Reflections by Akira Terao - 1981

Eichi Ohtaki's (大瀧 榮一) A Long Vacation is considered one of the most iconic J-Pop albums ever released. It made a big splash when it was released in 1981 as one of the first albums ever released on CD. On top of that, it's considered Ohtaki's greatest work and it influenced many artists that came after and worked under him. Yet somehow, in 1981 it beat out of the number one spot on the Oricon Charts by one particular record; Reflections by Akira Terao. Terao's first album under Toshiba EMI (now known as EMI Music Japan Inc.) was not only the top-selling album of that year but the entire decade in Japan, even beating out Michel Jackson's Thriller! What makes him so special?

        THE HISTORY

Well, Akira Terao (寺尾聰) happens to be a multitalented superstar with a long and varied career as a musician, actor, TV personality, and singer-songwriter.  He started as a bassist with the Group Sounds band, The Savage, in 1965. After group sounds transitioned out of popularity, Terao went solo and released his debut album in 1970 titled Futari no Fuusen ~ Koibito to Issho ni Kiite Kudasai (A Balloon For Two ~ Please Listen Together With A Lover). Later on, he became known for his work in television, most notably as the star detective in the police drama Seibu Keisatsu (西部警察/ "West Division Police") between 1979 and 1982. However, it wouldn't be until 1981 that he would return to the music scene for his second solo album.

For Reflections, all the composition was done by Terao himself while the arrangement was handled by Akira Inoue(井上鑑), who also played keyboards. Lyrics were handled by Masako Arikawa (有川 正沙子) and former Happy End drummer, Takashi Matsumoto (松本隆). Other notable musicians include fusion guitarist Masaki Matsubara (松原正樹), former Tin Pan Alley drummer Tatsuo Hayashi (林 立未), percussionist Nobu Saito(斉藤信男), and alto sax player Hidefumi Toki (土岐英史), who's known for his work on Tatsuro Yamashita's albums. The string arrangement was handled by the Joe Ensemble and the Tomato Strings Group.

During the production of the album, Akira Terao was still extremely busy shooting for Seibu Keisatsu. The photo for the album cover had to be taken in the middle of the studio corridor where he was filming. The word "Love" written with the cigarette lighter was captured using particular lighting and a camera trick that utilized timed closing of the shutters. 

Reflections was released under Toshiba EMI on became the No. 1 album of the year, selling 1.6 million copies. It occupied the No. 1 weekly position from April 13 to June 29. Three songs from the album ranked in the Top 100 Oricon charts. Ruby no Yubiwa was the number 1 single of 1981, garnered 3 prizes at the year-end Japan Record Awards, and earned Terao his invitation to perform at the annual NHK Kohaku Uta Gassen (Red & White Singing Contest). It was also used in various TV commercials, most notably for Yokohama Tires. Shadow City was the second single to make the Oricon charts at number 19, and the 3rd, Sasurai, came at number 47.

THE MUSIC

• 
  Habana Express: ⭐⭐⭐⭐
• The opening number is a high-tempo, tropical disco track with some cool synths and funky guitars.
• 渚のカンパリ・ソーダ (Nagisa no Campari Soda) | Campari Soda on the Beach: ⭐⭐⭐
• A typical 60s surf rock-inspired track about hanging out with your girlfriend at the beach.
• 喜望峰 (Kibō-hō/Cape of Good Hope): ⭐⭐⭐⭐
• A mellow reggae-inspired groove sprinkled with smooth, yacht rock guitar riffs.
• 二季物語 (Niki Monogatari / Story of two Seasons): ⭐⭐⭐⭐⭐
• The longest track on the album, but still one of the most memorable as the melody is tied to the theme of the song. Its starts off as a slow ballad, complete with somber violins and a trumpet solo. Then in the second half, the tempo shifts into an upbeat strut with some bluesy piano playing and smooth sax playing spread throughout.
• ルビーの指環 (Ruby no Yubiwa/ Ruby Ring): ⭐⭐⭐⭐⭐
• A quintessential  AOR track with a very Japanese melody that tells the story of a broken relationship, with the man crying over his ex's ruby ring which she had returned to him. 
• Shadow City: ⭐⭐⭐⭐⭐
• An urban lullaby with a cool bossa nova-influenced melody, featuring a very relaxing acoustic guitar juxtaposed against more energetic electric guitar riffs. 
• 予期せぬ出来事 (Yokisenu Dekigoto / Unexpected Event): ⭐⭐⭐
• A much brighter sounding track on the record. Featuring a funky bassline and a jazzy female backing chorus.
• ダイヤルM (Dial M): ⭐⭐⭐⭐
• An upbeat soft rock track with jazzy flutes and groovy synthesizers influenced by Latin dance rhythms.
• 北ウィング (Kita Wing): ⭐⭐⭐⭐
•  A bluesy rock ballad about a broken-hearted man watching as his former lover flys away from him at the airport.
• 出航 Sasurai (Shukkou-Sasurai / Leaving Port, Wandering): ⭐⭐⭐⭐
• Another bluesy ballad with more dreamy synths and a soothing string arrangement. 

