Megumi Mori -- Pearl Moon ni Kuchizuke（パールムーンにくちづけ）

 

There are a few Megumi Mori（森恵）songs on the blog, but the one that I will always remember her for is her 3rd single from April 1987, "Tokio Town"（東京街）, which I discovered years and years ago through a Hong Kong-made compilation tape. And that was a cover of a song as performed by a singer named Sarah.

The B-side to "Tokio Town" is quite different in tone. Unlike the busy Eurobeat of the A-side, "Pearl Moon ni Kuchizuke" (Kissing the Pearl Moon) sounds like a contemporized version of a much older-sounding pop song although it starts off with an 80s dance music sequence. The powers-that-be even included a Doobie Bounce in a mere pop/rock tune that doesn't approach anything like AOR. Hiromi Mori（森浩美）provided the lyrics while NOBODY came up with the melody. Shiro Sagisu（鷺巣詩郎）was the arranger here. The song was also included in Mori's debut album "Shojo"（少女...Young Lady） which was released in October 1987.

Mariko Tone -- Private Number

 

Happy Friday! Well, things are supposedly falling into place for Toronto's contribution to the World Cup next week. I'm casually interested in the soccer that's to be played but to be honest, I was looking more at what restaurants representing the other nations in Canada's group will be cooking up.

Speaking about what someone is cooking up, it looks like Mariko Tone's（刀根麻理子）protagonist in her song "Private Number" is getting quite hot and bothered about her beau. Must be early times in the relationship but she's more than happy to give the lad her special phone number. "Private Number" starts out a bit tinny tropical but then the synth thrums in along with the persistent percussion before things get all funky and even some Motown. Of course, gotta have that City Pop saxophone and the horns in there, too.

"Private Number" is available on Tone's June 1986 3rd album "Naturally". It was written by Linda Hennrick, composed by Goji Tsuno（つのごうじ）and arranged by Shiro Sagisu（鷺巣詩郎）. 

Teruhiko Aoi/Miyoko Yoshimoto -- Sentimental Carnival（センチメンタル・カーニバル）

 

Another blistering day out there. As such, this has been the earliest that our family has pulled out the air conditioner and activated it. Mind you, from tomorrow, the high temperatures will plummet like rocks for the rest of the week, but that's OK. We'll be happy to have the AC on standby for the eventual summer that does arrive.

A couple of days ago, I was watching "Shin BS Nihon no Uta"（新BS日本のうた）and encountered a new song that I hadn't heard before titled "Sentimental Carnival" by Teruhiko Aoi（あおい輝彦）. Listening to it on the show and then hearing it on YouTube, I had assumed that it was a Group Sounds/pop creation from the 1960s, only to realize that Aoi had released it as his 14th single in June 1977. Yes, the very first "Star Wars" movie is older than this song. 

But as written and composed by Toshiro Abe（阿部敏郎）, it's still quite the jangly and twist-happy tune. Yesterday, I wrote about The Tube's "Midnight Beach" and how the seashore at night can make for a romantic setting. Well, I gather that the same can be had for the annual carnival although folks will be a lot busier on the rides or just strolling hand-in-hand through the various games and concession stands. With the snappy arrangement by Shunichi Makaino（馬飼野俊一）, "Sentimental Carnival" was Aoi's final Top 10 hit, peaking at No. 8 and eventually becoming the 53rd-ranked single of 1977.

Eleven years later, "Sentimental Carnival" was covered by aidoru Miyoko Yoshimoto（芳本美代子）as her own 14th single in June 1988. As arranged by Shiro Sagisu（鷺巣詩郎）, it was given some snazzy contemporizing with synths, syn-drums and sharp horns, and it earned the snaggle-toothed lass a No. 20 ranking on Oricon. Maybe it's just me, but I think Yoshimoto's voice seems a fair bit more mature here.

Satoshi Ikeda -- I Love You（哀愛君）

 

Yes, I realize that I did put up that White Day list last night, but I figure that I have one more related song within me. Besides, I also noted that I was one City Pop article short of the usual five that I post so I'm making amends here.

