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 Yasushi Akimoto. Show all posts
Showing posts with label Yasushi Akimoto. Show all posts
I've usually assumed that the small and temporary genre of exotic kayo was limited to the late 1970s when hits such as Judy Ongg's（ジュディ・オング）"Miserarete"（魅せられて）boarded the Oricon charts. After that, it was the Golden Age of aidoru, City Pop and technopop.
However, there may have been some pop-ups here and there of songs that seemed to bring images of life and love overseas in distant Asian and European climes. Maybe one such song can be Mayumi Hara's（原真祐美）"Persia no Namida"(Persian Tears). Released in September 1984 as her 7th and penultimate single, it feels slightly like an adventure on the Silk Road in an aidoru atmosphere. The silky strings along with other stringed instruments help sell the image of traveling in the titular area. "Persia no Namida" was written by Yasushi Akimoto（秋元康）and composed by Yasuo Kosugi（小杉保夫）.
Continuing on the Valentine's Day theme from the previous article and also sifting through those old B-sides, I did find something from Sayuri Kokusho's（国生さゆり）classic February 1986 single "Valentine Kiss"(バレンタイン・キッス) via JTM's write-up on the song all the way back in 2013.
As cute as "Valentine Kiss" is, the B-side "Koi wa Ring Ring Ring"(Love is Ring Ring Ring) is more of a frantic sugar-high as a young lass is trying her darndest to contact her beau on the phone but he's too busy talking to someone else. Who could that someone be? Stress levels and conspiracy theories abound like bunnies! As with "Valentine Kiss", "Koi wa Ring Ring Ring" was written by Yasushi Akimoto（秋元康）and arranged by Jun Sato（佐藤準）, but this time, the melody was provided by Hideya Nakazaki（中崎英也）who gave a fine illustration of how the lass was going out of her mind with the rock guitar, the sparkly synths and the rapid-fire percussion.
The song is also available on Kokusho's 1st album"Pep Talk" which was released in July 1986. It hit No. 2 on Oricon.
I took one look at that cover of Kei Ishiguro's（石黒ケイ）1985 album"Mont Saint-Michel no Kodoku"（モン・サン・ミッシェルの孤独...The Solitude of Mont Saint-Michel ）along with the singer's very artistic appearance, and figured that this was going to be a different animal compared to my usual impression of her as a jazzy City Pop singer through songs such as "Hearty" and "Misty Night"（ミスティ・ナイト）. Even the title hints at the Gallic-ness of it all and when it's produced in the mid-1980s, it's just gotta be somewhat avant-garde and/or New Wave.
And yep, the first track on "Mont Saint-Michel", "Ame no Freeway" (Rainy Freeway), strikes me quite different for an Ishiguro song, but not so much that I consider it to be way out from left field. Written by Yasushi Akimoto（秋元康）and composed by Masahiro Ikumi（幾見雅博）, there are the synthesizers and syn-drums that remind me a bit of Asami Kobayashi's（小林麻美）"Ame Oto wa Chopin no Shirabe"（雨音はショパンの調べ）along with the breezy je ne sais quoi arrangement. Still, even with Ishiguro's vocals that hint at a certain feeling of chaise lounge behaviour, I can pick up on some of the old urban contemporary and sophisticated pop.
It's been over eighteen months since I had Yuuichi Ikuzawa（生沢佑一）up on the byline with his cover of the "Ghostbusters"-connected "Hot Night", so let's redeem that with one of his tracks from his 1984 album"Hana Wakare"（花わかれ...Parting of the Flowers）.
"Fushigi na Hodo I Love You" (I Love You So Much It's Weird) is an intriguing title for a pretty groovy and straight-up City Pop song. But hey, as long as it sounds cool and good, I'm fine. Written by Yasushi Akimoto（秋元康）and composed/arranged by Toshiyuki Kimori（木森敏之）, it does sound like an accompaniment to a good stroll down any of the main streets of Tokyo to get that fresh air (or as fresh as it ever gets in one of the world's largest cities) into the lungs.
