Sumiko Sakamoto -- Yume de Aimashou （夢であいましょう）

I was born in the 1960s so my television viewing from what I can remember of that decade involved the tail-end of the big age of American and Canadian variety shows with comedy and music.

For instance, one of my earliest memories was watching The Red Skelton Show. There were others as well such as The Jackie Gleason Show, the Bob Hope specials, and of course, Ed Sullivan.

During last week's "Uta Con" (うたコン), Hiroshi Itsuki and Yukino Ichikawa（五木ひろし・市川由紀乃）sang "Yume de Aimashou" (See You In My Dreams) which was the theme song for a long-running musical variety show that had its run between 1961 and 1966. I had always heard about this program since there were often excerpts popping now and then on NHK retrospectives, and there was something very sepia-toned and nostalgic about that theme song as sung by singer-actress Sumiko Sakamoto（坂本スミ子）. As I recollect, a couple of other American variety shows from my childhood had similar ending themes: The Lawrence Welk Show and The Carol Burnett Show. There was just the way that those strings trailed off at the end of "Yume de Aimashou" that has had me imagining that old movie ending scene of slowly lifting off from the roof of a brownstone apartment and into the night sky.

The song was created by the famous songwriting duo of Rokusuke Ei and Hachidai Nakamura（永六輔・中村八大）. Not surprisingly, then, a number of songs created by the pair which were featured on the show's segment "Kongetsu no Uta"（今月のうた...Song of the Month）became huge hits. They would include "Ue wo Muite Arukou"（上を向いて歩こう）, "Konnichiwa Aka-chan"（こんにちは赤ちゃん）and "Tooku e Ikitai"（遠くへ行きたい）.

"Yume de Aimashou" was televised weekly on NHK on Saturday nights during the 10 pm hour. Watching some of those old scenes gave me the impression that although the show may not have been the very first variety show to be aired on Japanese TV, it probably did influence the beginning of a number of future long-running shows such as Fuji-TV's "Music Fair", TV Tokyo's "Enka no Hanamichi"（演歌の花道）and even "Uta Kon". The show also had a number of still-familiar faces in entertainment history such as actor Kiyoshi Atsumi（渥美清）, singer Kyu Sakamoto（坂本九）and Tetsuko Kuroyanagi（黒柳徹子）who would later host another famous music program, "The Best 10" along with her own long-running afternoon interview program "Tetsuko no Heya"（徹子の部屋...Tetsuko's Room）.

As for Sumiko Sakamoto, although the Osaka-born singer had a slow start to her career, her stint in 1959 as a 23-year-old opening act alongside singer Joji Ai (アイ・ジョージ) for the Latin group Los Panchos brought her overnight fame and soon she was known as one of the Queens of Latin Music. Then came her time with "Yume de Aimashou". During that time, she also appeared on the Kohaku Utagassen every year singing Latin tunes. In addition along with her music career, she also appeared regularly on other TV shows including her own "Sumiko to Utao"（スミ子と 歌おう...Let's Sing with Sumiko）.

Many years ago, I heard about this award-winning Japanese movie called "Narayama Bushikou"（楢山節考...The Ballad of Narayama） which had been released in 1983. The story involved a small 19th-century village whose population practiced the custom of ubasute in which when a person reached the age of 70, he or she had to go to a mountain to die. According to the J-Wiki account of the movie and from what I was told by my mother, one of the cast had actually decided to grind down four of her front teeth to make her appearance as the elderly mother even more convincing. That actress happened to be Sakamoto and afterwards she had implants for those four missing teeth.

January 23 2021: I read earlier this morning on Mixi and J-Wiki that Ms. Sakamoto had passed away today at the age of 84.

Taeko Ohnuki -- Aventure (アヴァンチュール) Follow-Up

All the way back in the early days of the blog, I wrote about Taeko Ohnuki's（大貫妙子）5th album from May 1981, "Aventure". Since then, I've given some of the other tracks from the album their own articles, so I figure it was time to wrap things up and cover the remaining songs on this disc. For the record, the individual songs are the Latin-themed songs of "la mer, le ciel" and "Samba de Mar", "Bleeker Street no Seishun"（ブリーカーストリートの青春）, and the poppy tune that starts things off "Koibito Tachi no Ashita"（恋人たちの明日）. Another reason for revisiting "Aventure" is that I listened to it again for the first time in several months, and I guess it was a case of absence making the heart grow fonder since I truly enjoyed each track as if I were listening to them for the first time.

