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Artist: Hideki Saijo / 西城秀樹
Title: Jounetsu no Arashi / 情熱の嵐
Released: May 25, 1973
Oricon Peak Rank: 6
B-Side: 夏の日の出来事
(download)
As mentioned earlier, Hideki Saijo was associated with a trio of young talent dubbed the "New Big Three" that included Hiromi Go and Goro Noguchi. In contrast with the other two, Hideki Saijo was cultivated to have an edgier, more rock-styled image, yet still comfortably within the confines of Japanese pop cultural norm. "Jounetsu no Arashi" (Passion Storm) was his 5th single and his most successful song up to that point in his career. Full of energy, the song throws its musical gales of guitar, drums and horns at the listener as the lyrics full of flustered metaphors whips up the literal storm of passion Saijo describes that exists between him and his love. It is no surprise then to hear screaming hordes of fans scream out his name whenever he sings this, as if begging to be the "one" he is singing about.
For those who are huge fans of Hideki Saijo or may have seen videos of him performing this song, an interesting audience quirk can be noticed from a pseudo call-response effect where after each phrase in the beginning of the verse the fangirls shriek out his name "HIDEKIII!!!". This practice has been so attached to this song that it has become somewhat of an injoke for Saijo whenever he would perform it in later years, sometimes with the outburst of his name played up for comedic effect or used inappropriately in a few of his other songs.
情熱の嵐
(Jounetsu no Arashi)
Music: Kunihiko Suzuki / 鈴木邦彦
Lyrics: Takashi Taka / たかたかし
君が望むなら 生命をあげてもいい
恋のためなら 悪魔に心
わたしても 悔やまない
その瞳 僕のもの
この体 君のもの
太陽が燃えるように 二人は愛を
永遠にきざもう
君が望むなら たとえ火の中も
恋のためなら 怖れはしない
情熱の嵐よ
噂のつぶても かまいはしないさ
体を張って 愛する君を
赤い血が燃えるよ
その笑顔 僕のもの
この若さ 君のもの
太陽が燃えるように 二人は愛を
永遠にきざもう
君が望むなら たとえ火の中も
恋のためなら 怖れはしないさ
情熱の嵐よ
Artist: Seiko Matsuda / 松田聖子
Title: Aoi Sangoshou / 青い珊瑚礁
Released: July 1, 1980
Oricon Peak Rank: 2
B-Side: TRUE LOVE～そっとくちづけて
(download)
The new era of Japanese popular music was ushered in with those sweeping strings introducing the soaring voice of a nascent superstar in the first few lines of the song. "Blue Lagoon", Seiko Matsuda's second single quickly reached the second spot of the charts, and would be her last single to not reach No. 1 for years to come.
The song paints a bright picture of a seaside with a glittering coral reef, and the budding romance the singer shares with her love, comparing her feelings of love in the chorus to the rush of the south wind. Musically, the song is a good example of the transition from the 70s pop style to the 80s pop style, with tighter arrangements, more use of electric instruments and emphasis on a steady beat, but elements of more traditional song-making such as the the strings used still remain. The expressively reaching chorus and the more intimate verses display the melodic contrast used to help emphasize the tone of the lyrics. Matsuda's singing here is unabashed, strong, and yet at the same time exhibit a lighter touch when needed, elements that would show up in a more developed form later in her career.
By 1980, the previous era of pop stars, dominated by the likes of Momoe Yamaguchi and Pink Lady was fading fast, and while there were many fresh faces in the couple years prior, none had brought in the paradigm shift in music that Seiko Matsuda and her contemporaries did, creating a new song that would bring about what many would define the decade as the golden age of idols.
(Drif's Big Laugh [ドリフ大爆笑])
青い珊瑚礁
(Aoi Sangoshou)
Music: Yuichiro Oda / 小田裕一郎
Lyrics: Yoshiko Miura / 三浦徳子
あゝ私の恋は南の風に乗って走るわ
あゝ青い風切って走れあの島へ
あなたと逢うたびに
すべてを忘れてしまうの
はしゃいだ私は little girl
熱い胸聞こえるでしょう
素肌にキラキラ珊瑚礁
二人っきりで流されてもいゝの
あなたが好き！
あゝ私の恋は南の風に乗って走るわ
あゝ青い風切って走れあの島へ
涙がこぼれるの
やさしい目をして見ないで
うつ向き加減の little rose
花びら触れて欲しいの
渚は恋のモスグリーン
二人の頬が近づいてゆくのよ
あなたが好き！
あゝ私の恋は南の風に乗って走るわ
あゝ青い風切って走れあの島へ
Artist: Ikue Sakakibara / 榊原郁恵
Title: Al Pacino＋Alain Delon ＜ Anata
アル・パシーノ＋アラン・ドロン＜あなた
Released: October 1, 1977
Oricon Peak Rank: 22
B-Side: U.S.航空便
(download)
For those of middle age who watch television in Japan, Ikue Sakakibara has been around since they started growing up. Though now a well-seasoned tarento, who can put various roles under her belt, her early career was that of a singer. Her slightly boyish looks and sweet voice that belies her firy personality endeared her to fans early on. Her fourth single was a breakthrough hit, placing in the Top 40 of Oricon and sending her around the television circuit for heavy promotion.
