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.
Showing posts with label Kiyoshi Maekawa. Show all posts
Showing posts with label Kiyoshi Maekawa. Show all posts
Bring in one more into the menu tablet at the karaoke boxes! Got another duet for the older generation, and perhaps for those sunakku squeezed into Shinjuku, more opportunities for a shibui singalong.
But that's for now. The timing was probably not the best when "Tokyo City Serenade" by enka veterans Kiyoshi Maekawa（前川清）and Miyuki Kawanaka（川中美幸）was released in April 2020 when COVID was running roughshod over global society. However, the song and the accompanying music video were probably appreciated for providing what was awaited on the other side of the pandemic. Written by Chihiro Fuyumi（冬弓ちひろ）and composed by Yuhei Hanaoka（花岡優平）, "Tokyo City Serenade" has the emotion-plucking of enka, the bar-friendly rhythms of Mood Kayo and the sophisticated refinement of New Adult Music as the singers delve into the millions of stories that populate Japan's largest city.
Y'know...checking through the Kiyoshi Maekawa（前川清）file, I realized that this has been solely Noelle's realm all these years. Although I have put up my fair share of articles for The Cool Five, Mae-Kiyo's old Mood Kayo group, I had yet to post anything by the singer solo. Hopefully, my fellow co-administrator will understand.
Well, what sparked me to post my first Maekawa melody was once again last night's "Uta Con"（うたコン）episode. Earlier today, I noted Yukari Ito's（伊東ゆかり）"Suteki na Cappuccina"（すてきなカプチーナ）and HIROMI's（ヒロミ）"Hachioji no Uta"（八王子のうた）which had also been performed on the show. Another one was the aforementioned Maekawa along his buddies, the vocal group Junretsu（純烈）, and together they performed "Otoko to Onna no Kakera" (Fragments of a Man and a Woman), which was the singer's 10th single from July 1991.
Listening to the original recorded version above though, I really got that impression that "Otoko to Onna no Kakera", a ballad about loving each other so much and yet the necessity that the couple has to sadly break up, was the quintessential example of that hybridized genre known as New Adult Music. It's got the quivery emotion of an enka or a Mood Kayo but with the modern uptown arrangement of urban contemporary. Lyrics were provided by Toyohisa Araki（荒木とよひさ）while the music was composed by Takashi Tsushimi（都志見隆）. As usual, Mae-Kiyo looks as dapper as ever.
I'd never been to Kyushu before, let alone Nagasaki. So, last December, my mom and I decided to use the opportunity to explore this culturally and historically rich part of Kyushu. Much of what I know about Nagasaki comes from a combination of enka/ryukoka/mood kayo, travel shows, and classes on Japanese history. Because it was the main (at times the only) port of entry into Japan for foreigners back in the day, traces of Chinese and Western influences are particularly strong. Case in point, a Chinatown and Holland Land (Huis Ten Bosch) in just one prefecture. It was where Christianity thrived, but was also the site where its persecution was particularly intense during the Edo era. It is one of the most featured locations in enka and mood kayo. It is where Kiyoshi Maekawa (前川清) is from! Needless to say, I was stoked to visit such an iconic place.
We were in Nagasaki city for about four days and I thoroughly enjoyed my time there. The food was mostly great, the city picturesque with Chinese and western colonial architecture, and it had a rather quaint atmosphere. Oddly enough, the cultural mix and hilly terrain reminded me of Hong Kong and just a hint of Singapore. I would like to share some highlights through the Nagasaki-themed songs I filled my ears with throughout the trip. Nagasaki songs, particularly those from the early Showa era, seemed to have a more exotic and European sound, if not Chinese, but my selection here mainly features the former. I'm not very familiar with European music, but I reckon some melodies could be Portuguese-influenced.
If you know other tunes featuring Nagasaki, feel free to mention them too. With that said, let's begin.
We kick things off with Hachi's signature, "Nagasaki no Hito". I thought it was a pretty good way to begin the trip since it sounds rather bright while describing the features of the city, like the sotetsu (Japanese sago palm), ishi-datami (cobblestone paths), the minato machi (port town), Oranda-zaka (Hollander Slope), etc. It fit the only day when the weather was clear and we were able to take a stroll down the port. We did see sotetsu. Many sotetsu. Seeing palm trees thriving in winter was a first for me.
Akira Nakai, Masaru Takahashi & Coloratino -- Shianbashi Blues (思案橋ブルース)
After our walk, we headed to a place featured in one of my favourite mood kayo songs and karaoke go-to's, Shianbashi. It's basically a watering hole with a number of Chinese joints and bars. Kinda seedy, but not unexpected, considering it's a mood kayo staple. The wistfulness conveyed by lead vocalist Nakai's high tenor in the original "Shianbashi Blues" fits perfectly in the warm, neon-lit streets of Shianbashi, but more so when it's raining... which would come later...
We then adjourned to Tsuruchan, a Nagasaki institution. This more-than-a-century-old kissaten is renowned for a Nagasaki B-grade gourmet food, Toruko raisu (Turkish rice). I don't think there's anything Turkish about it, but to say that it was hearty was an understatement: large servings of double carbs (napolitan spaghetti plus rice pilaf) and a slab of tonkatsu with gravy. Never had a, "Gochisousan" been more appropriate after I polished off everything. Mom would later remark that she'd never seen me eat that much carbs in one sitting before. Neither have I, mother.
Mae-Kiyo and the Cool Five finally make their appearance! Yes, I had saved the Nagasaki-made group's iconic hit for Day 2 of our trip because that's when the rain came. A lot of it. I don't like rain, but I took it as an opportunity to experience what most Nagasaki songs feature. Also, there's just a warm feeling when you hear one of your beloved singers' songs that first got you into him at the place he came from.
