[FUJIROCK 2026]
Artist Name：
2026/10/11 (Sun)
155
小樽・音とこだまで出会った Antonio Carlos Jobim「Stone Flower」 のLPをリスン。
うち一曲でかしぶち哲郎さんの "春の庭" (from album「リラのホテル」)を思い出したので
久々に聴いてみました。カバーではないけれど、Antonio Carlos Jobim のアンニュイな
メロディーが下地になっているのだろうなと思いました。「リラのホテル」を僕に教えてくれた
のは、以前に書いた大の矢野顕子ファンのkくんで、彼も多分アッコちゃん目当てでこのLPを
買ったのだと思います。小樽の魚籃館であがた森魚さんのライブを観た時に "リラのホテル"
を演奏したのを聴いて、元はあがたさんのアルバム「日本少年」に収録されていたことを
知りました。「日本少年」が1976年。後にかしぶちさんがご自身のアルバムでセルフカバーし
たのが1983年。僕が初めに聴いたのはセルフカバーの方でした。帰省の際にkの墓参りに行こ
うかと考えていたけれど、結局行きませんでした。事前に気づいていたら、墓前でかしぶち/Jobim
のリンクについて報告してマウントを取りたかったところでしたが笑
またあらためて行く必要がありそうですね。
Antonio Carlos Jobim の音楽が身体と心に実に馴染み、身を預けて漂う程度に、整って還って
きた帰省の一週間でした。東京はいろんなものごとのペースが早いですね。
幼馴染の友人 y が「キヨシローの映画を観に行こうよ」と誘ってくれたので、これから観に行
きます。彼に会うのもずいぶん久しぶりだなぁ。
キヨシローの映画は、別の日に二人で観に行こうよと妻を誘ったのですが、絶対泣いちゃうか
ら ... と気乗りがしないようです。そういう人も多いんじゃないかな。
Listening to the LP of Antonio Carlos Jobim, Stone Flower, which I came
across at Oto to Kodama in Otaru.
One of the tracks reminded me of "Haru no Niwa" ("Spring Garden") by
Tetsuro Kashibuchi, from his album Hotel Lilas, so I gave it a listen for
the first time in ages. It's not a cover, but I thought Jobim's languid
melodies might have served as part of its musical foundation.
It was K, a huge Akiko Yano fan whom I wrote about before, who introduced
me to Hotel Lilas. I imagine he bought the LP mainly because Akko-chan
was on it, too. When I saw Morio Agata perform live at Gyorankan in
Otaru, I heard him play "Hotel Lilas" and learned that it had originally
appeared on his album Nihon Shonen (Zipangu Boy). Nihon Shonen came
out in 1976, and Kashibuchi later recorded his own version for his solo
album in 1983. The version I first heard was Kashibuchi's self-cover.
I'd thought about visiting K's grave while I was back in my hometown,
but in the end, I didn't go. If I'd made the connection beforehand, I
could have reported on the Kashibuchi–Jobim link at his graveside and
scored a few intellectual bragging rights, haha. Looks like I'll have to
make another trip.
It was a week back home that left me feeling restored and rebalanced,
with Jobim's music fitting so naturally into my body and mind that I
could simply let myself drift along with it. The pace of life in Tokyo
is fast, isn't it?
My childhood friend Y invited me to go see the Kiyoshiro movie, so I'm
heading out to watch it now. It's been ages since I last saw him, too.
I invited my wife to see the Kiyoshiro movie with me another day, but
she doesn't seem too keen. "I'll definitely end up crying..." she said.
I imagine there are plenty of people who feel the same way.
うち一曲でかしぶち哲郎さんの "春の庭" (from album「リラのホテル」)を思い出したので
久々に聴いてみました。カバーではないけれど、Antonio Carlos Jobim のアンニュイな
メロディーが下地になっているのだろうなと思いました。「リラのホテル」を僕に教えてくれた
のは、以前に書いた大の矢野顕子ファンのkくんで、彼も多分アッコちゃん目当てでこのLPを
買ったのだと思います。小樽の魚籃館であがた森魚さんのライブを観た時に "リラのホテル"
を演奏したのを聴いて、元はあがたさんのアルバム「日本少年」に収録されていたことを
知りました。「日本少年」が1976年。後にかしぶちさんがご自身のアルバムでセルフカバーし
たのが1983年。僕が初めに聴いたのはセルフカバーの方でした。帰省の際にkの墓参りに行こ
うかと考えていたけれど、結局行きませんでした。事前に気づいていたら、墓前でかしぶち/Jobim
のリンクについて報告してマウントを取りたかったところでしたが笑
またあらためて行く必要がありそうですね。
Antonio Carlos Jobim の音楽が身体と心に実に馴染み、身を預けて漂う程度に、整って還って
きた帰省の一週間でした。東京はいろんなものごとのペースが早いですね。
幼馴染の友人 y が「キヨシローの映画を観に行こうよ」と誘ってくれたので、これから観に行
きます。彼に会うのもずいぶん久しぶりだなぁ。
キヨシローの映画は、別の日に二人で観に行こうよと妻を誘ったのですが、絶対泣いちゃうか
ら ... と気乗りがしないようです。そういう人も多いんじゃないかな。
Listening to the LP of Antonio Carlos Jobim, Stone Flower, which I came
across at Oto to Kodama in Otaru.
One of the tracks reminded me of "Haru no Niwa" ("Spring Garden") by
Tetsuro Kashibuchi, from his album Hotel Lilas, so I gave it a listen for
the first time in ages. It's not a cover, but I thought Jobim's languid
melodies might have served as part of its musical foundation.
It was K, a huge Akiko Yano fan whom I wrote about before, who introduced
me to Hotel Lilas. I imagine he bought the LP mainly because Akko-chan
was on it, too. When I saw Morio Agata perform live at Gyorankan in
Otaru, I heard him play "Hotel Lilas" and learned that it had originally
appeared on his album Nihon Shonen (Zipangu Boy). Nihon Shonen came
out in 1976, and Kashibuchi later recorded his own version for his solo
album in 1983. The version I first heard was Kashibuchi's self-cover.
I'd thought about visiting K's grave while I was back in my hometown,
but in the end, I didn't go. If I'd made the connection beforehand, I
could have reported on the Kashibuchi–Jobim link at his graveside and
scored a few intellectual bragging rights, haha. Looks like I'll have to
make another trip.
It was a week back home that left me feeling restored and rebalanced,
with Jobim's music fitting so naturally into my body and mind that I
could simply let myself drift along with it. The pace of life in Tokyo
is fast, isn't it?
My childhood friend Y invited me to go see the Kiyoshiro movie, so I'm
heading out to watch it now. It's been ages since I last saw him, too.
I invited my wife to see the Kiyoshiro movie with me another day, but
she doesn't seem too keen. "I'll definitely end up crying..." she said.
I imagine there are plenty of people who feel the same way.
6137
3
2026/10/10 (Sat)
360
故郷の余市川のほとりを散歩。
お金の無い高校生にとっては格好のデートスポットでした。なんたって無料ですから。
10代の頃の私は、並んで歩く女の子のことばかりに気を取られていて、風景の美しさに
気がついたのはだいぶ後になってからでした。小説「ノルウェイの森」の冒頭の回想シーンに、
そんな描写がありましたね。
現在もまだまだちっぽけな物事にとらわれて、俯瞰した物事の雄大さや美しさを忘れてしまい
がちな私ですが、そうした私のこともじっと見守ってくれていた、岬の小さな神社さんにお参り
をしました。
赤い屋根の町立図書館を訪れ、郷土史の本などに目を通しました。高校の同級生が働いていて、
以前はそれらしい人を目にしたこともあるのですが、それもずいぶん前の話です。図書館の
職員の方の多くは非正規の身分だと聞き、そうでなくとも私たちの年齢では現役を引退して
いてもおかしくないお年頃です。今回はお会いすることが出来ませんでした。
博物館を見学。展示されている昔の着物と同じような「丹前」を、夜寝る時にかぶっていた
ことを思い出しました。「アイヌと神々」の展示に、ハッとさせられる内容が書いてありました。
アイヌの信仰によると神々が地上に降りる際には動物の姿を借りて現れるそうで、だから
アイヌの人たちは動物（特に熊）を畏れ敬っていたのだそう。丁重に扱って天にお返しすると、
それが評判になってまた神々が地上に来てくださると信じていたのだそうです。
猫飼いの方なら共感していただけるかもしれませんが、猫と暮らしている時にも同じような
神々しさを彼らに感じることがあります。我が家の先代猫のトラちゃんを荼毘に付す前に、
またすぐに帰っておいでと呼びかけたら、現猫のタロちゃんボブちゃんがすぐに来たのも、
なんだか不思議な成り行きでした。
私は常々人に接する時に、猫ちゃんに接するようになるべく優しく丁寧でありたいと願って
います（失敗してしまうことも多々あります）が、私たちが普段出会う人たちも実は、
何らかの目的を持って私たちの前に遣わされたのかも、なんて考えたりもします。
魂や霊と肉の成り立ちを考え始めると、どんどんそっちの方向に考えが飛躍してしまうので、
ほどほどにしておきますが笑
昨年末に病気で倒れる前の頃に、だいぶ頭がスピっておかしくなってしまって、周りの人たちが
全てサタンに見えてしまったことがあるのですが、振り返ってみるとあれはサタンではなく
実は善き目的を持って遣わされた人たちだったのかなと、最近ではピースな方向に頭のおかしな
ことを考えたりもしています。あの時の私を目にした妻さんは、あー人って本当に頭がおかしく
なることがあるんだと大層感心したようです。そういうことってあるんですよね。
Sympathy for the Devil、いつも微笑みを忘れずに、ピース。
---
I took a walk along the Yoichi River in my hometown.
It's an ideal dating spot for high school kids who don't have
much money. After all, it's free.
When I was a teenager, I was so preoccupied with the girl
walking beside me that it took me a long time to notice the
beauty of the scenery. There's a similar recollection in the
opening scene of Haruki Murakami's novel Norwegian Wood.
Even now, I tend to get caught up in little things and forget
the grandeur and beauty of seeing things from a wider
perspective. I went to pay my respects at a small shrine on
the cape, a place that had quietly watched over me all this
time.
I visited the town library with its red roof and browsed
through some books on local history. One of my high school
classmates used to work there, and I remember seeing
someone who looked like them there once, but that was a
long time ago. I've heard that many library staff members
are employed on temporary contracts, and even if that's
not the case, we're now at an age when it's perfectly
reasonable to have retired from working life. I didn't get
to see my old classmate this time.
I visited the museum, too. I remembered how, as a child,
I used to cover myself at night with a tanzen, a thick
Japanese garment much like the old-fashioned kimono
displayed there. One of the exhibits about the Ainu and
their gods really caught my attention.
According to Ainu beliefs, when the gods descend to earth,
they appear in the form of animals. That's why the Ainu
people held animals, especially bears, in awe and treated
them with reverence. They believed that if they treated
the animals with great care and sent them respectfully
back to heaven, word would spread, and the gods would
come down to earth again.
If you're a cat person, you might understand what I mean,
but sometimes I feel that same kind of divinity in the cats
I live with. Before we cremated Tora, our previous cat,
I called out to him, telling him to come back home again
soon. Then our current cats, Taro and Bob, came into our
lives soon afterward. Somehow, the way it all unfolded
felt mysterious.
I've always wanted to treat people as gently and carefully
as I treat cats (though I often fail). Sometimes I wonder
whether the people we encounter in everyday life might
also have been sent our way for some particular purpose.
When I start thinking about how the soul or spirit and the
flesh are put together, my thoughts can wander further
and further in that direction, so I'll leave it there for now.
