JapaneseMusicianSinger-songwriterKeyboardist

Hiroshi Sato (musician)

Hiroshi Sato was an influential Japanese singer-songwriter, pianist, keyboardist, and producer, pivotal in developing jazz fusion, soft rock, and city pop, known for his piano and pioneering music technology.

1. Overview

Hiroshi Sato (佐藤博Satō HiroshiJapanese, June 3, 1947 - October 26, 2012) was a highly influential Japanese singer-songwriter, pianist, keyboardist, and producer. He was a pivotal figure in the development of Japanese jazz fusion and soft rock during the late 1970s and 1980s, genres that later became synonymous with city pop. Sato was renowned for his distinctive piano playing, his sophisticated fusion of black music, jazz, and fusion elements, and his pioneering adoption and mastery of music technology, including synthesizers, sequencers, and drum machines. Throughout his prolific career, he not only released numerous solo albums but also made significant contributions as an arranger, recording engineer, mastering engineer, and producer for a wide array of prominent Japanese artists, leaving an indelible mark on the Japanese music scene and influencing subsequent generations of musicians.

2. Life

Hiroshi Sato's life journey was deeply intertwined with his musical evolution, from his early days in Kagoshima and Kyoto to his international experiences and his eventual return to Japan as a leading figure in music production and innovation.

2.1. Early Life and Upbringing

Hiroshi Sato was born on June 3, 1947, in Chiran, Kagoshima, as the eldest son of a temple priest. At the age of two, in 1949, his family relocated to a temple in Kyoto, where he spent his formative years. During his middle school years, around age 14, Sato began to question his predetermined path of inheriting the family's temple, feeling a sense of anger towards societal expectations and a loss of hope. It was during this period of introspection that he found solace and inspiration in music.

2.2. Musical Awakening and Education

Sato's musical journey began when he had the opportunity to play a guitar, finding a sense of hope in its open string sounds. This experience led him to believe that he could live if he could be involved with music. As he progressed to high school, he started learning to play the electric bass and drum kit. By his first year of high school, he was already experimenting with multi-track recording in his family's storehouse. In his second year, he acquired a Sony 4-track open-reel tape recorder, further immersing himself in recording. Initially, Sato aspired to be a composer and arranger rather than a performer. However, advised by Masashige Fujio, a pianist from Tokyo Union, that keyboard skills would be advantageous, he began teaching himself piano at the age of 20. He later recounted that at that age, he practiced so intensely that he was prepared to abandon everything if he did not succeed as a professional musician.

2.3. Professional Debut and Early Career

Around 1970, Sato launched his professional career as a pianist in a jazz combo band in Osaka. By 1972, based in Kyoto, he began collaborating with blues musicians such as the West Road Blues Band and Masaki Ueda. He also worked with folk artists including Kyozo Nishioka (as part of "The Dylan"), Masaji Otsuka, and Ryo Kagawa. In 1974, he formed the band "THIS" with Chozo Ishida. His encounter with Shigeru Suzuki while performing as a backing musician for Ryo Kagawa's album Out of Mind led him to move to Tokyo. In 1976, while involved with Suzuki's short-lived band Huckleback and collaborating with Haruomi Hosono and his associates from Tin Pan Alley, Sato released his debut solo album, SUPER MARKET, through Nippon Columbia. That same year, he participated in the formation of Minako Yoshida's band.

2.4. International Activities and Return

Two or three years after his solo debut, Sato felt creatively stifled in Japan. Despite an increase in studio musician work and higher fees, he found himself playing mostly popular music and pop music that he had no interest in. Unable to tolerate this, he decided to leave Japan. He declined an invitation to join Yellow Magic Orchestra from Haruomi Hosono, instead choosing to move to the United States in the summer of 1979. His sentiment at the time was not so much a desire to go to America, but rather a strong urge to leave Japan. He felt that Japanese music across all genres-jazz, classical, new music, R&B-was merely imitative. He was determined to pursue originality, free from past influences, even if it narrowed his creative scope. After releasing two albums, he realized he couldn't continue making music in Japan without losing his passion, even for his own albums. He decided to go to Los Angeles to clear his head.

In the U.S., he collaborated with artists like Maria Muldaur and Randy Crawford, and toured for about 10 months with the Spencer Davis Group. During this period, he was profoundly impacted by the sound of the Linn LM-1 drum machine, invented by Roger Linn, which he first heard on Herbie Hancock's album Mr. Hands. The LM-1, being the first sample-based drum machine, convinced him that he could achieve the same multi-track recording methods he had been practicing in Japan without needing to hire overseas musicians. This realization prompted his decision to return to Japan. He requested Kunihiko Murai, then president of Alfa Records, to purchase the LM-1, and began working on his fourth solo album, Awakening. He returned to Japan in 1982 with his demo tapes, and released Awakening, which heavily featured the LM-1. Sato later reflected that Roger Linn effectively pushed him to return to Japan, as he had been hesitant to resume his previous activities there.

