Chapter 80: Sooner or Later, the Wheels Will Come Off

Nowadays, SMAP’s popularity is beyond dispute, but when it comes to music, they still lack a million-selling single that could anchor their reputation. Though they are versatile entertainers, for idols, music is, to some extent, their foundation. Perhaps because they have no records worth protecting, they are not fixated on working only with established hitmakers for their singles, and often choose to collaborate with promising newcomers. For example, their later release "Celery" was a cover of a song by Masayoshi Yamazaki, who was then an unknown rookie.

Given these circumstances, it’s not strange that Michi Iijima would pin her hopes on Ye Zhao. Of course, the invitation for a song was quite formal, but should the piece not meet her expectations, Iijima would certainly reject it without hesitation, for her regard for SMAP is far from ordinary.

When it comes to composing for SMAP, the first thought is naturally the legendary national hit, "The Only Flower in the World." With its positive lyrics and catchy melody, this song brought SMAP to new heights in 2003, boasting phenomenal sales and immense popularity; it even earned acclaim as the "second national anthem."

But would Ye Zhao really offer this song to SMAP now? The answer is, of course, no. SMAP, at least outwardly, has neither pressing worries nor distant concerns; at this moment, writing a song for them is merely icing on the cake—there’s no need to deploy such a powerful piece as "The Only Flower in the World."

One must eat rice one mouthful at a time, and play cards one by one. "The Only Flower in the World" is Ye Zhao’s ace, reserved for the most opportune moment.

After much deliberation, he finally chose another million-selling single for SMAP, their representative work before "The Only Flower in the World"—"Beyond the Night Sky." In truth, Ye Zhao prefers this song over "The Only Flower in the World;" both the melody and the poetic atmosphere of the lyrics make "Beyond the Night Sky" worthy of being called a classic.

Indeed, in 1998, this song became SMAP’s best-selling single of the entire decade, selling over 1.6 million copies, the second highest in their career (the first is certainly "The Only Flower in the World"). Takuya Kimura’s guitar performance during live shows mesmerized countless young women and housewives.

...

Several copies of Kawamoto Kazuyo’s performance video were made, but Ye Zhao didn’t send them to multiple companies simultaneously. Instead, he carefully selected the record companies he deemed suitable, testing them one by one in order of priority, to avoid offending anyone by accepting one offer and rejecting others.

As for Kawamoto’s placement, Ye Zhao’s choices were clear: among Sony, Universal, Avex, EMI, and Victor—all major record companies. Seeing Sony among them might make some people roll their eyes and accuse him of contradicting himself.

This brings up an old story Ye Zhao only learned after joining BEING. His current record company, BEING, originally rose to prominence in 1985 by becoming an outsourced production partner for Sony Music, helping them produce the band TUBE. With TUBE’s success, BEING found its market position and, after acquiring B’z as their ace, transformed from a small workshop into a major player in the 1990s.

So, trying to avoid any connection with Sony is impossible. As a global conglomerate, whose record business is only a sideline, Sony’s influence—both tangible and intangible—permeates the entire industry.

...

At two o’clock in the afternoon on April 13th, just three days later, Ye Zhao appeared once more at the Fuji TV headquarters. This time, he was there for the music program "MUSIC FAIR," which would air on the 15th.

Into the 1990s, TV stations drastically reduced music shows, greatly limiting the opportunities for singers to promote their songs. With so few slots available, the days of relentless promotional rounds became a luxury. Under these circumstances, Ye Zhao couldn’t help but marvel at how, thanks to powerful backing, his single "Beautiful Flower/Sakura" could appear on so many music programs, big and small.

With AMUSE’s support, besides scheduled appearances on "MUSIC STATION" on the release week’s Friday, "HEY3" the following Monday, and "SOUND ARENA" on Wednesday, the single would also be promoted ahead of its official release, on the 15th, on NHK’s "POPJAM" and Fuji TV’s "MUSIC FAIR."

"POPJAM" might sound unfamiliar, but its later incarnation as "MUSIC JAPAN" in 2007 is more widely known. Produced by NHK, this mainstream music program airs Saturdays at 11:25 p.m.