My Satoshi Ikeda（池田聡）file on KKP isn't too long and what I have on him mostly shows his 90s material aside from his debut single which I featured on The Works of Ken Sato（佐藤健）. Therefore, let me introduce "I Love You" which was the B-side to his second single "Jealousy"（j・e・a・l・o・u・s・y） from January 1987. Composed by Ikeda, written by Hiroko Asano（浅野裕子）and arranged by Shiro Sagisu（鷺巣詩郎）, it's got synths and guitars crashing with abandon to show off that exciting night in the big city.

Wherever you are in Japan, I hope you and your significant other are enjoying White Day!

Shiro Sagisu with Somethin' Special feat. Keiko Sugai -- Ai no Message（愛のメッセージ）

 

It's the final day of February and since we're not in a leap year, the final day will naturally be the 28th so certainly it'll be a lower output than usual for KKP.

Now, usually, I keep a lot of the City Pop on hand for Urban Contemporary Fridays, but seeing that this is February 28th, I might as well provide something pretty exciting, especially this is also a Saturday. A few years back, I noted that "Evangelion" soundtrack maestro Shiro Sagisu（鷺巣詩郎）had also been quite the disco City Pop king in the late 1970s. He put out an album with his Somethin' Special band called "Eyes" in 1979.

Well, he and the band also put out a single in that same year called "Ai no Message" (Message of Love), and as was the case on "Eyes", Keiko Sugai（須貝恵子）provided her dynamic vocals and the lyrics on this particular song. It's got a little bit of everything as in Long Island Iced Tea bit of everything. I can hear a boogie rhythm, disco flair and some propulsive funk...just the cocktail to heave Tokyoites to the dance floor in the discos around town.

Iyo Matsumoto -- Chinese Kiss（チャイニーズ･キッス）

 

It's nice to hear from 80s aidoru Iyo Matsumoto（松本伊代）after a while. I found her 6th single from March 1983 titled "Chinese Kiss". Starting with some pre-recording banter that probably had the fans hitting their knees in bliss (and the producer slapping his forehead in frustration), it's a typically adorable Iyo tune.

Written by Chinfa Kan（康珍化）, composed by Toshio Kamei（亀井登志夫）and arranged by Shiro Sagisu（鷺巣詩郎）, it's a plucky aidoru song with a hint of Chinese flavor, a soupcon of City Pop, and plenty of whimsy. I'm not sure whether this date is taking place in Hong Kong or Yokohama but wherever the couple is, they are having one happy day interspersed with the titular sign of affection. I especially like the guitar when they make the transition from verse to chorus. "Chinese Kiss" hit No. 12 on Oricon and by the end of 1983, it was the 92nd-ranked single.

Yuka Onishi -- Shadow Hunter（シャドウ・ハンター）

 

Well over a dozen years ago, my good friend and KKP contributor JTM posted one of the most epic articles for the blog regarding the "Sukeban Deka"（スケバン刑事）franchise. Unfortunately, a lot of the links to the music incorporated in the various seasons have gone dead so I'll have to somehow reconnect them.

However, I can provide my take on one of the songs that was included in there, "Shadow Hunter" by actress/aidoru Yuka Onishi（大西結花）. This came out as her 5th single from February 1987 and it was actually an insert song in "Sukeban Deka III". Considering how exciting it sounds, I was surprised that it hadn't been used as an official opening or ending theme. The intro to "Shadow Hunter" sounds like something I would have heard as a theme for a 1970s American suspense-thriller series like the ones that Quinn/Martin used to make...for that matter, maybe it could have been used as the music accompanying a transformation scene for "Sailor Moon". The rest of the song as composed by Daisuke Inoue（井上大輔）and arranged by Shiro Sagisu（鷺巣詩郎）has that familiar feeling of an oomphed-up late 1980s aidoru tune. Reiko Yukawa（湯川れい子）provided the lyrics. "Shadow Hunter" was Onishi's first song to make it into the Oricon rankings by peaking at No. 17.

Naoko Kawai -- Weather Song

 

Well, this is not only the 12,001st article for "Kayo Kyoku Plus", but it looks like I missed out on someone's birthday by a couple of days. Yes, July 24th was Naoko Kawai's（河合奈保子）62nd birthday so many congratulations to her.

In commemoration, I have this one track from her 7th original album "Half-Shadow" which was released in October 1983. When I read Hiroko Taniyama's（谷山浩子）lyrics for her "Weather Song" before even listening to the song that was also concocted by her, I'd had the impression that it was going to be a rather melancholy ballad about a young lady tracing raindrops on the window while wondering when her Prince Charming would come to finally sweep her off her feet. 

