Hosono House Background and Translation of Boku Wa Chotto

Hosono House Album Themes

Hosono Haruomi’s debut solo record is all about being at home. So much so that he called it “Hosono House”. It was recorded shortly after he returned from a West Coast Tour of the United States,  a country which was as much his spiritual home as the one listed in his passport.

Hosono House isn’t as iconic as Kaze wo Atsumete and Kazemachi Roman, which we’ve written about here, but it is still a well respected and sought after record.

「当時の僕は終末感にさいなまれ、その上、ある精神的なショックのフラッシュ・バックなどもあって、身も心もズタズタに分裂してしまうような状態に落ち込んでいた。」 "At the time, I was struck by a premonition of some kind of apocalypse. On top of that, there was a flashback mental shock. I was depressed to the point of my body and mind being shattered."

Where was the “Hosono House”?

Haruomi’s home in Japan at the time barely qualified as being really in Japan. He was in the “American Village” of the suburban Sayama area, about an hour’s drive north west of Tokyo. American Village, is the remnants of the Johnson Air Base, established by the U.S. occupation after the war, on the site of an earlier Japanese air base from the 1930s. The Johnson Town – American Village is a chunk of America plonked down in the far East. I guess you could say it’s a more militarised version of the Disneylands that you can find utterly unchanged, uncustomized and unrepentantly celebrating The Tales of Tom Sawyer and the Wild West from Hong Kong to Shanghai, except with with more of an emphasis on aerial bombardment than nighttime “Celebrate Imagination” firework displays. It’s a case of soft toys for soft power and hard toys for hard power.

 

The America that American Village celebrates is that of the suburbs. It consists of white weatherboard homes, replete with porches, lawns and picket fences, that huddle along a single bitumen road. You can almost see the American officers lingering around the hot dog stands as they return to their abodes after a long day coordinating fire-raids of Pyongyang in the Korean War. The American Village of Sayama is a glob of burger cheese that has dripped out and stuck to the Kimono sleeve of Tokyo.

Haruomi and the “American Village”

It might seem strange that a young, long haired, social drop-out hippy like Haruomi would choose to settle down in such a historic seat of military activity. But it was cheap. After all, which self respecting Japanese would want to live in such strange abodes, devoid of Tatami mats, sliding doors and genkans. There wasn’t even a space to remove your footwear. The previous residents hadn’t bothered with taking their shoes off. So the area attracted the bohemian types, and a little community of artsy weirdos came to occupy the surreal mickey-meets-military, mini-homesteads on Tokyo’s fringe.
It suited Haruomi. He had spent most of his life obsessing over American music in a way that those around him found unhealthy. His band Happy End had become the progenitor of a rock that was able to fully meld the rhythms of American beats and the Japanese language for the first time. In many ways, he too was a piece of American cheese gunk sullying up Tokyo’s svelte look.

Happy End

Retreating to the Sayama hills, by a patch of idyllic greenery that the Americans had, without a touch of self awareness, referred to as Hyde Park, made sense to Haruomi. He was retreating in more ways than one. The band he led, Happy End, not able to sustain the upbeat promise of its name, was breaking up. He said at the time that he felt like the captain of a ship that had weathered a great storm, but was now stranded in a windless ocean. Listening to anything with a rock beat set him on edge.

Pictures of Hosono House Recording Session

Influences on Hosono House

In his troubled state, he found solace in the soothing sounds of the country revival taking hold in early 70s U.S.A. In his recent tour of the motherland, he had sat in with some production sessions with Van Dyke Parks

「ヴァン・ダイクの『ディスカバー・アメリカ』っていうアルバムを徹底的に聞き込んでいくうちに、あのアルバムをとっかかりにして、ぼくの感覚が過去に戻っていったの。たとえば、ぼくが子供の頃に聞いていたハリウッドの映画音楽とか、そういうノスタルジックな世界を思い出したんだね」 "While listening to Van Dyck's" Discover America "album, I got taken back, it was like I was a kid again. I remembered the Hollywood movie music I was listening to, and that kind of nostalgic world. "

「ロック・ビートがイヤになったんだよ。だから古いカントリーを聴き直したり、シンガー・ソング・ライターものを聴いたりしていたわけだ」 "I didn't like rock beats, so I was re-listening to old country and listening to singer-songwriters."

