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.
Once again, I bid you welcome to the weekly Reminiscings of Youth where I post an article on an old song from outside of Japan that I have cherished since my days as a young lad in Toronto. It's been a while, so I wanted to write something on one of my favourite pop groups, The Manhattan Transfer.
I actually saw the guys perform this on an episode of that music show "Solid Gold" decades ago, and thought it was a pretty darn cool tune. This would be "Mystery", straight from The Manhattan Transfer's September 1983 album "Bodies and Souls" which also has one of their biggest hits, "Spice of Life" that I've covered in a past ROY article. And as with "Spice of Life", the late great Rod Temperton took care of this urbane and soulful ballad. Both songs were the many examples of the Transfer's urban contemporary phase spanning from the late 1970s going into the 1980s.
Now, it was just a couple of weeks ago that I devoted the ROY that time to Anita Baker's scintillating "Rapture" album. It was there that I mentioned that there was especially one track on the album that I wanted to focus upon, and indeed, it's this one, the Queen of Quiet Storm's own cover of "Mystery". Her take fits very well with the overall mood of the album and she handles it with absolute aplomb. If I had to make a choice between the two, though, I would have to go with The Manhattan Transfer's original because of those wonderful harmonies elicited from the group.
Going with the September 1983 release of "Bodies and Souls", what were some Japanese singles being released that month?
"General Hospital" is a daytime soap opera that I've known about since I actually got out of hospital after my birth. Even as a toddler, I'd been aware of characters such as nurse Jessie Brewer, Dr. Steve Hardy and lawyer Lee Baldwin. However going into the 1980s, I and a lot of North America suddenly realized that one of television's longest-running programs spiked in popularity, intrigue and sex appeal because of the Luke & Laura story line. I didn't actually get sucked into that plot but then afterwards, I started watching in 1982 when Luke Spencer had supposedly died and then come back from the dead to get into some more mystery which involved spies like Robert Scorpio of the WSB and the enigma that was Holly Sutton.
Unfortunately, the above video has Luke and Holly meeting up but it doesn't have the scene where the latter first appeared. It was accompanied by a sultry R&B number that I would later find out was titled "Baby, Come to Me" although the Wikipedia article identified the song as a love theme for Luke. It was around the same time that a young Demi Moore would make her presence felt as crusading reporter Jackie Templeton.
At the time, I was still getting my feet wet in terms of my newfound appreciation for pop music and since "Baby, Come to Me" was something that was being played in the background while the actors were saying their lines, I didn't quite fall for it back then. However, as sung by Patti Austin and the late James Ingram who contributed mightily to Quincy Jones' "The Dude" in 1981, I've come to discover that the love ballad is one of the very best of Quiet Storm, a genre that I often associate with one Anita Baker.
"Baby, Come to Me" was released in April 1982 but it had first become known as a track on Austin's September 1981 album "Every Home Should Have One". I hadn't known that and what I also didn't know that the album version had a slightly longer intro. But once it was put out as a single in the spring of 1982, it did OK by peaking at No. 73 on Billboard but with the boost in popularity thanks to its use in "General Hospital", it was given a second release later in October and finally hit No. 1 in early 1983.
May I say that this ballad really brings back the nostalgia and the wonders of late 70s and early 80s R&B. Plus, Michael McDonald is once again providing wonderful backing chorus. Rod Temperton created the song while the aforementioned Jones produced the whole ball of wax. The recording musicians were no slouches either: David Foster, Temperton, Greg Phillinganes and Steve Lukather among others.
To specify, the album "Every Home Should Have One" was released on September 28th 1981. Well, I was able to track down the list of the top songs in Japan on that very day. The top three are as follows:
A couple of years ago, I posted Ray Parker Jr.'s"Ghostbusters" as a Halloween Reminiscings of Youth piece, so I figured that it was time for this one as well. Now I am well aware that Halloween is not a statutory holiday but merely an observed fun tradition but I'm still going to continue our KKP tradition of coming up with something spooky on the 31st or thereabouts.
I've known Michael Jackson's"Thriller" more for the epic video of around 15 minutes in length than for the original single that was released in the United States in January 1984. Never bought the album "Thriller" in my youth so the video was my introduction to the song by Rod Temperton which was produced by Quincy Jones.