Later in the day, mother and I finally found and visited Glover Garden. Besides the fact that this residence of the titular Scottish businessman is a famed historical spot in Nagasaki, we wanted to go up there because the Glover house was often used in extremely cheesy and cringe-worthy karaoke videos from the 1970s and 80s, some featuring Mae-Kiyo and his cronies. I still cannot bear to rewatch some of those videos because I die of secondhand cringe every time. It was a beautiful place, however, with an amazing view of the bay and city, especially in the evening. We also did the tourist thing of having castella and tea at a cafe on the premises. Castella is... cake. That's all I can say. But its worth got elevated because I was cold, drenched, and hungry.
Dick Mine & Sendaka Fujiwara -- Nagasaki Elegy (長崎エレジー)
Before ending our day a Glover Garden, we first began the day going uphill. Up Oranda-zaka and exploring the old grounds of a Catholic/Christian girls' school (I forgot what it was called). In the rain. Oranda-zaka and the surrounding slopes were really steep and lined with cobblestone, so the anxiety from trying to slide down the hill was palpable. Oura Cathedral was the main checkpoint in mind. It was one of the well-known churches from the persecution days and I believe where Christianity was "rediscovered" in Japan once the hunt was over. Rather poignant, especially under the grey skies, light rain, and with Mother Mary watching over the town from up a hill. So, I thought "Nagasaki Elegy" was fitting with its references to Catholicism and a fine drizzle. Also, this song was constantly running through my head throughout my time in Nagasaki.
On the note of poignant, nothing was more so than the Nagasaki Peace Park and Ground Zero for the atomic bomb. It was chilling to read survivors' accounts and to imagine what it must've been like then and there. And yet, it was tranquil and there was a sense of hopefulness that radiated from tributes to the victims of the devastation and monuments symbolizing the strive for peace. One of these sculptures was the Nagasaki no Kane (Bell of Nagasaki). According to the J-Wiki, it was built in 1977 in memory of military factory workers, many of whom were school students, who perished when the bomb hit a nearby factory.
Fujiyama's solemn "Nagasaki no Kane", though only related to the structure by name, quite aptly represents the gravity of this place. I feel it does this through the initial hopelessness that morphs into strength to carry on upon hearing the bells of the Nagasaki cathedrals toll in each stanza. An emotional song to fit such a significant place.
Uchiyamada Hiroshi & The Cool Five -- Omoikiri Bashi (思い切り橋)
On a lighter note, Chinatown and Megane Bashi (Spectacles Bridge) were next on the itinerary. Compared to Yokohama's Chinatown, Nagasaki's felt more... real? Less kitschy. There was a section that you could easily tell was geared towards tourists, but outside that bubble was a much larger, proper local suburb/settlement dotted with old Chinese Buddhist temples and a Hokkien clan association. Connecting Chinatown to other parts of town were bridges. Many bridges. That's not to be unexpected since the city is by the coast with many waterways. And one of the most iconic bridges is the Megane Bashi, a cobblestone bridge with two perfect arches that stretches over a tiny section of the Nakashima river. I believe it's Japan's oldest surviving arched bridge, but I could be wrong. It was very picturesque, especially when you see its reflection on the surface of the water.
I don't know any kayo that feature this bridge specifically but as an ode to the many ancient bridges in the area, I bring another Cool Five tune, "Omoikiri Bashi". A very dramatic and jaunty number with Mae-Kiyo's recognizable anguished cries.
Along the uber-long, more than a-century-old shopping street that follows the Nakashima river, my eyes picked up an old, rather Chinese-style sundries store. It oozed early Showa-era vibes, but what stole my attention was a pile of pomelos inside. Despite the freezing rain, I couldn't help but smile because the very first Nagasaki-themed kayo I'd heard came to mind, Obata's cheerful "Nagasaki no Zabon Uri". It wasn't on one of the steep inclines of the city, the store was empty, and I don't even think pomelos were actually much of a thing in Nagasaki despite the Chinese settlement, but it was just a happy little coincidence to add to my Nagasaki song experience.
Yuri Akemi -- Nagasaki Monogatari (長崎物語)
On our final day before heading off to the airport, we checked out Dejima, where the Dutch settlers were confined during Tokugawa's reign in an attempt to stave off religious influence. It had been made into a sort of open-air museum with preserved Dutch-style buildings. "Nagasaki Monogatari" is one such song that gives a shout-out to the little island, among other Nagasaki tropes while telling the tragic story of one Jagatara Oharu (じゃがたらお春).
Shizuo Higuchi -- Nagasaki Chanson (長崎シャンソン)
Ah, yes, traditional Japanese cuisine
Rounding off the trip was lunch at a family grill restaurant where Mom and I tried the Sasebo burger, the taberu milkshake (a milkshake you eat, not drink), and the lemon steak. It was pretty decent fare, with the latter being more delicious than it sounds. On the way back, I had Higuchi's exotic and jiving "Nagasaki Chanson" in my ears. Having enjoyed my time in the city, even with the rain, I think I can agree with the following welcoming lines from this ode to the port city:
Batten Nagasaki yume no machi
Mimase yokatokko yorimasse
Batten Nagasaki yume no machi yume no machi
"Batten" roughly translates to something like "although" or "but" in the Kyushu dialect, and this last bit of the last stanza proudly claims something like, "Nagasaki, city of dreams! Come on over, it's fabulous!" Couldn't have put it better myself. For that matter, it is indeed also an "uta no machi" (city of music), considering I was able to make a whole list out of just some kayo that are Nagasaki-themed.
If you do have the opportunity to visit Kyushu, perhaps give Nagasaki a visit. It's great if you're a foodie and/or a history and culture buff. If I have the opportunity, I would love to go back. There's just so much more of the city and prefecture to see. Next stop, Sasebo, Saikai, and the "Kaeri Bune" (かえり船) music plaque.