Actually, I should have gotten the clue when "Weather Song" was placed as the first track on Side B of "Half-Shadow" which has been labeled as "Sunny Side". Indeed, it's quite the happy-go-lucky tune with Shiro Sagisu（鷺巣詩郎）arranging things so that it sounds like something from the Beatles collection. At the same time, I could imagine an entire song-and-dance performance with Kawai leading a group of dancers in rain gear and umbrellas prancing about on the wet floor. Nothing sad about this one...the aforementioned lady is happily waiting for that prince. 

Hikari Ishida -- Emerald no Suna（エメラルドの砂）

 

Hikari Ishida（石田ひかり）isn't someone that I would immediately associate with this music blog. During the 1990s, I usually saw her as an actress on TV dramas and commercials such as the one above. 

The one drama that I remember Ishida from is Fuji-TV's "Asunaro Hakusho"（あすなろ白書...Asunaro White Paper） from 1993 which was one of the network's most popular shows and was also a hit among some of our club members at the Japanese-Canadian Students' Association when we had our JTV programme of showing such dramas for members who wanted to pick up some Japanese.

But apparently, she did have her time as a late 1980s aidoru. Her first single was "Emerald no Suna" (Emerald Sand) from May 1987 which portrays a group of friends at a beachside cottage among whom one young lady is pining for one of her buddies. Does she make a move or not? Sounds ideal as a plot line for one of those Fuji-TV dramas.

Written by Yoshimasa Inoue（井上ヨシマサ）, composed by Yuuho Iwasato（岩里祐穂）and arranged by Shiro Sagisu（鷺巣詩郎）, "Emerald no Suna" does have that aidoru vibe but I gather that Sagisu's magic also painted on a layer of some sophisticated groove. Ishida's cute and chirpy vocals were OK but I can hear why she focused more on her acting career after 1990.

Yoko Nakamura -- Natsu Iro My Heart（夏色マイハート）

 

Well over a year ago, I introduced a brief-career aidoru by the name of Yoko Nakamura（中村容子）via her 1984 debut single "Teenage Soldier"（ティーンエイジ・ソルジャー）. I also compared her slightly with 90s singing star Kohmi Hirose（広瀬香美）due to those high and clear bell-like tones.

Now, allow me to take you to her fourth and final single "Natsu Iro My Heart" (Summer Color My Heart) which was released in June 1985. Written by Hiromi Fukunaga（福永ひろみ）, composed by Hideya Nakazaki（中崎英也）and arranged by Shiro Sagisu（鷺巣詩郎）, she doesn't quite sound like Hirose here as her vocals are somewhat more reserved but still girlish. There's something also kinda Seiko Matsuda（松田聖子）as well when Nakamura sings those verses along with Sagisu's arrangements and the wailing electric guitar and those gliding strings giving a certain refinement to everything. 

Ruiko Kurahashi -- Soshite Setsuna yori Kanashiku ~ O Ella O Yo（そして刹那より哀しく）

 

Well, starting my usual run on "Kayo Kyoku Plus" rather late tonight. I met a friend for lunch and "Deadpool & Wolverine" earlier today and quite enjoyed it. The Marvel Jesus tag was more of a punchline than a premonition, mind you, but it was still a fun flick and they didn't go too overboard with the cameo-bombing. All in all, satisfying and I got the impression that it was a fond farewell to the 20th-Century Fox group of "X-Men" movies.

Surprise and delight actually began from yesterday when I posted "Like a Queen" by Tomita Lab（富田ラボ）and SOULHEAD since I found that better music video for the song. Surprise and delight continued on with "Deadpool & Wolverine" and then also on discovering the existence of a a song by one of my favourite singers, Ruiko Kurahashi（倉橋ルイ子）, "Soshite Setsuna yori Kanashiku" (And Sadder Than the Moment). And the song itself is one of my favourites by her.

