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 Takeo Fujishima. Show all posts
Showing posts with label Takeo Fujishima. Show all posts
In a way, this can also be considered to be an All-Points Bulletin article.
But first to explain, I found another old 45" in that bag of vinyl records some months ago, and it was of a couple of Takeo Fujishima（藤島桓夫）songs, one of which is "Ano Ko wa Itchatta"(There Goes That Girl) as you can see in the photo at the top. Playing it on the turntable definitely brought images of more than half a century ago out in the small towns along the seashore. The late Fujishima is singing about the woman he loves parting from him sadly as she gets onto that night train to somewhere else.
"Ano Ko wa Itchatta" was written by Yurio Matsui（松井由利夫）and composed by Kozo Masuda（増田幸造）. And this is where the APB comes in. I tried hard by looking it up in the JASRAC database, the search engines, the J-Wiki article for Fujishima but I couldn't track down exactly when this song had been first recorded. Even the record and the liner sheet itself didn't divulge the year, and the above video seems to be the only one of this particular song on YouTube. So, the best I could do was find out that lyricist Matsui had provided words for another Fujishima song in 1957, and though this is still a way-out stab at it, I speculated that songwriters often created tunes for singers in clumps within a certain period of time, so until I find out otherwise, I'm gonna go with the 1957 tag for this one. If any enka fans or Fujishima die-hards know exactly when "Ano Ko wa Itchatta" was released, let me know.
On the first Takeo Fujishima（藤島桓夫）article I wrote for the blog, I mentioned that the late enka singer performed a series of songs based on ports early in his career. Well, I've come across the first in that series titled appropriately enough "Hajimete Kita Minato" (First-Time Port), released in 1954.
Ports are an oft-used trope in enka and Mood Kayo. It's not that surprising either because the harbours are the launch points for adventures beyond and the destinations for wide-eyed newcomers. Plus, they can make for ideal spots to say goodbye to a loved one or simply a love relationship. Fujishima and songwriter Kazuo Toyoda（豊田一雄）started their series of port-based songs with this one to describe the protagonist's experiences at his first port that left a lifetime of impression despite a short stay of just 4 or 5 days. As they say, you always remember your first.
(Unfortunately the video has been taken down)
Y'know, I actually enjoy this live performance of "Hajimete Kita Minato" by Fujishima even more than the original recording although the latter expressed the cheerful hustle and bustle of a postwar port. I guess it's because Fujishima's voice gained some more timbre in the years since he first recorded the song so that there is a bit more grandeur involved.
But I gotta say that Ichiro Toba's（鳥羽一郎）cover of the 1954 original is simply great. He's got the fine gravelly voice and the arrangement is gentle and happily work-a-day. It's as if that same port from decades back lost the frenetic peak of bustle in the immediate postwar period only to gain a certain comfortable groove of activity as the years passed by. According to the notes on YouTube, Toba's version was on his 1989 release, "Kokoro ni Shimiru Omoide no Uta"（心に沁みる思い出の歌...Beloved Songs To Warm The Heart）. The title says it all.
A number of weeks ago at work, I had the chance to meet the founder of Marutama Ramen. To be frank, I have no idea what his name is and simply know him as Oyakata (親方). I found it extremely unnerving to have him seemingly scrutinizing my one-month's-worth-of-experience actions at first - I sort of dreaded having to be the one to serve him a large plate of Katsu Curry. And then he was notified of my love for enka. Turns out Oyakata's a fan of the genre too, with Sayuri Ishikawa (石川さゆり) and Aki Yashiro (八代亜紀) as his favourites - he looked more like a Ikuzo Yoshi (吉幾三) fan, though. With a well-delivered excerpt of "Nagasaki wa Kyo mo Ame datta" by him (because I like Mae-Kiyo), a karaoke invite when I make it to Japan (to study... eventually), and those cool-guy shades (really cool), I got to say that he's a pretty easy-going fellow. That's not to say I won't be on edge when he appears at random again, but maybe a little less than before.
Anyway, oyakata is a title I once thought only referred to the master of a group of ronin. In actual fact, it can mean (according to Jisho.org) chief, master, or supervisor, can be used in multiple contexts, such as being the founder or owner of a restaurant. That brings me to the topic of this article, "Tsuki no Hozenji Yokocho".
For the longest time, I assumed that this Takeo Fujishima (藤島桓夫) hit may have something to do with a warrior from Hozenji Yokocho setting out on a journey of his own, even though the premise sounds a little odd. That's due in part to my former assumption of the meaning of oyakata since it's mentioned a couple of times throughout "Tsuki no Hozenji Yokocho", as well as the music, composed by Keio Iida (飯田景応). The dramatic strings, sharp twang of the electric guitar, and shrill notes from the flute gives the song an overall foreboding and intense atmosphere that I generally associate to a number of ronin enka. However, with the knowledge that oyakata could be used in the latter sense, finding out what a "Houchou" (包丁... Kitchen knife) is, and paying attention to the song's introduction by announcers in videos, I was able to connect the dots. Our main character isn't a masterless samurai, but a chef.
"Tsuki no Hozenji Yokocho" was written by Tetsu Tonimura (十二村哲), and it has Fujishima narrating in his distinctive vocals the story about a young chef keen on honing his skills after taking on an apprenticeship at what may be a renowned restaurant, Fujiyoshi - I think the oyakata mentioned should be that of this joint. In doing so, he has to leave behind his heartbroken lover, Koi-san, until his training is done and when he can set up his own business. Throughout the lyrics, there are some instances of the Kansai dialect, such as when the honorific "-han" is used at times instead of the usual "-san", and "Wate" instead of "Watashi".