For my last article tonight and for that matter, the final article for September 2025, I'd like to refer you to an article I did a couple of years ago featuring actress Maiko Kawakami（川上麻衣子）. In her J-Wiki article, she is identified as an actress only, but she did put out her albums and singles between 1981 and 1984, and in fact, I highlighted her sophomore album"ÄLSKLING"（エルスクリン）from June 1983.
Well, another track from that album is here tonight and this is "Watashi to Iu Tanin" (That Other Person Known as Me). Written by Yasushi Akimoto（秋元康）and composed by Akira Mitake（見岳章）, the song follows that certain arrangement I've often heard from tunes by aidoru and other female pop singers of the 1980s; there is that footloose-and-fancy-free vibe with the plunky piano/keyboard rhythm as if the arranger...in this case, Hiromoto Tobizawa（飛沢宏元）...is following the daintily-dressed singer as she is skipping down the street while sporting a parasol. Ah, those were innocent times.
My previous posting on Masatoshi Nakamura（中村雅俊）was for his "Akogare no Summer House"（憧れのSUMMER HOUSE）, a B-side that was notable for its pompadour-swinging rock n' roll party sense. Richie and Mary Beth would have felt at home here.
Meanwhile, its A-side, which represents Nakamura's June 1984 21st single, is "Puzzle Night", and no, it has nothing to do with the weekly jigsaw puzzle get-together with the whole family. Instead, lyricist Yasushi Akimoto（秋元康）reveals the vagaries of love in the big city where whatever happens there may really have to stay in there. Meanwhile Tetsuji Hayashi's（林哲司）melody under Hiroshi Shinkawa's（新川博）arrangement has a rocking and dramatic feel somewhat reminiscent of Hayashi's work with Omega Tribe（オメガトライブ）at around the same time.
"Puzzle Night" wasn't a humongous hit for Nakamura as it went only as high as No. 52 on Oricon, selling around 36,000 records. Hopefully, it did better for the Nissan Pulsar whose commercial featured both song and singer.
Just to reiterate, I'd first gotten to know singer-songwriter Yurie Kokubu（国分友里恵）through her heart-on-a-sleeve cover of Miho Nakayama's（中山美穂）"Tada Nakitakunaruno"（ただ泣きたくなるの）in the 1990s. Eventually, I did learn of her City Pop debut through her 1983 album"Relief 72 Hours".
And it was basically a ping-pong exchange between those two time periods. However, I have come across this track from her February 1996 6th album"whisper whisper", "Mou Dare mo Aisenai"(Can't Love Anymore). It's a sad topic, to be sure, but this ballad created by lyricist Yasushi Akimoto（秋元康）and composer Kokubu herself, has a refined pop arrangement and lovely chorus backing up the singer's reassuring vocals. I wouldn't be surprised if it had been used in some J-Drama about affairs taking place.
Yes, it is indeed a bit unusual for me to put up a Christmas song only a few days into June but I've been known to leave a J-Xmas tune during the summer months before so that we can be reminded that the Yuletide is only half a year away.
Anyways, this year's candidate for the Christmas song in June/July is Riho Makise's（牧瀬里穂）"Osoi Santa Claus"(Late Santa Claus). Her penultimate single from November 1993, it's a kid-friendly number due to that children's group helping her out, the adorable synths and the cute bouncy chorus; it was written by Yasushi Akimoto（秋元康）with the melody and arrangement provided by Tsugutoshi Goto（後藤次利）. In it, Makise sings about some kid getting rather impatient for Kris Kringle to arrive because he wants his presents yesterday. Apparently, "Osoi Santa Claus" was used as a commercial jingle for Japan Postal Savings.
Kinda weird our weather but we Torontonians have known that for decades. Meteorologists would love to reside here...or not. Yesterday we had Humidex readings of 30 Celsius but this morning, the wind chill factor was -3 C! And in between, we had a five-minute thunderstorm around the dinner hour which seemed to be filled with a dozen thunderstorms worth of rain. Power went out for a few seconds in my neighbourhood but I consider us to be lucky; there are some other areas in the city which were still out as of this morning.