"Al Pacino Plus Alain Delon aren't as Great as You" was a rather provocative and lengthy title for a song. From the pen of a young Yukinojou Mori (a.k.a. Joe Lemon), the song's slightly teasing nature melds in well with its heartfelt verses. The singer compares her boyfriend to that of actors Al Pacino and Alain Delon, then quite popular names in the late 1970s, claiming that the two are still actors playing roles and couldn't possibly measure up to him who is more genuine. The music is breezy, punctuated by an accordion that gives it the atmosphere of something of a vignette. Sakakibara's singing is straightforward and unembellished, contributing to the sense of liberty of mind the song evokes. While it may not be a number one hit, the song proved to be a great testing ground for both a budding songwriter and a budding singer.
アル・パシーノ＋アラン・ドロン＜あなた(Al Pacino＋Alain Delon ＜ Anata)
Music & Lyrics: Yukinojou Mori / 森雪之丞
アル・パシーノのまねなんかして
ちょっとニヒルに 笑うけど
あなたらしさ 感じられなくて
この恋 醒めちゃいそう
坂の上のカフェで紅茶飲んでる時も
あなた片肘ついて気取りすぎだわ
恋の注意信号 あの日みつけた
やさしさ今は よく見えないの
アラン・ドロンのふりなんかして
甘い言葉 ささやくけど
きっとあなたが 望んでるもの
探せやしないでしょう
「君はこの頃変だ」なんて口をとがらせ
あなた怒りだすけどわかってほしい
うわべだけの まぶしさだけじゃ
二人の恋もそのうちこわれてしまう
アル・パシーノもドロンもいいわ
だけど 信じて 誰よりも
とてもてれやの あなたが好きよ
あなたが 大好きなの
アル・パシーノもドロンもいいわ
だけど 信じて 誰よりも
とてもてれやの あなたが好きよ
あなたが 大好きなの
Artist: Momoe Yamaguchi / 山口百恵
Title: Aoi Kajitsu / 青い果実
Released: September 1, 1973
Oricon Peak Rank: 9
B-Side: おかしな恋人
(download)
Momoe Yamaguchi's big break came with her second single "Aoi Kajitsu" [Green Fruit], her first Top Ten hit. As mentioned previously, she was slated to be the mature one of group, as a contrast to the conservative Masako Mori and the innocent Junko Sakurada. Much of the work done during her early days to cultivate that persona was due to lyricist Kazuya Senke, whose suggestive wording can turn heads in interest. He could transform what would otherwise be a typical pop number into something very different. If the title of the song didn't give you the metaphor up front, let's just say that it hints at the lyrical content concerning illicit romance at a young age. The chorus itself, repeated three times, does enough explaining: "You can do what ever you want with me; it's alright if rumors spread that I'm a bad girl". To put it in context, Momoe was only fourteen when the single was released, although, unlike France Gall, she was very aware of the nature of the lyrics she sang. During her early career she had little artistic control over her music. Eventually she grew to dislike this song saying that "it wasn't her". By the time her career matured, "Aoi Kajitsu" was rarely performed live.
(A Star is Born! [スター誕生!])
青い果実 (Aoi Kajitsu)
Music: Shunichi Tokura / 都倉俊一
Lyrics: Kazuya Senke / 千家和也
あなたが望むなら
私何をされてもいいわ
いけない娘だと
噂されてもいい
恋した時に 躰の隅で
別の私が 眼を覚ますの
大きな胸に 抱きとめられて
きれいな泪 こぼすのよ
側に居れば 側に居れば
誰も恐くない
あなたが望むなら
私何をされてもいいわ
いけない娘だと
噂されてもいい
恋した時に 心の中で
別の私に 生まれ変わる
恥しそうに 薄眼をあけて
初めて秘密 打ちあける
側に居れば 側に居れば
何もほしくない
あなたが望むなら
私何をされてもいいわ
いけない娘だと
噂されてもいい
Artist: Miyuki Imori / 井森美幸
Title: 99 Tsubu no Namida / 99粒の涙
Released: July 17, 1985
Oricon Peak Rank: 38
B-Side: 天使のハンカチーフ
(download)
The 1980s in Japanese music was prolific in the number of people who are tossed into the production mill, with most of them falling into total obscurity in short order. Despite her small musical output (six singles and one album), Miyuki Imori saved herself from that obscurity by diversifying her abilities to become the more general tarento, thus interest in her music will rise whenever she shows up in television. Her second single "99 Tsubu no Namida" [99 Teardrops] follows along the stylistic heels of her first single, an easy and soft pop ballad. Even though Imori's voice isn't the most polished or strong sounding, it still charms the listener with its natural and unassuming tone. The chorus is catchy and highly memorable albeit brief. The song may not be star material (in fact, the writers are highly prominent in their field), but it isn't something totally forgettable either.
