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Joe Inoue
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Key Information
Joe Inoue (井上ジョー, Inoue Jō; born August 30, 1985) is a Japanese rock musician signed to Sony Music Entertainment Japan's Ki/oon Records label.
Background and career
[edit]He was born and raised in Los Angeles, California, to two Japanese immigrants.[1] It was not until middle school that he became interested in music and that eventually led him to start his musical career in 2007.[1] He was accepted to UCLA and UC Berkeley but had chosen music. Inoue performs every instrument on his recordings in addition to writing and composing the pieces on his own. He claims to have learned Japanese by reading manga and watching anime.
He gained prominence when his song "Closer" was used as the fourth opening theme for Naruto: Shippuden.[2] His fifth single "Kaze no Gotoku" was used as the second theme song for the Yorinuki Gin Tama-san anime.[3]
Inoue contributed to Tetsuya's 2011 solo album Come On! by rapping on the track "Eden"[4] and later wrote and was featured on Totalfat's 2011 single "World of Glory".[5]
Discography
[edit]- In a Way (2007)
- Me! Me! Me! (2009)
- Dos Angeles (2010)
- JOEpop #1 (2016)
- JOEpop #2 (2016)
- Polyglot Musix #1 (2016)
- Hats On! Tunes (2017)
- Jiwa Jiwa LP (2018)
EP's
- The Wish That Never Came True (2020)
- Hip Hop Collection (2021)
Songwriting contributions
[edit]- "Eden" by Tetsuya from the album Come On! – rap[4]
- "World of Glory" by Totalfat from the album Damn Hero – songwriting[5]
- "Adrenaline" by Yoko Yazawa from the album Give Me!!! – songwriting
- "Spinning World" from Naruto: Shippuden – songwriting[2]
- "Rescue Rescue" by Kanjani 8 – songwriting
- "Chan-Chara-Chan" by Shiritsu Ebisu Chugaku – songwriting
- "Hankō Seimei" by Ayumikurikamaki from the album Dai Gyakushū – songwriting, credited as Tenguboy
- "Amagami Days" by Ayumikurikamaki from the album Dai Gyakushū – songwriting, credited as Tenguboy
- "Elevator Girl" (English ver.) by Babymetal from the album Metal Galaxy – lyrics, credited as Joemetal[6]
References
[edit]- ^ a b "Joe Inoue". Sony Music Entertainment Japan. Ki/oon Records. Archived from the original on May 5, 2010. Retrieved April 21, 2010.
- ^ a b "ナタリー – 動画アクセス10万件！井上ジョーが歌う「NARUTO」曲". November 1, 2008. Retrieved October 12, 2010.
- ^ "ナタリー – 井上ジョー新曲がアニメ「よりぬき銀魂さん」オープニング". May 2, 2010. Retrieved October 12, 2010.
- ^ a b "ナタリー – [Power Push] TETSUYA". Retrieved January 8, 2011.
- ^ a b "ナタリー – TOTALFAT初シングルで井上ジョーと強力タッグ". April 2, 2011. Retrieved July 16, 2011.
- ^ Inoue, Joe (October 2, 2019). "It's official! I wrote the English lyrics for BABYMETAL!". YouTube. Archived from the original on December 20, 2021. Retrieved October 24, 2019.