So I gather that for this week's Hump Day, we can start with a song titled "Weather Report". The last time I wrote on Naomi Kawashima（川島なお美）, it was back in early 2023 for her finger-snapping City Pop opening track "Brunch ga Dekiru made"（ブランチができるまで）from her July 1983 3rd album "Shower no Ato de"（シャワーのあとで...After Takin' Shower）. "Weather Report" just happens to follow after that.
Written by Yasushi Akimoto（秋元康）and composed by Tetsuji Hayashi（林哲司）, the second track takes on a calmer West Coast AOR line. Kawashima sings about how the change in weather can compare to her romantic fortunes. Perhaps this would be the ideal song after that brunch while still savoring the mimosas.🍹
I saw and heard the news on NHK a couple of days ago, but comedian Takaaki Ishibashi (the taller, louder and even crazier one) of the duo Tunnels（とんねるず）announced that he was suffering from esophageal cancer and would be leaving the entertainment industry for a little while to get it treated. He mentioned that it was in the early stages so it's still very treatable and here's hoping that he makes a full recovery.
Still remember this outtake from their Thursday night Fuji-TV variety show "Tunnels no Minasan no Okage desu"（とんねるずのみなさんのおかげです）from the turn of the decade (80s to 90s). I gotta say that as outrageous as the duo could be, they did suffer for their art.
Also, I've had to remind myself that the Tunnels had their time in the recording booth cutting some raunchy records. The first time I even heard their name was through an "Eye-Ai" issue in which one of their records was being sold. I think it could have been their 1985 "Ame No Nishi Azabu" (雨の西麻布) which was their parodic take on the enka genre. Supposedly, the boys hated enka but I think they certainly did a nice job with that one.
But their 7th single from May 1986,"Yabusakadenai", was definitely not from the traditional Japanese genre. No, this was a rockin' boogie stomp by Takaaki and his partner Noritake Kinashi（木梨憲武）. Written and composed by Yasushi Akimoto（秋元康）with arrangement by Akira Mitake（見岳章）, I couldn't find the lyrics but from what I could hear, I don't think I can really describe the situation in a family-oriented blog, but let's say that Nori was feeling really randy.
As for the translation of the title, I found out that there had been an original meaning of doing something with gusto but in recent years, that meaning of yabusakadenai has been considerably watered down to mean "Well, I'm not opposed to doing it, but...", and apparently it was jargon within the business world. In any case, "Yabusakadenai" reached No. 2 on the Oricon weeklies and ended up as the No. 59-ranked single of the year. The song was also used as the theme for the TBS drama (well, comedy really) "O-Bocchama ni wa Wakarumai!"（お坊っチャマにはわかるまい!...You Wouldn't Understand, Kid!）which starred the Tunnels.
At this writing, I think there are only two or so of these YouTube videos showing "OIOI TOKYO TASTE ROOMS", so they are quite precious. Now, I've mentioned this show a couple of times in the past, going all the way back to 2013, and I have to make some clarifications here since I was rather loose with my details. For one thing, I referred to the show as just "Rooms"; well, the full name is now above us. For the second thing, I'd assumed that the show ran on for a few years when in fact, it was just for a year on late-night Fuji-TV between 1994 and 1995.
But I guess such was the impressive style and panache that the producers behind "OIOI TOKYO TASTE ROOMS" placed onto this mere 10-minute vignette that it was like getting that video version of a great midnight snack. And indeed, the program ran at around the 12:30 am time period as it focused on the more interesting apartment layouts of urbanites ranging from their late teens to thirties. Having a passing interest in architecture and interior décor, I have to admit that it was some late-night catnip to me as I watched from the comfort of my futon.
Of course, being sponsored by the department store Marui, having the show get into viewers' eyes and minds probably had them snoozing and perhaps dreaming of furniture and other interior goods that they could get from stylish Marui itself. If I'm not mistaken, there was also a rather bizarre segment of about a minute in length in which a famous actress or female Fuji-TV announcer in character or even a viewer would leave a phone message on some existential matter.
