Interview with the City Pop Godfather: Tetsuji Hayashi
Van Paugam & Hayashi Tetsuji
Interview with the legendary producer, composer, and musician: Tetsuji Hayashi
Securing an interview with Tetsuji Hayashi, one of the pivotal architects of Japan's City Pop movement, was a surreal moment in my journey as a music historian and enthusiast. This incredible opportunity came about thanks to Ryusei Miyakodori, the editor-in-chief of a prominent Japanese news media site MAG2—and a supporter of my work. When Mr. Miyakodori first reached out, expressing his admiration for how I’ve helped spotlight Japanese music’s global impact, I was both surprised and deeply honored. Little did I know that this connection would lead to one of the most memorable conversations of my career.
Though we never met in person, Mr. Miyakodori’s support felt personal and genuine. He shared how my articles and projects resonated with his own passion for preserving and promoting Japan’s rich musical heritage. It was through his encouragement and behind-the-scenes orchestration that this interview with Tetsuji Hayashi became a reality. Ryusei’s belief in my work wasn’t just flattering—it was a testament to the way music connects us across borders, generations, and shared love for artistry.
Obtaining tickets to The City Pop Chronicle: The World of Tetsuji Hayashi in Concert feels like winning a golden ticket into the heart of City Pop history. As a lifelong devotee of the genre and someone who has worked tirelessly to champion its legacy internationally, this event is nothing short of monumental. It's not just a concert; it's a pilgrimage to the epicenter of the music that has shaped countless lives, mine included. Accompanied by my good friend, Mika Bridgebook, I was enthralled at being able to witness something so surreal I’ll never forget it.
Imagine being one of the few non-Japanese attendees in a sea of devoted fans, all there to honor a legend whose melodies defined an era and transcended borders. This is an unprecedented gathering of City Pop lore—featuring not only Tetsuji Hayashi himself but a stellar lineup of original singers and performers who brought his music to life. The very names that appear on record sleeves cherished by fans worldwide will take the stage to celebrate Hayashi’s 50 years of brilliance.
The thought of experiencing “Mayonaka no Door ~ Stay with Me,” live, surrounded by an audience who feels this music as deeply as I do, is exhilarating. City Pop has always carried a certain mystique—melancholic yet uplifting, nostalgic yet timeless—and now, to witness this music in its homeland, performed by the icons who made it legendary, feels like stepping into a dream.
Being one of the few gaijin there adds an additional layer of significance. It underscores how far this music has traveled—how its emotional resonance has reached corners of the world it was never initially intended to. It’s not just about the music anymore; it’s about connection, history, and the global community that has formed around this sound.
This event wasn’t just a concert—it was a living piece of history, a celebration of art that refuses to fade. To be there, in that moment, feels like a once-in-a-lifetime opportunity to pay homage to a genre and a man whose music has enriched the world. I’ll be carrying this experience back home, my heart full, and my love for City Pop deeper than ever.
Mika Bridgebook & Van Paugam at Tetsuji Hayashi’s City Pop Chronicle
The following is a translation of the original interview found here: Link
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The Global Resurgence of City Pop: A Conversation with Tetsuji Hayashi and DJ Van Paugam
City Pop, a genre that originated in Japan during the late 1970s and 1980s, has made a remarkable comeback in recent years, captivating audiences worldwide. At the heart of this revival are figures like Tetsuji Hayashi, the composer behind the legendary hit “Mayonaka no Door – Stay with Me,” and DJ Van Paugam, a trailblazer who has introduced City Pop to global audiences. Their recent dialogue sheds light on the genre’s enduring charm and newfound international appeal.
The Iconic “Mayonaka no Door – Stay with Me”
Tetsuji Hayashi’s “Mayonaka no Door – Stay with Me” is one of the most recognizable City Pop tracks, symbolizing the genre’s dreamy aesthetic and sophisticated soundscapes. Hayashi shared his thoughts on how this song, originally released in 1979, found a second life decades later through social media platforms like TikTok, where younger generations rediscovered its nostalgic yet timeless allure. Not only did it make the J-Pop rankings in Apple Music across 92 countries, but Miki Matsubara's “Mayonaka no Door ~ Stay with Me” (1979) also claimed the No. 1 spot on Spotify's Global Viral Chart for 18 consecutive days. This iconic track is just one of many masterpieces that defined the City Pop genre in the 70s and 80s, crafted by composer Tetsuji Hayashi. Hayashi has had a prolific career spanning film, anime, and theater.
