Tomita Lab -- Shiawase no Blue feat. YOSHIKA（しあわせのBlue）

The one thing that I've regretted about doing "Kayo Kyoku Plus" is that I'm no musicologist. I love my kayo and I'm happy that I've been able to communicate with other fans of kayo kyoku from all over the world over the majority of this past decade, some of whom have become writers of articles themselves here. Although I have never meant for the blog to become an academic exercise in melodic or lyrical analysis for songs like "Plastic Love" or the "Sukiyaki" song, sometimes I wish I could use some of that knowledge to explore why these particular favourites of mine have simply worked and disseminate my opinions.

Take for example, Steely Dan. This amazing band led by Donald Fagen and Walter Becker was part of my radio education when I was a kid and, without me realizing it, also tempered me to get further into Japanese pop music through the genres of City Pop and J-AOR since there was something about the secret sauce of Steely Dan that also garnered the fascination of singers and fans alike in Japan. I had always wondered what that sauce was, and it wasn't until earlier this year that I discovered this 2016 YouTube video by Nerdwriter 1 and found out that it was something called the Mu Major Chord. Again, non-musicologist me was able to glean some insight about what that particular chord is all about, but swapping notes in chords and realizing the change in sound to what is a key ingredient for a Steely Dan tune are largely lost on me unless I decide to take up the guitar or piano and start learning. What is important for me, though, is that I love what the Mu Major Chord has done for my ears all these years through music on both sides of the Pacific. Nerdwriter 1's video also has further sources for his commentary on YouTube so take a look at those if you are interested. Another great thing is that the fellow has focused on one of my favourite songs by Fagen and Becker, "Deacon Blues".

Well, now that I've got that off my chest, I can introduce this silky-smooth song called "Shiawase no Blue" (Happy Blue) sung by YOSHIKA. And guess what? I think it also uses that wonderful spice called the Mu Major Chord within those warm and honeyed horns.

"Shiawase no Blue" is a track on Tomita Lab's（冨田ラボ）February 2006 album "Shiplaunching". Written by Taeko Ohnuki（大貫妙子）and composed by Tomita Lab, that combination automatically got my attention. The Lab Man has always known his way around a cool arrangement and hook, and of course, Ohnuki, although she didn't officially help out in the melody this time, will always be dear to me. "Shiawase no Blue" is a wistful reminiscence of a romance gone by in some tropical paradise and it's cloaked in some refreshingly cool and mellow soul, the Mu and the sexy vocals by singer-songwriter YOSHIKA.

I'd thought that YOSHIKA was already represented here on "Kayo Kyoku Plus" since I've introduced a number of m-flo tunes over the years but it looks like I have as yet to include any of her contributions within that group. But obviously, there is nothing wrong at all by starting with her work with Tomita Lab. Now, I'm thinking about including "Shiplaunching" as part of my Xmas wish list. As for that album, it peaked at No. 51 on Oricon.

Hey, we got excerpts of "Deacon Blues" up above. Why not listen to the whole song?

Yuko Tomita -- DEUX

Back in April, I wrote about pop singer-songwriter Yuko Tomita's（とみたゆう子）4th single, "Aoi Kaze"（蒼い風）and since I liked that one song so much, I decided to pick up the album that it came out on "DEUX", her 2nd album from July 1982.

To be up front about "DEUX", I've listened to it twice and although I've found a few of the tracks pretty good, it hasn't struck me as being one of those home runs. There are other tracks where I thought that they will probably have to grow on me some more.

However, the patterns that I've gotten about Tomita's tracks here, most of which were written and composed by her, are that she's delved into AOR and pop with some rock n' roll or techno kayo sprigs here and there. The first two tracks though did leave a happy impression with me. Track 1, "Morning Harbour" is definitely breezy AOR and it's something that sounds like a swift car drive on the marina highway, no matter what time of the day. You can thank Ken Yajima for the electric guitar solo there. Although he had nothing to do with the production of the album, that bit of chorus near the end sounds quite reminiscent of Tatsuro Yamashita（山下達郎）.

Right after "Morning Harbour" is "Umi no Quatre Saisons"（海のキャトル・セゾン...Four Seasons of the Sea）, another Tomita creation with arrangement by Kimio Mizutani（水谷公生）. Her lyrics are about remembering the good times of a romance that is now over but it's the Tomita/Mizutani collaboration on how the melody makes its way through the song that has captivated me. The verses themselves sound like that typical melancholy love ballad but then when it goes into the main chorus, there is that tonal shift into something stronger and more hopeful...that there is a better tomorrow in store. I think it takes the song into Taeko Ohnuki（大貫妙子）and even Ruiko Kurahashi（倉橋ルイ子）territory.

"Y'know, you really ought to get a belt to hold that skirt up!"

The third track, "Telephone Magic" is another Tomita/Mizutani collaborative effort that starts off like an Electric Light Orchestra tune. However then it quickly veers over to a 50s rock-and-roll-themed number about a woman who's been trying to reach the target of her love and wondering like a green-eyed monster about any particular competition the guy might be with. There is an undercurrent in the melody that reminds me of "I Only Want to Be with You" by Dusty Springfield.

