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.
I was mentioning yesterday that I had discovered Harumi Miyako's（都はるみ）1982 single"Tokyo Serenade"（東京セレナーデ）while we were watching an enka compilation video on YouTube. Well, that wasn't the only revelation.
I also came across this kayo kyoku for the first time, too. "Nandemo nai wa" (It's Nothing) was the B-side to Mari Sono's（園まり）23rd single from May 1966"Yasashii Ame"（やさしい雨...A Gentle Rain）. Delivered in an appropriately coquettish fashion by the singer, Kazumi Yasui's（安井かずみ） lyrics illustrate a young lady's unspoken words of love to her boyfriend despite the big lug asking what she's keeping close to the chest. Hiroshi Miyagawa（宮川泰）was the composer and arranger for this happy-go-lucky ditty.
Not sure when this cover version of "Nandemo nai wa" was released by Mood Kayo groupHiroshi Wada & Mahina Stars（和田弘とマヒナスターズ）but judging from the similarity of the arrangement, it probably wasn't too long after the Sono original. Actually, this was the first version that my family saw and heard on YouTube yesterday which led me to the original. Speaking of Yasui, it's been a little over thirty years ago that the Yokohama lyricist passed away in March 1994. Just to indicate her length and breadth of experience, Zuzu was also responsible for the words behind Mariya Takeuchi's（竹内まりや）"Fushigi na Peach Pie"（不思議なピーチ・パイ）and Mari Iijima's（飯島真理）"Ai Oboeteimasuka?"（愛・おぼえていますか）.
Oh, Hachi, why do you look so awkward? I say that as if I'm any less awkward when having my photo taken.
Horerutte kouiu koto ka yo
I was recently on another trip to Fukushima. I was game on doing some travelling during my now-ended spring break. I knew it had to be Fukushima again, and I knew it wasn't going to be solely for R&R. And so, I travelled back into the mountains of the Aizu region, to the small town of Bange (会津坂下) for the third time in six years to do some data collection at the Kasuga Hachiro Omoide-kan (春日八郎おもいで館) for my thesis.
I knew that I had to make contact with Hachi's museum for something like this eventually because it's essentially one of the Hachi info mines. My professor also urged me to build bridges with the museum as well - at the minimum, find out if they're willing to help. And so, I decided that Spring break would be the time to get serious and do so. But, truth be told, I was horribly nervous because I didn't know what to expect. I'd never done fieldwork of this scale and in a more or less official institution before, even if I'd visited the place multiple times. I worried about whether they would agree to the request of this foreign student. I worried about what I'll be allowed to see after I made that harrowing phone call to the Aizu-Bange tourism board to ask for permission, even after they essentially gave the green light. I worried about what I may need to bring to show I'm there for "official" business. I just worried a lot.
But.
The thing that kept me going was the drive to do a paper worthy for Hachi's centenary. Or, at least, try to do it with the means I can. And going to the museum was one of those means. Fieldwork is part and parcel of research, but I just found it bonkers that my fangirling has brought me to that point. Never would I have imagined that my next visit to the Kasuga museum was for this reason. This reminds me of one of my go-to Hachi tunes, "Inochi Tsubunure". It's one I like a lot, but I've been listening to it with greater frequency because of my recent circumstances.
Aitaitte kouiu koto ka yo
For some background, "Inochi Tsubunure" was released in the album "Nekketsu no Utagoe" (熱血の歌声) from 1972. I believe this was Hachi's first fully original album in a long time, and he worked with many musicians whom he'd never worked with before to create what I would consider kayo of various styles, including folk and Mood Kayo. Since it was his 20th anniversary and he would be considered a veteran in the business, this move was perhaps a way to show that he can keep up with the times and show his musical prowess. I said the album's songs are kayo, but the album's liner notes considers all the works inside as "enka". This could be due to the newly-formed enka genre's (finally made official in 1970) emergent popularity in the early 1970s, and a way to associate Hachi, a veteran of significant status, with this new genre. I have some reservations about the "all enka" thing, but that's really not important here.
"Inochi Tsubunure" has an upbeat, slightly jazzy Mood Kayo melody with an element of rock, which was brought to you by Yuji Konishi (小西悠史). Writing the words that resonate with me was Gougo Hotomi (保富康午). From what I gather, our protagonist falls absolutely head over heels for one of the patrons at a bar he visits. At least from my perspective, the protagonist is older and is rather jaded/disenchanted by life until that faithful meeting. The resultant rush of feelings, both sweet and sour, reinvigorates him and he's once again filled with life. I'm not exactly sure how to translate the title without it sounding odd. A direct translation based on my ability is "Soaked/Dripping with Life", but with taking Hotomi's lyrics into consideration, perhaps something like "Bursting with/Full of Life" sounds a bit better.
