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.
What I've heard is that spam musubi, basically spam rice balls, is a popular dish in both Hawaii and Okinawa. Now, this is a big foodie truth from me but I'm a huge fan of spam and have been so since I was a toddler. My good friend in Japan has disdained the luncheon meat as Alpo for humans, but living in the country all those years, it was often the case that my dinner consisted of fried spam slices and a bowl of hot rice (I did include salad as well, so I was not totally unhealthy), and I couldn't have been happier. There's something about the flavour and the nice thin crust that was a perfect fit for my palate.
My apologies for the ham-fisted, or I could say spam-fisted, segue into this Okinawan song but unfortunately my options were rather limited because I've never been to Japan's southernmost prefecture. However, I did hear "Uruwashi no Ryukyu" (The Beautiful Ryukyus) on one of the NHK music shows some months ago, and I was hoping to feature this on the blog.
The furthest back that I've heard "Uruwashi no Ryukyu" is a 1941 recording by Hisao Ito（伊藤久男）, who would gain even more fame from his "Iyomante no Yoru"（イヨマンテの夜）nearly a decade later. His tribute to the Ryukyu Islands which include the island of Okinawa was written by Sounosuke Sato（佐藤惣之助）and composed by Nobuyuki Takeoka（竹岡信幸）, according to the JASRAC database. Ito's version is delivered in a proud but also mournful way, and although I'm uncertain whether it had been meant to be arranged in that fashion, there is something poignant about "Uruwashi no Ryukyu" considering the Battle of Okinawa that would befall the islands a few years later.
Thirty years later in July 1971, singer Akemi Iijima（飯島あけみ）released her 4th and final single which was a cover of "Uruwashi no Ryukyu". Her cover has more of an exotica feeling with the percussion and chorus, and Iijima's delivery makes it feel more like a sung message to all those throughout the islands. Unfortunately, there's very little other information about the singer. Speaking of information, although JASRAC did give the names of the songwriters, Iijima's list of singles on another site mentions that the composer of the "original source" is unknown and the lyrics were provided by Hiroshi Iwase（いわせひろし）.
In recent years, I've been made aware of this particular kayo titled "Iyomante no Yoru" (The Night of the Sendoff Ceremony) sung by enka veteran Takashi Hosokawa（細川たかし）. But this isn't an enka song. When I first heard Hosokawa perform it a few years ago, he didn't particularly sing it; it was actually more of a bellowing of what sounded like an incantation for something to happen at that ceremony of the title. It was raw, operatic and the rhythm felt like part of a soundtrack from an old 1940s adventure in Africa. What the heck was "Iyomante no Yoru"?
Well, we have to go all the way back to an old NHK radio drama called "Kane no Naru Oka"（鐘の鳴る丘...The Hill on Which the Bell Tolls） which had been broadcast between the summer of 1947 to the end of 1950. A story by playwright and lyricist Kazuo Kikuta（菊田一夫）, the plot featured a demobilized soldier who ends up living in a communal facility in a mountain village on a hill and becomes well acquainted with some war orphans.
Famed composer Yuuji Koseki（古関裕而）, who had worked with Kikuta before to create "Francesca no Kane"（フランチェスカの鐘）in 1948, came up with "Iyomante no Yoru" as the theme representing the woodsmen in the drama as he improvised something while performing on a Hammond organ. It was originally meant to be performed with just the "Ahhhhh..." bellowing, but singer Hisao Ito（伊藤久男）, who had recorded Koseki's iconic "Eikan wa Kimi ni Kagayaku"（栄冠は君に輝く ）, occasionally listened to "Kane no Naru Oka" and fell in love with "Iyomante no Yoru".
Both Kikuta and Koseki eventually got together with Ito and came up with the revised "Iyomante no Yoru". The lyricist had some experience with Ainu songs so he adapted some of the language of this East Asian ethnic group native to Hokkaido and added it to the lyrics for the song. In fact, the word iyomante is Ainu for a sendoff ceremony. A 45" single was sold in stores as of January 1950.
However, according to the J-Wiki article on "Iyomante no Yoru", despite the Ainu influence in the language, it was found that with the arrangements which included an African tom-tom drum and the fact that in spite of the title hinting at a night ceremony, any actual sendoff ceremonies in Ainu culture were almost always performed in the daytime, there were opinions raised that the song really didn't musically reflect the Ainu.
Another interesting point of trivia found in the J-Wiki article is that the NHK singing program "Nodo Jiman"（のど自慢）during the period of 1950-1952 found almost all of the male contestants asking to sing "Iyomante no Yoru" which put the judges in a bit of a tizzy. During the show in modern times, I've occasionally seen a few guys come up to perform the song, even high school boys.