Meanwhile, DJ Van Paugam, based in Chicago, USA, was captivated by Hayashi’s works and the allure of Japanese City Pop. Since 2016, he has been a pioneer in spreading the genre to music fans worldwide through his YouTube channel, becoming a trailblazer in the global City Pop boom. For the first time, the creator of these legendary tracks and one of the leading figures responsible for their global dissemination came together to discuss the past, present, and future of the enduring City Pop phenomenon. (Translation support: Tadamichi Hosokawa)
DJ Van Paugam Asks Tetsuji Hayashi: “Why Do You Think City Pop is Popular Overseas Right Now?”
Interviewer: “Thank you for taking the time to speak with us today. City Pop, a genre born in Japan in the 70s and 80s, reflects a youth culture fascinated by foreign influences and a longing for a cosmopolitan or resort-inspired lifestyle. Your composition, ‘Mayonaka no Door ~ Stay with Me,’ stands as one of the defining tracks of this genre, alongside many other classics you've created. DJ Van Paugam, based in Chicago, has been a key figure in the City Pop resurgence that began in the late 2010s, primarily overseas. Bringing the two of you together to discuss this phenomenon is a dream come true. I’m delighted that we could make this ‘dream City Pop dialogue’ a reality.”
Interviewer: “To start, let me briefly introduce both of you.”
Tetsuji Hayashi was born on August 20, 1949, in Shizuoka Prefecture. His career took off in 1972 when he was recognized at the Chile Music Festival, leading to his debut as a singer-songwriter in 1973. Subsequently, he transitioned into composing, earning the prestigious Japan Composer Awards’ Excellence in Composition Award for five consecutive years starting in 1983. Hayashi has also made significant contributions as a music director for films and television, showcasing his versatility across various creative domains.
Some of his most iconic works include Miki Matsubara’s “Mayonaka no Door ~ Stay with Me,” Masaki Ueda’s “Kanashii Iro Yane,” Anri’s “Kanashimi ga Tomaranai,” Mariya Takeuchi’s “September,” Akina Nakamori’s “Kitak Wing,” and Kiyotaka Sugiyama & Omega Tribe’s “Futari no Natsu Monogatari ~ Never Ending Summer.” With over 2,000 compositions to his name, Hayashi has left an indelible mark on the music industry. Beyond composing, he has also excelled as an arranger, lending his expertise to numerous works throughout his illustrious career.
On November 5th, a special concert titled “The City Pop Chronicle: The World of Tetsuji Hayashi in Concert” will be held at the Tokyo International Forum to commemorate the 50th anniversary of Tetsuji Hayashi’s career as a composer. This event highlights his ongoing and dynamic contributions to the music world.
Van Paugam, based in Chicago, Illinois, is a DJ and musician who has been instrumental in bringing City Pop to global audiences. In 2016, he began uploading City Pop mixes to his YouTube channel, quickly drawing the attention of music fans worldwide. His channel introduced tracks like Miki Matsubara’s “Mayonaka no Door ~ Stay with Me” and Mariya Takeuchi’s “Plastic Love,” which later became catalysts for the genre’s global boom.
By January 2019, his channel had reached approximately 100,000 subscribers. That same month, he organized a live performance by the singer Anri in Chicago. However, shortly after this success, his YouTube channel was taken down due to copyright claims, causing his name to remain relatively unknown in Japan despite being a pioneer of the City Pop resurgence.
Van was one of the few DJs in 2016 actively curating and sharing City Pop mixes. Although his original YouTube channel is no longer available, many of the mixes he uploaded during that time can now be found on SoundCloud. For those interested in exploring the genre, his City Pop mixes are highly recommended and offer a nostalgic yet fresh listening experience.
