I've been a fan of Japanese popular music for 40 years, and have managed to collect a lot of material during that time. So I decided I wanted to talk about Showa Era music with like-minded fans. My particular era is the 70s and 80s (thus the "kayo kyoku"). The plus part includes a number of songs and artists from the last 30 years and also the early kayo. So, let's talk about New Music, aidoru, City Pop and enka.
Credits
I would like to give credit where credit is due. Videos are from YouTube and other sources such as NicoNico while Oricon rankings and other information are translated from the Japanese Wikipedia unless noted.
Nice to have aidoru group Negicco back in the KKP saddle again after a few years away. I think the last article I posted about them regarded their "Gozen Rei-ji no Sympathy"（午前0時のシンパシー）from 2020. That has some nice City Pop twist there and my impression has been that the group has enjoyed dabbling into the urban contemporary genres now and then.
I'm going a bit further back in their discography to bring out their single "Anata to Pop With You"(Popping With You) which made its debut in June 2012. I first found about this one when I was perusing kinuzure's "Tamaranaku, AOR Kayo"（たまらなく、AOR歌謡...Irresistibly, AOR Pop） blog. I don't really think that this particular song is in the Neo-City Pop or J-AOR vein despite the presence of some synth brass but it's still an upbeat and fun song for summer. There seems to be a faint reminder of what was going on with Eurobeat back in the 1980s.
Wasn't quite sure about the presence of a "white" Negicco and a "blue" Negicco in the music video. I'd assumed that it was about the good and evil dichotomy with Negicco the White looking rather forlorn while Negicco the Blue were ready to party down. However, the Blue happily won over the White. "Anata to Pop With You", which was written and composed/arranged by singer-songwriter connie, peaked at No. 41 on Oricon. It's also a track on the group's July 2013 album"Melody Palette".
Ever had a good you disliked and actively avoided for as long as you could remember, but one fine day you decide to give it another chance, and you end up liking it? For me, that’d be spring/green onion. As a child, I found its green presence in what I thought would’ve been the perfect dish highly offensive. But the aforementioned process occurred somewhere along the line, and now it’s something I actively want in my food. It’s such a strange phenomenon, isn’t it?
In the kayo context, my spring onion is what is commonly referred to as Hachiro Kasuga’s (春日八郎) signature sound. It’s a dark and plaintive sort of melody on the minor key of the yonanuki (pentatonic) scale that adds a layer of foreboding to Kasuga’s already forlorn tone. Generally speaking, I was never really keen on this sort of melody as I was of the mind that listening to stuff like that would dampen or exacerbate my poor mood. My picky taste thus had me avoiding such Kasuga Bushi, which ironically, were the bulk of Kasuga’s hits. Writing my thesis and joining the Kasuga Enka Denshokai made me accept the “enka” in the “enka singer”, but the greater exposure to Hachi’s vast discography did little to change my preferences. Then one day just this year, something in my brain chemistry must've changed, but I became more open to the Kasuga standards I'd been actively avoiding. There were days when my usual selection just didn't sit right with my mood - neither sad or happy - but these darker numbers were able to just about compliment it. Their haunting melodies and their arrangements suddenly became so fascinating and hypnotic. Nothing represents this change I had better than Izakaya.
Izakaya is a constant in Hachi's compilation albums and recitals, and seems to be a fan favourite. It was released in January 1958, and written by lyricist Hiroshi Yokoi (横井弘) and composed by Toshiyo Kamata (鎌多俊与). Its somber atmosphere and theme of moping at a bar would become key enka genre attributes, but I couldn't understand its appeal. My initial enka-kayo pickiness had me dismissing it as a boring mood dampener, and in later days, just one of the representative enka prototypes.
However, I was quite recently doing something that had me picking an enka-like Kasuga Bushi that encompasses someone very enka and very Hachiro Kasuga. The first song that popped into my head, for some reason, was Izakaya. At the time, I had only just begun to appreciate the dark, minor key tunes and their magnetic arrangements, and Izakaya rarely if ever came up on my radar until that moment. Still, I was satisfied with my choice, and I think that was when I began to savor the flavours Toshi-san had created in this beloved hit: bitter, heavy, dry... But highly addictive. For something I disliked, it did a great job for getting stuck in my head. I could've sworn I listened to it at least twice a day for the past couple of weeks.
It also goes without saying that Hachi's mournful warble blended perfectly with the haunting melody. It makes the protagonist sound like he's struggling to hold back tears of anguish from falling into his drink. Yet, Hachi is also fantastic at conveying hope and empathy in the midst of despair, and so the consoling, emotional warmth our protagonist gets from his go-to bar cuts through the song's overall melancholic tone.
So, is this what folks mean when they say "Kasuga Bushi", or rather, "Kasuga Enka"? I think I'm starting to get it.
Speaking of which, by some mind-bending coincidence, the aforementioned enka person later sang Izakaya while representing the Hachi club at a karaoke recital. I also have reason to believe that it's one of their cherished Kasuga Bushi, although I didn't know that when I affixed the song to them. Weird. I suppose that just affirmed by intuition.