On a final note, since Mae-Kiyo is a Nagasaki native (Sasebo city), he serves as a mascot/spokesman for the local police force's fight against fraud and other related crimes. Ever since I spotted my first Mae-Kiyo anti-crime poster, I took it upon myself to do a "Mae-Kiyo Sagashi" (Spot the Mae-Kiyo) and try to find at least one picture of the pillar man a day. I was more or less successful, and it culminated in the ultimate piece: Mae-Kiyo on the cover of the "Karaoke Fan" magazine. I'd waited an eternity for him to be on any magazine cover, and it just so happened that his long-awaited cover appearance coincided with my trip to Nagasaki :).
As of this week, if I'm not mistaken Kiyoshi Maekawa has reached a whopping 50 years in showbiz - woohoo, congratulations Mae-Kiyo! Ah, that's 50 years of standing like an angry/ANGERY (haha) or unamused pillar while on stage, and then letting loose and goofing off on variety shows... I hope I get to see my favourite kayo singer and his antics for many more years to come.
In other somewhat related news, I finally got my hands on to some of his merchandise that I've been hoping to get for a long time now: his calendars. I got both the 2017 and 2018 ones late last year when his goods shop got itself in order at long last. As with the Hiroshi Itsuki (五木ひろし) calendar, I LOVE them. Now with what I call my monthly posters, plus some additional candid shots at the back of each edition, I'll be doing what I did with Itsuki's articles a while back wherein I showcased the months' photos, starting with this one.
Someone give the man a handkerchief.
Alright, coming to the topic at hand, I wondering as to what song from Mae-Kiyo's repertoire that I hadn't yet written about would be good for his tribute, and after some consideration, I thought it'd be apt to feature "Hana no Toki・Ai no Toki", his first single released after he left his Mood Kayo group, The Cool Five, in 1987. This song was brought to you by renowned songwriters Rei Nakanishi (なかにし礼), who was responsible for the words, and Takashi Miki (三木たかし), the music.
January 2018
"Hana no Toki" starts off soft with mostly the tinkling notes of the piano, smooth strings, and Maekawa gingerly uttering the lyrics. It sounded beautiful and it gave me the image of him singing this while sitting in a field of pretty flowers in full bloom. Upon first listen, though, to me, it didn't come across as something particularly in his style. But then the chorus kicked in and proved me wrong when the intensity slowly began to escalate to the point where the man was doing his usual shtick of bellowing into the microphone. With the image I just mentioned in mind, it's as if a windstorm kicked up in the flower field and he's trying to compete with it in order to be heard... Or, well, just like in the video above, he's competing with the backing choir. To be honest, I like that bit the most. I love it when Mae-Kiyo cranks his vocals up to a hundred. It just sounds so satisfying, especially at high volumes.
February 2017
Wrapping up the article, here are the other Mae-Kiyo calendar pics for now. Personally, I preferred the 2017 shots. On a separate note, February 2017 looks like it's probably from his "Miyako Kaze" (都風) MV.
February 2018
2018's cover
Well, now, I think I have close to 50 pictures of Mae-Kiyo in total... Guess that makes it more than my collection of Hachi's... I think. 😌
I'm not one to snap photos when watching "Uta Kon", but I
couldn't resist.
I have my - as from what I've picked up from the kayo shows I've viewed - "Yume Kyouen" (夢共演... Dream Collaboration) fantasies where I imagine some of my favourite artistes working/performing together, as any fan would. Some came true, some, unfortunately, won't ever because of how odd they are and/or because the musicians have already left mortal coil. Despite the multitude of Yume Kyouen I've come up with, I don't think a collaboration between the pillar of a man that is Mae-Kiyo and the electric guitar-wielding Forever Wakadaisho has ever crossed my mind. But here we have "Uso yo". Roughly translated, it means something like "That's a lie" or "You're lying", and I got to say that it's quite similar to my thoughts when I first saw the news of that on Twitter. Also, it knocked my figurative socks off so far out they'd probably be on the other side of the Pacific Ocean... y'know, after flying westwards in the direction of the European continent.
50 years on and still that still...
Alright, seriously speaking, from what I knew of YuzoKayama's (加山雄三) works, unlike fellows like Yujiro Ishihara (石原裕次郎) and Akira Kobayashi (小林旭), he didn't venture far into the Mood Kayo or enka territories. I do recall this one occasion where he sang "Naniwabushi dayo Jinsei wa" (浪花節だよ人生は) and sounded like an enka singer through and through, but other than that he seemingly stuck to pop, rock, folk and Group Sounds. But recently, it has become evident that the Wakadaisho has always loved MK and enka, and is a big fan of, as you may or may not have guessed (I certainly didn't!), Hiroshi Uchiyamada & Cool Five (内山田洋とクール・ファイブ)/Kiyoshi Maekawa (前川清), so much so that he'd often pick their songs at the karaoke. He even created a piece of music for them in the early 80's! However, for whatever reason Kayama had, the song did not come to pass. Fast forward to over 30 years later, in the light of Mae-Kiyo's50th anniversary of being in showbiz early next year, Kayama finally revealed this long-kept melody and gifted it to one of his favourite singers to make "Uso yo".
As Maekawa himself said the moment he heard the music, it sounded very him. At first, I wasn't exactly sure what to make of that until the short MV clip came out and I was greeted by the sharp strings and roar of the electric guitar. What followed was a rather angsty MK-enka hybrid that is reminiscent of what a typical Cool Five tune would've sounded like in, well, the 80's. Included in the package are bits of the song where Mae-Kiyo gets to showcase his forlorn and vibrato-filled dragging of the last syllable of a line - very him, alright. The lyrics were written by Seishiro Kuno (久野征四郎), and it was released about a month ago on 20th September 2017, doing fairly OK on the charts by peaking at 95th place.