In recent years, Tetsuji Hayashi has gained renewed attention for his reinterpretation of the works of singer Hideki Saijo, who passed away in 2018. His exceptional ability to curate and arrange music has earned him widespread acclaim among music fans worldwide. On November 5th, Hayashi will commemorate his 50th anniversary as a composer with a concert titled “The City Pop Chronicle: The World of Tetsuji Hayashi in Concert” at the Tokyo International Forum.
Meanwhile, DJ Van Paugam, based in Chicago, has been a pivotal figure in the global resurgence of City Pop. In 2016, he began uploading City Pop mixes to his YouTube channel, showcasing tracks like Miki Matsubara's “Mayonaka no Door ~ Stay with Me” and Mariya Takeuchi's “Plastic Love.” These mixes were instrumental in sparking the genre's worldwide boom. By January 2019, his channel had amassed approximately 100,000 subscribers, and he organized a live performance by Anri in Chicago. However, his channel was later taken down due to copyright claims, causing his pioneering efforts to remain relatively unknown in Japan. Today, his mixes can be found on SoundCloud, offering listeners an opportunity to experience his unique interpretation of City Pop.
A Historic Conversation: DJ Van Paugam and Tetsuji Hayashi
Van Paugam (Van): [In Japanese] “Mr. Hayashi, it’s a pleasure to meet you. Thank you for this opportunity.”
Tetsuji Hayashi (Hayashi): “Oh, nice to meet you! Thank you as well. I’ve reviewed the questions you prepared in advance.”
Van: “Thank you. Let me begin by asking about the musical influences throughout your long career. What shaped your music over the years?”
Hayashi: “I have two older brothers who are significantly older than me. They introduced me to American music, such as Paul Anka, Neil Sedaka, and Elvis Presley—popular artists who dominated the charts at the time.”
Van: “Did you listen to them on vinyl or the radio?”
Hayashi: “Mostly the radio, though my brothers occasionally bought new pop music records. I naturally picked up their music. I listened to American pop with one ear and Japanese kayōkyoku (traditional Japanese pop) with the other.”
Van: “It seems your exposure to these contrasting styles helped shape your unique blend of Western and Japanese musical elements. Were there any specific kayōkyoku songs that particularly inspired you as a child?”
Hayashi: “Not any specific song, honestly. I was more influenced by American music. At the time, Japanese kayōkyoku was relatively simple in structure, while American music incorporated a wide variety of elements, making each song unique. Naturally, I gravitated toward Western music.”
Van: “When you first began composing, what was your approach or mindset during the creative process?”
Hayashi: “I was deeply inspired by an artist named Yūzō Kayama—a Japanese musician, composer, and actor. He performed his own music, played the electric guitar, and sang. I admired his style and started composing because of him. Of course, I was also influenced by The Beatles, but being Japanese, Kayama felt more relatable.”
Van: “Did you ever collaborate with Yūzō Kayama?”
Hayashi: “Unfortunately, no. I had hoped to, but it never happened. He retired recently.”
The Origins of City Pop
Van: “Why did you start composing what is now called ‘City Pop’?”
Hayashi: “When I composed the music you now call City Pop about 40 years ago, I wasn’t consciously thinking of it as such. I simply loved American pop music. I absorbed its elements naturally, and when I created my own music, those influences emerged organically. This interest in Western music started in my childhood and became a part of me, much like someone growing up in America.”
Van: “Many people describe your music as both ‘natural’ and ‘nostalgic.’ Even though I wasn’t born when your iconic songs were released, they resonate deeply with me as an American.”
Hayashi: “I’ve sometimes wondered, ‘Why am I living in Japan?’ [laughs].”
Van: “[laughs] Of all the music you’ve composed, which project or song do you think is the most Western-influenced?”
Hayashi: “Rather than a single song, I’d point to the project Kiyotaka Sugiyama & Omega Tribe. When I composed for them, I was heavily influenced by AOR (Adult-Oriented Rock), which was popular in America at the time. Their music reflects that influence strongly. If I had been a performer back then, I would have pursued a similar style myself.”
