Spitz -- Mishiranu Ito（見知らぬ糸）

 

I haven't really watched a J-Drama in many many years although I know of the usual types of drama that get onto the commercial networks such as TBS and Fuji-TV. There are the medical dramas, the ones dealing with cops and also the legal battles, and to be honest, they sound a lot like what's on American prime-time television.

Frequent commenter Brian Mitchell told me about this drama that he and his family are currently watching on TBS called "T-shirt ga Kawaku made"（Tシャツが乾くまで...Until the T-shirt Dries） which began its run a month ago. It sounds innocent enough but peel the layers back and one can discover that this is actually a romance mystery regarding two people seemingly losing their respective spouses in the same tragic accident but then finding out something shocking as a result. 

But before I go any further, this is after all a music blog and not a drama blog. Brian asked me to write about the theme song for "T-shirt ga Kawaku made", "Mishiranu Ito" (Unknown Thread), which was released a few days ago as Spitz's（スピッツ）48th single. Now, I've always enjoyed the vocals of Masamune Kusano（草野正宗）and his band has always been symbolic of one aspect of 1990s J-Pop...guitar rock via hits such as "Cherry" and "Namida ga Kirari"（涙がキラリ☆）, so it was great to know that Spitz is still there strumming away with that same comfortable sound from 30 years ago. By the way, Kusano took care of words and music.

capsule -- Portable Kuukou（ポータブル空港）

 

I just discovered this one after posting "Airport Kayo" back in June. But my impression is that this airport-titled song is far away from the others in terms of time and space.

"Portable Kuukou" (Portable Airport) is one of the songs for capsule's 3rd single "Portable Airport" from May 2004. It has been categorized as an electro song although I can still hear some vestiges of the duo's old Shibuya-kei sound before making that transition into more technopop and dance music. Just imagine Swinging London in the 60s...the 2060s, that is.

Not surprisingly, Yasutaka Nakata（中田ヤスタカ）was behind the music and I'm assuming that vocalist Toshiko Koshijima（こしじまとしこ）was providing the vocal stylings here. What I also found out is that the music video for "Portable Kuukou" was a Studio Kajino-produced (under Studio Ghibli) anime which was the first in a sci-fi trilogy. The very brief excerpt that I could find below has gotten me interested in seeing the whole thing. "Portable Kuukou" was also a part of capsule's 4th studio album "S.F. sound furniture" which was released in June 2004 to a No. 35 ranking.

Ryuichi Sakamoto -- Calling From Tokyo/Laser Man

 

Many things have probably been said about The Professor, aka Ryuichi Sakamoto（坂本龍一）, since he dabbled in a lot of different genres. "Not boring" would be one such phrase.

Certainly this song of his titled "Calling From Tokyo" which leads his November 1989 album "Beauty"（ビューティー）has quite its fair share of story behind it. Some years ago, I discovered that he'd harboured a long fascination for various types of ethnic music and studied ethnomusicology in university. "Calling From Tokyo" might be one result of his studies and experimentation. According to the J-Wiki article on "Beauty", Sakamoto had at one point dubbed the song "Jazz" but Virgin Records which was the label for the album convinced him to change it (good call, Virgin). 

There's nothing really jazzy about "Calling From Tokyo" unless we're approaching something close to smooth jazz here. It is, though, a smoky mélange of musical spiciness with West African influences, a soupcon of Japanese traditional, Okinawan chants and a whole lot of World Music (which I don't have as a Label here) among other "ingredients". Perhaps after a few listens to it, people may want to head out to get some rich stew at a restaurant somewhere.

Sakamoto did apparently get his original title for his song as it was placed as "Jazz #1" on the "Black Rain" soundtrack. By the way, it was not only Sakamoto behind the lyrics (and music) but also guitarist Arto Lindsay and Roger Trilling. Some of the vocals were provided by the Brian Wilson and Youssou N'Dour.

