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.
Back in late July, I posted an article regarding the late Yuji Ohno's（大野雄二）"Wavelet"（ウエイブリット）, which was the B-side to "Inubue no Tehma"(The Theme for "Inubue"). "Inubue" (Dog Whistle) was the 1978 TV adaptation of a suspense novel by Jugou Nishimura（西村寿行）about a man and his faithful dog who track down the kidnappers who grabbed his kid. Considering that most of the show took place in the woods, I was surprised that something so jazzy and City Poppy could be applied to something like this.
I did mention in that article that I would have a posting about the A-side in August. Well once again, I broke that promise which means you folks shouldn't trust what I write in terms of dates and I will never make such guarantees again. So, I ought to say something rather generic like "soon".
Anyways, "Inubue no Tehma" is another classy and refined instrumental by Ohno but I think there's also that hint of suspense in the arrangement as well (although there is also a hopeful-sounding "middle eight" section). Hearing it a few times now and perhaps adding a sharp horn section, this could have made for a fine opening for those Quinn Martin detective shows in the States back in the 1970s.
With my previous article being "Night Drive" for all those City Pop fans who want to take it out on the road in the evening, I guess this article can be about the nocturnal jazz while enjoying time at some intimate alley bar downtown. And it's from a source that I hadn't expected.
All this time, the Mayumi Asaka（朝加真由美）file on KKP was one that really consisted of tracks from one album; namely "Yasashii Kankei ~ Mayumi I"（優しい関係...A Gentle Relationship） from October 1981. It was indeed a City Pop release and Asaka was good for it. And J-Wiki only lists that album as her only album output in her discography. Well, strangely enough, the discography was lacking by at least one more album. In 1984, Asaka released her purely jazz album titled "Loving For...". Right from the start, we get "My Heart Belongs To You" with the singer and band providing a smoky version which deserves its own tumbler of scotch. Finally glad to add a totally new angle to the Asaka file.
The first time I wrote about the late great jazz fusion guitarist and composerRyo Kawasaki（川崎燎）was back in 2020 when I posted an article on his "Raisins" from his 1976 album"Juice", and from listening to the song, I got the impression that he really liked the rock and funk side of fusion.
Well, a couple of years later, Kawasaki and American jazz pianist Joanne Brackeen collaborated on their own album of duets titled "Trinkets and Things". Brackeen composed all of the seven tracks except for the first track which was also the title track. Kawasaki handled this one and "Trinkets and Things" goes into a more tropical and jazzier direction which flows through the beaches and Tiki bars with much aplomb. Although it's mostly an instrumental, there are a couple of parts where a female singer provides some accomplished vocalese but for the life of me, I couldn't track down who she was.
A couple of years ago, I introduced a Dutch jazz-fusion band called Fruitcake through their song "A Little Place in My Heart". Now, this is a Japanese music blog as we all have known for almost a decade and a half, but bass player Jan-Paul Driessen and guitarist Rob Taekema and the rest of his band have become so popular in Japan that perhaps talks on permanent residency probably did come up sometime over the past forty years or so.
Well, "A Little Place in My Heart" was the second track on their 1983 debut album"Fruitcake". The first track was "I Like the Way" and the way it rolls off the player, it is as one commenter put it, "This is perfect music for a television weather forecast". I would also add "...in Japan". However, I can also analogize this first track as being fine accompaniment for a shopping trip through Tokyo or a sit-down at a stylish cafe somewhere in the megalopolis. There's just something about the tripping on those keys that has me thinking Japan in the Economic Bubble...although that wouldn't start officially for another couple of years.
I used to get a kick (no pun intended) out of watching those ancient Hai Karate commercials where the "poor" wearer of the cologne has to revert to his sudden martial arts abilities to fend off Valerie Leon. The above ad is the one that I do remember seeing as a child. As an addendum, I've never bought the stuff (if it even still exists today) so I don't really know how potent it is.
Hai Karate was what I remembered when I heard this track from Tomita Lab's（富田ラボ）2003"Shipbuilding" album. "Kaori to Kage"(Scent and Shadows) was another songwriting collaboration between Tomita Lab and Kirinji（キリンジ）as a man seems to go crazy with obsession (again, no pun intended) when he picks up on the scent of a woman in an elevator. Hopefully, he didn't go too far in his pursuit, olfactory or otherwise, of the lass. Still, the song has this fun and cheerful mild funk arrangement that could span the 1970s into the 1980s. It could even fit as a theme song for a rollicking rom-com in Japan. Hey, nice little piano jazz in the middle, too.
