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.
It's great that I could find a video for the old Saturday night Fuji-TV comedy-variety series known as "Yume de Aetara"（夢で逢えたら...A Sweet Nightmare） when it featured the Southern All Stars single "Furi Furi '65" (Twist '65) as the theme song. It was the first theme song that I remember from the show that starred comedy duos Downtown and Utchan-Nanchan, and comediennes Michiko Shimizu and Naoko Nozawa, and even had the band appear in the credits as well.
As that year in the title would suggest, Southern All Stars' 27th single brings in all those musical cues from the 1960s that had me thinking of go-go boots and twisting on the dance floor (despite the fact that for most of 1965, I was but a fetus). Heck, there are even some lyrical shoutouts to the Beatles and I had thought that the chorus was yelling "Mony Mony" like Tommy James & The Shondells, but it was actually "Let's furi furi". Still the 60s vibe was clear. It was too bad that Keisuke Kuwata（桑田佳祐）never got an official music video to the song. I would have loved to have seen him perform in front of a whole bunch of shimmy-shammying kids having fun on the floor just like in the old days of "American Bandstand".
Kuwata took care of the writing and composing duties. Released in November 1989, "Furi Furi '65" went Gold and got as high as No. 2 on the charts. By the end of 1990, it was the 72nd-ranked song of that year.
There was another theme song to "Yume de Aetara" that I remembered quite well right here.
Can't believe this is my first entry for the year 1950. I also can't believe it's been a year since I wrote a Hibari Misora（美空ひばり）article regarding the anniversary of her passing. For that one, it was on "Kanashiki Kuchibue"（悲しき口笛）, the somewhat melancholy ballad featuring a 12-year-old Misora in that iconic tux and tails.
Well, tomorrow will be the 26th anniversary so of course, NHK's "Kayo Concert"（歌謡コンサート）did their tribute to the Grand Dame of Kayo Kyoku tonight via TV Japan, and one of the guests performed another really early Misora classic, "Tokyo Kid". Released in July 1950, just like "Kanashiki Kuchibue", this song was also created by Ko Fujiura and Tadashi Manjome（藤浦洸・万城目正）, and there was a movie with the same title attached to it starring Misora which came out later that year in September.
Instead of the formal tux, though, the 13-year-old Misora was clad as a regular kid trying to make some yen (or sen) in the shoeshining business. And the kid sang something that was quite a bit more starry-eyed and hopeful. Listening to the song, I just thought that this would have been a song that perhaps a vaudeville moppet would have trilled a couple of decades earlier when the Great Depression occurred. The early years of the postwar era were uncertain ones for Japan but I think they were also ones in which people had some image of light at the end of that dark tunnel, and maybe "Tokyo Kid" and the Tokyo Kid were reflections of that feeling. I was especially drawn to that one line in the song: "Dreams in my right pocket, some chewing gum in my left pocket". I could imagine her looking optimistically up at the new buildings going up and determining that she'll be at the top of one of them someday.
I had a commenter ask me about this song by Seiko Matsuda（松田聖子）, and I have to admit that I certainly took my sweet little time putting this one up considering it's one of the standout songs I first heard on the album, "Train"which I got down at Wah Yueh in the form of an old-fashioned LP back in the late 80s. I knew about "Rock N' Rouge" and "Akai Sweet Pea"（赤いスイートピー）of course but "Himitsu no Hanazono" (The Secret Flower Garden) was something new for me.
Now, at the time I purchased "Train", I was still only about 5 years into my blooming interest in Japanese popular music, so I didn't know about the fact that the album featured the best of Seiko's hits created by lyricist Takashi Matsumoto（松本隆）and composer Karuho Kureta（呉田軽穂）, and it would literally be decades before I found out that Kureta was the pseudonym of one Yumi Matsutoya（松任谷由実）. But I did know that the music on this BEST album was indeed some of Seiko-chan's finest.