"Kanashimi yo Konnichiwa"（悲しみよこんにちは...It's Too Sad Saying Hello）is one of the few tracks that wasn't created by Tomita. Instead, it's Ryohei Yamanashi（山梨良平）, who also has some of his own stuff on the blog, behind words and music and chorus. This is quite a sweet pop tune that would probably have it into some aidoru's discography if Tomita hadn't decided to record it herself.

"Shuumatsu no Etranger"（週末のエトランゼ...Weekend Stranger） starts out with a keyboard riff that also had me thinking of a song by Supertramp from the 1970s. This one has a slightly harder and more urgent edge and perhaps there's even something rather ominous as Tomita sings about a young woman who may have been literally swept off her feet by a fellow at what seems like a masquerade party. The lady is thinking whether this is a good or bad thing although it looks like the guy has already poured her into his Ferrari after one too many drinks. Any of you City Pop bass addicts may appreciate Yasuo Tomikura's licks here.

The re-release of "DEUX" has included three bonus tracks of which one is "Cassiopeia no Futari"（カシオペアのふたり...Cassiopeia Couple）, Tomita's November 1982 5th single. A ballad of longing by Tomita with Mizutani once again handling the arrangement, there is that thumpy synth and overall feeling of pining for love overseas. Plus the keyboard and accordion work has me thinking dark castles and French cliffs.

Now that I've been going through the songs one by one via YouTube, I'm starting to get a handle on them and getting a better appreciation for them, which has been something that I've cherished from working on the blog. As for "DEUX", this was Tomita's highest album on Oricon, getting up to No. 48.

Kirinji -- Sweet Soul e.p.（スウィートソウル）

Ahhh....memories of my first meal during my trip back to Tokyo in late 2017. I didn't go to any fancy restaurant, not even a Yayoi-ken or a McDonalds. Just dropped in at the local konbini across from the R&B Hotel in Otsuka and picked up a glorious bento and a carton of Lipton Milk Tea. That helped take the edge off the usual arduous flight.

The cover for Kirinji's（キリンジ）March 2003 single e.p. has that image of a Kirinji convenience store at night, and that rather reminded me of that oasis in the form of a midnight 7-11 or Lawsons or am/pm (more poignant now since perhaps a good number of them may no longer go 24 hours) to grab a bite to eat. Plus, the music for the title track "Sweet Soul", created by Kirinji songwriter Yasuyuki Horigome（堀込泰行）had me experiencing the quiet joy of munching down on my karaage bento in my hotel room while drinking in the milk tea. Maybe it should have been made into a commercial song for one of the convenience store chains.

And yet, "Sweet Soul" has nothing to do with karaage or milk tea but is about a young couple one night realizing that there is plenty of love between them. The music by Horigome is so mellow and romantic that it can bring listeners to tears, and there is that feeling of contemplative Beatles in there. And what can I say about that instrumental bridge near the end?

Another song from "Sweet Soul" is "Ai no Coda"（愛のcoda...Love Coda）which brought back some of the memories of some of the Latin-tinged urban contemporary side of J-Pop from the early part of the 2000s. I couldn't confirm it but I bet Tomita Lab（富田ラボ）may have had something to do with "Ai no Coda" since the arrangement sounds so much like his work (and in fact, he did...he produced the e.p.). From listening to the song, it sounds as if that young couple from "Sweet Soul" are now taking a whirlwind date around Tokyo.

"Sweet Soul" managed to reach No. 48 on Oricon. As much as I adore Kirinji's catchy spacey dance-pop songs recently such as "Jikan ga nai"（時間がない）and "Killer Tune Kills Me", there is also something wonderful about Horigome's love ballads from early in the band's career. I read a comment for one of Tatsuro Yamashita's（山下達郎）songs on YouTube in which the person marveled whether Tats has actually ever made a bad song, and I do love my Tats. However, I've also gotta add that I'm starting to wonder the same about Horigome. In any case, I'm now having to think seriously about picking up both "Sweet Soul" and the album that has the two recent singles.

Kyozo Nishioka -- Puka Puka（プカプカ）

Slightly over a month ago, I wrote about the late folk singer-songwriter Kyozo Nishioka（西岡恭蔵）and his "Umi Houzuki Fuki"（海ほうずき吹き）from 1974.

Well, for this nice and lazy Saturday, I've found another earlier song by Nishioka called "Puka Puka" (Puffing Away). This one was his debut single from July 1972 and it was also included in his debut album "Dylan nite"（ディランにて...At Dylan's）released on the same day.

With a relaxing and catchy melody, the song is about a man whose girlfriend is incorrigible when it comes to her vices which include smoking and gambling but still probably loves her all the same and forever. She is a vice that he can't give up.

Just the tonic that I need to chill out before I get ready for the next lesson with my student later on tonight.

Yellow Magic Orchestra -- Shadows on the Ground

Yup, sure wasn't expecting to see this scene until late December or early January at the earliest. But indeed, this was just some days ago on November 12th. Still, considering that the annual Santa Claus Parade is tomorrow and that it heralds the unofficial start to the Xmas season here in Toronto, I guess this would be the desired state (maybe some more snow coming here this coming Monday).