The Secret Behind the "Tetsuji Hayashi Sound" That Amazed the World
Van Paugam (Van): “Mr. Hayashi, many of your compositions prominently feature synthesizers. Are there any particular synthesizers you were especially fond of or frequently used?”
Tetsuji Hayashi (Hayashi): “Like many other arrangers, composers, and sound creators of the 80s, I primarily used the Prophet-5 and Oberheim synthesizers. However, this is an important point: the choice of tones varies greatly among sound creators. In my case, I avoided the typical ‘synthesizer-like’ harsh tones. Instead, I leaned toward sophisticated, refined tones. For instance, if you listen to my tracks, you’ll notice that even the ‘pad’ sounds I use are closer to the rounder timbres of trombones or horns rather than the stark, synthetic sounds that are often associated with synthesizers. That’s one thing that sets my music apart from, say, someone like Calvin Harris.” [laughs]
Van: “I much prefer your music to Calvin Harris’s!” [laughs]
Hayashi: “Thank you!” [laughs]
Van: “Do you have any favorite keys or chord progressions you like to use?”
Hayashi: “I don’t have a particular favorite key, but I generally prefer those with fewer sharps and flats—they’re just easier for me to work with! [laughs] When composing, I mainly use the guitar and piano. On the piano, keys like F, G, and C are the easiest, while on the guitar, E and similar keys feel most natural. I think that’s common for many composers.”
Van: “Your music often sounds simple yet contains subtle complexities. There seems to be a perfect balance between Western and Japanese musical elements. Was that something you consciously aimed for?”
Hayashi: “Looking back, there was a period in the 80s when I tried to make my compositions more aligned with American music. However, Japanese listeners couldn’t quite connect with music that was entirely American in style. So, I adjusted my music to fit within a framework that Japanese audiences could relate to. This shift is what became the foundation of what you now call City Pop. It’s like I was sailing toward America but stopped over in Hawaii and eventually returned to Japan.” [laughs]
Van: “Haha, that’s cool—I completely understand now.”
Thoughts on Modern Music: Streaming, AI, and Subscriptions
Van: “What are your thoughts on how music consumption has shifted toward streaming and subscription services?”
Hayashi: “That’s a tough question. The way people enjoy music has always evolved, and that’s not inherently a bad thing. Just as media shifted from records to cassettes, CDs, and MDs, the way listeners consume music has changed with the times. It’s a cultural progression.
“That said, there is a downside. The low compensation that artists receive through subscription-based streaming services is a significant problem. This financial model has made it difficult to provide proper returns to artists. Another issue is how listeners interact with music. In the past, people would buy a record or CD and listen to it repeatedly, developing a deep attachment to it. Now, music is often treated as background noise, which has created a stark difference in how deeply people appreciate music compared to the past.”
Van: “I completely agree. What about the rise of AI in the music industry?”
Hayashi: “AI will inevitably have a major impact, just as it’s affecting Hollywood, where actors and writers are striking. While AI’s ability to create music tailored to individual preferences is convenient, prioritizing convenience over the joy of human creativity is not a positive direction. It risks diminishing the role of imagination and emotion in music creation.”
Miki Matsubara & Tetsuji Hayashi
The Story Behind Miki Matsubara's Iconic "Mayonaka no Door"
Van: “That’s so true. For my last question, I’d like to ask about Miki Matsubara and her debut song, ‘Mayonaka no Door ~ Stay with Me.’ Thanks to this track, she’s now one of the most recognized Japanese artists worldwide. Can you share your memories of working with her and the process of composing this iconic song?”
Hayashi: “Miki was incredibly talented, with a distinct voice and a deep understanding of music. When I composed ‘Mayonaka no Door,’ the goal was to create a song that combined sophistication with emotional depth. The process was smooth, as she had an innate ability to bring the composition to life exactly as I envisioned. Her performance elevated the song, and I believe that’s why it has resonated so deeply with listeners around the world, even decades later.”