A version of "Calling From Tokyo" without any major vocals but with a few techno flourishes was included under the title of "Laser Man" as a track on Sakamoto's July 1989 single "Undo #1"（アンドゥ＃1）. It was apparently used as the theme song for a movie called "The Laser Man".

Yoru ga Kuru (夜がくる）by Asei Kobayashi

   A lot of typical weeaboos fantasies about visiting Japan go something like, “I want to go to Shibuya,” or “I want to visit a maid café.”

Me? I'm a simple man.

I just want to sit down at a old izakaya and enjoy a glass of that good old Suntory Old Whisky.

Suntory it is certainly one of the country’s most famous and recognizable brands. Its commercials are especially iconic—and they happen to be some of my favorite advertisements of all time.

I still remember the first time I saw the classic 1969 commercial. 

A tall foreign traveler walks into what appears to be a traditional Japanese inn. Without needing to say a word, the hostess seems to understand exactly what he wants. Before long, the two are sharing glasses from a bottle of Suntory Old.

It’s a simple commercial, but it’s effortlessly cool and classy. More importantly, its music is unforgettable.

The commercial’s theme,  “Yoru ga Kuru/夜が来る” (The Night Comes.) , written by composer Asei Kobayashi (小林亜星), is a short but catchy combination of bluesy guitar and soulful jazz scatting. The piece was reportedly originally titled “Ningen Mina Kyōdai,” or “All Humans Are Brothers.” Which I think perfectly captures the atmosphere these commercials were trying to create. 

The original vocalist performing the memorable scat singing was reportedly Silas Mosley, an acquaintance of Kobayashi’s. Mosley was also a theology professor at Sophia University and a gospel singer, still looking for photos of the guy but his work can be found in anthology album called "The History of Jazz, The Birth of the Blues" by Jinichi Uekusa (植草甚一).

Over time, “Yoru ga Kuru” became an iconic piece of Japanese popular culture. Suntory has continued using the melody for decades, and it remains closely associated with the brand. There is also a version featuring actual lyrics, sung by Kobayashi himself. That rendition is quite good, but there is something especially grounded and inviting about the original, wordless jingle.

Maybe it’s the simplicity of it. The gentle guitar, the relaxed scatting, and the dimly lit atmosphere make it feel less like an advertisement and more like the beginning of a good evening.

Creating a genuinely memorable commercial jingle is difficult, but Suntory struck gold with this one. Even after all these years, the moment that melody begins, you immediately understand the mood: the day is over, the night has arrived, and it’s time to pour a drink.

Hopefully, one day, I’ll get to sit at a quiet bar in Japan, order a glass of Suntory Old, and hear some old man on guitar singing “Ba di dum dum dum Shoobie da dum” somewhere in the background.

Now that would be a dream come true.

Saori Hareyama -- Ichi-en Dama no Tabigarasu（一円玉の旅がらす）

By Monaneko via Wikimedia Commons

For the past several years, we Canadians have been getting along in our economy without the one-cent coin, aka the penny. Rounding up and down has been our way of circumventing the lack of that copper disc when paying in cash here in the Great White North. And yet...and I will apologize to Japanese currency fans in advance for what I'm about to write...the one-yen coin over there still exists despite the fact that it looks and feels more like a token to slip into a gacha-gacha machine.

And yet, the one-yen coin received its fame and appreciation in the sun when this song came out as the debut single of enka singer Saori Hareyama（晴山さおり）. Released in March 1990, "Ichi-en Dama no Tabigarasu" (The One-Yen Coin Vagabond) was presented so that the coin was depicted as the typical historical lone-wolf hero on the byways and highways of Japan. At around the same time, the consumption tax was first applied to the bills of the Japanese public so that having all of those one-yen coins became rather precious in trying to provide exact change.

Written by Toyohisa Araki（荒木とよひさ）and composed by Tetsuya Gen（弦哲也）, it was created as this rather robust if playful enka performed by the then-16-year-old Hareyama from Kanagawa Prefecture. I first saw and heard it played on a recent episode of "Shin BS Nihon no Uta"（新BS日本の歌）and just from how it sounded and what the song was about, I figured that it would have ended up on NHK's music vignette show "Minna no Uta"（みんなのうた）, and sure enough it was there.

