KANNO YOKO x GRANDFUNK Special Long Interview

VOL.02

translation by Fuducky

CM YOKO2 – AN EXPLANATION OF EACH SONG BY THE COMPOSER

-The cover of The Beatles’ “All You Need is Love.” First of all, the band groove is superb.

Yeah, the clapping, the drums, and what not.

- The drummer you got was Araki Yuuko-san (A very popular drummer who is in great request for both shows and recordings by the likes of Kururi, Cornelius, Suga Shikao, etc. and who also has her own unit called Migu) wasn’t it? What was your impression of Araki-san?

She plays the drums in a very universal way that transcends generations. Very band-like yet very classical. There is a certain kind of catchiness to her drumming.

-The way you replaced the brass counter melody ‘tara ta tara~’ that’s after the ♪All you need is love～with the ‘kankankankan’ banging pipe sound leaves quite an impression.

­I did it going along with the cut breaks in the video (of the CM).

­-Did you have any direction points for the recording?

Essentially nothing needed to be said to Araki-san and the band (The same band members for Cornelius’ live sessions, Guitar/Shimizu Hirotaka, Bass/Kitada Maki). From the moment we invited them, I knew all would go well.

-“Kojika (Fawn)”

Oh, the one for Tauchi-san (Director Tauchi Takeya of M-one Productions). It was for a makeup commercial and, at the time, it was quite a busy period. So when I showed up to the studio without any makeup on, Kanehashi-san berated me saying, ‘It’s work for a makeup product, so at least put on some lipstick!’ (laughs). At the time, I didn’t have the mindset that our company offered a service. So when I was told that, I suddenly realized, ‘oh, this is a service industry’ (laughs). Looking at it from the client’s perspective, even though the song turned out well, they were probably thinking, ‘what the heck? Who is this girl?’

-(laughs) It’s a wonderful arrangement that integrates modern music and comical soundtrack elements with marvelous timing in just a 15 second segment.

Yes, even though I’ve never really studied modern music. The arrangement followed that kind of mysterious but cute image that you get when you see the fawn pop up in the forest.

-“Himatsuri no Odori”

We had all great musicians perform this.

-Toyoshima Yasushi (vl), Kanda Masaharu (vc), Imahori Tsuneo (g), Date Gen (perc), and Kanno-san on keyboard. A leader in the classical world, a leader in the studio world, a leader in the guitar world, and a leader in the Latin world met for a very rich and varied session. And the ‘hoi hoi’ shouts in the background by us staff (laughs).

This usually impossible session is the best part of CM music. Making a band with people you’ve never met before… this kind of sound is great. It’s something you can’t do in other genres besides CMs. The performers too are more enjoyable. Yes, and I quite frequent round up the on-site staff for shouts, handclaps, and things like that (laughs).

-This “Modern Line” song that appears…

Why did I write this type of song, I wonder (laughs).

-I definitely do not want to miss this opportunity to ask the composer that (laughs).

A picture… a line, rolls up and became this song.

­­-Hm?

How should I put it, it’s quite physical. It’s like I made my body into a line and danced (using her body she makes gestures like a line dancing) and it became a song.

-I see… I don’t know any other song that is quite as catchy in modern arrangements. It gently hints but stays in your head.

It’s great isn’t it? Shimizu Yasuaki-san did multiple recordings by himself of the music as written. I probably couldn’t think up anything other than this. I don’t have a sense for modern music since I’ve never really understood it in the first place. I’m sure there are many types of modern music, but one way of creating it is the rejection of anything melodious isn’t it? Like creating a song through mathematically replace the musical scale and intervals with the alignment of the stars. I don’t make songs like that because, for me, the melody is always dominant. So that’s probably why it stays in your head.

-I see, you are quite known for this song since it’s won many awards. It’s solid and stylish, a song where you can feel everything perfectly.

Next is “Success Road.”

Ah, this one brings back memories. I did many series for WINDOM.

-It was like gorgeous urban nightlife… The stuff that Kanno-san makes is a cute kind of pop, so it’s like…

Sweaty.

-(laughs)… Your work has lots of variety, so do your feelings or motivations change depending on the song you’re writing?

Yes, in this case, I wrote the song as if I was a man, and not just any man, but an image of an ideal man that I made up (laughs). Not on this recording, but the directors on WINDOM are frequently not Japanese, so there are a lot of overseas recordings. I went to see the filming in L.A. where they closed down the streets and were flying a bunch of helicopters in the middle of the night. It was very movie like, very amazing. When staff of different ethnicity even said the song was good, I became quite confident.

