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.
I knew that the city of Mississauga right on the west side of Toronto has had a sister city relationship with Kariya in Aichi Prefecture since 1981. For one thing, an old friend of mine from my hometown had a position as a liaison between here and Kariya by being assigned there on the JET Programme. What I hadn't known was that Toronto itself has had a similar relationship with the city of Sagamihara in Kanagawa Prefecture since 1991 (so I guess we're celebrating (?) 35 years of friendship this year). I only found out about the connection in the last year when I was curiously looking for whether Toronto itself had any sister cities in Japan. The ironic thing is that I had a couple of students who hailed from Sagamihara including one who was my regular Wednesday night Arashi-loving superfan student.
As for singers from Toronto, we have Drake, The Weeknd and Alessia Cara. But I was also wondering which singers hail from Sagamihara. I could find three such people.
Circus Town is one of my favorite albums of all time, and one of my top five favorite Tatsuro Yamashita (山下達郎) albums. As someone who’s been to New York, I think it captures the aura of the Big Apple very well. It’s got some well-known bangers like the title theme, “Windy Lady,” and my personal favorite, the doo-wop classic “Last Step.”
Although, in my opinion, the most underrated song is easily the closing number, “Natsu no Hi” (夏の陽). It has that typical ’70s folk-rock sound, but the ethereal backing chorus, combined with Tat’s signature belting, gives it a whimsical touch
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Unfortunately, it’s nowhere near the first song you think of when you talk about Tats, so color me surprised when I found out that the theatrical jazz-pop band Stardust Revue did their own a cappella cover of the song in 2008 for their album Always. This might be my favorite version.
I’ve heard a lot of Tatsuro Yamashita covers in my time, but this is one of the few that surpasses the original. Doesn’t surprise me one bit. The American revue-inspired band, hence the name, has a knack for creating excellent vocal harmonies and combining them with music you’d hear in some kind of vaudeville act. Plus, the lead singer, Kaname Nemoto (三谷泰弘), has performed live with Tatsuro in the past. Nemoto, joined by Tats and J-rock star Shōgo Hamada (浜田省吾 ), once performed a live a cappella version of Ben E. King’s “Stand by Me.”
When you get a chance to listen to Stardust Revue, make sure to check out their 2008 album ALWAYS. It's filled with great acapella and acoustic covers of various kayokyoku classics.
I can say that the above looks just like the first telephone that I ever saw in my apartment in the late 1960s. The good ol' rotary phone. Never got to use the even older model where people had to crank it up and yell "Maisie! Is that you? I'm calling Pennsylvania 65000!".
Earlier today, the first article for Urban Contemporary Friday on KKP was Mariko Tone's（刀根麻里子）"Private Number" and that got me thinking that among the many different themes I've had for Author's Picks, one common object that I had yet to highlight was the telephone. And yet, as soon as I put up "Private Number", suddenly all these phone-themed tunes came back to mind. So, to finish my contributions today, I'm putting up my telephone or denwa songs. Not all of them are City Pop, mind you, but enough of them are including the one with City Pop's most famous number.
It's approaching the third anniversary since Junko Ohashi's（大橋純子）passing and listening to this particular ballad brings about some more of that poignancy.
"Shiroi Gogo"(White Afternoon) from Ohashi's 1976"Paper Moon" album starts with some ominous drops onto piano keys, and though I haven't been able to access any of Machiko Ryu's（竜真知子）lyrics, I get the impression that the titular white afternoon may refer to a very lonely afternoon that used to be filled with someone. The melody and arrangement by Ohashi's husband, Ken Sato（佐藤健）, is wonderfully slow and soulful with some added rock/fusion by guitarist Kiyoshi Sugimoto（杉本喜代志）and an ending breeze-like backup chorus that hints at something hopeful around the corner.
Kinda ironic that I just put up my "New York" tunes a week ago, and now I'm posting Tatsuro Yamashita's（山下達郎）"Circus Town" onto the blog since this song was not only the lead track and title track for his 1976 debut album but also a representative of the New York side of the album (Side B is the LA side of things). After all these years of posting his music onto KKP and it is today that I'm finally adding "Circus Town", maybe one of his songs that got him beloved among the non-Japanese community of City Pop enthusiasts, onto KKP.
