The Sixty Years of Rock and Japan (2) Covers of pop songs
Rock 'n Roll ended, but...
In 1960, Ikeda Hayato assumed the premiership and devoted himself to the economy and the longest prosperity ever came in, automobiles and black-and-white televisions prevailed to average families. And then Japanese culture became sophisticated. Around 1960, rating programs that specialized in western music appeared in radio stations in Tokyo. With 'Your Hit Parade' in Nippon Cultural Broadcasting Inc., 'Morinaga Candy Best His Parade' in Nippon Broadcasting Inc., 'Grelan The Best 10 This Week' in TBS, 'Golden Hit Parade' in Radio Kanto started then. And most of songs that ranked in the chrats were songs by orchestras that specialized in movie music. It was a tendency that had lasted for few decades until then, and it was a story when people have an image that pop music was just supplements with movies. 30~40% musicians of all on the carts were young musicians, but it couldn't be found rock 'n' roll singers except Elvis Presley.
It was because misfortune attacked rock 'n' roll stars one after another from 1957 to 1960. Elvis of a patriot served two years in the army, and kept his popularity after he came back, but overissued theme songs on his movies weren't like rock 'n' roll yet. And Chuck Belly was arrested for rape, Jerry Lee Lewis was criticized socially for marriage to 13-year-old cousin who was just a girl, Little Richard retired for a while, Eddie Cochan died from a traffic accident. And the fact Buddy Holly and Ritchie Valence died from a plane accident was sung in 'American Pie' , a hit song in 1972 by Don Mclean and quoted in 'American Graffiti' , a hit movie in 1973, like 'Rock 'n' roll ended on the day Buddy Holly died'.
Paul Anka led the movement in Japan
So who got popularity instead of rock 'n' roll stars ?.....the answer was 'idols'. Certainly rock 'n' roll stars represented by Elvis were good looking stars who were very popular among teenagers and they were idol-like presence. However here, idols were young stars who were less exciting than rock 'n' rollers, reassured, and had an image of moral guys. In America, they had enormous popularity from 1959 to1963.
Its first representative example was Paul Anka. 'Diana' ,a No.1 hit song in America, released by in 1957, made a big hit in Japan too and it became be widely known with a cover by Yamashita Keijiro, one of 'rockabilly trio' in the following year. In1958, Anka held a concert in Japan very preciously as a foreign performer, and became an strong influential presence in Japan. It's seen in the fact 'Kuroi Hanabira' of Mizuhara Hiroshi that imitated 'You're My Destiny' , another representative song of Anka, awarded the first Japan Record Award , which had started in 1959.
Mizuhara Hiroshi - Kuroi Hanabira
In addition to this Anka, Pat Boone, Neil Sedaka, Johnny Tillotson, Bobby Vee, Ricky Nelson, Del Shannon, and Dion got enormous popularity in Japan. And as for girls, Connie Francis, Brenda Lee, Peggy March, Lesley Gore became stars then. Very popular singers like Connie Francis released Japanese covers of their own.
Japanese pop period which started with 'The Hit Parade'
In 1959, one music TV program was born in Fuji Televison Network ,which started right then. Its name is ' The Hit Parade'. Watanabe Entertainment (Nabepro), which made big hits with rockabilly in Nichigeki Western Carnival set out the TV program. Nebepro made many idols of their own sing covers of idol pop songs that were popular in America and popularized the charm of those songs for people's understanding.
A plenty of stars were born in this TV program. As for men, having Sakamoto Kyu, the biggest star then, at the top on the list, there were Moriya Hiroshi, Iida Hisahiko, Inoue Hiroshi. And as for women, The Peanuts, Hirota Mieko, Moriyama Kayoko, Tashiro Midori, and Nakao Mie, Ito Yukari, Sono Mari called 'Three Girls' appeared and got enormous popularity. As for songwriters, Sazanami Kenji as a translater, Ei Rokusuke as a lyricist, Miyagawa Hiroshi and Nakamura Hachidai as composers, Sugiyama Koichi as the producer of 'The Hit Parade' flourished well and made the basis of Japanese pop music. And Sazanami Kenji was another name of Kusano Shoichi who was one of proposers of 'Nichigeki Western Carnival'. A jazz magazine 'Music Life' set out by him changed itself to a cover pop magazine from 1958, and it aroused the movement.
'The Hit Parade' was so popular TV program that it lasted for more than 10 years, and became the basis of Japanese music TV programs in later years. After the program succeeded, Nabepro produced 'Shabondama Holiday', the original of variety TV shows, and 'Hoi Hoi Music School', the first audition TV program, in Nippon TV. In these programs, Nebepro exerted itself not only to music, but also to comedy. Crazy Cats as the former and The Drifters as the latter, which would be important people in Japanese comedy, appeared in the program as main casts. As musicians, Crazy Cats had been a jazz band and Drifters had been a western band originally , and both of them improved their playing and gags in tours aroud U.S. army's camps.