However, it was the ending theme that did catch my ear, and in the past, I have posted about a couple of those themes: Kenjiro Sakiya's（崎谷健次郎）"ROOMS" and Kaya Saeki's（佐伯伽耶）"Perfume wo Nokosenai" （パフュームを残せない）. Today's theme is "Dry Flower" which was singer/actress Miwako Fujitani's（藤谷美和子）July 1994 2nd single following her hit duet with the late Yoshiaki Ohuchi（大内義昭）, "Ai ga Umareta Hi"（愛が生まれた日）which had been released earlier in February. Written by Yasushi Akimoto（秋元康）and composed by Tsugutoshi Goto（後藤次利）, although I have put on the City Pop label for it because of its overall urbaneness, it doesn't have that usual groove but it does have some of that sophisticated pop and dramatic balladry. I'd say that it fit the "OIOI ROOMS" ethos quite well with the resident of that refined apartment or condo sighing about love and all that jazz. Still, after waking up the following morning, I didn't get that urge to buy a tapestry or a OIOI bookshelf.
I hadn't been aware that an angel required a bodyguard. From what I've been hearing of angels recently, it's more that we mortals need bodyguards against angels. But perhaps things were very different in the late 1980s.
Anyways, here is this single by Yuyu（ゆうゆ）with Onyanko Club（おニャン子クラブ）...Yuyu being aidoru Yukiko Iwai（岩井由紀子）as a member of that super-huge aidoru group..."Tenshi no Bodyguard"(Angel's Bodyguard) from March 1987. This twinkly and oh-so-sweet teenybopper tune with a hint of 1950s girl pop was written by Yasushi Akimoto（秋元康）with melody by bassist Tsugutoshi Goto（後藤次利）and arrangement by Jun Sato（佐藤準）, and though I couldn't find the lyrics, I can imagine that some young high school girl is being gallantly protected by her good buddy and potential beau against all suitors. It all reminds me of some of the stuff that I witnessed in elementary and junior high school. Wasn't quite as sweet. Regardless, it scored a No. 2 ranking on Oricon. Also for your information, the Onyanko Club girls backing Yuyu up are Ruriko Nagata（永田ルリ子）, Mutsumi Yokota（横田睦美）and Tomoko Fukawa（布川智子）.
My impression of the late singer-songwriter Koutaro Yamamoto（山本コウタロー）was that he was quite the amiable and goofy guy in his T-shirt and bell-bottom jeans according to what I've read and heard through "Mura no Yuubin Haitatsu"（村の郵便配達）of 1972 and via his bands Salty Sugar（ソルティー・シュガー）and Koutarou Yamamoto and Weekend（山本コウタローとウィークエンド）.
So, it's quite the thing to see a much snazzier and older Yamamoto in that suit on the cover of his October 1984 album"Juu-gatsu no Kyori"（10月の距離...October Distance）. He looked like he was ready to party on the dance floors of Roppongi or Shinjuku back then. One song from that album and itself his final single is "Mihoko e" (To Mihoko); the single was released a month earlier. A wistful tune about a fellow who wishes a former flame well when she gets married to another guy, the arrangement of the song still keeps that folksy nature that had been part and parcel of a Yamamoto song from years previously...that is, before a synthesizer crashes the party like a thunder clap near the end for some weird reason. And this time around, Yamamoto doesn't have anything to do with the songwriting. The lyricist was Yasushi Akimoto（秋元康）of AKB48 fame and the composer was Ryudo Uzaki（宇崎竜童）.
The kanji for Mihoko can also be read as Mioko but I don't think I could hear the name at all being dropped in the song but maybe one of you can catch it if it does exist.
A few weeks ago, I read a tweet from one of my Twitter buddies stating that Tsukasa Ito's（伊藤つかさ）"Namida no Crescendo"(Crescendo of Tears) was the only saving grace from her April 1984 5th album"Crescendo" and that her following album "Osusume!"（オススメ！）that came out in December of that year had no redeeming features whatsoever. Granted, even for a young lady in aidoru mode, Ito's voice was never heard as being all that strong and there's perhaps a big reason that she's only been described as an actress in her J-Wiki file (despite the presence of a discography there). However, her "Kanashimi wo Uketomete"（悲しみをうけとめて）from the latter album isn't all that bereft of intrigue, especially with that combination of synthesizers and a Maynard Ferguson-loving trumpet, but yeah, I am reminded of her vocals which had my face contorting a bit at times.