External links
[edit]
Joe Inoue
View on Grokipediafrom Grokipedia
Joe Inoue (born August 30, 1985) is a Japanese-American rock musician, singer-songwriter, and producer best known for his anime theme songs, including the opening track "Closer" for the television series Naruto Shippuden. Born in Los Angeles, California, to Japanese immigrant parents, Inoue grew up immersed in a diverse musical environment and began self-recording tracks in middle school, playing multiple instruments and handling production duties himself.[1]
Inoue's career gained momentum after signing with Ki/oon Music, a sub-label of Sony Music Entertainment Japan, in 2005, leading to his major debut with the EP IN A WAY in 2007.[1] After leaving the label around 2010, he transitioned to independent releases, including multiple studio albums such as ME! ME! ME! (2009) and DOS ANGELES (2010), along with several singles and additional digital releases, often fusing rock, pop, and electronic elements with bilingual lyrics in English and Japanese.[1] His music has appeared in other anime projects, such as contributing lyrics to Dragon Ball Z: Battle of Gods (2013), and he has served as a semi-regular on NHK's international music program J-MELO, broadcast in over 160 countries and regions.[2]
Beyond performing, Inoue is multilingual—fluent in English and Japanese, with proficiency in Mandarin—and has pursued side projects like the electronic alias TENGUBOY since 2013, while also writing and producing for other artists.[1] Residing in Los Angeles, he continues to bridge Japanese and American pop culture through live performances, social media engagement, and recent independent releases, such as the 2018 album Jiwa Jiwa and singles like "tiptoe/this is the end" in 2025.[3]
In his later independent phase, Inoue shifted to digital singles distributed via platforms like Spotify and Apple Music, reflecting broader industry trends toward streaming. As of November 2025, he has released at least seven digital singles since 2022, including promotional tracks, totaling over ten standalone singles across formats. This evolution from physical CDs to digital emphasizes accessibility and global reach, with no physical production since 2010.
Key digital releases include:
Early life
Childhood and family background
Joe Inoue was born on August 30, 1985, in Los Angeles, California, to Japanese immigrant parents who had relocated to the United States to pursue professional opportunities.[1] Growing up in this bicultural setting, he was immersed in a household environment rich with music, which exposed him to a variety of sounds from an early age.[1] Inoue's family background fostered a deep connection to his Japanese heritage despite his American upbringing. He achieved self-taught fluency in Japanese during his childhood primarily through extensive reading of manga and watching anime and other Japanese television programs, which helped him memorize kanji and grasp the language's nuances.[1][4] The diverse musical landscape of Los Angeles, combined with his family's musical inclinations, introduced Inoue to a broad array of genres beyond any single style, laying the groundwork for his versatile artistic development.[1] This early exposure transitioned into more focused musical pursuits during his middle school years.[1]Education and early musical interests
Inoue attended public schools in Los Angeles through his high school years, where his exposure to American culture shaped his early development alongside his Japanese heritage. It was in middle school that he developed a serious passion for music, beginning to listen intently to diverse genres and experiment with sounds on his own. This period marked the onset of his musical exploration, as he immersed himself in recordings and began tinkering with basic production techniques using available tools.[5] Self-taught from the start, Inoue learned to play multiple instruments, including guitar, bass, and drums, while composing simple tracks drawing from pop and rock influences that resonated with his youthful interests. He utilized a multi-track recorder to capture his ideas, handling vocals, instrumentation, and basic mixing himself, which honed his versatile skills early on. These formative experiments laid the groundwork for his creative approach, emphasizing hands-on creation without formal training.[4][5] Following high school graduation in 2003, Inoue was accepted to prestigious institutions such as UCLA and UC Berkeley but opted to forgo higher education in favor of dedicating himself fully to music. Shortly thereafter, he moved to Japan in 2005 to engage directly with the local music industry, leveraging his fluency in Japanese—gained through family and media immersion during his bicultural upbringing in Los Angeles—to navigate opportunities there. This relocation allowed him to submit demos and integrate into the Japanese scene, marking a pivotal shift toward his professional aspirations.[6][7][5]Professional career
