I've been a fan of Japanese popular music for 40 years, and have managed to collect a lot of material during that time. So I decided I wanted to talk about Showa Era music with like-minded fans. My particular era is the 70s and 80s (thus the "kayo kyoku"). The plus part includes a number of songs and artists from the last 30 years and also the early kayo. So, let's talk about New Music, aidoru, City Pop and enka.
Credits
I would like to give credit where credit is due. Videos are from YouTube and other sources such as NicoNico while Oricon rankings and other information are translated from the Japanese Wikipedia unless noted.
Usually I would have the weekly Reminiscings of Youth song today but I've decided to give that a break just for this time. The reason goes all the way back to a year ago when I posted my "If I Had an All-Night Radio Show..." article, just to show off my fantasy of hosting such a program with a mix of Quiet Storm and calmer City Pop ballads.
Well, in the last few days, I discovered that along with many a radio station everywhere, NHK-FM in Japan had the type of show I would covet. It was called "Crossover Eleven"（クロスオーバーイレブン）and it had its run between November 1978 and March 2001 on most nights between 11 pm and midnight. I've only been able to find a couple of broadcasts but it seems as if "Crossover Eleven" played a lot of non-Japanese fusion and R&B although the programmers were open to what was also trendy over the years such as New Wave. There was a host with that late-night DJ voice doing the introductions and any soothing narration to lull listeners into a restful condition.
For most of its run, "Crossover Eleven" had an opening theme which was quite cool and calming. "Fly Over the Horizon" or as it was known in Brazil, "Vôo Sobre O Horizonte", was recorded by the Brazilian jazz-funk band Azymuththat had first formed in 1973. It's a song that probably put listeners in the proper frame of mind for what was to come. "Fly Over the Horizon" was also a track on Azymuth's 1979 album"Light as a Feather".
If there were a late-night voice I would to emulate, it would be the one belonging to host John Van Driel. And the wonderful thing is that he's Canadian!
Hey, KKP fans! How about taking a look at these puppies? OK...maybe slightly inappropriate but honestly speaking, the good folks at The Pet Collective have amassed this footage of the cutest puppies on Earth. Please enjoy the little ones as I use them as a segue to this song.
Commenter YMOfan04 showed me a number of these videos highlighting Japanese acts from the 1960s that I had never heard about. It made me realize how big the musical pyramids were when it came to the numbers of aidoru or Group Sounds or regular pop singers went in and out the revolving door of the music industry with 90% of them probably staying unknown or barely known while perhaps the top 1% at the peak became the iconic superstars.
One of these acts were called, strangely enough, The Puppies（ザ・パピーズ）. They don't have a J-Wiki entry so I had to do a bit of digging, and at one site, I found out that the duo was a sister act consisting of Nana（吉川ナナ）and Mimi Yoshikawa（吉川ミミ）. Maybe the powers-that-be were going for a similar Peanuts（ザ・ピーナッツ）vibe. Information is still hard to come by but at another site run by Chinpei, I also discovered that in 1968, The Puppies were latched onto a Group Sounds quartet called The Moondogs（ザ・ムーンドッグス）to release one single titled "Ai ga Subete"（愛がすべて...Love is Everything）. Chinpei wondered whether this had been a bit of a desperation move to get their joint careers on the move.
Well, most likely it didn't take since the following year in 1969, The Puppies were back on their own when they released what has been called their second debut single"Aishite Horo Horo"（愛してほろほろ...So In Love）. But I'm focusing today on the B-side of this single "Suki na Hito" (The Man I Love). It is a sweet kayo kyoku ballad with the popular harmonica, jangling guitar and backing orchestra supporting the lovely voices of the Yoshikawa sisters. One notable thing is that this rather short song was created by some big wigs: lyricist Yu Aku（阿久悠）and composer Takashi Miki（三木たかし）. However, Chinpei notes that soon after this release, The Puppies faded from view.
As far as I know, I don't think I've ever traveled as far south as the Tropic of Capricorn but I gather that for a lot of Japanese, that particular line of latitude may represent some good ol' traveling in the tropical zones.
