I would like to give credit where credit is due. Videos are from YouTube, Oricon charts are courtesy of and my research is translated from the Japanese Wikipedia unless noted.

Tuesday, March 31, 2015

Takuya Jou -- Hone made aishite (骨まで愛して)

I don't see many songs with "Hone" (骨), the kanji character for bone, in its title... actually I don't think I've ever encountered any other song with this word in the title. Only "Hone made aishite". Upon seeing its name a number of months ago, I was indeed curious as to what the song was about since I understood the words "Bone" and "Love", but I couldn't seem to find any proper relation between the two. So my guess was that the fellow singing the song loves bones... which frankly is rather bizzare and disturbing, but I stuck with it anyway. As my understanding for the language improved a little and as I listened to "Hone made aishite" more often over the months, it suddenly occurred to me that this wasn't some love song dedicated to bones, but something far more normal and logical, something like "Love me to the bone" and NOT "I love bones".

Moving on, singing "Hone made aishite" was the late Takuya Jou (城卓也). This hit from 1966 that sold about 1.4 million copies was his 2nd debut single under this very name - he first debuted in the world of music as Masao Kikuchi (菊地正夫) in 1960 before this change 6 years later. The most interesting fact that I have read about Jou on the J-Wiki is that he was related to two well-regarded songwriters, who both had a hand in doing up the song. Composing the very 60's, easy-paced music for "Hone made aishite" was Jou's older brother, Jun Kitahara (北原じゅん), who had also composed a couple of songs for Jou in his Kikuchi days, as well as for other singers like the flamboyant Gosanke member, Teruhiko Saigo (西郷輝彦). And then writing the lyrics for the song was Jou's uncle, Kouhan Kawauchi (川内康範), a name I've often seen since he penned quite a handful of Mood Kayo hits like Hiroshi Uchiyamada and Cool Five's (内山田洋とクール・ファイブ) "Awazu ni aishite" (逢わずに愛して) and Mina Aoe's (青江三奈) "Isezakicho blues" (伊勢佐木町ブルース). The lyrics seems to be about our leading man here simply wanting his lady to love him deeply... to the bone (get it?)...

As I've mentioned earlier, "Hone made aishite" was very successful, and so it managed to give Jou his first ticket to the Kohaku on the very same year it was released in. There even was a movie based on the song itself in 1966, featuring acting stars from that era Tetsuya Watari (渡哲也), and of course, Ruriko Asaoka (浅丘ルリ子). Dang, she seemed to be in every other movie back in the 60's!

Huh, Jou was a pretty good-looking fella.

Yukiko Okada -- Sayonara Natsu Yasumi (さよなら・夏休み)

Well, although I've known about Yukiko Okada(岡田有希子)all these years, I never actually bought an album or a single by her. And the fact is that I've heard some of her songs through "Sounds of Japan" and the pertinent articles on this blog, and quite enjoyed them. So I figured it was time to get her represented on my shelves. I ended up buying a BEST CD of sorts titled "Yukiko Okada - All Songs Request" which came out in the early 2000s.

The first track was "Sayonara Natsu Yasumi" (Goodbye, Summer Holidays) that was written and composed by Mariya Takeuchi (竹内まりや...who was also on backing vocals). It was not a single but was on her debut album, "Cinderella" from September 1984. I've heard it twice so far and behind all of the aidoru sunniness (that began with what seemed to sound like City Pop chords), I was struck by how well she could sing even as a new face. Not to say that she had the resonance of Hiromi Iwasaki(岩崎宏美), but there was a certain assuredness to go with that especially girlish delivery that was perhaps quite refreshing back in that decade. It also unfortunately makes her untimely passing all the sadder.

Takeuchi created a number of songs for Okada during her short career along with my favourite song by her, "Dreaming Girl".  Still a lot of her material to explore.

Monday, March 30, 2015

Donut Quintet -- Platina Jet (プラチナジェット)

It's not quite April 1st yet, but since today was Monday, the changes have already started in Japan. It won't be too long before the new school year begins but I'm sure job transfers are taking place, old TV shows are ending and new ones are coming in, and there were some major staff changes on the nightly NHK news desk from this morning. Plus, yesterday at my buddy's place, we got to see the endings of a few of our favourite anime that we had been enjoying for the past few months.