Haha.
Before I fell ill at the end of last year, there was a period
when my head got seriously messed up with all sorts of
spiritual ideas, and everyone around me started looking
like Satan. Looking back, I sometimes wonder whether
they weren't Satan at all, but people who had actually
been sent into my life for some good purpose. These days,
my strange thoughts tend to take a more peaceful turn.
My wife witnessed me in that state and apparently came
away deeply impressed, thinking, "Wow, people really can
go completely out of their minds." That sort of thing
does happen, doesn't it?
Sympathy for the Devil. Never forget to keep smiling.
Peace.
お金の無い高校生にとっては格好のデートスポットでした。なんたって無料ですから。
10代の頃の私は、並んで歩く女の子のことばかりに気を取られていて、風景の美しさに
気がついたのはだいぶ後になってからでした。小説「ノルウェイの森」の冒頭の回想シーンに、
そんな描写がありましたね。
現在もまだまだちっぽけな物事にとらわれて、俯瞰した物事の雄大さや美しさを忘れてしまい
がちな私ですが、そうした私のこともじっと見守ってくれていた、岬の小さな神社さんにお参り
をしました。
赤い屋根の町立図書館を訪れ、郷土史の本などに目を通しました。高校の同級生が働いていて、
以前はそれらしい人を目にしたこともあるのですが、それもずいぶん前の話です。図書館の
職員の方の多くは非正規の身分だと聞き、そうでなくとも私たちの年齢では現役を引退して
いてもおかしくないお年頃です。今回はお会いすることが出来ませんでした。
博物館を見学。展示されている昔の着物と同じような「丹前」を、夜寝る時にかぶっていた
ことを思い出しました。「アイヌと神々」の展示に、ハッとさせられる内容が書いてありました。
アイヌの信仰によると神々が地上に降りる際には動物の姿を借りて現れるそうで、だから
アイヌの人たちは動物（特に熊）を畏れ敬っていたのだそう。丁重に扱って天にお返しすると、
それが評判になってまた神々が地上に来てくださると信じていたのだそうです。
猫飼いの方なら共感していただけるかもしれませんが、猫と暮らしている時にも同じような
神々しさを彼らに感じることがあります。我が家の先代猫のトラちゃんを荼毘に付す前に、
またすぐに帰っておいでと呼びかけたら、現猫のタロちゃんボブちゃんがすぐに来たのも、
なんだか不思議な成り行きでした。
私は常々人に接する時に、猫ちゃんに接するようになるべく優しく丁寧でありたいと願って
います（失敗してしまうことも多々あります）が、私たちが普段出会う人たちも実は、
何らかの目的を持って私たちの前に遣わされたのかも、なんて考えたりもします。
魂や霊と肉の成り立ちを考え始めると、どんどんそっちの方向に考えが飛躍してしまうので、
ほどほどにしておきますが笑
昨年末に病気で倒れる前の頃に、だいぶ頭がスピっておかしくなってしまって、周りの人たちが
全てサタンに見えてしまったことがあるのですが、振り返ってみるとあれはサタンではなく
実は善き目的を持って遣わされた人たちだったのかなと、最近ではピースな方向に頭のおかしな
ことを考えたりもしています。あの時の私を目にした妻さんは、あー人って本当に頭がおかしく
なることがあるんだと大層感心したようです。そういうことってあるんですよね。
Sympathy for the Devil、いつも微笑みを忘れずに、ピース。
---
I took a walk along the Yoichi River in my hometown.
It's an ideal dating spot for high school kids who don't have
much money. After all, it's free.
When I was a teenager, I was so preoccupied with the girl
walking beside me that it took me a long time to notice the
beauty of the scenery. There's a similar recollection in the
opening scene of Haruki Murakami's novel Norwegian Wood.
Even now, I tend to get caught up in little things and forget
the grandeur and beauty of seeing things from a wider
perspective. I went to pay my respects at a small shrine on
the cape, a place that had quietly watched over me all this
time.
I visited the town library with its red roof and browsed
through some books on local history. One of my high school
classmates used to work there, and I remember seeing
someone who looked like them there once, but that was a
long time ago. I've heard that many library staff members
are employed on temporary contracts, and even if that's
not the case, we're now at an age when it's perfectly
reasonable to have retired from working life. I didn't get
to see my old classmate this time.
I visited the museum, too. I remembered how, as a child,
I used to cover myself at night with a tanzen, a thick
Japanese garment much like the old-fashioned kimono
displayed there. One of the exhibits about the Ainu and
their gods really caught my attention.
According to Ainu beliefs, when the gods descend to earth,
they appear in the form of animals. That's why the Ainu
people held animals, especially bears, in awe and treated
them with reverence. They believed that if they treated
the animals with great care and sent them respectfully
back to heaven, word would spread, and the gods would
come down to earth again.
If you're a cat person, you might understand what I mean,
but sometimes I feel that same kind of divinity in the cats
I live with. Before we cremated Tora, our previous cat,
I called out to him, telling him to come back home again
soon. Then our current cats, Taro and Bob, came into our
lives soon afterward. Somehow, the way it all unfolded
felt mysterious.
I've always wanted to treat people as gently and carefully
as I treat cats (though I often fail). Sometimes I wonder
whether the people we encounter in everyday life might
also have been sent our way for some particular purpose.
When I start thinking about how the soul or spirit and the
flesh are put together, my thoughts can wander further
and further in that direction, so I'll leave it there for now.
Haha.
Before I fell ill at the end of last year, there was a period
when my head got seriously messed up with all sorts of
spiritual ideas, and everyone around me started looking
like Satan. Looking back, I sometimes wonder whether
they weren't Satan at all, but people who had actually
been sent into my life for some good purpose. These days,
my strange thoughts tend to take a more peaceful turn.
My wife witnessed me in that state and apparently came
away deeply impressed, thinking, "Wow, people really can
go completely out of their minds." That sort of thing
does happen, doesn't it?
Sympathy for the Devil. Never forget to keep smiling.
Peace.
2026/10/09 (Fri)
518
札幌・BAR BAHIAにて、松竹谷清さんとストーンズの新作を聴く。
ところがかかった曲が最初は、ストーンズっぽいけど誰だかわからず、これ誰ですか？と
質問する不勉強なわたくし。言い訳をすると最新作 Foreign Tongues の方をあまり聴き込んで
いなかったのと、ヴァイナルであるのに加えてバイーアのサウンドシステムの質感が素晴らし
過ぎて（「歌が聴こえる」セッティングとのこと）、わからなかったのです。
すみません、勉強して精進します。
前作 Hackney Diamonds (こちらはけっこう聴き込んだ) と今作と、2作続けてプロデュースを
担当した Andrew Watt って一体誰なのか？チャーリー・ワッツの名前をもじった架空の人物
なのではないか？という話になり、帰ってから調べてみたら、ジャスティン・ビーバーや
パールジャム、オジー・オズボーン、イギー・ポップとの仕事などで知られる現在35歳の気鋭の
若手の方の様でした。キース・リチャーズとの年齢差が47歳だそうです。若い血に入れ替えて、
これでまたロックンロールが出来る！とキースが思ったかどうかはわかりませんが。
今作も前作もジャケットがイケてないのは清さんも同感の様でしたが、とはいえそういうところ
もストーンズらしくていいよなー、などと話しました。
Listening to the new Stones album with Kiyoshi Matsutakeya at BAR BAHIA in
Sapporo.
At first, though, the track playing sounded like the Stones, but I couldn't tell which
song it was. So there I was, displaying my ignorance by asking, "Who is this?" In my
defense, I hadn't listened to their latest album, Foreign Tongues, all that much.
Plus, it was on vinyl, and the sound of Bahia's sound system was just so fantastic
(apparently, it's set up so that "you can really hear the vocals") that I couldn't quite
figure it out. Sorry about that. I'll do my homework and keep working on my
musical education.
That led us to wonder: who exactly is Andrew Watt, the producer behind both
Hackney Diamonds (which I've listened to quite a bit) and this new album? Could he
be a fictional character whose name is a play on Charlie Watts? When I got home and
looked him up, it turned out he was actually a rising young producer, now 35, known
for his work with Justin Bieber, Pearl Jam, Ozzy Osbourne, and Iggy Pop, among
others. Apparently, there's a 47-year age gap between him and Keith Richards.
I don't know if Keith thought that bringing in some young blood would let them
keep on playing rock 'n' roll, but who knows? Kiyoshi seemed to agree that the covers
of both the new album and its predecessor weren't particularly cool. Still, we ended
up saying that even that sort of thing feels very Stones-like, and that's part of what
makes them great.
---
小樽・なるとにて、ソウルフードの「ザンギ（鶏肉の唐揚げ）」を食べる。
駅近くのレコード屋兼カフェの音とこだまにて、Antonio Carlos Jobim など何枚かディグ。
同じく駅近くのお気に入りの喫茶店・琥珀の館でいっぷく。ジャズ喫茶をうたってはおらず、
素朴な機材ではあるけれど、音響が聴きやすくてとても良い。肩の凝らないオーソドックスな
有線放送のジャズがかかるお店である。
2008年にアルコール依存症で入院した病院を訪問。当時の病棟看護師の方に会うことが出来、
お礼を伝えた。入院当時に反抗心丸出しの患者のわたくしは「こどもびいる」を持ち込んで
飲み、看護師と院長先生にひどく叱られた。その節は大変失礼しましたとお詫びをした。
数年前に院長先生が亡くなり、経営が変わって病院名も変わり、私が入院した病棟も取り壊し
になってしまったようだ。以前はOBとして病棟を訪れて、患者への声かけやピアサポートの
紹介なども出来たのだが、現在は難しくなってしまった。アルコール依存症の入院治療という
手間がかかる割に見返りの少ない分野からは、手を引く方針なのかもしれない。（通院治療と
デイケアは引き続き行うようだ）
亡くなった院長先生は、若い頃には飲んだくれているアル中患者の家にまで踏み込んで、
首根っこをつかまえて病院に連れ戻したというエピソードが残っている「鬼のS先生」なんて
呼ばれた、この地域にこの方あり、という名医だった。それでわたくしも心を入れ替えて、
この歳まで生き延びることが出来ましたよ。アルコール依存症の平均寿命は52,3歳と言われる
そうですね。同じ病棟だった入院患者もずいぶん沢山亡くなりました。仲の良かった「ブラック
ニッカの山ちゃん」も、だいぶ前に亡くなってしまったなぁ。
ありがとう。ありがとう。
At Naruto in Otaru, I had some zangi, a local soul food consisting of deep-fried
chicken.
I did some digging at Oto to Kodama, a record shop and café near the station,
picking up a few records including Antonio Carlos Jobim. I also took a break at one
of myfavorite coffee shops near the station, Kohaku no Yakata. It doesn't advertise
itself as a jazz café, and the equipment is fairly simple, but the sound is clear and easy
on the ears, which is really nice. They play straightforward, conventional jazz from a
cable music service, and it's a relaxed place to hang out.
I visited the hospital where I was treated for alcohol dependence back in 2008. I was
able to meet one of the nurses who worked on the ward at the time and thank her.
Back then, I was a patient full of defiance. I smuggled in a drink called "Kodomo Beer"
(Children's Beer) and drank it in the hospital, which earned me a severe scolding from
both the nurse and the hospital director. I apologized to her for my behavior back
then, saying how terribly rude I'd been.
The director passed away a few years ago, and the hospital changed hands and was
given a new name. It seems the ward where I stayed has also been demolished.
In the past, I was able to visit the ward as a former patient, talk to current patients,
and introduce them to peer support. Unfortunately, that has become difficult now.