THE VERDICT ⭐⭐⭐⭐

I remember reading an article written by kayokyoku expert, J-Cannuck, who had mentioned that Reflections is quite possibly the most Japanese-sounding City Pop album. I didn't quite understand the statement at first, considering, that most if not all City Pop are Japanese, to begin with. But coming back to this album after experiencing a vast amount of different Japanese music, I finally understand. While the arrangements are definitely very Westcoast AOR, there's plenty of melodic guitar riffs, smooth baselines, with the occasional sax solo. 

The actual compositions, with the exception of the 2nd track, are much more akin to the likes of Mood Kayo, which was the dominant form of popular music back in the 50s & 60s, and has roots in enka and Latin rhythms (bossa nova, samba, and salsa). I think that might be a big reason why Reflections was such a hit, it was able to appeal to a generation who grew up listening to artists like Frank Nagai, while still having a more modern, urban contemporary feel. As a result of its Mood-kayo influence, the album has an overall somber feel to it with every song either being about heartbreak or memories of past love. Terao's smooth deep voice really helps cement the melancholy and sophisticated feel of this album. 

City Pop and J-AOR is something that already benefits from the novelty of being wester style music sung in Japanese, but Reflections is unique in that it is a City Pop album that still retains a strong Japanese influence, which I think sets it apart from most of its contemporaries. I think City Pop fans who are looking for something drastically different from what they are used to will find Akira Terao's Reflections extremely satisfying to listen to. 

Until Twilight...Hideki by Hideki Saijo - 1985

There have been many artists to lay claim to the tile of King of their respective genres. Elvis was considered the King of Rock & Roll, James Brown is known as the Godfather of Funk, and of course, Michael Jackson will forever be known as the King of Pop. However, in Japan, the title of King of Pop belonged to another multitalented superstar by the name of Hideki Saijo (西城秀樹). Hideki Saijo (born Tatsuo Kimoto [木本龍雄]), was singer, actor, and television celebrity whose career has lasted from the 70s up until his untimely passing in 2018. He was known as the most popular male idol singer of his time, however, like many artists, at some point in the 80s, he eventually wanted to evolve his musical identity, which brings us to his sixteenth album, Until Twilight...Hideki (トワイライトまで …ヒデキ).

THE HISTORY  

In January 1985, Hideki Saijo performed at Nippon Budokan to sing all 50 of his singles since his debut to commemorate the release of his 50th single " Ichimankounen no Ai ". It was at this point that he wanted to break away from releasing the single-focused teenybopper pop songs he was accustomed to. Enter, Toshiki Kadomatsu (角松敏生), who provided one song for Saijo's 1984 album GENTLE - A MAN, titled Through the Night, which ended up being one of the stand-out tracks of the record, Hideki even performed it live on Fuji-TV's "Yoru no Hit Studio.  At that time, Kadomatsu was a young, up-and-coming singer-songwriter making a name for himself as a music producer who specialized in sophisticated funk & soul, and found success producing for artists like Anri. Hideki Saijo saw Kadomatsu as the perfect candidate to help him crossover into the world of City Pop.

Hideki Saijo hoped that a more adult contemporary album would help change his public image as a musician. Even down to the original concept for the album, a mature story about a man hanging in his car at twilight in a lover's quarrel with his girlfriend in the passenger seat. This narrative was recreated in the art for this album, which would be the first not to have his face on the cover, instead, a beautiful pastel illustration by Kazunori Konda(近田和典), who also designed a few of Toshiki Kadomatu's albums. 

On top of having Kadomatsu return as a composer, Saijo also sought out Minako Yoshida(吉田美奈子), for lyrical assistance and backing vocals. This turned out to be an ideal partnership as Kadomatsu has admired Yoshida since his amateur days. Saijo also happened to be acquaintances with guitarist Fujimaru Yoshino(芳野藤丸), who used to play backup for Saijo in the 70s. Fujimaru also brought on fellow ABs band members Naoki Watanabe (渡辺直樹), and Atsuo Okamoto(岡本郭男) for bass and drums respectively.  Toshiki Kadomatsu also contributes to guitar and brought along his bassist, Tomohito Aoki (青木智仁), as well. The music composition was a collaborative effort between Kadomatsu, Akira Okamoto (岡本朗)(formerly known as Issei Okamoto[岡本一生]), and Mayumi Horikawa (堀川まゆみ). If you haven't guessed by now, the saxophone is handled by the omnipresent Jake H Concepcion.