One is "Shirobako" which launched back in October 2014 and finished off its 24-episode season this month. I already talked about the show when I wrote about the ending theme for the first half, the energetic "Animetic Love Letter". The anime about life in the anime production industry was special in that it seemed more like an animated dramedy than the usual over-the-top anime although there were some moments which were pretty whimsical. The second half had the five former high school classmates and still good friends continuing their young lives through the industry that they vowed to join. As another business year began, there were a few staff departures and some new arrivals including the equivalent of an angry Vietnam vet and a young lady so shy to the point of incoherence.

And there was one scene with one of the quintet, Ema Yasuhara, performing the Angel Exercises which has made a bit of a minor sensation on YouTube.

Anyways, in the article on "Animetic Love Letter", I mentioned some regret over the fact that the second round of 12 episodes was going to go with new opening and closing themes. But I have to say that the new closing theme has grown on me considerably since January. Titled "Platina Jet" (Platinum Jet) in reference to the new project that Musashino Animation has to tackle, "Dai San Hiko Shojotai"(第三飛行少女隊...The Third Girls Aerial Squad), this time, the full group of five women, The Donut Quintet: Aoi, Ema, Shizuka, Misa and Midori as played by Juri Kimura(木村珠莉), Haruka Yoshimura(佳村はるか), Haruka Chisuga(千菅春香), Asami Takano(高野麻美)and Hitomi Owada(大和田仁美)respectively hit the mike.

It's another peppy way to end the show and I enjoy the popping string-like synths that bookend the verses. Halko Momoi(桃井はるこ)once again wrote and composed the ending theme to "Shirobako" as she did for "Animetic Love Letter". I also enjoyed the nifty ending credits that closed almost every episode in the second round with the gradual creation of each of the five main characters and even the two dolls, Mimuji and Roro.

Not sure whether "Shirobako" will be making a comeback although my buddy tells me it could be a while since the director is pretty much up to his ears in projects for the next few years at least. But perhaps that might not be a bad thing since I think it would be more interesting to see how MusaAni and the motley crew change over time. And if not, I think Episode 24 ended the run with a very nice bow.


Saturday, March 28, 2015

Tatsuro Yamashita -- Dreaming Girl

Ah....Tamao Sato(さとう玉緒, ohisashiburi desu ne. It's been a long while since I've seen the squeaky-voiced tarento/actress. And here she is above in an old Tatsuro Yamashita(山下達郎) music video.

"Dreaming Girl", Yamashita's 29th single from May 1996, is about as sunny as you can get with his music. I didn't watch the NHK morning serial, "Himawari"(ひまわり...Sunflowers), for which "Dreaming Girl" was the theme song, but I remembered actually keeping the TV on Channel 1 at 8 a.m. just so that I could see the opening credits with that song and the bright fields of sunflowers soaring by. I guess it was like a video version of orange juice.

The song has all the Yamashita tropes: his layered backing vocals, his falsetto and a melody that makes me muse back to yesteryear. But this time, the effect is a bit more muted than would be average for him, especially in the intro when he rather intones the "...dream...", not surprising since it is titled "Dreaming Girl". It sounds like a song to be listened to while drifting off on a bed of flowers under the sun. We really can't do that right now here in Toronto since it's still below freezing; we can only dream of a genuine spring at this moment.

Yamashita was behind the mellow melody while old friend Takashi Matsumoto(松本隆)took care of the lyrics. It managed to peak at No. 25 on the Oricon weeklies, and is included on his 11th studio album, "Cozy" which was released in August 1998. The album hit No. 1 and was a million-seller.

