Japanese Pop Music

J-pop ( ja, ジェイポップ, ''jeipoppu''; often stylized as J-POP; an abbreviated form of "Japanese popular music"), natively also known simply as , is the name for a form of popular music that entered the musical mainstream of Japan in the 1990s. Modern J-pop has its roots in traditional music of Japan, and significantly in 1960s pop and rock music. J-pop replaced '' kayōkyoku'' ("Lyric Singing Music", a term for Japanese popular music from the 1920s to the 1980s) in the Japanese music scene.

J-rock bands such as Happy End fused the Beatles and Beach Boys-style rock with Japanese music in the 1960s1970s. J-country had popularity during the international popularity of Westerns in the 1960s1970s as well, and it still has appeal due to the work of musicians like Charlie Nagatani and venues including Little Texas, Tokyo. J-rap became mainstream with producer Nujabes and his work on '' Samurai Champloo'', Japanese pop culture is often seen with anime in hip hop. Other trends in Japanese music include J-Euro in the early 1990s, namely Namie Amuro, even Latin music, CCM, and gospel music have scenes within J-pop.

J-pop is further defined by new wave and crossover fusion acts of the late 1970s such as Yellow Magic Orchestra and Southern All Stars. () Popular styles of Japanese pop music include technopop during the 1970s1980s, city pop in the 1980s, and Shibuya-kei in the 1990s.

Form and definition

The origin of modern J-pop is said to be Japanese-language rock music inspired by the likes of The Beatles. Unlike the Japanese music genre called '' kayōkyoku'', J-pop uses a special kind of pronunciation, which is similar to that of English. One notable singer to do so is Keisuke Kuwata, who pronounced the Japanese word ''karada'' ("body") as ''kyerada''. Additionally, unlike Western music, the major second (''sol'' and ''la'') was usually not used in Japanese music, except art music, before rock music became popular in Japan. When the Group Sounds genre, which was inspired by Western rock, became popular, Japanese pop music adopted the major second, which was used in the final sounds of The Beatles' song " I Want to Hold Your Hand" and The Rolling Stones' song "(I Can't Get No) Satisfaction". Although Japanese pop music changed from music based on Japanese pentatonic scale and distortional tetrachord to the more occidental music over time, music that drew from the traditional Japanese singing style remained popular (such as that of Ringo Shiina).

At first, the term ''J-pop'' was used only for Western-style musicians in Japan, such as Pizzicato Five and Flipper's Guitar, just after Japanese radio station J-Wave was established. On the other hand, Mitsuhiro Hidaka of AAA from Avex Trax said that J-pop was originally derived from the Eurobeat genre. However, the term became a blanket term, covering other music genres—such as the majority of Japanese rock music of the 1990s.

In 1990, the Japanese subsidiary of Tower Records defined J-pop as all Japanese music belonging to the Recording Industry Association of Japan except Japanese independent music (which they term "J-indie"); their stores began to use additional classifications, such as J-club, J-punk, J-hip-hop, J-reggae, J-anime, and Visual kei by 2008, after independent musicians started to release works via major labels. Ito Music City, a Japanese record store, adopted expanded classifications including Group Sounds, idol of the 1970s–1980s, enka, folk and established musicians of the 1970s–1980s, in addition to the main J-pop genres.

Whereas rock musicians in Japan usually hate the term "pop", Taro Kato, a member of pop punk band Beat Crusaders, pointed out that the encoded pop music, like pop art, was catchier than "J-pop" and he also said that J-pop was the music, memorable for its frequency of airplay, in an interview when the band completed their first full-length studio album under a major label, '' P.O.A.: Pop on Arrival'', in 2005. Because the band did not want to perform J-pop music, their album featured the 1980s Pop of MTV. According to his fellow band member Toru Hidaka, the 1990s music that influenced him (such as Nirvana, Hi-Standard, and Flipper's Guitar) was not listened to by fans of other music in Japan at that time.

In contrast to this, although many Japanese rock musicians until the late 1980s disrespected the '' kayōkyoku'' music, many of Japanese rock bands of the 1990s—such as Glay—assimilated ''kayōkyoku'' into their music. After the late 1980s, breakbeat and samplers also changed the Japanese music scene, where expert drummers had played good rhythm because traditional Japanese music did not have the rhythm based on rock or blues.

