Yuko Tomita -- DEUX

Back in April, I wrote about pop singer-songwriter Yuko Tomita's（とみたゆう子）4th single, "Aoi Kaze"（蒼い風）and since I liked that one song so much, I decided to pick up the album that it came out on "DEUX", her 2nd album from July 1982.

To be up front about "DEUX", I've listened to it twice and although I've found a few of the tracks pretty good, it hasn't struck me as being one of those home runs. There are other tracks where I thought that they will probably have to grow on me some more.

However, the patterns that I've gotten about Tomita's tracks here, most of which were written and composed by her, are that she's delved into AOR and pop with some rock n' roll or techno kayo sprigs here and there. The first two tracks though did leave a happy impression with me. Track 1, "Morning Harbour" is definitely breezy AOR and it's something that sounds like a swift car drive on the marina highway, no matter what time of the day. You can thank Ken Yajima for the electric guitar solo there. Although he had nothing to do with the production of the album, that bit of chorus near the end sounds quite reminiscent of Tatsuro Yamashita（山下達郎）.

Right after "Morning Harbour" is "Umi no Quatre Saisons"（海のキャトル・セゾン...Four Seasons of the Sea）, another Tomita creation with arrangement by Kimio Mizutani（水谷公生）. Her lyrics are about remembering the good times of a romance that is now over but it's the Tomita/Mizutani collaboration on how the melody makes its way through the song that has captivated me. The verses themselves sound like that typical melancholy love ballad but then when it goes into the main chorus, there is that tonal shift into something stronger and more hopeful...that there is a better tomorrow in store. I think it takes the song into Taeko Ohnuki（大貫妙子）and even Ruiko Kurahashi（倉橋ルイ子）territory.

"Y'know, you really ought to get a belt to hold that skirt up!"

The third track, "Telephone Magic" is another Tomita/Mizutani collaborative effort that starts off like an Electric Light Orchestra tune. However then it quickly veers over to a 50s rock-and-roll-themed number about a woman who's been trying to reach the target of her love and wondering like a green-eyed monster about any particular competition the guy might be with. There is an undercurrent in the melody that reminds me of "I Only Want to Be with You" by Dusty Springfield.

"Kanashimi yo Konnichiwa"（悲しみよこんにちは...It's Too Sad Saying Hello）is one of the few tracks that wasn't created by Tomita. Instead, it's Ryohei Yamanashi（山梨良平）, who also has some of his own stuff on the blog, behind words and music and chorus. This is quite a sweet pop tune that would probably have it into some aidoru's discography if Tomita hadn't decided to record it herself.

"Shuumatsu no Etranger"（週末のエトランゼ...Weekend Stranger） starts out with a keyboard riff that also had me thinking of a song by Supertramp from the 1970s. This one has a slightly harder and more urgent edge and perhaps there's even something rather ominous as Tomita sings about a young woman who may have been literally swept off her feet by a fellow at what seems like a masquerade party. The lady is thinking whether this is a good or bad thing although it looks like the guy has already poured her into his Ferrari after one too many drinks. Any of you City Pop bass addicts may appreciate Yasuo Tomikura's licks here.

The re-release of "DEUX" has included three bonus tracks of which one is "Cassiopeia no Futari"（カシオペアのふたり...Cassiopeia Couple）, Tomita's November 1982 5th single. A ballad of longing by Tomita with Mizutani once again handling the arrangement, there is that thumpy synth and overall feeling of pining for love overseas. Plus the keyboard and accordion work has me thinking dark castles and French cliffs.

Now that I've been going through the songs one by one via YouTube, I'm starting to get a handle on them and getting a better appreciation for them, which has been something that I've cherished from working on the blog. As for "DEUX", this was Tomita's highest album on Oricon, getting up to No. 48.