The thing is that "Soshite Setsuna yori Kanashiku" had only been limited to one curious paragraph referring to the original version of the song by Maria Conchita Alonso, "O Ella O Yo", in another Ruiko posting for "Ai, Soshite Anata"（愛、そしてあなた）all the way back in 2013. It really was a pity that there had been no YouTube video for Kurahashi's cover but the song finally did make its presence known on the platform...six years ago. Uh, better late than never.😏

Now, why do I like the song? Well, it plays to Kurahashi's talents of providing softly delivered vocals surrounded in a swath of sophisticated pop balladry. Arranger Shiro Sagisu（鷺巣詩郎）really poured it on the schmaltz for the melody by Juan Carlos Calderon. Ren Takayanagi（高柳恋）provided the Japanese lyrics for this single which was the singer's ninth, released in October 1986.

Yukie Kawakami + Tsutomu -- Heart no Neji（ハートのねじ）

 

It was well over a decade ago when I first provided the article for aidoru Yukie Kawakami's（河上幸恵）1983 debut single "Blue Etranger"（ブルーエトランゼ）, and it struck me as being quite a refined song for a teenybopper singer. I rather compared the song with the type of music that pop chanteuse Mariko Takahashi（高橋真梨子）sang during that same period.

The other day, commenter YMOfan04 asked me about another single that Kawakami recorded in December 1984, "Heart no Neji" (Key to Your Heart), so I decided to check that one out as something that could be posted here as the aidoru's second KKP entry. Now to be fair, it's not just Kawakami but her and a robot named Tsutomu（ツトム）behind this much more conventionally upbeat and perky aidoru tune. The singer's voice is still pretty spot-on and appropriately girlish. Yasushi Akimoto（秋元康）was behind the lyrics while Kosho Inomata（水谷公生）took care of the music and Shiro Sagisu（鷺巣詩郎）was responsible for the arrangement.

Mayumi Hara -- Yuugure wa Love Song（夕暮れはLove Song）

 

The Mayumi Hara（原真祐美）file on "Kayo Kyoku Plus" has four songs including this one, but the previous two entries are for songs that she wrote up for other singers. So, in actual fact, the last song where she's featured on the byline is the first song that I ever wrote up about her back in September 2017.

That was for "Bye, Bye, September", her third single. Well, this is for her follow-up, "Yuugure wa Love Song" (Twilight is a Love Song) which was released in January 1984. There was quite the heavy-hitting team behind the creation of "Yuugure wa Love Song" with Yoshiko Miura（三浦徳子）providing the lyrics while City Pop maestro Tetsuji Hayashi（林哲司）created the melody with future "Evangelion" music master Shiro Sagisu（鷺巣詩郎）arranging everything. And again, although Hara's vocals were never the strongest, she's uplifted by the bouncy melody. It's not a City Pop tune but Hayashi and Sagisu did make something quite appealing with that wailing guitar in the intro which also sounds like the theme for some 1980s American hourlong TV adventure...well, some of it anyways. 

"Yuugure wa Love Song" only made it as high as No. 93 on Oricon. A month after the release of that 4th single, the song was also on Hara's 2nd album "Vert Clair"（ベール・クレール）.

Kohmi Hirose -- Mou Ichido Mou Ichido（もう一度 もう一度）

 

There was that period between the summer of 1991 and the fall of 1994 when I was back in Toronto getting that certificate in TESL (Teaching English as a Second Language) and helping out once more with the Japan-Canada Students' Association at the University of Toronto. Meanwhile, Japan's economic bubble had burst rather dramatically at around the time I got back or maybe it had already done so a year previously and so the good times were over. Maybe then, the Japanese were then sinking into the doldrums on a number of fronts.

And yet, I still remember that the music wasn't necessarily reflecting depressed times. For instance, the vivacious singer-songwriter Kohmi Hirose（広瀬香美）made her debut in those early 1990s and I can only say that enthusiasts of her brand of high-toned and optimistic music probably got a huge dose of fresh air and premium coffee. Her December 1992 debut single "Ai ga Areba Daijoubu"（愛があれば大丈夫）with its mix of EW&F disco and hearty American variety show-friendly jazz standard made a nice moderate splash in the J-Pop ocean by tracking in at No. 42 on the Oricon chart.

The coupling song is something that I only discovered within the last few days. "Mou Ichido Mou Ichido" (One More Time, One More Time) goes funkier and clubbier with what sounds like a regular organ getting a percolating workout on the keys. Once again written and composed by Hirose with Shiro Sagisu's（鷺巣詩朗）arrangement, we also get some of the happy brass, the rollicking rhythm and the singer's "everything is gonna be alright" vocals. The lyrics exhort that desire to undergo that wholesale change to become a better and happier person. 