Keiko Kimura -- Coltrane de Aishite (コルトレーンで愛して)

Back in early January this year, I wrote about Keiko Kimura's(木村恵子)"Denwa Shinaide"(電話しないで)and how much I liked that late 80s champagne-&-downtown Tokyo feel to it, much along the lines of what I often heard from ladies like Junko Ohashi(大橋純子), Miki Imai(今井美樹)and the late Kaoru Sudo(須藤薫)at that time. It was quite the happy happenstance that I came across her on YouTube, and in the article, I mentioned that I would have to consider getting that album it came out on, "Style".

Well, nearly 3 months and a payment later, I have been able to acquire that very debut album. Considering how obscure the name was (didn't even see her on "Japanese City Pop"), I thought "Style" was gonna be something that I could only admire online. However, the good folks at CD Japan actually had it on sale.

One of the other tracks on the 1988 "Style" is "Coltrane de Aishite" (Love Me By Coltrane) which also served as Kimura's debut single (presumably in the same year). Written by Reiko Yukawa(湯川れい子)and composed by Shigeru Suzuki(鈴木茂), it's a fairly dreamy ballad involving rain, hotels and jazz legend John Coltrane...about as atmospheric as a romantic City Pop tune can get. Kimura's vocals get all breathy to the hint of bossa nova as she gets into the torch song of it all. At the beginning of the imported video above, there is a picture of the singer as it was taken on the cover of the debut single, and I think she had that look which was a mix between Chisato Moritaka(森高千里)and Akiko Yano(矢野顕子).

As for the rest of the album, "Style" keeps it nice and urban contemporary for the most part except for a cover of the Yuki Okazaki(岡崎友紀)hit "Do You Remember Me?" which also happens to be the B-side to "Coltrane de Aishite". Probably if I were to relate another Japanese city aside from Tokyo to the album, it would be the resort area of Hakone.

The Works of Yu Aku (阿久悠)Part 2


As I said in Part 1, I have been trying to find something about how the late lyricist Yu Aku(阿久悠)managed to create all those hits. Well, with a bit of further digging, there are a couple of YouTube videos which include a 2011 interview with Yasushi Akimoto(秋元康), currently the No. 1 lyricist for top-selling singles in Japanese music history with Aku in 2nd place, in which he talks about what made the earlier lyricist tick.

One kernel that I managed to understand from the first part of the interview above (and it comes at 3:29) is that according to Aku himself "....the song is of the era..." which is pretty interesting since a number of his songs have become timeless. But then again, unless the fellow is supremely arrogant, I couldn't see any budding songwriter exhort, "Yes, I will write a song that will live throughout the ages!! MWAHAHAHAHAH!!" (cue thunder and lightning) He really just wanted to write lyrics that would address the times and conditions in the years that he also existed in.

But the big thing I found out in the second part (2:59) is that Aku had left "Yu Aku's 15-Condition Constitution for Lyricists".  Namely, it was a list of 15 guidelines expressed as a series of contemplative questions (I wonder if he was deeply Buddhist) when approaching his work to create the words, and I found the list at an Ameba blog titled "Ryu no Tsubuyaki" for which I am grateful. I'll do my best at a translation and provide it at the end of this article below. However, I will refer to some of the fifteen questions when I take a look at some of the songs.

When picking songs out of the massive Aku collection, I just went with my gut. And with that visceral guide in mind, I found veteran Akiko Wada's(和田アキ子)"Hoshizora no Kodoku"(星空の孤独)whose English title is "The Stars in the Sky" although I think it's probably more evocative to go with the direct translation of "The Loneliness of a Starlit Sky". This was the then-18-year-old Wada's debut single from October 1968, and true to the singer's love for Ray Charles, the song is romantic and bluesy. This was a joint collaboration between Aku and Robbie Wada(ロビー和田)with Wada composing the song as well.