Perhaps they've decided to withdraw from inpatient treatment for alcohol dependence,
a field that requires a great deal of effort but offers little financial return.
(It seems they still provide outpatient treatment and day care, though.)
The late director was a renowned doctor who had made quite a name for himself
in this region. He was known as "Dr. S, the Demon" because, when he was
younger, he would even march into the homes of alcoholics who were drinking
themselves into oblivion, grab them by the scruff of the neck, and drag them
back to the hospital.
He was the kind of doctor who could make a difference like that. Thanks to him,
I turned my life around and managed to survive to this age.
They say the average life expectancy for people with alcohol dependence is
around 52 or 53. So many of the patients who shared that ward with me have
passed away. Yama-chan, the "Black Nikka guy" I was close to, died quite a
while ago, too.
Thank you. Thank you.
ところがかかった曲が最初は、ストーンズっぽいけど誰だかわからず、これ誰ですか？と
質問する不勉強なわたくし。言い訳をすると最新作 Foreign Tongues の方をあまり聴き込んで
いなかったのと、ヴァイナルであるのに加えてバイーアのサウンドシステムの質感が素晴らし
過ぎて（「歌が聴こえる」セッティングとのこと）、わからなかったのです。
すみません、勉強して精進します。
前作 Hackney Diamonds (こちらはけっこう聴き込んだ) と今作と、2作続けてプロデュースを
担当した Andrew Watt って一体誰なのか？チャーリー・ワッツの名前をもじった架空の人物
なのではないか？という話になり、帰ってから調べてみたら、ジャスティン・ビーバーや
パールジャム、オジー・オズボーン、イギー・ポップとの仕事などで知られる現在35歳の気鋭の
若手の方の様でした。キース・リチャーズとの年齢差が47歳だそうです。若い血に入れ替えて、
これでまたロックンロールが出来る！とキースが思ったかどうかはわかりませんが。
今作も前作もジャケットがイケてないのは清さんも同感の様でしたが、とはいえそういうところ
もストーンズらしくていいよなー、などと話しました。
Listening to the new Stones album with Kiyoshi Matsutakeya at BAR BAHIA in
Sapporo.
At first, though, the track playing sounded like the Stones, but I couldn't tell which
song it was. So there I was, displaying my ignorance by asking, "Who is this?" In my
defense, I hadn't listened to their latest album, Foreign Tongues, all that much.
Plus, it was on vinyl, and the sound of Bahia's sound system was just so fantastic
(apparently, it's set up so that "you can really hear the vocals") that I couldn't quite
figure it out. Sorry about that. I'll do my homework and keep working on my
musical education.
That led us to wonder: who exactly is Andrew Watt, the producer behind both
Hackney Diamonds (which I've listened to quite a bit) and this new album? Could he
be a fictional character whose name is a play on Charlie Watts? When I got home and
looked him up, it turned out he was actually a rising young producer, now 35, known
for his work with Justin Bieber, Pearl Jam, Ozzy Osbourne, and Iggy Pop, among
others. Apparently, there's a 47-year age gap between him and Keith Richards.
I don't know if Keith thought that bringing in some young blood would let them
keep on playing rock 'n' roll, but who knows? Kiyoshi seemed to agree that the covers
of both the new album and its predecessor weren't particularly cool. Still, we ended
up saying that even that sort of thing feels very Stones-like, and that's part of what
makes them great.
---
小樽・なるとにて、ソウルフードの「ザンギ（鶏肉の唐揚げ）」を食べる。
駅近くのレコード屋兼カフェの音とこだまにて、Antonio Carlos Jobim など何枚かディグ。
同じく駅近くのお気に入りの喫茶店・琥珀の館でいっぷく。ジャズ喫茶をうたってはおらず、
素朴な機材ではあるけれど、音響が聴きやすくてとても良い。肩の凝らないオーソドックスな
有線放送のジャズがかかるお店である。
2008年にアルコール依存症で入院した病院を訪問。当時の病棟看護師の方に会うことが出来、
お礼を伝えた。入院当時に反抗心丸出しの患者のわたくしは「こどもびいる」を持ち込んで
飲み、看護師と院長先生にひどく叱られた。その節は大変失礼しましたとお詫びをした。
数年前に院長先生が亡くなり、経営が変わって病院名も変わり、私が入院した病棟も取り壊し
になってしまったようだ。以前はOBとして病棟を訪れて、患者への声かけやピアサポートの
紹介なども出来たのだが、現在は難しくなってしまった。アルコール依存症の入院治療という
手間がかかる割に見返りの少ない分野からは、手を引く方針なのかもしれない。（通院治療と
デイケアは引き続き行うようだ）
亡くなった院長先生は、若い頃には飲んだくれているアル中患者の家にまで踏み込んで、
首根っこをつかまえて病院に連れ戻したというエピソードが残っている「鬼のS先生」なんて
呼ばれた、この地域にこの方あり、という名医だった。それでわたくしも心を入れ替えて、
この歳まで生き延びることが出来ましたよ。アルコール依存症の平均寿命は52,3歳と言われる
そうですね。同じ病棟だった入院患者もずいぶん沢山亡くなりました。仲の良かった「ブラック
ニッカの山ちゃん」も、だいぶ前に亡くなってしまったなぁ。
ありがとう。ありがとう。
At Naruto in Otaru, I had some zangi, a local soul food consisting of deep-fried
chicken.
I did some digging at Oto to Kodama, a record shop and café near the station,
picking up a few records including Antonio Carlos Jobim. I also took a break at one
of myfavorite coffee shops near the station, Kohaku no Yakata. It doesn't advertise
itself as a jazz café, and the equipment is fairly simple, but the sound is clear and easy
on the ears, which is really nice. They play straightforward, conventional jazz from a
cable music service, and it's a relaxed place to hang out.
I visited the hospital where I was treated for alcohol dependence back in 2008. I was
able to meet one of the nurses who worked on the ward at the time and thank her.
Back then, I was a patient full of defiance. I smuggled in a drink called "Kodomo Beer"
(Children's Beer) and drank it in the hospital, which earned me a severe scolding from
both the nurse and the hospital director. I apologized to her for my behavior back
then, saying how terribly rude I'd been.
The director passed away a few years ago, and the hospital changed hands and was
given a new name. It seems the ward where I stayed has also been demolished.
In the past, I was able to visit the ward as a former patient, talk to current patients,
and introduce them to peer support. Unfortunately, that has become difficult now.
Perhaps they've decided to withdraw from inpatient treatment for alcohol dependence,
a field that requires a great deal of effort but offers little financial return.
(It seems they still provide outpatient treatment and day care, though.)
The late director was a renowned doctor who had made quite a name for himself
in this region. He was known as "Dr. S, the Demon" because, when he was
younger, he would even march into the homes of alcoholics who were drinking
themselves into oblivion, grab them by the scruff of the neck, and drag them
back to the hospital.
He was the kind of doctor who could make a difference like that. Thanks to him,
I turned my life around and managed to survive to this age.
They say the average life expectancy for people with alcohol dependence is
around 52 or 53. So many of the patients who shared that ward with me have
passed away. Yama-chan, the "Black Nikka guy" I was close to, died quite a
while ago, too.
Thank you. Thank you.
2026/10/08 (Thu)
806
若い頃に初めて代チョコの TAXI Hi-Fi に行った時、明らかに違う匂いのタバコを吸っている
先輩ラスタマンがいて、絶対「アレ」だと思った。ひと口吸わせてくださいと言いたかった
けれど、モジモジしてなかなか言えず、ようやく意を決してお願いをしたら
「OK！ヤーマン！ドーンとキメな！」と、気前良く丸ごと一本くれた。ワォ！
ところが、吸っても吸ってもキマらない。おっかしいなーと一生懸命吸っていたら、
一緒に行った友達に、それガラムだから、と突っ込まれた。当時ガラムを知らなかった
19か20歳のオレ。
北海道の二風谷で耕さんと一緒にプカっとやった時に、西の神様と東の神様が壮絶な戦いを
繰り広げるのを見ちゃったのよ。雨がザーザー降ってきて雷が鳴って。
でも最終的には和解して、雨も止んでピースだった。
あれって実は、取り合いをしていたんじゃないかって思った。
一体誰の取り合い？耕さん？わたくし？はは、わかんないよね。
耕さんはアイヌモシリの神々に愛されすぎちゃったのかもしれないなって、ふと思った。
北海道に帰省中、なう。
---
When I first went to Yo-Choco's TAXI Hi-Fi when I was young,
there was an older Rasta guy smoking a cigarette that clearly smelled
different from regular tobacco. I was absolutely sure it was "the real thing."
I wanted to ask him for a puff, but I was too shy and kept fidgeting
around, unable to say anything. Finally, I worked up the nerve and
asked him, and he said, "OK! Ya man! Go ahead and take a big hit!"
and generously handed me the whole thing. Wow!
But no matter how much I smoked, nothing happened. "That's weird,"
I thought, and kept puffing away as hard as I could, until the friend
I'd gone there with finally pointed out, "Dude, that's Garam."
That was me at nineteen or twenty, not even knowing what Garam was.
When I was in Nibutani, Hokkaido, and had a little puff with Ko-san,
I saw the gods of the West and the gods of the East waging an epic
battle. It started raining, and thunder began to roar.
But in the end, they made peace, the rain stopped, and everything was
peaceful again.
It occurred to me that maybe they had actually been fighting over
someone. But who were they fighting over? Ko-san? Me? Haha, who
knows?
I suddenly wondered if maybe Ko-san had simply been loved a little
too much by the gods of Ainu Mosir.
Back in Hokkaido visiting family, as I write this.
先輩ラスタマンがいて、絶対「アレ」だと思った。ひと口吸わせてくださいと言いたかった
けれど、モジモジしてなかなか言えず、ようやく意を決してお願いをしたら
「OK！ヤーマン！ドーンとキメな！」と、気前良く丸ごと一本くれた。ワォ！
ところが、吸っても吸ってもキマらない。おっかしいなーと一生懸命吸っていたら、
一緒に行った友達に、それガラムだから、と突っ込まれた。当時ガラムを知らなかった
19か20歳のオレ。
北海道の二風谷で耕さんと一緒にプカっとやった時に、西の神様と東の神様が壮絶な戦いを
繰り広げるのを見ちゃったのよ。雨がザーザー降ってきて雷が鳴って。
でも最終的には和解して、雨も止んでピースだった。
あれって実は、取り合いをしていたんじゃないかって思った。
一体誰の取り合い？耕さん？わたくし？はは、わかんないよね。
耕さんはアイヌモシリの神々に愛されすぎちゃったのかもしれないなって、ふと思った。
北海道に帰省中、なう。
---
When I first went to Yo-Choco's TAXI Hi-Fi when I was young,
there was an older Rasta guy smoking a cigarette that clearly smelled
different from regular tobacco. I was absolutely sure it was "the real thing."
I wanted to ask him for a puff, but I was too shy and kept fidgeting
around, unable to say anything. Finally, I worked up the nerve and
asked him, and he said, "OK! Ya man! Go ahead and take a big hit!"
and generously handed me the whole thing. Wow!
But no matter how much I smoked, nothing happened. "That's weird,"
I thought, and kept puffing away as hard as I could, until the friend
I'd gone there with finally pointed out, "Dude, that's Garam."
That was me at nineteen or twenty, not even knowing what Garam was.
When I was in Nibutani, Hokkaido, and had a little puff with Ko-san,
I saw the gods of the West and the gods of the East waging an epic
battle. It started raining, and thunder began to roar.
But in the end, they made peace, the rain stopped, and everything was
peaceful again.
It occurred to me that maybe they had actually been fighting over
someone. But who were they fighting over? Ko-san? Me? Haha, who
knows?