The one thing I realized that I had left out were those tracks that have been imbued with the European sound that critics were talking about when it came to this new Ohnuki entering the 1980s. And it is that European sound that finally hooked me into her albums. Case in point: Track 3, "Ai no Yukue"（愛の行方...The Fate of Love）. In collaboration with Ryuichi Sakamoto（坂本龍一）, Ohnuki sounds absolutely lovely as her voice is matched with his glacial synthesizers to create this old but new techno waltz. And then in the second verse, this pop percussion comes in all of a sudden to add another interesting layer this song about lost love. The above video has a concert performance of the song.

The title track "Aventure" is truly a melodic adventure as the song starts off with an intro consisting of these constantly slicing violins and a piano creating a soundscape of heading off to work in the bustling city, whether it be Paris, Brussels or Berlin. Then things get dreamier for a short bit when Taeko sings as if the protagonist is zoning out while on the subway or bus before a jauntier dance sequence enters the equation. But those strings are simply wonderful.

"Terminé" is another great chance for the strings to shine but with a more contemporary beat. And the ballad is a bit more romantic and wistful. Images of ballet dancers floating across in front of the Louvre come to mind.

And the final song for the article and the final song for the album itself is "Saigo no Hizuke"（最後の日付...Final Date）. As the melody will hint right from the intro, it's a somewhat bittersweet song about moving on from a former relationship despite the difficulty. The last date refers to the final entry of that relationship as written in the diary. I'm sounding like a broken record, I know, but again I love those strings especially when they soar up in volume with the deeper sounds of the cello and bass coming through. And in the back, there is always that layer of technology by Sakamoto, but it is definitely not a YMO product. It's a nice finish for a great album.

Come to think of it, "Aventure" is a most appropriate title for this Ohnuki album since although it was released in Japan, the songs don't have that feeling of City Pop or New Music in its country of origin per se. Instead, you're already transported to some place in Europe or South America.

Bakumatsujuku/TM Network -- Come on Let's Dance

Back on Christmas Eve last year, I wrote about the song "Yodel Tabehodai"（ヨーデル食べ放題）, a musical ode to the love of yakiniku dining since it was featured on the end-of-year NHK special, "Osaka Melody". And during the performance of that song by Sachiko Kobayashi（小林幸子）, a rather dapper if immense tarento popped up to ham (no pun intended) it up. This would be Hikomaro（彦摩呂）, the ultimate foodie TV personality in Japan.

During my years in Japan, I would see the fellow appear on many a segment noshing happily on the grand variety of dishes served all throughout the nation while giving his thoughts. As the template for all tarento sampling the fare in the myriad restaurants, Hikomaro would be extremely loud and ingratiating...and that was even before he took a single bite. When he did, though, he would look like as if he were having an orgasm (man, I hope his pants were sturdy) and declare a whole ton of analogies as compliments such as "Aji no IT no kakumei ya!"（味のIT革命や〜）which translates as "This is the IT revolution of taste!" The above video has him explaining very much tongue-in-cheek about how to behave as a properly appreciative foodie tarento with the dish of choice being gyoza.

Hikomaro is about the same as me at about half a century. It's time for the shocker. Back in the late 1980s, the above video is what he looked like back then. Yep, he was a lot slimmer back then instead of his appearance now. So that you readers don't end up hurting your necks pulling multiple double takes between the two above videos, let me reassure everyone that both folks are indeed the same man...just in different times and weight classes. I've heard that whenever a retrospective is done about Hikomaro, the hosts always show the before/after photos of the fellow just to screw around with everyone's heads.

Back then, Hikomaro was Yoshihiko Hara（原吉彦）who was a member of a street performance team-turned-aidoru group called Bakumatsujuku（幕末塾...Bakumatsu Cram School）which had nothing to do with Johnny's Entertainment. The street performers based in Harajuku was scouted out one day and 11 of them decided to become a bona fide boys' aidoru group in 1988. Hikomaro became the 2nd leader of the group.

