BROS#83 “Hi, this is Fukuyama” (2009.07) Part 1
When you all receive this latest copy of Bros, where will I be? Mmmm,….most probably…..backstage at the Yokohama Arena (laugh). That’s right, I’m in the middle of my concert tour. The theme is “FUKUYAMA MASAHARU 20th ANNIVERSARY WE’RE BROS. TOUR 2009 MICHISHIRUBE” (even I think it’s very long).
To those of you whom I’ve already met in the concerts, or, whom I will get to meet going forward, thank you very much. Fukuyama Masaharu’s largest ever (tour) in history, plus we’ve already decided to add extra shows at the Yoyogi National Stadium (代々木競技場第一体育館 Kokuritsu Yoyogi Kyōgi-jō). Details can be found on the other pages (of this issue), please have a look.
Of course, we also have the Inasayama shows – “FUKUYAMA☆ Summer Great Establishment Festival” (福山☆夏の大創業祭 Fukuyama ☆ Natsu no Daisougyousai). And we’ve announced the 2 days of free Public Viewing for 50,000 people in Nagasaki. Let me become “Fukuyama the man of the festival” that day. I will try my best!
So many things have happened since the last Bros issue, I don’t know where to start. To be honest, I was very very busy ~~
First, we released the single “Keshin”. We got No. 1 (on the charts)! Thank you. It was all because of you. Promotion for the single coincided with the Budokan rehearsals. I went through some of those “You-have-got-to-be-joking!” days.
Fukuyama Masaharu’s first concert shows in the Budokan – “Fukuyama☆Ikinari no Daikanshasai / Eh! Never tried it? The First Time?? / Love ☆ Fukuyama Exhibition in Budokan!!”* (I said it was too long!) To all of you who came, once again I thank you from the bottom of my heart. If you were there, that means you must have seen the video! Listen to me, I’m going to say it again, whatever “image” you saw in the Budokan, you must not tell anyone!! What I’m saying to you now, I am more serious than you can imagine (laugh).
My first Budokan, and my first Daikanshasai on a centre stage. And since there are the Arena concerts after that, I wanted to do something different. That’s why you got to see the 360˚centre revolving stage and the ideas on the videos, plus the daikanshasai price of ¥3,939. That was so generous, of course as expected we made a loss! Come, please keep piling on your praises and commendations (laugh)!
In my first ever Budokan shows, looking out from the centre stage, even the furthest seats in Level 2 seemed very close. I believe these Budokan concerts were really able to let everyone come together as one.
At the same time, the video clips produced just like a drama series, showed you the secret (tragic?) story of Fukuyama Masaharu before his debut. As well as the precious Amuse audition images. Although we had a lot of other ideas at the beginning, I wanted to make use of this opportunity, being such a commemorative occasion as the 20th anniversary, to revisit my “origins”. Quite a lot of people have become fans lately, if we were able to make you happy and think “Oh, so that’s what Masha was like when he was in Nagasaki”, that’s good enough for me.
As for behind-the-scenes trivia, it was really hot for me that first day because the spot lights were very close to the stage. I was so much more tired compared to other first days… Ack~does this mean I’m really getting old? I was a bit worried. But it turned out that the lights were just too hot, whew…thank goodness. The problem was solved on Day 2 following immediate readjustments by Team Fukuyama and I didn’t feel exhausted anymore throughout the entire show. Incidents happen on live shows, but the ability to deal with them quickly, comes from the accumulation of our 20 years of experience.
After the Budokan, we started our Arena concert tour, and the Fukuyama Masaharu album “Zankyo” was released. Clap! Clap! Clap!
Did it take too long? Were you waiting for a long time? Have you almost forgotten (about it)? Please don’t forget! (sob)
Perhaps you might have already noticed, I played a lot of the guitar parts in the album this time. And it’s not just the background instrumental, it wouldn’t be wrong to say that I took on almost all the key segments. This was a big change where music playing was concerned. If you hadn’t noticed it, please go check it out.
I don’t mean that I must always be the one on the guitar, no matter what. No, no, really (laugh). What I’m saying is that I’m the only one who can play the guitar phrases I wrote (the way I wanted as composer). It’s incredible, guitar playing is like handwriting. Even when you’re writing hiragana 「あいうえお」 (a-i-u-e-o), 10 people would do it in 10 different ways, right? So, like handwriting, even when you play “Do-Re-Mi-Fa-So-La-Ti-Do”, it would also sound totally different (with different people). Since I’ve been making music for almost 20 years, I’m thinking it’s not a bad thing to leave a legacy of my “handwriting”, regardless of whether I play it well or not.
But if it were evident that (my guitar) sounded just like before, or if I felt there has been no improvement, then I shouldn’t do it myself. I want to try to be as objective as I can, in my decisions on this matter. If I’m thinking “oh I’m the one who wrote it, so it doesn’t matter however I do it anyway”, then the performance may become uninteresting. I want to prevent this from happening. As a performer and a music fan before that, if I feel the music (I play) is ultimately different from what I want, then I would ask someone else to do it. However this time, even I felt my guitar playing wasn’t so bad. And because of that, I was in the recording studio (a lot of time) as a musician.
Another area which has started to see some changes, are the lyrics. That was so hard! Oh, that wasn’t what I wanted to talk about! (laugh).
The theme of the album is visible at times through messages of “My hometown and I” or “the Past and Present”. I guess that’s because it’s been 20 years and I’m already 40 years old, so I’ve made it that way subconsciously. This year, including the concerts at Inasayama, the thought that “Fukuyama Masaharu is indeed from Nagasaki after all” (is very obvious)…….And even though I have always had an upbeat image, I’d still have troubles which are common to my age, or problems which are not so easy to resolve….I want to face up to that aspect of myself and give it due regard. That’s why I used “Zankyo” to represent the entire concept (of this album).
And I actually used the word “Zan” (残 leftover / bad) in my title! Well, with “Zan”, you could have “Zankyo” (残響 Reverberation); “Zannen” (残念 bad luck / regret); “Zanpan” (残飯 food scraps / garbage); “Zannyou” (残尿 leftover urine)………
Extract from Bros Magazine [どうも福山です] 2009.07
~ To be Continued ~
* 福山☆イキナリの大感謝祭 / エッ！してなかったの？初めてだったの?? / 愛☆福山博in武道館！