The origins of the group's name remain obscure, but according to some it is a mispronunciation of an in-joke among the band members.
The group first started as a Tokyo-based folk trio in 1966 when leader Kiyoshiro Imawano was still in junior high school and playing in a Ventures copy band.
The group is hard to classify, but in early years their sound was mostly R&B fashioned music played acoustically. Imawano, however, has quite a distinctive high warbling voice that is not typical of soul singers, and which frankly some people find annoying.
More than a singer, he is known as a lyricist for his clever and timely lyrics.
RC Succession developed a reputation early on as a strong live band, but did not have a hit record until 1972, and then not again for a long time after that.
In the late 70s the group took on a more electric sound, as well as an odd glam influenced look, with Imawano in particular often appearing in loud clothing and heavy makeup.
The group became part of a hot late 70s scene which included Yellow Magic Orchestra, The Plastics, and Sandii & The Sunsetz, created when these groups began interacting with foreign bands and releasing internationally.
RC Succession did not catch on internationally as much as some of the others, but they did take part in a famous concert in 1982 called "The Day of R&B", which took place at a packed baseball stadium and included as headliners Chuck Berry and Sam Moore of Sam & Dave.
The event was filmed and released as a video. Another thing in 1982 that helped establish them as a major act was a collaboration with Ryucihi Sakamoto called "Ikenai Rouge Magic".
The single's jacket and promotional picture featured Imawano and Sakamoto kissing - quite a shocker at the time.
The song was also used in a popular TV commercial. Among the best-known RC Succession songs are "Ameagari No Yozora Ni" and "Toranjitsu Rajio".
RC Succession have often collaborated with other artists, and Imawano marks among the highlights of his career working with his heroes Booker T. & The MG's.
RC Succession are also unusual in that for a Japanese pop band they are fairly political and outspoken. They are one of the few Japanese bands that regularly play benefits, and Imawano has spoken out against war, nuclear power and in favor of Tibetan freedom.
In 1988 the group recorded an album of cover versions of famous songs re-worked with Japanese lyrics, called Covers.
Among them was a version of Eddie Cochran's "Summertime Blues" with anti-nuclear power lyrics. Their record label at the time, however, was Toshiba-EMI, and given that Toshiba had nuclear related business they refused to release the album, which eventually came out on Kitty Records.
Johnny Thunders of the New York Dolls also appeared on this album on a re-make of "Eve of Destruction".
Imawano also stirred up controversy when he formed the side project Timers (slang for marijuana), and did a rock version of the national anthem "Kimigayo".
Imawano seems to have many interests and hobbies. He has written children's books and is widely known as a big bicycling enthusiast.
He has also dabbled in acting, appearing in the movies Otakus in Love in 2004, and in Takashi Miike's film The Great Yokai War in 2005. He has been one of the most frequent performers in the history of the Fuji Rock Festival. Since the festival began in 1997 he has appeared in 1998, 1999, 2002, 2004, 2005, and is booked for 2006. He famously rides his bike to the festival's mountain setting.
涙でいっぱい
RCサクセション Lyrics
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今は口もきいてくれない
今はもう 遠くで
君の笑顔見るだけさ
どうして さけるのさ
こんなに好きなのに
もう一度 目の前で笑っておくれ
僕の目は涙でいっぱいさ Woo...
今は空に祈るだけ
今はもう 遠くの
君の笑顔待つだけさ
どうして さけるのさ
こんなに好きなのに
もう一度 目の前で笑っておくれ
僕の目は涙でいっぱいさ Woo...
今はもう 遠くで
君の笑顔見るだけさ
どうして さけるのさ
こんなに好きなのに
もう一度 目の前で笑っておくれ
僕の目は涙でいっぱいさ Woo...
僕の目は涙でいっぱいさ Woo...
The lyrics of RCサクセション's song 涙でいっぱい express deep sadness and longing for someone who has become distant and cold. The singer is questioning why this person has become so distant to the point where they no longer speak to them. The singer reminisces about the times when they could see this person's smile from afar, and despite their deep feelings of love, they are left wondering why this person is avoiding them. The singer pleads for this person to smile at them once again, as their eyes are filled with tears.
The emotional turmoil continues as the singer feels choked up and unable to express their true feelings. Instead, they find solace in silently praying to the sky and waiting for the distant smile of the person they love. The pain of not being able to communicate their emotions clearly is palpable, as the singer questions why they are being avoided despite their strong feelings of affection. Once again, the plea for a smile and the tears in the singer's eyes are emphasized, indicating the depth of their emotional distress.
As the song progresses, it becomes clear that the distance between the singer and the object of their affection has only grown. Yet, they continue to hold onto the memory of seeing that person's smile from afar. The singer's love remains unwavering, despite the pain of being kept at a distance. The repeated request for a smile and the image of tears in the singer's eyes serve as a poignant reminder of the singer's desperate yearning for closeness and connection.
The final repetition of the lines "僕の目は涙でいっぱいさ Woo..." reinforces the theme of tears filling the singer's eyes, symbolizing the overwhelming emotions of heartbreak and longing. The plea for a smile and the expression of love despite the distance reflect the universal experience of unrequited love and the innate human desire for connection and emotional validation. The song 涙でいっぱい captures the raw vulnerability and pain of unreciprocated feelings, resonating with listeners who have experienced the ache of longing for someone out of reach.
Lyrics © O/B/O APRA AMCOS
Written by: 清志郎 忌野
Lyrics Licensed & Provided by LyricFind
hochan8
この混沌さ加減がオーディエンスの想像に幅を与えてくれるのさ。
kontada yama
女の涙をテーマにした歌はたくさんあっても、男の涙をテーマにした歌はとても珍しかったのではないでしょうか？この頃から時代の先端を走っていたんですね。
全能の女神様
音が悪くて、何だかわからない(´д｀|||)
Tetsuya Minami
どろどろどろどろ かっこいい！