Keiko Matsuzaka -- Ai no Suichuuka （愛の水中花）

Keiko Matsuzaka（松坂慶子） has been a name I've heard off and on for many years....usually through her roles in a number of movies and TV dramas, and also for her commercials. She's been in a couple of Tora-san movies and according to J-Wiki, during her teenage years, she appeared in an episode of tokusatsu series, "Ultra Seven". Her name was even mentioned when I was traveling in Taiwan when our guide, rather blandly, plugged a certain foot massage clinic in Taipei whose customers had included Matsuzaka and comedian Ken Shimura of The Drifters.

However, I hadn't realized until relatively recently that she was also the voice behind this kayo kyoku tune called "Ai no Suichuuka"(The Water Flower of Love). I'd originally heard it way back when I was watching my first video tapes of Japanese music, and even without knowing the lyrics back then, I could tell she was singing something rather saucy and flirtatious. The melody by Masashi Komatsubara（小松原まさし） has got that feel of life in either a Mama-san-owned tiny nomiya in Shinjuku or some hostess bar in Roppongi. Much later on, after going through the lyrics by Hiroyuki Itsuki（五木寛之）, I realized that Matsuzaka was portraying herself as that thirsty water flower pleading for someone to pour on that water. The effect was complete with Matsuzaka's performances on TV in a slinky black dress.

"Ai no Suichuuka" was also the theme song for the TBS drama "Suichuuka"(Water Flower) based on the aforementioned Hiroyuki Itsuki's novel of the same name. In the drama, Matsuzaka portrays Rie Morishita, a 25-year-old company employee who, due to some unfortunate family financial circumstances involving her sister, has to moonlight under the name of Eri in a Ginza club. Matsuzaka's double duty as lead actress and singer of the theme was seen as one of her highlights as an adult actress after her time as a child actress of the 1960s. As for the song's success, it did fairly well by being the 33rd-ranked song of 1979.

Masayuki Suzuki -- Mou Namida wa Iranai （もう涙はいらない）

Another urban soulful from Martin-san. Masayuki Suzuki（鈴木雅之） released his 14th single in May 1992, and the video above of some fine nighttime scenes of Yokohama and Tokyo make for a nice complement. I first thought that "Mou Namida wa Iranai" (Don't Need Your Tears) was another collaboration between the singer and Kazumasa Oda（小田和正）, but actually the creators of the song were Saeko Nishio（西尾佐栄子）and Hideya Nakazaki（中崎英也）who was behind a number of Miki Imai's（今井美樹）early songs.

The song became Suzuki's highest-selling single as a solo singer with 560,000 copies sold and managed to peak at No. 8 on Oricon. It was also a track on his 5th album, "FAIR AFFAIR" released in September of that year; the album hit the top spot. And "Mou Namida Iranai" was able to get Suzuki his 2nd consecutive appearance on the Kohaku Utagassen. Finally, it was one of the ending themes for the detective TV series, "Deka Kizoku"（刑事貴族...The Detective Aristocrats), starring a whole array of stars such as the debonair Hiroshi Tachi and former aidoru Hiromi Go, a couple of guys who fit well into the nightlife of Tokyo.

There were a whole lot of changes going on in Japanese popular music as there was this divergence into areas such as glam rock, ska and Shibuya-kei. But I was also glad to see some good ol' R&B represented in Japan via singers like Martin.

Seiko Matsuda -- Tengoku no Kiss （天国のキッス）

"Kiss in blue heaven...."

The perfect summer aidoru song of the 80s. Every time I hear that phrase above sung by Seiko-chan, I just feel like giving her a pat on the head and offering her a gumdrop. Of course, if I actually did that, I would most likely have been thrown through a couple of walls by her security. But I digress.

"Tengoku no Kiss"(Heaven's Kiss) is an aidoru song that seems to be just imbued with summery joy through the arrangement. Created by former Happy End members Takashi Matsumoto and Haruomi Hosono（松本隆・細野晴臣）, it's one of my favourite songs by Seiko Matsuda（松田聖子）. And sure enough, it was another No. 1 for her which was released in April 1983. I could just see young Seiko skipping across the beach, playfully trying to avoid the surf from washing over her feet.