I suddenly wondered if maybe Ko-san had simply been loved a little
too much by the gods of Ainu Mosir.
Back in Hokkaido visiting family, as I write this.
2026/10/03 (Sat)
1052
2026/10/02 (Fri)
1067
妻がこれもういらんわと言ったレコードやCDを、私が聴きたいと言って拾うので、
断捨離がさっぱり進みません。CDに「新作」ステッカーが貼ってあるのを見て、あー、彼女は
これを発売当時に買ったのかーと、ヤング妻ちゃんのことを想像してみたり。本人に言わせる
と、若い頃の彼女は頑なで嫌なヤツだったので、あの頃出会っていてもきっと私たちはうまく
行かなかったでしょうと。それは私も同じですわ、拗れて頑なな酔っ払いのヤング夫。
新宿駅の西口にロフトがあった頃、パンク系のライブがある日には革ジャンを着て黒いマスクを
したパンクスがたくさんいて、私は怖くて近づけず遠巻きに見ていたのですが、当時からバイ
タリティ豊かだった彼女は、あの辺の界隈の「中」で観ていたのだそう。案外、ニアミスして
いたんだな。ハードコアのライブにも時々行っていて、G.I.S.Mで横山SAKEVIさんが暴れるの
を観たこともあるそう。私なんかはとてもじゃないけど怖くて近づけない世界でしたね。
その一方で彼女はトランスレコードのライブにも行っていて、中でも幻覚マイムが好きだっ
たのだそうです。YBO2も多分観たことがあるのだと思う。黒装束の「トランスギャル」なん
て呼ばれる人たちの中で、当時服飾学校に通っていた妻ちゃんは「ナゴムギャルみたいな服装」
でライブに行っていたそうです。形や枠にはまらりたがらないのは、妻も私も同じで似たもの
同士ですね。そういえばトランスレコードのイベントにケラと大槻ケンヂ(大槻モヨコ)の
「空手バカボン」が出た時に、客席が真っ黒でアウェイ感満点のところに「どうもー、空手
バカボンですー」って出ていってさーって、後日ケラさんがラジオで言っていたけれど、案外
アウェイってことも無かったんじゃないかな。服装はともかく。
トランスレコードは、主にお金がなかったのが理由で私はあまり聴きませんでしたが、やや近い
ところでもうちょい前の「時の葬列」は高校の時の同級生のSくんがLPを持っていて貸してもら
って聴いていました。サディ・サッズが音楽的に超かっこいいと思って、レコード買ったな。
ヴェクセルバルク・レーベル。G-Schmitt のレコードも持っていた。あと、G-Schmitt の
Syoko さんは、音楽性プラス・憧れの女性的な目線で好きでした。当時の私のアイドルは
Syokoさん、ZELDAのサヨコさん、あと戸川純ちゃんでしたね。Auto Mod が札幌に来て
駅裏八号倉庫でライブをやった時に、僕は行けなかったけれど同級生のパンクスで印刷屋の息
子のMくん（僕にトーキング・ヘッズのレコードを借りパクされたヤツ）が観に行って、怖い
パンクスのお兄さんお姉さんが沢山いて怖かったと話していました。ジュネがフロアにダイブ
したら、怖いパンクスのお姉さんが「ち⚪︎ぽ触れ、ち⚪︎ぽ触れ」と煽っていて、怖ぇーと思った
そうです笑
「時の葬列」のレコードを貸してくれたSくんはG.I.S.Mなんかの影響もかなり受けていて、学校
で問題を起こすような過激なヤツだったんだけれど、だいぶ後になって地元のスーパーでばった
り再会して、今はここのスーパーの社員なんですよと、エプロン姿の普通の人になっていました。
仕事が終わった後はエプロンを外して、今でも過激なアンダーグラウンドの音楽を聴いて疲れを
癒しているのだろうか。彼と再会したのも随分前の話だから、今もお元気でやっていてくれたら
いいのだけれど。彼にはアレルギーのレコードも貸してもらったな。「時の葬列」と、NHKの
テレビ番組「インディーズの逆襲」でマダム・エドワルダに出会って衝撃を受け、その後立派
なドラァグ・クイーンの道に行った友人もいました。横浜の方にあるらしい彼/彼女の店に、
そのうちに一度顔を出したいなと思ってはいます。
先日のUFOクラブのYBOYBO大全のライブでは、往年のトランスギャルだったのかなと思う
ような素敵なおともだちがたくさんいましたね。素敵な仕上がりっぷりでした。成れの果て
なんて言っちゃいけません。
ティアドロップスの対バンがボ・ガンボスでソールドアウトになってチケットが買えず、
楽屋口で入り待ちをしていたら山口冨士夫さんが入れてくれてステージ脇から観た話を
以前に書いたけれど、天風会館のその日のライブを妻ちゃんはしっかりチケットを買って
客席から観ていたそうです。あの辺でもニアミスしていたのか。でもあの頃出会っても
絶対にお互いに嫌な奴だと思っただろうな。
断捨離の「新作」ステッカーが貼られたCDのうちの一枚はミッシェル (Thee Michelle Gun Elephant) で、
まだ売れ始める前のミッシェルを、妻ちゃんはACBとかJAMとかあの辺で観ていたそう。
チバが浪人生みたいな服装でイケてなかったそうです笑。でも音楽性はいいよねとすぐに話題に
なって、ライブハウス界隈の子たちに、スーツ着てビシッと決めてやったらかっこいいんじゃ
ない？と言われてそうしたら、メキメキと売れていったそうです。
私がミッシェルを知ったのはだいぶ売れた後の、"Casanova Snake" あたりで。
音楽好きの妹のミキちゃんに教えられて、Get Up Lucy で衝撃を受けて100回くらいリピート
したな。曲もいいけど、チバの言語感覚とか、リリックが物語っぽいところがすごく好きだ。
物語の世界観が、sakana の pocopen さんに通じるところがあると思うんだけど、チバが
pocopen さんの影響を受けているのかどうかまではわかりません。タモリさんがカーラジオ
から流れるミッシェルの曲を、車を止めて聴き入ってしまったというエピソードがあったけれ
ど、その曲は Get Up Lucy じゃなかったかな？記憶違いかもしれない。
それほど熱心なミッシェル・ファンでは無かったけれど、最後の幕張メッセのライブは
行ったな。アベフトシが亡くなったすぐ後のフジロックのグリーンステージにThe Birthdayが
出て、チバが「オレらの大親友アベフトシのために...」と言って演ったんだよな。
コロナ禍の中で邦人アーティストだけでフジロックをやった年に、久しぶりにThe Birthday
を観ようと楽しみにしていたのだけれど、チバの体調が悪くてキャンセルになってしまった。
結局その後観られないまま亡くなってしまった。今年のフジロックでフィンランドのガレージ
バンドの Us が、ミッシェルの "CSICO" をカバーしていたね。ミッシェルのベースのウエノ
コウジが、Us、かわいいよねって最近どこかで発言していた。
長々ととりとめのない昔話ばかりしていて、あーやだやだって思うけれど、歳をとるのも
案外悪くないですよね。
---
My wife keeps saying, "We don't need this anymore," about records and
CDs, and I keep rescuing them by saying, "But I want to listen to
that one." So our decluttering isn't getting anywhere at all.
When I see a "NEW RELEASE" sticker on a CD, I sometimes think, "Ah,
so she bought this when it first came out," and imagine my young
wife back then. She says that when she was young, she was stubborn
and kind of a difficult person, so even if we'd met back then, we
probably wouldn't have gotten along. Well, I was the same way: a
young husband, stubborn and twisted, and a drunk to boot.
Back when there was a Loft at the west exit of Shinjuku Station,
there would be lots of punks wearing leather jackets and black masks
on days when there was a punk show. I was too scared to go anywhere
near them, so I would watch from a distance. My wife, who was already
full of vitality back then, says she was actually right "inside" that
scene. Apparently, we had some near misses after all.
She sometimes went to hardcore shows too, and says she saw Yokoyama
SAKEVI going wild with G.I.S.M.
That was a world I couldn't have gotten anywhere near. It was simply
too frightening for someone like me.
On the other hand, she also went to shows put on by Trans Records,
and apparently her favorite was Genkaku-Mime
I imagine she probably saw YBO2 as well.
Among those people dressed all in black who were sometimes called
"Trans Gals," my wife, who was attending fashion school at the time,
went to shows dressed more like a "Nagomu Gal." Neither of us has
ever been very interested in fitting ourselves into shapes or
categories. I guess we're two of a kind.
Come to think of it, when "Karate Bakabon"—Kera and Kenji Otsuki
(Otsuki Moyoko)—played a Trans Records event, Kera later said on the
radio that he walked out into an audience that was completely dressed
in black and felt totally out of place, saying, "Hi there, we're
Karate Bakabon!" But maybe they weren't actually all that out of
place after all. At least not because of the clothes.
I didn't listen to Trans Records very much, mainly because I didn't
have much money. But a little closer to home, and slightly earlier,
there was "Toki no Souretsu" (Funeral Procession of Time). A
classmate of mine in high school, S, had the LP and lent it to me.
I thought Sadie Sads were incredibly cool musically, so I bought the
record.
The label was Vexelbalk. I also had a record by G-Schmitt.
And I liked G-Schmitt's Syoko not only for her music, but also as a
woman I admired. My idols back then were Syoko, Sayoko from ZELDA,
and Jun Togawa.
When Auto Mod came to Sapporo and played at Ekiura Hachigo Warehouse,
I couldn't go. But M, a punk classmate of mine—the son of a printing shop
owner, and the guy whose Talking Heads record I borrowed and never gave
back—went to the show. He told me there were tons of scary punk older
brothers and sisters there, and it was frightening.
When June jumped into the crowd, one of those scary punk women was
shouting, "Touch his d***! Touch his d***!" to egg everyone on. He
said he thought, "Jesus, that's scary." LOL.
S, the guy who lent me the "Toki no Souretsu" record, was also heavily
influenced by G.I.S.M. and was an extreme kid who used to get into
trouble at school. Many years later, I happened to run into him at a
local supermarket. He said, "I work here now," and there he was,
looking like an ordinary guy in an apron.
I wonder if, after work, he takes off that apron and still listens to
extreme underground music to unwind. That reunion was quite a long
time ago now, so I hope he's still doing well.
He also lent me a record by Allergy.
And there was another friend who was shocked when he encountered
Madame Edwarda on the NHK TV program "Indies no Gyakushu" ("The
Revenge of the Indies"), and eventually went on to become a proper
drag queen.
Apparently his/her shop is somewhere around Yokohama, and I've been
thinking that I'd like to drop by and say hello someday.
At the YBOYBO tribute show at UFO Club the other day, there were lots
of wonderful people who looked like they might have been Trans Gals
back in the day. They had aged into quite a wonderful version of
themselves. We shouldn't call them "the remnants of what they used to
be."
I wrote before about how I couldn't get a ticket when Teardrops
were playing with Bo Gumbos because it sold out, so I waited outside
the backstage entrance. Fujio Yamaguchi let me in, and I watched the
show from the side of the stage.
It turns out my wife had bought a ticket and watched that same show
at Tenpu Kaikan from the audience. Another near miss. But even if we'd
met back then, we definitely would have thought the other was an
annoying person.
One of the CDs with a "NEW RELEASE" sticker that my wife was going to
get rid of is by Thee Michelle Gun Elephant. Apparently, my wife saw
them at places like ACB and JAM before they really started to make it
big.
She says Chiba was dressed like a guy preparing for his university
entrance exams and didn't look particularly cool. LOL. But people in
the live-house scene soon started talking about how good the music
was, and apparently they told them, "Wouldn't you guys look cool if
you dressed up sharply in suits?" So they did, and from there they
started selling like crazy.