To be honest, I didn't really take to "Uso yo" all that much and I'm still in the process of completely warming up to it, as I normally do when it comes to this sort of songs. I was also kind of hoping that it'd be more pop-sounding, but oh well... Can't have the cake and eat it too...? It's a collaboration I won't forget, that's for sure, especially since that consisted of the both of them performing side by side on "Uta Kon" and "BS Shin Nippon no Uta".
(Sorry but the video has been taken down.)
Here's the "Special Stage" segment where Mae-Kiyo and the Wakadaisho explored the latter's enka and MK appreciation. Kayama really nailed the Maekawa-ness of those Cool Five songs. That settles it, I'm going to get Kayama's "Enka Nagashi Uta" (演歌流し唄) album - yup, he's apparently got a whole album on covers of hits from the genre too!
At the moment, the only other collaboration that'll garner the same amount of unbridled joy would probably be if Mae-Kiyo (or, actually, Kayama too) performed with Duke Aces (デューク・エイセス).
I was trying to figure out how to go about doing my "The First" article for a while now. I wasn't sure whether to talk about my roots in J-pop or my transition to enka, but eventually I decided to combine both as I do touch on both genres on KKP. This'll be a long one, so get comfy and please bear with me.
The J-Pop Roots:
For me, everything began with Chage and Aska. As a young kid (probably around 10 years old), my parents used to play some of the pop duo's songs when we went on road trips to the neighbouring Malaysia. With rolling fields passing by as we headed to Cameron Highlands on one trip, the track that resonated with me the most was none other than "On Your Mark". I had no idea who they were or what they were saying, but the mellow rock melody and chorus had me not wanting the song to end. However, after that road trip I never got the chance to hear those C&A songs again, for some reason. Probably because it didn't occur to me that I could personally take the CD of downloaded tracks and search for the song using Dad's old laptop.
Anyway, it wasn't until a year or two later when I managed to get my hands on an MP4 player (prize from a Reader's Digest issue... I still have no idea how I became the winner) did I finally reconnect to that fateful song, which opened the gateway to the rest of C&A's discography. Being a little older and more aware of things, I also decided to sample the other songs in that CD and grew to enjoy every single one of them - the eight tracks ranged from "On Your Mark" to "Hitori Zaki" (ひとり咲き). Then I gained access to YouTube in the years that followed which allowed me to finally see the guys behind the music and broaden my C&A horizons. I distinctly remember listening to "Heart" during my one hour computer curfew, and having "if" playing in the background while I wrestled the keyboard's arrow keys to keep my character from squashing himself in online motorcycle games. Ah, good memories.
Throughout secondary school (grade 7 to 10), it was literally nothing but C&A (especially Aska). Having gotten some compilations from HMV in Singapore (when it was still around) and reprints of their original albums in Japan as well as online, I became quite well-versed in their works. Unfortunately, Aska got into trouble (2013) and went out of commission for a few years.
As terrible as it was, there was a silver lining. It had me venturing out into the works of other J-pop acts as an alternative. The most notable group I clung on to in the aftermath was Anzen Chitai (安全地帯), whom Mom mentioned and recommended occasionally. Considering how devastated I felt when Aska was indicted and the hell the GCE 'O' levels put me through, my introduction to the band via "Kanashimi ni Sayonara" (悲しみにさよなら) helped to ease the pain considerably. Southern All Stars followed soon after with "Manatsu no Kaijutsu" (真夏の果実).
Despite being a good distraction, I lost most of my interest in them quite quickly as I found Koji Tamaki (玉置浩二) to be too bohemian and Keisuke Kuwata (桑田佳祐) too zany. None of the other 90's J-pop acts I came across in 90's hit medleys really resonated with me either - their hits were good, but I wasn't enamored by the singers - and I felt like I was simply waiting on Aska to make a comeback.
Then I discovered Korokke (コロッケ), the monomane artiste, who opened the gateway to a whole "new" genre.
The Transition (with Korokke's help):
I encountered Korokke around the same time as Tamaki and Kei-chan. I recall looking for impressions of singers I recognize, which then led me to Korokke's shenanigans. What I loved about his impressions were that they could be on point, inaccurate to some degree but hilarious, or a mix of both. Now, I had no idea whom many of the targets were at the time but multiple viewings of Korokke's warped faces and exaggerated deliveries were enough to make me do some investigating. As it turned out, they were enka singers.
Needless to say, I had little idea of what enka was, besides the fact that it's old music sung by the old and grey. I'd typically avoid it at all costs, but because of my burning curiosity and slow gravitation to the fragments of the strange sounding songs Korokke sang, I went ahead to listen to some of them, one being Hiroshi Itsuki's (五木ひろし) "Yokohama Tasogare" (よこはま・たそがれ).
With its distinctive, snake charmer (as I usually call it) music and Itsuki's mellow vibrato-filled vocals, it made for a very different listening experience - it wasn't something I've heard or seen before, but it was thoroughly refreshing and amusing. From there, I began trying out a little more enka that were easy on the ears, all while marveling at the kooky characters who sang them, like Ikuzo Yoshi (吉幾三), Aki Yashiro (八代亜紀), Takashi Hosokawa (細川たかし), and Masao Sen (千昌夫). But just like what I mentioned above, it wasn't enough to sustain my interest in the genre, and so I set it aside while I explored more of 90's J-pop until I decided to look up another of Korokke's targets.