Debut and initial releases
Joe Inoue signed a record deal with Ki/oon Music, a sublabel of Sony Music Entertainment Japan, in 2005 after submitting demos from the United States.[1] This agreement paved the way for his entry into the Japanese music industry, where he relocated to pursue professional opportunities.[4] His professional debut arrived with the EP In a Way, released on September 19, 2007, via Ki/oon Music (catalog number KSCL-1169). The five-track release showcased Inoue's self-produced style, with him handling vocals, instrumentation, and arrangements in a pop punk and J-rock vein, drawing from his early home recordings. It received modest initial attention, peaking at number 220 on the Oricon Weekly Album Charts and charting for one week.[8][1] Inoue followed with his first single, "Hello!", released on July 16, 2008, which served as the theme for the 21st Kimura Takuya no All Night Nippon radio program and marked his shift toward more structured songwriting. The single entered the Oricon Weekly Singles Charts at number 189, holding the position for one week. Later that year, on December 17, 2008, he issued "Closer", a high-energy track that highlighted his guitar-driven rock sound and peaked at number 22 on the Oricon charts, remaining for seven weeks—his strongest early commercial showing.[1][9] These releases demonstrated Inoue's growing production involvement, as he composed, arranged, and performed most elements himself. The momentum led to his debut full-length album, Me! Me! Me!, released on April 8, 2009, under Ki/oon Music. Inoue fully helmed the project, writing lyrics, composing music, playing all instruments, arranging, and mixing the 12 tracks, which blended rock anthems with introspective themes reflective of his bicultural background. The album debuted at number 86 on the Oricon Weekly Album Charts but charted for only one week, indicating a niche but dedicated early audience.[1][10] Additional singles "Maboroshi" (February 18, 2009) and "Go!" (July 22, 2009) supported the album, further establishing his songwriting voice amid modest sales. From 2007 to 2010, Inoue built a grassroots fanbase in Japan through early live performances, including club shows and promotional gigs in Tokyo and other cities, where his energetic stage presence and direct engagement with audiences helped cultivate loyalty among J-rock enthusiasts.[1] These outings, often featuring tracks from his debut releases, laid the foundation for his presence in the local scene before broader recognition.Rise to prominence through anime themes
Joe Inoue's breakthrough came with his 2008 single "Closer," which served as the fourth opening theme for the anime series Naruto: Shippuden from episodes 78 to 102.[11] The track, blending rock and alternative elements, resonated with the series' global audience, marking Inoue's most successful release to date as it peaked at number 22 on the Oricon Weekly Singles Chart and charted for seven weeks.[12] This exposure elevated his profile internationally, introducing his music to fans beyond Japan through the anime's widespread popularity.[13] Building on this momentum, Inoue released his second studio album Dos Angeles on October 6, 2010, under Ki/oon Records, featuring a mix of English and Japanese tracks that reflected his bicultural background.[14] The album, titled as a nod to his Los Angeles roots, included a reimagined version of "Kaze no Gotoku" and debuted at number 136 on the Oricon Weekly Album Chart, though it charted for only one week.[14] Promotion efforts capitalized on his anime ties, helping solidify his presence in both Japanese and overseas markets. In 2010, Inoue further expanded his anime contributions with the single "Kaze no Gotoku," released on August 4, which became the second opening theme for the rerun series Yorinuki Gintama-san.[15] The song peaked at number 33 on the Oricon Weekly Singles Chart, staying on the list for three weeks, and its upbeat rock style aligned with the comedic tone of the series. These media appearances, following his earlier debut EP Me! Me! Me! as a foundation, boosted his visibility during 2010–2015, evidenced by improving Oricon placements and increasing invitations to anime fan conventions worldwide.[16]Later albums and independent phase