I didn't discover Thee Michelle Gun Elephant until they were already
pretty successful, around the time of "Casanova Snake." My younger
sister Miki, who was really into music, introduced me to them. I was
blown away by "Get Up Lucy" and played it about a hundred times in a
row.
The songs are great, of course, but I especially love Chiba's sense
of language and the way his lyrics feel almost like stories. I think
there's something about the world of his stories that connects with
pocopen from sakana, although I don't know whether Chiba was
actually influenced by pocopen.
There was a story about Tamori hearing a Michelle song coming through
his car radio, pulling over, and getting completely absorbed in
listening to it. Wasn't the song "Get Up Lucy"? I may be remembering
that wrong.
I wasn't an especially devoted Michelle fan, but I did go to their
last show at Makuhari Messe. Shortly after Abe Futoshi died,
The Birthday played the Green Stage at Fuji Rock, and Chiba said,
"For our very best friend, Abe Futoshi..." before they played.
The year Fuji Rock was held with only Japanese artists during the
COVID pandemic, I was looking forward to seeing The Birthday again
for the first time in a while. But the show was canceled because
Chiba wasn't feeling well. In the end, I never got to see them again
before he passed away.
At this year's Fuji Rock, the Finnish garage band Us played a cover
of the Michelle's "CSICO." I recently saw a comment somewhere from
Koji Ueno, the Michelle's bassist, saying that Us were cute.
I've been rambling on and on with these long, disjointed stories
about the old days, and part of me thinks, "Oh, this is terrible."
But growing older isn't actually such a bad thing, is it?
断捨離がさっぱり進みません。CDに「新作」ステッカーが貼ってあるのを見て、あー、彼女は
これを発売当時に買ったのかーと、ヤング妻ちゃんのことを想像してみたり。本人に言わせる
と、若い頃の彼女は頑なで嫌なヤツだったので、あの頃出会っていてもきっと私たちはうまく
行かなかったでしょうと。それは私も同じですわ、拗れて頑なな酔っ払いのヤング夫。
新宿駅の西口にロフトがあった頃、パンク系のライブがある日には革ジャンを着て黒いマスクを
したパンクスがたくさんいて、私は怖くて近づけず遠巻きに見ていたのですが、当時からバイ
タリティ豊かだった彼女は、あの辺の界隈の「中」で観ていたのだそう。案外、ニアミスして
いたんだな。ハードコアのライブにも時々行っていて、G.I.S.Mで横山SAKEVIさんが暴れるの
を観たこともあるそう。私なんかはとてもじゃないけど怖くて近づけない世界でしたね。
その一方で彼女はトランスレコードのライブにも行っていて、中でも幻覚マイムが好きだっ
たのだそうです。YBO2も多分観たことがあるのだと思う。黒装束の「トランスギャル」なん
て呼ばれる人たちの中で、当時服飾学校に通っていた妻ちゃんは「ナゴムギャルみたいな服装」
でライブに行っていたそうです。形や枠にはまらりたがらないのは、妻も私も同じで似たもの
同士ですね。そういえばトランスレコードのイベントにケラと大槻ケンヂ(大槻モヨコ)の
「空手バカボン」が出た時に、客席が真っ黒でアウェイ感満点のところに「どうもー、空手
バカボンですー」って出ていってさーって、後日ケラさんがラジオで言っていたけれど、案外
アウェイってことも無かったんじゃないかな。服装はともかく。
トランスレコードは、主にお金がなかったのが理由で私はあまり聴きませんでしたが、やや近い
ところでもうちょい前の「時の葬列」は高校の時の同級生のSくんがLPを持っていて貸してもら
って聴いていました。サディ・サッズが音楽的に超かっこいいと思って、レコード買ったな。
ヴェクセルバルク・レーベル。G-Schmitt のレコードも持っていた。あと、G-Schmitt の
Syoko さんは、音楽性プラス・憧れの女性的な目線で好きでした。当時の私のアイドルは
Syokoさん、ZELDAのサヨコさん、あと戸川純ちゃんでしたね。Auto Mod が札幌に来て
駅裏八号倉庫でライブをやった時に、僕は行けなかったけれど同級生のパンクスで印刷屋の息
子のMくん（僕にトーキング・ヘッズのレコードを借りパクされたヤツ）が観に行って、怖い
パンクスのお兄さんお姉さんが沢山いて怖かったと話していました。ジュネがフロアにダイブ
したら、怖いパンクスのお姉さんが「ち⚪︎ぽ触れ、ち⚪︎ぽ触れ」と煽っていて、怖ぇーと思った
そうです笑
「時の葬列」のレコードを貸してくれたSくんはG.I.S.Mなんかの影響もかなり受けていて、学校
で問題を起こすような過激なヤツだったんだけれど、だいぶ後になって地元のスーパーでばった
り再会して、今はここのスーパーの社員なんですよと、エプロン姿の普通の人になっていました。
仕事が終わった後はエプロンを外して、今でも過激なアンダーグラウンドの音楽を聴いて疲れを
癒しているのだろうか。彼と再会したのも随分前の話だから、今もお元気でやっていてくれたら
いいのだけれど。彼にはアレルギーのレコードも貸してもらったな。「時の葬列」と、NHKの
テレビ番組「インディーズの逆襲」でマダム・エドワルダに出会って衝撃を受け、その後立派
なドラァグ・クイーンの道に行った友人もいました。横浜の方にあるらしい彼/彼女の店に、
そのうちに一度顔を出したいなと思ってはいます。
先日のUFOクラブのYBOYBO大全のライブでは、往年のトランスギャルだったのかなと思う
ような素敵なおともだちがたくさんいましたね。素敵な仕上がりっぷりでした。成れの果て
なんて言っちゃいけません。
ティアドロップスの対バンがボ・ガンボスでソールドアウトになってチケットが買えず、
楽屋口で入り待ちをしていたら山口冨士夫さんが入れてくれてステージ脇から観た話を
以前に書いたけれど、天風会館のその日のライブを妻ちゃんはしっかりチケットを買って
客席から観ていたそうです。あの辺でもニアミスしていたのか。でもあの頃出会っても
絶対にお互いに嫌な奴だと思っただろうな。
断捨離の「新作」ステッカーが貼られたCDのうちの一枚はミッシェル (Thee Michelle Gun Elephant) で、
まだ売れ始める前のミッシェルを、妻ちゃんはACBとかJAMとかあの辺で観ていたそう。
チバが浪人生みたいな服装でイケてなかったそうです笑。でも音楽性はいいよねとすぐに話題に
なって、ライブハウス界隈の子たちに、スーツ着てビシッと決めてやったらかっこいいんじゃ
ない？と言われてそうしたら、メキメキと売れていったそうです。
私がミッシェルを知ったのはだいぶ売れた後の、"Casanova Snake" あたりで。
音楽好きの妹のミキちゃんに教えられて、Get Up Lucy で衝撃を受けて100回くらいリピート
したな。曲もいいけど、チバの言語感覚とか、リリックが物語っぽいところがすごく好きだ。
物語の世界観が、sakana の pocopen さんに通じるところがあると思うんだけど、チバが
pocopen さんの影響を受けているのかどうかまではわかりません。タモリさんがカーラジオ
から流れるミッシェルの曲を、車を止めて聴き入ってしまったというエピソードがあったけれ
ど、その曲は Get Up Lucy じゃなかったかな？記憶違いかもしれない。
それほど熱心なミッシェル・ファンでは無かったけれど、最後の幕張メッセのライブは
行ったな。アベフトシが亡くなったすぐ後のフジロックのグリーンステージにThe Birthdayが
出て、チバが「オレらの大親友アベフトシのために...」と言って演ったんだよな。
コロナ禍の中で邦人アーティストだけでフジロックをやった年に、久しぶりにThe Birthday
を観ようと楽しみにしていたのだけれど、チバの体調が悪くてキャンセルになってしまった。
結局その後観られないまま亡くなってしまった。今年のフジロックでフィンランドのガレージ
バンドの Us が、ミッシェルの "CSICO" をカバーしていたね。ミッシェルのベースのウエノ
コウジが、Us、かわいいよねって最近どこかで発言していた。
長々ととりとめのない昔話ばかりしていて、あーやだやだって思うけれど、歳をとるのも
案外悪くないですよね。
---
My wife keeps saying, "We don't need this anymore," about records and
CDs, and I keep rescuing them by saying, "But I want to listen to
that one." So our decluttering isn't getting anywhere at all.
When I see a "NEW RELEASE" sticker on a CD, I sometimes think, "Ah,
so she bought this when it first came out," and imagine my young
wife back then. She says that when she was young, she was stubborn
and kind of a difficult person, so even if we'd met back then, we
probably wouldn't have gotten along. Well, I was the same way: a
young husband, stubborn and twisted, and a drunk to boot.
Back when there was a Loft at the west exit of Shinjuku Station,
there would be lots of punks wearing leather jackets and black masks
on days when there was a punk show. I was too scared to go anywhere
near them, so I would watch from a distance. My wife, who was already
full of vitality back then, says she was actually right "inside" that
scene. Apparently, we had some near misses after all.
She sometimes went to hardcore shows too, and says she saw Yokoyama
SAKEVI going wild with G.I.S.M.
That was a world I couldn't have gotten anywhere near. It was simply
too frightening for someone like me.
On the other hand, she also went to shows put on by Trans Records,
and apparently her favorite was Genkaku-Mime
I imagine she probably saw YBO2 as well.
Among those people dressed all in black who were sometimes called
"Trans Gals," my wife, who was attending fashion school at the time,
went to shows dressed more like a "Nagomu Gal." Neither of us has
ever been very interested in fitting ourselves into shapes or
categories. I guess we're two of a kind.
Come to think of it, when "Karate Bakabon"—Kera and Kenji Otsuki
(Otsuki Moyoko)—played a Trans Records event, Kera later said on the
radio that he walked out into an audience that was completely dressed
in black and felt totally out of place, saying, "Hi there, we're
Karate Bakabon!" But maybe they weren't actually all that out of
place after all. At least not because of the clothes.
I didn't listen to Trans Records very much, mainly because I didn't
have much money. But a little closer to home, and slightly earlier,
there was "Toki no Souretsu" (Funeral Procession of Time). A
classmate of mine in high school, S, had the LP and lent it to me.
I thought Sadie Sads were incredibly cool musically, so I bought the
record.
The label was Vexelbalk. I also had a record by G-Schmitt.
And I liked G-Schmitt's Syoko not only for her music, but also as a
woman I admired. My idols back then were Syoko, Sayoko from ZELDA,
and Jun Togawa.
When Auto Mod came to Sapporo and played at Ekiura Hachigo Warehouse,
I couldn't go. But M, a punk classmate of mine—the son of a printing shop
owner, and the guy whose Talking Heads record I borrowed and never gave
back—went to the show. He told me there were tons of scary punk older
brothers and sisters there, and it was frightening.
When June jumped into the crowd, one of those scary punk women was
shouting, "Touch his d***! Touch his d***!" to egg everyone on. He
said he thought, "Jesus, that's scary." LOL.
S, the guy who lent me the "Toki no Souretsu" record, was also heavily
influenced by G.I.S.M. and was an extreme kid who used to get into
trouble at school. Many years later, I happened to run into him at a
local supermarket. He said, "I work here now," and there he was,
looking like an ordinary guy in an apron.
I wonder if, after work, he takes off that apron and still listens to
extreme underground music to unwind. That reunion was quite a long
time ago now, so I hope he's still doing well.
He also lent me a record by Allergy.