-“Ichijiyoji”

This was the next one for WINDOM!

-(laughs)

Even I was surprised at the track order

-What I think is amazing is how you succumb to the catchy melody even there are so many words. One of Kanno-san’s true merits, I think.

If I had to I could write 5 or 6 more songs (laughs). But this song is pretty good right (laughs). The arrangement came about with the image of the company mascot Denko-chan and the feeling of cooling yourself off with a fan…wa! (the part of the arrangement with the simple ukulele accompaniment). I had forgotten about it. Even though I made it, when I listen to it in detail after so long, I can’t help but laugh (laughs).

-You also did the vocals…

No-… I assumed somebody-chan would sing it later… So I had only sung it for the demo, but they were like, “Great!” (laughs). It was even hypermetric, so it’s quite embarrassing, wah.

-“Ubique” is such a cool song, I would like to make it into an object and hang it in a museum. What type of meeting did you have to make this song?

It was a short film for a company. The video was very aggressive and artistic. The order was to do something very dark, but to have just a sign of hope coming out of the darkness, yet still in the fog.

-Ah, exactly the image I had in my head (laughs). I see, so that’s what that beautiful peculiar feeling of tranquility is.

Yes. It’s rare for CM music to be so dark, so it’s a rare work.

-What about that sound? (latter half, a pretty string like strumming rings out)

That’s a harpsichord I think. About these kinds of tones, without the great work of the synthesizer operators who are always with me (Urata Keishi, Sakamoto Shunsuke), it would be impossible.

-“Blue Groovin”

Oh this!

­-Yes, it’s this one.

My relative who just started learning the sax saw this CM and came and asked me for the written music so he/she could play it. I did a lot for the Master Card series too.

-In the CM, Ootake Shinobu-san who plays a mother brings her daughter to a genuine jazz club and then you start hearing the jazz playing of the sax, but if you listen closely, in the jazzy chord progressions, there are classical and soundtrack elements and techniques, musically quite a feat for arrangement.

Haha, It’s not a jazz club at all right (laughs).

It’s like the music that plays at the last scene of a movie when someone says, ‘Yokatta nee (That’s good, isn’t it).’

-The way you used the glocken was quite effective too, cute and magical. Almost like Antonio Carlos Jobim (master of Brazilian music who made Bossa Nova).

… arranged like a soundtrack right (laughs). Master Card is a foreign investment company so there was a different sense for the performance after all. The person who gave the final OK was also not Japanese, so when foreign made commercials air, when you compare it to domestic CMs, the way they are made is quite different maybe. A very western, unashamed, bright, refreshing feeling. It seems like the trick is to pull out the emotion.

-“Akai Taiyou”

This was the one with director Maeda Ryousuke.

­-Vocals were by Yukawa Shione-san. The unique image of harmony is very refreshing.

♪Moyuiyona～is Kumamoto dialect. We had an actual Kumamoto resident pronounce it for us and we turned it into a song. Even with Osaka dialect for example, even though you can plainly read it, if you don’t ask them how they say it, you won’t know the small nuances. So, before making the song, we asked what the correct pronunciation was. Even after we finished it, we checked by asking if it sounded weird. Even though it’s Japanese, it sounds quite strange.

-The way you made it is very respectful. This is off the topic, but you like Kabuki right? Tell me what you recommend about it.

I love it, although only recently. When I saw kabuki, it occurred to me just how energetic, full of vigor, and cosmopolitan Japanese people are. Isn’t there a stereotype that Japanese people are generally very dark and serious? But if you watch kabuki, you’re packed in a tight place, the story is full of vigor, monsters and what not appear, it’s erotic, and when it’s over, it doesn’t leave anything behind. It’s quite broad-minded and generous. I feel if you can watch that while eating, culturally it’s a very positive form of entertainment. Deep down Japanese people are a very colorful and bold people. I was able to rediscover that kind of blood in me. By the way, the Kabuki play I recommend is ‘Sakura-hime Azuma Bunsho.’ You should definitely go see it.

­-“Life is Dance”

When they first came to the planning with this song (Oklahoma Mixer), I was really shocked (laughs). With folk songs and children’s songs, there are some songs that you can make contemporary arrangements and some you can’t, but this went pretty well. They chose quite a song.

-Thank you for making it so good.

