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.
Autumn is finally upon us - if you’re living in the northern hemisphere, that is. Otherwise, happy spring to y’all in the south. Autumn is best season in my opinion. The temperatures are now at habitable levels and a little chilly, and the foliage is starting to turn into vibrant shades of red, orange and gold. There’s also Halloween and the cute and zany ghouly and pumpkiny decor that come with it. Overall, it’s a cozy time.
Going in line with the season, I’ve decided showcase my collection of songs that reflect autumn. To preface, I don't think most of them are directly be about autumn. Rather, some have imagery synonymous with it, and others simply conjure up the cozy feeling I associate with the season. As such, I have labelled the songs accordingly: Spider lilies (manjushage), the moon (o-tsukimi (moon viewing)), autumn foliage (maple leaves, falling leaves), Halloween, jazz-inspired tunes. If you're wondering about the last category, it's just that certain types of of jazz convey autumn in my head. I don't know why, but they just do.
Anyway, similar to the summer playlist I did in 2024, I won't provide info on the songs and will only list them with short, sometimes unhinged comments, if at all. It's a brain-off piece that'll hopefully get you in the autumn spirit. With that, here's my list of autumn songs.
Spider lilies: Koi no Manjushage (恋の曼珠沙華) -- Akiko Futaba (二葉あき子)
I know autumn is finally on its way when I see stalks of these popping up in the most random of places. I've read that red spider lilies have some sad tales and macabre meanings attached to them, which sort of makes its striking appearance rather intimidating. Still, there is a sort of forlorn beauty to them, which Futaba's wistful number encapsulates.
The moon: Tsukiyo no Sanpo (月夜の散歩) -- Tadaharu Nakano (中野忠晴)
If there's one event that marks the start of autumn in Japan, at least, it's o-tsukimi (moon viewing) during mid-autumn on the lunar calendar (around mid-September). While it's meant as a festival to appreciate the moon at its roundest and show appreciation for a bountiful harvest, I only see this as the time of limited edition egg and dango foods at all F&B joints. That aside, if this tune sounds familiar to you, that's probably because this is Nakano's rendition of Side by Side.
Strolling down the avenue, moon shining up above, holding Mr. Nakano's arm... *Ahem* Great song.
Leaves: Tasogare no Hakage ni (たそがれの葉陰に)-- Katsuhiko Haida (灰田勝彦)
Not necessarily relating to autumn foliage, but the warm atmosphere in Haida's bossa nova tune about a rendezvous under the soft shadows of the trees at twilight somehow feels perfect for autumn at golden hour.
Hai-Katsu waiting under a gold ginkgo at golden hour, waiting to hit the town together... *Ahem* Nice song.
Maple leaves: Momiji Oiwake (もみじ追分) -- Duke Aces
Perhaps the image most synonymous with autumn is the maple leaf, and it just so happens that Duke Aces has a song related to it. It's based on Tochigi - I'm not familiar with the prefecture, but I'm guessing it's one known for its maple trees (momiji) and, by extension, its autumn scenery.
If you were to ask me for a kayo I'd equate to autumn, my first answer would be Ochiba Shigure at least 80% of the time. It's simply because of the image of falling leaves I get just from its title, literally meaning "Fallen leaf showers" (showers as in rain).
Halloween: Yurei wa Odoru (幽霊は踊る) -- Columbia Rhythm Boys
I feel like you can't talk about autumn without Halloween, so here's a spoopy little ditty from the Columbia Rhythm Boys.
Jazz-inspired tune: Mune no Furiko (胸の振子) -- Noboru Kirishima (霧島昇)
Now we've entered the part of the list where the songs have no autumn imagery, but just feel autumn. Mune no Furiko is hands-down my favourite song by Kiri-san. It's so sweet and warm, and listening to it feels as though you're being wrapped in a fuzzy blanket.
Rounding things off with Hachi. The song in question is the last in the compilation and comes in at the 24:28 mark. If you're like me and you think you're about to hear enka because you saw the title, you'd be wrong. This is a snazzy jazzy number, and it has me imagining a Hachi skipping down an avenue lined with red maples on a clear autumn day without a care in the world.