He could almost see the musicians sitting on the porches when he put on records by Tom Rush, Gordon Lightfoot, John Hartford. Most of all, he was impressed by the big down-home sounds of The Band on Music From The Big Pink.

「ロック・ビートがイヤになったんだよ。だから古いカントリーを聴き直したり、シンガー・ソング・ライターものを聴いたりしていたわけだ」 "I didn't like rock beats, so I was re-listening to old country and listening to singer-songwriters."

Recording Sessions for Hosono House

「自宅でメンバーが合宿状態でレコーディングするということは、正味に使える時間が長いという利点とともに、一つ 間違うとしまりなくダラダラやってしまう危険性とが同居していました。そこで、1時から6時までとレコーディング時間を区切り、三日やったら1日休むとい うやり方にしました。」 "Recording at home, it’s as if you’ve all gone off to some kind of live-in boot camp has the advantage that you can really maximise on those “peak” productive periods. The flip side is that you run the risk of wasting time endlessly faffing around. So we created a routine: 1 o'clock to 6 o’clock and after three days, we took a day off. "

So what is a wounded hippie rocker to do with a broken dream and a crate full of country? Head to the hills in search of the Yamato Appalachia.

At the same time, recording technology was getting smaller. Well, still huge really, but small enough that you could, with the help of a few stout buddies, put it in the back of a light truck. This opened up possibilities. The possibility to get away from the pay-by-the hour pressures of a commercial studio. The possibility to record somewhere where you can spend the afternoon getting the right sound, then sit down to a meal with your bandmates, maybe play some cards. The possibility to combine art-life and home-life.

Hosono House Recording Schedule and Dates

So that’s what Hosono and his buddies did (he even gave them band a name “Caramel Mama”, so the album is perhaps not strictly a “solo album” at all). On the 15th of February 1973, they set up in the bedroom of Hosono’s house, because the living room was too boomy. They recorded from roughly 1-6pm, three days on, two days off for the period of around a month, celebrating the end of the process with a party on the 12th of March 1973.

リビング・ルームにシグマ社製16トラックのミキシング・コンソールが置かれ、演奏には8畳ほどのベッド・ルームが使われた “A Sigma 16-track mixing console was placed in the living room, and a bedroom of about 8 tatami mats was used for the performance.”

The Hosono House Sound

「作品とは思えないわけよね。頭で創ったものじゃあないから。何かもっと、恥ずかしいものだね。作品として客観的に見れるものじゃないから。習作の時代だから」 "I don't think it's a “”work of art””. It's not something I created with my head. It's something more embarrassing. It's not something that can be seen objectively as a ““work””. It was “”period of study.”"

The music sounds warm and real, with an immediately recognisable similarity to Music From The Big Pink. In the mix down, they had to struggle with bringing the sound of the vibrating floor under control. The drums were in the bass mic, so if you tried to turn up the bass, you turned up the snare, toms and cymbals too. You could hear the room. It was as if the strange old American air force officer’s dwelling had become an instrument.

The tracks themselves, though very much in the American-country folk style of the time, and exulting in the domestic, also already hint at some of the vagabond eclecticism of his later work, both solo and with legendary electronic-pop-prog band Yellow Magic Orchestra. There are elements of exoticism, adventure, strange references thrown in here and there.