Until Twilight was released on July 21st, 1985. Unfortunately, it did not become a hit, but it did produce a popular single in the form of the song, Beat Sreet, which was released two months after the album's release on September 5th. Even though the album did not succeed as expected, Hideki Saijo continued down the path of City Pop and successfully crafted his own signature AOR sound in his 1986 follow-up, From Tokyo. 

THE MUSIC

• 
  Sweet Surrender: ⭐⭐⭐⭐
• A high octane synth-pop track with punchy horns and a lively drum track.
• Beat Street: ⭐⭐⭐⭐⭐
• The second verse same as the first, but this time there's a kickass guitar solo thrown in. Plus Yoshida's backing vocals are given more presence, making the song much livelier.
• Halation:⭐⭐⭐⭐
• A groovy pop-rock tune perfect for cruising down the highway. The highlight of this track is the smooth saxophone solo in the middle.
• ワインカラーの衝撃 ( Watercolor No Shogeki) | Watercolor Impact: ⭐⭐⭐⭐
• A mellower, funkier groove featuring a super reverbed guitar solo.
• Platinumの雨  (Platinum No Ame) | Platinum Rain:⭐⭐⭐
• A pretty typical yacht rock ballad that's given an extra boost thanks to the great string arrangement and Minako Yoshida's warm and breathy backing vocals. 
• リアル･タイム | Real-Time:⭐⭐⭐
• A mid-tempo synthpop ballad that features a nice jazzy interlude in the middle of the song.
• オリーブのウェンズディ(Olive No Wednesday) | Wednesday Olive:  ⭐⭐⭐⭐
• Another funky dance song about a DJ falling in love. Saijo puts on a voice throughout the song as the DJ tries to sweet-talk a young lady who's obviously rejecting his advances.
• Beautiful Rhapsody:  ⭐⭐⭐
• A jazzy upbeat boogie track that really swings. 
• Television: ⭐⭐⭐⭐⭐
• The funkiest track on the record, with the best use of bombastic horns, funky guitar riffs, and soulful backing vocals. 
• レイク・サイド | Lake Side: ⭐⭐⭐
• Another model slow ballad to close out the record. Complete with an overdramatic piano at the end.

 

THE VERDICT

For his first attempt at a full-city pop production, Until Twilight is a pretty good start for Hideki Saijo. The composition style shifts between Omega Tribe style soft-rock to Toshiki Kadomatsu brand funk, with both done surprisingly well. There's also a good mix of tight brass, groovy guitar riffs, and melodic vocal arrangements to offset this predominantly synth-pop record. 

However, this album can sound a bit too familiar. I remember when I first heard this album without knowing who Hideki Saijo was and my initial impression was this was an imitation of After 5 Clash & Gold Digger. Even the track Wednesday Olive feels like a retread of Secret Lover. Of course, that doesn't mean the songs are bad, they just lack an identity of their own. 

Despite that, I think the Kadomatsu & Hideki Saijo combo really works wonders, especially since they both share a very similar vocal register. But there is something about Saijo's voice that packs more of a punch than Kadomatsu's, which helps out this album tremendously. Both singers know how to sound smooth on the mic, but when it's time to sound more bombastic, Saijo has a more commanding presence, obviously due to 15+ years of experience under his belt at this point. Saijo's charismatic voice is what keeps songs like Halation & Real-Time from being just above-average and makes already fun tracks like Beat Street and Television so satisfying to listen to. Minako Yoshida's sensual backing vocals also compliment Saijo extremely well, especially in slow jams like Platinum Rain.

At the end of the day, Until Twilight is a decent Toshiki Kadomatsu album starring Hideki Saijo. While not outstanding, the music carries a consistently positive energy that will keep you dancing for hours. It has all the classic charm you'd expect from mid-to-late '80s synth-pop, plus the added bonus of Saijo's charming voice. If you want to get acquainted with Japan's King of Pop Until Twilight is a good starting point.

Sunshower by Taeko Ohnuki -1977

Taeko Ohnuki (大貫 妙子),  born November 28, 1953, is a female Japanese pop singer, lyricist, and composer. She got her official start in the music industry as part of the pioneering band Sugar Babe in 1975, alongside fellow singer-songwriters, Tatsuro Yamashita (山下達郎), and Kunio Muramatsu(村松邦男). After the failure of their first and only album, the band broke up and the trio went their own separate ways to find their individual musical identities. Yamashita's journey would take him to New York, to produce his debut album Circus Town, establishing him as Japan's next soul-brother. Muramatsu wouldn't get his next solo album until 1983's Green Water, where he went the pop-rock route. However, Taeko Ohnuki would find her musical voice in her second album released in 1977, Sunshower. 

