Yuzo Kayama -- Enka Nagashi Uta (演歌流し唄)

Since Kiyoshi Maekawa's (前川清) "Uso yo" (嘘よ) from late last year, I've been aware of Yuzo Kayama's (加山雄三) love for kayokyoku. Nevertheless, it did not diminish the excitement I felt upon discovering that he came up with a whole album dedicated to enka classics. As such, this was one of my must-gets when I was at his museum in December - technically, I could've gotten it online, but it wouldn't be as special...

Titled "Enka Nagashi Uta" (演歌流し唄), this album was released in 1972, and the tracks included ranged from the more easy-going, pop-like enka to the hardcore stuff, the latter of which had me going, "Whoa, he actually sang that?!"... because, you know, I see the Wakadaisho and some of these singers to be on completely different planes of existance. Unfortunately, I was unable to find full versions of the covers, only just 45 second samples from online CD shops, so I had added the original versions in my descriptions to give an idea of what sort of stuff he had taken on.

Here is the list of songs and their singers:

1. Tabi Sugata Sannin Otoko (旅姿三人男); Dick Mine (ディック・ミネ)
2. Minato Machi Blues (港町ブルース); Shinichi Mori (森進一)
3. Mugi to Heitai (麦と兵隊); Taro Shoji (東海林太郎)
4. Dare yori mo Kimi wo Aisu (誰よりも君を愛す); Kazuko Matsuo & Mahina Stars (松尾和子 . 和田弘＆マヒナスターズ) 
5. Hakodate no Hito (函館の女); Saburo Kitajima (北島三郎)
6. Wakare no Ippon Sugi (別れの一本杉); Hachiro Kasuga (春日八郎)
7. Jinsei Gekijo (人生劇場); Shigeo Kusunoki/Hideo Murata (楠木繁夫/村田英雄)
8. Yogiri no Blues (夜霧のブルース); Dick Mine
9. Hoshikage no Waltz (星影のワルツ); Masao Sen (千昌夫)
10. Rindo Kouta (りんどう小唄); this is Kayama's own song, if I'm not wrong
11. Hokkiko (北帰行); Akira Kobayashi (小林旭)
12. Ippon Doko no Uta (いっぽんどっこの唄); Kiyoko Suizenji (水前寺清子)

What I found most fascinating, besides the Wakadaisho's attempts at some of the songs, was, as the album's name suggests, putting Kayama in the shoes of a nagashi, and actually beginning with him going into a noisy bar and providing some entertainment for the drinking crowd. As we go down the list, the nagashi even thinks out loud or talks to the customers before he goes on to singing the next song proper. The world building is a creative idea, and that also gives "Enka Nagashi Uta" a warm and atmospheric touch. It feels more like you're at the smoky pub itself with a cup of sake before you listening to some live entertain rather than simply listening to a CD. As for the music, their arrangements are mostly close to the original takes save for that Kayama touch - lots of electric guitar that gives certain tracks a strong Group Sounds flavour.

Overall, I was pleased with whatever that was brought to the table, but I do have my highlights, the first of which is the track at the top of the set list, "Tabi Sugata Sannin Otoko". This is one of my favourite matatabi enka, and I very much enjoy the fast-paced and modern take that Kayama brought to the table. Here, it feels like the ronin having fun in the busy streets of Edo (Tokyo during the Edo era) instead of silently trudging through the Tokaido road towards Kyoto (or something like that).

Next is "Minato Machi Blues". I'm actually I'm not a big fan of Mori's halting and raspy delivery, so I welcome other takes of this well-known hit with open arms, with Kayama's being no exception. Not saying that the original is bad - it's not, which is why I have it above - but, to me, it's better when each line is belted out in a smoother manner. In terms of musical style, it's pretty similar to the original, just with a little more zing to it from, you guessed it, Kayama's favourite instrument.

So much for different planes of existance - the Wakadaisho even took on enka heavyweights like Hachi and Muchi (or Kusunoki)! "Wakare no Ippon Sugi" is the quintessential bokyo tune that is heavily melancholic; "Jinsei Gekijo" is a gravelly ode to the responsibilities of a manly man. As heavy as they are, Kayama managed to turn them into faster-paced groovy ditties with a strong Group Sounds taste. I do appreciate the enka-GS fusion, but it does take out quite a bit of the foreboding and creepy ambiance that the originals seem to revel in. Nevertheless, they are fun and refreshing to hear, especially "Wakare no Ippon Sugi" - probably would have taken to the song much faster if I'd heard the cover first.

(I'm sorry but the video was taken down.)

Yeah... the Wakadaisho's electric guitar and piano can't replace Koga sensei's mandolin.

Besides hardcore enka, Kayama also did some intense Mood Kayo like "Yogiri no Blues" and "Dare yori mo Kimi wo Aisu". Unlike the aforementioned stuff, they kept majority of their original smoky atmosphere. Perhaps they fit with the bar scene well already, so there wasn't a need to change much of it? Or maybe he just preferred their melodies as is? Whatever it is, I found his versions more palatable for some reason, especially with "Dare yori mo Kimi wo Aisu".

As for "Yogiri no Blues", Kayama's delivery struck me as being very similar to Yujiro Ishihara's (石原裕次郎), whose version I have put up, though with more grit.

I think a good way to end things off here is with the sentimental "Hoshikage no Waltz". The case of "Hoshikage no Waltz" is similar to "Minato Machi Blues" wherein I personally feel the song needs a steadier delivery, and also one with a softer touch for it to really shine. Kayama did just that with this too, however, its faster tempo did also take out some of the wistfulness. If only it were a tad slower... Ah, well, can't have the cake and eat it too. Hmm, I wonder if Hachi's version would be the best of both worlds.

The Wakadaisho looks pretty good in a kimono.