「意図っていうのは、ノヴェルティ・ソングなんですよ。決してラヴソングでもないし、何かをメッセージするわけでもない。ノヴェルティ・ソングというのはどうやって訳せばいいかわからないけど、そういうジャンルがあるんです。冗談音楽もその中の一つだし。昔はトニー谷とかそういう人たちがいっぱいいたけど、その後日本にはなくなっちゃったものなんです」 "The intention was to write novelty songs! A novelty song is not a love song, it doesn't contain a message. I don't know how “novelty song” translates into Japanese, but there is such a genre. I guess in Japan, one “Joke music” might be one type of music contained in it. There used to be a lot of people doing that stuff, like Tony Tani, but after that it pretty much disappeared from Japan. "

Hosono’s Musical Philosophy

Hosono_Haruomi_from__No_Smoking__at_Opening_Ceremony_of_the_Tokyo_International_Film_Festival_2019_(49013189233)

Haruomi has said it takes a lot of effort to be devoted to a genre. It’s like being an athlete.  You work away at one discipline, a certain movement, a certain routine, over and over until you achieve tiny incremental gains that put you ahead of the competition.

Haruomi has no stomach for it. He’s not an athlete. He’s a tourist. In the years since Hosono House, his wanderlust has taken him to the kingdoms of rock, country, exotica, electro-pop, ambient and, most recently, pre-rock boogie woogie. He would rather ride his bike through the countryside than grind it out on the cycle-machine. Life is like a box set of Hosono albums, you never know what you’re going to get.

「この頃は、一般的に70年代に流れていた音楽がどんどんつまらなくなってきちゃったというのがあるな。それで、ジェイムス・テイラー、ヴァン・ダイク・パークス、トム・ラッシュ、ゴードン・ライトフット、ジョン・ハートフォード……そんなのばっかり聴いていた。そしてさらには、はっぴいえんどからここに至るまでには、すっかりハリウッド漬けになってたんだ」 "Around this time, the music that was generally played in the 70's became more and more boring, so James Taylor, Van Dyke Parks, Tom Rush, Gordon Lightfoot, John Hartford. Hartford ... I was just listening to that, and even more so, from Happy End on, I was completely immersed in Hollywood. "

Hosono House Lyrics

The lyrics  on Hosono House deal mostly with Haruomi’s immediate surroundings. He wanders through the hills, the houses, the environment, and melds it with the feelings, the hopes and dreams of the time.

「『ホソノ・ハウス』の詞っていうのは、あの頃のぼくの生活、あの場所から出てきたもので、それ以上のものも、それ以下のものも書けなかったんだ」 "The lyrics of 'Hosono House' came out of my life at that time, that place. I couldn't have written anything more or less than what I did."

Song In-depth: Boku Wa Chotto

By way of illustration, today I’ve done a translation of track two on the album “Boku wa chotto”. The title itself is prosaic, matter-of-fact, maybe almost akin to the “it’s so boring it’s good” aesthetic of late teens Melbourne dole-wave. It means “I’m a little…” or “Maybe, for me…”. It’s equivocal, an unfinished thought. It seems to reflect the uncertainty that Haruomi was feeling in this period in his life, in his art, in his sense of place.

But mostly, Boku wa chotto is an attempt to banish these uncertainties in a sun-drenched ode to the quiet life. The singer is sun-bathing, chatting over tea, going out for strolls, listening to country music, and ultimately deciding to keep quiet. It even has a reference to the white houses of the American Village he was living in at the time.

レコーディングは毎日午後に5時間ほど行われ、3日に1日休むペースで進み 後に細野は「日本語のロックがどうのこうのという騒ぎの中心にまつり上げられた“はっぴい”も過去のこととなったし、少し静かにしていたいという思いを込めて“僕はだまるつもりです”と歌ったのだが、その後のめぐり合わせで入ってしまったキャラメル・ママのおかげで、一層落ち着く暇などなくなってしまったものだ」[3]と語っている。 All that stuff about Happy End being “Japanese rock lyric trail blazers” and had come to an end, and I was thinking things might quieten down. I put that sense into Boku Wa Chotto. As it turned out, once I started doing things with this “Caramel Mama” band, things weren’t nearly as quiet as I had expected!

