Overall Rating: 9/10
Favorite Track: 渚でダンス / What A Broken Heart Can Do / チャイニーズ・レストラン
Music history is something very strange. Thanks to the internet, digital preservation of different forms of media is something that has allowed our current generation to have access to countless projects that would have otherwise faded into the depths of never-ending media. On the same vein, and over the years, the rise of internet forums, internet archives, and pages/blogs that have a passion for documenting the history of bands and artists has got people to a place where the access to information about any given topic is incredibly overwhelming, with the main limitation usually being a language barrier (but even then having rough tools that aid in that regard). Both a piece of media and their respective contexts can be found online, regardless of how extensive or limited the information or the quality of the content might be, it is still something that welcomes those who are interested to dive and learn further about those worlds. However, it is not always the case that these two aspects coincide together. Sometimes, we have access to information (interviews, blog entries, official pages, internet databases and even minor things like forum comments) about a certain piece of media, but not to the project itself. In that case, we know that it exists somewhere out there, that someone has it be it on physical or digital form, but it just simply hasn't been shared with the world, entering the odd world of lost media, where evidence might exist, but certainty about what is real or what is not thriving at every giving moment. However, and as it was mentioned before, this can go both ways. Sometimes we have access to the project itself, but the context and information surrounding it ends up being covered in mystery, sometimes being very limited, and others just being non-existent. And that is the case with the life and the music of City Pop's beloved mystery girl Takako Mamiya.
Anyone that is interested in the vast and overwhelming world of 80s City Pop, Takako Mamiya is one of the few names that rises to the top and shines because of the story behind 1982's Love Trip, her one and only album. The information available from Ms. Mamiya is very scarce, with the only data and facts available being the information given on the liner notes of the few official projects she was a part of, at least for a brief amount of time. This can be for a considerable number of facts that sadly let to her material and her career get overlooked during the time she was active, maybe been misjudged as just one of the many different faces and voices that appeared during the pop scene in the 80's, with not enough radio play or success in the charts leading to her leaving her musical ambitions behind and living a normal life. But still, with the newly found success of City Pop in the west, interest for who was Takako and what happened to her started to be a thing, with many of the people who were captivated by the mystery doing their best to try and find out whatever they could about the artist with little to no success. Who was she? What lead her to start a career in the music industry? What was she doing before recording Love Trip? Did she have any sort of live performances under her belt? Is she aware of her newly found popularity thanks to the internet? We just may never know.
But, as mentioned before, we can always try to understand her path until the recording of a now classic album. What we do know about Ms. Mamiya goes back to her being part of the initial lineup of the vocal trio known as Pao, a group also covered in uncertainty, intrigue, and mystery, but that has left a sort of legacy with their music finding a place to be conserved with online culture. Not much is known about Pao in general, but at the same time not much is known about any of its main members. Reportedly founded in 1978, the trio consisted of fashion model and singer Sabine Kaneko, composer/animator/manager Yoshikazu Miura, and, of course, City Pop's beloved mystery girl Takako Mamiya, with her involvement being the main reason for which some express their interest towards the group in the first place, being the only known link directly related to Mamiya in any shape or form pre-1982. The main focus of the group during that time was to promote Kaneko's career as both a model and a singer, with Takako taking the role of a background vocalist and vocal performer. Her history before that point is still a mystery, and if the liner notes of the only single she was a part of help in any way is to certainly imply that Takeko was somewhat relevant in the world of folk and rock up to that point, earning credit as an amateur figure and perhaps that being the reason as for why Miura wanted her to be a part of Pao.
