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.
Almost a year ago, I added Gloria Gaynor's disco anthem"I Will Survive" onto the Reminiscings of Youth series. Starting from hearing it on those K-Tel disco compilation album commercials, it gradually entered my head in its entirety.
Little did I know at the time that there were Japanese covers done of "I Will Survive", both released in May 1979 under the same title of "Koi no Survival"(Survival of Love). Yoko Aso's（麻生よう子）cover was given Japanese lyrics by Konosuke Fuji（藤公之介）over the original melody by Freddie Perren and Dino Fekaris. The arrangement by Toshiyuki Kimori（木森敏之）seems to have mixed in a good dollop of kayo kyoku into the disco so that at points, I was wondering whether "Koi no Survival" was heading into country music territory. Aso certainly gives a lot of brio into her performance which got the single a No. 43 ranking on Oricon. Strangely enough, the B-side has the same song but with different lyrics also provided by Fuji.
Another singer with a lot of oomph in his voice is Akira Fuse（布施明）and he also provided that for his own cover of "I Will Survive" also under the same Japanese title. However, Fuse himself wrote the lyrics for his take with Tetsuji Hayashi（林哲司）arranging things into something closer to the Gaynor disco original. I also appreciate the sharp horns in there. Fuse's version reached No. 13 on Oricon and ended up as the 63rd-ranked single of the year.
One of the most luxurious neighbourhoods in Tokyo is Shirokanedai（白金台）in Minato Ward. I was actually there once in my last few years there since a couple of students and I had lunch at a French restaurant in the area, and yep, I had to pull out the dark suit for that one. I can't remember the name of the place anymore but it was pretty chic and tasty. The waiter explained the nature and origins of each dish during our four-hour gastronomic odyssey. I don't ever recall being in any dining establishment for that length of time outside of wedding receptions.
Now, the reason I bring this up is that I had always wondered about the origin of the band name Platinum 900. HRLE92 posted the first article on the band back in 2020 when he posited that it was the most overlooked City Pop group. He did state that vocalist Naoko Sakata (坂田直子), guitarist and bassist Kazuhiko Nishimura (西村一彦), and keyboardist Hiroshi Iihoshi (飯星裕史) had started Platinum 900 in Tokyo (in 1994), and although I don't think that there was a J-Wiki article on them up at the time, there is one now. But as for that name, Nishimura finally gave an explanation on how they came to be called Platinum 900:
I want to aim for the kind of music a wealthy woman in her fifties—living in a detached house in Shirokanedai—might listen to on her Mark Levinson system in the living room... A "Chic Wealthy Lady" concept! From there, I’ll add "Platinum" to the name, and throw in "900" for good measure...
I have to admit that Nishimura had quite the ambitious thoughts stirring about in his head. So, according to him, the rich ladies had a thing for some sunny side music that did a toe dance between the genres of 90s City Pop and Shibuya-kei. OK, I can go for that. Now to further break down what he'd said, the word "shirokane"（白金）in Shirokanedai can mean "platinum" (although according to Jisho.org, the kanji is usually read as "hakkin"), so there is the first part of the band name right there, and as he said, he decided on the number 900 for some reason.
Then what I have here from Platinum 900's first maxi-single"missing star" from July 1998 can be considered to be the prototypical Platinum 900 song. "246", which was created by all of the band members, has got all of the elements: sunny side, Shibuya-kei and City Pop. And although I couldn't get all of the lyrics, I'm gathering that the title stands for Highway 246 which runs through several wards in Tokyo including the aforementioned Minato Ward before heading out through Kanagawa and Shizuoka Prefectures. I can imagine that a drive there would be quite pleasant.
I also have to remark how Sakata's vocals remind me of the singing of Chisato Moritaka（森高千里）from those velvet tones and also because of the type of song "246" is which sounds similar to the type of music that the latter lady was tackling at around the same time.
Taking my mother out to her doctor's appointment earlier this afternoon, I noticed that it was rather warm today with a goodly amount of humidity. I guess this will probably be the last gasp of summer for 2026 before fall and more seasonal temperatures arrive next week...unless Indian Summer flies in sometime in October or November. I also have to remind myself that next week, Japan celebrates another long holiday season.
I've got a pretty upbeat song to finish off Thursday on KKP. This is Hiroko Kasahara's（笠原弘子）"You & Me" from her November 1991 album"Ren'aisei Riron Part 1"（恋愛性理論〜Part 1〜...The Theory of Romantic Nature）. Written by Mayumi Sudo（須藤まゆみ）and composed by Yasuhiko Warita（割田康彦）, that intro reminds me a bit of "Easy Lover" by Phil Collins & Philip Bailey, but then the melody goes into a wholly different direction. With those particular synthesizers in play, it does feel like a typical early 90s pop tune, and I also like Kasahara's high plaintive vocals.
Ah, yes, YouTube...finder of lost memories of music. Perhaps I should say that it is a corrector of wrong memories of music. To explain, I had thought for the longest time that the disco hit "Born to be Alive" was a song by Canadian singer Gino Vannelli but it was actually by French singer Patrick Hernandez. And look, the names and origin nations may be vastly different (aside from the fact that both Canada and France have French as official languages), but both singers have huge mops of hair, boomer voices and plenty of charisma. I remember who I thought was Vannelli singing "Born to be Alive" as he popped up on a TV commercial for one of those K-Tel record compilations. It was no wonder that for some bizarre reason, I couldn't find the song on my own Vannelli BEST compilation.