The video was released in early December 1983 and the hoopla surrounding it was incredible to say the least. Even now, I don't think music videos that are a quarter of an hour in length are all that plentiful so you can imagine how the excitement was like back forty years ago. After all, this was the King of Pop Michael Jackson doing a horror-based music video with all of the special effects trimmings under the direction of John Landis of "Animal House", "The Blues Brothers" and "An American in Werewolf in London" fame, and yep, some of "Thriller" was inspired by that final movie. Anyways, folks were really excited to see the world premiere of the video on MTV, and we here in Canada were able to view it as well, probably via MuchMusic.
Because of the plot line of the werewolf and MJ taking home Ola Ray being interwoven into the song and dance, I'd say that "Thriller" could have even been called a very specific mini-musical around one tune, and man, that was some choreography. Now if zombies ever dance again anywhere in media, they would have to follow Michael. Of course, I can't ever forget Vincent Price's appropriately ghoulish narration and his gleefully evil laughter at the end.
Once the single came out, I remember that "Thriller" kept getting onto the top of the request charts for weeks upon weeks. Putting aside all of the Halloween sound effects, Price, and even Temperton's lyrics, the song is just one funky disco song released years after disco was supposed to have been exorcised from pop culture. The musicians supporting the song were all top-notch: Jerry Hey, Gary Grant, Larry Williams, and Bill Reichenbach on horns (all who have played on Japanese pop albums, too), along with Temperton and Greg Phillinganes on keyboards.
In Canada, "Thriller" the single made it up to No. 3 while hitting No. 4 in America. The countries where it actually topped the charts were Belgium, France, Portugal and Spain.
Now, what was coming out as singles in December 1983?
It was all the way back in 2014 when I wrote up a "Kayo Kyoku Plus" article on the very first single record of a Western pop song that I had ever bought and that was "Ai no Corrida" as originally sung by Charles "Dune" May. As I mentioned in that article, I first heard the disco or post-disco classic through a cover version done by a whole bunch of young 80s aidoruin one of the special segments of the 1981 Kohaku Utagassen on NHK. The single version was also a hit in Japan.
"Ai no Corrida" hit me with such good vibes that I soon ran over to the local Sam the Record Man shop to search for this unusually titled tune, and it was a surprise and delight that I could find the 45" single even in that tiny branch. The single version though was only a few seconds north of three minutes. I wouldn't find out for several years that the album version from Quincy Jones'"The Dude" has more than double the goodness. I stated this in the "Ai no Corrida" article as well, but the Jones version was also a cover for the Chaz Jankel original from the previous year.
Yup, "The Dude"...released in March 1981. It's an album that I wouldn't buy for several years since I was frankly intimidated by that cover. In fact, I finally bought it in Japan in the late 1990s, nearly 20 years after it had been first put onto record shelves. And since then, I've been happily catching up on what I'd missed by playing it in heavy rotation.
But let me get the accolades for "The Dude" out of the way. To lift a quote from the Wikipedia article for the album: "The Dude was nominated for twelve Grammy Awards (including Album of the Year) and won three at the 24th Grammy Awards: for Best Instrumental Arrangement; Best R&B Performance by a Duo or Group with Vocal; and Best Instrumental Arrangement (Accompanying Vocalists). It also earned Ingram three Grammy nominations for Best New Artist, Best Male Pop Vocal Performance (for "Just Once") and Best Male R&B Vocal Performance (for "One Hundred Ways"), which he won."
I also read somewhere that "The Dude" was the Michael Jackson album that Michael Jackson had never recorded. It's just that cool and special. So, without further ado, let me go through this classic album version of Reminiscings of Youth this week.
Second up on "The Dude" is the title track itself. And Jones himself is The Dude here with his kakkoii rap. Created by Jones, Rod Temperton and Patti Austin, one couldn't have a cooler power song for a patriarch of the neighbourhood. The backing vocals by Austin and others (including a certain one-gloved wonder...I believe I did cite him earlier), Ernie Watt's sax, James Ingram's heraldic vocals and those Jerry Hey horns come together magnificently to craft a potential theme tune that would come as a reassuring message to some and a warning to others.
