Singer-songwriter Mariya Takeuchi sat down with Billboard Japan for its Monthly Feature interview series highlighting today’s leading artists and works. The veteran artist recently released her first studio album in a decade called Precious Days.
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The 18-track set illuminates the daily lives of her listeners from different angles through a wide variety of musical styles. Billboard Japan asked Takeuchi to share her thoughts on her recent project, and also to comment on the “city pop” revival in recent years, which has launched her vintage hit song “Plastic Love” from 1984, among others, into the global limelight.
As the title Precious Days suggests, the mood that runs throughout the album as one of its themes is the value of each irreplaceable day in our lives.
When I do tie-ins, I write songs based on the themes I’m given, and recently I’ve been getting a lot of requests for songs with themes like encouraging people or cheering them up. I guess that reflects the times to some extent. It’s a time of uncertainty, so people are feeling uneasy and want to be cheered up, you know?
So as a result, it became an album that’s in tune with the times.
That’s what happened. I’ve always wanted to sing songs that are irrelevant to age, and I think I’ve been able to achieve that.
It seems to me you’ve been delivering music to a wide range of listeners throughout your career. Why did you focus on that sentiment again this time?
I didn’t particularly think about generations write writing the songs, but I do think there are certain emotions that are commonly sought after. I want to make music that is universal, both the words and the sound, and won’t be considered old even after 20 or 30 years. That’s what Tatsuro Yamashita (co-producer of the album) is most careful about. He does the same when making his own music, and he does it when producing mine.
That aesthetic is probably connected to the revival of city pop. Regarding the rediscovery both in Japan and abroad of ‘80s and ‘90s retro Japanese pop music, have you had opportunities to personally experience that movement?
A lot recently, yes. When I was checking to see who was listening to “Plastic Love,” I saw comments written in Russian and Korean and more. I have a niece who lives in Canada, and she says that people are surprised when she tells them the singer on “Plastic Love” is her aunt. Also, I studied abroad in Illinois long ago, and apparently the grandchild of my host sister at the time went to an electrical appliance store where they kept playing songs by Tatsuro and me. When they said, “That person was at my grandma’s house for a year,” the people at the store were surprised. I’m just so grateful, because those songs are 40 years old.
Why do you think city pop music is loved by people of all ages and nationalities?
I think maybe people find it unusual, in that it’s not the uniform sound of machines and that Japanese players were doing something that sounded like Western music by hand in the analog ‘80s. I imagine people were surprised to discover that young people in Asia they didn’t know about at the time were doing something like this with an awareness of the real thing, including Tatsuro’s arranging prowess.
We were certainly aiming to make something good and to create a sound influenced by Western music, but we weren’t trying to sell it in the Western music market. It was more like, “That sounds cool, doesn’t it?” But you know, it had power. The studio musicians were highly proficient, and above all, Tatsuro’s arrangements were perfect. I think that’s why it held up over time. It proves that the players’ performances were good enough to go out into the world, so it’s a really happy phenomenon.
Did the city pop revival also lead to the universality of your latest album?
Universality has been the starting point from the very beginning. From the time I made my debut, pop music, in whatever form it takes, has always been about aiming to create something that people will listen to and sing for a long time, and that could become a standard. I’ve always kept that in mind and tried to do my best. It’s fun to listen to music while thinking about what’s popular at the moment, but there are many other artists who make that kind of music, so I’m always trying to figure out what people want from me.
Could you tell us why you named your project Precious Days?
When a few songs were ready, it occurred to me that I was singing about “irreplaceable days.” At the same time, I happened to have a number of songs with the word day in them, like “Brighten up your day!,” “Days of Love,” and “Smiling Days,” so I figured if I was going to name the album “something Day,” then it would be “Precious.”
“Have a Good Time Here” was written as the theme song for Pokémon Concierge on Netflix and must have reached a wide range of listeners.
I had a lot of fun making that song, too. If I hadn’t been tapped to write it, I probably wouldn’t have thought to make a track in the style of samba. It was inspired by the Pokémon Resort. I was asked to write a song that would encourage the main character Haru and the Pokémon.
“Watching Over You” is a collaboration with singer-songwriter Anri. You both made your debut in the same year, class of ’78.
Yes, we made our debut around the same time. I talk to Anri on the phone from time to time. A long time ago, I happened to run into her in L.A. Bruce Springsteen was swimming in the hotel pool, and we were both young, so we went up to him and asked him things like, “Aren’t you coming to Japan to do shows?” and so on. [Laughs]
When artists like you continue to make new studio albums, regardless of the length of their careers, it must be reassuring and encouraging for both their fans and other artists.
I think you have to keep doing that to stay relevant. It’s possible to keep going just by singing old songs, but you have to keep creating new things. For example, I’m a huge Beatles fan and if I were to go to a Paul McCartney concert, I’d want him to do Beatles songs for sure. But I’m pretty certain he definitely wants you to listen to his new releases, too. Maybe “Yesterday” is the song that really gets you, but there’s significance in artists performing new ones, and that’s what makes the classics shine too.
It’s about how many songs I can create that make people think, “I want her to do that one.” They’ll become the density of time that I can share with everyone as we grow older, so I try not to stand still and think, “I’ll just play those songs.” Accumulating new songs while mixing in some old favorites for people to hear. I think that’s the most beautiful way to be, though it’s hard. And because that’s something I can only do if I’m in good physical condition, I hope I can stay healthy for a long time, thinking, “I want to write a song like that” and keep plugging away.