Mood Kayo's Uramachi
Brows furrowed so often it left five obvious wrinkles on his forehead, standing so straight and still he earned the nickname of "Pillar Man" from Mom, yup, it's Kiyoshi Maekawa (前川清), or as I like to call him, Mae-Kiyo. Korokke doesn't do impressions of him as much as, say, Itsuki, but it was amusing enough for me to look into. Also, Mae-Kiyo was one of the last few fellows from the monomane tarento's list I had yet to check out at the time.
Oddly enough, I got drawn to him fairly quickly the moment "Soshite Kobe" (そして、神戸) hit my ears. Besides looking rather spiffy, there was just something hypnotizing about hearing his intense baritone droning on to the equally as intense and dramatic strings. And the fact that he could stand so still despite bellowing out the last line of the song was fascinating... Yeah, he became my long sough-after muse soon after.
My fascination in Mae-Kiyo and subsequently his group, The Cool Five, reignited my enthusiasm for enka and allowed me to learn about its sister genre, Mood Kayo. Current day me is more aware of what is considered an enka song and what is considered a Mood Kayo song, but considering how often the lines between the genres are blurred, the kayo green horn that was me three years ago couldn't really tell the difference and simply saw Mood Kayo as the more listenable version of enka, where singers have deeper, smoother vocals and the melodies were easier on the ears (not always, though).
Enka's Hanamichi
Coming to the tail-end of my journey into Japanese music (for now) is how I got myself into what I affectionately call "Hardcore Enka", which I wouldn't normally recommend to a first time enka listener for fear they'd run for the hills. Under this label I include the extremely melancholic or minyo-infused stuff, and singers with an overall shriller, more enka-y delivery. I had a hard time stomaching this brand of enka, especially when a ton of it descended on me via "Kayo Concert". I vividly recall uncomfortably sitting through Kouhei Fukuda's (福田こうへい) performances during one of my first viewing of the music show where he sang "Wakare no Ippon Sugi" (別れの一本杉) and later "Toge Goe" (峠越え). I was only a couple of months into my enka phase so that felt like a killer.
That was also around the time when I started visiting KKP often to look up information on the stuff I had watched from "Kayo Concert" as J-Canuck would do a write up on a song or two from the show. And that was when I came across the fierce figure that was Hideo Murata (村田英雄) via his "Jinsei Gekijo" (人生劇場) article. "Jinsei Gekijo" did sound kind of cool in both its music and title but again, just like the Fukuda experience, that was rather intense.
Anyway, with Murata becoming a familiar name, it was only a matter of time when I discovered "Osho" (王将). Now, that was something I could swallow with its elegant and powerful strings that complemented Murata's forceful growling. While searching around YouTube for more clips of this hit, I stumbled upon this video (it got removed, but I found all three parts) which had Murata and "Osho", as well as two other fellows I wasn't really aware of.
Muchi appeared first, but he sang "Aishu Ressha" (哀愁列車) instead. The first mystery fellow, the stone-faced Michiya Mihashi (三橋美智也), came after to sing "Akai Lamp no Shuressha" (赤いランプの終列車). Finally, mystery guy no.2, Hachiro Kasuga (春日八郎), made a grand entrance fit for "Osho" (at long last). Couldn't say I was a fan of his higher-pitched warbling but he literally stood out for standing a head over the other two and having those bushy brows.
As you'd expect, I didn't like the two melancholic train songs by Michi and Hachi a whole lot at first, them being "Hardcore Enka" and all, but as time went by, I kept visiting the same video again and again. Maybe it was because of their rhythmic beat and haunting score that had a knack for getting stuck in my head. I did look up their individual performances after the songs grew on me, which only led to me liking more of the heavy or minyo stuff from them. And so, constantly exposing myself (willingly) to the singing styles of these three enka veterans and the musical stylings of the type of enka common back in the days of yore built up my tolerance and made me more accepting of this big part of the genre. I even grew to like it a lot and find solace in it, as you can probably tell from the articles I wrote. Okay, the really, really depressing ones still do take time for me to warm up to.
Since they were an integral part of me getting used to enka, the San'nin no Kai, plus Haruo Minami (三波春夫) in later days, also became some of my favourite singers. Yup... Muse no.4 is one of them... I think it's pretty obvious by now which one it is. Believe me, I was as perturbed when I made that revelation as you probably are now... or probably not (anymore). NO, I'm quite certain it's not because of the unruly brows. Probably his vocal gymnastics. Hmm, or that grin. Or both...
... ...
ANYWAY, that about wraps up my "The First" article. That was a long one, but I hope you enjoyed reading about my taste in Japanese music changing from J-Pop to predominantly enka. Thanks for sticking through!
Well, I suppose this doesn't really need any introduction. From the number of articles I've written on him and the way I've talked about him, it's kind of a given that I'd do my list on Mae-Kiyo whom at this point in time still occupies the No.1 spot in terms of my favourite singers. It's the combination of soothing at times but otherwise booming vocals, overall agreeable-looking image, and the unexpected comic relief that allow Kiyoshi Maekawa (前川清) to maintain that spot ever since my transition to enka and Mood Kayo. That being said, I'm hoping to get an autographed copy of his 2017 calendar through his Twitter account's campaign for next year. To be frank I'd be happy with the regular calendar, but I can't seem to find it as of yet so I'm trying my luck to be that lucky few to receive it.
Anyway, unlike the Chage and Aska list that I did last year, I've decided just pick 5 tunes for thislist. It was relatively simple to pick the top 5 since there are fewer songs to choose from, and I tend to gravitate to those few whenever I were to listen to my "Kiyoshi Maekawa" playlist. Bear in mind that only works from the silly kayo fellow's solo discography were being considered and anything that falls under his Cool Five stuff have been excluded - that would be a list for another day.
Without further ado, here's my picks. They aren't listed in any particular order.