One of the reasons that I've been happy with "The Dude" is that there is a good amount of variety in the types of music. Case in point, Track 3 is the late James Ingram's"Just Once", a pleasant soul-pop ballad that I had only known for years as a song that would frequently get played on AM radio before buying the source album. Barry Mann and Cynthia Weil were responsible for this second single (September 1981) to come out of "The Dude". I also remember it for its performance by Ingram on an episode of "SCTV" in which the singer was also more than happy to goof it up with the rest of the comedians. David Foster was on the keyboards here.
Smooth and velvety is how I would describe "Betcha Wouldn't Hurt Me" as performed by Patti Austin and created by the Stevie Wonder. This is the type of song that I wouldn't mind hearing in a car while heading down to paint the town red.
Austin was in front of the mike here, too, for "Somethin' Special", a truly special and slightly smoky urban cool tune which hits me like aural bacon. Rod Temperton took care of words and music here and I think that is Watts once more on the saxophone.
"Razzamatazz" is once more fronted by Austin and this is the track to hear when we are in the midst of painting the town red. Rod Temperton was also responsible for this disco flashback and another highlight is also hearing all of those background vocals percolating through the tune from all directions.
"One Hundred Ways" was the third and final single from "The Dude" which came out in December 1981. Sung by Ingram, the song was created by Kathy Wakefield, Ben Wright and Tony Coleman, and it's really a whimsical and heartfelt recipe on how to keep the heart lights glowing fiercely. Not surprisingly, this was also getting a lot of play on the radio, perhaps especially on Valentine's Day.
The penultimate track "Velas" by Ivan Lins and Vitor Martins is the lone jazz instrumental track on the album. It was the first time that I realized how soulful a harmonica can be since up until that point, I'd assumed that the instrument was used just in cowboy movies. I have to therefore give my compliments to the legendary Toots Thielemans for opening my eyes (he also provided the whistles). His work along with the creamy keyboard work by Greg Phillinganes and Johnny Mandel's silky strings add to a very romantic nightscape.
And we finally come to "Turn on the Action", another look back at disco and good ol' R&B by Rod Temperton and Patti Austin. As soon as I saw that title, I figured that I was going to get something from the old 1970s dancehalls.
I couldn't come anywhere near mentioning all of the players involved in "The Dude" here, so have a look at the personnel on Wikipedia. On America's Billboard 200, the album reached No. 9 while hitting No. 1 on the R&B and jazz charts. For the year, "The Dude" reached No. 25 on the 200 overall. Also, take a look at the article on the "EBONY" website.
With "The Dude" having its release in March 1981, what else was being put out there in Japan in that month?
I figured last week that I would be doing this Reminiscings of Youth article today on the legendary vocal group The Manhattan Transfer. However, I didn't know that this year would mark the 50th anniversary since the formation of the second and current incarnation in 1972. It's just a pity that founder Tim Hauser is no longer around since he passed away in 2014 but perhaps somewhere, I'm hoping that he's looking fondly and proudly at his fellow Transfer mates still singing, scatting and crooning away to thrilled audiences.
My first ROY article regarding The Manhattan Transfer was a little over a year ago and not surprisingly, it was focused on the first two songs that I had probably ever heard by them as a little kid "Tuxedo Junction" and "Chanson D'Amour" back in the mid-1970s. Of course at the time, my musical vocabulary was extremely basic but even then I knew jazz when I heard it, thanks to all the standards that I heard on my parents' stereo.
However, as all Transfer fans know, their heroes didn't want to stick with doing jazz and chanson covers. In the latter half of that decade going into the 1980s, the Manhattan Transfer got onto some of the R&B and disco bandwagon. That culminated into one of their most famous hits "Spice of Life", a song that I heard frequently on the radio. This was a single which came out in 1983 with the source album being "Bodies and Souls" which was released in September of that year. "Bodies and Souls" was the very first Manhattan Transfer album that I ended up buying but certainly not the last.
After listening to "Spice of Life" at least hundreds of times over nearly forty years from radio to CD to YouTube, I really cherish this one. Looking back, I think that it's one of the truly great examples, alongside Swingout Sister's"Breakout", of sophisticated jazzy pop of an age when folks on either side of the Pacific were enjoying their caviar and champagne. It's sumptuous listening and vicarious living for a fun and luxurious night on the town. If such a thing were possible, I would even grant both "Spice of Life" and "Breakout" honourary Japanese City Pop status.