99粒の涙 (99 Tsubu no Namida)
Music: Tetsuji Hayashi / 林哲司
Lyrics: Chinfa Kan / 康珍化
不思議なんです どうしてあなた
わたしのこと 選んだのですか?
もっと素敵な 女の子たち
すぐね そばに たくさんいるのに
つき合いたいと 言われたのです
陽気なあなた 真面目な顔で
うれしかった うつむいたけど
私何も できないけれど
99粒の涙をもってます
最初の一粒を あなたのために
あなたのために
教室中が シンとしました
だってあなた あこがれの的よ
女の子にね きかれたなら
もてなくなるわ 平気ですか?
うれしかった 涙がでそう
私何も できないけれど
99粒の涙をもってます
大事な一粒を あなたのために
あなたのために
99粒の涙をもってます
最初の一粒を あなたのために
あなたのために
Artist: Toshihiko Tahara / 田原俊彦
Title: Aishu Date / 哀愁でいと
Released: June 21, 1980
Oricon Peak Rank: 2
B-Side: 君に贈る言葉 (アフター・スクール)
(download)
If Seiko Matsuda ushered in the new era of female idols in the 1980s, her counterpart for male popstars would be Toshihiko Tahara. A product of the perennial Johnny & Associates talent group who are responsible for churning out boy bands and teen idols for the girls to fawn over, Toshihiko made a strong entrance with his debut single "Aishu Date", an adaptation of "New York City Nights", itself the B-Side to Leif Garret's 1979 single "Feel the Need". The Japanese cover is a cleaner production compared to its American original, removing some of the heavier disco elements for a brighter instrumentation that makes it sound a bit more up to date. Despite its major success, peaking at No. 2 in the Oricon charts and granting him a spot on that year's Kohaku Uta Gassen, it is pretty clear Tahara is still working on his voice. It won't be until his second single does he start to sing more clearly and convincingly.
哀愁でいと (Aishu Date)
Music/Lyrics: Andrew Joesph di Taranto & Guy Hemric
Japanese Adaptation: Kazuko Kobayashi / 小林和子
赤い薔薇投げ捨て それで終わりにしようぜ
はしゃぎ過ぎたあと しらけちまう
火遊びみたいに 抱き合って
死ねるならいいね その日だけの恋ならば
やさしさも 無い方がマシさ
I say Bye-Bye 哀愁でいと あざやかな
Bye-Bye 哀愁でいと 笑顔みせてよ
Bye-Bye 哀愁でいと 醒めすぎた罪な奴
誰かに誘われ 君が乗り込む Yellow GT
“愛してる”なんて 疲れちまう
左であばよとドアに描き 思いきり殴る
その日だけの センセーション
心まで奪われたのさ
I say Bye-Bye 哀愁でいと あざやかに
Bye-Bye 哀愁でいと 恋を演じる
Bye-Bye 哀愁でいと 醒めすぎた罪な奴
Bye-Bye 哀愁でいと 駆け抜けた
Bye-Bye 哀愁でいと 赤い稲妻
Bye-Bye 哀愁でいと もう二度と…
Ah ha ha ha . . .
Artist: Junko Sakurada / 桜田淳子
Title: Watashi no Aoi Tori /
わたしの青い鳥
Released: August 25, 1973
Oricon Peak Rank: 18
B-Side: 恋人になって!
(download)
We've already been introduced to Momoe Yamaguchi and Masako Mori, two of the three middle-schoolers who graduated from the Star Tanjou! talent program together as the "Hana no Chusan Trio". Junko Sakurada was the second of the three to make her official debut, but unlike her fellow graduates took a bit longer to reach popular and critical acclaim. Her third single "Watashi no Aoi Tori" [My Bluebird] is a well-contained song, with Junko's clear voice singing the melody with an ease and strength not heard in her earlier two singles. It was at this point she became more confident with her abilities and asserted her sound directly. The song takes on one of the more common conceits of romantic Japanese writing, comparing one's love to a bluebird, although lyricist Yuu Aku took certain liberties by using the "coo-coo" sound, which is not realistic but plays the point across portraying Junko as the girl singing for her bluebird to come. As such, it was a critical success, netting Junko the Best Newcomer at the 15th Japan Record Awards.