Hide of Greeeen openly described their music genre as J-pop. He said, "I also love rock, hip hop and breakbeats, but my field is consistently J-pop. For example, hip hop musicians learn 'the culture of hip hop' when they begin their career. We are not like those musicians and we love the music as sounds very much. Those professional people may say 'What are you doing?' but I think that our musical style is cool after all. The good thing is good."

History

1920s–1960s: Ryūkōka

Japanese popular music, called ''ryūkōka'' before being split into '' enka'' and ''poppusu'',
has origins in the Meiji period, but most Japanese scholars consider the Taishō period to be the actual starting point of ''ryūkōka'', as it is the era in which the genre first gained nationwide popularity. By the Taishō period, Western musical techniques and instruments, which had been introduced to Japan in the Meiji period, were widely used. Influenced by Western genres such as jazz and blues, ''ryūkōka'' incorporated Western instruments such as the violin, harmonica, and guitar. However, the melodies were often written according to the traditional Japanese pentatonic scale. In the 1930s, Ichiro Fujiyama released popular songs with his tenor voice. Fujiyama sang songs with a lower volume than opera through the microphone (the technique is sometimes called ''crooning'').

Jazz musician Ryoichi Hattori attempted to produce Japanese native music which had a "flavor" of blues.
He composed Noriko Awaya's hit song "Wakare no Blues" (lit. "Farewell Blues"). Awaya became a famous popular singer and was called "Queen of Blues" in Japan. Due to pressure from the Imperial Army during the war, the performance of jazz music was temporarily halted in Japan. Hattori, who stayed in Shanghai at the end of the war, produced hit songs such as Shizuko Kasagi's "Tokyo Boogie-Woogie" and Ichiro Fujiyama's "Aoi Sanmyaku" (lit. "Blue Mountain Range"). Hattori later became known as the "Father of Japanese ''poppusu''". The United States soldiers—who were occupying Japan at the time—and the Far East Network introduced a number of new musical styles to the country. Boogie-woogie, Mambo, Blues, and Country music were performed by Japanese musicians for the American troops. Chiemi Eri's cover song "Tennessee Waltz" (1952), Hibari Misora's "Omatsuri Mambo" (1952), and Izumi Yukimura's cover song "Till I Waltz Again with You" (1953) also became popular. Foreign musicians and groups, including JATP and Louis Armstrong, visited Japan to perform. In the mid-1950s, became a popular venue for live jazz music. Jazz had a large impact on Japanese ''poppusu'', though "authentic" jazz did not become the mainstream genre of music in Japan. In the late 1950s and early 1960s, Japanese pop was polarized between urban '' kayō'' and modern ''enka''.

Modern J-pop is also sometimes believed to have had its roots with Chinese immigrant jazz musicians who had fled Shanghai during the communist takeover, and were collaborating with the U.S.-occupied forces to help introduce s variety of new genres to the Japanese public. In 1949, when the communists took over and established the People's Republic of China on the mainland, one of the first actions taken by the government was to denounce popular music (specifically both Chinese pop music, known as Mandopop, and Western pop music) as decadent music, and for decades afterwards the Communist Party would promote Chinese revolutionary songs while suppressing Chinese folk songs, Chinese pop songs and Western pop songs. Dissatisfied with Chairman Mao Zedong's new music policies, a number of Shanghainese jazz musicians fled to the British colony of Hong Kong and established Cantopop, which is pop music sung in the Cantonese dialect of Chinese. However, a few musicians instead settled in Japan, where they became members of the Far East Network and collaborated with the American soldiers to help expose the Japanese public to a wide variety of western genres. This eventually lead to the establishment of modern Japanese pop music, known as '' kayōkyoku''.

1960s: Origin of modern style

Rokabirī Boom and Wasei pops

During the 1950s and 60s, many Kayōkyoku groups and singers gained experience performing on US military bases in Japan. Around the same time, Yakuza manager Kazuo Taoka reorganized the concert touring industry by treating the performers as professionals. Many of these performers later became key participants in the J-pop genre.

In 1956, Japan's rock and roll craze began, due to the country music group known as Kosaka Kazuya and the Wagon Masters; their rendition of Elvis Presley's song "Heartbreak Hotel" helped to fuel the trend. The music was called "rockabilly" (or ''rokabirī'') by the Japanese media. Performers learned to play the music and translate the lyrics of popular American songs, resulting in the birth of . The rockabilly movement would reach its peak when 45,000 people saw the performances by Japanese singers at the first Nichigeki Western Carnival in one week of February 1958.