In 2016, Inoue released two extended plays, JOEpop #1 on November 17 and JOEpop #2 on December 12, which represented a deliberate pivot toward more accessible pop structures while retaining his signature blend of rock and electronic elements. These EPs, self-produced and distributed digitally, featured upbeat tracks like "MAGIC" from the first installment, emphasizing catchy melodies and multilingual lyrics that reflected Inoue's growing interest in cross-cultural appeal.[17] This shift marked the beginning of his transition away from major-label constraints, allowing greater creative freedom in exploring pop-oriented experimentation. Following these releases, Inoue entered a fully independent phase, self-releasing music through platforms like Bandcamp and DistroKid, which enabled direct fan engagement and global distribution without traditional label intermediation. In 2018, he released the album Jiwa Jiwa, a self-produced collection blending rock, pop, and personal themes.[18] In 2022, he issued the digital single "Passionate Kiss" on October 31, a romantic track with introspective lyrics delivered in English, showcasing his evolving focus on personal storytelling over thematic ties to media projects.[19] This was followed by "Phenomenon Girl" (現象少女) on October 6, 2024, a bilingual single blending Japanese verses with English choruses, highlighting ethereal production and themes of wonder and connection.[20] Early in 2025, Inoue continued this trajectory with the double-sided single "tiptoe/this is the end" on January 24, featuring contrasting moods—an intimate acoustic "tiptoe" and a reflective closer—further demonstrating his independent output's emphasis on emotional depth and sonic variety.[21] Inoue's independent era has emphasized multilingual releases, often incorporating English, Japanese, and hybrid phrasing to bridge audiences between the U.S. and Japan, drawing on his bicultural background raised in Los Angeles before relocating to Tokyo.[4] As of November 2025, he remains active in this vein, producing content that fosters cultural exchange, including music videos and online language tutorials that integrate his songwriting with educational elements to connect global fans. While live performances have been limited, Inoue has engaged through virtual streams and social media interactions, maintaining a steady presence in the indie music scene without major tours announced.[22]Musical style and influences
Genres and songwriting approach
Joe Inoue's music is characterized by a fusion of pop rock, J-pop, and pop punk genres, often featuring bilingual lyrics that seamlessly blend English and Japanese to reflect his dual cultural identity.[23][24] This multilingual approach allows him to convey universal emotions while drawing on his experiences as a Japanese-American artist, creating accessible yet layered compositions that appeal to diverse audiences.[4] His songwriting emphasizes energetic, upbeat themes of freedom, youth, and personal growth, rooted in bicultural narratives shaped by his upbringing in Los Angeles among Japanese immigrant parents and subsequent move to Japan.[4][25] Inoue prioritizes lyrical depth in the J-pop tradition, focusing on messages that inspire versatility and emotional resonance, as seen in his self-described multi-genre versatility that incorporates elements from rock to electronic influences.[4] Inoue employs simple, catchy song structures designed for high energy and memorability, particularly influenced by the concise, hook-driven format of anime theme songs; for instance, "Closer" utilizes a driving pop-punk rhythm with an anthemic chorus to evoke themes of cherishing close relationships and pursuing inner happiness.[26] His early work leaned toward rock-heavy arrangements, evolving in later releases toward more pop-infused sounds that broaden his thematic exploration of personal liberation.[24]Key influences and evolution
Joe Inoue's early musical influences were deeply rooted in his bicultural upbringing in Los Angeles, where he was exposed to a wide array of genres including rock, techno, electronic music, death metal, and jazz, listening indiscriminately to foster his versatility.[4] His immersion in Japanese anime and manga from childhood, such as Doraemon and Dragon Ball Z, not only helped him learn Japanese but also shaped his affinity for anime soundtracks, which he credits as a foundational inspiration for his thematic and energetic style.[4] Inoue has stated that these experiences leaned him toward his Japanese heritage, blending Western rock elements with J-pop sensibilities to create a hybrid sound reflective of his dual identity.[27] This fusion evolved as Inoue immersed himself in Japan's music scene after moving there, incorporating hip-hop rhythms alongside rock and electronic production to produce tracks that bridge American and Japanese aesthetics.[4] In interviews, he has emphasized anime's ongoing role in his lyricism, drawing from manga narratives to explore themes of perseverance and emotion, as seen in his contributions to anime openings where storytelling aligns with visual media.