Hachiro Kasuga (春日八郎) recorded a lot of cover songs, ranging from Meiji-Taisho enka to early Showa kayo to 1980s pop enka. It's thanks to these covers that I got to learn a fair amount about a wide array of songs, some of which becoming personal favourites. But did you know, that the concept of covering pop songs, produced by record companies, wasn't as commonplace as it is now prior to the late 1960s?
Feel free to correct me if I'm mistaken, but based on my understanding of sources like Yusuke Wajima's (輪島裕介) "Tsukurareta 'Nihon no Kokoro' Shinwa" (創られた「日本の心」神話) (2010), it was due to the old record company contract system from the late 1920s. What this system entailed was that a songwriter or singer, bound to a particular record company by contract, could not provide songs for a different company/sing songs made by a different company. There was also this concept of the mochi uta, where a song made for a singer was theirs and theirs only; to cover another's song (officially) was, I quote from venerable lyricist Kikutaro Takahashi (高橋掬太郎), "akin to betrayal", even if they were from the same company. For instance, Akira Matsudaira (松平晃) would not be able to cover Tadaharu Nakano's (中野忠晴)"China Tango" under most circumstances, even though they were both from Columbia Records. Or Columbia's Mr. Nakano would not have been able to cover King Records' Isao Hayashi's (林伊佐緒) "Kiso Bushi Bolero" (木曽節ボレロ). Rather limiting stuff.
Miura, Hachi, Yukiko Nomura From "Shinobu"
Of course, there were multiple exceptions and there were instances of insane loophole gymnastics. And one of these loopholes would change the record industry game for the better. This watershed moment that got rid of this limiting restriction was Shinichi Mori's (森進一) (Victor) cover album of Masao Koga's (古賀政男) (Columbia) works, "Kage wo Shitaite"(影を慕いて), from 1968. Initially seen as inconceivable, composer Kosho Inomata (猪俣公章) who was the album's director managed to do some insane contract red tape gymnastics and dodging Koga Sensei's initial wrath to get it done. This involved picking only the Koga Melody that did not "belong" to Columbia Records, i.e. those that were from the legendary composer's early Victor and Golden Age Teichiku days. The album's resounding success threw out the stigma around covers and cross-company collaborations. So much so that now it's essentially a given in at least the enka world. I'd go so far as to say that some past kayo have become "must covers"/a rite of passage for any modern day enka singer. Oddly enough, one of these enka rites of passages is doing a Koga Melody cover.
In terms of same company covers, assuming the producers at King Records weren't being hyperbolic, the first full-on same company artist collab album was Hachi and his junior Michiya Mihashi's (三橋美智也)"Ougon no Utagoe" (黄金の歌声) from 1970. That was where both artists covered about 14 of each others' mochi uta. I believe it was also in 1970 when Kasuga began recording cover songs in earnest.
Anyways, this brief Japanese record industry history tidbit leads me to what I want to feature for my Hachi Centenary Project article: Hachi's cover songs I enjoy. I've always been picky about original singers, but sometimes covers just hit different, sometimes with better arrangements or better vocals. It's with these factors in mind that I share my picks of Hachi covers. At the same time, perhaps these songs may introduce you to some Taisho and Showa era classics, as they did for me. As a side note, I will also mention some of the albums each song is in.
This song is difficult with some intense peaks and dips, but Hachi maneuvers them so effortlessly and smoothly in this classic nagashi/sasurai mono. Maybe folks are right in saying that Hachi is just good at these sort of enka style kayo.
Albums: Showa no Enka Kasuga Hachiro Fukyu no Meisaku wo Utau (昭和の艶歌 春日八郎不朽の名作を歌う) (1971), Kasuga Hachiro Enka Hyaku Sen (春日八郎 演歌百選) (1973)
Hachi said that jazz doesn't fit him and some have said that he couldn't express that jazz feeling. I have to admit that there are some number where I felt that the jazz feeling was lacking a little. But not with this one. Also, it may be a hot take to fans of early Showa Japanese jazz, but this is the best version of "Dotonbori Koshinkyoku" with the best arrangement. I will die on this hill.