What made it worse was that I hadn't even known the name of the real person behind "Born to be Alive". However, one day not too long ago, YouTube burst forth with some video shorts playing that very song for some ambitious dancing folks, and I finally had my singer. Interestingly enough, I remember this song being played at one of our junior high school presentations when a few of the girls decided to have a dance to this Hernandez hit. I gotta admit that hearing the song again after so long, I can imagine this still bringing the masses onto the dance floor to hoof it up with abandon. And back in the day after its release in November 1978, it struck No. 1 in a number of countries including Canada, America, Italy and Mexico.
And that begs the question, what Japanese singles were coming out in November 1978?
Yesterday, my Twitter feed showed me something which led me to a page on InterFM, a radio station in Japan, and I gather that the staffers there had a chance to interview fellow Torontonian and far more charismatic and talented singer and musician The Weeknd. The Weeknd apparently has his own love of Japanese pop music and he offered a playlist he has enjoyed which includes Hiromi Go's（郷ひろみ）"Kimi no Na wa Psycho"（君の名はサイコ）from 1983. That shouldn't be too surprising considering that a few years ago, he was more than happy to sample a piece of Tomoko Aran's（亜蘭知子） "Midnight Pretenders".
Another song from that year of 1983 that was also on his playlist: fusion band Casiopea's（カシオペア）"Dazzling" from their 9th studio album"Photographs". He loves to listen to his playlist whenever he's in Tokyo (wonder how many times he's been there) and "Dazzling" is a nice fit. Composed by Casiopea guitarist Issei Noro（野呂一生）, it's got that fun-loving atmosphere of a night out on the town; if it's Tokyo, then let's head out to Shinjuku, Roppongi or Ginza (Odaiba was yet to be created). Noro has his time to show how he fiddles on his guitar but the rest of the band (including vocalists) also have their turn to wang chung the night away via their instruments. A truly dazzling time can be had by all.
Last night's "Uta Con"（うたコン）was a pretty entertaining episode, all told. We had new popular group Monaki（モナキ）with their senpai group Junretsu（純烈）, an old favourite in the form of an Anzen Chitai（安全地帯）and Yosui Inoue（井上陽水）duet that my friend and I used to sing at karaoke in the late 1980s, and quite a bit of soulful stuff. As well, there was a brief announcement of the passing of enka singer Nobue Matsubara（松原のぶえ）.
As for the soulful stuff, Crazy Ken Band（クレイジーケンバンド）appeared with their leader Ken Yokoyama（横山剣）to sing their latest digital single from July 2026,"Shinpai Muyo Bushi" (The No Worries Song). Usually when I add the Labels for this group, it's pretty simple: the music is always gonna be J-R&B. Ahhh...but this time, I have to add an extra genre...that of enka. Crazily enough for Crazy Ken Band, "Shinpai Muyo Bushi" may have the usual funk and soul in there, but even my mother could distinctly hear the traditional undercurrent of enka popping in and out of Yokoyama's melody. I had been thinking of whether to apply the hybrid New Adult Music tag, too; however, the enka and funk n' soul were in there but separate rather than blended so I just kept it as enka and J-R&B.
Lyrically, it's all about brushing off any of the problems since after all, they really don't even amount to a hill of beans in the grand scheme of things. With good ol' Ken by your side at the bar, the song is the reassurance that everything will be A-OK!
Recently, I came across a series of YouTube videos from the channel "remain" which has provided recognizable songs with titles that are unknown to a lot of people. The second entry in the first of these videos is a good example. Until a week ago, I hadn't known the title "O Fortuna" by Carl Orff but this 1936 song is something that I have heard often enough to depict some massively epic scenes in movies, TV and commercials. I'd even thought that "O Fortuna" had been the song to accompany the trailer for the original "Cliffhanger" with Sly Stallone back in 1993 but I was totally wrong.
Just a few minutes ago, I finally found out the title for this other classical music piece that I've heard many times in my life. This happens to be "Allegretto", the 2nd movement of Beethoven's "Symphony No. 7 in A Major Op. 92" from the early 1800s, and perhaps not surprisingly, I've heard this being performed as background music in certain pensive scenes in movies. Apparently, a version with lyrics by Chiara Ferraù was made under the title "Figlio Perduto".
Now, one might ask why I am talking about classical music here since I'm not a classical music fan per se. Well, as I've indicated above, I may not be a fan but I have heard my fair share of the genre over the years through public media and the rare concert I've attended. Also, I was informed by an anonymous commenter last night and I'd actually read a "New York Times" article back on Sunday regarding Haruomi Hosono's（細野晴臣）latest album "Yours Sincerely" that was released a mere few days ago.
According to a review of "Yours Sincerely" on Pitchfork, it seems as if Hosono in his old age has decided to tie up some loose ends in some of his music over the decades, and the products of his tightening up (inside joke here) make up the tracks. Going back to that Beethoven movement, one of those tracks is Hosono's rendition of "Figlio Perduto" which is supposed to be based on Sarah Brightman's approach to the song back in the year 2000. As well, according to the notes underneath the YouTube video, additional lyricists were Hosono himself and Johann Wolfgang von Goethe.
The "Figlio Perduto" here is ancient, intimate and perhaps even tearjerking as if only a very few of us were invited to a tiny salon in Hosono's house thanks to the reassuring plucking of the guitar and the haunting and halting delivery of the lyrics by frequent Hosono collaborator Miharu Koshi（コシミハル）and someone named KuKuKu. But no matter the dramatic change in arrangement, I could instantly recognize the tune and it finally inspired me to find out how it's been identified.
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