The Linn LM-1, a pioneering sample-based drum machine, was instrumental in Sato's decision to return to Japan and shaped the sound of his 1982 album Awakening.
The Linn LM-1, a pioneering sample-based drum machine, was instrumental in Sato's decision to return to Japan and shaped the sound of his 1982 album Awakening.

2.5. Later Career and Production

Upon his return to Japan in the 1980s, Sato consistently released albums through Alfa Records almost every year. He also composed a multitude of commercial jingles and television program theme songs. His 1988 best-of album, Memory in the Future, subtitled "TV Graffiti," featured many of these commercial works.

In the 2000s, Sato shifted his focus to production activities and discovering new artists. Notable works include serving as music director for Dreams Come True's "Dreams Come True Wonderland 2007" tour in 2007, a role personally requested by the band's leader and bassist, Masato Nakamura, who considered Sato his mentor. He also sound-produced SoulJa's "DOGG POUND" in 2007, Thelma Aoyama's "Soba ni Iru ne" in 2008, and Mai Fukui's "Ikutabi no Sakura" in February 2011. For Thelma Aoyama's "Soba ni Iru ne," a massive hit in 2008, Sato not only handled arrangement and sound production but also personally managed recording, mixing, engineering, and mastering at his private studio, "Studio SARA". He also performed keyboards, rhythm programming, and synth bass on the track, which earned him an "Excellent Work Award" at the 50th Japan Record Awards. In 2011, Mai Fukui's "Ikutabi no Sakura," for which he composed, arranged, and sound-produced (including performance, mixing, and engineering), received the 44th Japan Cable Grand Prize.

Sato released a total of 14 albums until his hiatus following the release of Oracle through Eastworld Records in 1996.

3. Musical Career and Innovation

Hiroshi Sato's musical career was defined by his distinctive artistic approach, characterized by a deep fusion of genres and a pioneering embrace of music technology.

3.1. Musical Style and Characteristics

Sato's musical roots were deeply embedded in blues, although he was also influenced by artists like Elvis Presley, Ray Charles, and The Beatles. His piano playing was particularly distinctive, often incorporating sophisticated jazz chords such as thirteenths and six-ninths, contributing to an urban and refined sound. He consistently pursued a style of pop music that integrated elements of black music, jazz, and fusion, often built upon synthesizers and programmed rhythms. A fundamental aspect of his music production was his reliance on a multi-track recording style, where he would often perform all instruments himself.

3.2. Technological Innovation and Equipment Use

Sato was an early adopter and master of cutting-edge music technology, including synthesizers, sequencers, and personal computers, which he skillfully wielded as tools for artistic expression. He was known for his pioneering use of polyphonic synthesizers like the Yamaha CS-80 and Polymoog, and Roland drum machines in his 1979 album Orient. In the early 1980s, he experimented with the Roland TR-808 drum machine but primarily utilized the Linn LM-1 sample-based drum machine for his seminal 1982 album Awakening. He was also an early user of the Roland TR-909 drum machine, released in 1983, incorporating it into his 1984 album Sailing Blaster and using it as a producer for Naomi Akimoto's album Poison 21.

Sato was a trailblazer in Japan for his work with synthesizers, multi-track recording, and audio effects, publishing articles and tutorials on these subjects in magazines like KEYBOARD BOOK and Keepl as early as 1983. He also served as an advisor during the introduction of the MIDI standard. A key philosophy for Sato was viewing computers as "tools" to realize his envisioned sound, emphasizing that his creative vision always took precedence over the limitations of machinery. His multi-track recording approach was particularly evident in his rhythm programming, which was highly regarded for its human touch and intricate hi-hat cymbal articulation. His 1990 album Good Morning was his last original album to feature live drums, as he increasingly relied on programmed rhythms.

Sato's commitment to sound quality extended to his role as a recording engineer. From the early days of digital recording, he personally operated the mixing console during recording sessions to establish sound standards. For his 1988 album AQUA, he avoided recording synth parts onto tape to prevent sound degradation, instead synchronizing them during mixdown using a Macintosh and the MIDI sequencer software Performer (later also Logic and Vision around 1995), effectively using it as a digital multi-track recorder. He viewed operating a mixing console as akin to playing an instrument, and considered mixdown his favorite part of the music-making process, even more so than performing or singing. He believed that the person ultimately responsible for the music should also handle the engineering to ensure the total artistic vision is realized, leaving no room for "machine-driven" or "other-dependent" elements in his work. His private studio, "Studio SARA", built in 1990, was notably capable of handling everything from trackdown to mastering. In 2003, he introduced a hard disk recorder to Studio SARA.

3.3. Production and Arrangement Contributions

Beyond his solo work, Sato was a highly sought-after producer and arranger, shaping the sound of numerous artists across various genres. He undertook his first sound production for Minako Yoshida's album FLAPPER in 1976. He arranged Naomi Akimoto's album Poison 21 in 1984. He was involved in the arrangement of Masae Ohno's MASAE ALA MODE in 1983, collaborating with the band Casiopea. His production credits include major hits like SoulJa's "DOGG POUND" (2007), Thelma Aoyama's "Soba ni Iru ne" (2008), and Mai Fukui's "Ikutabi no Sakura" (2011), all of which achieved significant commercial and critical success.