Hayashi: “This song was composed in 1979, but at the time I wrote it, I hadn’t yet met Miki Matsubara. [laughs] Other composers were also working on songs with the same lyrics, and I believe the final choice was made through a competitive selection process. My producer specifically asked me to approach the composition as if I were writing American pop music, without worrying about making it sound ‘Japanese.’ That freedom allowed me to focus purely on the melody and arrangement.”
Van: “After writing the song, did you ever have the chance to meet or work directly with Miki Matsubara?”
Hayashi: “Yes, after ‘Mayonaka no Door’ became a hit, I provided her with several other songs. We collaborated extensively in the studio, working together on album productions. At the time of her debut, she was still a teenager, very cute, and more suited to singing idol-type songs. However, her voice had a jazzy quality, and ‘Mayonaka no Door’ showcased a mature and sophisticated tone that brought a unique elegance to the track.”
Van: “In these challenging times, with so many conflicts and global issues, could you share a word of inspiration for all of us?”
Hayashi: “I encourage everyone to trust in their own creativity and use it to create something new. This ties back to the earlier discussion about AI. While society seems to move rapidly toward convenience, I believe it’s crucial to remain conscious of humanity’s unique creative potential as we engage with science and culture. That awareness will help us continue to innovate in meaningful ways.”
Tetsuji Hayashi Asks Van Paugam: Why Are You Interested in Japan’s 80s City Pop?
Interviewer: “Now, Mr. Hayashi, it’s your turn to ask Van some questions. As a DJ who played a key role in spreading City Pop globally, Van is sure to have insights worth exploring.”
Hayashi: “Van, why is it that someone like you, living in America, knows about songs I composed so long ago?”
Van: “Mr. Hayashi, I’m not sure if you’re aware, but whenever I DJ City Pop, I exclusively use vinyl records. When I started collecting and listening to these records, I noticed something interesting after a few years. While looking at the back covers and liner notes, I repeatedly saw the name ‘Tetsuji Hayashi.’ It made me realize how important you are as a composer. I think there are more people around the world slowly coming to the same realization.”
Hayashi: “I believe DJs like you are instrumental in creating this modern City Pop boom. But why are you, an American, particularly drawn to Japan’s 80s City Pop?”
Van: “What stands out, especially in the songs you composed, is that 80s City Pop has a unique sound compared to other music of its time. The melodies, in particular, are so distinctive and compelling that they make you want to keep listening. I think that’s something missing in today’s Western music.”
Hayashi: “I see. When I first heard about the global City Pop boom, I found it very strange and puzzling. I couldn’t understand why music I composed 40 years ago was suddenly being listened to worldwide. But as a producer, I felt it was necessary to analyze this phenomenon from a musical perspective. After reading what various music writers have said, I came to understand that there are multiple reasons and factors behind the boom.
“However, there’s one thing I still don’t fully understand. Back then, we Japanese were heavily influenced by 80s American music. So why has your interest turned toward Japan’s City Pop, instead of America’s original 80s music?”
Van: “For younger generations of Americans like us, artists like Michael Jackson and The Doobie Brothers are seen as music from our parents’ era—‘uncool’ or ‘outdated.’ Although Japanese City Pop has a sound that’s somewhat reminiscent of that era, it feels fresh to us. It’s something we can claim as ‘our own music.’”
Hayashi: “That’s a unique feature of the internet age, isn’t it? [laughs]”
Van: “You’re right. Younger generations today don’t listen to the radio, so they see City Pop as a modern-day radio. To them, it feels like discovering new music for the first time.”
Hayashi: “City Pop is a challenging concept to interpret in Japan. That’s because there are people who experienced it in real time and those from younger generations who are discovering it now through the overseas boom. Some see it as a ‘revival,’ while others see it as new music. This creates a mix of definitions and interpretations of what City Pop actually is. On the other hand, overseas fans simplify it, categorizing it as ‘melodic Japanese works from the 80s’ or ‘urban-styled compositions.’ It’s much more straightforward for them. For fans outside Japan, it’s not a ‘revival,’ is it?”
Van Paugam (Van): “That’s right. City Pop feels like brand-new music. [laughs] At the same time, it evokes a sense of nostalgia, like finding an old photo of a forgotten friend.”