Yu Hayami -- Ano Koro ni Mou Ichido（あの頃にもう一度）

 

Along with Ushirogami Hikaretai's（うしろ髪ひかれ隊）"BAB", another kind gift from JTM was one of Yu Hayami's（早見優）BEST compilations, 1987's "Yu's Beat" which I will have to provide an article for sometime in the next several weeks. This particular BEST CD has more of her relatively hard-driving dance-pop tracks.

However back in the early days of her aidoru-hood, Hayami was giving fans and other listeners the conventionally sweet stuff. For example, here is "Ano Koro ni Mou Ichido" (Once Again Back Then), her 4th single from January 1983, a song written and composed by Kyoko Matsumiya（松宮恭子）and arranged by Shiro Sagisu（鷺巣詩郎）. A story of melancholy regret over a rough but basically good boy who's now gone away from his girl, I think the overall arrangement by Sagisu reminds me of a similar plan for "Machibuse"（まちぶせ）, Hitomi Ishikawa's（石川ひとみ）1981 hit cover version of the Seiko Miki（三木聖子）original created by Yumi Arai（荒井由実）. I'm not sure if that sort of melody was a template for a lot of other wistful tunes during the Golden Age of Aidoru but it's certainly activated the natsukashii trigger in me for that music.

"Ano Koro ni Mou Ichido" hit No. 27 on Oricon and was also a track on Hayami's first BEST compilation, "you BEST" from November 1984. 

Shiro Sagisu with Somethin' Special -- Full Flight

 

There is a young weather forecaster on Japan's "Weathernews Live" broadcast by the name of Rinon Oshima（大島璃音）who is currently in her third year and has picked up quite a popular following. She's got a few hobbies of which one is Formula One racing, and if it weren't for her production staff, she would probably be running off at the mouth about F1 and all of her favourite drivers such as Max Verstappen instead of giving the weather.

It's often the case that whenever movies or TV shows from abroad arrive in Japan, a Japanese pop song is placed in during the ending credits as a promotional tune for both itself and the movie/show. The one example that I remember well was for the TV Asahi broadcast of "The X-Files" when B'z's "Love Phantom" was the song used, and it fit quite well.

Well, by luck, I came across this particular song that got picked up by YouTuber Marty Mcflies. "Full Flight" is an instrumental for the soundtrack of the 1980 F1 documentary "Pole Position 2", a sequel to the original movie which was an Italian-produced film titled "Formula uno, febbre della velocità" from 1978; its English title is "Speed Fever". As I mentioned above, the changing of the music in Japan for any imported movies or TV shows apparently applied to "Pole Position 2" as well with composer Shiro Sagisu（鷺巣詩郎）taking care of the honours here.

Sagisu and his Somethin' Special band took care of "Full Flight" which is a surprisingly romantic and contemplative piece with those silky strings and a synthesizer (?) in the lead. There's also a nice and light funkiness underlying everything. I've never seen the Japanese edition of "Pole Position 2" but I can imagine that something like "Full Flight" could be used more for the off-track scenes. Maybe the drivers are simply hanging out at home or at the bar while this is playing.

One of the commenters for the YouTube video of "Full Flight" provided a link to "Pole Position 2" which led me to the following video below.

(Sorry but the video has been taken down.)

Yuuichi Ikuzawa -- Miracle Beach（ミラクルビーチ）

 

Just to clarify things regarding Jodie Foster and Coppertone sunscreen, Foster wasn't the original model for Little Miss Coppertone since the logo lass had first appeared in 1953 and Foster wasn't born until 1962. However, the future Oscar-winning actress' first foray into show business involved her appearing in a Coppertone commercial in 1965.

Reading through all those old "Myojo"（明星）magazines, it was evident that the young Japanese back in the 1980s had a thing for getting bronzed under the summer sun, and so it was no surprise that Coppertone had a market in Japan, too. The commercials were definitely on!

Speaking of which, for the 1985 edition of Coppertone ads in Japan, singer Yuuichi Ikuzawa（生沢佑一）was brought on board to bring his jingle "Miracle Beach". There was some pretty big muscle behind the song, too, with lyricist Chinfa Kan（康珍化）, composer Yoshitaka Minami（南佳孝）and arranger Shiro Sagisu（鷺巣詩郎）massaging the tune into something that sounded like a proto-Being pop-rocker of the 1990s. The song was released as a single in May of that year. 