The same goes for "Himitsu no Hanazono" which stood out to me for its seeming combination of a wonderland-like environment and a down-to-earth summer resort. The individual verses contain that melody of a princess' life in a castle in some unnamed European country while the refrain (Moonlight magic...) suddenly gets that beat and mellow trumpet which struck me as being Resort Pop. Then there is the instrumental bridge which just soars into this sophisticated dance party, complete with ballroom gowns. Whichever environment it is, though, there is that feeling of flying into that much-desired land away from gray office buildings and crowded subways.
Lyrically, Matsumoto's words could also belong in either real or fantastical universe. Is the protagonist a bored and spunky princess doing something sneaky with her chosen Prince Charming or is she a university student rebelling against Mom and taking off to Hakone with her secret boyfriend? Again, it was all good for me. "Himitsu no Hanazono" struck me as being a cut above the usual aidoru tune and maybe even a cut above a Matsumoto/Kureta collaboration.
The song originally came out on her 7th album, "Utopia" from June 1983, but had been released earlier as her 12th single in February. Considering the early 1980s were the heyday for the singer, it's not a surprise that it hit No. 1 on the charts but more significantly, it was her 10th consecutive No. 1 which set off a new record in that category, taking over for Pink Lady who had previously scored 9 consecutive No. 1s during their heyday. Her long record started all the way back in 1980 with her 3rd single, "Kaze wa Aki Iro"（風は秋色）, and spanned all the way forward to her 26th single in 1988 with "Tabitachi wa Freesia"（旅立ちはフリージア）. Maybe Pink Lady became Green (with envy) Lady. Going back to 1983, "Himitsu no Hanazono" was the 22nd-ranked song of the year.
Many years later, I also ended up purchasing "Train" the CD but found out that "Himitsu no Hanazono" wasn't included. Kinda sad since that song was one of the reasons that I had to get another version of the album. But fortunately, it has popped up on other releases.
So far, "Semete Konya dake wa" is the most boisterous Mae-Kiyo song I've heard, and I enjoy it best with the volume cranked up. The sting of the electric guitar kicks start the song, and that is soon followed by trumpets and Kiyoshi Maekawa (前川清) when he had a stronger, more forceful voice, but it does have its mellower bits too in between the loud choruses. Listening to "Semete Konya dake wa" always makes me envision someone out on the town at night, exploring the bright city and its charms, doing so till the sun starts to rise where he then grabs a coffee to compliment the view. Hmm, that seems like pretty good idea to try out sometime.
Well, the lyrics for this track are were written by Shozo Ise (伊勢正三), who is a member of the Folk group Kaguyahime (かぐや姫) - pretty cool band name, if I don't say so myself. I had only taken a look at the lyrics while writing this article, and from what I understand, our lead fellow is intending to or is drunk in order to forget his sadness of not being able to see his lady again. Quite bitter, I must say, especially when it seemed to be a joyous tune music-wise (composed by Kazuo Wakiyama (脇山和夫)... I'm not sure on his surname).
Ari's version
Anyway, while I was looking for videos for the A-side of Maekawa's 34th single, I discovered that there is an earlier version of this song from 1990, sung by Kazuya Ari (有井和幸), also known as Keisuke Inoue (井上ケイスケ)... Frankly I'm not sure which name he goes by - or who he is exactly, could use some insight here - so I'll just use the former. Ari's version is not as raucous and his vocal delivery is laid-back, especially when compared to how intense Mae-Kiyo sounds. It doesn't really give me the same image as Maekawa's version either, it instead makes me think of the fellow cruising on a quiet highway and admiring the view.