However, and contrary to popular belief, Mamiya's involvement with the trio would be relatively short, lasting only a few months before leaving the band, with the only noticeable legacy of her involvement being the 1978 single "Say Yes", a tropical pop song where Mamiya's voice is one of the spotlights, being carried out in a very simple, yet effective way, and being in the same spirit as for what the group would expand later on without Takako's involvement. But, regardless of all that, Pao continued moving forward with the project. Indeed, after this point, the trio would incorporate female singer Fumiko Miyazaki in order to fill up the newly found empty space, with the project pushing forward with a couple of singles before releasing 1980's You, their only studio album, just to then disappearing from the music scene almost completely. The reasons for Takako's departure are, as one might expect for everything surrounding her, unknown, and the reason to why she took four years to reappear on the music scene or what she might have been involved in during that time are also something of which people just don't know anything about. Perhaps after that point Takako decided to dedicate herself as a solo artist, performing live on various small musical bars or gigs. In any case, no footage or recording of any kind seems to exist to corroborate these theoretical activities, let alone comments of any kind corroborating these claims to be true. It is a curious and puzzling four year gap of which almost nothing is known. But still, something must have happened in order for her getting signed into Kitty Records in 1982, being a relatively unknown artist given the opportunity to record her music, releasing Love Trip, her first and last studio album, that same year.
Just like everything related to her, not much is really known about the recording of the album or the things that were executed in order to promote it, but if the liner notes to help to understand something is certainly the curious and surprising quality of the names involved with it. Mamiya wasn't a big name, but the label managed to get some pretty well-known names at the time to help with the production and recording of the album. People like Genji Sawai (who was the main producer for the record as well has helping with the brass arrangements, having being part of Bacon Egg as well as working with Noriyo Ikeda and Masayoshi Takanaka), Hiroyuki Namba (notable for being a stable member of the live-studio lineups from various Tatsuro Yamashita albums, as well as working with names like Mariya Takeuchi and Junko Yagami, who helped with the keyboards), Kazuo Shiina (talented guitar player, also a member of some of the most iconic live-studio lineups from Yamashita, as well as helping artists like Midori Hara, wonderful Minako Yoshida and Meiko Nakahara), Yoshihiro Naruse (bass player, member of Casiopea, who also worked in Bacon Egg and with Kenji Omura on the Guitar Workshop group), Yutaka Uehara (drummer who worked with the first Niagara Triangle incarnation, as well as being part of sessions for Yamashita, Ohnuki, and Eiichi Ohtaki), Akira Inoue (member of the now classic Seaside Lovers group, as well as working with Miki Matsubara, Mioko Yamaguchi, and Akina Nakamori), Mitsuo Nagai (member of the now legendary Sadistic Mika Band and the Mari Kaneko group), Tsunehide Matsuki (who worked with artists like Yoshiko Sai, Yamashita, Ohnuki, and Takeuchi), the Ohno Group (in charge of strings, recognizable for proving string arrangements for Mignonne and For You), and many others in different roles, from performers on percussion and brass, as well as taking the roles of songwriters and composers.
The work that went behind the creation of Love Trip was certainly a big one, with many different styles clashing into something that was meant to come out as consistent as polished as possible. But despite having the prestige and quality of all the professionals involved, it can only be inferred that the album wasn't a big success in sales or in any of the charts whatsoever. The album produced one 7'' single, in the form of the title track with One More Night as a B-side, a single that was just unsuccessful, to the point where there is not a single trace from it anywhere on the charts from that time. Perhaps it was due to a poor commercial promotion, lack of attention in the radio stations, or simply because of the oversaturation of names that seemed to start overlapping each other on the pop charts, all of them trying their luck in producing a hit and making a somewhat profitable musical career. Takako was a rather unknown name with no considerable backstory behind her, a relatively new artist having her music being released by a small label in Tokyo, so it was a very risky move from the very beginning. A small local following in Tokyo seemed to be present (perhaps with some people being interested on the single itself or the fact that 真夜中のジョーク was pushed to being used in dance clubs around the city to try and get some attention towards Ms. Mamiya), which would help to understand why the record was preserved until it could be uploaded and shared through the internet. Sadly, a small fanbase and minor sales aren't enough to keep a career alive, let alone relevant, eventually leading to Takako retiring from the music industry as a whole.