It just goes to show though that the aidoru of the 1980s had a lot of good support from the songwriters and arrangers surrounding them. But anyways, let's go to "Namida no Crescendo", which was also her 6th single from February 1984. Written by Yasushi Akimoto（秋元康）, composed by Kazuhiko Matsuo（松尾一彦）and arranged by Akira Inoue（井上鑑）, the song is going into that more languid ballad-y (approaching AOR) style that was one part and parcel of the aidoru experience back in that decade. I also have to say that the backup singers in the main chorus were also quite heavenly for the hell being suffered by that lass in the song who has found out, gosh darn it, romantic relationships often don't take. Bitterness hasn't tasted so sweet.
Well, we're in the homestretch now at seven day's worth of sleeps before Christmas. I was playing around with the Bing AI to see if I could get some lovely Christmas Town images (Unionville would be our local one in the Greater Toronto Area), and I could get at least a couple of them. This one seems to have that pleasant mixture of contemporary and old-fashioned with a café at the corner.
I was also searching around to see if there were any aidoru Xmas tunes within the last fifty years or so, and I got lucky with AKB48's"Totteoki Christmas"(Special Christmas). I say lucky because the video is set in one of those happy and shiny Christmas Towns. To be honest, I half-expected a KFC to pop up in one corner but then we'd have copyright issues and the like, wouldn't we?
Anyways, "Totteoki Christmas" was a track on all of the iterations of AKB48's 29th single, "Eien Pressure"（永遠プレッシャー...Eternal Pressure） from December 2012. Of course, written by Yasushi Akimoto（秋元康）and composed this time by Kazunori Watanabe（渡辺和紀）, the song is a typically jingle bell-happy tune about a young lady wanting to spend that romantic Yuletide with her boyfriend. For all those veteran AKB48 fans out there, watching the music video above should bring plenty of nostalgic feelings with a lot of AKB48 members from those days showing up in appropriate Christmas garb. And isn't it nice to hear a Japanese Christmas tune that isn't all about heartbreak?
"Eien Pressure" was another No. 1 hit for the group and despite it being released in December, it quickly became the 5th-ranked single for 2012. If I'm not mistaken, I've only had one other AKB48Xmas song up on the blog, and that would be the earlier "Anata to Christmas Eve"（あなたとクリスマスイブ）.
Keeping on with that "Uta Con"（うたコン）theme tonight of Generation Z finding and embracing their inner kayo kyoku amity that I mentioned in the last article, a new group of guys made their "Uta Con" debut embracing their own concept of bringing Showa Kayo and Showa Pops into the current mainstream. That is indeed the concept of SHOW-WA (and not SHOW-YA which is a female rock band that started in the 1980s).
A group of six young men who are a cooking expert, a former model/actor, a former J-League soccer player, a former member of the vocal group SOLIDEMO and a couple of former company employees, SHOW-WA began life in the middle of 2023 and finally released their first single, "Kimi no Oujisama" (Your Prince), in September 2024. Sounding like a Showa Era SMAP singing something hovering between kayo and Mood Kayo, they may give Junretsu（純烈）a run for the money as a group covering the old-style stuff. I have to give props to the folks behind the music video because of that tribute to that music show "Yoru no Hit Studio"（夜のヒットスタジオ）.
"Kimi no Oujisama" was written by Yasushi Akimoto（秋元康）and composed by Comical Micchan（こみかるみっちゃん）who usually handles hip-hop according to his J-Wiki profile. Looks like he's just at home with the kayo kyoku too.
My previous article on the obscure song "Shonan Afternoon"（湘南アフタヌーン）by Maria Minami（南マリア）talked about its summery nature while its arrangement sounded like something from the 1950s or 1960s.