Mune ni hirogaru, kodoku no tsurasa
Yozora ni dakare, hitori no nemuri
Ai wo shinjita, yasashii mune no
Kizu wo atatame, hoshi ni namidagumu
Hoshi yo omae ga matataku kagiri
Ashita wo shinjitai

The pain of loneliness that spreads in my heart
Embraced by the night sky, sleeping alone
I believed in love, the scar in my gentle
heart is warmed, I come close to tears toward the stars
Stars, as long as you twinkle
I want to believe in tomorrow

I have to admit on hearing the song and reading the lyrics, "Hoshizora no Kodoku" kinda got me right here. One thing that Akimoto mentioned in the interview was that Aku wanted to cut to the chase when it came to the picture that he painted for the listener which chimes in with his quote (in Part 1) that he wanted to pack the same power of a 2-hour movie within a 3-minute song. So, with this particular song, we all seem to have been thrust into the middle of this melancholy scene with the heroine sitting by her open bedroom window, perhaps several hours after a breakup, and trying to recover emotionally.  And No. 6 from Aku's treatise seems to apply here: Can't a popular song describing one woman be rewritten to include all women? Well, the rule seems pretty obvious today but back then perhaps it was quite novel. And it is interesting to note since singer-songwriter Yumi Arai(荒井由実)who debuted in the early 70s has been known to rely on the feelings of women to come up with her own catchy tunes. Could there have been some influence?

The song, by the way, got as high as No. 70 on Oricon. And to commemorate Wada's 25th year in show business in 1993, she sang this song at that year's Kohaku Utagassen.

Gonna jump over a few decades into the 90s. When I wrote up the first entry on rock band Sheena & The Rokkets, I referred to a Japan Times article in which the late Sheena and her husband Makoto Ayukawa(鮎川誠)praised Aku for his storytelling prowess through his works. They'd had a long desire to work with the lyricist but never thought that he would ever deign to work with a rock band. Happily, he proved them wrong....and one song he wrote was "Rock no Suki na Baby wo Daite" (Hug That Rock-Lovin' Baby) in 1994 as the band's 15th single. Guitarist Ayukawa took care of the thrashing melody.

And this brings up No. 9: Isn't it also necessary to shift the singer from a storytelling role to that of the subject in the drama? In "Rock no Suki na Baby wo Daite", Sheena is the one growling out the lyrics but considering that she's using the masculine "omae" meaning "you", I'm wondering if hubby Makoto is the one voicing his feelings.

Rock no suki na baby wo daite
Kawaii mama ga iku
Kono ko ga nijuusai ni naru to
Kono yo ga kitto yoku natteiru

Dakara shibaraku mama to omae de
Ganbarou ne, ganbarou ne!
Rock de warau omae wo miteiru to
Yuuki ga itsumo waiteiru kara

Hug that rock-lovin' baby
Cute Mama is on the way
When this kid reaches 20
The world will have become a better place

So just for a while, with you and your Mama
Let's do our best, do our best!
Since when I see you laughing to rock
My courage always comes to a boil

In the middle of all that head-bouncing rock, there's a poignant and heartwarming story for a daughter or son to do well in childhood/adolescence. The message could apply to any heartrending ballad or lullaby but it was done in the Rokkets way! However it was Aku who wrote the words...I recall writing in Part 1 that his experience as a copywriter was probably useful in sizing up the idea behind the message and the artist. Maybe the lyricist and the rock band had some heart-to-heart talk about family.

As I mentioned above for Sheena & The Rokkets, even that band thought that Aku wouldn't give them the time of day since they thought that the sentimentality of kayo would never mesh with the rock sound.  Well, let's get back to the sentimental stuff. Actually, the resident enka/Mood Kayo writer for "Kayo Kyoku Plus", Noelle, suggested this one: Hiroshi Uchiyamada and Cool Five's "Koi Uta"(恋唄...Love Song)from July 1972 (which peaked at No. 14). The solid and slightly heartbreaking vocals of Kiyoshi Maekawa are in there, along with the background vocals of The Five and the reliable horns. But unlike some of their other hits, the horns are somewhat more subdued and there's an air of melancholy gratitude.

Aku's penchant for making movies out of songs is in here, too. Against Kunihiko Suzuki's(鈴木邦彦)somber melody, the lyricist, through Mae-Kiyo, relates that bittersweet farewell to that brief but lively affair.