As one could deduce, Love Trip really wasn't another mediocre album built in order to sell the main single. On the contrary, the love and admiration for Love Trip comes from the fact that it is a fantastic record, one of the best representatives of the potential and quality that a movement such as City Pop was able to offer. By no means is it something cliché or reliant on one particular style of songwriting and composition, what would seem like one big mess due to the number of members involved ends up on a dynamic, engaging, and truly elegant experience that is enjoyable from beginning to end. An album that uses the melancholy and themes of love in order to build a coherent and consistent atmosphere, with production values that are incredibly polished and that give their own space to every single element that is being used.
The self titled track, a complete version compared to the shorter single, opens things up on a wonderful way, a smooth and calm arrangement that sets the main atmosphere and tone of the entire album with the use of a somewhat mellow tone. Etsuko Kisugi wrote the lyric, while Kazuo Shiina himself provided with the arrangements and compositions. It is all marked with a very subtle and relaxed bass that carries the melody while being complemented by the great piano, some simple keyboard notes, the occasional saxophone part, the groovy drums, and the suiting background vocals. Mamiya starts showing her elegant and emotional vocals, with a voice that doesn't need to reach high notes in order to be as impactful as ever. Beautiful intonations with some evident passion behind them, leading to a final segment where Mamiya goes along the saxophone on a wonderful way, complementing each other's notes and making up for a great conclusion to one of the immediate standouts from the record. The tone and mood are carried directly into チャイニーズ・レストラン, a track written by Yoshiko Miura and composed by Katsu Hoshi. Without a doubt it is a song that stands out due to the peculiar chorus, with the use of the background vocals, the saxophone, and the implementation of string arrangements and percussion elements making this track take a much more oriental influence on the melody. Lyrically, the track presents the story of a woman who questions if her old love remembers their first meeting in a Chinese restaurant, which immediately helps understand why the instrumentation takes upon a much more sweet and lovely tone with the use of all those new elements. If it helps to prove something else, is the fact that even tackling the same atmosphere and using mostly the same elements, both songs achieve different things, being completely distinct tracks and helping to set a tone that is fleshed out with each new track instead or relying on replicating the same formula.
真夜中のジョーク, arguably the most popular song on the album or at least one of the reasons for why it got some attention, takes the spotlight. A track written by Ichiko Takehana (who worked with Akina Nakamori and Junko Tokumaru) and composed by Hiroyuki Namba that slowly builds up for a subtle shift in tone. The use of brass arrangements is the best one in all the album, with the use of a more funk influenced guitar and some rhythmic drums, making up for a track that stays in the mellow tone, but that manages to provide a very danceable number. Mamiya's voice suits this sort of ambient incredibly well, with the peculiar production making her voice the main focus of attention, with the instrumentals being almost completely in the background. The theme of driving in the middle of the night and thinking if love is just one big joke is represented incredibly well with the instrumental choices, and it all helps to make this a memorable song, and a definitive staple of the genre. This particular tone is expanded and presented once again in 哀しみは夜の向こう, slowly helping for the groovy guitar and a rhythmic bass to take a much bigger presence while being used in the most appropriate way in order to convey a night-time feeling. The percussion elements, while subtle, do help this song to separate itself from the previous track, this time treating the theme of struggling to sleep because the protagonist can't forget her former lover, something that is conveyed on a very emotional way in the vocals, specially on the bridge leading to the chorus.
