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.