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 Kyoko Kosaka. Show all posts
Showing posts with label Kyoko Kosaka. Show all posts

Thursday, February 15, 2024

Barry Gray -- Theme from Space: 1999

 

I remember back to the mid-1970s when I saw the first commercial advertising this new sleek sci-fi show called "Space: 1999". The ad popped up on the regional channel, CHCH-11, in Hamilton just west of Toronto. I was a couple of years away from becoming a full-fledged dumb teenager so at the time, so I hadn't known that this show by Gerry and Sylvia Anderson, the couple behind all those 1960s Supermarionation hits such as "Thunderbirds" and "Captain Scarlet and the Mysterons", and then "UFO", would actually bring together people and settings that I had actually seen already but hadn't been aware about in my fuzzy-headed memories. 

Of course, there was the sci-fi aspect from "Star Trek" which I barely remembered seeing in its first run, stars Martin Landau and Barbara Bain who used to be on the first years of the original "Mission: Impossible" although I hadn't recognized them as such at the time (but I did bop on my diapered tush to the theme song), and the third main actor Barry Morse who had been the intrepid taciturn Lt. Gerard on "The Fugitive" in the early 1960s although the only scene that had been in my mind back then of that hit was the one showing the death of the One-Armed Man.


One of the fondest memories that I have of "Space: 1999" is the Eagle, and I know that I'm not alone in that opinion. Just the whole thing about it possessing detachable modules, lifting off and landing in spot, and its launch pad rising up and down...it didn't matter that the same scenes were recycled from episode to episode; it was a simply cool spaceship which had us wondering when NASA would ever actually make a real one. An Eagle One!😅

As for the show overall, my Australian friend may have put it best when he said that "Space: 1999" has been remembered nostalgically in a better light than it actually was. Yup, seeing some of the episodes in Seasons 1 and 2, there were some of the hilarious bendings of science and weird acting that made it the butt of jokes on "The Big Bang Theory" and even by a US Supreme Court judge. And my feeling is that though Landau was an award-winning actor, he needed those writers and strong directors backing him up, something that didn't always happen on "Space: 1999".


Still, I think that the first episode "Breakaway" and then "Black Sun" among a few others still stand out positively for me, although the premise of the Moon blasting out of orbit was probably one source of mirth among Sheldon Cooper, Leonard Hofstadter and the others. It definitely distinguished itself from "Star Trek" in that it had some of the scariest and tensest sequences ever put on television; there's been much said about how scary "Doctor Who" had been but I can't really see any of the scenes there matching up with what I saw in "Dragon's Domain", "Force of Life" (with a young Ian McShane from "John Wick" as a tragic Moonbase Alphan-turned-heat vampire) and even those poor astronauts in "Breakaway". I think what kept me interested in the show was that I didn't know who was going to buy the space farm from one episode to the next and how horribly they were going to depart.


I can go on for hours about the ups and downs of "Space: 1999", especially the major renovation it got between Seasons 1 and 2 but then this week's ROY article would appear as something transplanted from a "Space: 1999" blog and not "Kayo Kyoku Plus". Therefore, let's go straight to the Barry Gray theme for Season 1 which was epic when I first heard it on the pilot episode "Breakaway". The ominous timpani leading to the brassy fanfare which then went into a shocking rock sequence accompanying the "Mission: Impossible"-like quick cuts of the episode to come. Then it was back to the orchestra before classical and rock merged into a prog rock ending. I never heard anything like that in a theme song and I haven't since. I would root for a Hollywood remake just to hear the revamped version of that theme.


I do have to include one other piece from the soundtrack for Season 1. As with the original "Star Trek", "Space: 1999" did recycle various examples of Gray's music in its episodes which have stood out, and even some famous classical pieces such as "Mars, The Bringer of War" from Gustav Holst's suite "The Planets" were used (in "Space Brain", the episode where the Alphans had to desperately fight off the Mother of All Bubble Baths). But I have to say that the one original Gray composition that has always remained in my own brain all these decades is "We're at War" from the episode "War Games", a very dark What If episode but with a fun battle (well, massacre really) between the Eagles and the Hawks


"Space: 1999" made its premiere on September 4th 1975, nine days and twenty-four years before the Moon supposedly gets violently ousted into outer space. Intriguingly enough, I did find a Top 10 list of singles on September 1st that same year. What were the top three?

1. Hiromi Iwasaki -- Romance (ロマンス)


2. Kyoko Kosaka -- Omoide Makura (想い出まくら)


3. Kenji Sawada -- Toki no Sugi Yuku Mama ni (時の過ぎゆくままに)

Monday, August 30, 2021

Hitomi Ozaki -- Soushunki(早春期)

 


Ah, once again I bring you one of those many 80s aidoru that quickly came and went while getting those five minutes of fame. Additionally and as is often the case, there's very little information to be found out regarding this young lass.