D-part melodies are great too. Like Burt Bacharach (laughs).

-“New Moon”

Isn’t this song just perfect for Hatakeyama Miyuki-san? (laughs) She said herself that she had never sung this type of song before. But after singing this song, she told me she thought, ‘this can work in straight pop!’

This CM was for the foreign company Platinum Guild, so we had misgivings about how well this English song created by Japanese people would go over with native speakers. But fortunately they really liked it. The other day at a friend’s wedding, this was playing in the wedding hall. I thought, ‘isn’t that great, it’s a famous song!’ (laughs) It matched perfectly with the video, the most wonderful thing being that it sounded like we didn’t try too hard. Smooth and effortless, it went along quite naturally with the video. In that aspect it went quite well.

-I love this song. It certainly is a masterpiece.

­It’s good isn’t it.

-“Hyou (Leopard)”, an AVON CM is different version of “Kojika” earlier in the CD.

Around this time, I showed up to the filming set quite often. There was a real leopard there. Leopards are extremely ferocious, even more so than lions. They won’t listen to anybody.

So, the animal trainer came with a monkey, saying that when a monkey is on the set, most animals calm down. The monkey wasn’t being filmed; in fact he wasn’t doing anything. I also had nothing to do during the filming right? So being both free, we played around the whole time and the monkey became so attached that it didn’t want me to leave… The monkey gave me some wrapping paper or maybe candy. So, I thought it was a present and so I took it saying thank you. When I was leaving though, thinking it was just trash, I threw it away and the monkey got really angry (laughs). It was really pissed at the unforgiveable thing I did… maybe a bit traumatic.

­-It was a soft-hearted monkey, eh? By the way, you get along well with animals don’t you? I’ve seen you talking to sparrows in the office. (laughs)

Yeah, I may have a knack for healing slightly dispirited animals.

­-You said something quite amazing (laughs).

You mean getting the canary that never chirped before to chirp?

There’s a pet canary in the studio that began chirping after I played with it for 20 minutes although it had never chirped before. After that, when I was small there was this dog who had a habit of biting people as a result of being abused. I let the dog bite my hand as much as he liked. My hand was in tatters afterwards, but the dog no longer bit after that. There were those kinds of things.

-“Red Swingin’”

Ah, Proudia. This is quite stylish. Proudia is more aimed at adults. I think this was also directed by Tauchi-san. I like Tauchi-san’s images; always so foreign and vivid.

-The sharp and rich brass arrangement is wonderful. When you’re making a brass arrangement, do you a certain trick?

I was in the brass band in middle school, so I know what playing a brass instrument is like. From a brass player’s standpoint, there are not enough songs in this world that feature brass. So when I write brass parts, I make parts that are fun to play for the performers.

-“The Secret Magic”

This one is cool (laughs). Why did this song become so stylish?

­

-The model came out at the studio, it was like a still photo shoot. The director was Nomi Eiko.

Yes yes, the director was a woman. Quite rare, female directors. She was very fashionable. So it was as if she had written the song. So I ended up doing this. In the end, the video really reflected the director’s personality and vision, so it was good.

-“Hisou (Pathetique Sonata)” is a Beethoven song. What is the instrument that plays the melody?

It’s an Ondes Martenot (a type of electronic instrument).

-With the thickness of the strings, it’s quite majestic but at the same time a warm and beautiful arrangement.

The expressiveness of the ondes martenot is pretty amazing. The strings were either 8-6-4-4-2 (24 member composition) or 6-4-2-2-1 (15 member composition). This was a company advertisement, so in other words, it was a song that represented the company itself, right? I wanted it to become something that the people working in the company could be proud of. It would be great if it made people think, ‘my company is the greatest!’ So I am very respectful when I make company advertisements. It’s maybe kind of like making a school anthem.

-That indescribable lingering reverberation is a great feeling. When you were small, did you listen to classical music?

No, not at all since we didn’t have any records at home. The one record we did have was Gershiwn’s “An American in Paris.” I only knew one part of “Hisou,” so Kanehashi-san went and got me the sheet music for the sonata (laughs) and it started from the piano music. In CMs, when you set out to do an arrangement of a song, the producer and the director bring forth so many ideas that are quite stimulating for me. It’s not possible in other genres, right?

-Because you make every pitch thrown at you a hit, for us producers, there is nothing more comforting. So all that’s left to worry about is the pitch we throw.

Haha, you’re right.