Well, one fellow at least decided to have an adventure in Africa and he brought some Suntory beer with him. Just hope that he didn't give some of that stuff to the elephants. Nothing worse or more dangerous than being close to a sick or drunk pachyderm.🐘
Anyways, the jaunty commercial song here is "Minami Kaikisen" (Tropic of Capricorn) which was a duet between Takao Horiuchi（堀内孝雄）and Tomoharu Taki（滝ともはる）released as a single in April 1980. Alice（アリス）member Horiuchi had already gotten a taste of the solo artist life when he came up with his hit "Kimi no Hitomi wa Ichi-man Boruto"（君のひとみは10000ボルト）back in 1978 but didn't have another follow-up hit since then. And Taki was someone that I discovered through the blog a couple of years ago through his City Pop song "Taxi Driver" which was also a 1978 release.
Together, they recorded this footloose and fancy-free duet folk song "Minami Kaikisen" which could probably accompany a great trip down south. I like the rollicking rhythm and also the flourish that comes right after every chorus. Of course, Horiuchi shows his usual vocal flourishes here, too. I'm kinda surprised that I never heard this at karaoke. "Minami Kaikisen" managed to reach No. 4 on Oricon (this would be Taki's first Top 10 hit), selling around 375,000 records. It also ended the year as the 32nd-ranked single.
Horiuchi came up with the melody (and yep, there's a certain similarity between this one and the aforementioned "Kimi no Hitomi wa Ichi-man Boruto") with Keisuke Yamakawa（山川啓介）coming up with the lyrics.
There are a few Megumi Mori（森恵）songs on the blog, but the one that I will always remember her for is her 3rd single from April 1987, "Tokio Town"（東京街）, which I discovered years and years ago through a Hong Kong-made compilation tape. And that was a cover of a song as performed by a singer named Sarah.
The B-side to "Tokio Town" is quite different in tone. Unlike the busy Eurobeat of the A-side, "Pearl Moon ni Kuchizuke" (Kissing the Pearl Moon) sounds like a contemporized version of a much older-sounding pop song although it starts off with an 80s dance music sequence. The powers-that-be even included a Doobie Bounce in a mere pop/rock tune that doesn't approach anything like AOR. Hiromi Mori（森浩美）provided the lyrics while NOBODY came up with the melody. Shiro Sagisu（鷺巣詩郎）was the arranger here. The song was also included in Mori's debut album "Shojo"（少女...Young Lady） which was released in October 1987.
Enka veteran Fuyumi Sakamoto（坂本冬美）appeared on "Shin BS Nihon no Uta"（新BS日本の歌）last weekend and stated that she has long been an admirer of fellow enka singer Sayuri Ishikawa（石川さゆり）, and like her great sempai, Sakamoto has dabbled into other genres during her long career.
On the same episode, Sakamoto performed her latest single from March of this year, "Tooi Mukashi no Koi no Uta" (A Love Song From Long Long Ago). Written and composed by Yuka Kawamura（川村結花）with Kei Wakakusa（若草恵）handling the arrangements, it's a relaxing jazz ballad that has me thinking of Mariko Takahashi's（高橋真梨子）own jazz songs from long long ago. In a way, it seems to bring together the strings of the beautiful music that had been seen as the "good" music of yesteryear and the trombone of jazz that had been considered to be the "evil" music way back when.
I also recall Ishikawa tackling the century-plus-old genre a few decades back with "Whiskey ga O-Suki deshou?"(ウィスキーが、お好きでしょ）.
Wow! Those were the days back in the late 1980s and early 1990s when the Bubble Era was about to burst like an overripe grape. Yet, the good times were still rolling on Japanese TV with all sorts of fluffy trendy dramas showing young beautiful folks celebrating the good life but not quite hitting the mark in the romance department.
I don't know which trendy drama was being played in the above video although I can recognize at least early 80s aidoru Iyo Matsumoto（松本伊代）. And at the same time, I'm wondering whether this Mariko Nagai（永井真理子）song "Kanashi ma nai de" (Don't Be Sad) was the theme song. I hadn't done this one before although as soon as I heard the playful piano tinkling in the intro, I could recognize it as a Nagai tune, and Nagai was quite the sassy and brassy lass during that turn of the decade.