Japan, The Sun and the “Hi No Dezuru Kuni” 日の出ずる国

The only line that jolts us out of this at-home bliss is the refrain, as many good refrains do. The line appears three times and refers to the nation of Japan, another home reference, but this time at much more bird’s eye level. He uses an archaic name for the country 日の出ずる国, “the country where the sun rises”. Our term “Land of the Rising Sun” is a translation of this phrase. The modern Japanese name for Japan is a variation on this theme ”日本”, meaning literally the “The origin of the sun”. At first glance this sounds kind of conceited, like the Japanese had come up with a name for their own country that made it so central that it was where the sun itself originates. But in reality, the name was bestowed by China, who were the ultimate superpower in the region of the time, much as America is now. Japan is roughly East of China, so it made sense to refer to the country as “the place where the sun rises”.

Either way, the sun has a central place in Japanese culture. Their striking flag has a sun on a white background. Their Emperor is meant to be descended from the Amaterasu, the ancient Goddess of the sun. So Haruomi’s numerous references to sunshine, rays of light, glistening and shimmering is rich in deep cultural reverberations.

Hosono House Cultural Context

The other cultural context we can’t ignore is that of the massive riots that raged through the 1960’s Japan, which were only just beginning to quiet down in the early 70s. Amongst the many issues that had brought people onto the streets, the most universally mobilising was that of the Japan-America Security Treaty which placed American army and air bases throughout Japan, in return for protection. Many viewed, and still view, this mafioso-like arrangement as an infringement on Japanese sovereignty and an act of American imperialism. Perhaps the ironic thing about this movement and the security bases themselves, was that the U.S. bases often became places of congregation for radicals, partly because of the anti-war publications that were distributed from US activists themselve.

So, though Boku wa chotto is not an overtly political song, and Haruomi has never shown a particular proclivity towards activism, I think that it is safe to say the songs has references to the political climate of the time and to the dueling urges of nationalism, anti-imperialism, pacifism and the love-hate relationship between the United States and the 日の出ずる国.

 

That’s a lot to bite off. No wonder the upshot of Haruomi’s domestic, sun-soaked, Japanese-Americana riffing is that he’s going to take a quiet moment.

僕は一寸 Boku Wa Chotto In Translation

This is rough translation of the song. It’s translated more for rhyme and to capture the general feel than as complete word-for-word translation.

ひなたぼっこでも

していきませんか

そこにまあ すわって

お茶でも飲んで お話を

どんな話をしゃべりましょうか

日の出ずる国の明日の事でも・・・

 

散歩がてらに 歩きませんか

そこから 立ちあがって

服のすそでも はらって

どんなところを歩きましょうか

日の出ずる国の輝く道でも・・・

 

道のぬかるみ 入り日が映り

だまりこくる 夕焼けの午後

僕は一寸 笑うつもりです―

 

ここら辺りに住みつきませんか

あそこを ひきはらって

生で聞けるからカントリーミュージック

白い家でも見つけましょうか

日の出ずる丘に彼女と2人で

 

外の日溜り 枯木に埋まり

だまりこくる 家の中の午後

僕は一寸 だまるつもりです―

Don’t be shy

We could just sit here in this sunshine

We could put the kettle on

Talk about whatever we want

 Shall we talk about

What’s over the horizon

For me and you and everyone

And the land of the rising sun

Why don’t we go

Out, go for a stroll

Climb up over the hill

Just like Jack and Jill

Which path should we go down. we could go left or right, I don’t mind

Or follow that glistening one

On the road to the rising sun

 

And the mud on the path

Is shining just like glass

As the afternoon keeps quiet

And the sun just keeps on shining

I’m gonna let that time pass

The only plan I’ve got is to laugh

 