Back in the old days, I was rather miserly when I posted KKP articles regarding albums and that was true with the original article on "Shipbuilding"although I have tried to make amends by providing articles based on specific tracks from the album in the years since such as Yuming's（ユーミン）contribution to "Shipbuilding", "God Bless You!". By the way, I don't think I've ever seen the commercial below.
When I was listening and reading up on this song, my mind made its own associations and my brain materialized that summer pastime in Japan, going to the rooftop beer garden among the skyscrapers. I'm basically a teetotaler but I had been to a few of these with friends and there is something appealing about having a mug and fried chicken under the stars. By the way, the above was provided by Samurai Junjiro Channel.
I guess all this beer garden on the brain is due to me coming across this latest album by the City Soulband Penthouse's latest album"Neon Garden" which was released on July 29th this year. One of the tracks here is the rapid-fire "Koi Suru Kamisama" (God of Love) that was written by vocalists Shintaro Namioka（浪岡真太郎）and Maho Ohshima（大島真帆）and composed by Namioka. It's quite the sangria of genres: technopop, jazz, soul, City Pop and all that as a young lass is going a little crazy about falling for a guy and asking for divine help to get her out of a sticky situation. Unfortunately, the titular deity probably has to deal with tons of other people in similar circumstances.
Just to let folks know, the above is an official music video for "Koi Suru Kamisama" and not a creditless anime opening or closing sequence, although seeing how polished and adorable it is, I wouldn't be surprised if fans are wondering if there shouldn't be an anime created because of it. Apparently, the story played out here has a more self-assured couple than in the lyrics.
I've got the fan on in my room, my feet are slightly achy and I'm feeling a bit tired for a fellow in his 60s with his aging bones. One reason for this: I went downtown earlier this morning to see what was up with the annual August Fan Expo which started officially last night and will be continuing until Sunday evening. I hadn't been there in over a decade so it was something to see that the anime section has ballooned over the past ten years and the number of visitors has done the same thing.
Anyways, I wanted to start with something peaceful and I remember yesterday putting up Early Byrds'"Ocean Song" and then Naomi Sugimura's（杉村尚美）"Tasogare ni Last Scene"（黄昏にラストシーン）with their jazz-fusion and bossa nova respectively. Well, I got a song there that combines the two genres. It's called "Dream Away" and it's available on the November 1978 record "Sunny Place Carnival" by the band Samba Carioca (although the debut album has a misspelling on the cover). "Dream Away" is the aural salve to heal me of my aches and pains...well, some of them anyways.
The band got its start in 1975 when they were backing singer-songwriter Kiyoshi Hasegawa（長谷川きよし）at the Shimo-Kitazawa and Shinjuku branches of the Loft live houses as they played monthly in their Sunday Samba Sessions. In the beginning, there were flutist Nozomu Nakatani（中谷望）, bassist Toru Hirano（平野融）and percussionist Yuuji Yoshikawa（吉川祐二）before drummer Antonio Ishida（アントニオ石田）and guitarist Masami Sato（佐藤正美）joined. In 1977, Hasegawa broke up the band but they almost immediately reintegrated, taking on the name of Samba Carioca（サンバ・カリオカ）, a unit that would focus on samba and bossa nova. They would continue releasing several albums up to 1984 during which they reduced their name to just Carioca.
It was a couple of months ago that I introduced the jazz-fusion band Early Byrds and their special guest Kyoko Kimura（木村恭子）through their 1981 album, "Up and Coming". I focused on the opening track "Galaxy Special" which was an instrumental punctuated by Kimura's scatting.
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Well, this time I'm going with the last song on Side A of the original album, "Ocean Song". Starting out with the calm blue ocean sloshing against the shore, we get to hear Kimura voicing some soothing quotes such as "You're just an ocean away". Along with the aural massage, Early Byrds provide that laidback cocktail-sipping melody which will have you aching to head out to some beach somewhere or at least leave you living the tropical dream vicariously.
