Wota in Translation

Nagai Rui — the man responsible for arranging one of Hello! Project’s most long-lasting favorites, Tanpopo’s “Otome Pasta ni Kandou.” While he hasn’t arranged a great number of songs for Hello! Project, all of them have left a lasting impact. In this interview, he talks about everything from his musical roots to a certain unexpected (?) meaning behind one of Tanpopo’s songs.

— You’re a successful lyricist, songwriter and arranger, and also a talented multi-instrumentalist. Could you talk a little bit about how that came to be?

Nagai: I guess it all began when I first started learning how to play the piano back in kindergarten. But it’s not like I’m from a family of academics or anything, so I just played for my own amusement. Then I got into elementary school… high school… and I was just floored by The Beatles. That made me pick up the guitar — although that, too, was just for my own amusement. I was in bands since junior high school, but every time there’d be problems like “the bassist can’t really play the bass” or something, so then I’d have to try playing the bass myself, or I’d have to play the guitar, or I’d have to sing… I got to try it all.

— And through that, you picked up all those instruments naturally?

Nagai: Yes. And since all we were doing at the time were Beatles and Queen covers, my playing was always a little bit eccentric from the get-go. Of course later I got to listen to all kinds of different music as well, but since those two bands were my roots it took me a long time to even realize that my playing was unusual.

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Beginning with Berryz Koubou’s “Anata Nashi de wa Ikite Yukenai” and Gomattou’s “SHALL WE LOVE?“, AKIRA has been the biggest name in Hello! Project when it comes to R&B. Having originally come from the field of R&B himself, how does he work when it comes to the music of Hello! Project?

— Could you start by talking about how you first became interested in music production?

AKIRA: I was always a big fan of fusion music and I played bass in a band back in high school. Once I returned from studying abroad in America, I found that the new jack swing genre had become popular, and through it I got into R&B which made me get into trackmaking as well as singing. I taught myself how to do music programming as well.

— How did you become a professional musician?

AKIRA: Rittor Music was hosting this thing called AXIA Artist Audition in ’96. You could take part in it just by sending in a tape — this was perfect for me since I hated singing in front of people. (laughs) I participated in it two years in a row, receiving an award both times. People who made it into the final round of the audition got their song put on a CD and sent to record labels, which is how I then joined Toshiba-EMI as a kind of a singer-songwriter. I made the move from Sapporo to Tokyo in ’98 and started working as a songwriter, first receiving work from the recording directors of Toshino Yonekura and Nakanishi Keizo. Right after that, I started working with Hello! Project.

— So you first worked with Hello! Project almost immediately after you began working professionally as a songwriter.

AKIRA: Right during that initial period, yes. I was pretty much raised by Hello! Project. It was like school for me.

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