4. Discography

Hiroshi Sato's discography spans several decades, showcasing his evolution as a solo artist and his prolific output.

4.1. Solo Studio Albums

AlbumRelease DateLabelFormatRelease Number
SUPER MARKETMay 25, 1976Wave Concept (Nippon Columbia)LPLQ-7008-C
November 21, 1993Nippon ColumbiaCDCOCA-11141
November 21, 1993Nippon ColumbiaCDCOR-11141
June 22, 2009Columbia Music EntertainmentCD (on demand)CORR-10298
November 21, 2012Tower to the People (Tower Records)CDTWCP-25
November 3, 2019Nippon ColumbiaLPHMJA-124
TimeJanuary 25, 1977Wave ConceptLPLX-7009
March 10, 2003Ardun RecordsCDARCD-1002
December 21, 2009Columbia Music EntertainmentCD (on demand)CORR-10529
November 21, 2012Tower to the PeopleCDTWCP-26
April 18, 2015HMV Record Shop (HMV)LPHMJA-101
November 3, 2019Sony Music Entertainment JapanLP
ORIENTJune 1, 1979Kitty RecordsLPMKF-1047
January 1, 1990Kitty RecordsCD
March 13, 2013Universal Music GroupCDPROT-1056
December 24, 2014Kitty RecordsCDMKF-1047
April 18, 2015HMV Record ShopLPPROT-7002
February 16, 2018WEWANTSOUNDSLPWWSLP-12
AwakeningJune 25, 1982Alfa RecordsLPALR-28036
August 25, 1986Alfa RecordsCD32XA-91
May 10, 1995Alfa RecordsCDALCA-9144
September 21, 2005GT Music (Sony Music Direct Japan Inc.)CDMHCL-648
December 10, 2014Sony Music Entertainment JapanCDMHCL-30275
August 24, 2016Sony Music Entertainment JapanLP (180g heavy vinyl)MHJ7-3
November 3, 2019Sony Music Entertainment JapanLPMHJL-106
SAILING BLASTERJune 25, 1984Alfa RecordsLPALR-28059
1986Alfa RecordsCD32XA-92
May 10, 1995Alfa RecordsCDALCA-9145
June 3, 2015Bridge RecordsBlu-spec CD2 (paper jacket)BRIDGE-239
This BoyMay 25, 1985Alfa RecordsLPALR-28066
September 10, 1985Alfa RecordsCD32XA-39
SOUND OF SCIENCEJuly 25, 1986Alfa RecordsLPALR-28081
August 25, 1986Alfa RecordsCD32XA-70
May 10, 1995Alfa RecordsCDALCA-9146
June 3, 2015Bridge RecordsBlu-spec CD2 (paper jacket)BRIDGE-240
FUTURE FILEMay 25, 1987Alfa RecordsLPALR-28095
May 25, 1987Alfa RecordsCD32XA-158
May 10, 1995Alfa RecordsCDALCA-9147
June 3, 2015GT MusicBlu-spec CD2MHCL-30310
AQUAJune 25, 1988Alfa RecordsLPALR-28110
June 25, 1988Alfa RecordsCD32XA-210
May 10, 1995Alfa RecordsCDALCA-9148
June 3, 2015GT MusicBlu-spec CD2MHCL-30311
TOUCH THE HEARTJune 25, 1989Alfa RecordsCD29A2-18
May 10, 1995Alfa RecordsCDALCA-9149
June 3, 2015GT MusicBlu-spec CD2MHCL-30312
Good MorningJuly 25, 1990Alfa RecordsCDALCA-56
May 10, 1995Alfa RecordsCDALCA-9150
November 24, 2017Order Made FactoryCDDQCL-684
Self JamJuly 21, 1991Alfa RecordsCDALCA-159
May 10, 1995Alfa RecordsCDALCA-9151
November 24, 2017Order Made FactoryBlu-spec CD2DQCL-685
HAPPY & LUCKYJune 21, 1993Alfa RecordsCDALCA-494
May 10, 1995Alfa RecordsCDALCA-9152
November 24, 2017Order Made FactoryBlu-spec CD2DQCL-686
ALL OF MEMay 10, 1995EMI Music JapanCDTOCT-8882
September 8, 2012Tower to the PeopleCDQIAG-70057
OracleNovember 7, 1996EMI Music JapanCDTOCT-9706
September 8, 2012Tower to the PeopleCDQIAG-70058
THAT'S ALL RIGHTJune 24, 2003Sara MusicCDSMD-0001
AmazingJanuary 20, 2004Sara MusicLP
AMAZING Vol. IIApril 5, 2006ex-music communicationsCDECCA-1003
CREAMY AQUAAugust 4, 2007Groovin' High RecordsCDGHR-0001