It's been a rather sad week for music fans overall. Last week, I posted a ZZ Top song for Reminiscings of Youth due to the passing of band drummer Frank Beard. And now in the last 48 hours, we've lost superstar Dolly Parton and the great Tim Curry, both at the age of 80. I'll be posting about both people today for a special double ROY.
I have mentioned this in past KKP articles but our family used to watch a fair bit of country music television decades ago including "Hee Haw" in America and "The Tommy Hunter Show" up here in Canada. And a number of times, we got to see the force of nature that was Dolly Parton in the 1970s. Yes, she jumped out on the stage like a particularly buxom Annie Oakley with the big hair and long nails, and even more than her music, she was able to win people over with that friendly charm that practically invited everyone over to her place for dinner and dancing.
And then at the turn of the decade, the 1980 movie "9 to 5" was released which starred Parton, Lily Tomlin and Jane Fonda as three harassed employees of a scummy boss played by Dabney Coleman. Sadly, I don't remember much from the film aside from Coleman getting his comeuppance and Tomlin's dream sequence which featured her as Snow White. However, what has remained with me up to now is the upbeat and surprisingly short theme song by Parton herself. "9 to 5" hit the record store shelves in November 1980 and I remember it for the singer's happy-go-lucky vocals, the intrepid pounding piano and Parton's nails clacking away like a typewriter.
"9 to 5" hit the top of the charts in both Canada and the United States. It was nominated for Best Original Song at the Oscars and three other awards at the Grammys. I also saw that even Buckingham Palace paid tribute to Parton with the King's Guard providing their own version of the song. I offer my condolences to Parton's family, friends and fans.
The song was released on November 3rd 1980 so what was hitting the top of the Oricon chart on that day?
Happy Sunday to you all! Although we had some dire warnings about heavy rain throughout yesterday, things have settled down in the Toronto area. It's still overcast but it looks like the worst-case scenario luckily hasn't come to pass.
Over the past several weeks, we here at KKP found the collaboration between Taeko Ohnuki（大貫妙子）and STUTS so nice that Rocket Brown and I wrote about it twice. When I was digging a bit more into "Ohayou"（おはよう）, I found a few more collaborations that Ohnuki had done with other artists in the past.
Jazztronik, aka Tokyo DJ/pianist/producer Ryota Nozaki（野崎良太）, is also one for working with other singers such as Miki Imai（今井美樹）. In 2007, when he released his album "Grand Blue", he included his own collaboration with Ohnuki for the track "Ameoto" (The Sound of Rain) which is this exquisitely contemplative song sung by Taeko in this lovely jazz waltz style. This is the type of song that can be heard in a sparsely populated and stylish Tokyo cafe whose windows and walls are holding back the raindrops while a customer is slowly savoring her cuppa. The rhythm does quicken toward the end (caffeine kicking in?) but then it abruptly goes back to its simmering tempo before ending with a sloshing of water.
Nozaki was responsible for the composition while the lyricists were BEBE and Shoko Fujibayashi（藤林聖子）.
During my years in Japan, I got to know most of the comedians and TV personalities who became familiar presences on the tube. They can be those who have that year of fame due to some particular quirk or turn-of-phrase before largely disappearing from show business or they can be ones who seem to be part of a permanent televised tapestry. Shinnosuke "Peter" Ikehata（池畑慎之介）is one that belongs to the latter category
The real name is something that I've only known about since I got back to Canada over a decade ago; back when I was still living in Ichikawa, I only knew them as Peter（ピーター）because that's how they were introduced each time. I only found out recently via the J-Wiki article on the entertainer that Ikehata got that nickname while they were working at a go-go dance club in Roppongi as a teenager. Their gender-ambiguous beauty had them compared to Peter Pan, and Ikehata adopted the first name as a stage name. However, I also found out that they repealed the name in 2019 and now usually goes by either their real name or Pii（ピー）.
My impression of Ikehata has basically been just through their appearances on television where they have always come across as so elegant and vivacious that I had wondered whether they had actually attended the Takarazuka Academy. To me, Ikehata strikes me as that wealthy good buddy who just loves to regale everybody with stories and shower them with presents. A fine friend, indeed.
