When and where did composer Toru Funamura meet the Beatles?

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• a die-hard Beatles fanShinji Wada
  From Osaka Prefecture. I’ve been a Beatles fan for decades. I’ve tried many hobbies, but this is the only one that has stayed with me. As a storyteller of the Beatles, I want to pass on their greatness to future generations. A blog that explains the Beatles in a way anyone can understand.

1.

When and where did Mr. Funamura meet the Beatles?

Considering Mr. Funamura’s statements together with the circumstances at the time, I believe it remains indisputable that he was the first in the world to recognize this talent.

However,What’s unclear is the specific situation of when and where it happened.It is.

I guessed that it might have been around 1961, when it was taking auditions and entering contests before its debut.

However, there is also the view that it might have been when they had a session at EMI on June 6, 1962.

Therefore, I will consider this point.

2.

scarce materials

First, as of February 2017, no materials have been found within the United Kingdom that mention this.

In Japanese sources, there exists a dialogue between Mr. Funamura and Mr. Eiichi Ohtaki that I introduced previously, as well as a column by Mr. Funamura published on May 22, 2002, in the Nikkei (as part of the “My Resume” series), which was later released as a standalone book.

Since no other materials have yet been discovered, we cannot identify the specific date, time, or location where this historical event occurred.

Therefore, we have no choice but to infer from the existing materials and the circumstances of the time.

3.

Mr. Funamura’s Stay in Europe

Mr. Funamura stayed in Europe for two years from March 1961, using Copenhagen as his base while visiting various places.

That includes the United Kingdom.

What complicates the matter is the length of the stay.

So the period of the Beatles’ major debut falls entirely within this timeframe, doesn’t it?

In the previous article, I estimated it as “no later than 1960 to 1961,” but I would like to correct that.

It would be easier to identify if it were over a shorter period, but because it spans a long time, pinpointing it has become difficult.

Moreover, since no other Japanese people accompanied me/us, that was all the more the case.

4.

The deciding factor was the remark, “those filthy four.”

Even so, let's try to make an approach somehow.

At that time, the decisive factor was Mr. Funamura’s remark when he saw them: “that filthy foursome.”

It's obviously referring to their appearance.

They had been wearing stylish Italian-made Benodone suits since March 1962.

Until then, they wore black leather jackets, but even at the time this carried a strong “delinquent” image, and in fact they weren’t viewed very favorably by ordinary people either in their hometown or in Hamburg.

If Mr. Funamura had met them around that time, it would be fair to say they could well have been called “those dirty four.”

5.

Was it about the hairstyle?

Meanwhile, with the exception of drummer Pete Best, they wore what was considered an outlandish hairstyle at the time—the mop-top, that is, a mushroom cut.

At that time, it was considered common sense for men to keep their hair neatly trimmed, so their hairstyles were seen as unconventional.

If Mr. Funamura was referring to this point, that would explain it.

6.

Lingering questions remain nonetheless

Even if we suppose that Mr. Funamura met them at EMI, many questions still arise.

1.

Mr. Funamura was a VIP.

Since Mr. Funamura was invited by EMI as a Grand Prix winner at an international film festival, he must have received courteous treatment, even if it was a relatively informal visit that wasn’t particularly ceremonious.

Therefore, there should be some mention of it in the official records, and they must have at least taken a commemorative photo.

However, not only are there no official records, but no such testimony has been obtained from those involved at the time either.

For example, it is said that the person who asked Mr. Funamura which musician was good was Ron Richards, who was an EMI employee at the time, but it is hard to fathom why he never spoke about such a significant topic.

2.

It wasn’t an audition; it was a recording.

In the Japanese edition of The Beatles: All These Years, published in November 2016 by Mark Lewisohn, a leading authority on Beatles studies, it notes—while acknowledging that the details of the session that day are unclear—thatIt was a session purely to produce their debut single, not an audition....and that is what they are asserting.

However, if that was the day they had a session at EMI on June 6, 1962, they were already wearing suits, so I infer that such a remark would not have been made.

Because their producer, George Martin, had already signed them to a deal with Parlophone by the time he heard their performance on tape.

Even if it was not an official contract but a provisional one, the equipment was set up that day for full-scale recording.

And yes, they did use EMI Studios, but that was only because Parlophone was a subsidiary of EMI.

In other words, even though Mr. Funamura was invited to EMI, that did not directly lead to a meeting.

Given that, we have to conclude that it would have been impossible for Mr. Funamura to participate as a judge.

3.

There were no other musicians.

Also,Mr. Funamura said that three to four groups of musicians auditioned.He says that, but on that day, the only ones who recorded in this studio were the Beatles.

Considering these facts together, I think it is highly likely that Mr. Funamura did not meet them on that day.

7.

Then, when and where was it?

From here on, this is my reasoning,It was likely not at EMI that Mr. Funamura met them, but rather at an audition or contest held within the United Kingdom sometime between March 1961, when he moved to Europe, and March 1962, when the Beatles began wearing suits.I think so.

At that time they wore black leather jackets, so this appearance fits Mr. Funamura’s remark about “those filthy four” perfectly.

Also, there must have been various auditions and contests held in the UK, but at the very least, anyone serving as a judge to discover professional musicians would have had to be someone with a solid track record.

In that regard, I believe Mr. Funamura was more than qualified.

At the time, overseas travel by Japanese people was restricted, so they must have attracted even more attention as top-tier music professionals who had come all the way from Japan.

For these reasons, I surmise that Mr. Funamura met them not at EMI’s headquarters, but earlier at an audition or contest held in the United Kingdom.

Please note that this is nothing more than mere speculation without any substantiation.

8.

aside; digression

I sent an email to Louison on February 21, 2017, noting that Mr. Funamura might have been the first person in the world to recognize their talent.

The next day, I received a reply saying that they considered it valuable information, thanked me for providing it, and might request additional details.

He likely showed interest in this information because it was highly valuable and also new to him.

Mr. Funamura was invited by Pathé-Marconi in Paris, and at that time he was asked to train a new Greek singer.

And Mr. Funamura provided musical guidance to the newcomer, who respectfully referred to Mr. Funamura as his “Eastern mentor.”

He eventually began singing anti-war songs as a professional musician, and in 1969 he had a major hit with the song “Le Métèque” (titled “Ikoku no Hito” in Japanese), which catapulted him to stardom.

HeGeorges Moustaki, famed as a singer-songwriterIt is.

That's right.

Mr. Funamura not only recognized the Beatles' talent but also nurtured top-class singers overseas.