A point to note is that Hachi re-recorded this in his 1975 "Kasuga Hachiro no Osaka Jocho" (春日八郎の大阪情緒), but its arrangement was not as raw and... jazzy. The original cover from the 1962 "Taisho/Showa Hayari-uta" (春日八郎の大正・昭和はやり唄) album is the one I'm for.
Albums: Kasuga Hachiro no Taisho/Showa Hayari-uta, Kasuga Hachiro no Osaka Jocho, Kasuga Hachiro Osaka wo Utau (春日八郎 大阪を歌う) (2011)
I praise the creative decision to have Hachi sing the chorus, "Batten Nagasaki __ no machi, mimase yokatoko yori masse" (But Nagasaki's the city of__, c'mon over and check out this fine place... The line is in the Nagasaki/Kyushu dialect), unlike Higuchi's original. Higuchi's wasn't bad, but it just felt lacking to have just the back-up singers handle that crucial bit.
Albums: Kasuga Hachiro no Nagasaki no Jocho (春日八郎の長崎情緒) (1976), Kasuga Hachiro Showa Kayo wo Utau (春日八郎 昭和歌謡を歌う) (2010)
Karisome no Koi (かりそめの恋) (1949) -- Machiko Sanjo (三条町子)
Fun fact: I believe this was one of the songs Hachi saw/hear Mrs. Kasuga, Keiko Watabe (渡部恵子), sing while she was working as a part-time singer at the same restaurant as him back in the day. On a side note, I feel that Hachi's soft, forlorn-tinged voice fits this sort of blues/Mood Kayo-like songs to a T.
Album: Nihon no Uta Meiji/Taisho/Showa Hayari-uta (日本の歌 明治・大正・昭和はやりうた) (1977)
Onna no Kaikyu (女の階級) (1936) -- Shigeo Kusunoki (楠木繁夫)
Of all the songs on this is one of the rare numbers where I enjoy both the original and the cover in equal measure. Anyways, I've read that Koga Sensei wanted "Onna no Kaikyu" to be of a slower pace, contrary to the brisk pace of Kusunoki's original. I think it's in covers like Hachi's where you can hear the composer's intended vision.
Albums: Kasuga Hachiro Koga Melody wo Utau (春日八郎 古賀メロディーを歌う) (1971/1975/1992), Kasuga Hachiro Koga Masao wo Utau (春日八郎 古賀政男を歌う) (1974), Showa no Enka Kasuga Hachiro Fukyu no Meisaku wo Utau, Kasuga Hachiro Enka Hyaku Sen
Palau Koishiya (パラオ恋しや) (1941) -- Haruo Oka (岡晴夫)
Hachi's smooth delivery makes Okapparu's mochi uta more polished, and I think you can feel it in a relaxed tropical island number like "Palau Koishiya". Interestingly enough, even though Kasuga recorded this cover, it wasn't included in his 1977 Oka cover album, "Kasuga Hachiro Oka Haruo wo Utau" (春日八郎 岡晴夫を歌う). Rather it seems to have only been released decades later in 2010 via "Showa Kayo wo Utau". Perhaps they'd already hit the song limit for the 1977 one, so "Palau Koishiya" got dropped.
Fun fact: Okapparu, known for that strident and nasally delivery with large lung capacity, was said to have developed these attributes during his days as an enka shi/nagashi (street musician). Because of the cigarette smog in bars, he learned to sing in this manner to reduce the need for inhaling the smoke and damaging his vocals.
Albums: Kasuga Hachiro Showa Kayo wo Utau
Hoshi no Nagare ni(星の流れに) (1947) -- Akiko Kikuchi (菊池章子)
The hardship of immediate postwar Japan can be felt in this song about the realities of many women who had to turn to working the night to survive. Perhaps it would be more appropriate sung by a woman, but Hachi's voice is more filled with a pained longing than heavy melancholy, which fits the emotions expressed in this song.