As for their acting career, I gather that Ikehata was up for pretty much anything. They not only appeared on Akira Kurosawa's（黒澤明）"Ran"（乱）in 1985 but in 1986, they also portrayed the host and drag queen physician/torturer in the fourth entry of the notorious "Guinea Pig" series. Yes, that "Guinea Pig" series of absolute stomach-turning horror from the early 1980s that had Charlie Sheen call the FBI after seeing one of the grueling earlier entries. Evidently, the fourth entry, "Devil Woman Doctor", could be compared to "Jason X" in the "Friday the 13th" franchise in that both movies were approaching self-parodic comedy. I'm squeamish about horror but even the excerpt above from "Devil Woman Doctor" had me going just "Oh...OK, well then...".
Now, as for their singing career, I probably have heard Ikehata singing on television but those appearances were too far and few between for me to remember. But I was able to track down their debut single from October 1969 titled "Yoru to Asa no Aida ni"(Between The Night and The Morning). I figured from listening to them speak, they would have a great smoky voice for singing and indeed they do. With lyrics by the great Rei Nakanishi（なかにし礼）, the song was composed by Kunihiko Murai（村井邦彦）and arranged by Shunichi Makaino（馬飼野俊一）as something classy and jazzy that reminds me of Henry Mancini's works. It just seems to be the right song for Ikehata to begin their career with.
A couple of tidbits of trivia were gleaned from the article for "Yoru to Asa no Aida ni". One was that their catchphrase at the time of their debut was "The boy brought from the moon by Apollo". No pressure there. The second was that at the 1969 Japan Record Awards, Ikehata won Best New Artist for the song.
Despite all the bright lights and big city that you see in Basile Morin's captivating photo of Kabukicho at night, there was a time early in my Japan residency when Tokyo, one of the largest cities on Earth, was a city that actually did sleep. It had a curfew...much to the surprise and dissatisfaction of many a lively night owl there. Public transportation tended to go to bed at just a few minutes after midnight and it was often the case that I and dozens of other commuters were dashing for the final subway on the Tozai Line before the clock hit the witching hour.
According to the YouTube channel Happy Hour with Matt above, things have probably not changed all that much. Trains, subways and buses most likely still finish their routes perhaps earlier than their counterparts in other major world metropolises, including my own hometown of Toronto. And those who miss the final ride are either going to have line up for cabs at higher rates or spend the night somewhere in Tokyo (maybe a manga kissaten or Internet cafe). All I can say to Matt and others is that if you thought 2026 in late-night Tokyo was bad, you should have seen it thirty years ago.
However, I do have this luminous and highly active song by Nu Disco and Future Bass master from Yokohama, Dirty Androids. Titled "City Never Sleeps", maybe the fellow was referring to places like New York City or London when he came up with it as a bonus track for his April 2016 album"Moments". In any case, this is like a listenable Red Bull to get you off your duff and moving around on the dance floor or the sidewalks at the very least thanks to some popping percussion. Will Tokyo ever become an insomniac? Time will tell.
A little over four years ago, I introduced singer Anna Banana（アンナ・バナナ）to the pages of KKP, a lovely lady with some golden vocals. Just from what I've heard thus far, it seems like she inhabited some of the more urbane genres such as City Pop and jazz. My first article on her "Smile" from her 1993 album"High Dive" revealed a breezy pop sense somewhat akin to some of the works of actress-singer Miki Imai（今井美樹）.
From the same album, here is "Himitsu"(Secrets) and perhaps the secret that I envisage as I listen to this one is the secret but oh-so-desirable club in a city alley where this might be playing. Written by Yukinojo Mori（森雪之丞）and composed by Tsutomu Nakayama（中山努）, it comes across as a nice slice of sophisti-pop or British blue-eyed soul especially with that muted trumpet solo. I think of Swingout Sister and Basia when I listen to that refined and funky arrangement.
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 still don't know a lot about the vocal group Crest Four Singers aside from the fact that they had started out in the 1970s with Tsunehiro/Norihiro Uchida（内田典宏）as a folk/Mood Kayo group before female vocalist Kazumi Kaai（かあいかずみ）joined. Then, the group went more into the jazz and urban contemporary.
