I have this core memory of watching this one ryukoka medley back when I was just starting to wrap my head around what the genre was. If I got 100 yen for the amount of times I re-watched that, I would probably be able to buy a Mr. Nakano shikishi (autograph) priced at 55,000 yen. Because of that constant repetition, I still vividly remember what the four songs in the medley were almost a decade down the road. There was a jolly Minoru Obata (小畑実) singing "Kantaro Tsukiyo Uta" (勘太郎月夜唄) in his soft lilt, an elderly Dick Mine in a tux with a pair of shades belting out "Tabi Sugata Sannin Otoko" (旅姿三人男) in dramatic fashion, and the ever exuberant Batayan and his trusty guitar with "Otone Tsukiyo" (大利根月夜). These were instant favourites and would continue to be in the years to come. However, there was one song that was markedly different in style to the rest of these heroic-sounding matatabi mono. The man singing it also gave completely different vibes to the aforementioned gentlemen. He was awkward, standing ram-rod straight, and his slight frown behind those glasses gave him a look of mild annoyance; it's as though someone got that last tuna mayo onigiri before he could. This awkward gentleman was Noboru Kirishima (霧島昇) and the song he sang was "Tabi no Yokaze" (A Journey's Night Breeze).
This performance here is probably the exact one I saw from that medley, if not very similar. Because of that impression I had of him, I just saw him a stiff and grey natsumelo singers. I didn't take to "Tabi no Yokaze" either, it being in a minor key and having a comparatively sadder sound despite its jaunty rhythm. Just as aside, I actually prefer songs in the major key, like the earlier mentioned matatabi mono, which are generally more uplifting in sound. Stuff in the minor key like "Tabi no Yokaze" and many enka songs, on the other hand, usually take me some time to get used to. Having said that, the reason why I went from cold to lukewarm to it was because of the constant replays of that medley.
Years later, I would re-encounter "Tabi no Yokaze" and its recognizable accordion-filled intro via the Asakusa Bois, Tokyo Taishu Kayo Gakudan (東京大衆歌謡楽団). I quickly learned from their concert videos and live performances that this tune was not only a staple in their repertoire, but often sung as an introduction. Considering the song's theme of travel, it's rather characteristic of the band that often seemingly appears at random places out of thin air. Just like the medley from my teens, hearing "Tabi no Yokaze" from the Takashima brothers eventually made it go from lukewarm to a comfortable warm. Through that process, I'd find it on loop in my head and I'd be humming bits of it ever so often, especially that oh-so-familiar first line.
The Asakusa Bois were also the reason why Kiri-san became another early Showa kayo figure I warmed up to, alongside his wife Misao Matsubara (松原操), also known as Ms. Columbia.
On the note of Matsubara, "Tabi no Yokaze" wasn't just a Kirishima song, it was originally a duet Kirishima recorded with her. It was created as such in 1938 by Yaso Saijo (西條八十) and Tadashi Manjome (万城目正) and served as the theme song for the romantic somewhat-tragedy "Aizen Katsura" (愛染かつら), which was based on Matsutaro Kawaguchi's (川口松太郎) serialized novella of the same name. It featured movie stars Ken Uehara (上原謙) and Kinuyo Tanaka (田中絹代). Basically, nurse-turned-musician Katsue (played by Tanaka) first encounters young doctor and heir to the hospital she worked in Kozo at a company organized party. Kozo, smitten by Katsue, introduces her to the Aizen Katsura (Katsura tree of love) at a temple; lovers who touch the tree together will find eternal happiness together, even if not immediately. The two touch the tree, professing their love for each other. Unfortunately, that's where the problems began and a whole wave of misunderstandings and will-they-won't-theys ensue, with Kozo having to battle family tradition and Katsue balancing her duties as a single mother and a nurse. Saijo's lyrics illustrate the feelings and struggles of both characters via Kiri-san and Ms. Columbia. And I believe that the "Tabi" (journey) part of "Tabi no Yokaze" comes from how our star-crossed lovers constantly travelled to different places yet always happened to barely miss meeting each other.