THE HISTORY

After the breakup of Sugar Babe in 1976, Ohnuki had moved on to Crown Records, under the Panam label,  specialized in releasing folk and New Music (precursor to city pop) records. She released Grey Skies that same year, however, it was mostly an extension of the sound produced by Sugar Babe, as it features many of their unused songs. For her next album, Ohnuki wanted to focus on creating a jazz-fusion sound, which was starting to gain traction in Japan during that time. 

 In order to accomplish this, the album features some major players in the genre. Then up-and-coming session musician, Ryuichi Sakamoto (坂本 龍一), was chosen as the arranger for the album. On bass, the album features Harry Hosono (細野晴臣) and Tsugutoshi Gotō (後藤 次利). On guitar, there's Shigeru Suzuki (鈴木茂), Koichi Hara (原浩一), Kenji Omura (大村憲司), and Kazumi Watanabe (渡辺 香津美). On drums, they got Tatsuo Hayashi (林立夫) as well as American musician Christopher Parker, from the band Stuff, who they met after watching their performance at the Rolling Coconut Review in Tokyo. Even Ohnuki's old band member, Tatsuro Yamashita, provides backing vocals for the album.

Apparently, the record company did not have much faith in Ohnuki's project or new direction. But, with the help and support of Sakamoto, she persisted to go all out on this album, drawing influences from artists like Stevie Wonder and Todd Rundgren, combining it with her personal life experiences growing up in the Suginami Ward of Tokyo, to create catchy but introspective songs. Sunshower was released on July 25th, 1977, and compared to her first album, sales were lackluster. However, that didn't stop the album from being recognized as a J-Pop classic in the coming decades.

THE MUSIC

Side A

• Summer Connection: ⭐⭐⭐⭐⭐
• Sunshine Pop in its purest form. A jazzy, uplifting track with cheerful horns, groovy bass, and an uplifting string arrangement, celebrating the season of the sun. The single cut of this song has a faster tempo and more lively drums.

• Kusuri wo Takusan (くすりをたくさん)| A Lot of Medicine: ⭐⭐⭐⭐
•  A song that criticized the over-prescription of medicine, which is surprising when you consider how upbeat and cheerful it is, with its joyful flute playing against a mellow samba beat. 

• Nani mo Iranai (何もいらない) | I don't need anything: ⭐⭐⭐⭐
•  The song begins with some ominous violins, followed by a deep bass drop to set the tone of this soulful tune about rejecting the environment around you and wanting to escape. The highlight of this song is again the groovy bassline and the classy smooth jazz guitar solo.

• Tokai (都会) | City: ⭐⭐⭐⭐⭐
•  A breezy melancholy track about feeling trapped in the mundane cycle of city living. Another mellow smooth jazz arrangement featuring highlights like the stellar synthesizer solo, smooth saxophone, and the ethereal, occasionally eerie backing vocals.

• Karappo no Isu (からっぽの椅子) | Empty Chair: ⭐⭐⭐⭐
•   A sad & bluesy jazz ballad about being overcome with loneliness. This song was originally part of Sugar Babe's repertoire and was sung at their final concert in 1976.  

Side B

• Law Of Nature: ⭐⭐⭐
• A soft rock composition inspired by Todd Rundgren's Utopia that explores Man's relationship with mother nature.

• Dare no Tameni (誰のために) | For Whom: ⭐⭐⭐⭐
• Another Latin influenced track about vulnerability and marginalization through lack of prestige. 

• Silent Screamer: ⭐⭐⭐⭐
•  This song is about the desire to escape, too and it's strong that an image of driving a car at a breakneck speed. According to Ohnuki, back then, the energy was quite full and at least in the music, she wanted to run wild.

• Sargasso Sea: ⭐⭐⭐⭐
• The unique space age-ambient theme of the mystical Sargasso Sea. The creative use of synthesizers and short piano melodies, help create a futuristic, yet nautical atmosphere of wanderlust.

• Furiko no Yagi (振子の山羊) | Pendulum of Capricorn: ⭐⭐⭐⭐⭐
• The finale composed by Ryuichi Sakamoto begins with a symphonic intro, that leads into a progressive jazz-rock ballad where Ohnuki's ghostly vocals describe the end of days for humankind and its eventual reincarnation. The song ends on a funky piano breakdown, accompanied by an epic, bluesy guitar solo as the song fades out until the final thing heard is Ohnuki stating "山羊は その枝を食べた /The goat ate the branch". 