-“Mite no Uta” is for your hometown, Miyagi?

Nobody knows this one, right? (laughs) It shouldn’t have been released anywhere. Apparently every dawn when the broadcasting day is about to start for Miyagi TV, it plays once. It seems like everyone knows it in Miyagi (laughs). I hear there’s also a cute image that accompanies it although I’ve never seen it before.

-That’s a great service to your hometown.

“Hachi (Bee)”

This one is also a variation for AVON. Puniunini~ was the image of a bee I had. ‘Hachi,’ ‘Hyou,’ and ‘Kojika’ are the 3 parts of the work.

-“Remember Me”

Asahi Glass Company, this is a great song.

-The director was Ishikawa Hiroshi and the vocals were by Oikawa Rin-chan. What was your focus in writing this song?

Yes, I focused on bringing out a laziness in Rin-chan’s vocals…

-Maybe unguarded

Yes yes,, almost naked. It was a commercial for Asahi Glass, yet the main character was a teenage girl and it was made like a movie. I tried incorporating inexperience, the youth of the main character, youth in general, and the transparency and youth of Asahi Glass. I even went so far as using the rhythm just as it was on the computer. I wrote it being conscious of those things.

-“Maria”

A director who had heard a movie recording I had done right before in the Czech Republic asked me to make something like this.

-Amazing chorus and audio. Please tell me about the Czech recording.

In the Czech Republic, we recorded in a church. For the choir we got only male counter tenors (the highest part for male voices that reaches into the female range), and the sax we dubbed in Shimizu Yasaki-san I think. For this type of recording, not only was the arrangement rare, we also had to get in one shot since we wouldn’t be able to fix it later, so it was difficult. It was a church, so we had to choose the quietest possible time on Sunday for the recording otherwise it would be over as soon as the crows started crowing or cars drove by. During that time, the engineer that I brought along with me helped me recreate that image of the world for a CM.

-“Utsukushii Asu e Ikimasenka?”

Yoshika is such a great singer, isn’t she? It’s quite rare for me to have African American Music-type vocalists I think.

­

-It’s a song with deep feelings, quite wonderful.

It’s sexy isn’t it? The CM went something like, “Do you like pretty ladies?” Kind of wonderfully perverted.

-I know many people who are fans of the song “My love.”

It’s quite low-keyed.

-In the latter half before the rhythm comes in, between vocalist Kaleb James’ long fake and when the groove comes in… I can’t get enough of it (laughs).

(While listening to that part) Haha! (laughs) Exactly, I wrote it wanting to do this here. No matter what song it is, there is almost always a part that I especially want people to hear. I absolutely cannot sing this type of song. This kind of long tone with that peculiar vibrato is absolutely impossible for me. When I was doing the demo of it, I almost toppled over it was so difficult for me. “aa-haaaaaa~~~~aa! I can’t do it! Somebody save me!” (laughs)

-There are few African American music works in your music, but when asked, you do a surprisingly good job.

Yes, I don’t think I’m that bad (laughs). I don’t think I have any of that African American music blood in me, but when I went to New Orleans, I was shocked by the local black musicians, the beat and everything. It’s something I don’t have and can’t compare to but at the same time it is a great aspiration. The world is so rich. Speaking of which, the first place I visited in New York when I was 18 was Harlem. I didn’t speak a word of English, but I went by myself to a theater in Harlem. While riding the subway, around hundred and something street I was suddenly the only white face left completely surrounded by black people. I saw a musical at the theater but during the show, people in the audience got up and shouted “Oh, Yes!” at the stage and started dancing. At the restrooms, some old ladies shook me around energetically saying, “Wasn’t that show something…! You think so too right!” After seeing that, I thought our cultures must be fundamentally different. The energy was so different.

-I heard from somebody that the loudness of fortissimo in African American music is completely different than it is in other music.

I see your point. It’s a musical expression that pushes you to your physical limit, but it’s very inspirational.

-“Kiseki to Taikutsu” has lyrics written by Kikuchi Naruyoshi-san, who is active not only in the music scene but in the literary world as well, vocals by Konaka Riyu-san. It was such a popular CM for Calpis Water, it was even made into a CD single.

I did the arrangement for the opening portion, but after the vocals,Kikuchi-kun and Mogi-kun (current managing director of GRANDFUNK) handled it and made it longer. Please enjoy the difference between their directing and mine.

