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.
With a title like "Machibito Kitarazu" (The Person I'd Been Waiting For Didn't Come [or in today's vernacular perhaps: Ghosted]), and especially with singer-songwriter Takao Kisugi's（来生たかお）penchant for melancholy melodies, I'd been expecting a rather sad ballad.
However, then I realized there was that Japanese music policy of having happy and sad songs on opposite sides of a record single, and "Machibito Kitarazu" just happens to be the B-side of Kisugi's debut single from October 1976, "Asai Yume"（浅い夢）. The A-side is a very tenderhearted ballad and one of his most cherished tunes. So, instead, "Machibito Kitarazu" is actually quite a snazzy and snappy ditty created by him and his elder sister, lyricist Etsuko Kisugi（来生えつこ）. With arrangement by Katsu Hoshi（星勝）, it comes across as a slightly Gallic and jazzy traipse down the Champs-Elysees, and yep, I can even imagine jeune frere Kisugi dandily dancing down the boulevard in a porkpie hat and cane to this one.
One little aside here is that I really like the cover for "Asai Yume" with Kisugi just lounging about in a well-lived room with that hint of sepia in the atmosphere. Yeah, I guess it was New Music.
I recall posting an article on a Kaze（風）song about a month ago, and there were quite a lot of categories in the Labels below it.
This time, though, the Labels are short and sweet. Kaze was doing what it was doing best during their time in the 1970s which was providing folk songs. One half of the duo, Shozo Ise（伊勢正三）, provided "Wasureteyuku Rekishi"(Fading History) that was a track from their 2nd studio album from January 1976, "Toki wa Nagarete..."（時は流れて…Time Passes）. It's a mid-tempo and fairly hopping tune about a man trying to get over the heartbreak of a breakup going into the fall. He tells himself that his lost Lenore is gradually becoming one more drop into the ocean of past blurring memories but by the end, he is about to admit that winter may not bring back the cold but also the pain of losing her. Nope, not the happiest tune but hey, that is also life.
Welcome to another Urban Contemporary Friday on "Kayo Kyoku Plus". I'm starting things a little differently today with an Author's Picks. I was inspired to do this one this way from actually viewing a segment on Wednesday's edition of NHK's "Asaichi"（あさイチ）morning infotainment program which focused on the Kawasaki Industrial Site.
I not only remember seeing this glittering otherworldly complex of lights and metal but for one night, I was actually within it! That night, due to a teacher falling ill, I was assigned to teach a lesson for a couple of the employees working within the complex and yep, it was pretty stunning especially when seeing it from the train. Entering the area felt like boarding the mother ship.
The Japanese tourism industry certainly didn't let the opportunity go. There are now tours on foot, bus and boat to take a look at the Kawasaki Industrial Site through selected spots. If you're interested, you can take a look at the relevant page at Japan Experience. Also, the above video is by YouTuber Hachimantai Outdoors.
The reason that I wanted to do this "Night Drive" is because seeing the Kawasaki Industrial Site from the air had me thinking of Kazumasa Oda's（小田和正）lovely ballad "Oh Yeah!". The official music video for Oda's 1991 song had couples enjoying each other's company but there were a couple of scenes in there showing some glorious eagle-view night shots of Tokyo which stayed with me.
Now, to be honest, this Author's Picks isn't something unprecedented. I've already noted "Oh Yeah!" in a 2014 article "J-Canuck's Nighttime Playlist". Plus in 2022, I whipped up "Driving to City Pop" with its cool songs. So, consider "Night Drive" to be the love child of the two articles and I will be choosing different tunes that still reflect in my opinion, the nighttime drive experience in Tokyo, Yokohama, Osaka, etc. (although of course, you may have your own choices). Furthermore, another inspiration for this one is the old "Night Ride"1980s late-night Toronto show that appeared almost every night in the wee hours on Global Television to relax those night owls.
There are times when music critics and regular listeners totally agree on how good one particular song is. Of course, there are many more times when views and opinions clash between them and even among the two groups. And then there are songs that seem to have critics coming out with their knives unsheathed almost immediately as if they were Starfleet reacting to a sudden Borg incursion.
Regular listeners end up looking rather bemused and stunned wondering what is up with all the hate. But apparently that was the case with "We Built This City" by Starship (and I'll have to take care of that as a ROY pretty soon...I actually like the song) and I have found out that it was also true with this week's subject of Reminiscings of Youth.
I am talking about "I Only Want to Be with You" which I had first thought was a one-and-only by Nicolette Larson released in July 1982. I used to hear this enjoyable rock-and-pop tune by the late Larson on radio all the time and though I didn't ravenously pursue the single, I always enjoyed hearing it on AM. Considering her other songs that have been highlighted on KKP, her take on "I Only Want to Be with You" was her having fun in a Linda Ronstadt way. And yet, reading the critique on Wikipedia, she was pretty much kicked into the end zone by a frustrated football player. And Larson wasn't the only one.