There are a couple of reasons for this. One is that I'd assumed that I did put it up in the past but haven't bothered to check since I often get depressed scrolling down his vast file and seeing all of the videos that have been struck down...possibly on the singer-songwriter's command himself. The other reason is another assumption that "Circus Town" is just one of those iconic Tats tunes that other better music bloggers and journalists have given their sage two cents and that I needn't bother to do so.
Well, as it turns out, there's not a whole lot of insight put out for "Circus Town" that I could find (although I'm sure that commenters can point me in the right direction afterwards). Even J-Wiki didn't contribute much to the song itself although its article for the album in general is fairly voluminous.
But what can I say about the song itself? It's wonderful! Breezy and seemingly celebratory about the Big Apple, it was written by Minako Yoshida（吉田美奈子）and composed/arranged by Yamashita, one of the star songwriting pairings in Japanese pop music (and my most recent article involving Tats was their duo cover of Niteflyte's "If You Want It" from almost a year previously). According to the brief paragraph on the song, "Circus Town" was based on the 16-beat pop that had been commonly played in New York circles. Blue Lou Marini was responsible for the scintillating sax solo and it was a nice touch to add that adorable piccolo rendition of circus music. And as much as Junko Yagami（八神純子）liked to call New York City"Purpletown", I think Yamashita calling what was once known as the World's Most Dangerous City "Circus Town" was very apt. I'm sure that for anybody coming into the metropolis from anywhere else must have been witness to quite the crazy circus-like atmosphere of Manhattan (check out those disco strings flying themselves into a tempests at one point in the song).
I have more hope that the above video of "Circus Town" will be staying up for a good long while since it actually does belong to Yamashita's own YouTube channel. Has the man followed the mantra of "If you can't beat 'em, join 'em"? Has he mellowed out when it comes to his works? In my case, I'm not going to look a gift horse in the mouth. Just gonna enjoy my repeated listenings to it.
The above is a photo of Šarengrad, Syrmia, Croatia. If I'm not mistaken, I believe my English circle of well-to-do ladies took a trip to Croatia some years ago for about a week and found it wonderful.
But that wasn't the only reason for me to post this particular photo from Wikimedia Commons. The other explanation is that I'd wanted to write about this folk song which was originally created and recorded by Croatian (formerly a part of Yugoslavia) singer-songwriter Vlaho Paljetak (1893 – 1944).
Now, to be honest, when I first came across "O Marijana", I had half-jokingly thought that we had a "Kusuri wo Takusan"（くすりをたくさん）situation here. But no...this has nothing to do with a love of a certain notorious weed but ardor for a beautiful lass by the name of Marijana. Covered by Nara-born singer Seiji Tanaka（田中星児）as his 6th single from 1976, the singer himself provided the Japanese lyrics. In a way, Tanaka's rendition reminds me of some of the music from Bobby Vinton who was popular in the same decade. The song was used as the theme for a TBS morning information program of the time called "Hachi-ji no Sora"（8時の空...The Sky at 8 O'Clock）.
It's safe to say that generations of people have grown up with "Sesame Street" including yours truly. Since 1969, I got to know about the safest and friendliest inner city neighbourhood in existence and its mix of human and Muppet residents ranging from Gordon and Susan to Ernie and Bert. But arguably, it can be said that one of those characters made it big outside of the area and that would be Kermit the Frog.
In fact, I think Kermit was able to inherit a huge if somewhat dilapidated playhouse and a new cast of characters (Miss Piggy, Gonzo, Bunsen Honeydew, Beaker, Fozzie, etc.) along with some famous human guests to create "The Muppet Show"in 1976. Of the many guests that appeared on the show, I remember Roger Moore, Elton John and Mark Hamill. I can't quite remember when on the weekly TV slate it appeared on CBC but it was must-see TV for me for a good long while during those five years.
Strangely enough, this is where I first got to know Gilda Radner. Gilda WHO was what I'd thought when I saw her in the above sketch. I hadn't started watching "Saturday Night Live" back then since I simply wasn't allowed to stay up past 10 back then so it would be a few years before realizing that she'd been part of the Not-Ready-For-Prime-Time Players. Also one other interesting observation is that I think this sketch with the snobby carrot was perhaps the only time that I'd ever seen Gilda sing.