During the heyday of Yellow Magic Orchestra, the members often helped out in writing and composing for other singers, and a number of times, the YMO sound seeped into the arrangements. However, Hosono's arrangement for "Tengoku no Kiss" was about as far from a synthesizer as a toy xylophone. It seemed to fit the Seiko aura to a T. Ironically for Hosono, who had been really rallying for YMO's "Kimi ni Mune Kyun"（君に、胸キュン） (which had been released a month earlier) to hit the top spot on Oricon, it would be his composition for Seiko, his first one for her, that would beat the band's 7th single to the No. 1 position. It also became the 16th-ranked song of the year.

The single was also part of Seiko's 7th album, "Utopia", which was released in June 1983, and also hit the top spot on Oricon. It also became the theme song for her second movie, "Plumeria no Densetsu"(プルメリアの伝説...Plumeria Legend).

The above wasn't the one, but the first time I came across "Tengoku no Kiss" was on an episode of the Fuji-TV music show "Yoru no Hit Studio"（夜のヒットスタジオ）. While I was watching her sashay across the screen and sing that sweet melody, I just thought that this was about as Seiko as Seiko could get.

Also, take a look at the single's B-side, "Wagamama no Kataomoi"（わがままな片想い）.

Mariya Takeuchi -- Kokuhaku （告白）

It wasn't only Hiromi Iwasaki（岩崎宏美） who took care of the theme songs for the Tuesday night suspense dramas on NTV. Going into the 90s, Mariya Takeuchi（竹内まりや） also made her mark by allowing a couple of her songs to be the tunes to see off the resigned criminal walk away with the sage detective. One was "Single Again" released in 1989, and there was this one, "Kokuhaku" (Confessions), released in September 1990, just a week before its year of usage as the ending theme.  Takeuchi wrote and composed the song.

Of course with that title, it was a good fit for a suspense drama. However, the lyrics were actually more centered on the agony that one goes through when one wants to confess his/her romantic feelings for that special someone. But since I never got all that interested in "Kayo Suspense Gekijo"（火曜サスペンス劇場）, the first time that I'd actually heard the song was in the Numata City (Gunma Prefecture) equivalent of a Canadian Tire household goods shop. It got played on the speakers overhead while I was looking for a decent tool kit...I guess there was a certain kismet to the situation; tools were often used on the various episodes of the drama....just not in the way they were supposed to be used. Anyways, it had been a while since I heard Takeuchi's voice so I didn't pick up right away who the voice belonged to, although the richness did ring a bell.

Nope, I actually had to come across the end credits of the show one Tuesday night to finally realize it was Takeuchi. One visit to the CD shop later, the single was in my hands. Listening to it, it seemed like a melodic cousin to her husband's recording of "Endless Game", another somewhat melancholy song of the heart released in the same year as Takeuchi's ballad, and itself a theme song to a drama.

"Kokuhaku" peaked at No. 3 on the Oricon weeklies and became the 51st-ranked single of 1990 selling half a million copies. It has been a must-include on all of Takeuchi's BEST compilations, but her 19th single came out on the original album, "Quiet Life" in 1992.

Mariya Takeuchi -- Kokuhaku

Yoichi Sugawara & Silvia -- Amant （アマン）

Another classic Mood Kayo duet, perfect for that bilateral karaoke session in the bar."Amant" (Lovers) has that exotic tango feeling, the katakana title and lyrics that pretty overtly talk of that overnight hotel tryst of a married couple....just not to each other. As with that other classic duet song, "Tokyo Nightclub", having a few drinks before hitting the mikes is always beneficial. And since it looks like any video with the original singers have been taken down, the above is of a very competent duo and their take on the song.