In April 1989, Bakumatsujuku debuted with "Come on Let's Dance", a high-energy and synth-heavy tune written by Norie Kanzawa（神沢礼江）and composed by Tetsuya Komuro（小室哲哉）. As an aidoru tune, it's actually not too bad in execution. However, only three more singles were released with the last one coming out in late 1990 and 2 albums. Apparently, although there was no official declaration of the group breaking up, Hikomaro and any other members who have still remained in the geinokai have referred to themselves as former members of Bakumatsujuku.

"Come on Let's Dance" by Bakumatsujuku is actually a cover of the original 6th single by TM Network (there is that Komuro connection). This version is one that I actually like better since there is even more guitar-driven oomph along with Takashi Utsunomiya's（宇都宮隆）percussive voice. The single came out in April 1986 (peaked at No. 19) and was also laid down as a track on the band's 3rd studio album, "GORILLA" from later in June. The album got as high as No. 12 with a little under 420,000 in sales.

Let's finish things off with another orgasmic performance by the legendary Hikomaro!

Curry Tonkatsu at Haneda Airport

Akito Matsuda -- Mikazuki no Mai （三日月の舞）

Yes, "Hibike! Euphonium 2"（響け! ユーフォニアム２）finished up its run more or less triumphantly in the last week of 2016, and by all accounts, it seems like the anime has finished for good at 2 seasons. I've yet to see the final two episodes since my anime buddy has been enjoying the Holidays in Japan (he returns tomorrow) but I already did catch the final scene on YouTube, and it's a bit of a switch considering all the shipping that had gone on in the past. However, the reaction from the overseas fandom has been mostly overwhelmingly positive from what I've read online. For myself, I didn't think the second season was a home run but more of a solid running triple. There was just a little too much melodrama in the middle of the show for my liking, but it looks like things ended pretty well.

Aside from the successful arrangements for concert band of "Rydeen" in Season 1 and "Takarajima"（宝島）for Season 2, the Kitauji High School Band has become known for its orchestral pop theme song, "Mikazuki no Mai" (Crescent Moon Dance) that it played to success at the end of the first season. At first, I thought it had been created long ago by some American composer but it was actually composed by Akito Matsuda（松田彬人）who was in charge for the soundtrack for "Hibike! Euphonium". In-universe, the credit for the piece has gone to Namie Horikawa（堀川奈美恵）.

Listening to it in full, I couldn't help but feel that there was some tribute to the Gershwins' "Rhapsody in Blue" in that I felt a certain early 20th-century hustle and bustle of urban living. According to the write-up for "Hibike! Euphonium" on J-Wiki, excerpts from British composer Nigel Hess' "East Coast Pictures" was also used in the show, and after listening to the 2nd and 3rd movements of "The Catskills" and "New York" respectively, I could also imagine that there was some influence from them as well.

In any case, it will be interesting talking with my anime buddy when he does come back about "Hibike! Euphonium". I have a feeling though that he will be much more praising of it than I am but that's cool. I don't think there will be any more sequels to the franchise aside from a condensed cinematic version of Season 2 but it might be interesting to have a spin-off based on the complicated character of Asuka.

Hibari Misora -- Yukyo Kaido （遊俠街道）

At this time, I'm trying to make sure that I'm not coming down with a major headache...my first in several years. Our upstairs neighbour is apparently doing some major renovations to his/her unit which includes a lot of hammering and drilling. It would be all too easy to dash up and give the person a piece of my mind but the resident has every right to make changes and I don't think he/she is even obligated to let any of us know (the noise is rumbling through both floors) in advance about any noisy work. In Japan, it's usually the custom to pay courtesy visits to the neighbours and let them know about the din to come.

(karaoke version)

Still, I decided to put on some old 45" platters on the player to at least try to forget about the rumble and I came across this old Hibari Misora（美空ひばり）single called "Yukyo Kaido" (The Road of a Chivalrous Person) which had been released back in March 1964.