4.2. Singles

  • "Itoshi no Marie" / "Paradise e" (1977, Nippon Columbia LK-14-C)
  • "Son Goku" (May 1979)
  • "Sun Grow" (November 28, 1984)
  • "Angelina" / "Shiny Lady" (April 25, 1985, Alfa ALR-783)
  • "LOVE ME DO" (October 10, 1985) - 12-inch single
  • "Uchuu no Etranger" / "Mystery Zone" (June 25, 1986, Alfa ALR-794)
  • "Sweet Inspiration - Extended Power Club Mix -" / "ANGELINE - Extended Power Club Mix -" (February 25, 1987, Alfa ALR-13001) - 12-inch single
  • "Seat For Two" (June 25, 1988)
  • "Fuzzy Love" / "MISSING LINK" (June 25, 1989, Alfa)
  • "EVE no Asa wo" (October 25, 1989)
  • "HEART TO YOU" (May 10, 1995)
  • "Yakusoku" (March 6, 1996)
  • "Day by Day" (June 26, 1996, TOCT-4046)
  • "Take it" (December 10, 2004)
  • "Bad Junky Blues (Op.2010_0615)" (June 2010)
  • "1945-Shabondama (Op.2010_0831)" (September 2010)
  • "Angel - Hiroshi Sato feat. Marié Digby" (September 12, 2012)
  • "Sweet Lullaby - Hiroshi Sato & Marié Digby" (October 6, 2012)
  • "EVENING SHADOWS" / "SUN BATHING" / "X'S AND O'S" / "ordinary" (November 30, 2016, MHJ7-6) - 12-inch single
  • "Kalimba Night" / "Donkama" (2021 Record Store Day Limited Edition)

4.3. Compilation and Best Albums

  • THIS BOY (May 25, 1985) - Compilation album
  • Kioku no Naka no Mirai (Memory in the Future) (December 21, 1988) - Best album
  • HIROSHI SATO'90-SNOW LAND (October 25, 1989) - HoiChoi Productions "Gokuraku Ski '90" compilation album
  • HIROSHI SATO BEST SELECTION (September 1, 1990) - Best album
  • PROSUMER (November 21, 1992) - Compilation album
  • Hiroshi Sato Best (February 1, 1994) - Best album
  • FLY TO YOU 2000 (April 12, 2000) - 2-disc complete best album
  • CREAMY AQUA (August 4, 2007)
  • GOLDEN☆BEST Hiroshi Sato ~ a fine piece of work (January 30, 2013) - Memorial best selection
  • UNDERCOVER (June 3, 2014) - Compilation album

4.4. Soundtracks and Project Albums

  • Nanatoshi Monogatari Soundtrack (April 21, 1994)
  • Maboroshi no Huckleback (1976) - Shigeru Suzuki and Huckleback
  • 1975 LIVE (2015) - Shigeru Suzuki and Huckleback
  • SEASIDE LOVERS - MEMORIES IN BEACH HOUSE (May 21, 1983) - Contributed three original songs (participated with Masataka Matsutoya and Akira Inoue).
  • Yurikago no Uta (Lullaby) (February 21, 1992) - Illustrations by Moe Nagata.

5. Collaborations and Session Work

Hiroshi Sato's career was marked by extensive collaborations and session work across a broad spectrum of Japanese music. He contributed as a composer, arranger, and session musician on numerous albums.