わたしの青い鳥 (Watashi no Aoi Tori)
Music: Yasushi Nakamura / 中村泰士
Lyrics: Yuu Aku / 阿久悠
ようこそここへ クック クック
わたしの青い鳥
恋をした心にとまります
そよ風吹いて クック クック
便りがとどけられ
誰よりもしあわせ感じます
どうぞ行かないで このままずっと
わたしのこの胸で
しあわせ歌っていてね
クック クック クック クック
青い鳥
ようこそここへ クック クック
わたしの青い鳥
夢のような心に誘います
くちづけされた クック クック
木ノ実のなる下は
天国の花園の香りです
どうぞとばないで この手のひらで
しあわせ抱きしめて
わたしを見つめていてね
クック クック クック クック
青い鳥
どうぞ行かないで このままずっと
わたしのこの胸で
しあわせ歌っていてね
クッククック クック クック
青い鳥
Artist: Yu Hayami / 早見優
Title: Love Light
Released: July 21, 1982
Oricon Peak Rank: 38
B-Side: ガラスの街角
(download)
There has always been an issue with how much English can be used in Japanese songs, whether the singer can pronounce them as is or render them into katakana for ease of pronunciation. At times it leads to some rather awkward sounding music, but this is generally not the case for Yu Hayami, who was one of the handful of exceptions during the Golden Age of Idols.
Having lived in Guam and Hawaii in her childhood and preteen years, her handling of English was on an advanced level and with only a slight accent. This skill gave her some advantages with songwriters as they could include more English (whether that is a good or bad thing) to her songs. Her second single "Love Light" was one of the more extreme examples, where the chorus was entirely in English. Its provenance was likely a European dance-pop song that has since disappeared from public memory, so the Japanese adaptation remains. Here her ability to sing fluently between Japanese and English is audible. Musically, it has a strong beat, and decent melody, although Yu has slight trouble with the vocal acrobatics in the lead to the chorus and the chorus itself. Otherwise, it is fine for a song, and would work well in a dance hall context.
(15th Shinjuku Music Festival [第15回新宿音楽祭])
Love Light
Music: Jimmy Jackson
Lyrics: Pia Jackson
Japanese Adaptation: Yoshiko Miura / 三浦徳子
雨降る街角 ひとつの傘
彼女とあなたを 見かけたのよ
小さな この胸は つぶれそうで
雨に濡れたまま さ迷い歩いたのよ
欲しいのは love light
あなたの愛の陽ざし
どうぞ気づいて pick me up
抱きしめて欲しいのよ
Let me, let me be the one you love
Let me be the one you need
I'm like a little flower
Let me, let me be the one you love
Let me share your joy and pain
I'm like a little flower, flower
傷つけたくない 誰のことも
だけど好きな気持ち 変えられない
どうぞ お願いよ she's not the girl for you
あなたから 私を愛してると言ってね
欲しいのは love light
あなたの愛の陽ざし
どうぞ気づいて pick me up
抱きしめて欲しいのよ
Let me, let me be the one you love
Let me be the one you need
I'm like a little flower
Let me, let me be the one you love
Let me share your joy and pain
I'm like a little flower
Let me, let me be the one you love
Let me be the one you need
I'm like a little flower
Let me, let me be the one you love
Let me share your joy and pain
I'm like a little flower . . .
Artist: Hiromi Iwasaki / 岩崎宏美
Title: Nijuushou (Duet) /
二重唱 (デュエット)
Released: April 25, 1975
Oricon Peak Rank: 19
B-Side: 月見草
(download)
While we're looking at debut singles, let's go to Hiromi Iwasaki's beginnings as a singer. She entered the Star Tanjou! talent competition in 1974 with her rendition of the hit ballad "Anata" (originally by Akiko Kosaka). Her performance there garnered interest from scouts from eight different record labels, but she eventually went with Victor Records and underwent preparations for her official entrance as a professional. "Duet" was your generic pop tune, a safe and catchy song to test the waters for the sixteen year-old. It wasn't entirely ordinary, however. The song displayed Hiromi's vocal range that would eventually be one of her leading qualities, and despite her youth, her voice already has the mature edge to its tone that would improve as she develops her style. The arrangement by Mitsuo Hagita was also well integrated and one of the best-sounding in its time. It's showing on Oricon hit the Top 20, which isn't bad for a first song. However, compared to her entire output, it is probably the song that is the least like her style (another distinction shared with "Slow Motion" by Akina Nakamori).