Written by Norihiko Sugi（杉紀彦）and composed by Koichi Morita（森田公一） (who had made melodies for a number of singers such as Mari Amachi, Agnes Chan and Ikue Sakakibara), the original singers behind "Amant" are the late Silvia (Rieko Matsuda...松田理恵子) and the veteran crooner, Yoichi Sugawara（菅原洋一）. Back in 1979, Silvia hit the top right from her debut with Mood Kayo group, Los Indios, and their song, "Wakaretemo, Suki na Hito"（別れても好きな人）in 1979.

Sugawara is a kayo kyoku veteran who debuted in 1958 and is still making appearances as he approaches 80 years of age this year. Since 1967, he had been a fixture on NHK's Kohaku Utagassen for 22 years, which included his appearance in 1983 with Silvia to perform "Amant". I just saw him a few weeks ago on the weekly "Kayo Concert" on the same channel, still looking debonair in his tuxedo. His speciality is singing the old standards (I recollect him singing "Love Is A Many-Splendored Thing" on one Kohaku) and kayo kyoku which have that Latin kick...which would put him squarely in the Mood Kayo genre.

Fukinoto -- Hitori no Fuyu Nara Kuruna （ひとりの冬なら来るな）

I've been continuing to peruse my old "Sounds of Japan" audio tapes today and I came across this number from folk duo Fukinoto（ふきのとう）. One of the things I've appreciated about the old CHIN-FM radio show is that the DJs didn't just put up what was up on the Top 10 of Oricon but also songs and artists that normally didn't get anywhere near there. Naturally, everyone's opinions on music are as individual as a set of fingerprints, but for me, I've been able to find some gems through my ancient tapes.

Anyways, Fukinoto originated in Hokkaido in 1972 after Yasuyo Yamaki（山木康世） and Motoyoshi Hosotsubo（細坪基佳）, two friends at Hokkai Gakuen University in Sapporo, set up a band called Mad Slide Slim before settling upon "Fukinoto" which is known in English as the edible bud of the Giant Butterbur. In 1974, they released their debut single, "Shiroi Fuyu" （白い冬...White Winter) which became a hit for them. However after that, success was rather fleeting.

"Hitori no Fuyu Nara Kuruna" (Don't Bother Coming If You're Gonna Be My Winter) was Fukinoto's 19th single released in October 1982. First off, my translation of the title isn't that great but Yamaki's title and lyrics refer to a bitter aftermath to a doomed romance despite the jaunty melody. The spurned young man gives an open warning to not rain (or snow) on his parade since he's moving on with his life (SNAP!) Since this was a folk/New Music song from the early 80s, there's some synth work in there which reminded me a bit of some of Kozo Murashita's（村下孝蔵） enjoyable work during the same time. There's just something about Japanese folk during that time that just struck me as being very pure and refreshing.

As for that edible flower bud of the Giant Butterbur, I can tell you from delicious experience that sansai（山菜...mountain vegetable) tempura chopped up and scattered over rice is absolutely perfect!

Ami Ozaki -- Tabi （旅）

I was listening to a twin-CD set of Ami Ozaki's（尾崎亜美） best songs when I came across this one, "Tabi"(Journey) as the first track on the 2nd CD. I had wanted to explore more of Ozaki's repertoire since I could only remember a few of her biggest hits such as "My Pure Lady" and "I've Been Mellow". As was the case with many of her early singles, Ozaki's melodies are soft, relaxing and pleasant. And "Tabi"is very much the same with the singer talking about that little trip with that special somebody, although the melody is a bit more straight-up pop when compared to the bossa nova of "My Pure Lady".

"Tabi"was actually released as her 2nd single in November 1976, just before her first big hit of "My Pure Lady". In the video above, a very mature-sounding 20-year-old Ozaki sang "Tabi" along with the B-side of "Guuzen"(Suddenly) at a November 13 1977 at FM Tokyo. While listening to that 2nd CD of her best hits, I found that Ozaki seemed to resemble Yumi Arai/Matsutoya（ユーミン） in terms of message: singing about vignettes of young women and their lives in the big city. Strangely enough, the album that "Tabi" and "Guuzen"appeared on, "Mind Drops"(June 1977) was given its title by the Queen of New Music herself.