Baby Blue by Ginji Ito

After the commercial failure of his 1977 debut album, Deadly Drive, Ginji Ito (伊藤銀次) spent the next five years carving out a place in the music industry behind the scenes, writing and arranging songs for other artists to make ends meet. His fortunes began to shift in the early ’80s when he was invited to join the live backing band for Miki Matsubara’s performance of her breakout hit, Stay With Me.

It was during this period that Ito crossed paths with rising singer-songwriter Motoharu Sano. Their connection led to Ito arranging songs for Sano’s debut album, Back to the Street. His work on the record caught the attention of music director Kenji Kizaki, who soon enlisted Ito to arrange music for pop idol Kenji Sawada.

While working on Sawada’s 1981 album Stripper, Ito’s vocal talent unexpectedly came to light—thanks to a demo tape he recorded for one of the songs. Impressed, Director Kizaki encouraged Ito to step back into the spotlight. With his support, Ito began work on what would become his long-awaited comeback album: Baby Blue.

THE MUSIC

1. Baby Blue  ⭐⭐⭐⭐⭐
2. Stella (Rainy Stella / 雨のステラ) ⭐⭐⭐⭐
3. Tappin’ and Clappin’ ⭐⭐⭐⭐⭐
4. Planet Girl ⭐⭐⭐⭐
5. Same Old Song (センチメンタルにやってくれ) ⭐⭐⭐⭐
6. Congratulations (3:38)⭐⭐⭐
7. One Way Ticket To The Moon (3:51)⭐⭐⭐⭐⭐
8. Because Of You (3:37) ⭐⭐⭐⭐
9. Just A Little Love⭐⭐⭐⭐
10. Shade Of Summer ⭐⭐⭐

THE VERDICT ⭐⭐⭐⭐

After listening to a few of his albums, I’ve come to realize that Ginji Ito isn’t the type of artist to stick to just one style, nothing wrong with that. But I think Baby Blue is proof that he truly shines when performing nostalgic, 60s-style oldies pop. This album feels like it could be kissing cousins with Someday by Motoharu Sano—especially on tracks like “Baby Blue” and “Because of You,” which blend baroque pop melodies with the polished city pop sound of the early 1980s. There’s a romantic wistfulness running through the album that’s hard to shake. Funny enough, my favorite track is actually “One Way Ticket to the Moon”, a smoother, spacey AOR jam that would fit right alongside anything by Paul Davis or Hall & Oates. And shoutout to “Tappin’ & Clappin’” for being one of the goofiest yet catchiest Christmas songs I’ve ever heard. It’s a happy-go-lucky number with a laid-back groove reminiscent of James Taylor’s “How Sweet It Is,” paired with lyrics about a man spotting a woman at the beach who reminds him of a Christmas tree. I don’t know what kind of holiday party Masao Urino was at when he wrote those lyrics, but it must’ve been a blast. Although I think most people consider Deadly Drive as Ginji Ito's most iconic album, I personally believe Baby Blue best highlights his strengths as a singer-songwriter. 

If you want to learn more about Giji Ito, check out his website: https://ginji-ito.com/

FINE! by Yasuko Agawa - 1982

 

 Yasuko Agawa (阿川泰子), born October 16, 1951, in Kamakura, Kanagawa Prefecture, is a renowned Japanese singer known for her contributions to jazz, J-pop, and radio. Yasuko Agawa studied acting at the prestigious Bungakuza Theatre Research Institute and began her career as an actress, appearing in major Toho films such as The Family Game and The Gate of Youth, as well as popular television dramas including Taiyō ni Hoero! and Ultraman Leo. During her time as an actress, she was introduced to the late jazz clarinetist Shoji Suzuki, whose influence inspired her to pursue a career in jazz. Soon after, she became the exclusive vocalist for Shoji Suzuki and The Rhythm Aces, officially launching her professional career as a jazz singer.

Agawa made her solo debut in 1978 with Love-Bird, an album showcasing her interpretations of American pop standards written by artists such as Melissa Manchester, Stevie Wonder, and Fred E. Ahlert. Over the next several years, she established herself as a premier jazz vocalist in Japan through a series of albums rooted in the Great American Songbook. Her career took a pivotal turn when she traveled to California to record FINE!, her first original album produced in the U.S. The album was backed by the San Francisco-based Brazilian fusion group Viva Brasil, led by Claudio Amaral and Jay Wagner, with arrangements by Masanori Sasaji. The result was a sophisticated blend of Japanese jazz, American fusion, and Brazilian rhythm, solidifying her status as an international jazz talent.

THE MUSIC 

1. Meu Amor ⭐⭐⭐⭐⭐
2. Searching  ⭐⭐⭐⭐
3. Fill Up The Night ⭐⭐⭐⭐
4. New York Afternoon ⭐⭐⭐⭐⭐
5. Darlin' Don't Ever Go Away⭐⭐⭐⭐
6. Smile On Your Face ⭐⭐⭐⭐⭐
7. Jump For Joy⭐⭐⭐
8. You and I ⭐⭐⭐⭐
9. Take A Holiday ⭐⭐⭐
10. Affair of the Heart ⭐⭐⭐⭐

THE VERDICT ⭐⭐⭐⭐

It’s fascinating that Yasuko Agawa chose to sing every track in English for her first album, composed entirely of original material. Remarkably, it works—so well, in fact, that you’d be hard-pressed to tell she’s Japanese just by listening. Her soft, elegant vocals and near-flawless English blend seamlessly with the album’s smooth Latin-jazz rhythms. Tracks like “New York Afternoon” and “Meu Amor” instantly transport you to the heart of Spanish Harlem or the glow of 52nd Street. While the album largely stays within the bounds of bossa nova-infused pop, that consistency allows each song to flow naturally into the next, creating a cohesive, mood-driven experience. “Jump for Joy” takes a slight detour into disco territory, but it doesn't disrupt the flow. Fine is a great introduction to Yasuko Agawa’s music—a showcase of her original work that transcends the language barrier with grace and style. 

If you want to learn more about Yasuko Agawa, check out her Website: https://www.agawa.jp/discography.html