Honno mijikai yume demo
Totemo shiawase datta
Aete honto ni yokatta
Dakedo kaeru anata

It was merely a short dream but
I was truly happy
It was really great to have met you
However you're going away

1972 was a very busy year for Aku. I counted the number of songs that he had concocted at his website, and it came to about 110 or so. And looking at the other years in that decade, he didn't slack too much for those either. Considering that he wrote so much in his heyday, he may have been the one fellow to have created the forlorn love song that I often associate with in kayo kyoku. Perhaps in another life, he would have been the ultimate country-&-western songwriter. In any case, another rule of his pops up, and it's interesting: No. 2: Isn't the sentiment or mentality of the Japanese regret and masochism? Not exactly the most optimistic insight here. Maybe he's trying to intimate that the Japanese relate more to having loved and lost.

Above in the Akimoto interview, Aku said that the song is of the era.  Well, with 5,000 songs under his belt, perhaps a lot of them were only meant for their respective eras or decades, but with the three songs that I've talked about, the lyrics seem to transcend any barriers of time. I think any of those sets of words could apply to situations today, and personally the lyrics to "Koi Uta" could also apply to an old flame I knew a long time ago.

Kenji Sawada(沢田研二)was sporting earrings even before I realized that men who were not pirates could wear them.  He was an iconoclast, an artist who went to the beat of his own drum. I think that's how Aku sized him up when he wrote the lyrics to Sawada's 22nd single from January 1978, "Samurai"(サムライ). Perhaps "ronin" (masterless samurai) would have made for an even better title, but the samurai tag was good enough to create that image for that wafuu lone wolf in the 20th century.

Katate ni pistol
Kokoro ni hanataba
Kuchibiru ni hi no sake
Senaka ni jinsei wo
Aaa aaa aaa

Arigato, Jenny
Omae wa ii onna datta
Hanpa na wine yori yowasete kureta yo
Dakedo Jenny abayo Jenny
Ore wa ikanakucha ikenain dayo

In one hand, a pistol
In my heart, a bouquet of flowers
Firewater on my lips
My life on my back
Aaa aaa aaa

Thank you, Jenny
You were a great girl
You got me drunk on half a glass of wine
But Jenny, farewell Jenny
I gotta go, y'know

Yup, there's another movie in there. And there are a couple of other Aku rules, the ones about having regrets and the singer becoming the protagonist in the story. Listening to "Samurai", I know that it isn't Julie singing about a lone wolf's Julie singing about HIMSELF being that lone wolf gangster in the same way that Harrison Ford IS Indiana Jones. I can't imagine anyone else in the part when he sings the song. I mentioned that whenever Aku comes to mind, Pink Lady pops up as well. Well, I only realized not too long ago that Sawada should also be popping up when I think about Aku in the 70s since he has written a number of songs for him during those days. And in "Samurai", the lyricist pegged the singer's foppish tough guy persona to a T, even putting in that theatrical Sawada cry.

I also have to mention Katsuo Ono's(大野克夫)music for the song since it also reflects that lone wolf character. There seems to be a hint of Spanish matador behind the first verse before the music settles into a 50s-style ballad reminding me of James Dean and early Marlon Brando. "Samurai", by the way, hit No. 1 on the Oricon weeklies and finished 1978 as the 13th-ranked song.

Before I talk about the final song here, allow me to show the Top 10 Yu Aku singles in terms of sales as of 2012 (from the good folks at J-Wiki):

1. Pink Lady          UFO
2. Pink Lady          Southpaw
3. Harumi Miyako Kita no Yado Kara
4. Pink Lady          Wanted
5. Pink Lady           Monster
6. Koichi Morita    Seishun Jidai
7. Pink Lady           Nagisa no Sinbad
8. Kiyohiko Ozaki  Mata Au Hi Made
9, Kenji Sawada     Toki no Sugiyuku Mama ni
10. Kenji Sawada   Katte ni Shiyagare

See the pattern? You can imagine why I've always put Pink Lady and Yu Aku together like bread and butter. The other interesting thing is that the lyricist seemed to have usually put Mie and Kei in some sort of thriller element whether it be cops and robbers or aliens and monsters with the ladies musically throwing in their lot with them or battling them.