Albums: Enka to wa Nandarou Kasuga Hachiro Show (演歌とは何だろう〈春日八郎ショー〉)(1973), Kasuga Hachiro Enka Hyaku Sen, Kasuga Hachiro Showa Kayo wo Utau
Epilogue
Something I noticed when studying the covers Hachi recorded was that he never covered any (Ryoichi) Hattori (服部良一) Melody save for one: Mieko Takamine's (高峰三枝子) "Kohan no Yado" (湖畔の宿) - correct me if I'm wrong. I wonder if it's because R. Hatter was known for jazz and "pop", and thus not fitting with the enka rhetoric in the 70s and 80s.
On a different note, among the other fellas I love, Hachi has covered Akira-san's, Bin Uehara's (上原敏), and Yoshio Tabata's (田端義夫) stuff. As I've said, I can be very picky with covers. As much as I love Hachi, originals win here, especially for Bin-san and Batayan. I'm more forgiving with the Akira-san covers, though. This is because Hachi and Akira-san vaguely share a similar vocal quality in that they are great at conveying forlornness - the difference is that Hachi sounds empathetic while Akira-san sounds needy (purely subjective). So, I thought the former's covers of the latter's hits, "Isoge Horo Basha" (急げ幌馬車) and "Circus no Uta" (サーカスの唄), were pretty good, but the arrangements just fell short.
"Isoge Horo Basha"
But, y'know, a dream Hachi cover of mine is "China Tango". I know I'll regret it because, while I know it'll be good, Hachi has nowhere near the same level of sex appeal as Mr. Nakano to pull it off. But I just want to hear it. Not because it'll be hot, but because I think it'll be kinda funny.
Our resident enka and Mood Kayo expert, Noelle Tham, was the first to introduce kayo singer Koichi Miura（三浦洸一）onto the pages of our blog back in 2018 with the gallant enka of "Ochiba Shigure" (落葉しぐれ) and then the jaunty marching beat of "Benten Kozo" (弁天小僧). Just to provide some background on the singer, Miura was born Toshiyasu Kuwata（桑田利康）on New Year's Day 1928 and his stage name was based on the fact that he was born in the city of Miura in Kanagawa Prefecture. He attended what is now known as the Tokyo College of Music and after his graduation, he entered Japan Victor Records in 1952 and became the protégé of composer Tadashi Yoshida（吉田正）.
With "Ochiba Shigure" and "Benten Kozo" becoming his first hits in 1953 and 1955 respectively, my contribution to the Miura file will be "Tokyo no Hito" (Tokyo People) which was also the theme song for a movie of the same name released in 1956.
Not sure if I can categorize "Tokyo no Hito" as either an enka or a Mood Kayo (although the melody by his mentor Yoshida seems to lean towards the latter). I think in the end, I would put it as that typical orchestral kayo that was seemingly made as theme songs for cinematic dramas in the nation in those days. It seems to have that somewhat melancholy feeling with a plucky guitar and a sad muted trumpet in the background as if they were describing one of the characters in the movie who is down on his/her luck in the big unforgiving city.
Lyrics were provided by another kayo veteran of the time, Takao Saeki（佐伯孝夫）, and they describe the usual trials and tribulations of love with plenty of namedropping of the various quarters in Tokyo such as Ginza, Asakusa and Shibuya. Incidentally, Miura appeared on the Kohaku Utagassen eight times between 1955 and 1963 but none of his songs included "Tokyo no Hito".
I don't know what Miura is doing at the age of 93 but his J-Wiki profile states that he had never gotten a driver's license, preferring to leave the wheel to either his wife or manager. At least there is one thing that he and I have in common.
These lines right here are apparently from one of the most iconic scenes from Kawatake Mokuami's (河竹黙阿弥) famous play called "Aoto Zoshi Hana no Nishiki-e" (青砥稿花紅彩画), also known simply as "Benten Kozo". This proud declaration was announced by Benten Kozo Kikunosuke (弁天小僧 菊之助), one of a group of five (as I quote from the Wiki) gizoku/honorable thieves, when his plot to rob a kimono store in drag was revealed - well, now, that's one way to go about doing that, alright.