THE VERDICT

Production: ⭐⭐⭐⭐⭐

Vocals:⭐⭐⭐⭐⭐

Arrangement:⭐⭐⭐⭐⭐

Aesthetic:⭐⭐⭐⭐⭐

Memorability: ⭐⭐⭐⭐⭐

Composition:⭐⭐⭐⭐⭐

Wow...just wow. After not hearing the full album in years, this blew me away. Taeko Ohnuki did a superb job of establishing her music identity. Sunshower perfectly balances progressive-pop, art rock, and jazz fusion. Each song is extremely unique and memorable and is arranged in a way that explores different sounds without going too far out of the easy listening territory. The most deviating song in the album is the Sargasso Sea since it's more of a psychedelic ambiance techno piece than anything, but it's still soothing enough to put you ina meditative state. My favorite track being Tokai, with its mellow and somber melody, combine with its anti-metropolitan lyrics, provides a listening experience that's not unlike Marvin Gaye's Innercity Blues, but retains its own identity. 

This brings up an astonishing realization; this is the most anti-city city pop album I've ever heard! Most of the songs are cover the societal problems that come with living in the streets in Tokyo, from over-medication to depression, to obligatory social status, to more heavy topics like man's relationship with nature and existential dread. Yet it's all wrapped in soothing melodies with jazzy pianos, melodic guitar solos, mesmerizing backing vocals, and psychedelic synthesizers. On top of that, Ohnuki's soft, innocent, and ethereal voice really makes you forget that she's singing about the end of all existence by the end of the record. It all starts to make sense when you learn about Taeko Ohnuki's upbringing in Tokyo, and how the post-war economic boom shaped her struggles surviving in the constantly evolving metropolis. I'm pretty confident that Summer Connection is the only happy song on the album, which isn't a bad thing since, despite the lyrical tone shift, the album retains the same breezy and whimsical vibe established by the opening number.

I'm a firm believer that Taeko Ohnuki's Sunshower is one of the rare perfect albums. While I personally think her next album, Mignone, is more approachable, I can't deny that this record is where Ohnuki's creativity was at its peak. Some songs might not be for everyone, but production is solid enough where you leave each song with something worthwhile to talk about, be it the unique and jazzy arrangements or the topical lyrics. Whether you're a fan of City Pop, Jazz, Prog, or Art Rock, Sunshower is a must-have in everyone's record collection. 

Mignonne by Taeko Ohnuki -1978

Taeko Ohnuki (大貫妙子) is known as one of the original pioneers of City Pop, and the New Music scene in 70's Japan. However, there was a point in time when she almost quit the music industry altogether. What could have caused her such frustration that made her consider giving up her career? Well, it all started with the production of her 3rd album, Mignonne, in 1978.

THE HISTORY

After the release of her second album, Sunshower, Ohnuki moved from Crown Records to RCA, where she worked under the production of  E-ji Ogura (小倉エージ). Ogura also happened to be a music critic who was very harsh on Ohnuki's past work. This inevitably developed a lot of tension between the two as Ogura's direction for the album clashed with Ohniki's vision and there was a lot of arguing during production. Thankfully she was surrounded by some more familiar faces in the studio.

 Ryuichi Sakamoto(坂本 龍一) returns as an arranger alongside Ichizo Seo (瀬尾一三). Tin Pan Alley musicians make a comeback from the previous album, including Haruomi Hosono(細野晴臣) on Bass, Shigeru Suzuki (鈴木茂) on guitar, and Tatsuo Hayashi (林立夫) on drums. The album also features Sadistics members, Yukihiro Takahashi (高橋幸宏) on drums and bassist Tsugutoshi Goto (後藤次利). Jazz-fusion guitarists Masaki Matsubara (松原正樹) and Masayoshi Takanaka (高中正義) make an appearance, and of course, the ever-present Jake H Concepcion lends his saxophone to the production. The string arrangement was handled by violinist Tadaaki Ono (多忠昭) and his ensemble.

 When Mignonne was released on September 21st, 1978, it was another commercial flop despite the amount of promotion it received by RCA. Feeling she had disappointed her fans, she had considered leaving the music business. A long gap in time would pass until she returned to stardom, and in the interim, she worked behind the scenes as a backup singer and writer for other artists.