The Sentimental Nature of Japanese Music
Hayashi: “I’d like to add one more thing. One of the differences between the 80s American music we were inspired by and the music we created is that Japanese music seems to carry a uniquely melancholic or wistful emotion. That emotional quality is embedded in the sound.”
Van: “I completely agree. Japanese music often includes sentimental elements, something that hasn’t traditionally been sought after by American producers. However, I feel that American music is now beginning to incorporate those elements.”
Hayashi: “For example, about seven or eight years ago, Bruno Mars won several Grammy Awards with his laid-back and melodic music. Since then, artists like Charlie Puth and Dua Lipa have been creating hit songs with strong melodies.
“In the late 80s, when M.C. Hammer and groove-focused rap music emerged, I thought that trend would be short-lived. However, the era of groove-based, computer-generated music ended up lasting much longer than I expected. Because we had such a long ‘melody-lost era,’ I feel like there’s now a shift back toward melody.”
Van Paugam (Van): “History truly goes in cycles. AOR and Yacht Rock, which were once popular, are now making a comeback in America. For the younger generation, who didn’t grow up with sentimental music, this sound feels fresh and new. I think that sentimental quality is something essential for us as human beings.”
Tetsuji Hayashi (Hayashi): “In the 80s, when American music was leading the world, Japanese engineers living in Los Angeles used to tell us, ‘Japanese composers can write melodies like Americans, but the difference is that Japanese music often has a more delicate, sensitive quality.’”
Van: “In the 90s, American music, especially hip-hop, leaned heavily into aggressive and bold elements, leaving little room for the kind of subtlety you find in Japanese music. I believe that’s why more people are now drawn to City Pop—it offers the delicate and nuanced qualities that are often missing in modern music.”
Gratitude for DJs Worldwide Who Preserved Mayonaka no Door
Hayashi: “For a long time, music was dominated by riffs, wasn’t it? Reflecting on ‘Mayonaka no Door,’ when it was released in 1979, it was just a modest hit. But then DJs like you kept the song alive, playing it in clubs over the years. That continuity played a huge role in preserving its popularity. When DJs brought this song to the internet, it acted as a catalyst, making it a worldwide phenomenon. For that, I’m deeply grateful.
Van: “As a DJ spinning City Pop records, I’ve had listeners tell me that ‘Mayonaka no Door’ helped lift them out of a dark mood. Even if they don’t understand Japanese, the strength of the melody and the music conveys a powerful emotional message. It’s a masterpiece that resonates with people globally, regardless of language.”
Hayashi: “Miki Matsubara is no longer with us (she passed away in 2004 at the age of 44), but I believe she’d be thrilled to know that her voice is now being heard by people all over the world. It’s not about whether a song was a hit or not; it’s about DJs like you choosing songs based on your instincts, giving lesser-known tracks the chance to shine. Sometimes, I’m surprised by the songs you choose! [laughs]”
Van: “What’s one song that particularly surprised you when DJs picked it up?”
Hayashi: “For example, there’s a track called ‘Rainy Saturday & Coffee Break’ from my second album, Back Mirror (1977). I never thought of it as a bad song, but I certainly didn’t expect it to be the kind of track people would pick up and spotlight. [laughs]”
Van Paugam (Van): “Music speaks for itself—if you love something, you just love it! [laughs] I’ve purchased tickets for your upcoming concert, ‘The City Pop Chronicle: The World of Tetsuji Hayashi in Concert,’ on Sunday, November 5th, at the Tokyo International Forum. I’m really looking forward to traveling to Japan and experiencing your concert.”
Tetsuji Hayashi (Hayashi): “Really? Truly? I hope we get the chance to meet in person on that day.”
Van: “Yes, I would be delighted to meet you! One last question before we wrap up. What can we, as the audience, expect from ‘The City Pop Chronicle’? Will there be any surprises?”
Hayashi: “Unlike my usual live performances, this concert will feature many original singers performing, making it a ‘songs-first’ event where the music itself takes center stage. You can definitely look forward to it!”