The destination of interest here is none other than the often-sung-about Hozenji temple, nestled in the little Osakan alley, and the temple's most notable inhabitant, Mizukake Fudo. This is where Mr. Chef met and fell for the lovely Koi-san whilst beseeching the moss-covered deity for culinary expertise. According to this travel guide, it is believed that the moss-covered deity, made mossy by having water splashed on to it constantly by worshipers, can bring fortune to businesses and everlasting love, the latter most likely being prayed for by the couple to ensure they stay together despite Mr. Chef's commitments.
(I'm sorry but the video has been taken down.)
Looks like Koi-san ain't gonna settle for sukiyaki, Mr. Chef.
"Tsuki no Hozenji Yokocho" was released in 1960, there isn't much information on its success on the J-Wiki but I'm sure it was most definitely a hit, if a performance on the 11th Kohaku and being a mainstay on current day music shows, especially Osaka specials, are anything to go by. The tune is covered by many, but I've decided to put up Kiyoshi Hikawa's (氷川きよし) rendition from on a Shin Nippon no Uta episode. Mr. Chef and Koi-san's love story is brought to life by Hiroshi Miyama (三山ひろし) and Midori Oka (丘みどり) respectively, with Hikawa in the narrator's role. While done for the sake of comedy, I find how Miyama fumbles at his lines an accurate representation of me when I tried it for myself - the satisfaction of finally uttering the whole sh-bang within the given time frame without stumbling also included. Makes me wonder if Fujishima ever got tongue-tied at the spoken parts.
Another browsing through the magic Canada Dry plastic bag of 45" singles revealed this green cover. I don't recollect ever seeing this man before on the old kayo shows although his voice has rung a bell on the old RCA stereo. His name is Takeo Fujishima（藤島桓夫）and Noelle actually wrote about him for his big hit "Otsuki-San Konbanwa"(お月さん今晩は) almost a couple of years ago. Seeing him on the cover here, I think he looked downright cherubic.
Although I couldn't find the songs from my Dad's record on YouTube, I did manage to find one of his other big hits. In addition to the fact that he was well known for sporting a sailor uniform or a casual kimono on stage, Fujishima (who passed away in 1994) did a number of songs which were collectively known as the "Minato" (port) series since that word was in each of those song titles.
One of those songs was "Kaeri no Minato" (The Home Port) from 1955. Fujishima had that unique and comforting nasal voice which he used to convey thoughts about heading back home to the islands wherever they may be. Kazuo Toyoda（豊田一雄）wrote and composed the song and the Osaka-born singer delivered it almost as if it were some sort of jaunty lullaby. The feelings of being away from home and homesickness have always been the sentimental thing for the Japanese so I'm not surprised that this song would bring a twinge to someone's emotions.
The video above has him coming out in that sailor get-up and his voice has certainly mellowed out in the years following its initial release back in the 1950s. "Kaeri no Minato" provided Fujishima's first appearance on the Kohaku Utagassen, and he was a mainstay on the New Year's Eve special for 7 straight years from 1956 to 1962.
On a full episode of "Nippon no Uta" that I had been digging the internet for, through the powerful warbling of Kouhei Fukuda (福田こうへい) I first managed come across a vaguely familiar song I had heard once before. And then after fast-forwarding through the rest of the "Meikyoku Eleven" and most of the "Kayo HOT Zensen", I got to see Kiyoshi Maekawa (前川清) at his max goofiness, which can only be seen when you pair him up with the imposing Akiko Wada (和田アキ子). He even danced up a storm to Little Richard's "Jenny, Jenny"... Uh, yeah... That hardly ever happens. He's actually livelier with her than with Ikuzo Yoshi (吉幾三), which saying quite a lot! And I thought I had seen it all...
But dancing Mae-Kiyo aside, the tune that Fukuda had very nicely pulled off was none other than "Otsuki-San Konbanwa" (Good Evening Mr. Moon). Just at the mention of its amusing title jogged my memory. Then it hit me. I had heard it a few moons (haha) ago by some young Enka on one of of my favourite "Kayo Concert" episodes - first time I had seen Takashi Hosokawa (細川たかし) on TV. I recalled not taking a strong liking to it at first since I wasn't yet a fan of the slower, more melancholic-sounding Enka songs... Actually, I can't really say that I'm particularly fond of them right now, but at least I'm used to it. However, I somehow accepted it when I heard the whimsically sung "Otsuki-San Konbanwa".
The original by Fujishima. He sounds a little like Hachiro Kasuga there.
After Fukuda brought the song back to me, one thing that I was certain of after listening to its score was that "Otsuki-San Konbanwa" was most likely from a tune from the 50's, minimally the 60's. After some research, I found out that it was indeed released around that period, 1957, and was originally sung by the late Enka singer, Takeo Fujishima (藤島桓夫). And the piece of haunting music from this hit had actually served as the famed Minoru Endo's (遠藤実) debut work. The lyrics were done by Mataichi Matsumura (松村又一) and they are about our lead man here having to leave the lady he loves so much behind to go to the big city... or is it the other way around? Either way, whenever he feels lonely, he looks up to the Moon at night and asks (and greets) it to tell him everything it knows. That actually kinda reminds me of this show I watched as a kid, "Bear in the Big Blue House", where Bear would go talk to Luna the moon at the end of every episode. Man, I miss that show.
Osaka native Fujishima had sung "Otsuki-San Konbanwa" once during his 2nd out of 7 consecutive appearances on the Kohaku in 1957. One cover that I've found of this song is by singer and guitarist, Yoshio Tabata (田端義夫), and I prefer his version to the original. Tabata had a mellower voice, so I think it suits the heavy atmosphere of the song better.