As the film was a massive sensation, "Tabi no Yokaze," arranged in multiple ways and played throughout the movie, became a smash hit, propelling Kirishima and Matsubara to musical stardom. Since the movie did so well, it spawned two sequels titled "Zoku Aizen Katsura" (続愛染かつら) in 1939 and "Aizen Katsura Kanketsu hen" (愛染かつら完結編) in 1940. Naturally, Kirishima and Matsubara were behind the theme songs as well, "Aizen Yakyoku" (愛染夜曲) and "Aizen Soushi" (愛染草紙) respectively. Both the sequels and their theme songs were just as popular as fans pursued the Katsue-Kozo saga. Since it's been more than 80 years, I think spoilers are acceptable: They FINALLY tied the knot at the Aizen Katsura by the end of the last movie. After two long years, the Katsue-Kozo union everyone wanted came to fruition. But even greater news to the fans was when Kirishima and Matsubara tied the knot as well on 17th December that year.
I actually watched "Aizen Katsura" for myself just last night and, for a movie from that era, I actually thought it was pretty good! But honestly, if the books I'd read didn't spoil me, I would've gone insane because the sequels aren't available (from my knowledge) and the first one ended on a cliffhanger. If you'd like to watch it for yourself, you can do so here. There's English subtitles if you hit the captions button.
On the note of our ryukoka power couple, the Kirishimas were interviewed and asked about how they became an item. It was really cute to see the both of them stare blankly at each other and go, "Who made the first move, again?" However, Kiri-san mentioned that they just naturally drifted closer to each other since they were made to work together almost everyday since "Aizen Katsura." However, Columbia Records vehemently objected to the union. Just like the situation with Katsue and Kozo. I can see why, though. From the company's standpoint, it would be a huge loss if one of their most popular stars retires and become a housewife upon marriage (it was that sort of time... Still kinda is). Nevertheless, the couple still went ahead with it.
Here is where I would like to introduce a more potential spicy drama on the Kirishima-Matsubara situation from Kiyomaro Kikuchi's "Showa Enka no Rekishi": When "Aizen Yakyoku" was due to be recorded in 1939, Kirishima was in northern China participating in record company-organized morale boosting concert trips (imon katsudo) for the soldiers stationed in those areas. As a result, Columbia's other, more senior star Akira Matsudaira (松平晃), was set as a replacement and slated to record the duet with Ms. Columbia. Kikuchi further stated that "Aizen Yakyoku" would have been pivotal for both Matsudaira and Kirishima in respectively maintaining or solidifying his popularity. So, catching wind of his replacement, Kirishima made up his mind: He was going back to Japan come hell or high water. Cancelling the performance in Qingdao, he rushed back on a military plane at the speed of light and made it just in time for the recording, ensuring Matsudaira wouldn't steal his thunder. We can look at it from this perspective, but from the way I understood Kikuchi's writing, it seemed like it was more than just competition over popularity... It sounded like a jealous Kirishima who refused to let Matsudaira take his place beside Matsubara. Food for thought.
Fan conspiracy theories aside, after Kirishima and Matsubara wed, the latter did retire from show business, and together they had four kids. Kirishima would continue to perform many of their duets either on his own or with other singers on music programs. The couple remained together for the rest of their lives, and when Kiri-san passed away in April of 1984, Matsubara followed just shy of two months from him. Oddly enough, she also left just a few days before Kiri-san's 70th birthday ;-;. Considering the circumstances that led to their union and how not even death could keep them apart, Kiri-san and Matsubara's story could easily rival Katsue and Kozo's! Someone should make a drama out of it. I would 100% watch it. Chips and soda ready - I'll watch it. NHK, please. I'll subscribe to your service.
If the one who took that last tuna mayo onigiri was Ms. Columbia, I'm sure that Kiri-san frown would be turned upside down.
Mateba kuru kuru Aizen Katsura (Just hang on, spring will come)
Yagate me wo fuku haru ga kuru (And the Aizen Katsura will finally blossom)
Hi, Noelle. Thanks for not only the music but also for the epic courtship story behind it as well. I've heard about the potential pitfalls of an intra-office relationship but happily it went well for Kiri and Miss Columbia. The relationship, professional and then personal, gives me food for thought about some of the other power couples in the entertainment industry decades down the line such as Seiko Matsuda and Hiromi Go.
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