"MUSIC FAIR," on the other hand, was launched by Fuji TV in 1964 and stands as one of the oldest music programs in the country. Both "MUSIC FAIR" and "POPJAM" air on Saturdays, but "MUSIC FAIR" starts at 6:00 p.m., so there’s no scheduling conflict. Both shows are pre-recorded: Ye Zhao and Masaharu Fukuyama’s "POPJAM" appearance was taped on April 12th, while "MUSIC FAIR" was recorded on the afternoon of the 13th.

Accompanying Ye Zhao, besides Yuki Uemura, was another person.

While waiting for the elevator, Kawamoto Kazuyo, unable to hide her nervousness, asked, "Ye Zhao-san, what if I mess up later?"

"You’re a top piano student; that won’t happen," Ye Zhao reassured her. "Besides, since it’s a pre-recorded show, even if you make an irreparable mistake, we can just redo it."

"Wouldn’t the director and the other performers scold me then?"

"Don’t worry. If you get scolded, just bow your head and listen quietly. If all else fails," Ye Zhao joked, "just pretend to cry."

"Eh~ Would that really work?" Kawamoto looked as though a whole new world had opened for her.

"You can try and let me know how it turns out," Ye Zhao replied.

Realizing she was being teased, Kawamoto frowned, "Ye Zhao-san, if you keep joking like that, one day it’ll backfire."

"No it won’t. I’m an old hand at this," Ye Zhao laughed, stepping into the elevator as the doors opened.

...

Bringing Kawamoto Kazuyo to "MUSIC FAIR" had been discussed with the program staff from the start. Since "Beautiful Flower/Sakura" is a double-A single, it wouldn’t do to promote only one song. After consultation, it was decided to debut "Beautiful Flower" on "POPJAM" and "Sakura" on "MUSIC FAIR," giving each song its first reveal on different programs on the same day. With their current popularity and buzz, performing both songs at once wouldn’t be difficult, but since the single hadn’t officially been released yet, too much exposure at once might diminish its mystique.

"MUSIC FAIR" is known for two features: various collaborative performances between artists, and live vocals with a live band, making it something of a test for singers’ abilities—those lacking skill are sure to be exposed here.

"Sakura" relies heavily on piano in its arrangement, so Ye Zhao asked, "Can I bring my own pianist for the live recording?"

It wasn’t an unreasonable request, so the program readily agreed, and thus Kawamoto Kazuyo got her first chance to appear on television, even if only quietly playing piano in the background.

...

As a musician, Kawamoto Kazuyo didn’t have her own dressing room. Backstage, Ye Zhao asked, "Would you like to share a room with me, or with today’s backing band?"

Kawamoto thought for a moment, "I’d rather be with the band."

Ye Zhao nodded and signaled Yuki Uemura to escort her to the shared room for the band.

"MUSIC FAIR’s" dressing rooms are organized simply by alphabetical order. Ye Zhao’s surname (KANOU) gave him a slight advantage, granting him a room right next to the host’s. Following him in order were Hiroshi Goh, Fuyumi Sakamoto, Masaharu Fukuyama, and a group called FLYING KIDS.

Interestingly, these four guests were all senior to Ye Zhao; Fukuyama and FLYING KIDS debuted the same year, while Hiroshi Goh and Fuyumi Sakamoto’s names alone suggested long-standing prominence. To ease the awkwardness, Ye Zhao, having just received his new single, went from the host’s room and visited each guest in turn.

Hiroshi Goh, the original Johnny’s idol and considered by Kitagawa as the most beautiful boy, was elegant and refined, warmly accepting Ye Zhao’s single and even reciprocating with his own soon-to-be-released single—a true display of seniority.

Fuyumi Sakamoto’s manager opened the door to her room. Sakamoto, dressed in kimono, sat formally on a cushion, her dignified manner prompting Ye Zhao to sit upright as well, hands respectfully presenting his single, "This is the collaborative single I will release with Fukuyama on the eighteenth. Please accept it, Sakamoto-san."