二重唱 (デュエット) (Niijuushou [Duet])
Music: Kyohei Tsutsumi / 筒美京平
Lyrics: Yuu Aku / 阿久悠
あなたがいて 私がいて
ほかに 何もない
ただ秘密の匂い たちこめるだけ
あなたが好き ほんとに好き
二人それだけを
ただ小鳥のように くり返すだけ
くちづけするのなら
素早く盗んで
返事などさせないで 泣いてしまう
誰かに少しねたまれそうな
あなたと 私の恋の時
あなたの手が 私の手を
強くにぎりしめ
もうはなさないよと ささやいている
あなたのため 心をみな
見せてあげたいと
今せつないほどに 私は思う
ふるえているけれど
おびえていないわ
しあわせがかけめぐり とまらないの
何かをいうと 涙になるの
あなたと 私の恋の時
あなたがいて 私がいて
ほかに 何もない
ただ秘密の匂い たちこめるだけ
あなたが好き ほんとに好き
二人それだけを
ただ小鳥のように くり返すだけ
Artist: Masako Mori / 森昌子
Title: Sensei / せんせい
Released: July 1, 1972
Oricon Peak Rank: 3
B-Side: 太陽の恋人
(download)
Momoe Yamaguchi was not alone when she made her debut into the music world. As mentioned earlier, she was one of three who graduated at the same time from the Star Tanjou! talent competition. Masako Mori was one of the other two and was the first to officially debut with her single "Sensei". During the competition, many in the industry found her voice the most appealing of the three and predicted great success in her future. Peaking at #3 on the Oricon charts and garnering recognition in the Japan Record Awards later that year, the song's strong start showed good signs for Masako. Her singing style is steady and clear, and high in register yet without shrillness. These qualities were well suited for her entrance as an Enka singer, which was rare to bestow on someone as young as she. "Sensei" has the qualities of melancholy and more traditional melodic structure found in Enka, yet its arrangement is rather light and friendly to popular music tastes. The broad appeal of the song combined with her personal appeal would see her become a big favorite in the Enka world, and, for the time being, find a place in the dynamic and competitive world of the teen idol.
せんせい (Sensei)
Music: Minoru Endo / 遠藤実
Lyrics: Yuu Aku / 阿久悠
淡い初恋 消えた日は
雨がしとしと 降っていた
傘にかくれて 桟橋で
ひとり見つめて 泣いていた
おさない私が 胸こがし
慕いつづけた ひとの名は
せんせい せんせい それはせんせい
声を限りに 叫んでも
遠くはなれる 連絡船
白い灯台 絵のように
雨にうたれて 浮んでた
誰にも言えない 悲しみに
胸をいためた ひとの名は
せんせい せんせい それはせんせい
恋する心の しあわせを
そっと教えた ひとの名は
せんせい せんせい それはせんせい
Artist: Hiromi Go / 郷ひろみ
Title: Otokonoko Onnanoko /
男の子女の子
Released: August 1, 1972
Oricon Peak Rank: 8
B-Side: 夢をおいかけて
(download)Hiromi Go possesses one of the most enduring careers in Japanese music, and has so far today not shown signs of slowing down just yet. Even so, it is still worth looking at how he once started, during the formative years of Japanese idols. He was the most junior (in terms of career) of the "The New Big Three" [新御三家], a trio of male singers in the 1970s, that comprised of him, Goro Noguchi, and Hideki Saijo, though none of them were ever truly alike in singing styles, Goro was primarily a ballad singer, Hideki was the slightly edgier rock-ish one, while Hiromi captured the pop world's attention. Yet, he was the first of the three to score the major hit. His debut single "Otokonoko Onnanoko" (Boy and Girl) certainly evokes that teen pop attitude, with its catchy refrain and light arrangement. Here, his voice had that quality common in young male Japanese singers: high, slightly nasal, and without significant depth. It would take some time for his voice to mature to that of a high, slightly nasal man. However, the song's appeal was strong enough in itself to garner Hiromi Go a Newcomer's Prize in the 14th Japan Record Awards, as well granting him his first of many appearances in the Red-White Song Competition.男の子女の子 (Otokonoko Onnanoko)
Music: Kyohei Tsutsumi / 筒美京平
Lyrics: Tokiko Iwatani / 岩谷時子
君たち女の子 僕たち男の子
ヘイヘイヘイ ヘイヘイヘイ おいで遊ぼう
僕らの世界へ 走って行こう
幸福さがすのは まかせてほしいのさ
ヘイヘイヘイ ヘイヘイヘイ 夢があふれる
一度の人生 だいじな時間
アアアア 青空に
アアアア 陽が光る
明るい風の中 髪をなびかせて
GO GO GO GO
ほほえむ女の子 みつめる男の子
ヘイヘイヘイ ヘイヘイヘイ 愛の雨降る
一度の人生 だいじな時間
泣いてる女の子 ふりむく男の子
ヘイヘイヘイ ヘイヘイヘイ 胸がふるえる
一度の人生 だいじな時間
アアアア あの瞳
アアアア 好きなんだ
花火があがるんだ ふたりで手をとり
GO GO GO GO
男と女の子 心がふれあえば
ヘイヘイヘイ ヘイヘイヘイ おいでいそごう
僕らの世界へ はだしで行こう
Artist: Mako Ishino / 石野真子Title: Ookami Nanka Kowakunai /
狼なんか怖くない
Released: March 25, 1978
Oricon Peak Rank: 17
B-Side: ひとり娘(download)The Nippon Television Network talent show Star Tanjou! [スター誕生!] (A Star is Born!) has produced a significant number of highly successful singers that graced the Japanese charts during the 70s and 80s, two of them have been featured here in this blog: Hiromi Iwasaki , Akina Nakamori and Momoe Yamaguchi. We'll be looking at another one of the show's successful alumni: Mako Ishino.