All Or Nothing ends up the first side of the record on a very pleasant note, being one of the songs from the album to tackle a more optimistic mood, instrumentally and lyrically, adapting the mellow tone to the theme of someone who wants to give their all in a relationship while not giving into their feelings or her vices. The harmonic and beautiful piano opening the track, the wonderful string arrangements, the subtle keyboard, everything is carried out on a sweet way, going along with the vocals and building up tone with each passing verse, until it all gets modulated into fading away, closing up the first side on a great way. 渚でダンスopens up the second side offering a very pleasant contrast to what could be found on the first half of the album, being a fantastic halfway point and a highlight of the entire experience. It is considerably much more upbeat to what was seen, while still using all the same elements, adding some percussion at some points, and somehow keeping the same night-time atmosphere thanks to the great production and mixing. Without a doubt, a very dynamic track that knows what it wants to do despite its relatively simple structure, something covered in elegance.
One More Night, the B-side of the single in promotion of the record, comes into place. Once again, it expands the atmosphere and tone from the previous track on its own particular way. Percussion elements appear stronger than before, slightly changing the focus of the instrumentals in order to make up for something rather distinctive in all aspects, specially for the wonderful sax solo in the middle, while still being in the same vein to what was seen regarding its atmosphere. The upbeat tone is still carried on a much more tropical vibe in モーニング・フライト, the most optimistic and lighthearted song of the album, using the keyboards to settle down the tropical atmosphere to the somewhat mellow tone that was found throughout the album on a wonderful way while being complemented by the brass, the strings, and the funky bass. Mamiya's voice manages to be at one of its highlights from the album, specially at the soft and powerful choruses, being carried on a very pleasant way until a trumpet solo right at the end. The midnight melancholy is picked up again with たそがれは銀箔の…, a slower number with some light flute and smooth trombones, with subtle backing vocals that complement Mamiya's beautiful voice on a perfect way. Very curious contrast within the second side, specially considering the fact that everything that is being used was presented on the previous upbeat songs, just used under a different light, showing the versatility of the compositions and arrangements. Finally, the closer of the record doesn't happen to be a song reprise, rather, its Takako doing a self-cover of the intro song with English lyrics, carrying the same instrumentals, but being much more charming an effective with the characteristic English pronunciation, closing a beautiful album on a great way.
Love Trip is a mystery for anyone that crosses paths with it. The album itself is held as one of the big representatives of the City Pop movement in the 80's, but despite looking throughout the internet, finding any sort of information about the singer, let alone the record itself, just seems like something impossible. This doesn't just extend to the English language, because there are no news articles, archives, documents, analysis, appreciation posts, or even a single Wikipedia entry in Japanese. It is as if the album just popped into existence, engaging whoever happened to encounter it due to its sweet, calming, and charming nature. Tracking any sort of information about Takako is something many would love, but the questions seem to be here to stay. And even if culture and the interest surrounding the record just seem to be growing stronger with time, it is still a peculiar gem, a very rare find that covers the beautiful music that it has to offer with a veil of mystery and uncertainty. But it isn't just precious because of its curious and captivating context (or, rather, its almost non-existent context), but also because the songs that it presents are great. The project is polished, with the presence of many well known artists tackling songwriting and arrangement coming out with pleasant and satisfying results, and making up for an emotional experience that is comforting from beginning to end.
The slow, mellow, passionate, and calm atmosphere that the music provides certainly suits well the world of mystery that surrounds the album and everything related to it. Despite carrying one particular midnight/night-time mellow atmosphere, it does its best to flesh out as much as possible, never standing still on just one concept and one formula, and offering a lot of variety while keeping the feeling of love, sadness, struggle, and passion alive at all points. It is not a record that lives off one track and just offers filler for thirty minutes, rather being something always engaging and memorable at every given moment. Of course, this is not a perfect album, because while there is a consistency and quality in every single song, some of the themes and arrangements could have been fleshed out even more. But still, every song is enjoyable and captivating on its tone, with highlights like 渚でダンス, What A Broken Heart Can Do, チャイニーズ・レストラン being perfect examples for showing the potential that Ms. Mamiya had with her vocals and instrumentals, becoming some fantastic gems and masterpieces from the genre. Takako might have been looking for an identity of her own, but that dynamic and subtle variety is what makes Love Trip so special, so unique even within an oversaturated genre. It is reminiscent of many things, but it presents a very particular personality. It is very hard to compare with other artists, with elements, and perhaps influences, from Taeko Ohnuki, Makoto Matsushita, old school Happy End, and even Meiko Nakahara (also curiously having all these elements because of the fact that the musicians that helped with the sessions participated on such records), but its the spirit of love and loneliness that makes this something truly special and outstanding in many different ways.