And there was another friend who was shocked when he encountered
Madame Edwarda on the NHK TV program "Indies no Gyakushu" ("The
Revenge of the Indies"), and eventually went on to become a proper
drag queen.
Apparently his/her shop is somewhere around Yokohama, and I've been
thinking that I'd like to drop by and say hello someday.
At the YBOYBO tribute show at UFO Club the other day, there were lots
of wonderful people who looked like they might have been Trans Gals
back in the day. They had aged into quite a wonderful version of
themselves. We shouldn't call them "the remnants of what they used to
be."
I wrote before about how I couldn't get a ticket when Teardrops
were playing with Bo Gumbos because it sold out, so I waited outside
the backstage entrance. Fujio Yamaguchi let me in, and I watched the
show from the side of the stage.
It turns out my wife had bought a ticket and watched that same show
at Tenpu Kaikan from the audience. Another near miss. But even if we'd
met back then, we definitely would have thought the other was an
annoying person.
One of the CDs with a "NEW RELEASE" sticker that my wife was going to
get rid of is by Thee Michelle Gun Elephant. Apparently, my wife saw
them at places like ACB and JAM before they really started to make it
big.
She says Chiba was dressed like a guy preparing for his university
entrance exams and didn't look particularly cool. LOL. But people in
the live-house scene soon started talking about how good the music
was, and apparently they told them, "Wouldn't you guys look cool if
you dressed up sharply in suits?" So they did, and from there they
started selling like crazy.
I didn't discover Thee Michelle Gun Elephant until they were already
pretty successful, around the time of "Casanova Snake." My younger
sister Miki, who was really into music, introduced me to them. I was
blown away by "Get Up Lucy" and played it about a hundred times in a
row.
The songs are great, of course, but I especially love Chiba's sense
of language and the way his lyrics feel almost like stories. I think
there's something about the world of his stories that connects with
pocopen from sakana, although I don't know whether Chiba was
actually influenced by pocopen.
There was a story about Tamori hearing a Michelle song coming through
his car radio, pulling over, and getting completely absorbed in
listening to it. Wasn't the song "Get Up Lucy"? I may be remembering
that wrong.
I wasn't an especially devoted Michelle fan, but I did go to their
last show at Makuhari Messe. Shortly after Abe Futoshi died,
The Birthday played the Green Stage at Fuji Rock, and Chiba said,
"For our very best friend, Abe Futoshi..." before they played.
The year Fuji Rock was held with only Japanese artists during the
COVID pandemic, I was looking forward to seeing The Birthday again
for the first time in a while. But the show was canceled because
Chiba wasn't feeling well. In the end, I never got to see them again
before he passed away.
At this year's Fuji Rock, the Finnish garage band Us played a cover
of the Michelle's "CSICO." I recently saw a comment somewhere from
Koji Ueno, the Michelle's bassist, saying that Us were cute.
I've been rambling on and on with these long, disjointed stories
about the old days, and part of me thinks, "Oh, this is terrible."
But growing older isn't actually such a bad thing, is it?
2026/10/01 (Thu)
1098
わーん泣 ルテナント・スティッチーが亡くなってしまった。60歳って早すぎだよ。
ありがとう！ジャメイカいちのモテ男。
Waaah, bawl Lt. Stitchie is gone. 60 is way too young, man.
Big up yuhself, Jamaica’s number-one ladies’ man!
ありがとう！ジャメイカいちのモテ男。
Waaah, bawl Lt. Stitchie is gone. 60 is way too young, man.
Big up yuhself, Jamaica’s number-one ladies’ man!
2026/09/30 (Wed)
1125
ムショへ。一期一会のボランティアへ。
昨日、リハブの人と話す機会があったのだけれど、ああいうところでの共同生活は
刑務所よりもキツい面があるのかもな、と思った。
そういえば昔、あるヤク中ミュージシャンに、刑務所と病院のどちらかに入るとしたら
どっちを選びますか？と質問をしたら、精神病院なんてまっぴらだね、俺は刑務所の方が
いいわと彼は答えた。
月形で死んじゃった伊藤耕さん。彼が同房者に促されて歌ったら、お前本当にミュージシャン
なんだなと感心されたというエピソードが、何かの本に書いてあったよね。
僕が刑務所にボランティアに行くのは、きっと彼らの幻を追いかけている面があるんだろうな。
---
To prison. To a volunteer experience of once-in-a-lifetime encounters.
Yesterday, I had a chance to talk with someone from a rehab facility, and it made me
think that communal living in a place like that might be harder in some ways than
being in prison.
Come to think of it, I once asked a musician who was addicted to speed, “If you had
to choose between prison and a hospital, which would you choose?”
He replied, “No way I’d go to a psychiatric hospital. I’d rather go to prison.”
Ko Ito, who died at Tsukigata Prison. I remember reading somewhere about how one
of his cellmates urged him to sing, and after hearing him, said, “You really are a
musician, aren’t you?” I think it was in a book.
I guess part of the reason I volunteer at prisons is that, in some way, I’m chasing the
ghosts of people like him.
昨日、リハブの人と話す機会があったのだけれど、ああいうところでの共同生活は
刑務所よりもキツい面があるのかもな、と思った。
そういえば昔、あるヤク中ミュージシャンに、刑務所と病院のどちらかに入るとしたら
どっちを選びますか？と質問をしたら、精神病院なんてまっぴらだね、俺は刑務所の方が
いいわと彼は答えた。
月形で死んじゃった伊藤耕さん。彼が同房者に促されて歌ったら、お前本当にミュージシャン
なんだなと感心されたというエピソードが、何かの本に書いてあったよね。
僕が刑務所にボランティアに行くのは、きっと彼らの幻を追いかけている面があるんだろうな。
---
To prison. To a volunteer experience of once-in-a-lifetime encounters.
Yesterday, I had a chance to talk with someone from a rehab facility, and it made me
think that communal living in a place like that might be harder in some ways than
being in prison.
Come to think of it, I once asked a musician who was addicted to speed, “If you had
to choose between prison and a hospital, which would you choose?”
He replied, “No way I’d go to a psychiatric hospital. I’d rather go to prison.”
Ko Ito, who died at Tsukigata Prison. I remember reading somewhere about how one
of his cellmates urged him to sing, and after hearing him, said, “You really are a
musician, aren’t you?” I think it was in a book.
I guess part of the reason I volunteer at prisons is that, in some way, I’m chasing the
ghosts of people like him.
2026/09/29 (Tue)
1162
虎子食堂で松竹谷清さんがかけた「山名(昇さん)の選曲ベスト３」の、第一位は、
Aztec Camera の "Walk out to winter" でした。以前から清さんが時々この曲をかけるのは、
そういう訳だったのか。そういえば若い頃のベレー帽をかぶった清さんって、ちょっとロディ・
フレイムみたいな雰囲気がありませんか？
Aztec Camera といえば私たちのようなお年頃には、涙がちょちょぎれるおともだちも
多いのではないかと思います。"Walk out to winter" が入った 1st「high land, hard rain」は
名盤ですが、僕は 2nd の「Knife」に思い入れがあります。
高校生の時に雑誌「ビックリハウス」の読者コーナーで知り合った、ひとつ年上の女の子と
文通をしていて、僕が高校を卒業して上京した時に一度だけデートをしました。
二人で中央線の市ヶ谷のあたりを通った時に、桜がキレイだねなんて話をしたのを覚えています。
後に村上春樹の「ノルウェイの森」の、ワタナベ君と直子が市ヶ谷のあの辺りでデートを
する場面を読んだ時に、彼女とのデートを思い出しました。デートの翌年くらいに「ノルウェ
イの森」がベストセラーになったけれど、こじれた19歳か20歳の僕は、読みもしないで、
けっ、あんなものは ... と思って読みませんでした。「ノルウェイの森」を読んだのはずいぶん
後になってからでした。
ひとつ年上の女の子と渋谷をぶらぶらして、当時宇田川町にあったタワーレコードで
Aztec Camela の2nd「Knife」のLPを買ったんだよなぁ、輸入盤の匂いがするあの店で、
という思い出込みで好きなアルバムなのです。1st を聴いたのは後になってからでした。
「Knife」は、チャボさんが好きだと仰っていた Dire Straits の Mark Knopfler が
プロデュースだったのですね。つい先日気付きました。
愛知出身のひとつ年上の女の子の名前は忘れてしまったのだけれど、たしか直子/尚子じゃ
なかったかな ... という気がするのはだいぶ思い込み補正が入っているのでしょうね。
そして、あなたは直子派？それとも緑派？という、永遠に結論が出ない問題提起を置いて
おきます。
---
At Toranoko Shokudo, Kiyoshi Matsutakeya played his “Top 3 Yamana
(Noboru Yamana) picks,” and number one was Aztec Camera’s
“Walk Out to Winter.” So that’s why Kiyoshi-san has occasionally played
this song over the years. Come to think of it, don’t you think
Kiyoshi-san, wearing a beret when he was younger, had a bit of a Roddy
Frame vibe?
Speaking of Aztec Camera, I imagine there are quite a few people
our age who get a little misty-eyed when they hear them. Their first
album, High Land, Hard Rain, which includes “Walk Out to Winter,”
is a classic, but I have a special attachment to their second album,
Knife.
When I was in high school, I had been corresponding with a girl
one year older than me whom I had met through the readers’ column
of the magazine Bikkuri House. When I graduated from high school
and moved to Tokyo, we met in person once and went on a date. I
remember the two of us passing through the Ichigaya area on the
Chuo Line and talking about how beautiful the cherry blossoms were.
Later, when I read the scene in Haruki Murakami’s Norwegian Wood
where Watanabe and Naoko go on a date around that same area of
Ichigaya, I was reminded of my date with her. Norwegian Wood
became a bestseller about a year after my date with her, but at
nineteen or twenty, being the complicated young man I was, I
thought, “Hmph, that thing…” without even reading it, and refused
to read it. It was much, much later that I finally read
Norwegian Wood.
I remember wandering around Shibuya with that girl who was a year
older than me, and buying the second Aztec Camera album, Knife,
on LP at Tower Records, which was in Udagawachō back then. That
store had that unmistakable smell of imported records. That whole
memory is part of why I love the album. I didn't hear their first
album until later.
I only realized the other day that Knife was produced by
Mark Knopfler of Dire Straits, the band Chabo-san once told me
he liked.
I've forgotten the name of that girl from Aichi who was one year
older than me, but I have this feeling that her name might have
been Naoko... I suppose that's probably my memory being heavily
colored by the associations I've made over the years.
And I'll leave you with an eternal, never-to-be-resolved question:
are you Team Naoko or Team Midori?