1. Miyako Kaze (2016)
This tune is perhaps my latest muse in the playlist. "Miyako Kaze" is a somewhat balanced mix of pop and traditional enka, and what I love about it is that there's this airy and cooling feel from the combination of the koto and violin - nice to listen on hot days (which is commonplace in Singapore). Mae-Kiyo's voice isn't as strong anymore and it's quite evident in his recent appearances on TV, but I find that the less intense delivery fits this gentle tune just fine.
2. Oishii Mizu (2004)
"Oishii Mizu" is on this list for a similar rationale as "Miyako Kaze", just that this one is a lot more pop and no enka. The melody plus the image I get of waterfalls and snow-capped mountains in places like Oregon makes it a refreshing track after some heavy enka or Mood Kayo... Maekawa really should sing this more often.
3. Yuki Ressha (1982)
While the former gave me the feeling of cooling and refreshing, this one here feels like a warm blanket on a snowy day from the quieter melody that's got a slight oriental touch and Mae-Kiyo's deep and soft delivery - best on chilly, rainy days (sadly, we've got no snow days).
4. Kimi ga Koishi kute (2013)
This is perhaps as enka as Mae-Kiyo can or wants to go. But that blaring mix of muscular electric guitar and screaming saxophone can be expected when Grandpa enka, Sabu-Chan, is behind a song. While I found "Kimi ga Koishi kute" a tad overwhelming upon hearing it for the first time, this tune managed to grow on me - I'm a sucker for songs that features the powerful roar of the electric guitar. It's like "Nakanoshima Blues" but twice as loud and not so much Mood Kayo.
5. Hayari Uta (2000)
I've said that "Hayari Uta" is my favourite and it is. While I really like the other songs on this list, just hearing how Mae-Kiyo's vocals fluctuate from growling to thundering here is enough to take the cake. Accompanying this is a melody that isn't too "in your face" as in "Kimi ga Koishi kute" - the electric guitar is taking it easy and the strings are softer. All in all, it makes for a very pleasant listening experience. Perhaps I could attempt this song at the Sugamo karaoke bar if I were to return to that outfit - vocal gymnastics are gonna be tough though.
That's it for this addition of Author's Picks. On hindsight, my choices here aren't Mae-Kiyo's more popular or commonly sung tunes. Guess the older crowd still very much prefer the heavy and concentrated enka or Mood Kayo rather than those that have been diluted with pop. As for myself, I would continue to look forward to more of such "diluted kayo" from Maekawa - it fits him better and makes for something a little different from the norm.
Does "Ain't nothin' sexier than a man who
cleans" apply here...?
Over the weekend, I finally managed to get my final year report off my back. Well, fine, it's only a full draft and I can't completely wash my hands off this nightmare spawn of a project on clown fish breeding yet, but I did feel a huge sense of relief and accomplishment as the last sentence was typed. And I think Kiyoshi Maekawa's (前川清) "Kanashimi no Owari ni" can sum up this ordeal quite nicely.
While I had "Kanashimi no Owari ni" in my Mae-Kiyo playlist ever since I got my first Mae-Kiyo album, I admit that, for a long time until now, I wasn't able to appreciate it fully. I listened to it a couple of times on days where I felt more adventurous - it was indeed a nice song music-wise - but that was about it. It was only recently when I began paying attention to the lyrics, brought to you by Shizuka Ijuin (伊集院静). From what I understand, our main character is going through a real rough patch in his life as he tries to come to terms of not having the love of his life by his side, and he can't wait for his sadness to end. Don't worry, guy, I can't wait for my project to end too. But the good thing for us both - or minimally me - is that the light can be seen at the end of the tunnel.
Moving on, composing the tune was Mae-Kiyo's frequent collaborator, Takashi Tsushimi (都志見隆). The song starts of soft and forlorn with just the strings and piano, combined with the kayo singer's delicate delivery. That part seems to show the character in his rough patch. Then things pick up at the chorus and the intense vocals I know Mae-Kiyo for come back, and that's where the character sees hope that his sadness will come to an end and that he will be able to smile again.
"Kanashimi no Owari ni" was released on 9th May 2012 and the highest it got on the Oricon charts was 77th place.
P.S. I do have one more item regarding my trip to Japan that I'd like to talk about, but I'm going to hold that one off for a while until I have more time. I'm going to try my hand at one of those "The Works Of..." articles J-Canuck has been doing.
Post-apocalyptic world with some fine entertainment.
Looks like Mom's now a fan of EXILE. Her rationale for liking this song and dance unit is that they actually look cool, ATSUSHI and TAKAHIRO sing decently, and their moves are on point.
While they are a group I don't exactly mind and it is quite hypnotizing to watch such synchronous dancing, I can't say that I know very much about them save for a couple of songs. So being exposed to more of their works and who's who in the whole hoard of them by Mom was an interesting feeling. The tables had been turned this time around! I'm usually the one introducing her to enka-yo stuff whether she likes it or not, and now she's educating me on the EXILE TRIBE... whether I like or not. But of course, that's only that much EXILE/J Soul Brothers I can take before I shut it out and return to my comfort zone. Also, I thought this to be rather amusing as if I were to be completely normal, it could have been the other way round.
Anyways, I'm still in the process of getting to know EXILE's other works, so I thought I'd write about something by them that I'm most familiar with, "Choo Choo Train". While I got to know this tune a few years back via the group behind the original version from 1991, ZOO, I often see it associated with EXILE who had remade it in 2003. It's one jaunty and catchy song so it's no wonder that both versions were hits in their time. I enjoy "Choo Choo Train" for its nice beat and the trumpets in the background makes it more funky. However, similar to what J-Canuck had said in his own article regarding this song, the English words in the lyrics have me wondering what they even mean. Comparing both versions, I have to say that EXILE's one sounds more soulful, especially when ATSUSHI comes in, but I have no favourites; both are good.