Despite her homely appearance and slightly crooked teeth (Asian dentistry wasn't so great at the time), her cute image and decent singing (of a Japanese cover of a Danièle Vidal tune) won the judges over, among them the lyricist Yuu Aku, who would later pen the words to several of Mako's earlier songs. She signed onto the Victor Entertainment label and released her debut single "Ookami Nanka Kowakunai" ("I Ain't Afraid of Wolves"). The song is a breezy number playing up the metaphor of men as wolves in the game of love. As per habit for Japanese singing, the song had its own trademark moves, in this case Mako pursing her right hand to imitate a wolf's head when singing the chorus. Her singing character straddles between the voice of the typical pop teen voice and that of a feminine and mature woman, giving her the potential for versatility in song material that is not very common for most singers. Needless to say, her producers took advantage of that, the results we'll see when we get back around to her again later on.(Hit Studio Night [夜のヒットスタジオ])狼なんか怖くない (Ookami Nanka Kowakunai)
Music: Takuro Yoshida / 吉田拓郎
Lyrics: Yuu Aku / 阿久悠
あなたも狼に変わりますか
はじめてのルージュの色は
紅過ぎてはいけない
大人の匂いがするだけでいい
唇をすぼめたままで
くちづけは出来ない
鏡に向かってあれこれ思う
鼻が邪魔だと誰かがいってたわ
古いと映画の台詞(セリフ)だったかしら
あなたも狼に変わりますか
あなたが狼なら怖くない
あなたも狼に変わりますか
あなたが狼なら怖くない
ハイヒール両手に下げて
逃げたりしちゃいけない
片目をつぶって 見るだけでいい
あのひとはいいひとだから
傷つけたり出来ない
その日を思ってあれこれ悩む
熱が出るわと誰かがいってたわ
ヒットソングの言葉だったかしら
あなたも狼に変わりますか
あなたが狼なら怖くない
あなたも狼に変わりますか
あなたが狼なら怖くない
Artist: Saori Minami / 南沙織
Title: Jyunana Sai / 17才
Released: June 1, 1971
Oricon Peak Rank: 2
B-Side: 島の伝説
(download)
Saori Minami was at the forefront of a shift in the early 1970s towards giving attention and exposure to artists at younger ages, usually around 14 to 16 years old. Prior to that, in the 1960s and before, it is expected for singers to start around that age, but only reach their stride by the time they were in their late teens or early twenties through a few years of climbing up the ranks. However, with the growing trends of youth culture getting a stronger influence in Japan, their new stars now had to hit the ground running, thus giving rise to the first generation of "idols".
Saori's debut single "Jyunana Sai" (Seventeen Years Old) is appropriately titled, as she was to turn 17 the month after the single's release date. On first listen, it is clear that composer Kyohei Tsutsumi was heavily influenced by "Rose Garden" by country singer Lynn Anderson from the year before. The story goes that with Tsutsumi in charge of writing the music to Saori's songs (as was also soon becoming a trend for songwriters and lyricists to be tasked to write songs almost exclusively for a suite of artists), he asked her what she liked to sing, and "Rose Garden" was her answer, thus he gave her his own way of writing a "Rose Garden"-esque song. Paired with Mieko Arima's coastal-themed lyrics, the song rose to 2nd on the Oricon charts winning a couple prizes from the Japan Record Awards and Kayo Grand Prix for that year. The song soon became one of her standards, as well as a standard in the Japanese songbook, inspiring many other songwriters in the coming years to use 17 as a special age in their songs, reinforcing the prevalence of teenagerhood that was sweeping the nation. Saori Minami's strong start in her singing career set a high bar for future singers who wish to make their mark in music.
(22nd NHK Red White Song Competition [第22回NHK紅白歌合戦])
17才 (Jyunana Sai)
Music: Kyohei Tsutsumi / 筒美京平
Lyrics: Mieko Arima / 有馬三恵子
誰もいない海
二人の愛を 確かめたくて
あなたの腕を すりぬけてみたの
走る水辺のまぶしさ
息も出来ないくらい
早く 強く つかまえに来て
好きなんだもの
私は今 生きている
青い空の下
二人の愛を抱きしめたくて
光の中へ 溶けこんでみたの
ふたり 鴎になるのよ
風は大きいけれど
動かないで おねがいだから
好きなんだもの
私は今 生きている
あつい生命にまかせて
そっとキスしていい
空も海も みつめる中で
好きなんだもの
私は今 生きている
私は今 生きている . . .
