[Original HMV Japan Post]
The woman born on January 19th, 1954 in Tokyo’s Hachioji… At Number 3, it’s Yumi Matsutoya!
I’d venture that there are many who would say that listening to Yūmin’s works makes them feel somehow relieved. Perhaps that is because they can feel the strength and love of the message that has passed through her. This is because, no matter the song, phrases and melodies where one can feel Yūmin are embedded here and there throughout.
In particular, women can sympathize with all their hearts with the lyrics of love, letting the tears flow with all their hearts when love is lost. Of course, that doesn’t apply to just human relations; Yūmin’s compositions are wonderfully made to cause the scenery of Spring, Summer, Fall, Winter, and other various times and spaces to rise up. For songs like that, it’s best to just entrust yourself completely to them.
Making standard after standard, Yūmin combines the expression of both an extremely intelligent woman and a deeply emotional sensitivity. When comparing her love lyrics as a female solo singer with those of Miyuki Nakajima, as is often done, Miyuki Nakajima paints a picture of a woman who seems strong at first glance but is actually weak. Yūmin, however, paints a portrait woman who seems weak at first glance, but the image of a strong person appears and disappears throughout.
Released in 1973, her debut album Hikouki Gumo has lively songwriting, starting with the title track Hikouki Gumo. With support on all sides from Haruomi Hosono, her later partner Matsutaka Matsutoya, and Shigeru Suzuki, this album is furnished with a deeply expressive sound and a flawless beauty. It is a landmark album in the Caramel Mama/Tin Pan Alley musical clique [a loose group of musicians orbiting former Happy End members Haruomi Hosono and Shigeru Suzuki -ed].
Following this, she released albums such as Mislim, Cobalt Hour, Yūmin Brand, Jyuu Yon Ban Me no Tsuki, and so on one after another. If songs on these albums are wrapped in kindness, Sotsugyou Shashin, Chuuou Freeway, etc. are early hit recordings. Many other albums such as Beni Suzume, Ryuusenkei Hachi Jyuu, Kanashii Hodo Otenki, Toki no Nai Hotel, Delight Slight Light Kiss, and Frozen Roses were also released.
She also made theme songs for television shows and hit songs. While never having an explosive break-out hit, no matter the song, she awoke various emotions in listeners and continued to create high-quality tunes. Then in 1998, Neue Musik – Yumi Matsutoya Complete Best Vol 1 was released. Chosen from all 251 of Yumi Matsutoya’s songs, these were the ultimate 28. There were also two newly written songs backed by Tin Pan Alley. A work which cannot be listened to without tears, it is a complete album that all music fans should own. In 2000, another best album, Super Best of Yumi Arai, was also released. It is a standard album with 30 of her early famous songs.
In 2001, Sweet Bitter Sweet – Yuming Ballad Best was released. It displayed an all-time best of her compositions, selected from her time as Yumi Arai [her maiden name - ed] and Yumi Matsutoya. Chosen from a total of 320 songs and focusing on her ballads, this was her first 2 disc Ballad Best collection. In 2002, Wings of Winter, Shades of Summer was released. On the year of her 30th anniversary of debuting, her 32nd album was released. It is a work overflowing with that seasonal sense of winter that Yūmin is the best at.
This year [2003 – ed], representative artists from the J-Pop world released Queen’s Fellows – Yuming 30th Anniversary Cover Album, a tribute album full of respect. Yūmin’s timeless, beloved famous songs are covered by wonderful artists such as Spitz, Yosui Inoue, Chihiro Onitsuki, Ringo Sheena, Crazy Ken Band, Aiko, Faye Wong, and others.
Challenging new things with a relaxed posture, creating works of art with a sensitive eye, Yūmin is truly worth of the name of Female Artist Who Represents Japan.
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