[img]http://i137.photobucket.com/albums/q214/rockman240/bump.jpg[/img]

I'm still waiting for that guy to be back

I'd work on it, but I've hardly had time for translating lyrics, much less stuff on this scale, though I do have the text files for the transcription.

yea, it's sad. that guy was doing so well, he even said he had came back and would get back to the translations (and would have time for them). a long time ago before he say it i sent him a PM but never got answered.

NECROPOSTING IS FUN FUN FUN OK!

SOME OF THIS MAY NOT MAKE SENSE OR BE IN BROKEN ENGLISH. THATS BECAUSE ITS RAW AND HASN'T BEEN QCd. LET ME KNOW.
ALSO I SPENT MAYBE AN HOUR TRANSLATING ALL OF THIS SO THERE MAY BE MISTAKES/TYPOS.

Part 5:

Yamanaka: We were in London starting in February because of recording. The pleasant London...

the pillows & London

Yamanaka: At the time, about me being in London, I was really merry about it. This was when I was immersed in Mod culture, so it was a great event for me.

Yamanaka: It was kind of similar to when I went up to Tokyo (Translator note: No matter where one is in Japan, you go "up" to Tokyo, even if you are actually located north of it)

Yamanaka: To live in Tokyo and be in a rock band, I embraced that "I am cool" illusion. But when I was in the airplane and an hour and a half passed and I arrived at Haneda, there was no reason for me to become cool.

Yamanaka: That was the feeling. Kinda like "I'm in London, so aren't I cool?". But just riding 13 hours, and then arriving and still being me. I wonder if I realized that.

Manabe: Whether it was going to see splendid lives or going to see events, when the recording was over we really went to play a lot.
At the time at a place called town & country club, I was finally able to experience the live Ziggy Marley, the son of Bob Marley. I had an extreme change in my view point on live performances.

Satou: In '91, it was my first time traveling overseas, so it was my first time with a passport and all that. If you could say it was fresh, it was fresh.

Yamanaka: However it looks like now I'm standing on that bright pier in Quadrophenia. On the other hand, when we were recording or between the members, I was the worst!

Yamanaka: I really wanted to return quickly. I hated it. A lot. And so we haven't recorded a second time overseas. At the time I said something like "I won't go overseas".

Yamanaka: On the contrary (to the other members) I thought it was really tough. I thought "Japan is easier". I felt that a lot. I want to sing in Japan. It comes out too straight, my feelings, and well there's just a lot of them.
It wasn't because it was London, maybe it was because it wasn't my house and wasn't Japan.
From the start I think there are a lot of people really focused on recording, but the pillows didn't really do that I think. I don't really know about other bands but.
But in my own special way I'm just worried about being normal.

Yamanaka: Maybe it’s like this?

GO! HOME!

Yamanaka: By the way, we did a London recording.

Aren’t you just happy?

Yamanaka: But uh, since the staff was the same as the previous time, Engineer was JJ and the producer was Ryomei-san, it was almost identical. The place was just different. So I was able to relax.

Manabe: Since it’s after all been more than a year since our first album, I have confidence that our strength as a band is growing.

Is that the relationship between music and music?

Manabe: Yeah, that’s it isn’t it.

Satou: This time the uh, jacket, we repeatedly arranged detailed meetings.

Everyone is saying a lot huh, I’m happy.

Satou: The jacket is flashy, it’s nice. It feels like it stands out. The first one we had a lack of meetings and so it ended up really plain, but this time I’m pleased with the flashiness.

Ueda: Sound with depth, since I think yearning for that is the best, I think I want to release things like that.

So on that point, I wonder if you had regrets with the first album?

Ueda: Always with a first album.

Will you say them?

Ueda: Yeah. I want to release things that have more depth, things with my own emotions. That’s in the arrange, and in my own playing. Like “I wonder if I achieved enough”...that feeling.

Ueda: The feeling of being able to see it (what does he mean here?)