Of course, there were the regular segments on the show such as "At the Dance" where the participants got to crack wise while tripping the light fantastic on the ballroom floor. I think it may have been inspired by a similar segment from the American comedy-variety show "Laugh-In".
But one thing that was the constant (although it also evolved throughout the years) was the theme song. Matching its Vaudevillian setting, the "Muppet Show" theme by Jim Henson and Sam Pottle was good ol' smacking jazz. It just welcomed all of us in like the friendliest usher in the house and I'm sure the kids loved to hum and sing to it. I have to admit hearing and seeing the intro again in that recent "Muppet Show" redux special brought some thrills back to me.
I kinda wonder what it must have been like to work with Peter Sellers. Anyways, the show premiered on September 5th 1976, so what was at the top of the Oricon chart on the 6th? We have the Top 3.
The above video shows a variety of entrance ceremonies for the new recruits at various companies throughout Japan, including All Nippon Airways at 1:55. Yes, it is April and so the corporate entities are throwing out the red carpet and all of the rigamarole to welcome the fresh newbies
I was watching the NHK morning news earlier tonight and there was a feature on the ceremonies, and the reporters did an interesting thing by showing the evolution of the corporate entrance ceremony throughout the decades from the 1960s to the 1990s, and for each decade, they put up a representative pop song. Just out of my sense of whimsy, I'm going to put these up here, too.
(1960s) Yukio Hashi and Sayuri Yoshinaga -- Itsudemo Yume wo（いつでも夢を）
(1970s) Koichi Morita and The Top Gallants -- Seishun Jidai （青春時代）
Now, the above were selected by NHK so they wouldn't come under Author's Picks. That label is for us KKP writers. However, I am throwing in my lone choice for an inspiring song to help encourage the new workers.
(1990s) Daiji Man Brothers Band -- Sore ga Daiji （それが大事）
Commenter Robert B. informed me of a kayo singer that he enjoyed by the name of Masami Urabe（浦部雅美）. He asked if I had heard of her before but I couldn't say I did. However, that family name reminded me of our family's old insurance agent since she had the same last name.
In any case, there's no J-Wiki file on Urabe but we've been able to glean some information about her. For instance, according to Discogs, she was born on Christmas Eve 1959 and hails from Abashiri, Hokkaido. At the very least, she did release seven singles and two albums between 1977 and 1982.
Her debut single from September 1976, "Sukoshi Tōde wo Shitemimasen ka"(How About Taking a Short Trip?) is a friendly country kayo kyoku which seems to follow the rhythmic pattern of John Denver's "Take Me Home, Country Road", one of the most well-known non-Japanese pop songs of all time in Japan. Written by Tsuzuru Nakasato（森田公一）and composed/arranged by Koichi Morita（森田公一）, Urabe sings about inviting the boyfriend for a nice little journey somewhere to get some fresh air and perhaps some fresher love. The Hokkaido lass has a pleasantly deeper voice which reminds me a tad of the vocals of Momoe Yamaguchi（山口百恵）.
Y'know...I assumed for all these years that I'd already posted about Hiromi Iwasaki's（岩崎宏美）4th single"Fantasy" since it was one of her earliest tunes and I'd been pretty dedicated about writing about those, such as her sophomore release "Romance"（ロマンス）. However, going up and down her discography on KKP a few times when I was writing up a recent ROY article, I realized much to my chagrin that it was simply not the case.
Well, one Gibbs slap later, I've gotten to work. "Fantasy" was Iwasaki's January 1976 single created by lyricist Yu Aku（阿久悠）and composer Kyohei Tsutsumi（筒美京平）. As with her earliest works by this duo, "Fantasy" has that rather urgent string-driven arrangement with the slight disco touch. From what I can glean from Aku's lyrics, there is a countdown going from two months down to half a day before as a woman recounts the adventure of a man she fancies and is then betrayed by. It makes me wonder whether the lady's dreams of romantic bliss were nothing but cruel fantasy or whether the woman made this whole thing up. It's quite the mature topic for teenaged Hiromi to sing about.
"Fantasy" peaked at No. 2 on Oricon and eventually became the 20th-ranked single of 1976. Iwasaki also got onto that year's edition of the Kohaku Utagassen for the second time to sing this one.