I'm not all that well-versed in kabuki theater, so as usual enka served as my introduction to the aforementioned play via the song with the same name. I had seen that the original singer of "Benten Kozo" was Koichi Miura (三浦洸一), though I only got fully acquainted with it through Kiyoshi Hikawa's "Shin Enka Meikyoku Collection 2" (新・演歌名曲コレクション2 −愛しのテキーロ／男花−) as a cover. With such a romping score, courtesy of renowned songwriter Tadashi Yoshida (吉田正), and Hikawa's expressive delivery, this catchy tune from 1955 quickly grew on me and eventually piqued my interest on Kikunosuke enough to read up about his story on the J-Wiki.
Miura's version
From there, I learnt that Takao Saeki's (佐伯孝夫) lyrics are actually based on the aforementioned lines (plus everything in between) and some of the young thief's other exploits from the original play itself. It definitely brings to mind Hachiro Kasuga's own kabuki-themed hit "Otomi-san" (お富さん), and it seems like Miura's "Benten Kozo" was created when Victor Records saw how warmly the former (from King Records) was received about a year before. Not surprisingly, it became one of Miura's biggest successes.
As with other popular plays, besides being adapted into mainstream music, "Benten Kozo" the play had its fair share of movie renditions, one of which titled "Hibari Juu-hachi Ban Benten Kozo" (ひばり十八番 弁天小僧) from 1960 starred Hibari Misora (美空ひばり) as the thief himself. That initially took me by surprise, but on second thought, with Misora's ability to bring out a gruff and masculine persona, her role there did not seem as strange anymore. Hmm, I wonder how she found having to act as a man trying to act as a woman during the kimono shop scene. But anyway, you can check out excerpts of the this movie from the video above with Miura singing away, and listen to Misora's own take of the song in the video immediately above this paragraph.
Comparing all three renditions of "Benten Kozo" the song, I have to admit that I prefer the covers to the original for I find that in the latter, both Hikawa and Misora make it sound as if they were the character themselves, whereas Miura sounds like he's just narrating the story. With that being said, I think Hikawa could play a convincing Kikunosuke.
Yeah, I know, Hachi, songs from the 50's are great!
A few months ago I did an article about songs I love listening to from the 30 and 40's, and I've now decided to follow it up with individual articles about those from the 50's and, eventually, the 60's. I was pretty excited to plan these lists as I quite often find myself buried in the old but gold stuff from this later era, which then had me thinking that picking out my favourites would be a piece of cake. However, following my stipulated rule in the first write up: one song per singer, and the decision of not to bog both articles with the usual suspects that always come to mind (not to say that they're not in it), I have to admit that that had me putting a little more thought into my selections. But that aside, I still managed to pull a good number of songs together from each decade.
Moving on, I will first be talking about my favourite tunes from the 1950's, the time when, I suppose, technically, enka became a proper genre of its own with the first enka singer emerging from the early half of the decade. As with my previous article, I'll also be putting down the lyrics from each song that resonates with me the most, by that I mean those that I like hearing, and not necessarily because I understand what's being sung - could be both, though.
Disclaimer: If I don't mention any song you were hoping to see, sorry, perhaps I don't listen to it all that much or at all. But feel free to share what yours are. :)
With that being said, let's get started. The entries aren't arranged in any specific order.
Isao Hayashi -- Mamurogawa Boogie (1954)
Watasha Mamurogawa no ume no hana korya (わたしゃ真室川の 梅の花 コーリャ) Anata mata kono machi no ugui su yo (あなたまた この町のうぐいすよ)
Starting us off is the contrasting fusion of Japanese grassroots minyo and Western smooth jazz "Mamurogawa Boogie" (真室川ブギ), Isao Hayashi's (林伊佐緒) creative take on the "Mamurogawa Ondo" (真室川音頭), a minyo from the Yamagata prefecture. It may sound like a strange pairing, but Hayashi really knew what he was doing! To me, "Mamurogawa Boogie" is the best of both worlds as it's still as catchy as any normal minyo ditty, and yet the western instruments provide a fuller, more dramatic arrangement and a fun modern twist. Ah, it's already sticking to my brain.