Hachi would re-record Izakaya on stereo in 1970 with a different arrangement (the above video). While his more matured, slightly lower voice accentuates the song's inherent sadness, the haunting atmosphere of Toshi-san's original arrangement is what I can't get enough of... Sorry, Toshi-san, you really did cook with this one - I was the clown for not seeing it this whole time.
Anyway, Izakayas are not my kind of place. I bury my head in my favourite singers or surround myself with nature when depressed. So, in that respect, I don't think I can resonate completely with the concept of moping in a bar over alcohol as in the likes of Izakaya. That said, slowly coming around to enka style tunes/enka/Kasuga Bushi of this sound feels like quite the big milestone in my enka journey I'd never thought I'd reach. And that took me like, what, 12-ish years?
"You'll understand enka when you're older." This is a phrase often used to explain enka's older fan base. I had even been told that several times - in fact, that very enka person had even said that I'm still too young to fully comprehend enka and its emotional depth. Admittedly, I took some offence to that, and just took it as a generalizing statement. After all, everyone goes through different things, and thus a listener can interpret and resonate with a song in different ways. But after this Izakaya episode, I'm inclined to believe that there's some truth to this saying, one way or another. I suppose it is really like acquiring the taste of spring onions.
P.S. J-Canuck did a writeup on Izakaya several years ago, so you can check it out here.
P.S.S. Izakaya was theme song of episode 8 on the first radio show Hachi hosted, Kasuga Hachiro noShinmiri Enka Daizenshu (春日八郎のしんみり演歌大全集) in late 1982. The episode had the great Yokoi on as a special guest, and they talked about the results of a kayokyoku survey held by the Nihonshu Center (日本酒センター) that featured postwar kayo with themes, titles, and lyrics related to alcohol released between 1950 and 1981. To my mild surprise, Hachi claimed the top spot for being the singer with the most number of said songs: 26. Yokoi came first in the lyricist category, while Minoru Endo was first in the composer category.
Y'know...I assumed for all these years that I'd already posted about Hiromi Iwasaki's（岩崎宏美）4th single"Fantasy" since it was one of her earliest tunes and I'd been pretty dedicated about writing about those, such as her sophomore release "Romance"（ロマンス）. However, going up and down her discography on KKP a few times when I was writing up a recent ROY article, I realized much to my chagrin that it was simply not the case.
Well, one Gibbs slap later, I've gotten to work. "Fantasy" was Iwasaki's January 1976 single created by lyricist Yu Aku（阿久悠）and composer Kyohei Tsutsumi（筒美京平）. As with her earliest works by this duo, "Fantasy" has that rather urgent string-driven arrangement with the slight disco touch. From what I can glean from Aku's lyrics, there is a countdown going from two months down to half a day before as a woman recounts the adventure of a man she fancies and is then betrayed by. It makes me wonder whether the lady's dreams of romantic bliss were nothing but cruel fantasy or whether the woman made this whole thing up. It's quite the mature topic for teenaged Hiromi to sing about.
"Fantasy" peaked at No. 2 on Oricon and eventually became the 20th-ranked single of 1976. Iwasaki also got onto that year's edition of the Kohaku Utagassen for the second time to sing this one.
I think it may have been commenter Brian who recently reminded me of anime's favourite boarding house "Maison Ikkoku"（めぞん一刻）by stating that it had celebrated a recent anniversary. And sure enough, we're all here again admiring Kyoko the boarding house manager. But I come here through a rather coincidental route. Yesterday, I was delighted to find out that one of the new anime for Spring 2026, "Ganbare! Nakamura-kun!!"（ガンバレ!中村くん!!...Go for It, Nakamura!）, has adopted the policy of using some of the Showa and Heisei Era hits to end each episode, and the ending theme for Episode 1 was Kozo Murashita's（村下孝蔵）wonderful "Hatsukoi"（初恋）. Let it make a resurgence, I say!
Well, I've only just discovered that another Murashita single had become the final opening theme for "Maison Ikkoku". I've heard of his September 1987 12th single"Hidamari" (Sunny Spot) but only as something that I probably listened to for the first time on "Sounds of Japan" decades ago. I didn't know of the anime's connection with the song but now I recognize it as being part of the "Maison Ikkoku" family along with Yuki Saito's（斉藤由貴）upbeat "Kanashimi yo Konnichiwa"（悲しみよこんにちは）and Anzen Chitai's（安全地帯）mysterious "Suki sa"（好きさ）.
I figure that if anime fans can enjoy the fruits of "Hatsukoi", then why not lead them to "Hidamari", the opening theme for this classic show of the 1980s? Murashita had been known as a singer-songwriter who flitted between folk and pop with ease, but the really skippy "Hidamari" is definitely in the latter genre as his lyrics talk about one fellow mightily pining for that young lady. Kimio Mizutani（水谷公生）was behind its arrangement as it hit No. 61 on Oricon.