Yamanaka: Really, losing your feelings overseas, I think it’s starts with your reasonable feelings first. I have some regrets too. I don’t want my life to amount to nothing (lit: zero). But you know, I feel like they became considerably sparse. They’re completely trivial. There are also bands that have a significant amount. Even in Japan. Good things are good, bad things are bad. In England, and in Japan.

AND PART 6

Chapter 6

What is the pillows music

Q: When writing lyrics in the pillows, what are you aware of, and what are you fixated on?

Yamanaka: More than other people I am fixated on how it fits with the song. In short, aren’t we talking about the words? But even so, how to make the rhythm and melody close, and how to feel the ratio of notes, that’s what I’m strongly conscious of I think. Even more than other songwriters. I don’t think lyrics are something you can read like this. I think they’re something you have to sing or hear, I don’t think I want to separate them from the music and evaluate them that way.

Our Haley’s Comet

Sasagawa: To make words extremely lively, to expose them, that is Yamanaka-kun’s literary style.

Kadoike: Yamanaka’s songs are extremely good, so the lyrics also have extremely deep components, and that liveliness is like a movie eh?

Nakamura: With great music, when gentleman face each other, even the listener is included and every one really understands well.

TONIGHT

Chapter 7:

LEAVING

Yamanaka: Today was fun but, there’s something I have to let all of you know. Please listen to our leader, Ueda Kenji-san.

Ueda: Um, on the 28th there is a show in Sendai, but I am going to be omitted. I’ve been thinking for the past three years, and uh, it’s my own selfishness, but, I want to follow my own path, and everyone consented. That’s it. Please treat everyone well from now on, because the pillows are continuing.

Yamanaka: We are really egoistic, both ueken and me.

Manabe: We had a period where the balance was unstable. But we were also a beginner band. Our close feelings and the problem of our egos. In a band, the problem of egos is always tagging along.

Satou: It wasn’t Yamanaka, it was Ueda who was the leader who formed the pillows. Since Yamanaka didn’t have the stance like he has now, I wonder if that was the source of our difficulty.

Manabe: If we didn’t deal with it well, the band would function temporarily but would’ve ended up in a strange direction. Unless you clear the problem of the egos.

Yamanaka: We had clashes on how to make wholesome music, and so Ueda ended up leaving but...

Manabe: At the foundation is the band’s ego. The struggle for initiative. I wonder if that period is an impression which even now is left with me.

Yamanaka: He’s the person who found me. The person who at the very beginning sensed me was, Ueda Kenji-san.

Yamanaka: The three remaining remembers will still play. Ueda Kenji will also still be a bassist. Please support us!

Thank you so much for continuing the work of Moon_Margaret. I've been waiting for a very long time; since my time as a forum lurker. I guess one of the reasons I decided to post was because I was reading all of the stuff that was going on after Moon_Margaret had unexpectedly dropped the translation project. I just wish the pillows would release a DVD with their early videos and lives in their entirety

THANK YOU

Thanks for appreciating my work, guys. It's kind of surprising that no one else has finished the translation, because it's a pretty short movie and it's not very difficult to translate.

Once I am done with all of the chapters, I will be making a sub file (.ass) using Aegisub. This will be compatible with the currently existing .avi raw that is out there. I will also repackage it as a full .MKV and distribute it that way.


The only question I have, is do you guys want lyrics for the songs during the live performances?
I probably won't translate them, but I could put in karaoke subs.

By the way, the best part of this is that Satou refers to Tatsuya Kashima as "That Kashima kid"

Part 8 translated! (kinda long, took around a half hour)

Chapter 8

THE 2nd MOVEMENT

Producer Yoshida Zin (It should really be Jin but he thinks he is cool if he writes it with a Z).

Yoshida: One day around noon, suddenly I got a call from some kid bassist named Kashima-kun, and I remembered him from the time when he helped with the guitar arrange on SUPER BAD.
His call said something like “I’m now in a band called the pillows, and I wanted to introduce Zin-san to them.” and “Today there is a live performance, if you have the time please come see it.” I think it was something like that.

Manabe: He said he wanted to take main leadership of all of Yamanaka’s songs, and proclaimed that he would oversee them. (referring to Yoshida, not Kashima)

Yamanaka: Uh, somehow an entire year ended up passing. Thanks so much for you all gathering here today like this.