Now, I'd like to talk about "Kokoro ni Kuchizuke te", the B-side to Maekawa's single. I chanced upon "Kokoro ni Kuchizuke te" while I was checking out the abridged MV to Mae-Kiyo's newest release "Yume no Tonari" (夢の隣り). I was looking through the sidebar with his other performances and songs I've not listened to yet, so I decided to give one of those songs a go, and went with "Kokoro ni Kuchizuke te". It didn't disappoint, and when Mae-Kiyo sung that first sentence of the chorus, it reminded me of this one Chinese song I had taken a liking to when I was younger, which was why I accepted it quickly. Yup, I have no idea who sang it (may have seen who it is before but forgot) or what the title of that particular song is. All I know is that it is sung by a man and that it's quite a popular song back then... not very helpful, is it? Oh well. Noelle from 3/8/2015: I found the song! It's a Mandarin song called "Wen Bie" (吻別) by Canto-Pop star Jackey Cheung.
Coming back the main topic, "Kokoro ni Kuchizuke te" seems to have a hint of enka in it and is more relaxed than "Semete Konya dake wa" - I found out both came from the same single when I saw that picture of Maekawa (I... uh... kinda like it...) in the video above that looked similar to the A-side's cover - but the man himself still sings as intensely and the lyrics by Mami Takubo (田久保真見) have about the same level of bitterness. When I read the first paragraph/stanza, I actually went, "Hey, this seems like it's gonna be a happy one for once!" since it's literally describing a usual date scenario of the couple meeting each other at the bar at 8 for a drink. And then everything started to go down hill as something seemed to have went wrong with our loving pair and are now apart. I'm not sure if Mae-Kiyo is singing in the perspective of a man or a woman, but either one of them is trying to relive their bar rendezvous while missing the other dearly. Kazuya Amikura (網倉一也) had composed the song.
"Semete Konya dake wa" and "Kokoro ni Kuchizuke te" were released 1st January 2007, and it did fairly alright on the regular charts, peaking at 63rd place.
Up until a few minutes ago, I had been prepared to give an Author's Picks on "Psych-Up Songs"...those tunes that would give me that extra burst of energy and joy. But then I remembered that a scant few months earlier, I had already put up something very similar in the form of "Happy Songs for Me (for International Happiness Day)". In fact, there were a couple of songs that I was going to put up in this list that are already up in that other article. So I've just decided to go with the sequel formula here.
When I'm about to undertake a major project, I take a dose of this and don't need to call the doctor in the morning. I realize that in all likelihood the committee planning the 2020 Olympic Games in Tokyo will assign one of the big songwriters to create a new tune to represent the city at the Opening Ceremonies, but if an oldie-but-goodie can be introduced during the entertainment phase on the opening day, this is the one song that I'd want....with 3D projection mapping of dancing Tokyo buildings! If Yoshida can't perform this, then I nominate Kahoru Kohiruimaki or Miwa Yoshida.
The perfect summer song that wasn't sung by Tatsuro Yamashita. And it provides me with a fine sense of catharsis as it did for the finale of that 6th episode of the anime "Space Dandy" when the sudden and happy scene of space surfing came out of the blue. When I finish a major project, this is the song that I would like to play...as I walk off proudly into the sunset.
Another epic and EPO-esque song of City Pop coolness. Striding down the main strip of either East or West Shinjuku as the sun is heading out would be the ideal setting for this one. I think it deserved a higher profile when it comes to the EPO discography but for the die-hard fans, it's probably a well-remembered entry in any event. And considering the title, perhaps it's also the tune reminiscent of past economic days of glory.
When I recently heard the fictional Kitaoji High School band perform "Rydeen" on the anime "Hibike Euphonium", my jaw dropped and my joy rose. Yep, even after 35 years, a brass band version of a technopop tune had me squeeing like a little boy. At the time I first heard "Rydeen" in its original computer glory, I had no idea that the electronic pitter-pats which introduced the songs actually represented horse hoof beats but I immediately "got" the high-speed fun of the piece and was more than happy to ride on the YMO express.
