YAPOOS – DADDY THE HEAVEN (1987)

lyrics by OSAMU TAKAHASHI | music by TAKAO HIGAE

I was surprised to find no one had translated this one off Yapoos Project, so it was a fun time. The writer of the song had this to say about it: “love like a pebble caught in a bottomless swamp,” which should give you a good push towards the song’s meaning.

Translation and notes are under the cut:

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YAPOOS – GO! LOLITA IN CLEAR AND PRESENT DANGER [SORE IKE! LOLITA KIKI IPPATSU] (1995)

lyrics by JUN TOGAWA | music by YUICHI KONO

Togawa really likes the whole secret agent thing, as it makes another appearance here on HYS. The trumpets on the studio version really make the whole thing for me.

Translation and notes under the cut:

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YAPOOS – UNDERNEATH RED FLOWERS IN FULL BLOOM [AKAI HANA NO MANKAI NO SHITA] (1995)

lyrics by JUN TOGAWA | music by NOBUO NAKAHARA

Uncharacteristically happy for a Yapoos (or Togawa in general?) song, I think, this is probably my favorite song of HYS and a really good way to end the album.

Translation and notes under the cut:

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YAPOOS – MEN’S SUFFERING [MEN’S JUNAN] (1991)

lyrics by JUN TOGAWA | music by NOBUO NAKAHARA

One of the few singles released by Yapoos during their time together, this song has Jun Togawa playing the role of a stalker, following her lover around everywhere. Togawa’s lyrics are generally straightforward here compared to some other songs, but she really can’t seem to get through a single song without using some sort of classical Japanese, which is a bit of a pain.

Translation and notes are under the cut:

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YAPOOS – SHEER LOVERS (2003)

lyrics by JUN TOGAWA | music by TODA SEIJI

The first track of Yapoos’ final (to this point) release, CD-Y is a relatively marked departure from Yapoos’ previous work. It coincides with a darker period in Togawa’s own life, marked by another suicide attempt. It’s a good song both in and out of its context, however, and it features classic Togawa metaphors about color. In fact, you could say that’s pretty much all it is.

Translation and notes under the cut:

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