And now let's see how popular people called 'Japanese pop music' were in Japanese music. 'Weekly Myojo' and 'Weekly Heibon' ,which contended for the first place in Japanese entertainment magazines then, showed the following thing in its items of 'male singers' and 'female singers' of the popularity poll done every year from 1961 to 1965. It was Enka singers who occupied most of top ten in both male singers and female singers. Starting with Hashi Yukio and Misora Hibari at the top on the ranking, Mihashi Mishiya, Minami Haruo, Hunaki Kazuo, Saigou Teruhiko, Shimakura Chiyoko, Komadori Sisters ranked top. And as for male singers, Sakamoto Kyu almost ranked third , Moriya Hiroshi ranked a little below him, and another one got into the ranking occasionally. And as for female singers, Hirota Mieko or Moriyama Kayoko ranked second or third sometimes, The Peanuts ranked about fifth ~ seventh, and Nakao Mie got into the ranking occasionally. So both of them occupied about 30 ~ 40 % of the ranking. So to speak, they were like the first political party of a little strong that was out.
The Monumental achievement 'Sukiyaki' accomplished
Kyu Sakamoto - Sukiyaki (Stereo Music Video)
However this Japanese pop music accomplished an unprecedented achievement then. In June,1963, 'Ue wo Muitearukou' released by Sakamoto Kyu two years ago in Japan changed its title to 'Sukiyaki' and ranked first on the Billboard total single chart and kept it for 3 weeks.
Opinion is divided on the success of this song, but according to Japanese Wikipedia, the president of Pie Record in UK came to Japan in 1961, liked this song presented as a souvenir, and had Kenny Ball band, which belonged to his label cover it as an instrumental version. And then he thought it would be difficult for British listeners to understand this song if he translated the title to English directly, after he consulted with the people concerned about it, he changed its title to 'Sukiyaki' ,a well-known Japanese word, and released it. So this version ranked tenth on UK Singles Chart in February, 1963.
It was a great achievement only with it, but the drama went on after then. This Kenny Ball version was released in America too, but it didn't rank even within one hundred . However a radio DJ in northwest Washington state got Sakamoto's original version from a listener accidentally and broadcast it. So many requests deluged to the song, and its wave spread throughout America soon, ranked first on the chart. It seems that the listener got the song from a Japanese pen friend as a souvenir, but who could have imagine this thing would happen?
This success of 'Sukiyaki' seems just an accident, but If it made a hit accidentally, could its covers by A Taste of Honey, a disco group, in 1981 and by 4 P.M., a R&B group, in 1994 ranked top ten on the chart again and again? You can tell simply that it was because of the power of the song. This song was composed by Nakamura Hachidai, so you can tell it was the result of his songwriting ability being appreciated and It was a moment that Japanese pop music could be world-wide with some chances at the stage. Then Kurosawa Akira, Ozu Yasujiro, Mizoguchi Kenji were already introduced to the world movies and the small Japanese movement had broken out since the early 50's. So you can tell 'Sukiyaki' was a great achievement of Japanese entertainment after them.
In addition to it, Sakamoto's own singing style where he extracted breath had a big impact though its melody was like light standard jazz style like 'Mack the Knife' by Bobby Darlin. His singing style looks Japanese style at a glance, but as Sakamoto himself admitted that it was born naturally when he imitated the singing style of Elvis and Buddy Holly, you can tell that it was born when Japanese masterd rock 'n' roll, and it was very meaningful for Japanese rock history. And Sakamoto was so talented at singing that he sang a number of Little Richard very well in The third Nichigeki Western Carnival in August in 1958 where he joined for the first time in 16 years old.
Japanese were familiar with Europa, but unfamiliar with black people
As for this Japanese pop music movement, it's notable that they covered not only American idol pop songs, but also pop songs in Europe countries like Italy or France. Then Italy and France were as influential as America in movies and fashions, and they launched out music to the world ,and Japanese music publishers joined in purchase aggressively. Especially Sanremo Music festival held in Italy (it lasts until now was very influential in the world.
Under the influence of these covers, Sylvie Vartan and France Gall from France, Gigliola Cinquetti, Mina, Bobby Solo from Italy were very popular in Japan. Especially these female singers became more popular after the middle of 60's when American girl singers lost their popularity because of its sophisticated fashion sense. This popularity of Italian or French pop songs had lasted until the movement of Michel Polnareff in the early 70's.
On the other hand it's undeniable that Japanese were unfamiliar with black artists playing an important part in idol pop then. Japanese could correspond to doo-wop by white people like The Four Seasons and twist dance that had strong rhythm for then,but there were very a few hit songs of black female vocal groups like The Shirells whose song was covered by The Beatles in later years, The Crystals produced by Phil Spector ,the founder of producer, The Marvelettes and Martha and the Vandellas ,which belonged to Motown, a black music label jumping on the bandwagon on this idol movement then. Especially Motown wasn't as popular in Japan as in other countries in 1960's though it would lead The Spremes led by Diana Ross to be as a big hit maker as The Beatles in later years. It' s said that the reason for it was that the structure of the songs became so complicated that translations of the lyrics didn't get the songs well.