Not only is Stevie Wonder helping out with his harmonica solo, there are also plenty of musicians contributing to "Spice of Life" that have been well known among Japanese singers and their works, including Jerry Hey and Gary Grant on trumpet, Ernie Watts on sax, Paulinho da Costa on percussion and Neil Steubenhaus on bass. Perhaps it's no surprise then that "Spice of Life" was also popular in Japan. In fact, the Manhattan Transfer did a commercial over there for Suntory Brandy while doing an acapella version of the song.
Now, I would do the Oricon Top 3 for September 1983 but those three positions have already been mentioned for another ROY article back in May 2021. So, instead I'll cover Nos. 6, 7 and 8.
"Thriller", "Billie Jean", "PYT", "Human Nature", "Beat It"...the list goes on for the Michael Jackson hits which I've enjoyed over the years. But there is one song by the late King of Pop that still hits me with those fine feelings of yesteryear and it's truly a reminiscing of youth.
"Rock with You" was released on November 3rd 1979. That combination of the opening rat-a-tat-tat drum and then the spacey synthesizer has been my ASMR trigger for my ROY moment all these decades, and the way that Jackson just purrs those opening lines truly emphasizes that one line in Rod Temperton's lyrics: "Relax your mind". Despite that title, the song is cool and cooling.
The song was called a disco tune in a year when that very word was most likely being partnered with another word to become one of the more famous pop cultural catchphrases of disdain, but being someone who never really had an issue with the genre, I do enjoy the funk, soul and AOR of "Rock with You". It's all great but my favourite part of "Rock with You" along with the intro is the middle section which starts with "And when the groove is dead and gone..." when the Seawind Horns led by Jerry Hey and those romantic strings come rolling in. I can imagine an epic scene flying over a major city during sunset when that middle part comes in.
And the amazing thing is that it's probably one of Jackson's shortest songs at just three minutes and change. But Jackson, Temperton, all of those amazing studio musicians and producer Quincy Jones spun some wonderfully shimmering gold with "Rock with You" as it hit No. 1 on the Billboard Hot 100 and even finished 4th on the yearly version of the chart.
One more observation that I had was before I saw the video for "Rock with You", I hadn't remembered seeing Jackson for several years since his time with the Jackson 5 in the early 1970s when he was just this little kid, and most of my sightings of that group was through their Saturday morning cartoon on ABC. So to see this really lanky happy young man in the sparkling suit appear in front of a laser beam and rotating fog was quite the thing.
Anyways in making my usual search for what was also coming out in Japan at the same time, I discovered that quite a few classics did come out at around the same time as "Rock with You".
Earlier this month, I wrote a tribute for Daryl Dragon, The Captain from Captain & Tennille because of his passing on January 2nd. Sad to say, I have to say that 80s R&B singer James Ingram has also died today at the age of 66. I found out about the news earlier on Twitter. This hurts even more since the Ohio-born singer recorded a lot of numbers that became part of the music book of my memories and partially led to my love of the Japanese urban contemporary scene.
Ingram has already become part of "Kayo Kyoku Plus" since I wrote about his duet with Linda Ronstadt, "Somewhere Out There" which was later covered by Akiko Kobayashi（小林明子）under the title "Kokoro no Honoo"（こころの炎）. Strangely enough, the impetus for me to write about it was that composer James Horner had passed away.
I have Ingram's BEST compilation and also Quincy Jones' "The Dude", the amazing 1981 album that included the wonderful "Ai no Corrida", the opening track. However, Ingram was also responsible for another track "Just Once", his debut single recorded in August 1981. He had so many amazing songs but for me, "Just Once" is perhaps his theme song and a ballad that will always remind how much I love the 1980s R&B. On the US Billboard 100, it peaked at No. 17 but made it up to No. 7 on the Adult Contemporary charts.
Then in 1983, he and Michael McDonald of The Doobie Brothers did a duet for the single "Yah Mo B There", one of the cooler songs in the genre during those 80s. The intro still can give me a shiver up the spine. Ingram gave some wonderful balladry but I really loved the kakkoii factor for "Yah Mo B There". That went up to No. 19. Still remember the music video which got plenty of exposure on the music video shows.
As I did for "Love Will Keep Us Together" by Captain & Tennille, I will continue the mandate of the blog and provide three songs that actually debuted in August 1981, the same month for Ingram's debut "Just Once".