Usually I go straight to the list here but just to explain, I'm feeling rather exhausted this evening since my inadequate amount of sleep became even a little bit shorter this week which is why I'm finishing my three for Thursday with an Oricon Top 10. However, I also feel like giving out belated April Fool's headlines since I missed my chance yesterday.
"Momoe Yamaguchi to release her 1st single in 46 years!"
"Tatsuro Yamashita and Mariya Takeuchi in negotiations to host 2026 edition of Kohaku Utagassen!"
"Hiroshi Itsuki goes punk rock! Gets a Mohawk cut!"
Welcome to another Reminiscings of Youth article since it is Thursday. And one of the reasons that I've had this category in the first place is because of one William Royce Scaggs, aka Boz Scaggs. Up to now, I've had his cool, uptown-and-downtown and upbeat songs such as "Lowdown" and "Jojo" as ROY articles, but I had yet to post this one mighty ballad of his from the "Silk Degrees" album of February 1976.
Arguably my memory of the really old days when I was a kid isn't exactly crystal-clear anymore, but I think out of all of the Boz songs, "We're All Alone" might be the first one that I had ever heard by him from the radio. The music is automatically identifiable although way back then, I hadn't known who Boz was; I just knew that the song was a pretty epic one, and one that has been covered by a lot of other singers such as Rita Coolidge and Frankie Valli.
Now, as I approach old age, I can honestly say that they certainly don't make them like "We're All Alone" nowadays when it comes to pop balladry. Glad that I did get my own copy of "Silk Degrees" a couple of years ago.
Anyways, what was hitting the top of the Oricon charts when the album was released? Well, I've got Nos. 1, 3 and 5 from February 16th 1976, just a couple of days before listeners got their hands on "Silk Degrees" at the record store.
However, as the commercial announcer often says: Wait! There's more!
I have never and will never categorize Scaggs' "Miss Sun"from 1980 as a ROY tune. For one thing, I never heard this one at all in my childhood or youth. I only got to hear it for the first time in the last month! And it's such a banger! I am assuaging my poor soul with weak pleadings of "Better late than never" but man, am I over forty years late to the party here. Mind you, I'm in good company. The good folks at View From the 502 who have become hardcore Boz acolytes over the years were the music lovers who introduced me to this one and I still haven't quite pulled out from its allure. Have a read of the Wikipedia article for the song but basically TOTO had a lot of influence on this one.
This saying has been making the rounds in Toronto for a few weeks now: maybe we're done with winter but winter isn't done with us. And sure enough, it isn't. We're getting another dumping of the white stuff including some freezing rain, and the high temperature come Tuesday will be -6 degrees Celsius. Just makes one want to flee for the warm and fuzzy, doesn't it?
Today signifies the Ides of March and thus we are still about a week away from official spring, but hopefully viewers will forgive me if I opt to jump the gun and get some spring here on KKP. We have Candies'"Haru Ichiban" (春一番）and Yoshie Kashiwabara's（柏原芳恵）"Haru Nanoni" (春なのに）as prime representatives of the season. However, I also found this proud harbinger for spring recently.
"Sakura Zensen"(Cherry Blossom Front) was Rumiko Koyanagi's（小柳ルミ子）17th single from January 1976 (so I guess the songwriters were also pushing for an early spring back then, too, huh?), and it's notable for that sharp trumpet heralding the coming of spring and perhaps better things to come. Within Koutarou Aso's（麻生香太郎）lyrics, there is reference to a past love that became part of history during the dark winter but also a look forward to warmth, high school baseball season and of course those hothouse strawberries...all in the prefecture of Kagoshima.
Koji Tokuhisa（徳久広司）took care of the melody while Shunichi Makaino（馬飼野俊一）was the arranger. "Sakura Zensen" maanged to peak at No. 21 on Oricon, and apparently though it didn't get onto one of Koyanagi's studio albums, it has been included in some of her BEST collections.
The weather here has been improving although the temperature is set to plummet again for Sunday, but the feeling is that spring is just around the corner. And it couldn't come fast enough.