But it hasn't been just the amateurs tackling the song. A number of singers have covered it, too, including tenor Masafumi Akikawa（秋川雅史）who gained national fame for his rendition of "Sen no Kaze ni Natte"（千の風になって）in 2006, as well as enka singer Aya Shimazu（島津亜矢）. I think with "Iyomante no Yoru", there is probably that "muscularity" in there that has attracted the kayo singers like a workout machine attracting the gym athletes.
With the broadcast of the current NHK morning serial "Yell"（エール）, a fictionalized account of the life and times of composer Yuuji Koseki（古関裕而）, there has been a running series of 10-minute vignettes on the national broadcaster highlighting famous songs by Koseki. One song that the composer created was for the annual Japanese High School Baseball Championships in the summer held at Koshien Stadium in Hyogo Prefecture and that was the song that was featured in one of those vignettes.
Unfortunately with COVID-19, the championships have been cancelled this year, a turn of events that probably had baseball fans all over the nation shocked and saddened since in my estimation, this has been a summer event that has had even more prestige than the professional Japan Series, Japanese baseball's equivalent of the World Series in the Major Leagues. I remember when I was teaching in Gunma Prefecture, I was asked to teach some summer school English to kids but one day, the children were acting a little more antsier than usual and when I asked them what was up with them, one of them sheepishly requested if they could watch the high school championships on TV. Being a softie (which did me good and bad over the years), I acquiesced and got them in front of the community centre TV where we watched one of the games. But make no mistake. These championships are a big deal in Japan.
According to Wikipedia, the championships first began in 1915 and were held annually until for a few years between 1942 and 1945, they were cancelled due to World War II. The games were back in business from 1946 and in 1948, Koseki with lyricist Daisuke Kaga's（加賀大介）help created a theme song for the Koshien championships which matched their pomp and glory.
Titled "Eikan wa Kimi ni Kagayaku" (The Laurels of Victory Shine on You), the theme was first performed by popular singer Hisao Ito（伊藤久男）, who was first introduced onto KKP by enka expert Noelle over a year ago. Having listened to it many times over the years since the competition was often shown in the sports highlight reels daily, I swear that Koseki created something that could have even fit as a national anthem for any country. The song has been used in the opening and closing ceremonies, and I believe in the opening ceremonies, it's been the song that the competing teams march to as they enter the stadium. I can only imagine the swell of pride that the players feel when they do come in and hear the strains of "Eikan wa Kimi ni Kagayaku".
Up until 1996, "Eikan wa Kimi ni Kagayaku" had been performed by local high school chorus groups but afterwards, singers and bands such as BORO and Ryoko Moriyama（森山良子）have performed the song from time to time. In NHK's "Yell", there was even a scene at the stadium in which the genesis of the song was depicted, and in the above video, one of the actors in the show, Ikusaburo Yamazaki（山崎育三郎）, does his rendition on a music program. Hopefully, it will be performed again at the championships as early as next year. Incidentally, this wasn't the only famous baseball-themed anthem that composer Koseki had created.
Hello, it's been quite a while, hasn't it? How has summer (or winter, depending on your hemisphere) been? I somewhat managed to dodge most of the worst of Japan's monstrous summer by escaping to Singapore for a couple of weeks last month, but I did get a taste of it prior. I never thought I'd say this, but I don't think I'll ever complain about the heat and humidity in my home country for a while.
Anyway, I have survived my first term in university and have just begun the second last Monday. Perhaps it's a combination of post-holiday blues and the foreboding amount of assignments, but I feel like I've fallen down the stairs. Face first. Well, in spite of the rough time readjusting, one thing was able to clear that storm on Saturday: My very first karaoke recital.
To give some background information on whatever I know, karaoke recitals that feature enka seem to be quite a major thing in Japan, particularly amongst the elderly, as you can probably tell by the genre. There are those on a larger scale that are professionally organized and host moderately to really popular enka stars and renowned songwriters. These would probably include the competitive category as well, where the acts are judged and scored, and there will be winners. Then there are those small scale ones held in little towns here and there, often organized by a local karaoke joint. Usually, these ones are just simply for the folks to have some fun, and everyone goes home a winner. The one I participated in was the latter, simply because it was my karaoke haunt that held it, and Shiro Jiisanstrongly encouraged me to take part three months prior. I had doubts about my ability, but when the senior you thought was calm yells at you excitedly to join in, you know you have to.
The recital was the 10th installment of the annual "Happi Uta no Saiten", "Happi" being the name of the karaoke joint, and was held at the nearby Nishi-Kawagoe Bunka Kaikan. The event hall wasn't as big as I had feared, though the idea of having about a third of it it filled, in other words way more than what I'm used to, was rather intimidating, especially when they were all going to be looking at me. The regulars I had gotten to know, all veterans at this, most even in charge of the event itself, reassured that it'd be fine. Sure. And they were fussing over what I should wear for my time in the spotlight, which brings me to my next point.
