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Happy End (band)

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Happy End
Happy End in September 1971. From left to right: Eiichi Ohtaki, Haruomi Hosono, Shigeru Suzuki and Takashi Matsumoto.
Happy End in September 1971. From left to right: Eiichi Ohtaki, Haruomi Hosono, Shigeru Suzuki and Takashi Matsumoto.
Background information
Also known asValentine Blue
OriginChiyoda, Tokyo, Japan
Genres
Years active
  • 1969–1972
  • 1973
  • 1985
  • 2015
  • 2021
Labels
Past members

Happy End (Japanese: はっぴいえんど, Hepburn: Happī Endo) was a Japanese folk rock band active from 1969 to 1972. Composed of Haruomi Hosono, Takashi Matsumoto, Eiichi Ohtaki and Shigeru Suzuki, the band's pioneering sound was regarded as avant-garde to most Japanese at the time. They are considered to be among the most influential artists in Japanese music, with Mikiki crediting them with laying the foundation for Japanese rock.[3][4] MTV described Happy End's music as "rock with psych smudges around the edges."[2]

History

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Career

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When his band Burns needed a bass player, drummer Takashi Matsumoto reached out to Haruomi Hosono, a Rikkyo University student whom he heard was quite skilled. After playing shows together, Hosono eventually invited Matsumoto to join the psychedelic rock band Apryl Fool, which the drummer described as being influenced by bands like Vanilla Fudge, "really progressive sounds for the time."[5] When their keyboardist, Hiro Yanagida, started getting more into music like Buffalo Springfield and the West Coast sound that was becoming popular, Matsumoto said Hosono got into it too, and "we started shifting toward that style."[5] However, the relationships between band members deteriorated between the April 1969 recording of their debut album and its September release date, so Apryl Fool decided to break up in October 1969.[4]

Hosono, Matsumoto and vocalist Chu Kosaka had planned to form another band together, but Kosaka joined a production of Hair, so Eiichi Ohtaki, who had played with Hosono in a folk act reminiscent of The Kingston Trio, was recruited in his stead.[4] Hosono chose Valentine Blue (ヴァレンタイン・ブルー) as the name of the new band because he would get depressed on Valentine's Day.[6] In December, Shigeru Suzuki, who already had a reputation as a skilled guitarist in the band Skye, was invited to join after Hosono and Matsumoto heard him improvise over what would become "Juuni Gatsu no Ame no hi".[4][6] In March 1970, Hosono, Matsumoto and Suzuki contributed to Kenji Endo's album Niyago.[4] The group were also the backing band for Nobuyasu Okabayashi, performing on his album Miru Mae ni Tobe.[7] In April 1970, Hosono decided to change the band's name. He chose Happy End based on Matsumoto's lyrics to the song of the same name.[8] Matsumoto stated that at the time Happy End started, they were influenced by Moby Grape, Buffalo Springfield, and the Grateful Dead.[5]

After Hosono bumped into Eiji Ogura, director of URC (Underground Record Club), Japan's first independent record label, he offered Happy End a recording contract and they began recording their own album in April 1970.[4][9] Their self-titled debut album (written in Japanese as はっぴいえんど) was released in August.[10] It marked an important turning point in Japanese music history, as it sparked what would be known as the "Japanese-language Rock Controversy" (ja:日本語ロック論争, Nihongo Rokku Ronsō). There were highly publicized debates held between prominent figures in the Japanese rock industry, most notably the members of Happy End and Yuya Uchida, regarding whether rock music sung entirely in Japanese was sustainable. Previously, almost all popular rock music in Japan was sung in English. The success of Happy End's debut album and their second, Kazemachi Roman released a year later, proved the sustainability of Japanese-language rock in Japan.[11]

For their third album, also titled Happy End (this time written in the Latin alphabet), they signed with King Records and recorded in 1972 in Los Angeles with Van Dyke Parks producing.[10] Although Hosono later described the work with Parks as "productive," the album sessions were tenuous, and the members of Happy End were disenchanted with their vision of America they had anticipated.[12] A language barrier along with opposition between the Los Angeles studio personnel and Happy End was also apparent, which further frustrated the group.[13] These feelings were conveyed in the closing track "Sayonara America, Sayonara Nippon", which received some contributions from Parks and Little Feat guitarist Lowell George.[14] As Matsumoto explained: "We had already given up on Japan, and with [that song], we were saying bye-bye to America too—we weren't going to belong to any place."[12] While the band officially disbanded on December 31, 1972, the album was released in February 1973.[3] They had their last concert on September 21, 1973, titled City -Last Time Around, with a live album of the show released as Live Happy End the following year. In 2023, Matsumoto said he did not really know why Happy End broke up. Although he had a theory, he said he could not disclose it, and Suzuki suggested it might be better to leave it a mystery.[15]