Kyu Sakamoto, a fan of Elvis, made his stage début as a member of the band The Drifters at the Nichigeki Western Carnival in 1958. His 1961 song "Ue wo Muite Arukō" ("Let's Look Up and Walk"), known in other parts of the world as "Sukiyaki", was released to the United States in 1963. It was the first Japanese song to reach the Number One position in the United States, spending four weeks in ''Cash Box'' and three weeks in ''Billboard''. It also received a gold record for selling one million copies. During this period, female duo The Peanuts also became popular, singing a song in the movie ''Mothra''. Their songs, such as "Furimukanaide" ("Don't Turn Around") were later covered by Candies on their album ''Candy Label''. Artists like Kyu Sakamoto and The Peanuts were called .

After frequently changing members, Chosuke Ikariya re-formed The Drifters in 1964 under the same name. At a Beatles concert in 1966, they acted as curtain raisers, but the audience generally objected. Eventually, The Drifters became popular in Japan, releasing "Zundoko-Bushi" ("Echoic word tune") in 1969. Along with ''enka'' singer Keiko Fuji, they won "the award for mass popularity" at the 12th Japan Record Awards in 1970. Keiko Fuji's 1970 album ''Shinjuku no Onna/'Enka no Hoshi' Fuji Keiko no Subete'' ("Woman in Shinjuku/'Star of ''Enka'' All of Keiko Fuji") established an all-time record in the history of the Japanese Oricon chart by staying in the Number One spot for 20 consecutive weeks. The Drifters later came to be known as television personalities and invited idols such as Momoe Yamaguchi and Candies to their television program.

Ereki boom and group sounds

The Ventures visited Japan in 1962, causing the widespread embrace of the electric guitar called the "''Ereki'' boom". Yūzō Kayama and Takeshi Terauchi became famous players of electric guitar. In 1966, the Beatles came to Japan and sang their songs at the Nippon Budokan, becoming the first rock music band to perform a concert there. The public believed that the Beatles would cause juvenile delinquency. The Japanese government deployed riot police against young rock fans at the Nippon Budokan. John Lennon felt that they were not well regarded in Japan, but Beatlemania has never really died there. The Beatles inspired Japanese bands, creating the group sounds genre in Japan.

Most Japanese musicians felt that they could not sing rock in Japanese, so the popularity of Japanese rock gradually declined. As a result, there were debates such as "Should we sing rock music in Japanese?" and "Should we sing in English?" between Happy End and Yuya Uchida about Japanese rock music. This confrontation was called . Happy End proved that rock music could be sung in Japanese, and one theory holds that their music became one of the origins of modern J-pop. The Beatles also inspired Eikichi Yazawa, who grew up in an underprivileged family, his father dying when he was a child. Keisuke Kuwata, who grew up in a dual-income family, was influenced by the Beatles through his older sister, then an avid fan. Yōsui Inoue was also a fan of The Beatles, but he said that his music style was not particularly related to them. After Happy End disbanded in 1973, Haruomi Hosono, a former member, began a solo career and later formed Yellow Magic Orchestra.

1970s: Development of "new music"

''Fōku'' and new music

In the early 1960s, some Japanese music became influenced by the American folk music revival; this was called , although the genre of music was mostly covers of original songs. In the late 1960s, the Folk Crusaders became famous and the underground music around that time became called ''fōku''. As with ''enka'', Japanese ''fōku'' singers Wataru Takada performed social satires.