  • 1974**
    • Ryo Kagawa: Out of Mind (November 10, 1974)
    • The Dylan II: Sayonara ~ Kono Yo wo Kanashimu Fuuraibou ni Sasagu ~
  • 1975**
    • Kosuke Kanamori: "Hakobune wa Satte"
    • Eiichi Ohtaki: Niagara Moon (May 30, 1975) - Piano on "Sanmon Song," "Ronkan Gyū Otoko," "Rock'n Roll March," "Hand Clapping Rumba," "Koi wa Merenge," "Fussa Strut (Part II)," Wuritzer on "Shakkuri Mama-san," Piano on "Tanoshī Yofukashi."
    • Minako Yoshida: MINAKO (October 25, 1975) - Co-composed and co-arranged "Rainbow Sea Line" and "Yume wo Otte," co-arranged "Suminareta Heya de," arranged "Chinese Soup," "Paradise e," "Toki no Mukō," "Rockabye My Baby."
    • Minako Yoshida: MINAKO II (December 20, 1975)
    • Nobuyasu Okabayashi: Dare zo Kono Ko ni Ai no Te wo
    • Kyozo Nishioka: Rockabye My Baby
    • Haruomi Hosono: Tropical Dandy
    • Bread & Butter: "Mahae"
    • Kosetsu Minami: "Kaerimichi"
  • 1976**
    • Mentanpin: MENTANPIN SECOND
    • Haruomi Hosono: Taiyō Yōkō
    • Taeko Ohnuki: Grey Skies (September 25, 1976) - Steinway Piano, Fender Rhodes Piano, Roland Synthesizer on "One's Love," Fender Rhodes Piano, Hammond Organ, Roland Synthesizer on "Machi."
    • Minako Yoshida: FLAPPER (March 25, 1976) - First sound production. Composed and rhythm arranged "Asa wa Kimi ni," composed, horn & rhythm arranged "Chokkai."
    • Yoshitaka Minami: Wasurerareta Natsu
    • Masaji Otsuka: Tōi Mukashi Boku wa...
    • Keiichi Suzuki and Moonriders: Hi no Tama Boy - "Hi no Tama Boy"
  • 1977**
    • Chu Kosaka: MORNING
    • Masaru Watanabe: HELLO
    • Lily: Lyrism - Full production by Sato, following Ryuichi Sakamoto's production of Aurora in 1976. Featured Rei Ohara (bass), Akihiko Tanaka (bass), Shigeru Suzuki (guitar), Yutaka Uehara (drums), Pecker (percussion), Bread & Butter (chorus).
    • Lily: "Miss Caron Turbat" (c/w "Kokoro wa Natsu ni Sasowarete")
    • Minako Yoshida: TWILIGHT ZONE (March 25, 1977) - Hammond Organ
    • Tatsuro Yamashita: Spacy (June 25, 1977) - Acoustic Piano on "LOVE SPACE," Electric Piano on "Suteki na Gogo wa."
    • Sumiko Yamagata: Flying
    • Ayumi Ishida: Ayumi Ishida & Tin Pan Alley Family / Our Connection
    • Masayoshi Takanaka: TAKANAKA - Clavinet on "MAMBO NO,5 (DISCO DANGO)," Synthesizer Solo on "MAMBO MAGIC," Piano on "GASCON COCKTAIL."
    • Hi-Fi Set: LOVE COLLECTION
    • Eiichi Ohtaki: Niagara Calendar (December 25, 1977) - Piano on "Rock'n Roll Otoshidama," "Za Dokusho."
    • Linda Carriere: Linda Carriere (unreleased)
    • Masaki Ueda: Masaki Ueda
  • 1978**
    • Haruomi Hosono & Yellow Magic Band: Paraiso
    • Eiichi Ohtaki: DEBUT (August 25, 1978) - Piano on "Tanoshī Yofukashi," "Fussa Strut (Part II)," "Uraraka '78."
    • Ruriko Ohgami: DREAMER FROM WEST
    • Tokiko Kato: Sabita Sharīn
    • Kazumasa Akiyama: DIG MY STYLE
    • Yoshitaka Minami: SOUTH OF THE BORDER - Piano (Solo) on "One Night Hero."
    • Ami Ozaki: STOP MOTION
    • Ami Ozaki: PRISMY
    • Tsugutoshi Gotō: ON BASS
    • Issei Okamoto: "MOONLIGHT SINGING" - Also arrangement.
    • Time Five: Tsubasa wo Kudasai
    • Tatsuhiko Yamamoto: Sudden Wind
    • Kyozo Nishioka: Yo Solo
    • Haruomi Hosono & Tadanori Yokoo: Cochin Moon
    • Tatsuro Yamashita / Haruomi Hosono / Shigeru Suzuki: PACIFIC
    • Tatsuro Yamashita: Go Ahead! (December 20, 1978) - Keyboards on "MONDAY BLUE."