-Yes that’s how it was. The beginning is certainly Kanno-ish and after it’s more wild and masculine, more like rock. I’ve heard that Mogi-san influenced the directing of Chikada Haruo-san.

What is Chikada-san’s directing like? How is it different from mine?

-For example, in the studio for a rock type song, when the guitarist had a slight mess up, technically speaking there was an unexpected sound when the chord was played, but when he heard it he jumped up quite pleased saying, ‘Whoa, way to go! Aren’t we lucky!’ and ‘that Jimi Hendrix feel is the greatest!’ He would trot around the studio and end up dancing in front of the musicians… I think it’s the same for Kanno-san when you share the mood of the musicians, after the recording without a moment wasted, you start giving them feedback and comments and direction. You guys are so keen and do everything in an instant.

Yes, I completely know what you mean. That ‘instant’ (right after the performance) is very important in Japan. Depending on the length of that sensitive moment, musicians can be made anxious and when they get anxious their performance starts to fall. There are many arrangers with many methods. One professional, even though he/she had written such a great arrangement, when there was mistake in the performance, he/she would still give the ‘okay, we’re finished.’ He/she said, ‘even if you aim for perfection, it’s almost impossible to get 100% of what you want. If you insist and listen to your song over and over, you’ll start to hate it.’ I understand that feeling too.

-In Chikada-san’s case, he pours all his efforts in trying to draw out the best of people’s abilities. And the best result of that is the take when he comes jumping. I can see what is given more importance with that method. In your case, you have that side but at the same time, like sculpting something, I can see your method of polishing things to perfection.

You might be right. In my case, (when I write the arrangement) because I can see the form clearly, I direct towards that. So there’s nothing unexpected that comes up, moreover, I won’t give up until it gets there (laughs).

-“GREEN” we talked earlier about your experience in Korea…

Oh, the year before last when I performed in Korea, I remembered a little Korean so I understand only now, but the lyrics went something like ‘the moon~’ (laughs)

-Now that you mention it, I was surprised when you were on stage you speaking some pretty fluent Korean.

In the end, the singer’s voice was really wonderful and unforgettable. In the mix we added deep reverb so it’s hard to tell, but her vocal chords are completely different from Japanese vocal chords. She has a very deep voice that’s more like a westerner’s. As I mentioned before, the music was written at the last moment the night before so it was a very hastily developed but this recording gave me much happiness. I didn’t have any time to study Korean beforehand, I couldn’t even greet her properly (The interpreter we requested didn’t show up). So with this language barrier, just the singer and I entered the studio. And then using hand gestures and body gestures to direct, we were able to make a song without even exchanging words. It was a very satisfying moment for me.

-That’s a wonderful story. I remember you saying before that ‘I am making music to touch people’s feelings.’

I said that? (laughs) Well, yes. If no one hears it, it’s not music, if no one sees it, it’s not art. Nothing comes out of a one-way communication, if you don’t touch people’s hearts.

-“Chase the Lady”

…Why did it turn out like this I wonder (laughs).

­-It’s so hard to believe that the same person made the song before it. Definitely an artist with a broad range (laughs).

This one was also directed by Maeda Ryousuke I think. Haha, “Gyann!!” I think that guitar was Imahori-san.

-“World you reached” is quite famous… We had a lot of inquiries into this.

­This one was for Sony. I also had tons of people ask me who sang this, which album was it on.

-Directed by Imamura Naoki-san, vocals by Ann Sally. It left quite an impression during the recording, when she was singing, she said, ‘what a beautiful song’ while tears were coming out of her eyes.

Oh really? I didn’t notice. It was the first time that I met Ann Sally.

­

-Personally, I think it’s a pop masterpiece that would not pale in comparison to the likes of Bacharach and the Beatles. How did you write a song like this?

In the video, the dog was so cute, so I wrote the song with many maternal feelings.

-I see…To make something so beautiful in a 15 or 30 second interval, it’s one of the great achievements in CM music I think.

I like that it seems so effortless as well. Actually making it was not very strenuous either. The lyrics Oikawa Rin-chan wrote were good, and Ann Sally’s expressive voice was wonderful. From the beginning the song was written for Ann Sally to sing. When we began planning it, Ann Sally was very busy, and we were not certain she had time for our recording schedule. If she didn’t and somebody else sang it, I don’t think it would have turned out like this. Somehow we made the schedule work by working it in during the publicity interval and recording it at night. For me, meeting singers is very precious… After this, I became good friends with Ann-san and even visited her in New Orleans where she lives (Ann Sally was studying to become a doctor in America). We ate doughnuts in the French Market and at night she took me to several authentic jazz clubs. Even though we were just part of the audience, Ann-san jumped on stage and asked them to let her sing a little. She’s an amazing person with quite some courage (laughs).