Artist: Momoe Yamaguchi / 山口百恵
Title: Hito Natsu no Keiken / ひと夏の経験
Released: June 1, 1974
Oricon Peak Rank: 3
B-Side: 太陽の友達
(download)The most famous and successful Japanese idol of the 1970s started out with humble origins. One of three girls who gotten top marks at the famous Star Tanjou! television talent show, she grew in the hearts of the Japanese with her sullen image yet mature and powerful singing. "Hito Natsu no Keiken" (A Summer Experience) was her first smash hit, even though it was her 5th single to be released. As was typical at the time, many lyricists would often push their lyrics, very sensual and sometimes lurid to the point of scandal, onto these singers, who are only in their mid teens. For example, the beginning lyrics of the song "あなたに女の子の一番 / 大切なものをあげるわ" translates roughly to "I'll give you the most precious thing a girl has" and the end of the chorus "誰でも一度だけ 経験するのよ / 誘惑の甘い罠" means "Everyone experiences it at least once, The sweet trap of temptation". Even though the lyrics for this song were suggestive, she chose this as the song to sing in the New Year's Eve gala Red-White Song Competition since it was one of the least suggestive songs in her repertoire! Regardless, this song, with its soaring melody and ardent momentum, won her prizes in the Japan Record Awards and Kayo Grand Prix, and firmly planted her in the world of Japanese music, her career just getting ready to run into full blossom.(25th NHK Red White Song Competition [第25回NHK紅白歌合戦])
ひと夏の経験 (Hito Natsu no Keiken)
Music: Shunichi Tokura / 都倉俊一
Lyrics: Kazuya Senke / 千家和也
あなたに女の子の一番
大切なものをあげるわ
小さな胸の奥にしまった
大切なものをあげるわ
愛する人に 捧げるため
守ってきたのよ
汚れてもいい 泣いてもいい
愛は尊いわ――
誰でも一度だけ 経験するのよ
誘惑の甘い罠
あなたに女の子の一番
大切なものをあげるわ
綺麗な泪色に輝く
大切なものをあげるわ
愛する人が喜ぶなら
それで倖せよ
こわれてもいい 捨ててもいい
愛は尊いわ――
誰でも一度だけ 経験するのよ
誘惑の甘い罠
Artist: Nana Okada / 岡田奈々
Title: Jogakusei / 女学生
Released: August 25, 1975
Oricon Peak Rank:
B-Side: 放課後(download)Nana Okada was one of the minor idol singers of the 1970s, a product of the TV talent show circuit, she gained recognition as an actress, photo model, and a singer, all simultaneously (nowadays wrapped together in the term "tarento"). Her 2nd single (and we seem to be talking quite a bit about those aren't we?) "Jogakusei" (Schoolgirl) typifies the cute girl image her production company cultivated around her. Frankly I don't know much about the content of the lyrics to justify it, but just listening to the song along, the swinging momentum, the matter-of-fact singing, and the general "innocentness" of the music in the song brings out in the mind a girl in a sailor suit singing about some sort of secret love. Nevertheless, the unadorned and honest sound to the song speaks out to those who finds contentment in simple things.女学生 (Jogakusei)
Music: Shunichi Tokura / 都倉俊一
Lyrics: Takashi Matsumoto / 松本隆
あなたの写真をそっと
定期入れにかくしたら
放課後友達にふと見られました
恋人でしょうと聞かれ
夢中で奪りあううちに
破けてしまいます あなたの笑顔
いつでも逢えないと
淋しさばかり
写真にくちびる そっと寄せます
誰にも秘密
言えない秘密
心にめざめます
夕暮れ通りでバスを
待ってる横顔みつけ
人影かくれて遠く見つめました
制服姿の私
あなたに見られたくない
そんなはじらいさえ 知らされました
あなたに逢うたびに
変わるの私
恋する想いがあふれそうです
誰にも秘密
言えない秘密
心にめざめます
Artist: Akina Nakamori / 中森明菜
Title: Shoujo A / 少女A
Released: July 28, 1982
Oricon Peak Rank: 5
B-Side: 夢判断
(download)The other prominent figure in Japanese music during the 1980s aside from Seiko Matsuda was Akina Nakamori. In the popular imagination, the two of them were often pitted against one another in a light/dark dichotomy, with Seiko being the innocent "girl-next door" idol, while Akina was the mature and expressive adult singer. Even if neither of them took those labels seriously, the songs they've sung tend to reflect that attitude. This was the case with Akina's second single "Shoujo A", the one that started her path to stardom.