"Ichi-en Dama no Tabigarasu" won a number of awards including Best New Artist for Hareyama who was especially lauded for her kobushi, the vibrato technique that is vital to any enka singer. Hareyama's career in singing had started when she won an award in NHK's amateur singing program "Nodo Jiman"（のど自慢）in 1988. Following that debut, however, her career failed to stay on fire and by 1992, she went into temporary retirement. She decided to give it another go for another decade beginning in 1995, but this time, she went along more of a pop vein although eventually nothing really took off for her.

STUTS & Taeko Onuki - Ohayō (おはよう)

Its always refreshing to know that older artist you grew up listening to still have "the sauce", and they can still turn out great music years later. It's kind of like seeing an old friend years later and knowing that he's doing great in life. That's kinda' how I felt after hearing Taeko Ohnuki's voice in the new song "Ohayo"( (おはよう) / Good Moring).

Produced and arranged by the artist STUTS, Ohayo feels like the perfect marriage between Ohnuki's 70s sophisticated jazz sound and the modern indie/ lo-fi vibe that us chronically online folks have grown accustomed to. We even get a relaxing music video accompanying the song, which I gotta say, this is probably the best music video I've seen for a City Pop song, ever. 

We follow a day in the life of nameless woman as she runs her motorcycle garage, located somewhere what looks to be Kamakura, Kanagawa Prefecture (feel free to correct me if I'm wrong). We even gets some lovely shots of Enoshima Island in the background as she rides her own bike down the highway as she greets all her neighbors throughout the peaceful coastal town. We even gets some cameos from SPUTS and Ohnuki scattered throughout the video. 

I've never heard of STUTS before this song, but after exploring some of his other work, he seems to be a really good producer. The Nagoya born musician really excels at creating a nostalgic sound clearly influenced by 90s hip hop, House, and R&B. I think any Nujabes fans will gravitate forwards this guy real well. 

If you want to get a good sense of his style, I'd recommended checking out his Tiny Desk concert.

 Overall I think Ohayo is the perfect marriage of old & new and show cases both artists strengths very well. I think anyone who misses the easy listening quality of Taeko Ohnuki's music and those who are on the search fore more beats to study to will both be satisfied. 

Momoe Yamaguchi -- Harukaze no Itazura（春風のいたずら）

Amazon.jp

This Momoe Yamaguchi（山口百恵）song was recommended to me by a commenter a few days ago and it turns out to be her fourth single that I hadn't known about. "Harukaze no Itazura" (Spring Wind Mischief) which was released in March 1974 arrived between a couple of arguably more well-known hits by the famed 70s aidoru and actress, "Kinjirareta Asobi"（禁じられた遊び）from November 1973 and "Hito Natsu no Keiken"（ひと夏経験）from November 1974.

As with those two songs, "Harukaze no Itazura" was written by Kazuya Senke（千家和也）and composed by Shunichi Tokura（都倉俊一）. The arrangement by Shunichi Makaino（馬飼野俊一）was reflective of what Momoe's early material sounded like: light and bouncy kayo paired with her younger and higher-pitched vocals. It's all about a young girl who's gotten so distraught after a fight with the boyfriend that she's gotten lost somewhere in the big cruel city while a cold spring wind is blowing. If Momoe's late-career persona of jaded mankiller ever saw this lass, she would have either taken her under her wing or perhaps given her a sneer and internally told her to dry up.

"Harukaze no Itazura" reached No. 11 on Oricon and ended up as the 85th-ranked single for 1974. The song was also included on her 3rd studio album "Juu-go Sai no Tehma ~ Momoe no Kisetsu"（15歳のテーマ 百恵の季節...Theme of 15 Years Old ~ Momoe's Season） which came out in April 1974 and reached No. 7 on the album charts.