Pass The Peas
Hiroshi Sato T-Shirt
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Hiroshi Sato (1947-2012) was a Japanese pop musician who bridged global gaps over the course of his three decade career.
Born in 1942 on Japan’s southernmost island, Sato took on an early infatuation with music. It was at a local temple frequented by his family that his signature taste for contemporary Western style found its roots: the musician spent his adolescence singing Elvis Presley within its walls, devoting night hours to the multi-track recorder in its storeroom. Sato took up the bass guitar shortly after moving to Kyoto, and at 20, the piano. His first taste of the recording industry came under the wing of Haruomi Hosono, the Japanese pop pioneer who disassociated with Happy End a year prior in 1974.
Sato’s now-rare debut LP Orient (1979) boasted decades of amateur melodic intersectionality, no regard whatsoever allotted to geopolitical divides. Such diversity shines on standout track Songokū (Monkey King). Amidst disco-esque slap-bass tonality (Hosono), key-grounded instrumentation, and hints of French-born electronica, Sato roleplays as the greatest of equalizers, balancing all scales whilst somehow remaining fixed to the background. The album’s limelight was clogged by premiere Japanese talent – Shigero Suzuki on electric guitar, Hiromi Hosono on bass, acclaimed percussionist Pecker on drums – yet in their shadows, Sato thrived. Unlike the common upstart musician with a repertoire as extensive as his own, he declined to command the steering wheel, an open mind to influences intimate and abroad forging for him a unique class of ingenuity.
Born in 1942 on Japan’s southernmost island, Sato took on an early infatuation with music. It was at a local temple frequented by his family that his signature taste for contemporary Western style found its roots: the musician spent his adolescence singing Elvis Presley within its walls, devoting night hours to the multi-track recorder in its storeroom. Sato took up the bass guitar shortly after moving to Kyoto, and at 20, the piano. His first taste of the recording industry came under the wing of Haruomi Hosono, the Japanese pop pioneer who disassociated with Happy End a year prior in 1974.
Sato’s now-rare debut LP Orient (1979) boasted decades of amateur melodic intersectionality, no regard whatsoever allotted to geopolitical divides. Such diversity shines on standout track Songokū (Monkey King). Amidst disco-esque slap-bass tonality (Hosono), key-grounded instrumentation, and hints of French-born electronica, Sato roleplays as the greatest of equalizers, balancing all scales whilst somehow remaining fixed to the background. The album’s limelight was clogged by premiere Japanese talent – Shigero Suzuki on electric guitar, Hiromi Hosono on bass, acclaimed percussionist Pecker on drums – yet in their shadows, Sato thrived. Unlike the common upstart musician with a repertoire as extensive as his own, he declined to command the steering wheel, an open mind to influences intimate and abroad forging for him a unique class of ingenuity.
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Material
100% Cotton 200 GSM
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