What was the first Japanese pop hit? The answer will vary according to definition, but undoubtedly come from one of the following five songs:

(1) ‘Kachûsha no Uta’ (Kachusha's Song): first sung on stage by Matsui Sumako in March 1914; words by Shimamura Hôgetsu and Sôma Gyofû, music by Nakayama Shimpei; recorded by Matsui for Orient Records under the title of ‘Fukkatsu Shôka.

(2) ‘Sendô Kouta’ (A Boatman's Ditty): released in sheet music form in March 1921; words by Noguchi Ujō, music by Nakayama Shimpei.

(3) ‘Habu no Minato’ (The Harbour of Habu): written in 1923; words by Noguchi Ujô, music by Nakayama Shimpei; originally recorded by Satô Chiyako for Victor Records in April 1928.

(4) ‘Kimi Koishi’ (You, Sweetheart): written in 1928; words by Shiguré Otowa, music by Sasa Kôka; originally recorded by Futamura Tei'ichi for Victor Records in December 1928.

(5) ‘Tokyo Kôshin-kyoku’ (Tokyo March): written in 1929; words by Saijô Yaso, music by Nakayama Shimpei; originally sung by Satô Chiyako for Victor Records in June 1929.

By looking at how these five songs were put together and became hits, we may be able to understand the origins of the professional song writer in Japan and the early growth of the domestic recording industry.

This paper presents an analysis of enka, a type of Japanese popular song. I shall attempt to elucidate the musical characteristics of enka by examining its musical scales, melodies, vocal techniques and rhythms. We shall see, however, that enka is a composite genre, not characterised by a single type of scale or rhythm. Furthermore, it is virtually impossible to understand enka without reference to other types of Japanese popular song. Thus some discussion of such other genres will also be required.

In 1959, the Conlon report, a presentation of United States government policies in relation to Asian cultures, stated the following about Japanese culture (in a section titled ‘Social change’):

Developments within and among the various Japanese social classes suggest the dynamic, changing quality of modern Japan … No area of Japan, moreover, is beyond the range of the national publications, radio, and even TV. New ideas can be quickly and thoroughly disseminated; it is in this sense that Japanese culture can become more standardised even as it is changing. Many of the changes look in the direction of the United States; in such diverse fields as gadgets, popular music, and fashions. American influence is widespread. And this is but one evidence of the general desire to move away from the spartan, austere past toward a more comfortable, convenient future.

It has been a long time since Japan was first considered an economic power. Japanese automobile, electronic and computer companies have entered the world market and are now competing fiercely with each other. Their financial power and technologies are focused both domestically and overseas, and their launch into culture through advertising strategies is another facet of that power which has emerged since the 1980s (Un'no 1990).

In descriptions of the scale of the Japanese record industry, the most used source is the production data published by the Japan Phonograph Record Association (JPRA). Twenty-five major record companies in Japan are affiliated with this association (as of July 1990). Every month, each affiliated record company reports to the JPRA their production figures (total number of all records produced) and the wholesale revenues for themselves and the non-affiliated record companies who entrusted them with their production. These non-affiliated companies are called ‘outsiders’.