Senri Oe '1234'
In the history of Japanese singer-songwriters, the brilliance radiated by Senri Oe in the late 1980s was incredibly vivid.
The 6th original album '1234' was released in 1988.
Whether listening to this work in real-time or revisiting it years later, many listeners are convinced that 'the artist Senri Oe was an undeniable genius.'
The sophisticated arrangements by Masaaki Omura, the rich harmonic sense breathing beneath seemingly accessible pop songs, and the meticulously chosen words. The album '1234' is the culmination of these elements in perfect balance.
The impatience of 'Heibon' and the scenic description of 'Rain'
The greatness of this album is symbolized by the presence of masterpieces that show contrasting expressions.
■ 'Heibon' (Ordinary): The end of youth and intense impatience Placed at the beginning of the album, this song is filled with painful impatience, contrary to its catchy melody. The confusion and resistance toward being incorporated into an 'ordinary' daily life after the youth of wanting to become someone has passed. The unbridgeable distance lying between 'you' and 'me.' The skill with which he sings about that stinging, youthful conflict over a danceable beat is remarkable.
■ 'Rain': A scenic description as beautiful as a movie
A masterpiece that has been covered by many artists, including Noriyuki Makihara and Motohiro Hata, and continues to be loved across generations as the ending theme for the movie 'The Garden of Words.' The scene of the rain rises up like a scene from a movie. It is one of the representative examples of scenic description in Japanese pop music, where the psychological depiction of painful love and the description of scenery like a perfect sketch are integrated.
Must-listen tracks that show the versatility of his talent
Not just 'Heibon' or 'Rain,' but every one of the 10 tracks is a flawless masterpiece.
■ 'GLORY DAYS' A signature song that opens the album, overflowing with bursting pop sensibility and a sense of speed. The melody line, which houses both the sparkle of glorious days and a certain passing sadness, can be called the crystallization of his pop sense.
■ 'ROLLING BOYS IN TOWN' A track that seems to have packaged the atmosphere of the urban night in the late 80s just as it was. Demon Kakka and Yoshiyuki Sahashi participated in the chorus, and it depicts the hustle and bustle of the city and the impatience of young people looking for a place to belong over a fast-paced beat.
■ 'Genova ni Akogarete' (Longing for Genoa), 'Sabotage', and 'Jeshio'S BAR' The depth as a storyteller that does not fit into the mere framework of 'City Pop.' Up to the final 'Jeshio'S BAR' with chorus participation by Misato Watanabe, the entire album is intricately woven like a drama of a single city.
Conclusion: The precise architecture of pop music
The appeal of Senri Oe's music lies in the fact that while it is a pop song that flows naturally into the ears, it is intricately constructed with a sophisticated harmonic sense and words that have been examined to the limit deep inside.
While harboring excessive self-consciousness and the impatience of youth, he presents it to everyone as a beautiful 'superb pop music.'
By crystallizing the impatience of youth into 'Heibon' and the scene of love into 'Rain,' he sublimated them into superb pop music. '1234' is a masterpiece left behind by the rare pop genius Senri Oe that continues to shine across the ages.