For something a bit more City Pop from Ikuzawa, you can try his earlier "Everyday" from 1983.

Blend -- Lady I Love You So / Soft Scat

 

When I first heard about the 1980s band Blend, I was surprised not just from the music but from the individuals who made up the group: there was Toru Yazawa（矢沢透）who had been part of the folk group Alice（アリス）, songwriting master Shiro Sagisu（鷺巣詩郎）, and then vocalist J.J. Stanley who would get married to Junko Yagami（八神純子）a few years down the line. But there they were, creating their own blend of City Pop and J-AOR.

Thus far, the songs that I've written about regarding Blend, such as "Montego Nights", have come from their one and only album "Intercity Renegade" from 1982. However, I recently came across their 1981 single, thanks to YouTuber Marty McFlies v2. Titled "Lady I Love You So", this was quite the revelation for me as well since this song by lyricist Stanley and composer Sagisu seems to be a hybrid of a stage musical piece just before intermission and a laidback City Pop ditty, and that description can apply right down to the choice of instruments.

As for the B-side of "Soft Scat" at 3:31, I first kinda wondered "How did you come up with 'Soft Scat'?". Of course, my shimoneta mind snarked back at me, "I laid off the fibre for a day". But seriously folks, "Soft Scat" goes right for the City Pop jugular thanks to Yazawa's melody with Stanley coming up with the words once more. The lyrics tell a story about a guy who's not in a happy place since his lover seems to take and take but not give. Meanwhile, the music in the main chorus kinda has that Manhattan Transfer feeling with the soft scat referring to the "doo, doo, doo" by Stanley and the backup group. Some nice sax in there, too.

Iyo Matsumoto -- TV no Kuni kara Kirakira（TVの国からキラキラ）

 

I know that Robert Altman's "The Player" was still a decade away from being released in theatres, but I couldn't help but think of this Hollywood movie satirizing Hollywood when I first listened to this single by aidoru Iyo Matsumoto（松本伊代）.

Her 3rd one, to be specific, "TV no Kuni kara Kirakira" (Gleaming from the Land of TV) was released in May 1982. It seems as if lyricist Shigesato Itoi（糸井重里）, composer Kyohei Tsutsumi（筒美京平）and arranger Shiro Sagisu（鷺巣詩郎）all decided to concoct a tongue-in-cheek aidoru tune about the whole fantastical mystique surrounding an 80s aidoru while having the lass herself wonder where the line between reality and illusion appears.

Iyo-chan certainly sells it with her puppy-dog happy nasal delivery and Sagisu's arrangement is just as peppy with all of the horns and strings bouncing about. The song fits what the teenybopper entertainers were all about during the Golden Age of the Aidoru: supremely kawaii, bouncy and flouncy. "TV no Kuni kara Kirakira" hit No. 15 on Oricon.

Naoko Kawai -- Kuchibiru no Privacy（唇のプライバシー）

 

I remember when I wrote up Naoko Kawai's（河合奈保子）1980 "Ohkina Mori no Chiisana O-uchi"（大きな森の小さなお家）on Sunday May 31st 2015. I reported that the day before, the Humidex had hit a steamy 35 degrees Celsius but that Sunday showed a massive plummet in temperature down to a single-digit 9 degrees. Well, guess what? Yesterday, we had a -29-degree C wind chill factor but today's high will be a relatively tropical +3 degrees. 

And yep, here is another Naoko Kawai single. Her 18th go is "Kuchibiru no Privacy" (Privacy of the Lips) is another one of those weirdly-titled aidoru tunes that perhaps are still plentiful even today. It was released in August 1984, and it's a fairly rat-a-tat speedy song punctuated with an electric guitar about the drama that ensues following a sudden kiss a young lady experiences.

Masao Urino（売野雅勇）took care of the lyrics with Kyohei Tsutsumi（筒美京平）behind the melody and Shiro Sagisu（鷺巣詩郎）handling the arrangement. It hit No. 4 on the Oricon weeklies and ended up as the 76th-ranked single of the year while winning a number of awards including a Gold Prize at the Japan Record Awards. Kawai also got her invitation to the NHK Kohaku Utagassen for her fourth consecutive appearance at the end of 1984 to perform "Kuchibiru no Privacy".