Aztec Camera の "Walk out to winter" でした。以前から清さんが時々この曲をかけるのは、
そういう訳だったのか。そういえば若い頃のベレー帽をかぶった清さんって、ちょっとロディ・
フレイムみたいな雰囲気がありませんか？
Aztec Camera といえば私たちのようなお年頃には、涙がちょちょぎれるおともだちも
多いのではないかと思います。"Walk out to winter" が入った 1st「high land, hard rain」は
名盤ですが、僕は 2nd の「Knife」に思い入れがあります。
高校生の時に雑誌「ビックリハウス」の読者コーナーで知り合った、ひとつ年上の女の子と
文通をしていて、僕が高校を卒業して上京した時に一度だけデートをしました。
二人で中央線の市ヶ谷のあたりを通った時に、桜がキレイだねなんて話をしたのを覚えています。
後に村上春樹の「ノルウェイの森」の、ワタナベ君と直子が市ヶ谷のあの辺りでデートを
する場面を読んだ時に、彼女とのデートを思い出しました。デートの翌年くらいに「ノルウェ
イの森」がベストセラーになったけれど、こじれた19歳か20歳の僕は、読みもしないで、
けっ、あんなものは ... と思って読みませんでした。「ノルウェイの森」を読んだのはずいぶん
後になってからでした。
ひとつ年上の女の子と渋谷をぶらぶらして、当時宇田川町にあったタワーレコードで
Aztec Camela の2nd「Knife」のLPを買ったんだよなぁ、輸入盤の匂いがするあの店で、
という思い出込みで好きなアルバムなのです。1st を聴いたのは後になってからでした。
「Knife」は、チャボさんが好きだと仰っていた Dire Straits の Mark Knopfler が
プロデュースだったのですね。つい先日気付きました。
愛知出身のひとつ年上の女の子の名前は忘れてしまったのだけれど、たしか直子/尚子じゃ
なかったかな ... という気がするのはだいぶ思い込み補正が入っているのでしょうね。
そして、あなたは直子派？それとも緑派？という、永遠に結論が出ない問題提起を置いて
おきます。
---
At Toranoko Shokudo, Kiyoshi Matsutakeya played his “Top 3 Yamana
(Noboru Yamana) picks,” and number one was Aztec Camera’s
“Walk Out to Winter.” So that’s why Kiyoshi-san has occasionally played
this song over the years. Come to think of it, don’t you think
Kiyoshi-san, wearing a beret when he was younger, had a bit of a Roddy
Frame vibe?
Speaking of Aztec Camera, I imagine there are quite a few people
our age who get a little misty-eyed when they hear them. Their first
album, High Land, Hard Rain, which includes “Walk Out to Winter,”
is a classic, but I have a special attachment to their second album,
Knife.
When I was in high school, I had been corresponding with a girl
one year older than me whom I had met through the readers’ column
of the magazine Bikkuri House. When I graduated from high school
and moved to Tokyo, we met in person once and went on a date. I
remember the two of us passing through the Ichigaya area on the
Chuo Line and talking about how beautiful the cherry blossoms were.
Later, when I read the scene in Haruki Murakami’s Norwegian Wood
where Watanabe and Naoko go on a date around that same area of
Ichigaya, I was reminded of my date with her. Norwegian Wood
became a bestseller about a year after my date with her, but at
nineteen or twenty, being the complicated young man I was, I
thought, “Hmph, that thing…” without even reading it, and refused
to read it. It was much, much later that I finally read
Norwegian Wood.
I remember wandering around Shibuya with that girl who was a year
older than me, and buying the second Aztec Camera album, Knife,
on LP at Tower Records, which was in Udagawachō back then. That
store had that unmistakable smell of imported records. That whole
memory is part of why I love the album. I didn't hear their first
album until later.
I only realized the other day that Knife was produced by
Mark Knopfler of Dire Straits, the band Chabo-san once told me
he liked.
I've forgotten the name of that girl from Aichi who was one year
older than me, but I have this feeling that her name might have
been Naoko... I suppose that's probably my memory being heavily
colored by the associations I've made over the years.
And I'll leave you with an eternal, never-to-be-resolved question:
are you Team Naoko or Team Midori?
2026/09/28 (Mon)
1182
2026/09/27 (Sun)
1194
戦争やめよう、差別やめよう
SAVE GAZA, SAVE PALESTINE, PEACE
調布駅前でスタンディング。部活仲間らしいジャージの少年たちが「ピースがいいよね！」と
反応してくれた。小さな女の子と若いお母さんが笑顔で手を振ってくれた。
ジジイの私は先にいなくなるので、若い世代のあなたたちに平和への願いを託します。
渋谷駅前でスタンディング、ムスリムらしいグループなど、海外の方からの反応が多い。
一緒に立っても良いですか、と、プラカードを持った女性に声を掛けられてご一緒させて
いただいた。わかります。一人だと心細いですよね。
2026/9/28 (sun) BLACK MARKET 山名昇紳士録 @渋谷虎子食堂
DJ：松竹谷清, 佐川修, 清野秀恒, WADAMAMBO, 他
”A列車で行こう" がかかったので、この曲とエリントンのことは清さんの歌で知りました
と伝えたところ、オレはカバーしただけで何もやってないから、とのことでした。
その日初めて聴いた、女声日本語バージョン（清さんの元ネタ）を、歌っているのは誰ですか？
と尋ねたら、美空ひばりだった。へぇー。
清さんの選曲はこの日はレゲエが多く、Gregory Isaccs の "BA DA" が良かったなー。
山名さんのご本「寝ぼけ眼のアルファルファ」(ナンバリング入り) を入手。
山名さんの娘さんも来られていました。赤ん坊の頃に下北沢のいーはとーぼのカウンターで、
オムツを替えてもらっていたそうです。
雑誌POPEYEのジャマイカ特集号(1979年)や、「サウンドシステム」誌の実物を初めて見ました。
レゲエ／ジャマイカの情報がまだあまり無い中で苦労して作られていたそうです。
Sugar Minott の初来日の際の秘蔵ライブ音源を鑑賞。その日の前座でナーキ&トマトスが、
日本人で初めて Answer リディムを演奏したのだそうです。
---
Stop the wars. Stop discrimination.
SAVE GAZA, SAVE PALESTINE, PEACE.
I stood in front of Chofu Station with my sign. Some teenage boys
wearing matching jerseys, apparently from the same sports club, reacted
by saying, “Peace is better, right?” A young mother and her little girl
waved at me with smiles.
I’m an old man, and I’ll be gone before you young people. So I entrust
my wish for peace to your generation.
I stood in front of Shibuya Station, and I received many responses from
people from overseas, including a group who appeared to be Muslim.
A woman holding a placard asked if she could stand with me, and I was
happy to stand together with her.
I understand. It can feel a little lonely standing there by yourself.
---
2026/9/28 (Sun) BLACK MARKET: Yamana Noboru’s Who’s Who
at Toranoko Shokudou, Shibuya, Tokyo
DJs: Kiyoshi Matsutakeya, Osamu Sagawa, Hidetune Seino, WADAMAMBO, and others
When “Take the A Train” came on, I told Kiyoshi that I first learned
about the song and Duke Ellington through his singing. He said,
“I only covered it. I didn't do anything.”
I asked him who sang the Japanese version by a female vocalist that
I heard for the first time that day—the original version that Kiyoshi
had based his rendition on. It was Hibari Misora. Wow.
Kiyoshi played a lot of reggae that day, and I really liked Gregory Isaacs’
“BA DA.”
I picked up Yamana-san’s book, Neboke-me no Arufarufa (Alfalfa, He was sleepy"),
a numbered edition.
Yamana-san’s daughter was there, too. Apparently, when she was a baby,
people used to change her diapers for her at the counter of
Iihatōbo in Shimokitazawa.
It was my first time seeing an actual copy of POPEYE’s Jamaica special issue,
as well as an actual copy of the magazine Sound System.
Apparently, they were put together with a lot of hard work at a time
when there was very little information available.
We listened to a rare live recording from Sugar Minott’s first visit
to Japan. Apparently, Nahki & the Tomatos, who opened for him that day,
performed the Answer riddim in Japan for the very first time.
SAVE GAZA, SAVE PALESTINE, PEACE
調布駅前でスタンディング。部活仲間らしいジャージの少年たちが「ピースがいいよね！」と
反応してくれた。小さな女の子と若いお母さんが笑顔で手を振ってくれた。
ジジイの私は先にいなくなるので、若い世代のあなたたちに平和への願いを託します。
渋谷駅前でスタンディング、ムスリムらしいグループなど、海外の方からの反応が多い。
一緒に立っても良いですか、と、プラカードを持った女性に声を掛けられてご一緒させて
いただいた。わかります。一人だと心細いですよね。
2026/9/28 (sun) BLACK MARKET 山名昇紳士録 @渋谷虎子食堂
DJ：松竹谷清, 佐川修, 清野秀恒, WADAMAMBO, 他
”A列車で行こう" がかかったので、この曲とエリントンのことは清さんの歌で知りました
と伝えたところ、オレはカバーしただけで何もやってないから、とのことでした。
その日初めて聴いた、女声日本語バージョン（清さんの元ネタ）を、歌っているのは誰ですか？
と尋ねたら、美空ひばりだった。へぇー。
清さんの選曲はこの日はレゲエが多く、Gregory Isaccs の "BA DA" が良かったなー。
山名さんのご本「寝ぼけ眼のアルファルファ」(ナンバリング入り) を入手。
山名さんの娘さんも来られていました。赤ん坊の頃に下北沢のいーはとーぼのカウンターで、
オムツを替えてもらっていたそうです。
雑誌POPEYEのジャマイカ特集号(1979年)や、「サウンドシステム」誌の実物を初めて見ました。
レゲエ／ジャマイカの情報がまだあまり無い中で苦労して作られていたそうです。
Sugar Minott の初来日の際の秘蔵ライブ音源を鑑賞。その日の前座でナーキ&トマトスが、
日本人で初めて Answer リディムを演奏したのだそうです。
---
Stop the wars. Stop discrimination.
SAVE GAZA, SAVE PALESTINE, PEACE.
I stood in front of Chofu Station with my sign. Some teenage boys
wearing matching jerseys, apparently from the same sports club, reacted
by saying, “Peace is better, right?” A young mother and her little girl
waved at me with smiles.
I’m an old man, and I’ll be gone before you young people. So I entrust
my wish for peace to your generation.
I stood in front of Shibuya Station, and I received many responses from
people from overseas, including a group who appeared to be Muslim.
A woman holding a placard asked if she could stand with me, and I was
happy to stand together with her.
I understand. It can feel a little lonely standing there by yourself.
---
2026/9/28 (Sun) BLACK MARKET: Yamana Noboru’s Who’s Who
at Toranoko Shokudou, Shibuya, Tokyo
DJs: Kiyoshi Matsutakeya, Osamu Sagawa, Hidetune Seino, WADAMAMBO, and others
When “Take the A Train” came on, I told Kiyoshi that I first learned
about the song and Duke Ellington through his singing. He said,
“I only covered it. I didn't do anything.”
I asked him who sang the Japanese version by a female vocalist that
I heard for the first time that day—the original version that Kiyoshi
had based his rendition on. It was Hibari Misora. Wow.
Kiyoshi played a lot of reggae that day, and I really liked Gregory Isaacs’
“BA DA.”
I picked up Yamana-san’s book, Neboke-me no Arufarufa (Alfalfa, He was sleepy"),
a numbered edition.
Yamana-san’s daughter was there, too. Apparently, when she was a baby,
people used to change her diapers for her at the counter of
Iihatōbo in Shimokitazawa.
It was my first time seeing an actual copy of POPEYE’s Jamaica special issue,
as well as an actual copy of the magazine Sound System.
Apparently, they were put together with a lot of hard work at a time
when there was very little information available.
We listened to a rare live recording from Sugar Minott’s first visit
to Japan. Apparently, Nahki & the Tomatos, who opened for him that day,
performed the Answer riddim in Japan for the very first time.
