The latest book update sees me still stuck in the 70s, but this time looking into the pop music of the era rather than rock. I’ve written about this in The Japan Times, and the stuff in my book basically goes over the same ground, but it’s a good period and deserves writing about. It’s not directly relevant to any discussion about the contemporary alternative music scene, but it’s relevant to discussion about idol music, which is relevant, as well as to new wave given the way they started to converge in the 80s and eventually completely subsumed each other to create J-pop.Yumi Arai: Rouge no Dengen
It was also relevant to talk about “new music”, which means a bunch of artists I have no particular interest in. I’m a great admirer of Yumi Arai/Matsutoya and Miyuki Nakajima has a place in my heart thanks to the use of her crazy, melodramatic power ballads as the theme songs to series 1 and 2 of the downright psychotic 90s TV drama Ienakiko. Amii Ozaki did some good stuff but Yosui Inoue always bored me and Southern Allstars are simply dire, so I have mixed feelings about the whole thing really. I put it down to its roots in Japanese “hikikatari” folk balladeering, which is a kind of music I’ve always found on the cusp between boring and annoying. As I said though, there’s good stuff in new music, but it ain’t really my scene.
I’m very biased towards female singers in this period, which is probably primarily down to me being a guy, although honestly, male Japanese pop singers do tend to be a bunch of smug, punchbag-faced twats who take themselves way too seriously considering how shallow and inconsequential their music is. Let’s face it though, Hiromi Go was a funky, funky dude in his day.Hiromi Go: Hana to Mitsubachi
But yeah, I’m standing by my position that the girls got all the best songs. I’m a massive fan of Saori Minami and she’s interesting because of her position as a prototype of the contemporary idol singer, although she never liked being presented as such. Her songwriters were on her side and they came up with some ace tunes.Saori Minami: Junketsu
Momoe Yamaguchi was probably the greatest pop star of her day, and while these days I think the longevity and sheer ambition and drive of Seiko Matsuda has guaranteed her the position of greatest ever, her music itself was mostly nothing much to write home about. Yamaguchi had way better tunes and like Saori Minami seems to have had her own opinions about music to have worked quite closely with her songwriters to make them happen. From her early days as a fourteen year-old being manipulated into singing songs begging men to take her virginity, by the late 70s she was rocking it for herself.Momoe Yamaguchi: Zettai Zetsumei
The Candies I’m long on record as being a massive fan of, and they and Pink Lady are pretty much the definitive girl groups of the day. This was a long time before the days of mass idol collectives, and two or three was a perfectly satisfactory number of members for a pop group back then. Sigh. I also mention a bit about some of the 60s singers who crossed over into the 70s era although their roots were strictly speaking in a rather earlier music industry environment. Linda Yamamoto was a wild girl but Chiyo Okumura had a sultry charm of her own and probably has a stronger catalogue.Chiyo Okumura: Koi Dorobou
I’m onto punk and new wave now, which is where the book comes back to my key points about how the music scene works and how it’s structured at grassroots level. Again, I’m not sure if I’m going to carry on doing this in order, and the music history segments aren’t really what the book’s about as a whole (I don’t want them to take up more than about 15-20% of the total page count), but it feels right having the background there since I’m going to be referring to a lot of this at various points. Anyway, more sooner or later, and enjoy the pop.