Why don’t we live around here

Mov outta that old place

Listen to the people play their country music, every day

 

find a house that’s white

Paint it any colour we might  like

Maybe we could find one

On the hill beneath the rising sun

Splashes of sunlight

Cover up the trees all dying

The afternoon’s still silent

Maybe we could stay inside

Sometimes it’s alright

To stay quiet

Hosono House Track Listing

1.”Rock-a-Bye My Baby” (ろっか・ばい・まい・べいびい Rokka Bai Mai Beibī)3:15

2.”Boku wa Chotto” (僕は一寸)3:52

3.”Choo Choo Gatagoto” (CHOO CHOO ガタゴト)3:25

4.”Owari no Kisetsu” (終わりの季節)3:12

5.”Fuyu Koe” (冬越え)3:15

6.”Party” (パーティー Pātī)2:02

7.”Fuku ha Uchi Oni ha Soto” (福は内 鬼は外)2:28

8.”Jūsho Futei Mushoku Teishūnyū” (住所不定無職低収入)2:35

9.”Koi wa Momoiro” (恋は桃色)2:47

10.”Rose and Beast” (薔薇と野獣 Bara to Yajū)4:24

11.”Aiaigasa” (相合傘)0:18

Hosono has also worked as a producer and collaborator with various artists, including the outrageously inventive Jun Togawa, who we have written about here.

Where To Listen to Hosono House?

Yellow Magic Orchestra Stuff

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smells like teen spirit 和訳

スメルズライクティーンスピリット 歌詞の徹底解説 。ネットですでに存在しているNirvana Smells Like Teen Spiritの和訳を見ましたが、どれもいいところと悪いところがあって、かなり間違っているのも多いと思いました。
自分の納得行く訳を作ろうと思いました。

Read More »

Imjin River by the Folk Crusaders In Japanese and English

Approx Japanese level

Lyrics

イムジン河水清く とうとうと流る
水鳥自由にむらがり 飛び交うよ
我が祖国南の地 想いははるか
イムジン河水清く とうとうと流る

北の大地から 南の空へ
飛び行く鳥よ 自由の使者よ
誰が祖国を二つに 分けてしまったの
誰が祖国を 分けてしまったの

    

イムジン河空遠く 虹よかかっておくれ
河よ 想いを伝えておくれ
ふるさとをいつまでも 忘れはしない
イムジン河水清く とうとうと流る

The imjin river flows so clear

It flows so strong, it flows so deep oh yes my dear

And the water fowl form flocks and fly

To and fro to and fro

My heart lies in the south

My hope lays at rivers mouth

And the imjin river flows so clear

It flows so strong it flows so deep oh yes my dear

 

From the northern continental planes

The birds they fly in flocks they fly in waves

And Like messengers from freedoms shore

make their way make their way

Who was it that cut our land in two

Gave half to me and half to you

And do they even know just what they’ve done

And do they watch the same great imjin river run

 

Down the imjin river way off far

Theres a rainbow forming in the air

Oh Imjin river tell my love

Look above look above

And tell them that I still know the road

That leads back to my home

Cause the imjin river flows so clear

 

It flows so strong it flows so deep oh yes my dear

Today for we’re looking at a song called イムジン河 Imjin River.

Imjin River runs between North and South Korea, through the ironically named demilitarised zone, where two armies eyeball eachother off across one of the most heavily armed borders on earth. The song about the river was original called Rimjingang and was composed in Korea in 1957 by Ko Jonghan to a poem by Pak Se-yong song. Rimjingang is banned in North Korea, as it uses the Imjin River as a symbol of freedom, flowing with the river north to south. 

The song found its way to Japan in the 1960s, with the Korean diaspora, where it was heard by a young writer in Kyoto names Takeshi Matsuyama. With the help of his Korean friends, Matsuyama translated some of the original lyrics and added two verses of his own. Late 60s Japan was heavily influenced by the folk music movement that was happening in America. A large number of folk acts, mixing Japanese and western folk elements were born, including a group called the Folk Crusaders in Kyoto. The group has some similarities with folk groups such as Peter, Paul and Mary. 