Only 'Be My Baby' by The Ronnets led by Ronnie Spector who would be Phil Spector's wife made a big hit because Ito Yukari coverd it in the title of 'Atashi no Baby' in 1963. You can tell that there was a little achievement cosidering this song is one of the best representative songs ever by Phil Spector, the best hit maker in the idol pop period. His ' Wall of Sound' is revaluated after 70's.
And it's undeniable that Japanese were unfamiliar with not only black female vocal, but also the whole of black pop vocal. Rock 'n' roll originates from balck people, so it wasn't unusual that young black doo-wop groops joined in rock 'n' roll live shows in America in the late 50's. And that culuture was revaluated by Rats & Star or Yamashita Tatsuro in later years, but there wasn't such atmosphere then. In Japan, doo-wop got popularity only when songs of The Platters, which was for adult in America, were covered by chorus groups like Dark Dacks or Bonny Jacks. Even 'Stand by Me' by Ben.E.King , one of Oldies' standard songs in Japan now too, didn't make a hit in Japan then, and 'Save the Last Dance for Me' by The Drifters, a doo-wop group King belonged before was covered by Koshiji Hubuki who was a former Takarazuka Revue star and served on the last performer in Kohaku Uta Gassen then made a big hit. But It was mistaken for a cover of French chanson because of an image of her conventional songs.
The end of idol period and the sigh of change of American society
As for black people, the early 60's was the time when the civil rights movement brisked up in America. There were few pop songs by black artists that referred to this movement directly then, but music was changing as rhythm & blues centering on 'The Big Four' of Ray Charles, Sam Cooke, James Brown, Jackie Wilson took in singing style and chorus of gospel. These things became to be called 'soul music' in later years as it was black people's soul's music.
Then in Japan, These artists' works were released,but they didn't get enormous popularity. Only Ray Charles got special popularity. It was because Ray made big hits of several covers of country music in the world that was popular in Japan too. And after these hits, his numbers before then like 'What’d I Say' were accepted so widely in Japan that call & response of which Ray and girls' chorus called out between songs was taken in by Japanese musicians in their concerts then. Ray held a concert in Japan in 1964, and it became a big issue and he appeared on the cover of 'Music Life' ,which changed itself to a western rock magazine then.
Those who aroused the civil rights movement were not black people, but white folk singers who had strong social consciousness. As for folk, The Kingston Trio or The Brothers Four were as popular as movie music and idol pop. Their pure sound of acoustic guitars and beautiful harmony were very popular, and The Kingston Trio held a concert in Japan in 1962 and critically acclaimed. And in 1963, Peter, Paul & Marry (PPM) was introduced to Japan, and got enoumous popularity for their mixed beautiful harmony, but in their hit songs, social songs like 'Blown in the Wind' on the theme of the civil rights movement were remarkable. Bob Dylan who made this song hadn't been introduced to Japan yet at this stage. PPM was as popular as the above-mentioned two bands and succeeded in their first concert in Japan in 1964. Inspired by them, Komuro Hitoshi made PPM Followers and Japanese folk started right then.
Gradually American society became tense with Cuban Missile Crisis ,which occurred in 1962 in the tension between U.S.A. and Soviet Union of The Cold War, the assassination of J.F.K. in November,1963, the start of attack to Vietnam by U.S. forces in 1964 besides the civil rights movement. Healthy and optimistic idols then disappeared gradually and music had to change itself.
After the idol movement
Japanese idol movement was swallowed by the wave of new music after 1964 and passed into history in a moment. Japanese show biz production companies set out group sounds bands or folk singers, but withdrew from it as rock or folk became too serious, and returned to the management of idols again in the beginning of 70's. Then idol style wasn't popular in the west any more, so revived idol culture was very Japanese original. However Minami Saori, Amachi Mari, 'The Three Girls' of Yamagushi Momoe, Sakurada Junko, Mori Masako, 'The Big Three' of Noghchi Goro, Saijo Hideki, Go Hiromi, and Finger 5, The Candies flourished well, and it was more popular than the idol movement in 60's and made a culture where they occupied the cover of 'Myojo' or 'Heibon', idol magazines. At this time idols sang not covers, but original songs. However until the early 70's, Three of 'The Big Three' ,all of which were big fans of the western rock, and Minami Saori or Finger 5 ,which were from Okinawa before and after being returned to Japan, covered western songs in their concerts so often. And it's said that Johnny & Associates aimed for success in America in their early days, and made English versions of Johnny's in the middle of 60's and Four Leaves in beginning of 70's ,which belonged to the production, together with MGM, an American label. This story shows that they had the trace of the idols of Japanese pop music in 60's.
