Keyboardist for Pink Lady (on all songs except “Pepper Keibu”) and arranger of Atsushi Terao’s “Reflections”—which became a phenomenal hit—Akira Inoue was rewarded for his success with the opportunity to produce his solo debut album, “Yogensha no Yume (The Prophet’s Dream),” assembling an all-star cast of top musicians from the Parachute collective, as well as Issei Noro of Casiopea, among other leading session players of the time.
A concept album themed around ten different men—both real figures and fictional characters (a rather delightfully “over-conceptual” idea, one might say)—this record stands out especially for the presence of guitarist Tsuyoshi Kon, credited as Co-Sound Craftsman. For fans of Kon, this album is essential, as his signature guitar work can be heard on nearly every track.
It opens with “Bartók no Kage (The Shadow of Bartók),” which famously samples Steely Dan’s “Josie.” The intro’s slide guitar and cutting rhythm, followed by a breathtaking solo outro (matched only by the equally stunning slide solo on the closing track “Juvescure”), showcase Kon’s brilliance. The album continues with “Subway-Hero,” inspired by the Guardian Angels, a volunteer anti-crime patrol in New York’s East Bronx; “Leticia,” featuring a supremely mellow guitar solo by Issei Noro; and “Double Crossing,” peppered with the modern buzzwords of its time, like “Physical” and “Photogenic.” On “Lost Passengers,” Inoue sings about the only Japanese passenger aboard the Titanic—one of 703 survivors out of 2,206 total (his name deliberately withheld here). The tricky, stop-and-go breaks of “Welcome to the Hindenburg” evoke the style of Masanori Sasaji, while “Gravitations,” the Yokohama Tire CM song and Inoue’s debut single, closes the album on a soaring note. A truly remarkable work of 1980s Japanese pop craftsmanship, “The Prophet’s Dream” stands as a sophisticated fusion of AOR, jazz-funk, and cinematic storytelling, packed into ten meticulously produced tracks.
ピンク・レディーのキーボーディスト(「ペッパー警部」以外)であり、
寺尾聰「リフレクションズ」のアレンジを手掛け、同作は空前のヒットを記録。そのご褒美としてパラシュート勢を含む
カシオペアの野呂一生他、当時のトップ・ミュージシャンを招集し制作された井上鑑のソロ
デビューアルバム「予言者の夢」
実在の人物や映画のキャラクター等10人の男をテーマにしたコンセプト作品(拗らせてる感満載ですがw)、とりわけCo-Sound Craftmanとクレジットされているギタリスト今剛の存在が大きく、彼のファンは必聴のギタープレイが参加曲ほとんどで聴ける作品としても知られた本作ですが、
スティーリー・ダン「Aja」収録の「Josie」サンプリングで、今剛のスライドギターによるイントロとカッティング、それにエンディングのソロ(ラスト「ユヴェスキューレ」のスライドギター・ソロも素晴らしい)が特筆ものの「バルトークの影」にはじまり、NYイースト・ブロンクスのハイクライム・エリア(犯罪多発区域)の私設パトロール"ガーディアン・エンジェルズ"について歌っているA2「Subway-Hero」、
野呂一生のソロが至極メロウなA3「レティシア」、「フィジカル」や「フォトジェニック」など今の言葉がふんだんに登場するA4「Double Crossing」、世紀の豪華客船タイタニック号に唯一乗り合わせた日本人で、乗客2206名の内生還した703人の一人(ここでは名前を伏せておきます)について歌ったA5「Lost Passengers」、
笹路正徳ばりのトリッキーなブレイクを搭載したB2「ヒンデンブルグ号へようこそ」、ヨコハマタイヤの
CMソングとしてもお馴染みのシングル・デビュー曲B4「Gravitations」等、全10曲を収録！
Credit;
Design [Graphic Design] – Atsuko Koyanagi
Engineer – Atsuo Fujita, Ryoji Hachiya
Engineer [Assistant] – Naoki Machida, Susumu Mera
Executive-Producer – Akira Sasajima, Toshifumi Mutoh
Illustration – Rainer C. Fritz
Layout [Graphic Co-ordinator] – Yoshio Kimura
Lyrics By, Composed By, Arranged By – 井上鑑
Management – Naoko Shibata
Musical Assistance [Co-Sound Craftman] – Keishi Urata, Tsuyoshi Kon
Musician – Hideo Yamaki, Issei Noro, Tsugutoshi Goto, Tsuyoshi Kon, Yasuaki Shimizu
Photography By – Takashi Sekiguchi
Producer – Akira Inoue
Supervised By [Director] – Haruyoshi Kawamoto, Masahiko Ina
Technician [All Keyboards Operation] – Keishi Urata
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