Well, it's been a while since I've posted anything by the pop duo H2O (the last time was back in 2021 for their "Tsugi no Magarikado"（次のまがり角）) , and their 7th single "Kaze no Romance" (Windy Romance) from June 1984 is also a rather summery number. But this time, the arrangement by Katsu Hoshi（星勝）, who was probably helping out full-time with Anzen Chitai's（安全地帯）songs at this point, and the original melody by Yasuhiro Suzuki（鈴木康博）from the band Off-Course（オフコース）wasn't going for the nostalgic line, instead pursuing the contemporary H2O vibe of light and shimmery pop.
Yasushi Akimoto（秋元康）, the future Svengali behind Onyanko Club（おニャン子クラブ）and then AKB48, provided the lyrics for "Kaze no Romance", an H2O tune that this time doesn't have anything to do with an anime and nor does it sound like a minor-key ballad. It's all very sunny and convertible ride-worthy. The song would also find itself on the duo's fourth and final album"Next Corner", released in February 1985.
Although I think JTM is the expert on Japanese police dramas from the 1970s and 1980s, my impression about them has been that their opening credits for each of those shows liked to have the majority of the detectives running at full speed around the city while the older and more seasoned veterans could afford to just look serious and do something more peaceful such as talk into the walkie-talkie.
This was no different from the TV Asahi cop show "Dai Tokai Ni-Juu-Go-ji"（大都会25時...Big City 25:00）; the cast of characters was running about as if Hannibal Lecter had been set loose onto Tokyo. However, one major difference was that it had a very short run of only 5 months between April and September 1987. Another point that set it apart was that "Dai Tokai Ni-Juu-Go-ji" focused on two squads within one division: one was a by-the-book and competent group while the other team consisted of a bunch of misfits (probably a mix of comical and rebellious types). Not sure what the format was; did each episode focus on one squad per week or was there some sort of gritted-teeth cooperation between the two squads? It was a new way of treating the typical cop show.
From the cop shows that I've seen, this is the first time that I've ever heard of one band taking care of both the opening and ending themes, and for "Dai Tokai Ni-Juu-Go-ji", the producers picked the rock band SHOW-YA."Mizu no Naka no Toubousha"(Fugitive in the Water) was the band's 5th single from May 1987 and it's a pretty cool and melodic rock theme with those wailing electric guitars and sparkling synths that had me thinking about Santana and Bonnie Tyler. I think it does make for that energy pickup for the cops running all over the place in the opening credits. After all, there is never a boring moment in Japan's largest city.
Then, the B-side is the ending theme "Fermata" which is more of a cool-down City Pop tune and it's played against the backdrop of a typical Tokyo intersection through a day, perhaps signifying while the two squads are fighting the good fight, the rest of the populace can go about their business in safety. Maybe the cops can actually stroll to a fashionable bar near the station while listening to this one. For both songs, the big guns were called in: lyricist Yasushi Akimoto（秋元康）, composer Kyohei Tsutsumi（筒美京平）and arranger Makoto Matsushita（松下誠）. "Mizu no Naka no Toubousha" was also included in SHOW-YA's 5th album from November 1987, "Immigration" which hit No. 12 on Oricon.
All these years I've known about Momoko Kikuchi（菊池桃子）and her May 1985 single"BOY no Tehma"(BOYのテーマ) with her distinctive aidoru sound, not knowing at the time that it was composer and arranger Tetsuji Hayashi（林哲司）adding a hint of his City Pop. In fact, it wasn't until recently that Kikuchi was probably becoming known among new fans in the 1980s that she was embracing some of that urban contemporariness for her early material.
Then, it was only within the last few days that I became aware that the B-side to "BOY no Tehma" had an even more City Pop beat. That would be "ANATAKARA FLY AWAY" (Flying Away From You) by the same songwriters for the A-side: Hayashi and lyricist Yasushi Akimoto（秋元康）. Some of the keyboard work sounds so funky that I am reminded of the band Freez; and of course, what can I say about the boppy bass? It's all so refined right from Note One.
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.
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