Vagabond Synth Nerd’s Journal Vol. 202 - Famous J-Pop Songs Using the Rhodes Electric Piano

The Rhodes piano feature continues to enter a new phase, following the previous article. Originally designed for musical therapy for soldiers, the Rhodes electric piano, with its distinctive tone and portability, began to be used across various genres of music and continues to do so today.
The reason it remains a staple keyboard instrument is its inherent universality. The Rhodes piano’s charm lies in its highly compatible and adaptable tone that fits into virtually any style of music, and I believe this is the primary reason for its enduring appeal.
In this article, I want to focus on its use in J-pop and explore the skill of Masataka Matsutoya, a master of the Rhodes piano.

Evolution of the Rhodes Piano: MIDI Integration

Over time, the Rhodes piano underwent several model changes and improvements, but its essential sound and basic internal structure remained unchanged.
During its evolution, the Rhodes piano was also made compatible with MIDI (Musical Instrument Digital Interface). This allowed musicians, including jazz pianist Chick Corea, to use it alongside synthesizers.
MIDI allows for keyboard instruments to be connected via cables, where the sound played on one device (the master) can simultaneously trigger sound on another device (the slave).
While MIDI technology was widely used among synthesizers, the MIDI functionality of the Rhodes piano was not often employed. I believe this is because the Rhodes piano’s tone was preferred in its pure form, and mixing it with synthesizer sounds could diminish its unique quality. This serves as a fascinating episode in understanding the Rhodes piano’s timeless appeal.

Now, let’s introduce some famous J-pop songs featuring the Rhodes piano, following up from the previous Dyno My Rhodes.

■ Recommended Album: Yumi Matsutoya No Side (1984)

Released in 1984, this is a masterpiece from Yumi Matsutoya. The album features renowned fusion bassist Louis Johnson, and the track “Blizzard” gained major attention for its dynamic performance and dramatic progression. The album’s title No Side refers to the end of a rugby match, and a song inspired by this theme became a standout.
The album highlights the Rhodes piano work of Yumi’s husband, Masataka, and features first-call musicians of the J-pop scene, including Masaki Matsubara (Guitar), Kenji Takamizu (Bass), Tatsuo Hayashi (Drums), and Nobu Saito (Percussion).

Recommended Track: “No Side”

This iconic track begins with a superb introduction from the Dyno My Rhodes piano. As I mentioned before, I am confident that Masataka Matsutoya was inspired by the introduction of Sergio Mendes’ 1983 song “Love Again” for this intro. The Dyno My Rhodes sound, as played by keyboardist Robbie Buchanan, was truly innovative. The melody and bassline showcase the beauty of the Dyno My Rhodes.
However, “No Side” is not as flashy as “Love Again” because it deals with a different theme. Yumi Matsutoya takes an objective perspective on the feelings of athletes, and the simple intro using the Dyno My Rhodes by Masataka Matsutoya complements this theme perfectly, making it one of his finest moments with the Rhodes piano.
As a side note, the Dyno My Rhodes piano has a stronger attack compared to the regular Rhodes piano. The bassline also requires consistent key pressure to avoid uneven notes, which is noticeable when compared to the usual Rhodes. Listening to “No Side”, you can hear the difference in the bass sound.

■ Recommended Album: Yumi Arai 14th Moon (1976)

Released in 1976, 14th Moon is the fourth album by Yumi Arai (Matsutoya). It includes her iconic hit “Chuo Freeway” along with other classic tracks. All the arrangements on this album were handled by Masataka Matsutoya. The musicians featured include Shigeru Suzuki (Guitar), Masaki Matsubara (Guitar), Leland Sklar (Bass), Nobu Saito (Percussion), Tatsuro Yamashita, Ami Ozaki, Minako Yoshida, and Taeko Onuki (Chorus), among many other prominent figures in the music scene.

Recommended Track: “Chuo Freeway”

A shining gem of J-pop, “Chuo Freeway” stands out in the Japanese pop scene. The Rhodes piano is what defines the mood of the track. As a master of the Rhodes piano, Matsutoya expertly utilizes its unique characteristics to deliver a refined performance. The opening intro, which uses major 7th chords followed by fractioned and 9th chords, showcases Matsutoya’s skill as an arranger and is a highlight of his work. His understated playing style never overpowers the track, and the fills that appear throughout the song are quintessential Matsutoya. The tremolo effect applied to the Rhodes piano is another characteristic of its sound.
If this song were played on an acoustic piano, it would sound entirely different.
The way Yumi Arai captures the essence of the hip youth scene of that time is a testament to her sensibility, and the sound of the Rhodes piano and the tension-filled chord work made that scene even more vivid. It stands in stark contrast to the ‘yojohan folk’ sound of the era. The skill of the young musicians who were able to produce this sound is truly impressive.
According to Matsutoya, he had wanted to create a more syncopated rhythm, but the drummer, Mike Baird, was unable to do so, which led to the final version of the track.

Musicians, Albums, and Recommended Tracks Featured in This Article

• Artists: Masataka Matsutoya, Yumi Matsutoya, Yumi Arai, Robbie Buchanan, and others
• Albums: No Side, 14th Moon
• Recommended Tracks: “No Side”, “Chuo Freeway”

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