My Showa Kayou 19 The Anko Camellia is a Flower of Love 1964
Japanese Title "AnkoTsubaki wa Koi no Hana"
From Mount Mihara on Oshima Isle,
Smoke billows high into the sky.
Ten thousand souls, from the island exiled,
Forced to flee as danger draws nigh.
In 1986, Mount Mihara on Oshima Island erupted in a massive volcanic explosion. It was a chaotic time, marked by strange occurrences—like the fact that the Mihara Shrine remained untouched by the destruction, and the eerie photo of what seemed to be a ghostly figure, later revealed to be a civilian photographer who couldn’t escape in time.
As a child in elementary school, I didn’t learn about Oshima or Mount Mihara from my lessons, but from the song "Anko Tsubaki wa Koi no Hana." Thanks to that, I immediately understood where and what had happened.
One striking memory from that time was that the first business to reopen after the one-month evacuation was a pachinko parlor. Even in hard times, people craved entertainment, and I learned how essential that was for maintaining a sense of normalcy.
As for the song by Harumi Miyako, I appreciate its artistry much more now than I did back then. At the time, I just listened, fascinated by the playful groans and unique vocal flourishes she inserted into the stretched-out parts. I liked to sing along, but I would often get distracted by those unique quirks in her voice.
The part where she stretches out “funegaーー” or the short “a” in "anata wa tooi" impressed me, but what really moved me was the way she sings the “n” in “Anko.” Singing the "n" sound seems like something unique to Japanese music, and very few singers can pull it off with the kind of guttural strength that Harumi-chan could.
Her ability to use false vocal cords is exceptional. Normally, it’s easier to hit high notes with a loud voice, but she seamlessly integrates it into her regular singing—truly remarkable. I’ve never sung that song myself, but for this essay, I tried singing it a cappella, and to my surprise, I remembered all the lyrics and could sing it all the way through. But there’s no way I could match Harumi-chan’s style—that’s what makes her performance so distinct.
On the other hand, when her song "Suki ni Natta Hito" came out, it was different—simpler, without tricky vocal techniques, just a song with resonant high notes. I could easily sing along as a child, effortlessly hitting those high notes just like she did.
But looking back now, it’s "Anko Tsubaki" that stands out to me. The way she used her voice was so fresh and unique.
Nowadays, we have artists like Ado, who also seem to masterfully play with their vocal techniques, creating expressive performances with their voices.
As someone from the Showa era, I can’t help but say: the sophisticated techniques you hear in today’s music all trace back to Showa-era pop. The singing, the arrangements, and the production—all of it is uniquely Japanese and rooted in that time.
I cannot read or write in English.
This text has been translated by ChatGPT.
I haven't edited it, so there may be some strange parts.
【Reference Video】
【Japanese Version of the Article】