"Kanashi ma nai de" was the coupling song to Nagai's April 1989 single"Ready Steady Go!" I have yet to hear or re-recognize "Ready Steady Go!", but "Kanashi ma nai de" is the perfect Nagai vehicle for its stupendously upbeat arrangement involving a friend helping another friend out of the blues. Listening to this a few times will probably get anyone in a funk doing a jig on the floor. Lyrics were by Yoshiko Miura（三浦徳子）under her pseudonym Airin（亜伊林）and the melody was by Mamoru Taniguchi（谷口守）. The single itself went up to No. 32, and it was only some months away before Nagai got her first Top 10 hit in "Miracle Girl"（ミラクル・ガール）.
It's interesting when I go down an especially deep and winding rabbit hole, figuratively speaking. This time, it's led me to a 1970 movie called "The Strawberry Statement" which was an American comedy-drama revolving around the 1968 Columbia University protests. It starred a couple of folks who I've usually associated with sci-fi: Bruce Davison who I've always seen in much later movies as these smarmy corporate/political types such as in the very first "X-Men" as Senator Kelly, and Kim Darby who had earlier guested in the first season episode "Miri" of the original "Star Trek". Never thought I would see a young Davison playing an idealistic good guy.
Well, what led me down to the burrow in the first place was this song titled "Ichigo Hakusho wo Mou Ichido" (The Strawberry Statement One More Time) that I heard performed on either "Uta Con"（うたコン） or "Shin BS Nihon no Uta"（新BS日本の歌）recently. It's a folk-rock song that was first recorded by the folk group BanBan（バンバン）as their 5th single in August 1975. And just to hold you off the pass for a minute, this isn't the other sibling folk duo Billy BanBan（ビリーバンバン）that I've spoken about in the past on the blog. Yep, same genre, similar name and same time period but BanBan and Billy BanBan are two different entities in the music industry.
Anyways, BanBan was actually a trio consisting of Hiroshi Takayama（高山弘）, Hiroshi Imai（今井ひろし） and Hirofumi Bamba（ばんばひろふみ）. Bamba has been on the blog ever since KKP's inaugural year due to his 1979 solo hit"Sachiko", but BanBan is getting its first due here. Incidentally, the name of the group came about from Bamba's own nickname. The group had been kicking around since 1971 and Bamba had been a popular late-night radio DJ but he was wondering about the state of his band since it wasn't making any hits. As a last resort before deciding to break the band up, he decided to see if up-and-coming singer-songwriter Yumi Arai（荒井由実）could create a song for them because he had been entranced by her works and he'd seen her as a one-of-a-kind. So, he pulled every string and met up with Arai's future husband and musician Masataka Matsutoya（松任谷正隆）who then had Bamba and Arai meet up.
The result was a song that, in Bamba's words, extended BanBan's lifespan by at least a few more years before they officially called it a day in 1977. It's a melancholy and bittersweet tune about a man seeing that his local movie house was showing the aforementioned "The Strawberry Statement" once more and then reminiscing about going there with a now ex-girlfriend during a pretty successful date. Personally, it's probably the most different Yuming（ユーミン）creation that I have ever heard although that may have been due to Ichizo Seo's（瀬尾一三）arrangement. There's quite a bit of rock in there that I wouldn't have expected a Yuming song to have. And the ironic thing is that Bamba was much more of a rock guy than a folk guy; in fact, according to the article on the song, he had found folk musicians to be no better than country hicks which led him to found BanBan just to supposedly show them how it's really done.
"Ichigo Hakusho wo Mou Ichido" occupied the top spot on Oricon for about six weeks near the end of 1975 which probably meant it was quite the slow burner considering its release back in the summer. It ended up as the No. 13 single for the year and then at the end of 1976, it was even ranked No. 31. It sold a little over 750,000 records. It was also the lead track on BanBan's 2nd and final album"Kisetsufuu"（季節風...Seasonal Winds） which came out in November 1975.