2026/09/26 (Sat)
1206
三度の飯よりレコードが好きで、中でもモノラルレコードが大好きです。
先日出会った King Cole Trio の東芝モノラル盤、発売は1955年で録音は40年代後半の
ようです。僕はナット・コール (Nat Cole) を松竹谷清さんやピアニカ前田さんの Just
You, Just Me のカバーで知ったクチなので、コールと言えば甘くて粋なボーカルの人と思って
いたのですが、こちらのアルバムは歌なしで、元々はボーカルではなくピアニストだったのだと
知った次第です。彼が率いたピアノトリオが King Cole Trio なのでした。ライブで演奏をす
る時に、興が乗ると時々歌ったりもしていたのが好評で、観客から度々リクエストをされるよう
になり、定番化して歌とピアノの人というスタイルになっていったのだそうです。あらためて、
ピアノも実に素晴らしいですね。耀かしき50年代の米国ジャズ・スウィング。
僕が初めて聴いたコールのレコードは歌入りの「After Midnight」のLP (1956年) で、こちら
は勿論 Just You, Just Me も収録されています。ジャケットも良いのですよねぇ。
9月27日(日)に渋谷の虎子食堂で、「BLACK MARKET 山名昇紳士録」というDJイベントが
開催されます(18:00〜)。セレクタは松竹谷清, 佐川修, WADAMAMBO など。全員集合っす。
同じく27日の昼間(12:00-17:00)は、宇田川町bar bossaで "DOMINGO レコード祭り" が開催
されます。bar bossa→虎子食堂と、ハシゴを推奨します。
---
I love records more than anything, and among them, I have a particular
soft spot for mono records.
The other day I came across a Toshiba mono pressing of the King Cole Trio.
It was released in 1955 and seems to have been recorded in the latter half
of the 1940s. I first came to know “Just You, Just Me” through covers by
Kiyoshi Matsutakeya and Pianica Maeda, so I had always thought of Nat Cole
as the guy with that sweet, sophisticated singing voice.
But this album has no vocals at all, and I learned that he was originally a
pianist rather than a vocalist. The King Cole Trio was the piano trio he
led.
Apparently, when they were playing live, Cole would occasionally sing when
the mood struck him, and audiences loved it. He started getting requests to
sing more and more often, and eventually it became a regular part of his act,
leading to the style we know him for today: the singing pianist.
Listening again, his piano playing really is wonderful. Glorious American
jazz swing from the 1950s.
The first Nat Cole record I ever heard was the vocal LP "After Midnight"
(1956), which, of course, also includes “Just You, Just Me.” And that cover
is great too, isn't it?
On Sunday, September 27, a DJ event called “BLACK MARKET Yamana Noboru’s Who’s Who”
will be held at Toranoko Syokudou in Shibuya from 6:00 p.m. The selectors include
Kiyoshi Matsutoya, Osamu Sagawa, and WADAMAMBO. Everyone will be there!
Earlier that same day, from noon to 5:00 p.m., “DOMINGO Record Festival”
will be held at bar bossa in Udagawacho.
I recommend making a day of it: bar bossa → Toranoko Syokudou.
先日出会った King Cole Trio の東芝モノラル盤、発売は1955年で録音は40年代後半の
ようです。僕はナット・コール (Nat Cole) を松竹谷清さんやピアニカ前田さんの Just
You, Just Me のカバーで知ったクチなので、コールと言えば甘くて粋なボーカルの人と思って
いたのですが、こちらのアルバムは歌なしで、元々はボーカルではなくピアニストだったのだと
知った次第です。彼が率いたピアノトリオが King Cole Trio なのでした。ライブで演奏をす
る時に、興が乗ると時々歌ったりもしていたのが好評で、観客から度々リクエストをされるよう
になり、定番化して歌とピアノの人というスタイルになっていったのだそうです。あらためて、
ピアノも実に素晴らしいですね。耀かしき50年代の米国ジャズ・スウィング。
僕が初めて聴いたコールのレコードは歌入りの「After Midnight」のLP (1956年) で、こちら
は勿論 Just You, Just Me も収録されています。ジャケットも良いのですよねぇ。
9月27日(日)に渋谷の虎子食堂で、「BLACK MARKET 山名昇紳士録」というDJイベントが
開催されます(18:00〜)。セレクタは松竹谷清, 佐川修, WADAMAMBO など。全員集合っす。
同じく27日の昼間(12:00-17:00)は、宇田川町bar bossaで "DOMINGO レコード祭り" が開催
されます。bar bossa→虎子食堂と、ハシゴを推奨します。
---
I love records more than anything, and among them, I have a particular
soft spot for mono records.
The other day I came across a Toshiba mono pressing of the King Cole Trio.
It was released in 1955 and seems to have been recorded in the latter half
of the 1940s. I first came to know “Just You, Just Me” through covers by
Kiyoshi Matsutakeya and Pianica Maeda, so I had always thought of Nat Cole
as the guy with that sweet, sophisticated singing voice.
But this album has no vocals at all, and I learned that he was originally a
pianist rather than a vocalist. The King Cole Trio was the piano trio he
led.
Apparently, when they were playing live, Cole would occasionally sing when
the mood struck him, and audiences loved it. He started getting requests to
sing more and more often, and eventually it became a regular part of his act,
leading to the style we know him for today: the singing pianist.
Listening again, his piano playing really is wonderful. Glorious American
jazz swing from the 1950s.
The first Nat Cole record I ever heard was the vocal LP "After Midnight"
(1956), which, of course, also includes “Just You, Just Me.” And that cover
is great too, isn't it?
On Sunday, September 27, a DJ event called “BLACK MARKET Yamana Noboru’s Who’s Who”
will be held at Toranoko Syokudou in Shibuya from 6:00 p.m. The selectors include
Kiyoshi Matsutoya, Osamu Sagawa, and WADAMAMBO. Everyone will be there!
Earlier that same day, from noon to 5:00 p.m., “DOMINGO Record Festival”
will be held at bar bossa in Udagawacho.
I recommend making a day of it: bar bossa → Toranoko Syokudou.
2026/09/25 (Fri)
1257
今日はムショへ。
Devendra Banhart と Gyan Riley (Terry Riley の息子さん) らの "HUG" が
素晴らしいので、皆さん聴いてください。
ミーティングで会った先輩がユニクロの Cecil Taylor のTシャツを着ていたので、僕も同じ
Tシャツ持ってます！とお話をしました。以前、一緒にリハブを訪問した際の彼の車で確か
Clifford Brown がかかっていたので、ジャズがお好きなのだろうか？と思っていたのです
が、やはりそうでした。 Cecil Taylor ってことはフリー・ジャズが好きですか？という話を
次に会った時にしてみたいと思いました。
ベテランの先輩たちは、熟達した聴き手なのだと思います。だから私も話しやすくて好きなの
ですよ。よく聴きよく見れば学びが深まるのは何事もそうですが、ベテランの彼らでさえ日々
学び続けているのですね。そしてその実りを決してひけらかしたりはしない、実るほどこうべを
垂れる ... というやつですね。私が好きなミーティングは、優れた聴き手のいるミーティング。
私自身も良き聴き手でありたいと思いながらも、聴くことの難しさを日々感じています。
昼間に別の場所で、一方的なマシンガントークのマンスプレイニングのタイプの人に会って、
この人は何も見えていないし聴こえていないんだなーと思って辟易したばかりでした。
インプットしなきゃ枯れていく一方ですよ。
余談ですが、渋谷毅さんが池間由布子さんと共演をした時に、一切ピアノを弾かずに池間さ
んの歌に聴き入ってしまったという話を聞いた事があります。西内徹さんが井上園子さんと
共演をする時も、サックスを吹いていない時はステージ上で座って聴き入っていますよね。
---
Today, I went to prison.
Devendra Banhart and Gyan Riley, Terry Riley’s son, have a wonderful project
called HUG. Please give it a listen.
A senior member I met at the meeting was wearing a Uniqlo Cecil Taylor T-shirt, so
I told him that I had the same one. I remembered that when we visited a rehab
together some time ago, Clifford Brown was playing in his car, so I had wondered if
he was a jazz fan. Apparently, he is. The next time I see him, I'd like to ask him, “Since
you're wearing a Cecil Taylor shirt, are you into free jazz?”
I think these veteran members are seasoned listeners. That's why I find
them easy to talk to, and I like being around them. As with anything, the
more carefully you listen and observe, the more deeply you learn. And even
these veterans continue to learn every day. Yet they never show off the
fruits of what they've learned. As the Japanese saying goes, the fuller the
rice ear, the more it bows its head.
The kind of meetings I like are those with good listeners. I want to be a
good listener myself, but at the same time, I find myself reminded every day
of just how difficult it is to truly listen.
Earlier in the day, I had just met someone at another place who was the mansplaining
type, delivering a one-sided machine-gun monologue. I found myself thinking, “This
person isn't seeing or hearing anything at all,” and it was exhausting. If you don't keep
taking things in, you just wither away.
As an aside, I once heard a story about Takeshi Shibuya performing with Yuko Ikema.
Apparently, he didn't play the piano at all and simply found himself absorbed in
listening to Ikema's singing. When Tetsu Nishiuchi performs with Sonoko Inoue, he also
sits on stage and listens intently whenever he's not playing his saxophone.
Devendra Banhart と Gyan Riley (Terry Riley の息子さん) らの "HUG" が
素晴らしいので、皆さん聴いてください。
ミーティングで会った先輩がユニクロの Cecil Taylor のTシャツを着ていたので、僕も同じ
Tシャツ持ってます！とお話をしました。以前、一緒にリハブを訪問した際の彼の車で確か
Clifford Brown がかかっていたので、ジャズがお好きなのだろうか？と思っていたのです
が、やはりそうでした。 Cecil Taylor ってことはフリー・ジャズが好きですか？という話を
次に会った時にしてみたいと思いました。
ベテランの先輩たちは、熟達した聴き手なのだと思います。だから私も話しやすくて好きなの
ですよ。よく聴きよく見れば学びが深まるのは何事もそうですが、ベテランの彼らでさえ日々
学び続けているのですね。そしてその実りを決してひけらかしたりはしない、実るほどこうべを
垂れる ... というやつですね。私が好きなミーティングは、優れた聴き手のいるミーティング。
私自身も良き聴き手でありたいと思いながらも、聴くことの難しさを日々感じています。
昼間に別の場所で、一方的なマシンガントークのマンスプレイニングのタイプの人に会って、
この人は何も見えていないし聴こえていないんだなーと思って辟易したばかりでした。
インプットしなきゃ枯れていく一方ですよ。
余談ですが、渋谷毅さんが池間由布子さんと共演をした時に、一切ピアノを弾かずに池間さ
んの歌に聴き入ってしまったという話を聞いた事があります。西内徹さんが井上園子さんと
共演をする時も、サックスを吹いていない時はステージ上で座って聴き入っていますよね。
---
Today, I went to prison.
Devendra Banhart and Gyan Riley, Terry Riley’s son, have a wonderful project
called HUG. Please give it a listen.
A senior member I met at the meeting was wearing a Uniqlo Cecil Taylor T-shirt, so
I told him that I had the same one. I remembered that when we visited a rehab
together some time ago, Clifford Brown was playing in his car, so I had wondered if
he was a jazz fan. Apparently, he is. The next time I see him, I'd like to ask him, “Since
you're wearing a Cecil Taylor shirt, are you into free jazz?”
I think these veteran members are seasoned listeners. That's why I find
them easy to talk to, and I like being around them. As with anything, the
more carefully you listen and observe, the more deeply you learn. And even
these veterans continue to learn every day. Yet they never show off the
fruits of what they've learned. As the Japanese saying goes, the fuller the
rice ear, the more it bows its head.
The kind of meetings I like are those with good listeners. I want to be a
good listener myself, but at the same time, I find myself reminded every day
of just how difficult it is to truly listen.
Earlier in the day, I had just met someone at another place who was the mansplaining
type, delivering a one-sided machine-gun monologue. I found myself thinking, “This
person isn't seeing or hearing anything at all,” and it was exhausting. If you don't keep
taking things in, you just wither away.
As an aside, I once heard a story about Takeshi Shibuya performing with Yuko Ikema.
Apparently, he didn't play the piano at all and simply found himself absorbed in
listening to Ikema's singing. When Tetsu Nishiuchi performs with Sonoko Inoue, he also
sits on stage and listens intently whenever he's not playing his saxophone.