Several weeks ago, when I decided that I would feature "I Only Want to Be with You" under ROY, I discovered that the original version had been recorded by none other than Dusty Springfield back in 1963. Created by Mike Hawker and Ivor Raymonde, I actually like the old arrangement here with all of the hip-swinging it must have induced. Even for the original, a critic years later gave one of the all-time great backhanded compliments by referring to "I Only Want to Be with You" as a piece of lint but an entertaining enough piece of lint. Well, the lint reached No. 4 in the UK.
More than a decade later, the Bay City Rollers gave their own take on "I Only Want to Be with You" which was recorded right here in Toronto. Released in August 1976, this cover featured some powered-up strings. I couldn't find any punches hitting this one so maybe the band escaped. It did hit No. 3 in Canada and No. 12 in the United States.
Another big surprise landed on me on finding out that a 1979 take on the song had been recorded by the New Wave and rock band The Tourists. The Tourists included a couple of members, Annie Lennox and Dave Stewart who would later front the far more successful Eurythmics. Again, I've liked the basics about "I Only Want to Be with You" so I'm also a fan of this one especially with Lennox's vocals but once again, the knives were out (along with paint and tomatoes)...making the cover for the single look rather appropriate. Poor Annie looks shellshocked.
From Wikipedia
The second version that I'd ever heard of the song after Larson's cover was Samantha Fox's single from January 1989. I'd known about Fox through earlier songs and I'd heard that she was showing up in a lot of topless shots in UK newspapers. This form of the song was unsurprisingly 80s dance-pop. It reached No. 31 in the States while in Canada, it peaked at No. 29.
Wikipedia also mentions that many other covers in various languages including Japanese have been created...which goes to show that no matter the bricks and arrows aimed at a song, if it's catchy enough, it will remain deathless. Personally, I will always prefer Larson's version. And let us go with Larson's version when it comes to what was being released as singles in Japan in July 1982.
"Uta Con"（うたコン）this week started off with a big tribute to the iconic aidoru duo Pink Lady（ピンクレディー） from the 1970s with one-half of the duo, Mitsuyo Nemoto（根本美鶴代）aka Mii（未唯mie）, appearing on stage to perform some of the old hits such as UFO. In place of her partner Keiko "Kei" Masuda（増田啓子）, some of the other guests stepped in to help out with the singing and dancing. The reason for all of the hubbub is that August 25th signified the 50th anniversary of the release of Pink Lady's debut single"Pepper Keibu" (ペッパー・警部) back in 1976.
Now I'd thought that I could do the B-side of "Pepper Keibu" in tribute but alas, I already did "Kanpai! Ojou-san"（乾杯!お嬢さん） last year. So I'm now going with the B-side of Pink Lady's 2nd single"S.O.S." which was released in November 1976. Written by Yu Aku（阿久悠）and composed/arranged by Shunichi Tokura（都倉俊一）, the duo's go-to songwriters for quite a while, the short-but-sweetly sung "Pink no Ringo"(Pink Apple) sounds like quite the B-side since there is no hint of the disco or the feeling of dynamic limb moves that are part and parcel of a Pink Lady performance. Instead, it's a happy-go-lucky conventional aidoru song about a pink apple being the magical love charm. In real life, I would stay far away from a pink apple.
I see that those marathons are still taking place at the Metro Zoo in Toronto. Over forty years ago, I actually ran a couple of those in successive years as a high school student. Yes, it's hard to believe, but I, J-Canuck, did something healthy by training and then running what was actually half-marathons. Those were still enough to nearly kill me.
Jogging was starting to become a thing sometime in the mid to late 1970s as I recall, and I guess that may have also been true in Japan according to this song by Yuko Kawamura（川村ゆうこ）. Compared to her cool and refreshing debut single"Kaze ni Naritai"（風になりたい）from April 1976, her second single "Kodoku na Runner"(Lonely Runner) which was released later in September is a bit more jaunty as if the song itself were on its own jog in the countryside. In terms of tempo, I'd probably put it above a languid folk tune but not quite at the same level as an upbeat aidoru song. Kawamura is a songwriter but this time, "Kodoku na Runner" was handled by lyricist Takashi Matsumoto（松本隆）, composer Katsuo Ono（大野克夫）and arranger Mitsuo Hagita（萩田光雄）. Her first two singles were placed onto her debut album, released in November, "Konna ni Sora ga Aokute wa"（こんなに空が青くては...For the Sky to Be This Blue）.
It was around a couple of weeks ago that I posted up "Those Sad and Lonely Tunes", an Author's Picks highlighting songs with titles that featured sadness or loneliness including Hibari Misora's（美空ひばり）classic "Kanashii Sake"（悲しい酒）.