Hang on, actually, I stand corrected. I do have a favourite version. He's not as flexible as the members of ZOO or as smooth as the EXILE guys, but Kiyoshi Maekawa (前川清) made up for that in terms of effort in his attempt at this pop classic. He wasn't doing his usual pillar shtick in this bit of his 40th anniversary concert in 2008, alright! Mae-Kiyo's version can also be found in the album "Enka no Chikara Saikyo Z White" (エンカのチカラ 最強Z ホワイト) from 2011. Ah, he really never fails to surprise me. :) Dang, this feels like the Itsuki-"Aishitsuzukeru Bolero"-thing all over again.
Though I'm not broken up about having no more "Kayo Concert", I can't say the same about having no more of Korokke's (コロッケ) musical and comedic skit show "Gokigen Kayo Shogekidan" (ごきげん歌謡笑劇団). It began in March2012 and the final episode aired just last Thursday. Although the skits in the first half of the show, featuring the day's enka-yo singers and comedians, have taken a slightly more serious tone, I still enjoy seeing my favourite artistes in sometimes strange costumes doing the darnest things and Korokke doing his silly impressions while the rest of the actors stifle their laughs. Ah, I will miss it. Well, at least it ended off on a good note - for me, that is - with Saburo Kitajima (北島三郎) and Kiyoshi Maekawa (前川清) as the guest singers.
While it was fun to see Mae-Kiyo in the role of a not very bad baddie, what I found myself looking forward to more was the last part of the show where the guests sing their new songs; in Maekawa's case, it was "Miyako Kaze". As usual, I was pretty excited and equally curious when I saw news on Twitter that the kayo crooner was going to release a new single on March 16th, even more so when the single's cover was released closer to date - had him looking rather spiffy in a dark blue suit with a sort of worried expression on his face... My first reaction upon seeing that was, "I WANT IT." He looks good in that suit...
Eh, the blue suit's a lot better.
Cover picture aside, what piqued my interest was the title itself as it seemed like it could be one of Mae-Kiyo's more enka-sounding tunes or something more contemporary. Hearing it for the first time on a recent episode of "Nodojiman" proved that it was the latter, for that I'm glad. In fact, "Miyako Kaze" was an instant like the moment the music reached my ears, hence my anticipation to hear Mae-Kiyo sing it once again on Korokke's show.
Composed by Shin Tanimoto (谷本新), the combination of strings and the soft tinkling of the piano makes the ballad sound light and comfortable, and I find that the MV materializes what comes to mind when I listen to it - sun rays gently shining through the greenery as they sway in the wind. There is also the notes from the koto which brings out the enka side. And my favourite part of "Miyako Kaze" has to be the addition of the wonky electric guitar about halfway through; it reminds me of one of the songs by ASKA that I love, "Kaze no Inryoku" (風の引力), which has that same thing. As for the lyrics, musician Yoji Kubota (久保田洋司) took care of them and it seems to be about love lost.
"Miyako Kaze" did average on the charts, barely getting into the top 100 by peaking at 100th place. I was kind of expecting that though; Maekawa's less enka-y songs tend to not do as well. Well, but at least I'm a big fan of it.
I shall be starting off the new year with none other than Kiyoshi Maekawa (前川清) and the song of choice is "Hanabi" - looks like there's some word play going on in the title.
When I got to see those responsible for putting "Hanabi" together in the MV's description, rather than the familiar names of the songwriters who usually work on Mae-Kiyo's songs like Toyohisa Araki (荒木とよひさ), I read instead that the kayo crooner's own son, Hiroki (紘毅), had done both the writing and composing. At that point I could guess that "Hanabi" wasn't going to be anything close to Mood Kayo, let alone enka. Judging from Maekawa Jr.'s ikemen-like style on an episode of "Inaka ni Tomaro!" (田舎に泊まろう!) - a show where some celebrity gets dropped in some random countryside town and he/she has to find a local's home to stay in for the night - he didn't look like he'd be into what Maekawa Sr. specializes in.
(cover version)
To be frank, I was skeptical as to what Hiroki would come up with (Noelle from 4/1/2016: To be more specific, I was skeptical of Hiroki's songwriting ability. Should've been clearer on that.), especially with his pop's previous single being written by a venerable figure in enka, but it turned out alright when listening to the pleasant and laid-back pop melody upon taking a look at the MV. Together with the lyrics, "Hanabi" feels like a very hopeful song. I do enjoy it and it's nice to see the once disapproving father collaborating with his son - Mae-Kiyo was against Hiroki's decision to enter the music business. However, I don't think I'd consider it to be one of my favourite Mae-Kiyo songs. Also, from the number of times I've seen "Hanabi" being performed on the "Kayo Concert" and "Nippon no Uta" stage, I find that Maekawa Sr. tends to have a tougher time singing this tune.
Anyway, "Hanabi" was released on 17th September 2014 and it peaked at 100th place on the Oricon charts.
Despite having the word for "Snow" in its title, I find that "Yuki Ressha" has a comfortable and warm feel to it rather than cold, and I think that's due in part to the mellow and moody music. The soft strings and rhythmic thumping of the drums makes you feel as though you're watching snow flakes drift down on a chilly day from the safety of your home heated by a crackling fire, or just a heater.
Renowned musician Ryuichi Sakamoto (坂本龍一) had done the composing for Kiyoshi Maekawa's (前川清) first solo single from October 1982 (when he had that awful perm), and it is not so much of Mood Kayo as it is Pop, but there seems to be a slight touch of enka to it. My guess is that Mae-Kiyo was trying to deviate from the genre he started with and go with something more contemporary. After all, Mood Kayo popularity was starting to wane in the 80's. Shigesato Itoi (糸井重里) penned the lyrics, and they seem to be about our protagonist reminiscing the enjoyable times he had with a past lover on a winter's day.