  • 1979**
    • Mariya Takeuchi: University Street
    • Ann Lewis: PINK PUSSYCAT (August 5, 1979)
    • Tatsuro Yamashita: Moonglow (October 21, 1979) - Electric Piano on "RAINY WALK," "STORM," "TOUCH ME LIGHTLY."
    • Bread & Butter: LATE LATE SUMMER
    • Anri: Feelin'
    • Jin Kirigaya: My love for you
    • Maria Asahina: MARIA
    • Tomoko Furuya: NEUTRAL TINTS
    • Nanako Sato: Pillow Talk
    • Circus: NEW HORIZON
    • Geoff Muldaur & Amos Garrett: Live in Japan
    • Masaki Matsubara: TAKE A SONG
    • Yoshitaka Minami: SPEAK LOW
  • 1980**
    • Tatsuro Yamashita: RIDE ON TIME (September 19, 1980) - Keyboards on "RAINY DAY," "Kumo no Yukue ni (CLOUDS)."
    • Amos Garrett: GO CAT GO
    • Noriyo Ikeda: DREAM IN THE STREET - "DREAM IN THE STREET"
  • 1982**
    • Tatsuro Yamashita: FOR YOU (January 21, 1982) - Electric Piano on "MUSIC BOOK," Acoustic Piano & Electric Piano on "FUTARI."
    • Frank Nagai: "WOMAN" (June 21, 1982) - "Ai no Serenade"
    • Minako Yoshida: LIGHT'N UP (September 21, 1982) - "LIGHT'N UP," "Hoo ni Yoru no Hi," "LOVE SHOWER," "Kaze," "MORNING PRAYER," "Shayō (REFLECTION)," "Toki no Mukō."
    • Sandii & The Sunsetz: Immigrants
  • 1983**
    • Minako Yoshida: IN MOTION (March 25, 1983) - Acoustic Piano on "TORNADO."
    • Tatsuro Yamashita: MELODIES (June 8, 1983) - "Yashō (Night-Fly)," "BLUE MIDNIGHT."
    • Yoshitaka Minami: DAYDREAM (July 22, 1983)
    • Ami Ozaki: MIRACLE
    • Kaoru Sudō: PLANETARIUM
    • Kingo Hamada: MUGSHOT - Arrangement, Keyboards on "Rainy Heart."
    • Masaki Ueda: HUSKY
    • Masae Ohno: MASAE ALA MODE (performed with Casiopea)
    • Akira Inoue / Masataka Matsutoya / Hiroshi Sato: Seaside Lovers
  • 1984**
    • Hideomi Ishikawa: SECRET
    • Naomi Akimoto: Poison 21
    • Mariya Takeuchi: VARIETY
    • Toshiki Kadomatsu: AFTER 5 CLASH (April 21, 1984) - Key. (also Piano solo) on "I NEED YOU."
    • Atsuko Nimei: LOCO ISLAND - All songs arranged.
    • Takako Ohta: GRADATION
    • Miyuki Kōsaka: "Jet Lag (Jisa)"
    • Ami Ozaki: Plastic Garden
    • Yasuhiro Suzuki: Hello Again (September 29, 1984) - "Holy Night," "Mō Ichido Ai wo," "Sari Yuku Hibi yo."
    • Naoto Takenaka: Kawatta Katachi no Ishi
    • Kazuhito Murata: MY CREW (July 10, 1984)
    • Kazunari Endō: RUN TO LIVE, LIVE TO RUN (August 21, 1984) - "Yoishirete Déjà Vu," "L.A. BABE."
  • 1985**
    • Kyōko Koizumi: Today's Girl
    • Mako Ishino: Saffran
    • Hideomi Ishikawa: I
    • Ryō Amamiya: TURN YOU ON
    • Yuji Toriyama: A Taste Of Paradise
    • Yukihiro Takahashi: Harukanaru Omoi - Once A Fool,...
    • Ayuo Takahashi: MEMORY THEATRE
  • 1986**
    • CINDY: Love Life
    • EPO: PUMP! PUMP!
    • Yukihiro Takahashi: ONLY WHEN I LAUGH
    • Tatsuro Yamashita: Pocket Music (April 23, 1986) - "LADY BLUE."
    • Anri: MYSTIQUE
    • Anri: TROUBLE IN PARADISE
    • Chiyono Yoshino: SLOW DANCE
  • 1987**
    • Toshiki Kadomatsu: SEA IS A LADY
    • Kenichi Fujimoto: Aperitif
    • Yurie Kokubu: STEPS
    • Satoko Shimonari: KEEP IN TOUCH
    • Chiyono Yoshino: SAY GOOD-BYE
    • Taeko Ohnuki: A SLICE OF LIFE (October 5, 1987) - Keyboards on "Anata ni Nita Hito," Acoustic Piano on "Mō Ichido Twist," Arrangement, Keyboards on "Ningyo to Suifu," Keyboards on "Snapshot," "Gobanme no Kisetsu."
