Monday September 5, 6:37 p.m.
Recently, I've been listening a lot to Taeko Onuki albums...she's the one on the right with her "Romantique" album in 1980. Internationally, she may be known for her version of "Shall We Dance" from the Japanese movie of the same name with Koji Yakusho. Just above me is "Boy Soprano" made by singer Miharu Koshi...if you had read my blog last year or earlier this year, you would've known that I had also gone on a small slow spending spree of her albums for a while.
The interesting point about these two is that both had started out firmly in the late 70s as City Pop singers with happy-go-lucky synths and guitars wailing behind them, and both had hit a wall musically not too long after. Onuki switched over to a new label with her "Mignonne" album, the first of her French titles, only to have nothing happen. She disappeared for about 2 years to do a re-think about her career. Koshi had continued a little longer in the same vein but also came to that vital fork in the road when things started getting stale for her.
It took members of the Yellow Magic Orchestra to kick-start the two singers into a whole new direction. Haruomi Hosono helped Koshi move into a virtually avant-garde or avant-pop mode which got her music emulating nearly operatic arias and the German language. Meanwhile, Oscar winner Ryuichi Sakamoto got Onuki to move into a more French idiom of pop and chanson. Arguably, Onuki's music in the early 80s was the more approachable of the two, but both took on a patina of synth-pop thanks to The YMO's influence.
I can hardly say this about other J-pop songs but I think Onuki's oeuvre approaches that of beautiful music as hard as it may be to imagine in a world of Arashi and AKB 48. I would gladly recommend any of her stuff to foreigners. Her music now spans nearly 40 years. And with me owning one of her Best albums and some of her originals, I can hear how she has changed over time. With her light and fast City Pop work to her richer and more powerful French Pop and then finally to slightly frailer but even more tenderhearted recent material, Taeko Onuki is one of those underrated geniuses in Japan.