Matsuyama taught his version of the Korean song to group member Kazuhiko Kato. Both thought it was a long-standing Korean “traditional” song, rather than a fairly recently composed song with definite authors. The group arranged it into something quite new and attempted to launch it as their follow up song to the break out, and extremely odd, novelty single 帰ってきたよっぱらい Kaete Kaete Kita Yopparai.

Nagsa Oshima later made a somewhat experimental film of the same name, which you can see here.

Unfortunately, Imjin River was deemed too political by the Japanese government and was effectively banned in that country too.

The song, however, remains popular both in its original Korean form, and its modified Japanese form. It is a powerful statement of the pain felt by the partitioned people of the Koreas. The Japanese version also functions as a symbolic gesture by Japanese youths of the 1960s trying to break down the barriers that were often, and continue to be, placed around Korean communities in that country. Here is the Japanese version of the Folk Crusaders singing Imujin-Gawa.

 

Check out some more Japanese songs in translation here.

This song was translated as part of the Songs in Translation segment on RRR radio program Vital Bits.

Language Learning Program Reviews

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Who is behind this site?

I’m Peter Joseph Head. I lived in Japan for four years as a student at Kyoto City University of the Arts and on working holiday. I have toured the country six times playing music and speak Japanese (JLPT N1).

ピータージョセフヘッドです。3年間京都市立芸大の大学院として、一年間ワーキングホリデーとして日本に住み、6回日本で音楽ツアーをし、日本語能力試験で1級を取得しました。要するに日本好きです。

Japan’s Most Famous Anti-War Folk Song? Wataru Takada’s Jieitai Ni Hairo

First let me give you a short background to the song. 

In the late 1960s Western countries weren’t the only ones protesting. There was strong resistance to the Vietnam War in Japan also. A lot of American folk musicians travelled to Japan including Joan Baez, Pete Seeger and Harry Belafonte. Japan experienced its own golden age of American folk influenced music, with its own distinct flavour. Dylan’s music was huge, but he didn’t get to the country until 1978, when he played the famous budokan hall with a capacity of 10,000 people and sold it out for a record breaking (for foreign artists) eight nights.

One of the central native folk musicians was Wataru Takada. I first heard Wataru when I went to see him play live in Kyoto in 2004, shortly before his death in 2005. He left a big impression, not least by falling asleep half way through his set – which was not uncommon in his later years. Although he was only 56 when he passed away, he looked like a man who’s life had not left him much fuel in the tank.

 

Born in gifu, mother died at 8, father took him to Tokyo without a plan, they lived in a series of unstable situations, including charity housing. His father died by the time he was in middle school.

He was introduced to American folk music in the mid 60s  and was soon so devoted to the music that he had his English teacher write a letter to Pete Seeger saying he wanted to learn from him. A reply from Pete came a couple of months later giving him some word of general encouragement:

 

Dear Wataru Takada: 

 

Thank youfor your long letters ー I’m sorry that my answer must be so brief. 

 

1) You can learn most from me by my writings in Sing Out magazine, and other Oak Publicaitions ー song book, etc, and from my recordings. 

2) But you can learn more from you own neighbors and friends and from your own successes and failures in your activities. 

3) When you learn English, I would be glad to hear from you again.

4)  Meanwhile, learn to make such good music that people will ask to hear you again and again.

 

Best of luck

 

PS – I’m sorry that I cannot write in Japanese.



When Pete toured to Japan a year later, he gave the young Wataru Takada a front row ticket to his show.