    • Mariya Takeuchi: REQUEST
  • 1988**
    • Yuji Toriyama: Transfusion
    • Miho Nakayama: CATCH THE NITE
    • TOKYO ENSEMBLE LAB: BREATH FROM THE SEASON
    • Masayuki Suzuki: Radio Days
    • Rei Ohara: PICARESQUE
  • 1989**
    • Yukiko Haneda: SORA
    • Yoshitaka Minami: Tokyo Monogatari
    • Sadistic Mika Band: Appare
  • 1990**
    • Kumi Shoji: RHYTHM OF SILENCE
    • Kumi Shoji: Motion & Moment
    • EPO: GO GO EPO
    • Toshiki Kadomatsu: LEGACY OF YOU (July 25, 1990) - "SATO."
  • 1991**
    • Toshiki Kadomatsu: "Kono Eki kara..." (May 21, 1991) - "Kono Eki kara..."
    • Toshiki Kadomatsu: ALL IS VANITY (July 3, 1991) - "Natsu Kaiki ~ SUMMER DAYS," "Kono Eki kara... ~ STATION," "UP TOWN GIRL," "DISTANCE," "WHAT IS WOMAN."
    • Toshiki Kadomatsu: TEARS BALLAD (December 4, 1991) - "DISTANCE."
    • Yoshito Fuchigami: AGUA
    • Minoru Komorita: Panorama
    • Mikiko Noda: Rose C'est La Vie
  • 1992**
    • Mikiko Noda: CUTE
    • Tetsuro Oda: ENDLESS DREAM
  • 1993**
    • Kumi Shoji: Scope Of Soul
    • Gen Taneichi: Fuyu no Shirabe
    • Toshiki Kadomatsu: 1981-1987 (October 21, 1993) - Acoustic Piano, Fender Rhodes on "I NEED YOU."
  • 1994**
    • Toshiki Kadomatsu: ALL IS VANITY (December 16, 1994)
  • 1995**
    • Gen Taneichi: Ryōomoi no Susume
  • 1996**
    • Masayoshi Takanaka: Guitar Wonder
    • Sachiko Kumagai: Bahia
  • 1997**
    • Hiromi Iwasaki: SHOWER OF LOVE
  • 1998**
    • Anna: Stories (March 18, 1998) - Composed "Sugar Sugar" (as HIRO P.J.).
    • Tatsuro Yamashita: COZY (August 26, 1998) - Acoustic Piano, Electric Piano & Hammond Organ on "Tsuki no Hikari."
    • KinKi Kids: "Happy Happy Greeting" (from Happy Happy Greeting/Cinderella Christmas)
  • 1999**
    • Kyōko Kishida, Masahiro Motoki: Nakanai de - Chiisana Tabibito e
    • Yoshitaka Minami: PURPLE IN PINK (as HIRO P.J.)
    • Chappie: "Suichū Megane / Tanabata no Yoru, Kimi ni Aitai" (July 7, 1999) - "Tanabata no Yoru, Kimi ni Aitai."
    • Masayoshi Takanaka: Bahama
  • 2000**
    • Tin Pan: Tin Pan (November 22, 2000) - "Fujiyama Mama," "76 Tears."
  • 2001**
    • SMOOTH ACE: REMAINS
    • SMOOTH ACE: Smooth Music At Cafe
    • Chu Kosaka: PEOPLE
    • Yoko Kuzuya: MUSIC GREETINGS VOLUME TWO
  • 2002**
    • Omnibus: HAPPY END PARADE ~ tribute to Happy End ~
    • Ginga Tetsudo: Milky Way - Produced (produced in 1977).
  • 2003**
    • Shuichi "Ponta" Murakami: MY PLEASURE ~ FEATURING GREATEST MUSICIANS ~
    • Kenji Omura: Leaving Home best live tracks II (as HIRO P.J.)
  • 2005**
    • Hikari Ichihara: Ichiban no Shiawase
    • Kunihiko Murai: COMPOSITIONS
  • 2007**
    • Mariya Takeuchi: "Ashita no Nai Koi"
    • SoulJa: DOGG POUND
    • Kazukou: Golden Hits
  • 2008**
    • Thelma Aoyama: "Soba ni Iru ne"
    • Dreams Come True: Dreams Come True Wonderland 2007
    • I.H.L: Romancista
    • I.H.L: I HAVE LOVE 2008
    • Sly and Robbie: HURRY HOME
    • LADY TRAFIC: HURRY HOME
    • SoulJa × Misslim: Kinenbi・home
  • 2009**
    • SoulJa: COLORZ - Prologue・Prologue feat. Hiroshi Sato
    • Issei Yoshimi: ~YOU~
  • 2011**
    • Mai Fukui: Ikutabi no Sakura (Instruments, Mixing, Engineering & Mastering)
    • Mai Fukui: REMAINS
    • Haruomi Hosono: HoSoNoVa (April 20, 2011)
  • 2012**
    • Yusuke Nakamura: Motorcycle (All Drums Programming, Additional Keyboards & Programming)