I really cannot afford to take luxurious trips to far-flung tropical destinations...at least, not yet. However, "Loveland, Island" makes for a pleasant aural placebo...heck, a lot of Yamashita's summery works during the late 70s and early 80s would qualify but there is something about this particular song that just has me soaring off into the stratosphere over the Hawaiian coast. It's too bad that the original music video has been taken off the Net since it was fun to watch that supposedly old fellow bust a move like a pro...apparently that was none other than a disguised Noriyuki Higashiyama for 80s aidoru group Shonentai.
The mission of Kome Kome Club has been to bring zany, colourful and fun music to all who will listen, and a lot of folks did. Probably a majority of them would place some of their other hits above "Abracadabra", but for me, it's in my Top 3 for K2C. As the title hints, it's just this magic carpet ride led by a master magician...if the magician were Beetlejuice as portrayed by leader Tatsuya Ishii. It's one of a few songs that can actually make me sweat.
Referring to Minako Yoshida's"TOWN" at the very top of the list, Maki Ohguro's "Atsukunare" actually was one of the official songs for the 1996 Atlanta Games coverage by national broadcaster NHK. And yep, it did the right job in that it could get any couch potato such as yours truly pepped up enough to take on the planet. At least, it got me pepped up enough to get off the sofa and head over to the nearest CD shop to purchase the single.
But after writing this list down, I realized that although I will still call this "Happy Songs 2", all of the entries here indeed have that energy-building factor. It's not just the smile that has been put on my face but also that psyching-up feeling in my brain.
Hope all of you folks are enjoying a happy Father's Day whether you are receiving or giving the accolades today. Took my parents out for Sunday breakfast at a local branch of The Sunset Grill and I'll be grilling up steaks later tonight. In the meantime, I have time to devote to our beloved blog.
A few days ago, I discovered this sweet adorable song by singer-songwriter Senri Oe（大江千里）on YouTube. Actually, the video was of Oe and Mari Iijima（飯島真理）doing a joint performance of the song on a TV program back in the early 80s with Nobuyuki Shimizu's（清水信之）soulful electric guitar helping out. But the above video is for the original recorded song, "Girlfriend", which came out as Oe's 2nd single in August 1983. Written and composed by the singer, EPO is helping out in the refrain as Oe sings about that high school girl he craves. Hearing how the song goes, I could imagine high school student Oe staring and daydreaming about his object of affection surrounded in sparkles and fluffy clouds...before the teacher comes by and whacks him with the ruler. It's a pie-in-the-sky melody that would fit a fine sunny Sunday which it is today...nice way to start the summer.
I think Teresa Teng's（テレサ・テン）2nd single,"Kuukou" (Airport), is filled with that sentiment. Originally released in July 1974, when I heard the song performed being performed by singers Kanji Ishimaru and Miyuki Hatakeyama on this past week's "Kayo Concert", that amazing trumpet that started things off jogged the old memory synapses. Yep, I've heard this one over the years whether it be through audiotape and old VHS tapes. I hadn't known who the original singer was, though.
Kosho Inomata（猪俣公章）was responsible for the bittersweet and classic melody and Michio Yamagami（山上路夫）took care of the lyrics about making those final goodbyes at the airport suffused with all of those feelings of "We'll always have Paris" and "Here's lookin' at you, kid". Listening to "Kuukou", I think it's kayo like these that give an extra meaning to the word "terminal" aside from it meaning an airport building. Then there are Teng's vocals which carry those tender, delicate and heartbroken emotions as she reflects that person who has to see off her lover one last time from the observation deck as he heads off for his hometown and his wife.
Just makes me want to get that drink at the terminal bar. Heck, I've got so many options now that Haneda Airport is chock-filled with places. Still, I'm not sure whether there is a drinking establishment over there facing outside which would capture the ambiance of "Kuukou". In any case, the song peaked at No. 29 on Oricon and earned Teng a Best Newcomer Prize at the Japan Record Awards for that year. I think the trumpet player should have also gotten a little something for that performance.