Koichi Miura -- Ochiba Shigure (1953) Hokage mo sabishii keikotou no (灯ほかげもさみし 蛍光灯の) Kage ni shimijimi hitori naku (かげにしみじみ 独り泣く)
"Ochiba Shigure" (落葉しぐれ) is probably the most recent favourite here and I was quite surprised by how much I grew to like it, considering the fact that I initially thought it was kind of bland in the sense that it sounded like any other enka song. But after constant exposure to it via Hachiro Kasuga's (春日八郎) version and eventually the original by Koichi Miura (三浦洸一), I developed a better appreciation for this song about a nagashi wandering the uramachi in autumn from the elegant strings and the latter's hearty baritone. Probably what helped in giving me a better view of "Ochiba Shigure" was the comfortable memory of walking down Asakusa-bashi on a clear, windy day many years ago with golden ginkgo dive-bombing me.
Kazuo Shirane -- Jinanbo Garasu (1955)
Dobu no sekai ni naze mi wo nageru (泥溝の世界に 何故身を投げる)
As I've mentioned before, I do love my matatabi enka, and Kazuo Shirane's (白根一男) hit "Jinanbo Garasu" (次男坊鴉) is one of the two that I had chosen to be in this list. More than anything, it was the upbeat and rhythmic score that got me hooked when I was introduced to it via Kiyoshi Hikawa's (氷川きよし) cover a couple of years back. The younger singer's rendition has more kick to it, as most of his songs do, but the original still sounds quite spunky.
Yoshiko Ohtsu -- Koko ni Sachi Ari (1956)
Kimi ni yori sori akaruku aogu (君に寄り添い 明るく仰ぐ) Koko ni sachi ari shiroigumo (ここに幸あり 白い雲)
Taking a little break from enka and going into some slightly jazzy kayo territory here with Yoshiko Ohtsu's (大津美子) signature "Koko ni Sachi Ari" (ここに幸あり). I find this a very comforting tune with that joyful premise of being together with your special one, and Ohtsu's wonderful vocals that I equate to that feeling when you're wrapped in a soft and warm blanket.
Haruo Minami -- Yuki no Wataridori (1957)
Ore mo koi na no Ginpei sa nuku ka nagadosu (俺も鯉名の 銀平さ抜くか長どす) Nukeba shiraha ni chi no fubuki (抜けば白刃に 血の吹雪)
With that talk of the usual suspects at the very top of the write-up, here is Haruo Minami (三波春夫) with the second ronin-inspired song, "Yuki no Wataridori" (雪の渡り鳥). Just like "Jinanbo Garasu", I enjoy the former for its cheerful sound, and, of course, there's Minami's chirpy vocals that makes for a more dynamic song. But what piqued my interest and that morbid streak in me was how the masterless samurai painted/would paint the snow red with the blood of his enemies - the bit I have put above this paragraph. It's cool - haha, get it? Because snow... Okay, sorry - and a little dark and it does contrast with the almost always smiley Minami, that is, until he puts on his crazy face with that murderous glint in his eyes.
Nonbe sumiyaki isogi ashi (のんべェ炭焼き 急ぎ足) Tsuki wo tayori ni kareha no youni (月をたよりに 枯れ葉のように) Kushami tsuzukete shite tooru (くしゃみ続けて して通る) Hore yura yura (ホレ ユーラユラ)
Rounding off the list of my favourite songs from the 1950's is Hachi's "Yama no Tsurihashi" (山の吊橋), which is kind of apt since it was released in the decade's final year. I guess it's of no surprise that this song's here, seeing as to how I've been talking about it, but there were quite a number of Kasuga's songs that I considered putting here, like "Uramachi Yakyoku" (裏町夜曲) and "Ore wa Nora Inu" (俺は野良犬), just to name a few. In the end, because I felt that in terms of which I'd end up still liking a lot in the long run, the happy-go-lucky ditty about a suspension bridge won out.
And that's the end of the article. I hope you've enjoyed it. Stayed tuned for my 60's list!