In the early 1970s, the emphasis shifted from ''fōku''s simple songs with a single guitar accompaniment to more complex musical arrangements known as . Instead of social messages, the songs focused on more personal messages, such as love. In 1972, singer-songwriter Takuro Yoshida produced a hit song "Kekkon Shiyouyo" ("Let's marry") without decent television promotion, though fans of ''fōku'' music became very angry because his music seemed to be a mersh music. The highest-selling single of the year was the ''enka'' song by Shiro Miya and the Pinkara Trio, "Onna no Michi". The song eventually sold over 3.25 million copies. On December 1, 1973, Yōsui Inoue released the album '' Kōri no Sekai'', which topped the Oricon charts and remained in Top 10 for 113 weeks. It spent 13 consecutive weeks in the number-one spot, and eventually established a still-standing record of a total 35 weeks at the number-one position on the Oricon charts. Yumi Matsutoya, formerly known by her maiden name Yumi Arai, also became a notable singer-songwriter during this period In October 1975, she released a single "Ano Hi ni Kaeritai" ("I want to return to that day"), making it her first number-one single on the Oricon charts. Miyuki Nakajima, Amii Ozaki, and Junko Yagami were also popular singer-songwriters during this period. At first, only Yumi Matsutoya was commonly called a new music artist, but the concept of Japanese ''fōku'' music changed around that time. In 1979, Chage and Aska made their debut, and folk band Off Course (with singer Kazumasa Oda) released a hit song "Sayonara" ("Good-bye").

Emergence of Japanese rock and electronic music

Rock music remained a relatively underground music genre in the early 1970s in Japan, though Happy End managed to gain mainstream success fusing rock with traditional Japanese music. Several Japanese musicians began experimenting with electronic music, including electronic rock. The most notable was the internationally renowned Isao Tomita, whose 1972 album ''Electric Samurai: Switched on Rock'' featured electronic synthesizer renditions of contemporary rock and pop songs. Other early examples of electronic rock records include Inoue Yousui's folk rock and pop rock album ''Ice World'' (1973) and Osamu Kitajima's progressive psychedelic rock album ''Benzaiten'' (1974), both of which involved contributions from Haruomi Hosono, who later started the electronic music group "Yellow Magic Band" (later known as Yellow Magic Orchestra) in 1977.

In 1978, Eikichi Yazawa's rock single "Jikan yo Tomare" ("Time, Stop") became a smash hit that sold over 639,000 copies. He is regarded as one of the pioneers of Japanese rock. He sought worldwide success, and in 1980 he signed a contract with the Warner Pioneer record company and moved to the West Coast of the United States. He recorded the albums ''Yazawa'', ''It's Just Rock n' Roll'', and ''Flash in Japan'', all of which were released worldwide, but were not very commercially successful. Keisuke Kuwata formed the rock band Southern All Stars (SAS), which made their debut in 1978. Southern All Stars remains very popular in Japan today.

In the same year, Yellow Magic Orchestra (YMO) also made their official debut with their self-titled album. The band, whose members were Haruomi Hosono, Yukihiro Takahashi and Ryuichi Sakamoto, developed electropop, or technopop as it is known in Japan, in addition to pioneering synthpop and electro music. Their 1979 album ''Solid State Survivor'' reached number one on the Oricon charts in July 1980, and went on to sell two million records worldwide. At around the same time, the YMO albums ''Solid State Survivor'' and '' X∞Multiplies'' held both the top two spots on the Oricon charts for seven consecutive weeks, making YMO the only band in Japanese chart history to achieve this feat. Young fans of their music during this period became known as the . YMO had a significant impact on Japanese pop music, which started becoming increasingly dominated by electronic music due to their influence, and they had an equally large impact on electronic music across the world. Southern All Stars and Yellow Magic Orchestra symbolized the end of New Music and paved the way for the emergence of the J-pop genre in the 1980s. Both bands, SAS and YMO, would later be ranked at the top of HMV Japan's list of top 100 Japanese musicians of all time.

1980s: Fusion with "kayōkyoku"

City pop

In the early 1980s, with the spread of car stereos, the term came to describe a type of popular music that had a big city theme. Tokyo in particular inspired many songs of this form. During this time, music fans and artists in Japan were influenced by album-oriented rock (especially adult contemporary) and crossover (especially jazz fusion). City pop was affected by new music, though its origins have been traced back to the mid-1970s, with the work of the Japanese rock band Happy End and its former member Haruomi Hosono, as well as Tatsuro Yamashita.

The popularity of city pop declined when the Japanese asset price bubble burst in 1990. Its musical characteristics (except its "cultural background") were inherited by 1990s Shibuya-kei musicians such as Pizzicato Five and Flipper's Guitar.

Growth of the Japanese rock industry

Throughout the 1980s, rock bands such as Southern All Stars, RC Succession, Anzen Chitai, The Checkers, The Alfee, and The Blue Hearts

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