Her first single "Slow Motion" was cut from the usual idol mould, a typical love song done in an agreeable and pleasing pop style. What inspired the shift in mood for her second single is unknown to me, but somehow her producers thought a new style would be a better fit. The songwriting team of Hiroaki Serizawa and Misao Urino, mostly known for their rock-inspired pop songs, had originally planned a song for flashy rock-pop singer Kenji Sawada titled "Lolita", but when he didn't pick that up, they switched the lyrics gender roles and retitled it "Shoujo A" and offered it to Akina. The song's rousing tempo and rock affectations were a stark contrast to her previous single. Most notably different between the two songs was her use of her deeper singing voice (what she would later be identified with the most), granting the song a mature overtone that would've been lost had used a more girl-like voice. The lyrics, detailing the hungry lust of a seventeen year old teen for a biker, were risque at their time, enough to nearly have the song banned from the Japanese airwaves. Nevertheless, the song was a major success, and set Akina towards her own path to music stardom.(Hit Studio Night [夜のヒットスタジオ])
少女A (Shoujo A)
Music: Hiroaki Serizawa / 芹澤廣明
Lyrics: Misao Urino / 売野雅勇
上目使いに 盗んで見ている
蒼いあなたの 視線がまぶしいわ
思わせぶりに 口びるぬらし
きっかけぐらいは こっちでつくってあげる
いわゆる普通の １７才だわ
女の子のこと 知らなすぎるのあなた
早熟なのは しかたがないけど
似たようなこと 誰でもしているのよ
じれったい じれったい
何歳(いくつ)に見えても 私 誰でも
じれったい じれったい
私は 私よ 関係ないわ
特別じゃない どこにもいるわ
ワ・タ・シ 少女A
頬づえついて
あなたを想えば
胸の高鳴り 耳があゝ熱いわ
鏡に向って 微笑みつくる
黄昏れ時は 少女を大人に変える
素肌と心は ひとつじゃないのね
ルージュの口びる かすかに震えてるわ
他人が言うほど ドライじゃないの
本当は憶病 分かってほしいのあなた
じれったい じれったい
結婚するとか しないとかなら
じれったい じれったい
そんなのどうでも 関係ないわ
特別じゃない どこにもいるわ
ワ・タ・シ 少女A
じれったい じれったい
何歳(いくつ)に見えても 私 誰でも
じれったい じれったい
私は 私よ 関係ないわ
特別じゃない どこにもいるわ
ワ・タ・シ 少女A
Artist: Seiko Matsuda / 松田聖子
Title: Hadashi no Kisetsu / 裸足の季節
Released: April 1, 1980
Oricon Peak Rank: 12
B-Side: RAINBOW～六月生まれ
(download)The origin of Seiko Mastuda's debut single was one of serendipity. During a cover shoot and filming of a commercial for the Shiseido cosmetic line, Seiko was supposed to be one of the models, but was later rejected due to her dimples. However, they instead had her sing the theme song for the commercial (good talent doesn't go to waste). Despite her nerveousness during the recording, the song proved to be a good debut hit. Even though it never cracked the top 10 in the Oricon charts, she received much positive publicity in the weeks and months ahead. This song was the beginning for her long and highly successful career as an idol and paved new paths for a new generation of singers that would later shape and define the music scene of 1980s Japan.(Hit Studio Night [夜のヒットスタジオ])裸足の季節 (Hadashi no Kisetsu)
Music: Yuichiro Oda / 小田裕一郎
Lyrics: Yoshiko Miura / 三浦徳子
白いヨットの影 渚をすべり
入江に近づくの 手を振るあなた
夢の中のこととわかっていても
思い切りこたえる私です
エクボの秘密あげたいわ
もぎたての青い風
頬をそめて今走り出す私
二人ひとつのシルエット
誘われた映画はまぶしすぎたの
背のびする季節と言われたけれど
ハラハラし通しのエピローグには
思わずうつむいた私です
エクボの秘密あげたいわ
もぎたての青い空
愛をめがけ今走り出す私
二人ひとつのシルエット
エクボの秘密あげたいわ
もぎたての青い風
頬をそめて今走り出す私
二人ひとつのシルエット
Artist: Hiromi Iwasaki / 岩崎宏美
Title: Mirai / 未来
Released: May 1, 1976
Oricon Peak Rank: 2
B-Side: 夏からのメッセージ
(download)We start with one of my favorite artists, Hiromi Iwasaki. Presented here is her fifth single "Mirai" (The Future) which is one of her more energetic songs, influenced strongly by the burgeoning disco music that would define much of popular music throughout the world in the 1970s. There really isn't much to explain about this song, other than its uplifting melody, tight arrangement, and it's rather inviting beat. While it was highly successful, chart-wise, it was not one of her most defining songs in her repertoire. We will find out which ones are when we come back to her later.
(Hit Studio Night [夜のヒットスタジオ])未来 (Mirai)
Music: Kyohei Tsutsumi / 筒美京平
Lyrics: Yuu Aku /
阿久悠あゝ 私の未来はあなたと同じ
あゝ あなたの未来は私と同じ
あなたの甘いくちづけが
私の未来を決めるのよ
愛されてしまったの
小さいけれどしあわせを
あげるとあなたは抱きしめる
うなづいてしまったの
まぶしさにおぼれて
悲しみも見えない
二人だけ 白い部屋
あゝ 私の未来はあなたと同じ
あゝ あなたの未来は私と同じ
小指が話す約束が
私を夢中にさせるのよ
酔わされてしまったの
何もかも あずけて
その腕にぶらさがり
二人だけ青い径
あゝ 私の未来はあなたと同じ
あゝ あなたの未来は 私と同じ . . .
Artist: Hideki Saijo / 西城秀樹