So this is what is at the end of the rainbow
Turns out, my research trip wasn't as scary as I thought it'd be. I was provided with what I requested: Almost 3 decades worth of old fan club magazine archives. I was taken care of by the museum caretaker Ito-san, who recognised me and knew it was my third time there. She did her best to find me more materials I might find useful, including bringing her own copy of a now out-of-stock posthumous fan club book, and tried to make me at home by plying me with snacks as I worked. I say worked, but if I got a 100 yen for every time I got distracted by a silly candid shot of Hachi in those fanzines, I'd be able to buy his 20 disc album set containing all his singles ever released. Every time my eyes crossed from skimming through the resources, I'd get up to look at the museum displays. The line between fan and academic, while already blurred for me, completely disappeared for those few hours. It was a very strange sensation, but one I will never forget.
Having found useful nuggets of information, I would consider this research trip a success. I greatly appreciate the museum for allowing me to do so and providing me with so much, as well for Ito-san's hospitality. It's given me greater resolve to do what I can to make a good - decent - readable Hachi thesis, and a tiny bit more confidence to pursue this path further. And you could say that it's reinvigorated my fangirling for Hachi.
Horerutte kouiu koto kayo (So this is what it's like to be in love)
Kono yo wa hitori ano(hito) dake (In this world there is only (him))
Sonna baka janakatta hazu ga (I shouldn't be this stupid)
Baka wo shouchi de moete iru (But I know I am, and I'm fired up)
Atsuichi de inochi inochi tsubunure (Passion coursing through my veins, I'm bursting with life)
Man, the more I think about what I'm trying to do and have been doing, the more this song speaks to me.
The personal early reviews on Jme thus far have been that there's been a slight dearth of kayo programming with NHK's "Hayauta"（はやウタ）and "Shin BS Nihon no Uta"（新・BS日本のうた）not really showing up on the schedule. I'm perhaps not that surprised about the latter since that show is coming from NHK's satellite service and so may not have been licensed or whatnot for Jme.
However, I have tried to fill in the big gap by occasionally bringing in the YouTube videos involving enka and/or Mood Kayo songs, and there are plenty of those to go around thankfully. One nice thing about this is that I've been able to encounter songs that I had yet to see performed on shows like "Uta Con"（うたコン）. Case in point: Harumi Miyako's（都はるみ）"Tokyo Serenade", her 86th single from April 1982.
Yup, I saw this being performed by Miyako this morning on one of those enka compilation videos, and the music by Asei Kobayashi（小林亜星）under Hiroshi Takada's（高田弘）arrangement rather brings in some of that sumptuousness of Tokyo nightlife among the corporate execs back in those high-flying 1980s. There is some of it which seems to refer to Frank Nagai and Kazuko Matsuo's（フランク永井・松尾和子）classic Mood Kayo"Tokyo Nightclub"（東京ナイトクラブ）but again Takada's flair with tying it all together also incorporates some of that urbane pop although I wouldn't classify "Tokyo Serenade" a City Pop tune. But I can say that it can qualify as a New Adult Music number.
Takashi Taka's（たかたかし）lyrics certainly talks up a typical Mood Kayo scenario as a couple gets ready for a night of hubba-hubba, and of course, the genre loves to describe the love affair, illicit or otherwise. "Tokyo Serenade" peaked at No. 39 on Oricon. I have to admit that among all the appearances of Miyako throughout the decades of her long and successful career, I've found her time in front of the camera in those early 1980s as the most attractive. There's just something about her straight shoulder-length hair and her makeup back then.
I only read it on the Yahoo Japan news blotter last night just as I was about to call it a night, but unfortunately singer and actor Mitsuo Sagawa（佐川満男）passed away on April 12th at the age of 84 due to a disease called cholecystitis.
Sagawa's career as a singer began in 1960 with his debut single"Futari no Namikimichi"（二人の並木道...A Boulevard for Us） but perhaps his most defining song came several years later with "Ima wa Shiawase kai"（今は幸せかい）from 1968. Songwriter Taiji Nakamura（中村泰士）, who passed away in 2020, had provided words and music for Sagawa's big hit, and he also composed this October 1970 single, "Wakare no Toki ga Kita" (The Time Has Come to Say Goodbye) with Yu Aku（阿久悠）as the lyricist.
Beginning with this near-Bacharach pop melody, "Wakare no Toki ga Kita" then blends into a languid and satisfied soul kayo. I couldn't find the lyrics online but I'm hoping that the song itself is about the ending of a happy date and not a permanent end to a relationship. Of course, with last night's news, the song title will now take on an even more poignant presence. My condolences to Sagawa's family, friends and fans and especially to singer Yukari Ito（伊東ゆかり）who had once been married to him.