Post-activities

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After breaking up, all four members continued to work together and contribute to each other's solo albums and projects. Hosono and Suzuki formed Tin Pan Alley with Masataka Matsutoya, before Hosono started the pioneering electronic music act Yellow Magic Orchestra and Suzuki continued work as a guitarist and solo musician. Matsumoto became one of the most successful lyricists in the country and Ohtaki worked as a songwriter and solo artist, releasing one of Japan's best-selling and most critically acclaimed albums, A Long Vacation in 1981. Happy End reunited for a one-off performance at the International Youth Anniversary All Together Now (国際青年年記念 ALL TOGETHER NOW) concert on June 15, 1985, which was released as the live album The Happy End later that same year.

An album called Happy End Parade ~Tribute to Happy End~ and composed of covers of their songs by different artists was released in 2002. Hosono was involved in selecting the contributors and in Kicell's cover of "Shin Shin Shin", Matsumoto determined the cover art and title, and Suzuki participated in Yōichi Aoyama's cover of "Hana Ichi Monme".[16] In 2003, their song "Kaze wo Atsumete" appeared in the American movie Lost In Translation and on its soundtrack.[17]

Eiichi Ohtaki died on December 30, 2013, from a dissecting aneurysm at the age of 65.[18] For the 2015 tribute album Kazemachi de Aimashō, commemorating Matsumoto's 45th anniversary as a lyricist, Matsumoto, Hosono and Suzuki recorded the previously unreleased Happy End song "Shūu no Machi" (驟雨の街).[19] A special two-day concert for the same anniversary was held at the Tokyo International Forum on August 21–22, 2015 featuring numerous artists.[20] Matsumoto, Hosono and Suzuki opened each day by performing "Natsu Nandesu" and "Hana Ichi Monme", immediately followed by "Haikara Hakuchi" with Motoharu Sano. They also closed the shows with "Shūu no Machi", and finally "Kaze wo Atsumete" alongside a number of other artists.[21]

The three surviving members of Happy End reunited again on November 5–6, 2021 for a two-day concert, that also featured numerous other artists, at the Nippon Budokan to celebrate Matsumoto's 50th anniversary.[22] Also in 2021, Suzuki's band Skye recorded the unreleased Happy End song "Chigiregumo" (ちぎれ雲) for their self-titled album.[23]

Legacy

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Happy End are credited as the first rock act to sing in Japanese.[3][10] Matsumoto later reflected that, "There were two strings of music back in the day. You had kayōkyoku, old-style Japanese pop music that had already existed, and then group sounds. There were bands tied to that latter movement like The Golden Cups and The Spiders, who were active in the Yokohama scene, which was a really interesting music community because it had a huge American influence owing to the navy base in nearby Yokosuka. Their singles would have an A-side, that was more like kayōkyoku, but the B-side would have something more psychedelic, more genuine rock. That gap between the two sides felt strange to me and the other members of Happy End, so we decided to not worry about whether what we created would sell. We just wanted to do something original. If you make something original, it's probably better to sing it in Japanese."[5] Although, he did note that Hosono had initially felt that they should sing in English; "I think Hosono-san had the intention of wanting to do something that would go beyond just Japan. For me, I wanted to share something that was good about everyday Japanese life. That was the basis of my lyrics. It's something that's interesting to people even beyond Japan, but I actually think it would have needed a really good translator to connect."[5]

According to music critic Ian Martin, Happy End pioneered a style of songwriting that combined Japanese-language lyrics with Western-influenced folk rock in a one-syllable one-note rhythmic form.[24] In 2012, Michael K. Bourdaghs wrote, “For Matsumoto, the Japanese language was above all a source of raw material for use in experimentation. [...] for Happy End, the Japanese language functioned not as a repository of tradition or identity but as an alienated and alienating tongue — a source of noise.”[25] Singer-songwriter Sachiko Kanenobu wrote that "they had a poetic way of writing that was never part of Japanese rock music before".[26]

Happy End's music has been cited as one of the origins of modern "J-pop", with each member continuing to contribute to its development after the group's break up.[27] The band is also considered progenitors of what would become the "City Pop" style.[2][28][29] Masataka Miyanaga, Japanese music critic and founder and professor of Beatles University at Kanazawa University, wrote that, given the impact they had, it would not be an exaggeration to call Happy End the "Japanese Beatles".[27] Matsumoto said, "We literally had no promotion, and they stopped selling our albums shortly after they came out — everything afterward was a re-issue. But the important thing about Happy End is that parents show it to their kids. Older workers show it to new co-workers. The older students share it with younger classmates. That's how our music has passed down."[5]

