Great enka masterpieces and hit songs of the 1970s
When you think of enka, many people imagine songs that use distinctive vocal inflections to express Japanese sentimentality and tales of love.
Enka became popular as mainstream music starting in the 1960s, but in fact, the term “enka” didn’t really take hold until the 1970s.
In this article, we’ve researched timeless enka hits from the ’70s and compiled songs that truly resonate with the Japanese heart—perfect for a first listen.
Alongside massive hits you’ve likely heard at least once, we’ve also picked many songs that lean toward kayōkyoku (Showa-era pop).
So if you’re a younger music fan curious about Showa-era Japanese music, be sure to check them out.
Great Enka Masterpieces and Hit Songs of the 1970s (1–10)
Keiko’s Dream Opens at NightFuji Keiko
Known as one of Keiko Fuji’s signature songs, this track was released in April 1970 as her third single.
Written by Masao Ishizaka and composed by Kōmei Sone, it belongs to the kayōkyoku genre, yet captivated many listeners through Fuji’s distinctive husky voice and deeply emotional delivery.
It was also used as the theme song for the Toei film “Zubekō Banchō: Yume wa Yoru Hiraku,” and became a major hit, holding the top spot on the Oricon charts for ten weeks.
The lyrics, depicting a woman who continues to chase her dreams while carrying the hardships and sorrows of life, resonate powerfully with listeners.
Expressing both the joy and sadness of love, the song offers a sense that is at once nostalgic and refreshingly new.
From the northern innMiyako Harumi
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Yokohama TwilightItsuki Hiroshi
Even though he was a good singer, he struggled to sell records.
Determined, he entered the All-Japan Kayō Grand Prix and impressively won for ten consecutive weeks.
His debut single under the stage name Hiroshi Itsuki was released in 1971; it broke into the Top 10 within three months of release and later reached No.
1.
For Hiroshi Itsuki, this song is his point of origin.
Winning the All-Japan Kayō Grand Prix is extremely difficult—even with considerable talent, surviving ten straight weeks is a daunting feat.
In particular, singers of enka faced a challenge because one of the judges, Noriko Awaya, basically disliked enka.
Itsuki’s scores from Awaya were quite low, but with the strong support of lyricist Yoko Yamaguchi, he ultimately won the championship.
Tsugaru Strait – Winter SceneIshikawa Sayuri
As a quintessential masterpiece of the Showa era, this song is etched in the hearts of many.
Sayuri Ishikawa’s clear, translucent voice vividly paints the scenes of the snow-covered Aomori Station and the frozen Tsugaru Strait.
Released in 1977 as a single cut from the album “365 Days of Love,” it became a massive hit and one of Ishikawa’s signature songs.
It has been performed many times on NHK’s Kouhaku Uta Gassen and continues to be loved across generations.
On a winter night, if you listen while gazing out the window, you’ll surely feel a comforting warmth mingled with a touch of melancholy.
Memories SakeKobayashi Sachiko
A song that became a signature hit for Sachiko Kobayashi, a leading diva of the Japanese enka world.
Released as a single in January 1979, it debuted at No.
77 on the Oricon charts but achieved the remarkable feat of breaking into the Top 10 four months after its release.
This work served as a landmark track that marked the end of a long slump for Kobayashi.
Its melancholy, soul-stirring melody and lyrics that paint a portrait of a bittersweet love story capture listeners’ hearts and never let go.
It portrays the complex emotions of someone nursing a broken heart, expressed through scenes of drinking and reminiscing, and its universal theme resonates with everyone.
MotherMori Shinichi
The song “Ofukuro-san,” released in 1971, is well known not only because Shinichi Mori performed it passionately, but also because the comedian Korokke often imitated his style.
However, there’s a rather tangled backstory.
When Mori appeared on the 2006 New Year’s Eve Kōhaku Uta Gassen, he added a few lines to the lyrics without permission.
Mori commented that he believed his agency had obtained approval, but lyricist Yasunori Kawauchi regarded it as a problem that predated Mori’s remark, exploded in anger, and the song was subsequently banned for him to perform.
They never reconciled, and Kawauchi passed away.
It seems that the ban has since been lifted on the condition that only the original version is performed, ostensibly for the sake of the fans.
Northern SpringSen Masao
Although not in consecutive weeks, Kitaguni no Haru reached a million sales in its 92nd week within the Oricon Singles Chart’s Top 100.
Since its 1977 release, it remains a popular song—often sung at karaoke—about moving to the city and thinking of one’s hometown.
As for performing this song, as you may know from Korokke’s impersonations, Sen chose an outfit of black round-frame glasses, a scarf, a coat, and a hat, pushing ahead despite composer Minoru Endo’s opposition, in order to create a sense of familiarity.
lingering regretHosokawa Takashi
Kokoro Nokori stirred up a whirlwind in the enka scene of the 1970s as a single by Takashi Hosokawa, who was based in Sapporo and won numerous new-artist music awards.
Its appeal lies in Hosokawa’s high-tone voice and the overwhelming vocal power born of the rich lung capacity he honed through folk singing.
The distinctive lyrics, voiced from a woman’s perspective, are still beloved by many.
The tearful saxophone in the intro, the heartrending words, and his vocals blend into a number that deeply moves the Japanese heart.
Please enjoy the fresh voice of Mr.
Hosokawa, who continues to reign as a major figure to this day.
OyukiNaitō Kunio
Despite the saying that heaven does not grant two gifts, there was Kunio Naitō in the 1970s—among shogi players, he sang the best, and among singers, he was the strongest at shogi.
He became a professional shogi player at 18, and in the era when karaoke became widespread, he sang in bars so well that he was even scouted by the head of the street musicians.
One can only take one’s hat off to Naitō’s talent—his “destiny from birth.”
Dream-Chasing SakeAtsumi Jirō
This song is a masterpiece truly worthy of being called the flower of enka.
It vividly portrays the state of mind of entrusting deep sorrow and loneliness to alcohol as a way to dull the pain, and it resonates deeply with listeners.
Released in February 1978, it initially went largely unnoticed, but thanks to nationwide promotional efforts, including Jiro Atsumi’s national tour, its popularity grew.
By 1979, it had become a massive hit, even taking the No.
1 spot on Oricon’s annual chart.
It remains a karaoke staple, so even those unfamiliar with enka will find it well worth singing at least once.
If you’re looking to heal the wounds of a broken heart or feeling lost in life, listening to it is sure to strike a chord.