At this point, Crest Four Singers released two albums with their debut being the 1978 "The Crest Four Singers" (the definite article, you might say? Sorry, that was a "Doctor Who" joke), and I've yet to hear the entire album (as provided above) but it seems as if the group was fully in thrall to their jazzier side by this point. At 4:15 of the video is the second track, "Elise", a rum punch of a song with influences that seemingly fly in from Santana, Henry Mancini and disco. Kaai shapes her vocals like a seen-it-all and done-it-all heiress in the lap of luxury while Uchida and the rest of the Singers provide some French in some funky harmony. Listening to the coolness of "Elise", I just kinda wonder why I never heard about Crest Four Singers at the same frequency of fellow vocal acts Hi-Fi Set and Circus.
Yup, I still have the latest Seizo Watase（わたせせいぞう）calendar hanging up in my room. If I can't have the good life, well, at least, I can watch it vicariously.
According to YouTuber Marty McFlies v2, there was a manga by Watase known as "Hurricane" which lasted all of one volume, and jazz pianist/arranger Ken Shima（島健）created an image album of music based on it. Released in 1989, this album, also known as "Hurricane", looks awfully classy on its cover...almost like an old movie poster of some thriller movie starring Bogie and Bacall. Shima is no stranger to Watase projects since he had also been helping out on the anime form of the illustrator's "Heart Cocktail" through songs such as "Cool Lunch Time"（クールランチタイム）.
The first track on "Hurricane" is a cover of the 1954 jazz standard"Misty" by jazz pianist Erroll Garner.Shima's take on it is very refined and romantic...somewhat Mancini-esque in arrangement. I start remembering the more tender moments in the detective dramedies "Moonlighting" and "Remington Steele" when I hear this one. Very expensive dinners under moonlight also come to mind.
Welcome to Hump Day! And yeah, it feels even more like a Hump Day than usual. For one thing, I've been noticing for the past three days that our household has suffered micro-power outages of less than a second at around the same time in the morning. Now as I said, they are very short in duration so the power is back on lickety-split but it's enough to require me to wait five minutes for the Internet to return and I have to reset all of the clocks. Very annoying. I've sent our electric power company a letter of inquiry and complaint for which I've received a reply stating that it may take up to five days for a proper answer.
In any case, I've learned that people having a bad day tend to be more productive at work, presumably because they want to focus on anything other than the source of the bad day. Well, I'm focusing on this one here. And it has to do with a couple of observations regarding recent Japanese society. The first one is that Japan may have one of the larger populations of centenarians in the world and the other is that when the patriarch of the family retires from decades of work, he may tend to just lounge around the house with nothing to do all day which can aggravate the wife and perhaps even the children to no end.
That seems to be the premise of the Japanese comedy movie franchise "Oshûkatsu Jukushun! Jinsei, Hyaku-nen Jidai no Sugoshi Kata"（お終活 熟春!人生、百年時代の過ごし方...The Final Years: The Golden Years of Maturity—How to Spend Life in the Era of the 100-Year Lifespan） that started in 2021. A third movie was released at the end of May this year. As to why I'm talking about this, well....last night, singer-songwriter and tarento Masashi Sada（さだまさし）appeared on "Uta Con"（うたコン）to sing this old-time jazzy number called "Kamisama no Iu Toori" (As God Says). I've heard Sada sing folk and City Pop but this is the first time that I've heard him sing anything jazz and this is where I found out that "Kamisama no Iu Toori" was the theme song for the third movie. Written and composed by Sada with Toshiyuki Watanabe（渡辺俊幸）handling the arrangement and the conducting of the orchestra, it's a sweet nostalgic tune that had Sada doing a bit of Vaudevillian soft-shoe on the stage and maybe the movie characters dancing cheek-to-cheek on the floor.
Looking at the above public domain-friendly photo from Wikimedia Commons, he's got considerably less hair and he's got more of a paunch but he'll always be Billy Joel to me (ha, ha). Yup, the Piano Man turned 77 a few months ago but I will always see him in that work-a-day suit tickling the ivories.
A few weeks ago, I did a Reminiscings of Youth posting on Level 42' s"Running in the Family" album, one of those EPs that I put onto audiotape as one of the go-to listenings during those times overnight when I just had to get a thesis done or cram for an exam during university. Well, I forgot that Joel's July 25th 1986 album"The Bridge" was another one of those musical energy drinks that I had also transferred to tape. Incidentally, it is a holiday here in Toronto so I'm doing the usual special ROY post.