        THE MUSIC

SIDE A

じゃじゃ馬娘 (Jaja Uma Musume)/Shrewed Woman: ⭐⭐⭐⭐⭐ The opening dance track with a strut-worthy rhythm and groovy guitars is about an uncompromising woman who likes to play with people's emotions, chase after older men, and get her hands dirty.  横顔 (Yokogao)/Profile: ⭐⭐⭐ A pretty standard piece of sophisti-pop with a warm, early morning atmosphere. Complete with a jazzy piano, and a simple & smooth walking bassline.  黄昏れ (Tasogare)/Twilight:⭐⭐⭐⭐ A soothing late-night ballad about a woman lamenting about a past love on an autumn night. Features some beautiful piano playing and a jazzy trumpet solo.  空をとべたら(Sora Wo Tobetara)/ If I could fly: ⭐⭐⭐ I light-hearted bossa nova track about setting a caged bird free. It has some pretty flutes, an infectious bass, and a soothing string section. It even throws in a Spanish guitar solo for us.  風のオルガン(Kaze No Organ) / Wind Organ: ⭐⭐⭐ A pretty basic easy-listening soft rock ballad. Features some pleasant strings and a nice keyboard solo. SIDE B 言いだせなくて(Iidasenakute)/ Can't Get the Words Out: ⭐⭐⭐⭐ The first true disco track on the album with a very uplifting synthesizer intro, a great string arrangement, and an awesome saxophone solo. 4:00 A.M.: ⭐⭐⭐⭐⭐ Easily the most dynamic track on the album, about a woman who wakes up in the middle of the night, praying to God for another chance at love. The track begins with some very suspenseful flute playing, which leads into a very jazzy dance track. Complete with funky bass, a tight brass section, and a soul-chilling gospel choir. 突然の贈りもの(Totsuzen No Okurimono)/ A Suden Gift: ⭐⭐⭐⭐ As the title suggests, it's a heartwarming ballad about a heartwarming as a long-gone lover returning only to leave behind a bouquet of flowers out of the blue for her.  海と少(Umi to Shonen) /The Ocean and the Boy: ⭐⭐⭐⭐ An upbeat tune that opens up with a harp and leads into a funky dance number about a boy running across a sandy beach enjoying the tropical atmosphere.  年あこがれ()/ Longing: ⭐⭐⭐⭐ A beautiful bluesy soft rock ballad, that swells up into an orchestration of harmonious choir singing accompanied by an epic guitar solo towards the end. THE VERDICT

Despite my overall enjoyment of this record, I can understand why Taeko Ohnuki wasn't satisfied with this album. Everything here is less experimental and feels safer than the previous album, but overall the compositions are still really good. Some tracks feel right at home with her previous work, like Twilight and The Ocean and The Boy.

Then you get more unique songs like Jaja Uma Musume, while funky and catchy, seem a bit outside of Ohnuki's comfort zone, from a lyrical standpoint mostly, since I don't think Ohunki has a shrewd personality and her voice doesn't really carry the authority to back up what she's saying. This feels like something, you would hear from Minako Yoshida or Junko Ohashi's discography. Can't Get the Words Out is another great disco track with an uplifting melody that feels more in line with Ohuki's style. Then there's the best track, 4:00am., I remember when I first heard it being entranced by the suspenseful flute in the intro and being hooked by the gospel-style choir chanting "Lord give me one more chance!". 

Despite being made in the less-than-ideal circumstances, Mignonne is an album that's overall pleasant to listen to. Because I'm a disco/funk fan, this is the album I personally gravitate to, but I do understand why Sunshower is considered the best. There's definitely a tonal shift from the introspective, progressive jazz-fusion of Sunshower, into the more streamlined disco and soft-pop Mignonne. That being said, I think Ohnuki, being the talented composer that she is, handles this shift very well, even though it might not be what she wanted initially. I think existing fans of Taeko Ohnuki will still enjoy this album, as it retains a lot of its jazz roots. Newcomers, especially those who found 4:00am on Youtube (like I did) will enjoy the well-polished late '70s Sophisti-Pop and get to experience the origin of one of City Pop's viral sensations.

YOSHINO FUJIMAL by Yoshino Fujimaru - 1982

If there was a City Pop artist that embodied the word "cool" it would be Yoshino Fujimaru (芳野藤丸). Not just because he's a prolific studio musician, or the fact that he's always wearing a fancy suit with sunglasses on all of his album covers, but also from a musical standpoint. From his smooth deep voice to his west coast yacht rock-style guitar playing, Fujimaru's music provides an aesthetic that oozes with a certain swag that very few can pull off. Nowhere is this more exemplified than in his 1982 eponymous album, YOSHINO FUJIMAL.

    THE HISTORY

 After graduating from Hakodate La Salle Academy and wandering the west coast of the US for about 10 months, Fujimaru came back to Japan to pursue his musical career. Fujimaru started off as part of Hiro Tsunoda's (角田博民) Flying Space Band in 1972, then moved on to form the Fujimaru Band in '73, which became the official live band of superstar idol, Hideki Saijo (西城秀樹). After the Fujimaru Band released their one and only album in 1977 called BGM, they broke up and Fujimaru would form another band with American Singer-Songwriter, Casey Rankin called the One Line Band, which later became known as Shogun in 1978. After releasing a string of albums, and Television tie-in songs (most notably the theme of Detective Story, Bad City), Fujimaru caught wind of fellow session musician turned singer-songwriter, Makoto Matsushita (松下誠), and his '81 album First Light.