In 1968 he took part in the Kansai Folk Camp in Kyoto, and he moved there the next year to be part of what had become the main folk movement in Japan. He became a central part of the scene along with figures such as Tomoya Takaishi and Nobuyasu Okabayashi. He later returned to Tokyo and again became a major force in the folk scene that would come to be known as Kichijyoji-ha Folk 吉祥寺派フォーク.

 

Origins of the song

 

The song 自衛隊に入ろう Jieitai Ni Hairo is based on a song written by Malvina Reynolds and Pete Seeger:

 

I want to go to Andorra, Andorra, Andorra,
I want to go to Andorra, it’s a place I adore,
They spent four dollars and ninety cents
On armaments and their defense,
Did you ever hear of such confidence?
Andorra, hip hurrah!

 

Here’s the song as sung by Pete Seeger.

Malvina Reynolds is probably most well known for this her song Little House. Check out this documentary about this amazing woman and songwriter here.

Wataru took the basic chord structure and melody and made a satirical song about joining the self defence force, using the force’s own sales slogans. It’s pretty clear that the song is sarcastic, but apparently he got called up not long after first performing the song by the Japanese self defence force to ask if they could use the song. Clearly, they hadn’t gotten the joke. Later the song was considered for official banning by the Japanese government. It was never officially banned, because they felt it would never be popular anyway, but the song has long been “unofficially” banned by official media for all intents and purposes.


Takada stopped performing the song not long into his career. He has said that performing songs about everyday experience is a more potent form of anti war protest. But the song continues to live on and has been adapted for modern protests such as the anti-nuclear protests in Japan where it the song became “Why don’t you join Tokyo Electricity”:

Lyrics

みなさん方の中に

自衛隊に入りたい人はいませんか

ひとはたあげたい人はいませんか

自衛隊じゃ 人材もとめてます

 

自衛隊に入ろう 入ろう 入ろう

自衛隊に入れば この世は天国

男の中の男はみんな

自衛隊に入って 花と散る

 

スポーツをやりたい人いたら

いつでも 自衛隊におこし下さい

槍でも鉄砲でも 何でもありますよ

とにかく 体が資本です

 

鉄砲や戦車や ひこうきに

興味をもっている方は

いつでも自衛隊におこし下さい

手とり 足とり おしえます

 

日本の平和を守るためにゃ

鉄砲やロケットがいりますよ

アメリカさんにも手伝ってもらい

悪い ソ連や中国をやっつけましょう

 

自衛隊じゃ 人材もとめてます

年令 学歴は問いません

祖国のためなら どこまでも

素直な人を求めます

Hello my friends, are there any there amongst you
Who want to join the army, who want to learn to shoot
If there’s any there amongst you who want to make a name
Well the army is recruiting, come and join today

Why don’t you join the army
The army’s where it’s at
For all of you men’s men
The army is your best bet
Why don’t you join the army
And fall with the blossom

If there’s any there amongst you, who want to be a sportsman
Just say yes sir, and I’ll say now you’re really talking
We’ve got the spears, and yes we’ve got the guns
But really it’s your body, that makes the best weapon

If there any there amongst you
Who take an interest in
Guns and tanks and aeroplanes
Well well, well then
The armys always right here waiting
From the top down to the bottom, well teach you everything

To keep the peace, protect the people of Japan
We need the guns and rockets, we need the boys, we need the men
Mr America he needs a helping hand
To get the baddies there in Russia and beat the China Man

The armys on the lookout
For new personal
Age and education
Can both go straight to hell
The only qualifications that you’re going to need
Are a will to fight for fatherland and an appetite for beans

Language Learning Program Reviews

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Who is behind this site?

I’m Peter Joseph Head. I lived in Japan for four years as a student at Kyoto City University of the Arts and on working holiday. I have toured the country six times playing music and speak Japanese (JLPT N1).

ピータージョセフヘッドです。3年間京都市立芸大の大学院として、一年間ワーキングホリデーとして日本に住み、6回日本で音楽ツアーをし、日本語能力試験で1級を取得しました。要するに日本好きです。