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.
Merry-Go-Round
布袋寅泰 Lyrics
Jump to: Overall Meaning ↴
現れて
ぐるぐる回る俺に楽しいか
訊ねるよ
腐った皮肉を ぶつける前に
アンタの姿を見ろよ
ホラ たまには場所を変えなきゃ、
墓石に見えちまうぜ
堕ちて来て
くるくる回る俺に淋しいと
しがみつく
裂かれた翼を なめて欲しけりゃ
早く追いついて来いよ
ホラ kiss したとたんに俺は
アソコにも空にもいる
My life goes around never
stops like a Merry-Go-Round
My life goes around never
stops like a Merry-Go-Round
頭にナイフ刺さったピエロが
照れながら
ぐるぐる回る俺が見てるモノ
覗き込む
子供の俺かが 年老いた俺と
曲馬団小屋に入る
ホラ アンタは笑われながら
人生を指で回す
My life goes around never
stops like a Merry-Go-Round
My life goes around never
stops like a Merry-Go-Round
象牙の椅子に座ったキングが
遠くから
ぐるぐる回る俺のステップを
睨むのさ
アイツを止めろと 叫んだ時に
よろけて階段落ちる
ホラ アンタも転がりだせば
楽しくてたまらないぜ
My life goes around never
stops like a Merry-Go-Round
My life goes around never
stops like a Merry-Go-Round
My life goes around never
stops like a Merry-Go-Round
My life goes around never
stops like a Merry-Go-Round
My life goes around never
stops like a Merry-Go-Round
My life goes around never
stops like a Merry-Go-Round
My life goes around never
stops like a Merry-Go-Round
My life goes around never
stops like a Merry-Go-Round
The lyrics of 布袋寅泰's song "Merry-Go-Round" depict a sense of constantly spinning and rotating in life, resembling the circular motion of a merry-go-round. The song opens with the introduction of a gentleman wearing a stony expression, asking the singer how they are feeling amidst their spinning. This can be interpreted as a metaphor for someone in the singer's life who exudes a sense of cynicism, questioning the enjoyment and excitement the singer finds in their whirlwind existence. The lyrics suggest that before this individual can project their jaded sarcasm onto the singer, they should take a moment to see the singer's perspective. This implies that sometimes, it is necessary to change one's perspective to avoid seeing life as dull and mundane.
The second verse introduces an angel who has been swayed and seduced by the allure and decadence of the city. This angel seeks solace and companionship in the spinning of the singer, clinging to them and expressing loneliness. The singer, on the other hand, yearns for someone to understand their torn and wounded wings, urging the angel to catch up with them quickly. The lyrics suggest that a single kiss from the singer allows them to exist simultaneously in both intimate and vast spaces.
Moving forward, the lyrics introduce a lonely pierced clown who, with a bashful demeanor, asks the singer how they are doing. The clown peeks into the things the singer sees while spinning. The lyrics then segue into a nostalgic depiction of the singer as a child and later as an elderly individual, entering a circus tent. The lyrics imply that while the singer is laughed at and their life is manipulated by circumstances, they retain control and influence over their own existence.
The final verse introduces a king sitting on an ivory throne, observing the singer's steps as they spin. When the king demands the singer to stop, they lose balance and fall down the stairs. The lyrics further urge the listener that if they were to let themselves fall and tumble like the singer, it would be incredibly enjoyable.
Overall, the lyrics of "Merry-Go-Round" seem to convey a message of embracing the constant motion and unpredictability of life. It suggests that instead of feeling controlled and constrained by circumstances, one should harness their ability to adapt, enjoy the ride, and find excitement in the circular nature of existence. The repeated mantra "My life goes around never stops like a Merry-Go-Round" emphasizes the resilient and perpetual nature of the singer's journey.
Lyrics © BMG Rights Management, Universal Music Publishing Group, Sony/ATV Music Publishing LLC, Royalty Network, Songtrust Ave, Kobalt Music Publishing Ltd.
Written by: 原田郁子
Lyrics Licensed & Provided by LyricFind
@user-kl4bo2jl2h
喉を酷使したのがホントに
勿体ない。
SPACE COWBOYの頃からかな。
甲高く息苦しい歌い方がね…
SERIOUS CLIMAXや
サイバーシティは眠らない頃の
歌い方にはもうならないだろうな。
メリゴも声出しオッケーになったら
アウトロでオーディエンスと
掛け合いをやるんだろう…
個人的にはあのウーイェイとかいう
掛け合いは好きではない。
ビシッ!と決めて終わらせて
くれたほうがカッコいい。
@TA_KOOW
カッティングのキレがエグい…
進化というより深化してる
@yokoi1371
まわりの友達はジャニーズにハマってたけどに私は布袋ファン♥中学のときハマりにハマってこの曲も大っ好きでした!!!
ライブ映像かっこいいーありがとうございます!
@laichi5314
私は今学生ですが、 4歳のころに親の車で「MERRY-GO-ROUND」 の高速カッティングを聞いて子供ながら電撃が走り ギターをはじめ
小学校のころから今も聞いてます!
布袋さんはほんとに今聞いても古臭く感じないのがほんとにすごい...
@ktnbtk2879
このカッティングを何度も聞いてたな。今、それが聞ける幸せ
@HOTEIANGEL
『Rock’n Roll Circus』凄く良かった!
行ったライヴの映像化
嬉しいです!
有難う御座います!
@user-sd8tr2vz7x
ライブで1番テンション上がる楽曲です。もちろんほかの楽曲も好きです。
@user-dl5kj5zz8j
こうき(テピクのヤニだやかなりの飲み茶なサイアに炊く
@user-sd8tr2vz7x
2017年の横浜アリーナの時にこの曲のギターソロの後のテープドカーンはテンション上がったわ⤴︎⤴︎
@hoteiya97
世界で一番カッコいい曲
@user-qf1ho5jl8g
実際に大阪城ホールいたけど、最高の空間でした♪あの夜がよみがえりました!