[27] His debut era around 2007 featured raw, multi-instrumental rock energy, with Inoue handling vocals, guitar, bass, and drums on recordings, reflecting a DIY approach influenced by diverse global sounds.[24] Over time, Inoue's style matured into a more polished, genre-fluid expression, evident in his 2013 launch of the Tenguboy project for experimental "crazier stuff" that pushed beyond conventional J-pop boundaries.[4] By the 2020s, his releases like the 2018 album Jiwa Jiwa and singles such as "Phenomenon Girl" (2024) showcase a global-facing pop-rock synthesis, integrating electronic elements for broader appeal while maintaining anime-inspired versatility.[24] This progression highlights his commitment to musical freedom, adapting Western influences into innovative J-pop forms without confining to a single genre.[27]Media contributions
Anime and soundtrack work
Joe Inoue's contributions to anime soundtracks began prominently with his 2008 single "Closer," which served as the fourth opening theme for the anime series Naruto: Shippuden, airing from episodes 78 to 102 starting in late 2009.[28] The track, released on December 17, 2008, by Ki/oon Music, marked a pivotal moment in Inoue's career, peaking at number 22 on the Oricon Weekly Singles Chart and becoming his most commercially successful release to date.[29] In a 2016 video explanation, Inoue detailed the production process: the chorus was composed early as a high-energy rock segment, but the original verses featured lighter, comedic lyrics that did not align well with the anime's intense narrative. Upon learning of an opening theme competition for Naruto: Shippuden, he revised the verses and introduction to emphasize themes of perseverance and closeness, retaining the chorus, which ultimately led to its selection by the production team.[30] The song's integration into Naruto: Shippuden amplified its reach, with the official music video garnering over 43 million views on YouTube by 2025, reflecting its enduring popularity among global audiences.[31] This exposure was particularly significant given the series' massive viewership; Naruto: Shippuden consistently ranked among the top-demanded anime titles, sustaining high audience demand years after its initial run through international streaming platforms.[32] In 2010, Inoue expanded his anime ties with "Kaze no Gotoku," the title track from his EP of the same name and featured on his album Dos Angeles. This upbeat rock song served as the second opening theme for the anime Yorinuki Gintama-san, a compilation series of the popular Gintama franchise, enhancing Inoue's presence in the anisong genre. Released in October 2010, the single captured themes of freedom and momentum, aligning with the comedic yet action-oriented tone of the series.[33] In 2013, Inoue contributed English lyrics to a cover of "CHA-LA HEAD-CHA-LA" for the anime film Dragon Ball Z: Battle of Gods.[2] Up to his career peak around 2015, Inoue's anime work included these key contributions to TV openings and a film theme song, with no additional major soundtrack placements in TV anime or games after that. The international acclaim from Naruto: Shippuden notably broadened his fanbase, introducing his music to non-Japanese listeners and solidifying his reputation as a bridge between J-rock and global anime culture, as evidenced by performances at events like Anime Friends in Brazil.[34]Collaborations and songwriting for others
Inoue's collaborations outside his solo work and anime contributions have showcased his songwriting skills and vocal versatility in the J-rock scene. In 2011, he provided rap vocals for "Eden" on Tetsuya's solo album Come On!, blending his rhythmic style with the track's upbeat energy.[35] That same year, he co-wrote and featured on "World of Glory" for the punk rock band Totalfat's single, which later appeared on their 2012 album Damn Hero, highlighting his ability to craft anthemic, high-energy compositions for group performances.[36] A notable later collaboration came in 2019 with Babymetal, where Inoue penned the English lyrics for "Elevator Girl" on their album Metal Galaxy. In a video explanation, he described the creative process as focusing on capturing the song's playful, escapist theme through vivid imagery of freedom and adventure, ensuring the English version complemented the original Japanese lyrics while maintaining the track's kawaii-metal vibe.[37] This contribution marked his expansion into international-facing J-rock projects, demonstrating adaptability across subgenres.[25] These efforts, spanning rap features, co-writing, and bilingual lyricism, have solidified Inoue's standing as a multifaceted contributor in Japanese rock circles, often praised for his genre-blending approach.[25]Discography
Studio albums and EPs