Just the atmosphere for this particular song by Yellow Magic Orchestra, "Shadows on the Ground" from their December 1983 album, "Service". Heck, even the month of November is given a shout out right from the get-go as (who I assume is) drummer Yukihiro Takahashi（高橋幸宏）sings about falling head-over-heels for a woman and perhaps heading for some uncertain future. The shadows are indeed getting longer on the pavement here.

Interesting notes from the J-Wiki article for "Service" when it comes to this particular track which was created by Takahashi and keyboardist Ryuichi Sakamoto（坂本龍一）with Peter Barakan helping out the all-English lyrics. Apparently, according to bassist Haruomi Hosono（細野晴臣）, he was once told that "Shadows on the Ground" was reminiscent of Steely Dan's material. Not quite sure on that myself since I've been a fan of that band in the late 1970s and early 1980s, and I quite can't hear any Dan in there. Then one line down, Sakamoto himself conceded that there may have been a bit of the late German arranger-composer Claus Ogerman's influence circa late 70s getting mixed in. But I had never heard of Ogerman until I started thinking about writing this article, so if anyone else has better insights about him and his connection with "Shadows on the Ground", by all means, let me know. BTW, you can take a listen to the Miku Hatsune（初音ミク）cover below.

For me, the first time I heard "Shadows on the Ground" was through YMO's performance in concert, and my initial impression was how rich and melodic it sounded when compared to some of the harder techno the guys were playing during that set. I guess, in a way, it reminded me of the earlier YMO discography when Takahashi, Sakamoto and Hosono were filtering a few of those older genres such as surf rock and exotica through the computer filters.

There's something slightly tropical nightclub and AOR about this one, and whenever I hear it now, I can't help but feel that this could have been included in the soundtrack for either "Ocean's Eleven" or "Ocean's Twelve" by Steven Soderbergh considering the mix of songs that he had included on those soundtracks.

As for "Service", YMO's 8th album managed to peak at No. 5 on Oricon. It also includes the poignant "Perspective".

Amy -- Party Night

It won't be too long before the year-end season of parties takes place in Japan. In fact, I wouldn't be surprised if some of them take place in the next couple of weeks at some izakaya or high-priced restaurant. Of course, over here, we've got the round of Xmas parties and then New Year's Eve parties to look forward to (or not). I don't really go to a lot of those anymore but there is the one with the anime buddy and our other friends which will probably be happening in the first half of December. A good time is usually had by all but we certainly don't do the hashigo (barhopping) anymore; a little too old on that front now.

Earlier in the year, I mentioned about this City Pop singer who may be even more mysterious than Takako Mamiya（間宮貴子）in terms of her current whereabouts. This would be Amy（エイミー）...just the single name known...who may have only put out one album and a couple of singles all in 1983. Idol.ne.jp mentions her lone album "Amy" and says that it is her first album, hinting that there may have been a follow-up effort but I have yet to come across such a second album.

In any case, here is another track from "Amy", and that is "Party Night", a perfectly good title for a song that straddles the line between AOR and City Pop. Written by Naoko Nishio（西尾尚子）and composed by singer-songwriter Yoichi Takizawa（滝沢洋一）with arrangement by Masaki Matsubara（松原正樹）, "Party Night" sounds more like a daytime tune but I'll let that observation go since I do like those horns and that jazzy guitar. The song was also the B-side to Amy's 2nd single "Mr. Cool", a song which is also included on the album.

Let's see whether there is a remastered version of "Amy" out there for Xmas.

Misato Watanabe -- Kanashii ne（悲しいね）

Well, it's amazing how a music video can change a viewer's perception on what a song really means.

Here I was looking at the concert version down below of Misato Watanabe's（渡辺美里）9th single "Kanashii ne" (Sad, Isn't It?) from December 1987. As I was listening to this song that I hadn't heard all that much and taking a look at the lyrics by Watanabe herself, I was assuming that this was another ballad about how parting is such sweet sorrow for a romantic couple.

Well, the above official music video for the pretty and melancholy "Kanashii ne" (if you just want to get to the song, go forward to around the 2:07 mark) paints the story in a different light. As things begin with a poor pencil getting kicked down to the ground and then rescued by college student Misato, I realized that the song could be used as a message about things that used to get a lot of love eventually being abandoned to the cruel elements, and by the last half, there's even a rather stark image of mass pollution. The images and song even had me remembering one of the plots in the "Toy Story" franchise.

"Kanashii ne" was composed by Tetsuya Komuro（小室哲哉）and it peaked at No. 2 on Oricon. Incidentally, the song was also part of Watanabe's 4th album "ribbon" released in May 1988 which hit No. 1 and ended up as the 3rd-ranked album for that year.

I've currently got a television right behind me that started its life when Ronald Reagan was still President of the United States. It died quietly one day a few weeks ago. It lived a good life but after watching the music video, I'm kinda wondering what to do with it now, outside of kicking it to that part of the parking lot for larger electronics garbage.