In 2003, Happy End were ranked by HMV Japan at number 4 on their list of the 100 most important Japanese pop acts.[3] Ohtaki and Hosono also appear on the list as solo artists, ranked number 9 and 44 respectively.[30][31] In September 2007, Rolling Stone Japan named Kazemachi Roman the greatest Japanese rock album of all time.[32] It was also named number 15 on Bounce's 2009 list of 54 Standard Japanese Rock Albums.[33]

Members

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Discography

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Studio albums

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Live albums

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  • Live Happy End (ライブ・はっぴいえんど, Raibu Happī Endo, recorded 9/21/1973, released January 15, 1974)
  • The Happy End (recorded 6/15/1985, released September 5, 1985)
  • Happy End Greeeatest Live! On Stage (はっぴいえんど GREEEATEST LIVE! ON STAGE, recorded 4/12/70, 8/7/71, 4/14/71, released July 15, 1986)
  • Happy End Live On Stage (はっぴいえんど LIVE ON STAGE, recorded 8/9/70, 8/21/71, 4/14/71, 8/7/71, released August 25, 1989)

Compilations

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  • City - Happy End Best Album (CITY／はっぴいえんどベスト・アルバム, Shiti/Happī Endo Besuto Arubamu, 1973)
  • Singles (シングルス, Shingurusu, 1974)
  • Happy End (はっぴいえんど〜HAPPY END, 1993, box set)
  • Happy End Box (はっぴいえんどBOX, Happī Endo Box, 2004, box set)
  • Happy End Masterpiece (はっぴいえんどマスターピース, Happī Endo Masutāpīsu, 2014, box set)

Singles

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  • "Juuni Gatsu no Ame no hi" (１２月の雨の日, April 1, 1971)
  • "Hana Ichi Monme" (花いちもんめ, December 10, 1971)
  • "Sayonara America, Sayonara Nippon" (さよならアメリカさよならニッポン, February 25, 1973)
  • "Ashita Tenki ni Naare" (あしたてんきになあれ, November 26, 1999)