One song by Pink Lady and Aku that is not up on the above list is "Toumei Ningen"(透明人間...Invisible Man). Released in September 1978 as their 9th single, the usual upbeat Pink Lady song sounds like some tokusatsu theme song (those fanfare horns) with a rumbly 50s guitar.

Masaka to omotteiru desho ga
Jitsu wa, jitsu wa
Watashi wa toumei ningen desu


Seken wo sawagasu fushigi na koto wa
Subete wa toumei ningen nano desu
Tenka muteki no champion
Totsuzen down wo kutta no mo
Spoon wo magetari, nejittari
Nenriki boom mo watashi desu

It's impossible to believe but
The tr..truth is
I am the invisible man


The strange thing rocking the world is
That everyone is invisible
Champions without peer
Absorbing sudden blues
Bending and twisting spoons
The psychokinesis boom...that's me

At first, I wondered if any of Aku's guidelines really applied here. Perhaps the lyricist just wanted to have a bit of vacation but still keep his words within the Pink Lady lyrical groove. I mean, I don't think No. 2 about the Japanese penchant for regret and masochism would come in here; if anything, "Toumei Ningen" comes off as the opposite. And try as I might, even with Mie and Kei singing about everyone being invisible, I just couldn't imagine the ladies invisibly jumping about the streets of Tokyo . As I mentioned, the melody sounds like something out of a tokusatsu or anime superhero series...the lyrics certainly hint at someone similar.

However, being an old fan of superhero comics and the need for titans like Superman and Batman here in North America and Ultraman and Kamen Rider in Japan, I wondered if Aku was subtly channeling No. 3: Shouldn't we be gradually focusing on human relationships within the urban lifestyle?

Neither J-Wiki nor the Q&A section at divulged any insights into the lyrics, and perhaps this is a leap for me but I mused about the rapid economic modernization and urbanization of the country during the 50s-70s and their benefits and consequences, especially the latter. Was Aku, however comically, addressing the usual urban problems such as isolation and crime? Maybe he was being somewhat sarcastic about the abundance of folks in the big city becoming faceless and invisible, and therefore gaining these wonderful new powers. Come to think of it, that brings up No. 7: How do the maintenance of telecommunications, the development of transportation, an automobile society, the Westernization of housing, changes in diet and the modernization of lifestyles affect the emotions?

Most likely there are Aku songs that better highlight Nos. 3 and 7 but I have yet to come across them, and when I heard "Toumei Ningen" and read its lyrics, I just thought that there was some sly message about city life. To be honest, when I did read those two rules, I initially assumed that Aku even had something to do with City Pop, but I think they now perhaps hint more at anti-City Pop. In any case, let me stop my ramblings here. The song, by the way, did hit No. 1 on the Oricon weeklies and eventually became the 6th-ranked entry for 1978.

Yu Aku passed away at the age of 70 in August 2007 from uretal cancer. With all of those 5,000 or so songs that he wrote lyrics for, and for all those Pink Lady and Kenji Sawada entries among his most successful hits, the one song that is my favourite by him is "Shishuuki"(思秋期...The Autumn of My Years), as sung originally by Hiromi Iwasaki(岩崎宏美)back in 1978. I've already devoted an article on this song, but what I wanted to add here is that I think the evergreen and bittersweet ballad is that message which still echoes through the generations about the passing of time and the loss of youth. Whether he wrote it as an inevitable realization or as a warning to the young to cherish those moments of vitality and camaraderie before it's too late is not something I can answer definitively, but the way the song is delivered melodically and lyrically has that color of Aku sepia. It can still relate to today but there is still that nostalgia for a type of song that will most likely never be re-created.

Now, as for that I mentioned way up above, I'm not 100% confident on the translations so for those who are better than me, please let me know. Here is the link to the original list.

1. Isn't there a different path to the usual one for popular songs that were thought to be completed by Hibari Misora? (I'm not sure if this was a slight indictment against the maxim that songs which could only pass muster by the Queen of Kayo Kyoku were proper songs.)