Feeling inspired by Makoto's work, Fujimaru wanted to move his career in a similar direction and started working on his first solo album. Some notable credits include two members from the band Spectrum, drummer Atsuo Okamoto (岡本郭男), and bassist Naoki Watanabe (渡辺直樹). There's also famous Percussionists, Nobuo Saito (斉藤信男), and all-star saxophone player, Jake H Conception.  Makoto Matsushita himself also helps out on the album with backing vocals and extra guitar work, and with him, he brought the drummer Taeko Kukichi (菊池丈夫) who had previously worked with him on Summer Time Love Song from 1979. The album also guest stars female singers, EPO and Haruko Kuwana (桑名晴子), as extra backing vocals. Fujimaru composed all the tracks but received help with lyrics from Kazuko Kobayashi (小林和子), Yoshihiko Ando (安藤芳彦), and American lyricist Jeff Keeling. 

After the success of YOSHINO FUJIMAL, released on July 21 of 1982, Fujimaru, Matsushita, Okamoto, and Watanabe, would join forces to form yet another band, The AB's, and continue to hone their unique brand of AOR sound.

THE MUSIC

In the Day Time (SIDE A)

•  Who Are You?: ⭐ ⭐ ⭐ ⭐ ⭐ 
• Fujimaru evokes summer with his own opening guitar riff that puts the sparkle in your heart, followed up with a groovy tropical disco beat. Haruko Kuwana shares the spotlight on the mic for a wonderful duet. 
•  Mid-Night Plus 1: ⭐ ⭐ ⭐ ⭐  
• The momentum picks up a bit as Fujimaru sings about speeding down a rainy highway. The track features a funky bass solo backed by bongos.
• One-Shot Lady: ⭐ ⭐ ⭐⭐ 
•  A funky reggae-inspired groove featuring some awesome percussion. 
• Free Way 5 to South: ⭐ ⭐ ⭐ ⭐ ⭐ 
• The Daytime side ends with a laidback, but cool cruising song. Complete with a memorizing chorus, and a memorable and soothing guitar solo. 
• 
  

In the Night-Time (SIDE B) 

• Girl's In Love With Me: ⭐ ⭐ ⭐ ⭐ ⭐ 
• This groovy R&B track kicks off the Night Side of the album with a bombastic sax solo. Fujimaru's first English song on the record is an instant classic. It was such a good song, they used it for the '80s anime, Cat's Eye.
• Shang-Hide Night: ⭐ ⭐ ⭐ 
• A funky, oriental-inspired track about nightlife in Yokohama's Chinatown. Features some pleasant piano work accompanied by some interesting synth sounds that make it feel like something from Yellow Magic Orchestra.
• Not What I'm Looking For: ⭐ ⭐ ⭐ ⭐ 
• A laid-back and atmospheric, groove where Fujimaru tells the story of his encounter with a dangerous and deceitful woman. The use of synths and echoing guitar create an air of suspensefulness one might find in a Neo-Noir film.
• Pretender: ⭐ ⭐ ⭐ 
•  The closing track continues the dark & mellow vibes, but this time with a programmed drum beat, accompanied by a simple bassline and more echoing guitars to create a minimalistic vibe.

THE VERDICT ⭐⭐⭐⭐

Yoshino Fujimal manages to create his own style of summer pop with his eponymous album that sets it apart from its contemporaries. While other summer albums are like drinking a pina colada at the beach, this one is like sipping on a mojito in a lounge chair on an offshore yacht, with your shades on of course. The whole production is chock full of melodic guitars, groovy baselines, slick saxophone playing, and infectious harmonious backing vocals. Fujimaru's vocals are irresistibly smooth, both in Japanese and English, songs like Girls In Love with Me prove that he could give Bobby Caldwell a run for his money. Although it's not an album that breaks any new ground, everything is executed incredibly well.

Each song has a unique identity while still retaining all of the elements that make Fujimaru's music so cool. The day/night cycle is perfectly embodied within each song. All the daytime songs have incredible energy to them, especially high-energy dance tracks like Midnight Plus 1, and Who Are You. As the final track of Side A, Freway 5 To South,  does an excellent job of creating an atmosphere of driving into the sunset, with the backing vocals getting more intense as the guitar solo plays out. Girls in Love with Me and Shang-Hide NIght are the perfect backdrop for taking your date on a night around town. The last two songs, Not what I'm looking for and Pretender, provide a dark and mellow vibe that closes out the album on a good note.

YOSHINO FUJIMAL is an album that takes all of your favorite City Pop tropes and adds an air of sophistication to them. If you're a fan of good old fashion west-coast yacht rock, then this record is right up your alley. 

Pocket Park by Miki Matsubara - 1980

There are a number of female voices associated with City Pop in this past decade. The first one that comes to mind is Mariya Takeuchi and her hit viral single, Plastic Love, however, there's one singer that rivals Mariya in her late internet stardom; the late & great Miki Matsubara.