Hitomi Ozaki(尾崎仁美)was born in 1969 and had an aidoru career lasting a little over two years according to what her page on "Idol.ne.jp" says. Her debut single from February 1986 was "Soushunki" which I believe means "Early Spring", so I can assume that the lyrics by Haruki Tango(丹古晴己)are talking about heartfelt falling heads-over-heels in love. The melody that hints at some of that haunting romantic uncertainty is by Kyoko Kosaka(小坂恭子)with arrangement by Eiji Kawamura(川村栄二).

What strikes me about Ozaki though are those high-pitched clear-as-a-bell vocals that make her sound even younger than those sixteen years that she was registering when "Soushunki" was released. I don't know as of yet about her remaining four singles going into early 1988 but I think that with this inaugural song, she actually had a promising beginning. Then again, perhaps she didn't really stand out significantly enough from the rest of the aidoru crowd.

Sunday, July 18, 2021

Kyoko Kosaka -- Story(ストーリー)

 

The Kyoko Kosaka(小坂恭子)file on "Kayo Kyoku Plus" keeps getting a little more interesting. Beginning with her 1975 kayo hit "Omoide Makura" (想い出まくら), I also came across her earlier dramatic New Music "Glass Saiku"(ガラス細工)from 1974.

"Story" was the B-side to singer-songwriter Kosaka's December 1978 single "Nigai Yubi"(にがい指...Bitter Finger) and listening to this one, there's been another dimension shown here. Written and composed by Kosaka, "Story" takes things into the more laid-back 70s City Pop/J-AOR zone including the warm saxophone solo. Even her vocals get a little lighter and mellower here. Reading that Akira Inoue(井上鑑)was behind the arrangement, I just went "Ah, naruhodo". Both the A-side and B-side also ended up on the singer's penultimate album "Winker" which was released in the same month as the single. Inoue arranged all of the tracks which makes me wonder whether the entire album is in that urban contemporary vein.

Monday, October 5, 2020

Kyoko Kosaka -- Glass Saiku(ガラス細工)

 


Over 5 years ago, I wrote about Kyoko Kosaka's(小坂恭子)"Omoide Makura"(想い出まくら), a folk song that was quite familiar to me although I hadn't known about the singer/songwriter or the even the title back then. 


(excerpt only)

"Omoide Makura" was released as Kosaka's 3rd single in May 1975 and it was a signature hit for her as it became the 3rd-ranked single of the entire year. Just in the last little while, though, I discovered the title track from her debut album released in July 1974, "Glass Saiku" (Glassworks).

I mentioned in the other article that Kosaka was someone who covered both the folk and New Music genres. Well, in comparison to the folksy kayo that "Omoide Makura" was, "Glass Saiku" is definitely more in the New Music vein. The singer was responsible for both words and music with Mitsuo Hagita(萩田光雄) handling the arrangement, and there is something more Western about "Glass Saiku" with the piano and strings reminding me of the introspective pop that I used to hear on the radio back in those 1970s. It definitely doesn't come across as the usual kayo. In addition, the way those strings suddenly get so contrastive in the middle of the song makes me wonder whether Kosaka and Hagita had also wanted to get a little progressive in the arrangement. As well, the former's vocals have a bit more growl and bite here when compared to the way she sings "Omoide Makura".

Tuesday, March 10, 2015

Kyoko Kosaka -- Omoide Makura (想い出まくら)


And here I thought that the only singer by the name of Kosaka I knew was Akiko. Well, I've now got a second Kosaka...Kyoko Kosaka(小坂恭子), to be exact. A couple of years after Akiko Kosaka(小坂明子)wowed the masses with the evergreen ballad "Anata"(あなた)as her debut, her unrelated namesake, Kyoko Kosaka from Miyazaki Prefecture released a successful ballad of her own as her 3rd single from May 1975.

Titled "Omoide Makura" (Pillow of Memories), I actually heard the song a few times over the decades but neither knew the title nor the singer. Singer-songwriter Kosaka has been described on J-Wiki as a folk and New Music singer, but I think with this song, she's probably more in the former category and I'd say that it also enters the genre of Mood Kayo. Kosaka's lyrics have the heroine reminiscing about some pillow talk memories with a past lover...probably not a song for daytime karaoke, not because it's particularly racy but the mood suits a nighttime session with a tumbler of the good stuff.


I don't know how far "Omoide Makura" got on the Oricon weeklies although it ended up as the 3rd-ranked song for 1975 so I'm fairly sure it reached the top spot. It sold 850,000 copies according to the same company although other data has said that it actually went over a million. The song also got onto Kosaka's 2nd album, "Kyoko" which came out in October 1975.


And it seems like a lot of other singers have done their own karaoke session on a grander scale. Here is Masako Mori (森昌子).