Seems like no matter the scale, participants would still go all out in the way of dressing, contrary to what I had believed. The women would be in loud, frilly or sequin-embellished gowns, or in kimonos, and be decked out in full makeup and possibly wigs. The men would be in flashy suits or kimonos as well. The effort put in truly astounds me. It made my "costumes", comprising of shirts and black jeans, pale in comparison. I did firmly turn down an offer for one of the aforementioned types of dresses. I may have ventured deep into the world of enka, but I have my reservations when it comes to its... fashion sense.
Finally coming down to my song choice. I was due to sing three songs, which was actually one more than the usual - I'll get to that in a bit. There were some changes here and there from the time I began my deliberating in June, but here are my final picks.
The advice I received were: choose something that would knock the audience's socks off, and something jolly. Thinking of the former, I was very close to choosing Hachiro Kasuga's (春日八郎) "Akai Lamp no Shuressha" (赤いランプの終列車), but consultation with my mom led me to Haruo Oka's (岡晴夫)"Akogare no Hawaii Koro" instead. I agreed with her rationale of it being relatively simple while still being able to stun the crowd, but what made me seal the deal was the sentimental value. Considering it was the very first ryukoka I had laid my ears upon nearly a decade ago, I felt that it deserved to be the first tune I sing at my very first karaoke recital.
To get into the Hawaiian spirit, I wore a red Hawaiian shirt over a white T-shirt and had the straw hat Mom wore during her university days upon my head. I jellied when singing, but it turned out OK - better than the rehearsal, at least. I think.
A Kiyoshi Hikawa (氷川きよし) song wasn't on my mind at all in my decision-making. Considering my age, it would be of no surprise should I choose one of his works. However, the folks advised me to change my initial Mood Kayo selection to something more exciting. To what, I did not know, until I tried out Hikawa's "Tora" one day. That was when they unanimously agreed that "Tora" should replace "Shianbashi Blues" (思案橋ブルース). I didn't mind as it felt manageable, and, in hindsight, the words were exactly why I should do it. Besides it being somewhat gender neutral, the proclamation of being the young white tiger before the aged was most fitting. Plus, standing up to adversity without complaint is something particularly resonant in me for this school term.
My outfit here was a white collarless shirt over grey and white striped T-shirt. I think it was the powerful score and the context, but the confidence it lent me (albeit temporarily) made strutting back on to the stage and staring down the growing crowd feel absolutely incredible. "Sing loud and proud. You're the tiger, after all," were my old pal's words. I tried, but I still couldn't help jellying up a bit, and for some reason, particularly during the most critical part of self-declaration. It felt awesome nonetheless.
This number by Hisao Ito (伊藤久男) and Akiko Futaba (二葉あき子) was the first actual duet I sang with a male counterpart. And what began as an impromptu duet between me and Shiro Jiisan became quite the attraction at Happi. It then caught the attention of an under-the-radar enka singer Yoko Ai (藍ようこ), who was to be the recital's guest star, when she came a visiting a month-ish prior to the event. I presume it was mostly due to her ravings that the mama-san and Shiro-san eventually decided that the duet should be included despite the both of us already meeting the two song quota. Seemed like word traveled down the Kasumigaseki-Matoba grapevine real quick, because gramps was happily telling me that one of the highly anticipated acts was, well, us. I suppose many were curious to see the grandpa-grandkid-like duo sing an ancient and obscure tune. Great for my ego, not great for my anxiety.
Because Shiro-san was to wear a yukata, I had to too. I'd never worn one before, so the mama-san, who'd so kindly picked one out for me, helped me put it on. I don't know how people wear these things! The belt was an absolute killer; one can hardly breathe or bend over. I liked the purple on black colour scheme though. Anyway, appearing alongside my Brojiisan (yep, my pun idiocy has reached new lows) allowed for a great deal of fear to be expunged. I guess that's why I was able to pull it off better than the other two in spite of worrying for it the most.
Overall, I had a great time taking part in this recital. It wouldn't be far-fetched to say that I've always wanted to take part in something like this, but I didn't think it would be feasible. It started as fantasy, but then enka came into the picture and fantasy morphed into fun romps at karaoke bars, and now, well, here I am. Hmm, how things snowballed down this path fascinates me. I wonder what comes next.
P.S. While I received wonderful encouragement from the familiar regulars, Shiro Jiisan, or should I say, Mr Yamagishi, really went above and beyond. Even though he too had lots of event duties that had him constantly going around and about, he always made sure to show up by my side just before I hit the stage and watch from the sidelines till I was done.
Imagine Ichiro Toba (鳥羽一郎) singing this, and you got Mr Yamagishi.