THE HISTORY

Miki Matsubara (松原 みき) was a Japanese singer, lyricist, and composer born on November 28, 1959, in Nishi-Ku, Sakai, Osaka, Japan. She is known today mainly due to the other viral city pop hit, Midnight Door (Mayonaka no Door): Stay With Me. The song originates from her 1980 debut album, Pocket Park, however, it suffers the same problem that Mariya Takeuchi had with her album Variety, where the one single overshadowed the rest of the album completely. So how does the rest of Pocket Park stack up against such an iconic single?

For this record they spared no expense in acquiring top talent. Featuring veteran composers in the AOR scene like Yoshino Fujimaru, Tetsuji Hayashi, and Ken Sato, who also happens to be the husband & producer of Junko Ohashi. The album also features such lyricists as Tsuzuru Nakasato, Machiko Ryu, folk singer Kohei Oikawa, Yumi Morita who wrote for Rajie and Monta & Brothers, and Yoshiko Miura, who's also written for Junko Yagami, Hitomi Ishikawa, and Hiroshi Kamayatsu. Vocal groups Time Five and Eve appear as backing vocals throughout the album as well. And of course, no City Pop record is complete without the late & legendary Jake H. Conception on saxophone.

Midnight Door would peak at No. 28 on the Oricon charts while Pocket Park rose as high as No. 13 on the album charts. Unfortunately, Matsubara would pass away due to complications from uterine cervix cancer. Thankfully she left behind an illustrious career and a viral internet sensation, as today Midnight Door rivals Plastic Love in popularity, not just as a popular track on YouTube, but in the form of memes found all over the internet, especially TikTok.

THE MUSIC

1. 
   真夜中のドア/Stay With Me:⭐⭐⭐⭐⭐Starting off with the most iconic song of her career. Midnight Door is a soulful disco number where Miki laments and reminisces about a lover who walked out on her, begging them not to leave.
2. It’s So Creamy:⭐⭐⭐⭐⭐ A smooth R&B number with a hint of Latin, featuring some nice flutes and a beautiful string arrangement. Miki's vocal gets more sultry as the lyrics get more flirtatious.
3. Cryin':⭐⭐⭐ A funky dance track with a lively brass section stacked on top of awesome guitar riffs.
4. That's All:⭐⭐⭐⭐ A Bossa nova-style ballad where Miki begs her lover not to say goodbye while crying in the pouring rain.
5. His Woman:⭐⭐⭐ A more typical disco track with a funky bassline and great horns.
6. Manhattan Wind:⭐⭐⭐⭐ Another funky upbeat groove about strutting down the busy streets of New York on an autumn day. It features some funky horns and a very jazzy piano.
7. 愛はエネルギー | Love is Energy:⭐⭐⭐ Another upbeat groove about dancing in the name of love. The electric piano sounds to give it a tropical-sounding vibe.
8. そうして私が | Then I...:⭐⭐⭐ A soulful ballad where Miki sings about accepting her self-image, comparing her reflections in the mirror to shooting stars and gentle birds in the windowsill.
9. Trouble Maker:⭐⭐⭐ Another unique dance number with more emphasis on aggressive guitars and Miki warns us about an unruly and scandalous heartbreaker.
10. Mind Game: ⭐⭐⭐ A slower disco song very reminiscent of ABBA's Dancing Queen, but with more resort pop flourishes.
11. 偽りのない日々| True Days:⭐⭐⭐ Another slow dance number starts off with a very beautiful minimalistic intro that leads into typical disco fare.

THE VERDICT

As far as debut albums go Pocket Park is an excellent start. It has everything you'd expect from a good disco album; funky bass lines, melodic guitars, a harmonious string section, and an awesome backing chorus. All of these qualities are best shown in the album's most iconic song, Midnight Door: Stay With Me, which combined with its catchy English chorus, makes it one of the most iconic City Pop themes ever.

Of course, this highlights the album's biggest drawback; They wasted the best track for the opening number. The rest of the songs, save for two, while well-produced, are pretty average Showa pop fare. The exception being It's So Creamy, which happens to be my other favorite song on the album because of how smooth and lighthearted it is (despite the scandalous title, but that might just be my dirty mind), and Manhattan Wind, which would feel right at home alongside Tatsuro Yamashita's New York-themed Circus Town. You also get the feeling that the composing team was less concerned with creating songs that flowed into a narrative, but rather just came up with a bunch of run-of-the-mill love songs hoping one of them would stick. This is very noticeable with Love is Energy, which has almost the same progression as Stay With Me, but with a less memorable arrangement. What really carries the album is Matsubara's unique, operatic voice, singing in a way that feels sophisticated, but still sexy and soulful when needed.

Overall, Pocket Park is a pretty standard Soul-Pop Album with one iconic anthem and a couple of hidden gems that you won't regret listening to or dancing to. If you're looking to experience Pocket Park for yourself, you can get it on Spotify, and get the re-issue from Ponycanyon.