It is such a shame that this album wasn't popular when it came out. Be it the poor sales, the small following, or the fact that she was misjudged as just another name of the bunch, the fact is that Mamiya didn't find the success she seemed to be looking for with her music career. As seen with projects such as Yamashita's "Moonglow", or even Sugar Babe's "Songs", Japanese audiences looked for music they were used to, not being too warm on the concept of new ideas being brought with different records, with some of these now classic albums taking years in order to be recognized for their many merits. Love Trip had a very consistent and coherent atmosphere and tone, but it tackled the music on various ways, leading to a dynamic album that didn't really stood on just one style of songwriting. The use of many different composers and many different styles of performance seemed to manifest in the form of a project that was in search for an identity that would set Mamiya apart from the big pile of artists that appeared with every passing day. It is not that the album was completely unconventional or unappealing, with every single track that is presented being covered in elegance, emotion, and talent; but the image surrounding the project (from the very cover and simplistic artwork to the sweet but calm singles) was just very vague, misleading potential costumers into assuming that it would just be another mediocre and forgettable effort. Perhaps if given another chance, if the circumstances had been different, it would have been possible for her to continue expanding her musical career, maybe even ending up on a much more polished and carefully crafted follow up, but there is no way to know for sure.
The world of City Pop as a whole is intriguing for foreign audiences, with the internet practically giving new life to the genre overseas, with the big names like Tatsuro Yamashita, Taeko Ohnuki, and Mariya Takeuchi taking internet culture by storm. City Pop is incredibly overwhelming, and it was during its prime time as well. It might have had a lot of artists stepping in and trying their luck locally or on a national scale, but few were the names that stood out. Therefore, it is only obvious to come to the conclusion that artists only lasted for a couple of efforts, and many of them simply getting satisfied with one hit, before retiring and their music getting lost in the sea of music that was the genre during the 80s. Making a career as a musician is always hard, but it was specially difficult in the competitive world of Japan in the 80s. The economy was unstable, and the names were saturating every part they could. The norm usually was an artist making one single and then adding a bunch of filler tracks in the form of an album in order to try and have some success, if there was any success in the charts to begin with that is.
Takako Mamiya just faded into obscurity, like many others similar to her. Whatever happened to her will always be a mystery. Perhaps she kept working in the music related business by writing jingles for commercials, something that even Yamashita was inclined to do before his success with Ride On Time, maybe she decided to pursue the modeling business, or she just retired entirely and decided to settle down and form a family; we will just never know. Despite it being of rare and obscure reputation at first, Love Trip became a real shock in the past decade thanks to the interest in City Pop and the attention on sites like Youtube, gaining a lot of popularity and becoming one of the classics of old school J-pop and contemporary Japanese music. It came to such a point that the record ended up being reissued in 2012 as a limited cd edition although only available in Japan. We don't know if Ms. Mamiya is aware of her newly found success and fame, or if she will ever appear again in any shape or form, but at least we are lucky enough to have her music as a wonderful memory of such a peculiar oddity that would have faded into obscurity if it wasn't for internet culture. In any case, it truly is comforting that finally, even after all these decades, Ms. Mamiya has been finally getting the love and recognition that it rightfully deserved.
Love Trip is just mesmerizing. A sweet, melancholic, lovely, and pleasant journey courtesy of "City Pop's Mystery Girl" herself, and a classic gem that is always comforting to revisit. A night time dance number that showers itself in the moonlight and shines bright thanks to the melancholy of midnight.
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