As per tradition, Jiisan served as the Top Batter for the recital's two segments. He did Oka's "Seishun Paradise" (青春のパラダイス) to kick start the show, then followed up with Akira Fuse's (布施明) rendition of "My Way". He often wears the direst expression when singing (anything), but when he noticed me grinning at him stupidly from the second row of seats in this second segment, I could've sworn that for a split second, that scowl ever so slightly turned upside down.
In the course of the five-ish months (in counting) I've known him for, he slowly went from your typical stony showa era fellow to affectionate marshmallow. I think it's because, aside from music, I've been bothering him with random stuff like my test scores from Japanese class and bromide collection. He does reciprocate in ways such as attempting to understand smartphone technology, and trying to further expand his one trip's worth of knowledge on Singapore.
He is indeed not my actual grandfather, but he's the closest to one I've ever had and always yearned for in a very long time.
You shouldn't look at your list. Go with a song that represents how you feel here and now, that way you'll be able to sing it well and with all your heart.
Besides the usual YouTube, another way I make musical discoveries in the enka-yo department is through natsumelo karaokes. Lately I'd found another kayo haunt in the sleepy town (except when politicians go around blasting their promises) of Kasumigaseki, Saitama, which I now reside in, and on my first couple of visits, I had the pleasure of meeting this fellow, let's call him Uncle S. His singing and guitar skills are the best I've heard thus far from my karaoke romps. However, what threw me for a loop was not only is he a huge fan of Hachiro Kasuga, but, what are the odds, his favourite Kasuga-bushi is the same as mine (currently), "Ore wa Nora Inu" (俺は野良犬)! He seemed more floored than I was, though.
Well, but anyway, eventually finding out I'm a fan of matatabi enka, Uncle S was game to do a proper duet (up to that point we'd just been alternating stanzas for regular tunes from time to time), and he chose "Oshima Sentaro Tabiuta" simply after I said I knew the ryukoka singer Hisao Ito and somewhat recognized the characters' names of Oshima and Sentaro (admittedly, I had thought it was just one name). But, you see, I had no idea of the existance of such a song, and it had some strange transitions a typical enka song wouldn't have, so I wasn't able to wing it. 'Twas from then on when I decided learn it for a second shot at it. Unfortunately, I haven't seen Uncle S since, but I'm ready to redeem myself when he does reappear. Man, this is like the redux of Grandma K (whom I had finally met up with a couple of weeks ago in Sugamo).
Coming to the "Oshima Sentaro Tabiuta" itself, what I had initially thought was a song simply about the trials a roving actor and his wife face on the road turned out to be something quite a lot darker and more dramatic. This song (circa 1947) gets its plot from a popular novel "Jahime-sama" (蛇姫様) and is but one of its many adaptations (music and film-wise). The great Yaso Saijo (西條八十) lyric-fies the story of our hero Sentaro, who, after tragically having his sister and father murdered, goes into hiding by joining a roving theater troupe. Life's tough for Sentaro, and you can hear it in Teikichi Okuyama's (奥山貞吉) forlorn score, but his silver lining comes in the form of Oshima, one of the troupe's members. I don't really know much other details besides that, but long story short, they fall in love and live happily ever after and continuing this more or less ronin-style of life. Playing the role of Sentaro in "Oshima Sentaro Tabiuta" is the aforementioned Ito, and Akiko Futaba (二葉あき子) plays Oshima.
In the way of popularity, "Oshima Sentaro Tabiuta" definitely isn't one of either singers' renowned hits, and, for that matter, it's not even a well-known adaptation of the novel in spite of it being the theme song to the "Jahime-sama" film in 1947. It seems like Hibari Misora's (美空ひばり) own "Oshima Sentaro" that was tagged to the "Shin Jahime-sama" (新 蛇姫様) movie she starred in from 1965 was a lot more well-received (understandably so). Anyways, the second video here is a shorter rendition of "Oshima Sentaro Tabiuta", and it was sung by an under-the-radar enka singer called Sumiko Matsumoto(松本寿満子). I don't know who the male singer is, but I actually like this rendition more because of its slower tempo. I find that it sheds more light into Sentaro's struggle. Also, the snippets of movie with the song are from the aforementioned '47 movie.
P.S. The other folks at the Kasumigaseki joint didn't really know it either. Just last week, I had intended to sing it on my own, but the mama-san insisted that I partner-up simply because "Oshima Sentaro Tabiuta" is a duet. Grandpa 1, who was keen on doing a duet with me waved the white flag for he had no knowledge of this at all, and the key was too low for him. As a result, the mic was dropped on Grandpa 2. He was a good sport, in spite of not knowing the song completely. Ah, well, until Uncle S shows up again.