Just to share a little something with you guys: "Yuki Ressha" had served as inspiration to one of my narratives I had written more than a year ago. As you can see, every time I have this forlornly delivered song playing, it has me picturing a lone figure seated by the window on a train all while the frigid, dreary snow-covered landscape topped by an equally as grey sky zips by before his wistful eyes. So on one of the mornings on the way to school, I just so happened to not be as groggy as I thought I'd be - that was still during my first year at college and classes started at 8.30 am sharp and I didn't have the pleasure of living close by and I'm not a morning person by nature - allowing my creative juices to flow and formulate something substantial out of that little scene from my mind's eye.
The writing process for this story also went pretty smoothly and I doubt I'd forget ever forget it; I wrote the "Yuki Ressha" bit in school (the module I had that day was lax, so was my teacher) and the remaining three-quarters of it at home over the weekend. While at home, I restarted the project near midnight when, oddly enough, my creative juices flow best, and typed away for hours until I was done... at nearly 4 am the next day. It was my first time pulling an almost all-nighter doing something remotely productive. It quite the experience.
It feels rather odd for me to say this, but I've noticed that Kiyoshi Maekawa's (前川清) usual singing face has varied slightly over the decades. Way back then during his Cool Five days and some time after, he looked awkward with that frown and stoic expression. Fast-forwarding to the late 90's and mid 2000's, the frown fits the Mood Kayo singer better and he actually looks pretty fierce as he belts out a song - it's probably why that's my favourite phase. And finally coming back to the, as of today, 67 year-old fellow, I find that with more wrinkles and a more gaunt look, he appears more sad than angry and to my entertainment, he may seem very unamused, especially when he raises both eyebrows while his mouth remains down-turned.
Alrighty then, let's continue on to the main topic before this article takes a turn for the weirder. A few days ago when I did an article on a Yujiro Ishihara (石原裕次郎) tune, I mentioned that I had also got myself Maekawa's latest (49th) single, which happens to be "Yume no Tonari", released in June 2015. I could've waited for his new compilation album to come out as it would most likely have "Yume no Tonari" in it, but I was curious about the B-Side and the bonus track the single had to offer - these would most likely not be found in compilation albums - and from previous experiences, the other tracks could be as good or better than the A-side.
Beforehand, I read that Tetsuya Gen (弦哲也) was the one responsible for the music to "Yume no Tonari", and though not one of those cheerful and festive-sounding scores that I'm so used to hearing from this composer - it would be a surprise to hear Mae-Kiyo sing something like that - it's got the elegant, enka feel to it and has the instruments Gen typically incorporates into his works - strings and the accordion. The moment I heard that familiar sound I went, "It's done by Gen alright." Teruyuki Sakamoto (坂口照幸) wrote the lyrics.
Moving on, "Yume no Tonari" wasn't something I took an immediate liking to on the first listen due to its slow and wistful pace, but I have to say that it wasn't bad either so I continued to listen to it because of that. Eventually it grew on me and the chorus gets stuck in my head quite often, and I found a part of the song that I enjoyed - the instrumental bit after the first chorus. Oh, one more thing, "Yume no Tonari" peaked at 77th place on the regular Oricon charts and 17th on the enka-yo charts.
I think he'd have looked better in a darker suit...
Most of what I consider to be "Summer songs" would ordinarily give me the image of soft sand beaches with the blue waters of the lagoon lazily lapping against the shore or, depending on the tune, eager surfers dudes, surf boards in hand... arm... dashing towards the large waves that would soon swallow them whole...Watch out for sharks! The latter would more often than not be derived from Yuzo Kayama's (加山雄三) discography. I can just imagine him in his Wakadaisho-movie days gliding across the surface of the sea on his board. But both of the aforementioned scenarios don't apply to Kiyoshi Maekawa's (前川清) "Himawari". Rather than the sand and the surf and tanned surfers, I think of the strong afternoon sun shining down on to rolling fields crowded with bright yellow sunflowers swaying away in the warm, gentle breeze. Actually, there is this old Oregon photo book that my parents have (they got it as a gift from friends there) that has got a picture similar to what I described above. I just love leafing through that book as it boasts the state's natural beauty.
The photo was taken by Ray Atkeson
from "Oregon III", "Cascade Range" section.
Anyway, written and composed by the popular singer-songwriter, Masaharu Fukuyama, who hails from Nagasaki as well, "Himawari" gives out this really relaxed and, in my opinion, lazy-weekend vibe with its slow yet cozy pace and Mae-Kiyo's deep, slightly husky delivery. Although it isn't one of my top favourite tunes from the veteran singer due to its length, clocking in at almost 6 minutes - I have gotten used to the briefness of most kayokyoku - and its lullaby-like music, I do appreciate it from time to time on bright, clear days with the scenery from the car or train carriage whipping by. The video below has Fukuyama's version, which is gentler and more deconstructed compared to the one he put together for Maekawa. He kinda sounds like a combination of ASKA and Keisuke Kuwata (桑田佳祐), if you ask me.
"Himawari" was released in June 2002 as Mae-Kiyo's24th single, and by far, it his only solo single to break into the top 20 on the Oricon charts, peaking at 13th place, if I'm not wrong. He also sang "Himawari" once during his 12th appearance on the Kohaku on the same year.
(The "Kayo Concert" video was taken down but
here is another performance by Maekawa.)
As for the video here, it was from a "Kayo Concert" episode last August, and it happened to be the first time I caught Mae-Kiyo performing on TV. Needless to say, I was... delighted. Ecstatic. On cloud nine.
Yup, that's the very expression that
sums up "Himawari" perfectly.