See also

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References

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  1. ^ "Flipping through rock's baby pictures". The Japan Times. December 2, 2014. Archived from the original on November 4, 2016. Retrieved November 1, 2016.
  2. ^ a b c "Japan's Latest (Revival) Music Buzz, New City Pop". MTV81. January 29, 2016. Archived from the original on February 5, 2016. Retrieved April 16, 2016.
  3. ^ a b c d "Top 100 Japanese pops Artists - No.4". HMV Japan (in Japanese). November 27, 2003. Archived from the original on August 6, 2012. Retrieved September 6, 2011.
  4. ^ a b c d e f "【はっぴいえんどを松本隆と鈴木茂が語る】第1回 日本語でロックをやるための教科書も参考書もなかった". Mikiki (in Japanese). January 17, 2024. Retrieved December 23, 2024.
  5. ^ a b c d e f "Lyricist Takashi Matsumoto on Happy End, writing for pop and helping change the course of Japanese music history". The Japan Times. May 22, 2022. Archived from the original on May 28, 2022. Retrieved May 28, 2022.
  6. ^ a b "松本隆と鈴木茂が明かした「はっぴいえんど」秘話　前身「ヴァレンタイン・ブルー」と細野晴臣が名付けた理由". AERA dot. (in Japanese). Asahi Shimbun. December 17, 2023. Retrieved December 23, 2024.
  7. ^ "はっぴいえんど プロフィール". HMV Japan (in Japanese). Archived from the original on January 29, 2015. Retrieved January 5, 2015.
  8. ^ "1969年冬。松本隆が語る大瀧詠一に 託した歌詞のこと「永島慎二の漫画が 畳の上に転がってたんだ」". Crea (in Japanese). Bungeishunjū. November 28, 2023. Retrieved December 24, 2024.
  9. ^ "〈URC50周年記念プロジェクト〉日本の音楽シーンに多大な影響を及ぼした伝説のインディーズ・レーベル、その足跡をたどる". Mikiki (in Japanese). August 11, 2020. Retrieved December 23, 2024.
  10. ^ a b c "Happy End". Japrocksampler. Archived from the original on August 30, 2011. Retrieved April 25, 2013.
  11. ^ TJ Mook Kike! Densetsu no Nihon Rokku 1969-79 TJ MOOK 聴け! 伝説の日本ロック1969-79 [TJ Mook Kike! Legendary Japanese Rock 1969-79]. Takarajima Press. 2004. p. 33. ISBN 4-7966-3862-8.
  12. ^ a b Bourdaghs, Michael K. (October 18, 2011). Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-Pop. Columbia University Press. pp. 176–177. ISBN 978-0-231-53026-2. Archived from the original on April 17, 2023. Retrieved August 18, 2013.
  13. ^ Hayward, Philip (1999). Widening the Horizon: Exoticism in Post-War Popular Music. John Libbey Publishing. p. 120. ISBN 978-1-86462-047-4.
  14. ^ Limnious, Michalis (May 22, 2013). "Versalite artist Van Dyke Parks talks about the Beats, Horatius, Sinatra, Pythagoras, Ry Cooder; and 60s". Blues.gr. Archived from the original on December 12, 2013. Retrieved August 18, 2013.
  15. ^ "【はっぴいえんどを松本隆と鈴木茂が語る】第2回 『風街ろまん』の秘話と〈売れないバンド〉ではなかった実情". Mikiki (in Japanese). January 31, 2024. Retrieved December 23, 2024.
  16. ^ "スピッツ、くるり、ハナレグミら参加のはっぴいえんどトリビュートアルバム初配信！" (in Japanese). Culture Convenience Club. March 18, 2015. Retrieved January 7, 2016.[permanent dead link‍]
  17. ^ "Bande originale: Lost in translation". EcranLarge. August 18, 2005. Archived from the original on April 3, 2008. Retrieved March 23, 2008.
  18. ^ "大瀧詠一さん急死 65歳 「幸せな結末」などヒット曲". Asahi Shimbun (in Japanese). December 31, 2013. Archived from the original on November 23, 2014. Retrieved October 20, 2015.
  19. ^ "作詞活動45周年 松本隆ワールドを草野・和義・YUKIら歌う". Oricon (in Japanese). May 3, 2015. Archived from the original on March 22, 2016. Retrieved January 8, 2016.
  20. ^ "作詞家・松本隆45周年記念2days公演決定 元はっぴいえんど3人ら豪華歌手集結". Oricon (in Japanese). May 14, 2015. Archived from the original on March 21, 2016. Retrieved January 7, 2016.
  21. ^ "松本隆、45周年公演で細野晴臣&鈴木茂に感謝「素晴らしいメンバー」". Oricon (in Japanese). August 21, 2015. Archived from the original on April 7, 2016. Retrieved January 7, 2016.
  22. ^ "松本隆作詞楽曲だけで日本武道館2days 「はっぴいえんど」ら出演者第1弾発表". Oricon (in Japanese). September 2, 2021. Archived from the original on May 28, 2022. Retrieved May 28, 2022.
  23. ^ "鈴木茂、小原礼、林立夫、松任谷正隆からなるバンド・SKYEが満を持してデビューアルバム発売". Natalie (in Japanese). September 10, 2021. Archived from the original on December 26, 2021. Retrieved December 25, 2021.
  24. ^ Martin, Ian F. (2016). Quit Your Band: Musical Notes From the Japanese Underground. Awai Books. p. 54. ISBN 978-1-937220-05-1.
  25. ^ Bourdaghs, Michael K. (2012). Sayonara Amerika, Sayonara Nippon: A Geopolitical Prehistory of J-pop. Columbia University Press. pp. 173–74. ISBN 978-0-231-15874-9. Archived from the original on April 17, 2023. Retrieved June 29, 2020.
  26. ^ Beaudoin, Jedd (July 11, 2019). "Mom's Back to Her Crazy Life: An Interview With Japanese Folk Pioneer Sachiko Kanenobu". PopMatters. Archived from the original on April 18, 2021. Retrieved January 2, 2021.
  27. ^ a b "究極のビートルズ来日賞味法！ ビートルズが日本に与えたもの". Oricon (in Japanese). June 21, 2006. Archived from the original on May 28, 2022. Retrieved May 28, 2022.
  28. ^ "City pop revival is literally a trend in name only". The Japan Times. July 5, 2015. Archived from the original on December 18, 2015. Retrieved January 9, 2016.
  29. ^ "シティーポップ勢のベスト盤！" [Greatest-hits albums by City Pop musicians!] (in Japanese). HMV Japan. July 4, 2005. Archived from the original on October 21, 2012. Retrieved January 7, 2016.
  30. ^ "Top 100 Japanese pops Artists - No.9". HMV Japan (in Japanese). November 22, 2003. Archived from the original on May 7, 2016. Retrieved January 13, 2016.
  31. ^ "Top 100 Japanese pops Artists - No.44". HMV Japan (in Japanese). October 18, 2003. Archived from the original on March 20, 2019. Retrieved January 13, 2016.
  32. ^ Lindsay, Cam (November 14, 2007). "Finally! "The 100 Greatest Japanese Rock Albums of All Time" Listed". Exclaim!. Archived from the original on May 26, 2020. Retrieved August 30, 2020.
  33. ^ "日本のロック・スタンダード・アルバム54(6)". Tower Records. June 3, 2009. Archived from the original on February 21, 2018. Retrieved February 20, 2018.
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