spirit ]
“Sayoko-chan is amazing, isn’t she? She went to Jamaica all by herself and recorded. There aren’t many men who can talk on an equal footing with the musicians over there, let alone be respected as a woman.” But I think she can do it because she has a high ambition.”
This is what Kazufumi Miyazawa of The Boom said. Two days before I left for Jamaica, I met him and he became the talk of Sayoko.
Sayoko Takahashi left Japan on April 20th, and with her went her long-cherished dream of recording a solo album in Jamaica, studying English abroad, with the aim of taking vocal lessons and selecting musicians to record that one special record. Then two months later, on June 19th, Nobukazu Omori and I headed to Kingston, Jamaican for her first solo recording.
June 20th. Sayoko Takahashi’s first day of recording was about to begin. The location is Kingston’s The Mixing Lab Studios. There was Lynford “Fatta” Marshall, an engineer and producer, and the rhythm band comprised the super-powerful duo, Sly & Robbie, and guitarist Gizzi. Sayoko, who’s English has improved a lot over the past two months, proceeds with recording while discussing with Fatta and Sly Dunbar the speed and development of the rhythm. Sly doesn’t want to listen to the demo tape. He freely creates his own drum pattern next to Sayoko’s song. He seems to believe in images and feelings that come out of her, and he creates Sayoko’s songs, feeling his own senses from the chaos.
I will search for beats to hit. When the rhythm is complete, in about half an hour, Robbie, Gizzi and even the keyboardists play along to the track at the same time. The rhythm track for the first song was completed in about an hour and a half. In the end, the three rhythm tracks were completed in just four and a half hours.
“That’s so fast! Good job! Cheap!” Sayoko laughs.
Robbie Shakespeare is the only one who is occasionally seen fascinated by soccer (World Cup Qualifiers) playing on a TV monitor, but every time he starts playing, there are complicated and powerful phrases springing up. I can only describe him as a genius bassist. We were all moved many times just watching him play in front of us.
[Sly, Play the Live Drum!]
The drum machine used by Sly Dunbar was the AKAI MPC-60II. He has the freedom to use this Japanese-made machine as if it were a part of his body. The drums he plays are original and incredibly powerful, but Sayoko kept asking Sly to play live drums on the album. And the day that this wish finally came true was June 25th, the last day of recording this album with Sly & Robbie.
Yes, there were three people in the studio: Robbie, Gizzy, and Sly. Sayoko was very happy to receive a CD (with a floppy) of the drum sound source for sampling from Sly. First of all, listening to the demo tape of Mr. LOVER MAN (composed by Kazuo Kodama) and searching for phrases accordingly. Again, there’s Robbie Shakespeare’s interesting way of searching for phrases. While playing the bass, you hear him sing the melody.
“Mr. Rob is a good singer”, she said, making fun of him and singing a higher melody out loud. Gizzy plays a melody on the guitar. All the while, Sly was listening with his arms folded, then suddenly he stood up, went to the drum booth.
“It looks like you’re going to play the drums!” Sayoko exclaimed, happily.
After checking the sound, Sly really play the drums live. Amazing sound, amazing phrasing. The snare isn’t hit. The use of high-hat is unique. Sly’s timing is different every two beats. Yet, it fits perfectly with the guitar. Somewhere, there was a bit in which Sayoko re-sang her part in order to adjust to the timing of this song, but she finished it beautifully in two takes. It was only 40 minutes, but we were really happy to see Sly Dunbar’s genius playing close-up.
[Emotional Interaction Between Artists]
The other best part of this recording was that we were able to see the chorus overdubs of Pam Hall, J. C. Lodge, and Sharon Forrester.
On June 27, the three appeared in the studio around 9pm. J.C. brought her beloved child (Ziya, then two months old). It was only when the newborn was put to sleep that the chorus recording begins. Pam and Sharon come to the console room, J.C. plays the synth, checks the composition and the melody. They check the chorus part and go back to the studio, yet something feels off and awkward.
It’s strange to see someone who’s a master, lack confidence. Perhaps because the baby has just woken up, J.C. Lodge heads to her, singing to her in his arms — a rare sight you can’t imagine seeing in Japan. Then, Sayoko’s hand trembles as she joins in to sing. Even those who ask for a new chorus can’t bring themselves to say a harsh thing. All three of them are big Jamaican singers, including Pam (who is a vocal teacher, herself).
Sayoko says with a wry smile, “I’m sorry.” After this, the second Japanese verse, the one that seemed so difficult, was recorded successfully. They went to record the second song of the night, “Waiting In Vain”. As expected from Bob Marley’s masterpiece, things went smoother. On the way, there was a happy scene where Sayoko received singing advice from Pam Hall, and the 40-minute chorus recording ends.
There was a very relaxed atmosphere in the studio that evening. Everyone was smiling all day. In the end, they all shook hands and took a commemorative photo together with the baby in toe. It was a precious day when the feeling that this album was slowly coming to completion, because of a heart-to-heart communication with great Jamaican artists, turned it to reality.
[Originality]
“By the way, the theme that runs through this album is “LOVE.” A little sexy and sensual love song will be woven that freely incorporates new aspects of Sayko, which haven’t been shown much in her prior band’s work.
“If you think about it, most of the songs out there are love songs, even if you don’t think about it.” “Mr. Lover Man” is that kind of extreme side that I couldn’t put out before.” It’s a mask. When I put in a vocal, the producer Fattah and Sly would shout: “sexier” (LOL). “This album seems to be the most mature album I’ve ever sung”, Sayoko would state.
Jamaican Recording = for those who catch reggae music in a short-sighted way, this album called Mi – Luv – Yu, meaning “I Love You” in the Jamaican patois), might make you feel uncomfortable. This is because it contains many works that are too varied to simply be called “reggae”. However, this is the result of people such as Sly & Robbie and Danny Browne producing Asian-vibrational songs written by Kazufumi Miyazawa, Oto, Kazufumi Kodama, Hirofumi Asamoto, and Sayoko Takahashi with their own sensibilities. It’s Asian spirit cooked by Sly, Danny, and Fattah, flavored with Jamaican spice! The many masterpieces included here may be a new genre of music created by Asian and Jamaican collaboration.
I can’t say…I want many people to listen to this heartbreaking, gentle and new sound soon. That’s how I feel now.
One response
Thank you for this unknown (to me!) reggae album!