"The Bridge" isn't up there with Joel's absolute best such as "The Stranger" or "Turnstiles" or "An Innocent Man", and even Billy himself agreed with his critics that "The Bridge" wasn't the greatest work he's created. But I have to state that even a self-professed not-so-great album by Billy Joel is still not a bad thing at all. Having said that, I'm not giving "The Bridge" the same treatment as my two-parter on "The Stranger" in which every track was deserving of some comment.
One reason that I ended up buying Joel's 10th studio album was because of "Big Man on Mulberry Street", a Big Band jazz blast that was the Piano Man's contribution to a "Moonlighting" episode in which Maddie Hayes, played by Cybill Shepherd, dreams an epic old Hollywood song-and-dance sequence starring his love-and-hate detective partner David Addison, played by Bruce Willis.
Yep, you (who are younger than 40) read that correctly...Bruce Willis. As with Joel, he now has less hair and more of a paunch, but back then, who knew that he could trip the light fantastic with a bunch of choreographers? But seeing that sequence and hearing "Big Man on Mulberry Street", the story of a nebbish in New York City who punched way too high above his station in life, I was just so impressed that this 70s pop-and-rock guy could swing jazz as well that I knew I had to get "The Bridge" just for this track.
Tracks from the album did make it out as singles. And I did hear "Modern Woman" and "A Matter of Trust" on the radio all the time, but to be honest, they never really stuck with me. However, if "Big Man on Mulberry Street" was the reason that I purchased "The Bridge", then the first track "Running on Ice" was the reason that I've kept "The Bridge" all these years.
"Running on Ice" is the equivalent of Charlie Brown skating and failing horribly as he takes out every single Peanuts character on the frozen pond and with everyone from Lucy to Snoopy out to get him, he just causes more mayhem. I heard it has been used in a spoof drama on the US version of "The Office" and perhaps it can be used for some sort of comedic ice hockey montage. The drums by Liberty DeVitto are incredible and absolutely vital for the song to work.
I've known that Joel is a singing chameleon of sorts. He's done Ray Charles on "New York State of Mind", Mick Jagger on "It's Still Rock n' Roll to Me" and even Frankie Valli for "Uptown Girl". But I had no idea that Joel was channeling The Police for "Running on Ice". I had been wondering why he clipped his vocals so high on that one and it turned out he was trying to emulate Sting.
The last song I'm featuring here is another jazzy one and speaking of Ray Charles, he finally and successfully got associated with Joel on "Baby Grand". Billy may not have been able to get the legendary Charles to do "New York State of Mind" initially but a decade later, the two of them were having fun with their ballad in tribute to the baby grand piano.
In Canada, "The Bridge" made it up to No. 10 on RPM while it reached No. 7 on America's Billboard. Its highest rankings came in Australia and Japan where it peaked at No. 2 in both nations. So, as usual, let's find out what singles were coming out onto record store shelves in Japan in June 1986.
Recently going over "Light Mellow ~ Beams", I've come across a few tracks on the compilation that I never thought to cover on the blog, so shame on me for that oversight.
One of those former neglected songs from "Beams" is Izumi Kobayashi（小林泉）& Flying Mimi Band's "My Beach Samba", originally from her March 1978 debut album"ORANGE SKY－Endless Summer". Written, composed and arranged by Kobayashi herself, it's a fun and perky and Latin jazzyCity Pop number of the 1970s with inclusion of that decade's aural symbol of the genre...the keyboard haze effect. Speaking of keyboards, I think that is indeed Kobayashi just going crazy on her instrument near the end. Not to be outdone, I have to mention the saxophone and guitar solos, too.
PS. Well, it looks like my memory is failing me. I did write up something on the album proper back in 2019 and that also included my comments on "My Beach Samba". But hey, any song is worth another look.
For the Friday edition of NHK's "Asaichi"（あさイチ）, we all got the delight of being serenaded by Takao Tajima（田島貴男）, aka Original Love. It was a reminder of how great a singer he has been for well over thirty years. Ever since I first heard one of his tunes on my friend's car radio, I've been hooked by his distinctive voice and his happy adoption of various genres including jazz, rock and soul.
Much to my surprise, I realized that I had yet to provide a Favourites list regarding Original Love so here it is to finish today's cadre of urban contemporary on KKP Friday! Have a great weekend!
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