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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: Hiroshi Itsuki / 五木ひろし
Title: Yokohama Tasogare /
よこはま・たそがれ
Released: March 1, 1971
Oricon Peak Rank: 1 (1 week)
B-Side: 男が泣くとき
(download)
While this was the debut single for Hiroshi Itsuki, it certainly wasn't the first time the man entered the music world. He sang under his birthname Kazuo Matsuyama during the mid-1960s with middling results, which led him to change production companies twice (from Columbia to Polydor to Minoruphone), and don two stage names in the process (Yoshikazu Ichijo [一条英一] and Ken Mitani [三谷謙] respectively) in an effort to remake his image. He performed his final overhaul in 1970, settling on his current stage name, and things thereafter went far better than he would imagine.
The lyrics for "Yokohama Tasogare" (Yokohama Twilight) describe disjointed scenes of fleeting romance, giving the port town an aura of dark mystery. Hiroshi's strongly masculine vocal clarity lends to that imagery, where it may find itself comfortable in smoky bars and clubs. While it saw a spring release, the song took its time to gain traction in the charts, and finally experienced its brief reign at the top during summer of 1971. It also earned a nomination for "Best Song" in the 13th Japan Record Awards and granted him a spot in the Red-White Song Competition. Even though he would later, like Mori Masako in the previous entry, become a fixture in Enka, his early career was more hybrid in nature, singing Enka-quality songs with more pop styled arrangements. This gradual shift towards orthodox Enka is not unusual and rather common, and we'll see this effect as we both delve later in their careers and discuss other artists who've gone through that same path.
よこはま・たそがれ (Yokohama Tasogare)
Music: Maasaki Hirao / 平尾昌晃
Lyrics: Yoko Yamaguchi / 山口洋子
よこはま たそがれ
ホテルの小部屋
くちづけ 残り香 煙草の煙り
ブルース 口笛 女の涙
あの人は 行って行ってしまった
あの人は 行って行ってしまった
もう帰らない
裏町 スナック
酔えないお酒
ゆきずり 嘘つき 気まぐれ男
あてない 恋唄 流しのギター
あの人は 行って行ってしまった
あの人は 行って行ってしまった
もうよその人
木枯らし 想い出
グレーのコート
あきらめ 水色 つめたい夜明け
海鳴り 燈台 一羽のかもめ
あの人は 行って行ってしまった
あの人は 行って行ってしまった
もうおしまいね
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: Seiko Matsuda / 松田聖子