-“Wild Fight”

Ah, the trumpet!

-sounds very bold (laughs)

This trumpet was by Eric-san I believe (Eric Miyashiro, a Hawaiian trumpet player who can hit one of the highest notes in the world). It sound like it’s a movie, like a new Steven Segal movie (laughs).

-It has a strong beat and aggressive string arrangement yet it’s not too solid, but very stylish with a pop sensibility. It’s quite something.

Yes, these have a tendency to be either rigid or unrefined. This was also for director Tauchi-san. In Tauchi-san’s work, even in commercials, everything is almost like a movie. He’s always looking for that very dramatic point. Everything is always very vivid and has a refined brilliance that is only possible in CMs. When I first started my CM career, continuously working with Tauchi-san has been very educational in finding the ‘target’…

­

-“Mambo No.5”

Perhaps, the genre of music most distant from me (laughs). I also don’t have African American music blood in me, but I don’t have one drop of Latin music (laughs).

- (Laughs), still you arranged the brass and everything quite well.

Yeah, I was going for something like that (laughs). We got somebody just to do the coarse shouting (Aaaa~~~ ooo!). We had to have this person, so everybody arranged their schedule around his. Quite a good performance fee for just that (laughs). He was in the role of directing the mambo, so everybody accommodated him. This was one of those songs where I was l laughing as I did the arrangement (laughs).

­

-“Sougen” is also a spectacular song. Many people must have been happy to have a synthesized version for the first time.

We received lots of inquiries into this song while it was on air as well. It’s the singing by Yamamoto Chinatsu-chan… I think she was in the first year of middle school at that time. She came into the studio wearing overalls, so I think it might have been her first time doing a CM. I never get tired of it.

­­

-I can’t get enough of this refreshing feeling.

Yes. There was also the issue of how to pair vocals to the song. Actually, the song is more for a woman to sing. So if a woman sang it, it would become more of an easy-listening song. But it’s great because it’s sung straight like this with no frills. If it wasn’t her, we wouldn’t hear it like this.

-“Obentou wo Tabenagara”

Kiyoura Natsumi is really a wonderful singer. If someone else sang it, you might still be able to smell the bento, but you wouldn’t get that old rice smell that you would with her voice (laughs). She’s actually an actress and a model. But she said herself that she wanted to sing songs, kind of like Imai Miki-chan’s situation at one time. Her voice is good of course, but she has great sense. No matter the case, she was so good at singing I couldn’t believe she was an actress. I really love her voice. I was thinking, ‘I wish I had been born with her kind of voice…’

­

-The voice you have is great too (laughs). Even though this song has many lyrics, you did a fantastic job making a beautiful and catchy song. After hearing it, every time I pass by the Bento shop, “♪Obentou wo tabenagara～” starts playing in my head.

These were actually really tough lyrics. When I had finished, I felt confident I could make a great song out of any lyrics (laughs). The lyrics alone were a very high hurdle to cross.

-“Share” is last with vocals by Kicell.

This one has a John Lennon type feel.

-It has a whimsical yet at the same time raw and real feel.

The story was about someone’s passed away lover, so I made an image that was half sad. With the lyrics, it’s a very simple and plain song. The vocalist Kicell-san is a person whose body seems to be almost transparent as if they were standing somewhere in between reality and a dream.

-I think one of the charms of your music is the sway of the rhythm. At the moment when you take a deep breath, the emotional part grabs a hold of you.

Yes, certainly. It’s typically how classical music uses that ‘moment.’ Musicals have them too. On the other hand, in the pop world, it is more difficult for musicians to understand.

­

-That was all 30 songs, thank you.

Related Articles:

• CMYoko2 Lyrics
• CMYoko2 CD Packaging
• New CMYoko Website Launched
• CMYoko2 Debuts in Oricon Dailies at #16
• CMYoko2 Currently #3 in iTunes Top Albums
• CMYoko2 Vocalists
• CMYoko2 Review
• Yoko Kanno CM Compilation CD: CMYoko2

This entry was posted on Monday, May 18th, 2009 at 12:58 am and is filed under Yoko Kanno Articles. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.