Several years ago, I posted an article on actress/aidoru Nana Okada's（岡田奈々）biggest hit, her 4th single"Seishun no Sakamichi"（青春の坂道）from March 1976. The wistful song of youth created from lyrics by contest winner Aiko Nakaji（中司愛子）and then whipped into shape by lyricist Takashi Matsumoto（松本隆）before getting laid onto a melody by Koichi Morita（森田公一）under Ichizo Seo's（瀬尾一三）arrangement must have touched a lot of people's memories and current feelings. It did pretty well by hitting No. 23 on Oricon.
Well, the follow-up single, released in June of that year, "Wakai Kisetsu"(Young Season), was created by almost everyone involved with "Seishun no Sakamichi", except that the composer this time was Ken Sato（佐藤健）. If anything, "Wakai Kisetsu" is even jauntier with a boss saxophone and jangly guitar giving a hint of Motown pop. Matsumoto's lyrics here were based on Okada's recurring role in the popular NTV drama at the time, "Ore-tachi no Tabi"（俺たちの旅...Our Journey）, where her character introduces a guy living in the boarding house next door. The producers for the program knew what they were doing by also having "Seishun no Sakamichi" show up as an insert song.
"Wakai Kisetsu" didn't do as well as "Seishun no Sakamichi" but it was a moderate success by scoring a No. 36 ranking. Both songs ended up on her 3rd album"Akushu Shiyouyo"（握手しようよ...Let's Shake Hands） which was released in August 1976.
Of course, I've known about guitarist and songwriter Shigeru Suzuki（鈴木茂）for years as someone who's provided a lot of singers with their material along with his own discography which includes the fine 1976"Lady Pink Panther". And of course, I know him as being one of the Fab Four in the legendary band Happy End（はっぴいえんど）.
But I don't know very much about the rock band that he was also associated with, Hucklebuck（ハックルバック）, which has apparently come in and out of existence about four times with the first time being the year of 1975. Mind you, it has consisted of some of the best studio musicians including Suzuki, drummer Jun Aoyama（青山純）and the late great keyboardist Hiroshi Sato（佐藤博）, and I'm sure that they were busy enough in their solo activities.
The album "Maboroshi no Hucklebuck"（幻のハックルバック...The Mysterious Hucklebuck） was recorded in the studio in October 1975 but released in 1976, and the first track on Side A is "Great American Funky Girl", an instrumental which was composed by Suzuki. I would like to know who inspired the man to come up with such a funky piece to open the album. I can only think of a particularly sassy young lady from New York but other than that, I know bupkis. But the guys in the band obviously had a great time jamming this short and sweet piece, and it sounds like the ideal theme song for an American sitcom or drama regarding the titular lady in the Big Apple.
I can't say that I'm a great purveyor of brandy though perhaps I may have imbibed it as part of a cocktail. But I am certain that brandy has been a favourite of Japanese palates for decades and its disposition in the various containers above is rather handsome.
Now I can say that I have a second "brandy" Japanese song to add to Yujiro Ishihara's（石原裕次郎）classic "Brandy Glass" (ブランデーグラス）. Alongside his "Hachibu Onpu no Uta"（８分音符の詩）and "Lady Pink Panther", I can also post Shigeru Suzuki's（鈴木茂）"Brandy Wine" from his December 1976 album "Lagoon". Aside from the fact that this is an instrumental, so no Takashi Matsumoto（松本隆）as the lyricist here, "Brandy Wine" is a cousin to "Lady Pink Panther" in that it is something in the City Pop/New Music genres with that bossa nova. It even has some jazziness.
Its afternoon upbeat nature may not exactly match the atmosphere that a brandy may engender (relaxation, nocturnal) but there's no denying that it's another Suzuki success. Plus, that meshing of the flute and the scatting woman is amazing!
With one of the shortest aidoru careers that I've noted on KKP, I was still attracted to Tsugumi Morita（森田つぐみ）because of her sweet vocals and the cover of her final single to date, "Koishite Kaigan Douri" (Love Me, Beachside Street).
Released in December 1976,"Koishite Kaigan Douri" is the story of a breezy and intoxicating love affair in Yokohama that was written by Rei Nakanishi（なかにし礼）and composed by Ken Takeda（竹田賢）. The melody has got a nice skippy rhythm reflecting the innocence and issue-free romance that the lovebirds are enjoying in the port city.