Van: “City Pop has had a profound influence on my life as a DJ. I truly appreciate everything you’ve done. Thank you so much.”
Hayashi: “Thank you as well. I look forward to meeting you in the near future.”
Closing Remarks
Interviewer: “Thank you both for taking the time to have this discussion today. It was a groundbreaking and inspiring conversation that will surely leave its mark on the history of City Pop. We wish both Tetsuji Hayashi and Van Paugam continued success in your endeavors. And we hope this dialogue will help even more listeners around the world discover the beauty of Japanese City Pop. Thank you again!”
Tetsuji Hayashi & Van Paugam
The City Pop Chronicle: The World of Tetsuji Hayashi in Concert
Date: Sunday, November 5, 2023
Doors Open: 4:00 PM / Show Starts: 5:00 PMVenue: Tokyo International Forum, Hall A
Tickets: All seats reserved: ¥15,000 (tax included)
※Admission not allowed for preschool-aged children.
Tickets available via Ticket Pia, Lawson Ticket, and CN Playguide!
Performers
Anri
Yukari Ito
Junichi Inagaki
Masaki Ueda
Emi Meyer
Momoko Kikuchi
Yurie Kokubu
Chikuzen Sato
Kiyotaka Sugiyama
Kiyotaka Sugiyama & Omega Tribe:
[Kiyotaka Sugiyama (Vocal), Shinji Takashima (Guitar), Kenji Yoshida (Guitar), Takao Oshima (Bass), Keiichi Hiroishi (Drums), Toshitsugu Nishihara (Keyboards), Tetsuya Osaka (Keyboards), Juny-a (Percussion)]Emiko Suzuki
Akira Terao
Asako Toki
Tetsuji Hayashi
Yukino Matsushiro
Iyo Matsumoto
Ayami Muto
Little Black Dress
(Listed in alphabetical order)
Planned Song List
(All songs composed by Tetsuji Hayashi)
Mayonaka no Door ~ Stay with Me
September
Kitak Wing
Futari no Natsu Monogatari ~ Never Ending Summer
Sotsugyo ~ Graduation
Kanashimi ga Tomaranai
Omoide no Beach Club
Tengoku ni Ichiban Chikai Shima
Kanashii Iro Yane
Summer Suspicion
Debut ~ Fly Me to Love
The Stolen Memories
Iriez Nite
Tsuyogari
Just a Joke
Shinjikata wo Oshiete
If I Have to Go Away
Kanashimi ga Ippai
Gyakuten no Regina
Koi
and more...
Musical Directors
Mitsuo Hagita
Motoki Funayama
Performing Band
SAMURAI BAND:
Tsuyoshi Kon (Guitar)
Takashi Masuzaki (Guitar)
Haruo Togashi (Keyboards)
Jun Abe (Keyboards)
Kenji Takamizawa (Bass)
Nobuo Eguchi (Drums)
Nobu Saito (Percussion)
Naoki Takao, Yuko Otaki, Rin Inazumi (Chorus)
Luis Valle (Trumpet)
Andy Wulf (Saxophone)
※ Lineup subject to change without notice.
Organizers and Sponsors
Organizers: DISK GARAGE / PROMAX / Asahi Shimbun / Nippon Broadcasting / TOKYO FM
Special Cooperation: Samurai Music Corporation / Fuji Pacific Music
Production and Management: DISK GARAGE / PROMAX
Planning and Production: DISK GARAGE / PROMAX / Asahi Shimbun
Don't miss this unforgettable celebration of Tetsuji Hayashi's 50 years in music!
AUTHOR
Van Paugam is an Internationally-Acclaimed DJ and leading figure specializing in 70s and 80s Japanese Music, dubbed City Pop. He has organized and hosted over 100 events dedicated to the style, and actively promotes Japanese culture while on the board of the Japanese Arts Foundation of Chicago. He has been featured on CNN, NHK, and many other publications for his dedication to City Pop. Van is credited with being the first person to begin popularizing City Pop online through his mixes on YouTube in 2016, and subsequently through live events. Learn More…