Nakamura: I feel as if he was really dragging.

Yamanaka: The second wave was soul-ish, bosanova-ish, and uh reggae-ish.

Manabe: Various, because in a sense it was a period where we were challenging the music.

Sasagawa: The sound was colorful, they put in a lot of various sounds.

Yamanaka: We basically did every genre possible, and because I had liked the mod culture, and I even wore suits which flowed with that.

Manabe: Since from the start we were a skillful band, it was like I was continuing the spreading of my width in that direction.

Yamanaka: Today and always, the reason we are standing here is because of this person. SUPER BAD’s Kashima Tatsuya!

Satou: That Kashima kid, entrusting the recording to him was the first chance. It was like “Just do the recording.” The truth is at first he said “I won’t do lives”, but then he said “Well lives, they are uh, also good right?”

Yamanaka: Kashima-san is uh, well mysterious, and so it was a wonderful meeting. We didn’t even do any auditions or anything. It was just like Kashima was suddenly introduced and that was it.

Manabe: In those days that he wanted to play in the pillows... I think he was the perfect bassist at the time.

Yamanaka: When we entered the second wave I really liked Paul Weller. It was about when the Jam finally belatedly changed into The Style Council. Like the 23rd or 24th.
At that time, he was playing jazz and funky music on a wood base. He could do that “babbababba”, and he was really good and getting along with people, and he was even good looking! And he was an honest person. It was like I suddenly felt he was familiar and it wasn’t hard at all to have meet him so suddenly.

Satou: He provided a lot of influence to the pillows of that time period.

Yoshida: Even more so that saying that he “really fit the pillows during the secondwave”, the songs they were able to do because Kashima-kun was there, a lot of those kinds of songs that they were able to do since Kashima-kun joined were on Kool Spice.

Yamanaka: I think I met that person and studied a lot. A lot of various things. More than just as a bassist, but as an musician who excelled. I think he really influenced us a lot, at the time.

Now things get interesting! News at 11, Sawao admits to being an asshole!

Chapter 9

5th single “Tiny Boat” CD jacket meeting.

So like one person is sitting, and another person is holding the oar like a guitar or something, that kind of situation might be interesting I think.

Yamanaka: Is that appropriate?

That’s right huh. I’m thinking if we can photograph something good at that time...

Yamanaka: Isn’t it another choice role or something?

I want him to appear as the leading role.

Yamanaka: Is he really 183cm tall?

Yamanaka: During the second wave I tried to incline my ears towards various people’s words, everyone was affected by it.

Good morning

Yamanaka: I wonder if he responded to the edge request.

Satou: Isn’t it love?

Yamanaka: Around 1996, the details of releasing Tiny Boat, or the results of releasing it, it really was something where the members got their feelings hurt.
I put in a lot of people’s opinions, it was like somehow I ended up wanting to blend together all these irregularities and release Tiny Boat.
But it’s something weird and, when I listen to now I think “Thats a good song isn’t it.” The song itself has no sins. But simply, in order to release that song, whether it was the meetings or the conversations or things like that, I really hated the process.
It’s something everyone doesn’t need to know, but. Since we couldn’t sell it like that everyone really ended up getting hurt. Somehow I sidestep the memories, as if I was bending my own policies.
We couldn’t sell it like that. And so I thought, am I really, really stupid?

Damn, son! That's some fine work you've done here, just fine! Thanks for continuing this!

I really can't tell what Sawao is getting at with this Tiny Boat business, though. Now I'm curious...

The way I interpreted that it seems more like there were lots of different opinions and Sawao tried to appease all of them even though they didn't go together with his own ideas but apparently something didn't go quite right despite that.

[quote="The Little Buster"]The way I interpreted that it seems more like there were lots of different opinions and Sawao tried to appease all of them even though they didn't go together with his own ideas but apparently something didn't go quite right despite that.[/quote]

yeah. that's exactly it.

it's very hard to understand these lines without watching the action in the video at the same time.