Morita was born Tsugumi Fujiwara（藤原嗣美）in Metropolitan Osaka in 1959 and she won a championship on a NET TV (now TV Asahi) audition show. She made her debut in spring of 1976 and released a total of three singles and one album in that one year before apparently disappearing from the recording booth for good, although she may have continued her television career for a wee bit longer. In 2014, she began running her own establishment, Cafe & Bar Alii's（カフェ＆バー アリーズ）in Nishonomiya, Hyogo Prefecture.
Ahh...yes. "Anchorman", the gift that keeps on giving through reaction videos and the actual movie itself. I recall that back in 2022, I thanked "Anchorman 2" for highlighting a 1976 song from my radio days titled "I'd Really Love to See You Tonight" by England Dan & John Ford Coley. Well, I got another one right from that year that got highlighted in the first movie.
And the wonderful thing is that the actual main cast was behind covering it. It was simultaneously hilarious and heartwarming as Ron Burgundy and his buds on the news team sang (in wonderful harmony) "Afternoon Delight" which was originally by Starland Vocal Band. Now back in those halcyon days of the 1970s, I was about as sweet, naive and thickheaded (probably still am) as Brick Tamland (and yes, I love lamp too), so I hadn't been aware of the hidden message of getting a "nooner" in the lyrics. "Afternoon Delight" was about a friendly country ditty that mystified me because it sounded as if someone were shooting fireworks in broad daylight...which probably was the case, figuratively speaking. Plus, there was that mighty guitar twang right after "...skyrockets in flight..." that made me able to remember the song after all these decades.
Perhaps there were a lot of nudges and winks at the Grammys that year as "Afternoon Delight" won for Best Vocal Arrangement and was nominated for Song of the Year and Best Pop Performance by a Group. It also hit No. 1 in both Canada and the United States. For one of those No. 1s, that was on July 10th 1976 which begs the question: What hit the top on Oricon on July 12th 1976? I have here Nos. 1, 3 and 4.
Last night, my student reminded me that Monday is a national holiday in Japan known as Culture Day. Every November 3rd, there are festivals, parades and art exhibits to promote culture of all kinds including music throughout the nation. And I believe that museums and art galleries tend to open up their buildings for free access or half-price access on that day.
When I was on vacation in Tokyo back in November 2017, my former colleague was kind enough to invite me to a culture festival held at Waseda University where she was working at the time, and as you can see above, it was packed to the gills with students and other visitors as the various campus clubs held performances and campaigns to attract new members.
As such, I decided why not put up a few songs regarding Culture Day. Admittedly, I'm gonna be rather loosey-goosey about how I'm going to go about it. The first three entries are associated with some of the things that I talked about in the first paragraph whereas the final two songs were actually popular ones played at some of the festivals themselves.
I'll be honest with you...up to now, whenever I heard the name Mei Mei, the only image I got was the one for the little sister of Panda-kun on the early 2010sanime "Shirokuma Café"（しろくまカフェ）. As voiced by seiyuu Kana Hanazawa（花澤香菜）, her crazed excitement over her crush, the zookeeper Mr. Handa, was such that she made Sonny the Cuckoo, the mascot for all those Cocoa Puffs commercials, seem all calm and collected in comparison.
However, that's all changed now. Why? Well, I found out that Mei Mei is also the childhood nickname of singer-songwriter and 70s aidoru Agnes Chan（アグネス・チャン）, and as such, for her 1976 album "Mei Mei ~ Itsudemo Yume wo"（いつでも夢を...Dream All The Time）, the title track was indeed her nickname. Not surprisingly, "Mei Mei" is so Agnes Chan...an adorably sunny and sing-songy folk tune created totally by her describing what I think is a typical day in her life in Japan, and it seems as if she were a fine foodie with shoutouts to the patisserie, curry, and her favourite tea shop. Gastronomy is bliss! I've followed that philosophy a little too well.
Something that does make me go hmmm though takes us back to Mei Mei the panda. As a seiyuu, Hanazawa has a wide variety of voices at her disposal. So it is interesting that in my observation, her voicing of Mei Mei seems quite similar to how Agnes sounded back in the 1970s...well, without the manic screaming, that is.
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