Stuck In A Pagoda With Motoko Aoyama

Stumbled across this clip while doing a little research for the Vinyl Pagoda Project. Don’t know what the TV show was or when this clip aired, but here Ayumi Hamasaki teams up with old-school J-Pop legend Akina Nakamori for a rendition of the latter’s controversial 1978 single “Shojo A”.

Yes, we will be hearing from Naka-san in the process of the VPP. but probably not until I decide on a final blog redesign for here. (If you can help, please e-mail me.)

ETA: Kd, formerly of Iro Iro Aru Sa!, tells me that this clip is from Ayu’s television show AYU READY?. which aired on Fuji TV for about a year and a half, and live collaborations like this were a regular part of the show (see her comment below).

From what I have been able to gather – which unfortunately isn’t much – Tetsuya Ryu wrote the song “Okuhida Bakujyo” (“Longing For Okuhida”) on his own (lyrics and music) and found himself having what is apparently his only hit single, selling over 130,000 copies. In a culture (the Japanese pop world) where the stars are supposed to look as good as they sound, Tetsuya Ryu looks like the Japanese edition of Joe Average: the kind of person that works his butt off as a salaryman during the week and then goes out on the weekends to grab the mic at his favorite karaoke house and belt out a few tunes. In short, a seemingly unlikely pop star.

Both “Okuhida Bakujyo” and its B-side, “Su Su Ragi No Yado” (“Inn Of Babble”), are typical, pretty, male-led enka ballads, heavy on the emotional vocal. In 1980, the year this song came out, he was named Best New Artist on Besuto hitto kay?sai, earning him some Japanese TV appearances like this one:

The song seems to show up only on compilations, but of late there are three other CD singles that this gentleman has released in recent years on independent labels, including a remake of “Okuhida Bakujyo”. Apparently this remake appears on the soundtrack to the film The Cats Of Mirikitani, which aired recently on PBS.

While Ryu hasn’t been able to duplicate the success of his 28-year-old hit, it’s apparently still a karaoke favorite in Japan:

If anyone knows anything else about this guy, I’d like to know.

The scan of the picture sleeve is courtesy of Snow Records Japan..
Please read the disclaimer if downloading the mp3 files.

Most of the stuff in the 50-single stack I acquired this week is enka or kayokyoku – styles I am most likely going to refer to for the purposes of this project as Traditional Japanese Pop (not to be confused with the modern J-Pop we all know, love, and follow). But a white label promo single that was amongst the stack caught my eye tonight because there was no artist, song, or label logo – just a catalog number and a mostly Japanese sentence which had the familiar letters EMI incorporated within.

A random Googling of the catalog number revealed that the single in question was by a band called Show-Ya. I Googled the group’s name and discovered that the group is an all-girl hair metal band – a Japanese equivalent of Vixen, if you will. Although I had a couple of early candidates for the first installment of this blog project that were more on the Traditional Japanese Pop side, this 45 was screaming to make a more left-field formal first offering.

The A-side is “Kodoku No Meiru (Rabirinsu)” (translation: “Maze of Isolation (Labyrinth)”), and its coupling track is “Uso Dado Iute Yo Moon Light” (very rough translation: “Saying That It’s A Lie In The Moon Light”). The Vixen reference is not an idle comparison either – they do remind me of the one-hit wonders that foisted “Edge Of A Broken Heart” on the American public in the second half of the 80′s, but both sides of the single give the appearance of a band that seemed a lot stronger musically than Vixen. Lead vocalist Keiko Terada in particular has a very strong voice compared to the likes of Vixen’s Janet Gardner and Lita Ford.

“Kodoku No Meiru” is an uptempo rocker that wouldn’t have sounded out of place amongst the Poisons and Cinderellas of the world, while “Uso Dado Iute Yo…” has a feel not unlike a slightly slower version of Ozzy Osbourne’s “Shot In The Dark”.

More web research reveals that the band, although forming in Japan, made their debut at the legendary British club Dingwall’s and made several sincere attempts to gain a worldwide audience during their career. When they attempted to break into the US in 1990, unfortunately for Show-Ya the musical climate was already starting to drift away from hair metal and even through they opened for a few notable names in the hair metal field in the US, they didn’t even make a dent. Grunge and alternative would eventually kill hair metal (or at least send the genre packing to the oldies circuit) for good months later, of course.

They made a few reunion attempts in the 90′s, and have apparently reformed (seemingly for good) for their 20th anniversary in 2005, but haven’t recorded new material yet. Much of their back catalog was reissued in Japan in 2005 and remains in print. Too bad I didn’t hear of Show-Ya back when they tried to crack the American market, but in 1990 I wasn’t too fond of most of the hair bands of the day. I think I would have liked these girls, though.

Please read the disclaimer if downloading the mp3 files.

I just got a stack of 45s in the mail today.

Fifty of them.

All Japanese. and dating between 1968 and 1990.

I’ll explain quickly: A couple of weeks ago, I won an eBay auction for a lot of fifty Japanese 45s. The seller, very helpfully, provided post-it notes on each single with the artist and titles written in romaji, which is a big help to this gaijin who is practically illiterate in the language that fascinates him so. I spent the past 90 minutes or so cataloging all 50 of these singles into an Excel database file.

Now the real fun part begins.

As often as I can, I’m going to write about each of these 45s – both sides, what I think of the songs, and whatever I can find out about the artists. I’ll even share vinyl rips of these recordings. For anyone interested in earlier Japanese pop/enka/kayokyoku, this should be a treat. It sure is already one for me as a collector of records and a fan of Japanese music and culture.