The last time I had singer-songwriter Seishiro Kusunose（楠瀬誠志郎）on the byline, it was back in 2021 for his 1987"Elevator Town" which was catchy because of the jazz and that supreme four-on-the-floor drumming.
Well, after around four and a half years, Kusunose is back on the byline with "Parody Date", a track from his August 1991 6th album"Suusen no Hoshi"（数千の星...Thousands of Stars）. I have no idea what a parody date is...it sounds like a plot device that would pop on a Japanese rom-com or a comedy anime but hey, the song itself is catchy enough.
I mentioned that jazz and the four-on-the-floor for "Elevator Town". Well, for "Parody Date", it's all about the Latin jazzy brass and the feeling that listeners were meant to do a cha-cha on the floor as well. It's OK...just close the drapes and you can have fun without anyone knowing. Anyways, Kusunose was behind the happy melody while Shota Namikawa（並河祥太）provided the lyrics. Satoshi Takebe（武部聡志）arranged everything into its cha-cha form.
Years ago, when we were all living in Japan, one of my friends, A-kun, related the story of when he and another mutual buddy, B-chan, had gone to a branch of Manga no Mori (a famous manga store franchise) in Ikebukuro near the Sunshine 60 Building. The two of them had their own preferences when browsing for Japanese comics so they promised that after half an hour or so, they would meet up near the cashier. A-kun had a pretty wide range of manga that he liked so he most likely went all over the store, but B-chan had specific genres in mind: magical girls, Takarazuka-like classical romances....and BL (boys' love). At the time, he hadn't been aware of that last one.
Well, the thirty-minute window passed by. A-kun was left waiting at the cashier for a few minutes but B-chan wouldn't show up, so he went to search for her. He finally did find her fully ensconced in one of those BL manga and when he approached her from behind to see what she was reading, she was taken by surprise. A-kun swore that B-chan threw away that BL manga like skipping a rock across a river. Apparently, it bounced twice and almost impaled another browser. It was on the level of Mio's own reaction above whenever anyone was about to find out her own love of creating BL. In any case, to her own dread, she was outed. Of course, neither A-kun nor I judged her on that.
In any case, the above preamble ramble was for me to introduce one of the new anime of the season "Ganbare! Nakamura-kun!!"（ガンバレ!中村くん!!...Go for It, Nakamura!）, adapted from a manga that had run for a couple of years in the mid-2010s. I'm not into BL at all but this anime looks pretty darn humorous as young Okuto Nakamura falls hard for classmate Aiki Hirose. As well, I like the old-fashioned style of the design of the characters...reminds me of the 80s.
Heck, the entire design of the opening credits felt like a time warp back to my high school and university days. And then there is the opening theme by Yasuyuki Okamura（岡村靖幸）and former Sexy Zone member Kento Nakajima（中島健人）. It was about thirteen years ago that Okamura came up with one of the coolest and funkiest anison, "Viva Namida"（ビバナミダ）for "Space Dandy"...man, time does fly, doesn't it? And I don't think the singer who has looked like the most dance-crazed corporate section chief had created any more anison until this one in 2026.
Well, with "Shunpatsuteki ni Koi Shiyou", which literally translates as "Let's Fall in Love Right Here and Now!" but whose official English title is "Sudden Spark", we have Okamura creating and arranging the song into another techno funk piece just like "Viva Namida". It's a whole lot shorter than "Viva Namida" but I figure since the song won't officially get onto the market until late May, here's hoping that it will get longer through another verse and/or instrumental bridge. I see that Okamura still likes to cut a rug.
Strangely enough, what got my attention on "Ganbare! Nakamura-kun!!" in the first place was the ending credits sequence. For the ending of each episode, a different old kayo kyoku or J-Pop hit from the Showa and Heisei eras will be played. Episode 1 has the late Kozo Murashita's（村下孝蔵）"Hatsukoi"（初恋）from 1983. Good choice! I always love it when the folks of today happily find out about a Japanese song from yesteryear.
It's been a slightly unusual Friday due to it being Good Friday and we've put in that special ROY article in the middle of all of the urban contemporary material. And so, I will finish up things here with a sixth posting that I will not consider a ROY.
For one thing, I posted Carl Anderson's "Pieces of a Heart" back in 2015, years before I came up with the Reminiscings of Youth series, simply because I loved and admired the ballad so much although it was campaigning for a product that I have never and will never use, Parliament Cigarettes. They might be death sticks but man, the commercials for it were always top-notch and classy when cigarette ads were allowed to exist.
Yup, I ended up buying the 1990 CD single in Japan which you can see at the very top. The coupling song is no slouch either, and in fact, "How Deep Does It Go?" is one of those soulful make-out tunes that pretty much demands that one shouldn't slouch either in the activity that the song is promoting here (nudge, nudge, wink, wink)😉. Oh, Anderson's voice, the bluesy sax and those nighttime keyboards make it all worth the while. Both songs on the single would be must-plays on that fantasy late-night radio show I concocted a while ago.
Although Anderson would have been 81 this year, he unfortunately succumbed to leukemia in February 2004 at the age of 59.