6. Other Musical Activities

Beyond his album releases and production work, Hiroshi Sato engaged in a variety of other musical activities, including radio hosting and composing for commercials.

From October 7, 2000, to March 31, 2001, Sato co-hosted the radio program "The Legend" with Rei Ohara on FM Yokohama, airing every Saturday from 9:00 PM to 10:00 PM.

He was highly active in composing music for commercials and television programs. Some notable tie-up works include:

  • "Kagayaki ni Mukete" (1982) - Image song for Kagoshima Broadcasting (formerly used for opening and closing announcements).
  • "Love is happening" (1984), "Sun Glow" (1984), "Angelina" (1985), "Shiny Lady" (1985), "Kioku no Naka no Mirai kara" (1985), "ON THE WIND" - CM songs for Kosugi Sangyo's "Jantzen."
  • "Kioku no Naka no Mirai kara" (1985) - CM song for Ōkai Shuzō's "Satsuma Ōkai."
  • "Sweet Inspiration" (1987) - Theme song for TV Tokyo's "D Motor Land" and TV Asahi's "Eat9" (opening/ending).
  • "Future File" (1987) - CM song for Tokyo Tatemono.
  • "I WANT TO HOLD YOUR HAND" (1987) and "THE FALL IN LOVE" (1988) - Ending credit BGM for TV Asahi's "Eat9."
  • "FUNKY MULTI" (1987) - Insert song for TV Asahi's "Eat9," Kansai TV's "Neruton Benikujiradan," and Yanase/Volkswagen Golf CM song.
  • "TOGETHER" (1987) - Insert song for TBS Television's "Danjo 7-nin Natsu Monogatari."
  • "FLY TO YOU" (1987) - CM song for Kure Kōgyō's "Kure Car Care."
  • "LOVE IS THE ANSWER" (1988) - CM song for Kokusai Securities.
  • "SEAT FOR TWO" (1988) - CM song for Marudai Food's "Tekishokushokuseikatsu."
  • "ALL OF ME" (1995) - Seiyu corporate CM song.
  • "Yakusoku" (1996) - Theme song for Fuji Television's "THE WEEK."
  • "DOLPHIN" (1996) - Opening title song for Kansai TV's "Kao Family Special".
  • "THE FIGHT" by Orquesta del Sol (1998) - Official support song for the 1998 FIFA World Cup (composed under the name HIRO P.J.).
  • "Koko ni Iru yo" by SoulJa feat. Thelma Aoyama (2007) - Ending theme for TV Tokyo's "Japan Countdown", "Yarisugi Kōjī," "Medusa no Hitomi," "Count Down TV", and opening theme for "PVTV" (arrangement, sound production).
  • "Soba ni Iru ne" by Thelma Aoyama feat. SoulJa (2008) - NTT Docomo CM song (arrangement, sound production).
  • "Romancista" by I.H.L (2008) - NHK's new university student/new working adult support campaign song "Ganbare. Rookie!" campaign song (sound production).
  • "I HAVE LOVE 2008" by I.H.L (2008) - Ending theme for TV Tokyo's "Takeshi no Dare Demo Picasso" (sound production).
  • "Ikutabi no Sakura" by Mai Fukui (2011) - Theme song for NHK Saturday historical drama "Onmitsu Hachihyappachō" (composition, arrangement, sound production).

7. Evaluation and Influence

Hiroshi Sato was highly regarded by his peers and critics for his exceptional talent and profound contributions to Japanese music.

7.1. Critical Reception

Sato's musical prowess earned him widespread acclaim from prominent figures in the music industry:

  • Haruomi Hosono described Sato's piano as having a "metropolitan quality, using jazz chords like thirteenths and six-ninths, which is his unique piano characteristic."
  • Eiichi Ohtaki declared him "Japan's number one in ragtime (piano)."
  • Tatsuro Yamashita referred to him as "Japan's greatest pianist." Yamashita also noted that "songs like 6/8 ballads could not be made without Hiroshi Sato's piano" and praised his "amazing expressive power" for how his piano "rolled and swayed greatly in the crescendo at the end of the interlude."
  • Toshiki Kadomatsu expressed that "Mr. Sato's piano feels like a treasure of Japan."
  • Gonzales Mikami lauded his "polished, jewel-like computer sequencing" and "commitment to rhythm that reaches the subatomic level."
  • Masato Nakamura, leader of Dreams Come True, succinctly summarized Sato's capabilities as "master pianist" + "programming Jedi Master" = "invincible."
  • Gen Ogimi, a percussionist formerly with Orquesta de la Luz, described Sato as playing a "black piano," implying a deep, soulful, and blues-infused style.
  • Shuichi "Ponta" Murakami praised Sato's "beautiful white-note piano sound" and was particularly impressed by the rhythm programming on "YOU'RE MY BABY" from Awakening, stating, "No one else can create such human-like programming!"

7.2. Musical Legacy

Hiroshi Sato's lasting impact on Japanese music is significant, particularly his pivotal role in the development and popularization of the city pop genre. His early adoption and innovative use of synthesizers, sequencers, and personal computers in music production set new standards and influenced countless subsequent musicians and producers. He demonstrated how music technology could be a powerful tool for creative expression, rather than a limitation, and his meticulous approach to recording, mixing, and mastering from his private studio, Studio SARA, became a benchmark for sound quality. His fusion of black music, jazz, and sophisticated pop music elements helped define the urban sound of city pop, making his discography a foundational part of the genre's canon.

8. Awards and Honors

Hiroshi Sato received several significant awards and honors for his musical achievements and production work.

  • 2008**
    • For Thelma Aoyama's "Soba ni Iru ne" (on which he performed, mixed, engineered, arranged, and sound-produced):
      • In September, the song was certified by Guinness World Records as "Japan's best-selling download single" after surpassing 2,000,000 downloads for its full-length ringtone version.
      • It received the "Excellent Work Award" at the 50th Japan Record Awards.
    • The album Amazing by Sly and Robbie, which included their cover of "Soba ni Iru ne" titled "HURRY HOME" (sound-produced by Sato), was nominated for "Best Reggae Album" at the 51st Grammy Awards.
  • 2011**
    • For Mai Fukui's "Ikutabi no Sakura" (on which he performed, mixed, engineered, arranged, and sound-produced):
      • It received the 44th Japan Cable Grand Prize.

9. Death

Hiroshi Sato passed away on October 26, 2012, at the age of 65. He was found by a friend, collapsed in his private studio, "Studio SARA", in Kohoku-ku, Yokohama. The cause of death was later announced as a hemorrhagic aortic aneurysm. His sudden passing was met with sorrow by the Japanese music community, marking the end of a prolific and influential career.