I'm starting to develop the theory that The Queen of Kayo Kyoku was the Madonna or even David Bowie of those times. She took on a number of personae whether it be the uncannily talented little girl, the enka madam or the jazz entertainer. But perhaps during the early 1960s, I think she was also inhabiting the body of a courteous Edo Era warrior.

In that year of 1964, she sang the grand and brassy "Yawara"（柔）pertaining to the martial art of judo although I pictured her more in the garb of a samurai rather than in a judogi. And with "Yukyo Kaido", there was no doubt about Misora's character. She took on the role of a proud warrior willing to live each day as it comes, whether it will be the one to continue living or the one to die. No matter what, though, the warrior knows that the life will most likely be a short but exciting one.

Yaso Saijo（西條八十）provided the lyrics while Masao Koga（古賀政男）composed the confident and strutting music that Misora interprets with her usual gusto.

At this point, I will keep that chivalry in mind as I endure some more of that drilling over my head.

Candies -- Garasu no Hoshi (ガラスの星)

This is one of the more unusual entries by 70s aidoru trio Candies (キャンディーズ) in that "Garasu no Hoshi" (This Glass World) is a truly languid ballad. For those who have known about Miki, Su and Ran, they received their fame through their sprightly hits such as "Haru Ichiban"（春一番）, and yep, as I remember one fellow from a few years back, Candies can be seen as the Perfume of the past.

But "Garasu no Hoshi" is definitely not one of those songs. It was written by Makoto Kitajo（喜多條忠）and composed by Takashi Miki（三木たかし）as a track on Candies' 9th album "Candy Label" from September 1977, and it's a dreamy song about love perhaps seen from a couple who are sitting on that small hill at night while gazing at the stars and romantically talking about their future.

I like Miki's melody but I'm not altogether sure whether this was particularly the right sort of song for Candies to tackle since in parts, the three of them seemed to struggle with the dramatic slow down in tempo. In fact, I think this was more of a song for someone like Mieko Nishijima（西島三重子）or Ruiko Kurahashi（倉橋ルイ子）.

"Candy Label" also has a song that I wrote about back in 2013, Candies' cover of the Carpenters' song "All You Get From Love is a Love Song",

Pocket Biscuits -- Rapturous Blue

This is actually the back cover of a T-Square album
but it's blue and the swimmer is rather quite rapturous.

The lone entry on the blog (up to now) for surprisingly polished gimmicky band Pocket Biscuits (ポケットビスケッツ) had been "Yellow Yellow Happy", one of my musical touchstones during the 1990s part of my life in Ichikawa and Tokyo. Considering that members Chiaki（千秋）, Teruyoshi 'Ucchan' Uchimura（内村光良）and Udo Suzuki（ウド鈴木）were all comedic tarento, they did actually put together some pretty catchy tunes.

"Yellow Yellow Happy" was their 2nd single and Pocket Biscuits' breakthrough hit, but I also heard bits and pieces of another song by them from that variety show where the unit originated, "Ucchan-Nanchan no Uri Nari!!" (ウッチャンナンチャンのウリナリ!!). It turned out to be their debut single "Rapturous Blue" and the song that got Pocket Biscuits through the door (you can read about how Chiaki, Ucchan and Udo got together in the "Yellow Yellow Happy" article).

Starting off with Chiaki's echoing voice, "Rapturous Blue" dives into an intro that sounds as if it were inspired by B'z in their early years before Chiaki comes back for some poppy verses and then into the more dramatic rumbling technopop refrain. It didn't get any higher than No. 20 on Oricon but I've ended up thinking that the group's debut was pretty darn good. Chiaki herself came up with the lyrics with some help from the rest of the band while Bakufu Slump（爆風スランプ）guitarist Pappara Kawai（パッパラー河合）composed it.

"Rapturous Blue" also showed up on Pocket Biscuits' debut album, "Colorful" which was released in July 1997 but with a decidedly more laid-back arrangement. For some reason, I kept thinking about PSY-S with this version. And the entire song was sung in English by Chiaki but if the lyrics are hard to understand, then you can see the written word here. The album went all the way up to No. 3.