Joe Inoue's discography of studio albums and EPs begins with his debut extended play in 2007, followed by two full-length studio albums under the Ki/oon Music label, and continues with several independent EPs and albums from 2016 onward. These releases showcase his self-produced style, where he typically composed, arranged, performed instruments, and mixed the tracks himself.[8][38] His first EP, In a Way, released on September 19, 2007, by Ki/oon Music, contains 5 tracks over 17 minutes, including key songs "Nowhere," "Kakusei (覚醒)," and "Pa! Pa! Pa! (パッパッパ)." Inoue served as producer, arranger, composer, lyricist, and performer on all instruments for the EP, which peaked at number 220 on the Oricon Weekly Album Chart and charted for one week.[39][8][40] The debut studio album, Me! Me! Me!, came out on April 8, 2009, also via Ki/oon Music (catalog KSCL-1374), featuring 13 tracks totaling 42 minutes, with standout cuts like "Closer (Royal Version)," "Rage Twenty Four," and "Maboroshi." Inoue mixed, arranged, and produced the album entirely on his own. It reached number 86 on the Oricon Weekly Album Chart, holding the position for one week.[41][40] Inoue's second studio album, Dos Angeles, was issued on October 6, 2010, by Ki/oon Music, comprising 10 tracks across 35 minutes, highlighted by "Kaze No Gotoku -B.B.B. Ver.-," "Home," and "Animal (feat. Yoko Yazawa)." This release marked a unique collaboration, with singer Yoko Yazawa as a guest on the track "Animal." The album peaked at number 136 on the Oricon Weekly Album Chart for one week.[42][38][43][40] Shifting to independent production, Inoue self-released JOEpop #1 on November 7, 2016, distributed via CD Baby, as a concise EP featuring key tracks such as "MAGIC" and "Joemanian." Later that year, JOEpop #2 followed on December 9, 2016, through the same platform, including "Hybrid Generation" among its selections. In 2017, he released the EP Polyglot Musix #1 on February 15, featuring multilingual tracks, and Hats On! Tunes in September. His 2018 album Jiwa Jiwa, released January 19 independently, includes 10 tracks blending rock and pop elements. These releases reflect Inoue's post-label phase, with no reported Oricon charting.[44][45][46][18]| Title | Type | Release Date | Label | Tracks | Peak Oricon Position | Notes |
|---|---|---|---|---|---|---|
| In a Way | EP | September 19, 2007 | Ki/oon Music | 5 | #220 | Self-produced; debut release. |
| Me! Me! Me! | Studio album | April 8, 2009 | Ki/oon Music | 13 | #86 | Self-arranged and mixed. |
| Dos Angeles | Studio album | October 6, 2010 | Ki/oon Music | 10 | #136 | Features Yoko Yazawa on "Animal." |
| JOEpop #1 | EP | November 7, 2016 | Independent (CD Baby) | 4 | — | Self-released; key track "MAGIC." |
| JOEpop #2 | EP | December 9, 2016 | Independent (CD Baby) | 4 | — | Self-released; key track "Hybrid Generation." |
| Polyglot Musix #1 | EP | February 15, 2017 | Independent | 5 | — | Multilingual tracks. |
| Hats On! Tunes | EP | September 2017 | Independent | N/A | — | Self-released EP. |
| Jiwa Jiwa | Studio album | January 19, 2018 | Independent | 10 | — | Blends rock and pop. |
Singles and digital releases
Joe Inoue released five physical singles between 2008 and 2010 under Sony Music's Ki/oon Records label, primarily as CD formats featuring bilingual tracks and ties to anime openings. These early releases marked his entry into the J-pop market, with B-sides often showcasing acoustic or alternative versions of his songwriting style. Chart performance on Oricon was modest but notable for "Closer," which became his highest-charting single. The following table summarizes his physical singles:| Title | Release Date | Lead Track B-Sides and Versions | Oricon Peak (Weeks on Chart) |
|---|---|---|---|
| HELLO! | July 16, 2008 | One Man Band | #189 (1 week) [47] |
| CLOSER | December 17, 2008 | Kangaetakunai (Can A Guy Talk All Night?), CLOSER (Naruto Opening Ver.) | #22 (7 weeks) [48] |
| Maboroshi (幻) | February 18, 2009 | No B-side listed; focus on title track | #156 (1 week) [49] |
| GO☆ | July 22, 2009 | No B-side listed; promotional tie-in | — |
| Kaze no Gotoku (風のごとく) | August 4, 2010 | No B-side listed; anime opening version included | #33 (5 weeks) [15] |
- "Passionate Kiss" (July 2022), an upbeat pop track exploring romance, available on major streaming services [50].
- "Time Over" (October 2022), focusing on themes of closure, with moderate streaming uptake [51].
- "Ocean Wave" (2022), a relaxing instrumental-leaning single [52].
- "Phenomenon Girl" (現象少女) (March 2024), an energetic single blending English and Japanese lyrics, which has garnered streams on YouTube Music [53].
- "tiptoe/this is the end" (January 2025), his most recent release, featuring dual tracks in a split single format [54].
References
- https://en.wikipedia.org/wiki/Maboroshi_(song)