Classic and hit kayōkyoku songs from the nostalgic 1960s
The 1960s are often remembered for Group Sounds and rock, but in reality, the charts were largely dominated by kayōkyoku (Japanese popular songs).
It was also still a time when enka remained popular, and even those who were children back then probably have a rich repertoire of enka and kayōkyoku.
This time, we’re spotlighting nostalgic kayōkyoku from the music of the 1960s.
The 1960s were an era when classic, mainstream kayōkyoku drew the most attention.
If you’d like to look back on memories from that time through music, be sure to read this article to the end.
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Masterpieces and hit songs of nostalgic 1960s kayōkyoku (Japanese pop) (61–70)
The last dance is mineKoshiji Fubuki
Released in 1961, Fubuki Koshiji, a former member of the Takarazuka Revue, was primarily active as a chanson singer, but her performance of this song became very popular and a huge hit.
She married composer Noriyoshi Naitō in 1959, and although they had no children, after Koshiji’s passing he shared some memories.
He said Koshiji had absolutely no sense of money; when she went to boutiques, instead of buying one or two pieces, she would say, “I’ll take all the dresses on display.” He would have to explain that with their income they couldn’t buy everything.
It’s a story that perfectly captures Fubuki Koshiji, who lived single-mindedly for her art.
A rose has bloomed.Maiku Maki
It is said to be a folk song released by Maki Maki in 1966, with lyrics and music by Konosuke Hamaguchi, who took his motif from a passage themed on the rose in Saint-Exupéry’s fairy tale The Little Prince.
Thanks to the song’s success, Maki made his first appearance at the 17th NHK Kōhaku Uta Gassen in 1966, and its hit triggered a folk-song boom that spread throughout Japan’s music scene.
Last Night’s SecretOgawa Tomoko
It was released in 1968 as Tomoko Ogawa’s debut single.
Despite being her first release as a singer, it immediately reached No.
1 on the Oricon chart, became her biggest hit, and earned her a first appearance at the 19th NHK Kōhaku Uta Gassen at the end of 1968.
newspaper boyYamada Tarō
Released in 1965.
There was a time in Japan when people empathized with stories like Oshin—portraits of those who lived earnestly despite poverty.
The period referred to is even earlier, when school lunches had just begun so that all children could get proper nutrition, and many families were still very poor.
The newspaper boy delivers the morning edition for his sick mother, and after finishing his route, he even prepares her breakfast—a model of filial piety.
I wish I had a child like that!
Sūdara-bushiUeki Hitoshi
The record released in 1961 is by Hachiji Hana and the Crazy Cats, but since it was such an early era, it features only Ueki-san’s vocals.
The song comically portrays the archetypal Showa-era father, and not only at the time but even now, I can’t help thinking that fathers haven’t really changed all that much.
The line in the lyrics, “I know I shouldn’t, but I just can’t stop,” reflects a psychology that everyone has.