Well, I may have stumbled across a cousin to "Kanashii Sake", and I believe it was sung on an episode of "Shin BS Nihon no Uta"（新BS日本の歌）recently. "Akachochin no Onna" (Woman of the Red Lantern) was enka singer Mieko Makimura's（牧村三枝子）7th single from March 1976.
Written by Hikaru or Ko Yabuki（矢吹光）and composed by Kiyoshi or Yo Maki（真木陽）, it actually starts out feeling a little scary or chilly because of that organ. If it hadn't been for the warmth of the bluesy guitar accompanying the organ, I might have given up on the song altogether but I'm glad that I didn't. But indeed, it is a sad song about a woman who's eking out her living at what is probably a forlorn drinking establishment (a lot of watering holes in Japan are symbolized by a red lantern). Yabuki's lyrics only consist of three 3-line verses but they give an adequate description of a lonely proprietress who hasn't spoken with loved ones in the longest time (out of shame?) and may have ended up at the bar due to romance trouble.
The song is given further pathos (and this could be important information for those karaoke singers out there) from Makimura's measured and seemingly defeated/exhausted delivery of the words.
My family has often wondered whatever happened to Makimura since she hasn't shown up on any kayo kyoku shows in many years. According to her J-Wiki article, she actually appeared on an interview show in 2023 and revealed that she had been battling cancer that arose around a decade prior. There's no mention on whether she was able to defeat it but she ended up moving from Tokyo to Shizuoka Prefecture where her relatives reside nearby.
As a PS for the songwriters' names, it doesn't happen often but occasionally, I come across names that I can't definitively identify and this time, it has occurred with both the lyricist and composer. If anyone can confirm or deny my attempts above, please let me know.
I don't remember exactly when or where I first heard this song, but I do remember discovering it sometime last year. I was already familiar with Masami Yoshida thanks to his 1980 solo album My Tune, My Turn, but I had no idea he had been making music before that.
What initially caught my attention was the band's unusual name: Tchabows. Written in Japanese as 茶坊主 (Chabōzu), the term traditionally refers to a Buddhist temple attendant or, historically, someone who served tea to a feudal lord.
To be fair, the mellow sound of their 1976 album Tree of Lifeactually feels pretty appropriate for sitting indoors with a warm cup of tea while the rain comes pouring outside your window.
"Rainy Street" quickly became my favorite song on the album. It has this wonderful pseudo-bossa nova groove, a folksy, down-to-earth acoustic guitar, and a quirky yet strangely endearing synthesizer floating around in the background.
To top it off, vocalist Mami Kikuchi could honestly give Taeko Ohnuki a run for her money. Her voice has that same wonderfully soft, warm, and inviting quality—the kind of vocal performance that doesn't need to overpower the music to grab your attention.
While a few other songs on the record venture into more Progressive Rock territory, everything about "Rainy Street" feels gentle and unassuming.
Y'know...try as I might, I always confuse the heck out of myself with the singer-songwriters Ichizo Seo（瀬尾一三）and Shozo Ise（伊勢正三）. It sure doesn't help that they are contemporaries and that they not only worked basically within the same sphere of music from the 1970s but they have collaborated together. Plus, there's something about the pronunciation of both of those names. One commenter even caught me on that when he noticed that I'd mistaken one for the other on one article. But let's not get all scrambly about this on Urban Contemporary Fridays, shall we?
Let's start with the cool song "Koozue wo Tsuku Onna"(The Woman Resting Her Hand on Her Cheek) which was folk duo Kaze's（風）4th single from December 1976. The aforementioned Shozo Ise, who was one-half of the duo along with Kazuhisa Okubo（大久保一久）, wrote and composed this one with the urban boogie-like rhythm and the languid rock guitar...definitely not folk. Meanwhile, the aforementioned Ichizo Seo arranged the song into something that I'd like to use as a temporal touchstone to what City Pop was like back in the early days when it felt like it could accompany anyone walking among the skyscrapers of Tokyo. The single reached No. 40 on Oricon and was included as a track on Kaze's November 1976 album"Windless Blue" which hit No. 3 on the charts and ended up as the 17th-ranked album of 1977.
Arranger Seo, who has been involved with just about everyone and anyone includingAnri（杏里） and Michiru Kojima（児島未散）, came up with the second of his own solo albums "The Golden Section ~ Kaze Instrumental Album" in 1978. This particular one is an instrumental tribute with includes his take on Kaze's "Hoozue wo Tsuku Onna" right from the top. It has a much more laidback, more romantic and jazzier feeling as if the walking is over and it's now straight to drinking in one of the bars located inside one of those skyscrapers. I would say that it could even find a spot in a soundtrack of one of those Japanese cop shows.
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!"
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