Hotei is best known internationally for his song "Battle Without Honor or Humanity" , which has been used in numerous films, commercials, and video games, most notably Quentin Tarantino's feature film Kill Bill.
Born to a Korean father and a Japanese/Russian mother, Hotei first began playing the guitar in junior high school. In high school, his band Blue Film finished runners up in a school contest to Death Penalty, a band led by Kyosuke Himuro. Hotei was expelled shortly before graduation. The reason was that, when warned about his long hair he replied “Jesus had long hair!” Shortly after, he went to Tokyo where one day he received a phone call from Himuro. The two had never really known each other but hit it off and went on to hold auditions for a new band, which in 1981 became the six-member BOØWY. The band became major stars in Japan, in 1985 played the Marquee in London, and in 1986 had their first million seller, Beat Emotion.
When the band broke up in 1988, Hotei established himself as a solo star, as did Himuro. Hotei also made two albums with Koji Kikkawa as Complex, both of which went to number one in the national charts. Hotei frequently records overseas and has collaborated with many foreign musicians, including playing on The Stranglers Hugh Cornwell’s 1993 solo album, on stage with David Bowie at Nippon Budokan in 1996, and at the closing ceremony of the Atlanta 1996 Centennial Olympic Games with Michael Kamen.
He later recorded “Guitar Concerto” with Kamen. He has also worked with Andy Mackay of Roxy Music, guitarist Chris Spedding and Mike Edwards of Jesus Jones. Hotei also sometimes plays in Europe, including a number of major festivals. His regular drummer in recent years, Zachary Alford, has previously played with Bruce Springsteen and David Bowie. Hotei's 1998 album Supersonic Generation, recorded in part with Apollo 440 and Ofra Haza, was released in 14 European countries.
In addition to many bestselling solo albums, Hotei composed and performed the score for Hiroyuki Nakano’s Samurai Fiction, as well as starring in the film. He composed the score to Terry Gilliam’s feature film Fear and Loathing in Las Vegas together with Ray Cooper. Hotei's song “Battle Without Honor or Humanity” was used in the Quentin Tarantino’s feature film Kill Bill, the PlayStation 2 version of Dance Dance Revolution SuperNOVA,and Michael Bay’s feature film Transformers. Hotei recorded a cover of John Lennon’s “Happy Xmas (War Is Over)” for Merry Axemas, an instrumental guitar Christmas album featuring tracks from guitarists including Jeff Beck, Joe Perry, Eric Johnson, Steve Vai and Steve Morse.
The Nintendo DS game Osu! Tatakae! Ouendan features his song "Thrill". The game's sequel, Moero! Nekketsu Rhythm Damashii, features another Hotei song, "Bambina". (Both songs are cover versions.) Hotei is featured in “Grace” on the Apocalyptica album Worlds Collide. The song is featured in the game NHL 09.
Angel Waltz
布袋寅泰 Lyrics
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ヴィデオが壊れて
猫が二匹増えた
僕は同じ夢を見て 夜明けの街を彷徨い
夕陽に疲れて 夜はただ泣いている
Woo Woo 時は流れてゆく 僕を残して
世界は歪んで みんな嘘にみえる
僕が欲しかった自由
こんなに淋しい自由
ウォッカをあおって 路地裏で眠ろう
Woo Woo 時は流れてゆく 僕を残して
今でも心に響く懐かしのピアノ
いつも照れて踊った 甘いワルツ
星影優しく 君の髪は柔らかく
千の夜が流れた 君が天使だと
気づかないまま
Woo Woo 時は流れてゆく 僕を残して
涙の岸辺に 揺れる懐かしのピアノ
愚かな僕を責める 甘いワルツ 愛する痛みを
分かちあわず 逃げ出して 僕はすべて失した
君が天使だと 気づいた朝に
君が天使だと 気づいた朝に
These lyrics from 布袋寅泰's song "Angel Waltz" reflect themes of loss, loneliness, and realization of the value of someone important. The opening lines describe a sense of emptiness and desolation that came after the person the singer cared about left, likening it to the extinguishing of a flame in the desert. The imagery of a broken video and two new cats entering the singer's life suggests disruption and change, while the repetition of the same dream and wandering through the city at dawn convey a sense of aimlessness and sorrow.
The chorus, with the repeated phrase "Woo Woo 時は流れてゆく 僕を残して" (Time flows on, leaving me behind), captures the feeling of being stuck in time while everything around you moves forward. The loss of the person the singer cherished is symbolized by the loss of their glasses, and a distorted world where everything seems like a lie. The desire for freedom is juxtaposed with the loneliness that comes with it, leading to seeking solace in alcohol and sleeping in alleyways, reflecting a sense of escapism and despair.
The nostalgic piano melody that still resonates in the singer's heart signifies memories of happier times, of dancing and sharing sweet moments with the departed loved one. The gentle starlight and softness of the person's hair are contrasted with the realization that they were an angel all along, a revelation that came too late. The final stanza expresses a deep sense of regret and self-blame, as the singer reflects on their foolishness and inability to understand the pain of love, ultimately leading to a loss that cannot be undone.
The poignant imagery of a weeping piano by the shore of tears, along with the self-recrimination and the bittersweetness of the waltz, encapsulates the singer's struggle with accepting their mistakes and facing the consequences of losing someone so precious. The repetition of the phrase "君が天使だと 気づいた朝に" (On the morning I realized you were an angel) underscores the sudden clarity and hindsight that often accompanies loss, highlighting the missed opportunities and the deep sense of sorrow that comes with recognizing the true worth of a person only after they are gone.
Lyrics © O/B/O APRA AMCOS
Written by: moriyukinojou
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