2. Isn't the sentiment or mentality of the Japanese regret and masochism? 

3. Shouldn't we be gradually focusing on human relationships within the urban lifestyle?

4. Isn't there a meaning applied to the simultaneous separation of the musical world and the ideal image of a musical person? (not totally sure here)

5. While writing about the modest happenings for a person and the truth of that person, is sending a message to society at the same time impossible?

6. Can't a popular song describing one woman be rewritten to include all women? 

7. How do the maintenance of telecommunications, the development of transportation, an automobile society, the Westernization of housing, changes in diet and the modernization of lifestyles affect the emotions?

8. Are the expressions, behaviour and bad habits of a human being everlasting?  Are there things that he/she will absolutely not want to do depending on the generation?

9. Isn't it also necessary to shift the singer from a storytelling role to that of the subject in the drama?

10. A close-up of the singer will not reveal everything but with the technique of thrusting that singer into a larger space, isn't it acceptable to demand an image up to that point?

11. Won't a song be created even if the words "douse" (anyhow) and "shosen" (the beginning of a conflict) are eliminated? (I had no idea what Aku was on about here, but apparently lyricists before his arrival on the scene were using those two words to such an extent that it seemed like they had a patent on them, according to this Japanese blog entry.)

12. Other than the seven-and-five-syllable meter, isn't there a number of words that evokes a pleasant aural sensation?

13. There is nothing that cannot be made into a song. For example, a short story, a movie, a speech, an amusement park. Can't any of these fill up 4 minutes at the same volume?

14. An era is not something that can be seen so that you can see it. However when you face that age, can't the reasons for things specific to that age be seen?

15. A song is playing catch with that era. Doesn't a hit song pierce the sense of hunger of that era?

Friday, March 27, 2015

Isao Hayashi/Kiyoshi Hikawa -- Mamurogawa boogie (真室川ブギ)

Hey, it's Mae-Kiyo! And Ohkawa! And Hosokawa! Even Dick Mine's there! And there's some lady with an eye patch... ...

Although the official name for this jazzy ditty is "Mamurogawa boogie" - as mentioned in Isao Hayashi's (林伊佐緒) discography on his J-Wiki page - it seems to go by "Boogie Mamurogawa Ondo" (ブギ真室川音頭) as seen in the video above, and that caused quite a bit of confusion for yours truly at first.

Anyway, I had first heard of "Mamurogawa boogie" through the ever-popular Kiyoshi Hikawa (氷川きよし)... Yes, I was curious and was in need of a palate cleanser... What piqued my interest, besides how laid back he seemed as he sang and that sparkly suit of his, was the music done by none other than Hayashi himself. It had the qualities of a funky Jazz tune with the trumpets blaring away, but at the same time it sounded like one of those festive Enka-Min'yo songs people dance to - a good example would be Haruo Minami's (三波春夫) "Tokyo Gorin Ondo" (東京五輪音頭). Part of the lyrics (by Ryo Yano (矢野亮)) even had the guy singing "Ko'rya", which is quintessentially Min'yo. Ah, now I see the connection between the song and its other name.

Jazz-Min'yo fusion. Interesting. Wonder how Hayashi came up with that combo? Since "Mamurogawa boogie" was released in 1954, I'm guessing he wanted to try mixing two popular genres from that era - that being Jazz and Min'yo/Enka - and see what he'd get from that. As I browsed through the rest of his discography, Hayashi had a few other songs that seemed like they have the similar, peculiar genre combination too.

The late Hayashi, a native of the Yamaguchi prefecture, was named the first-ever singer-songwriter of Japan, and had composed a number of songs for others singers from back in the day, like two of the San'nin no kai fellas, Hachiro Kasuga (春日八郎) and Michiya Mihashi (三橋美智也). For instance, he had composed Kasuga's "Rosario no Shima" (ロザリオの島), which has already been profiled. He had participated in the Kohaku 11 times (consecutively) since it began in 1951, when the event was broadcast through the radio... and when there were only 14 participants, including Hayashi.