Yes, I do realize that Urban Contemporary Friday was yesterday but I just can't help but put this one up tonight. After the Blogger technical kerfuffle earlier this afternoon, I think I want to post up something especially fun.
It looks like one of the premium City Pop songs to be absolutely adored and devoured by a lot of people inside and outside of Japan, Miki Matsubara's（松原みき）"Mayonaka no Door"（真夜中のドアー）, aka "Stay With Me", has become the gift that has kept on giving. The list of cover versions on the J-Wiki article for the 1979 hit is beginning to appear like an annual Kohaku Utagassen lineup. A few years ago, I even wrote on Yuko Imai's（今井優子）funk n' groove n' sophisticated poptake on the song which she released as part of her 2016 album"Sweetest Voice", a few years before "Stay With Me" exploded onto the international scene.
A couple of slaps on the head later earlier this month made me realize that Tokimeki Records isn't a recording company. It is the name of a music unit which started up in 2019 that specializes in cover songs originally done by singers from the 1980s and 1990s. The group immediately sprinted out of the gate with their cover of that other City Pop hit "Plastic Love" in August 2019. But then a few years later, in June 2021, Tokimeki Records brought singer Hikari (one of a number of singers who have contributed to the unit's projects) on board to record their version of "Stay With Me". And it's another barn burning banger of a cover with a bit more of a dance club flavour infused into the original arrangement by Tetsuji Hayashi（林哲司）.
Well, by this point on Saturday night, I would have already had my two articles up on "Kayo Kyoku Plus" and perhaps watching the NHL playoffs or doing something else. But weirdly, earlier this afternoon, for some reason, Blogger had a technical issue which didn't allow me to edit or create new postings, so I was left wondering whether after doing twelve years of KKP and the years of the earlier blog while I had been living in Japan actually filled up all the space I could within the platform. However, I think an email with a screenshot sent to the Blogger administrators took care of things, so I'm back here now.
What I had been planning to post and what I am posting right now is something different from singer-songwriter and English teacher CHAKA (aka Mami Yasunori). Of course, fans including me remember her as the vocalist for the quirky 80s technopop duo PSY-S. With her partner Masaya Matsuura（松浦雅也）, they came up with some great songs that had more hooks than a fisherman's tackle box.
However, once PSY-S' day was done in the early 1990s, I knew that CHAKA had gone the jazz route as part of her musical odyssey, but I only found out about this album and the opening track just a few short months ago. Her 1999 "I Found Love" begins with "Call Me ~ Oboeteite Hoshii" (I Want You To Remember Me), a tenderhearted piano pop ballad fronted by the familiar and sweet vocals of CHAKA. The arrangement was handled by keyboardist Satoru Shionoya（塩谷哲）, formerly of Japanese salsa band extraordinaire Orquesta De La Luz and an artist who has helped other singers such as Chikuzen Sato（佐藤竹善）. Basically, Shionoya is one of the few names that I see in the details of a song that would immediately get my attention., and he's done it once again here.
"Call Me" could be tear-inducing. I haven't gone into CHAKA's lyrics but the tone of the ballad is reminiscent of a woman whose relationship with another has unfortunately ended but she still pines for her now-former significant other and asks kindly that she be contacted again once in a while. It's rather ironic that I had been planning to go with this song even before the Blogger issue occurred since I felt just like the title. Anyways, thank you Blogger for resolving the problem.
"Todokanu Omoi"(Unreachable Feelings) is the most urban track within "Variety" which reveals a variety of expressions song by song. On top of that, Mariya Takeuchi（竹内まりや）has established herself as someone who has made songs on adultery into everyday parlance, but this time around, the song isn't so mundane, so can it be enjoyed purely as a pop song? Chuck Findley's flugelhorn solo is exquisite which raises the level of urbanity here.
The above comes from "Disc Collection Japanese City Pop Revised" (2020).
Hello. J-Canuck here. Here I thought that I had completed taking care of the entirety of "Variety" over the years of KKP, but in actual fact, there are still a few remaining tracks that I haven't covered including this one, "Todokanu Omoi". But I've been in situations like this on Yutaka Kimura Speaks before so it's no real problem.
To be honest, I still think this track's fellow track mate, "Plastic Love", is the most urban tune. Maybe his referral to the fooling around in Mariya's lyrics gives "Todokanu Omoi" that city edge although I think affairs can absolutely exist out in the countryside. Regardless, the main rhythm in the song is something that I do remember and it feels unsurprisingly very Tatsuro（山下達郎）. There is a certain melancholy feeling imbued as a woman is called over to some place by a man who may be her paramour in sin. Perhaps the place is his apartment or even a remote stockroom in the company where they work. Will they carry out the affair or will both avert the potential cliff and return to their normal relationships?
