Editing J-pop (section)

===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 {{Nihongo|''fōku''|フォーク|| "folk"}}, although the genre of music was mostly covers of original songs.<ref>{{Cite web|url=http://music.jp.msn.com/special/folk/default.htm |title=Folk |publisher=MSN Japan Music |language=ja |access-date=2009-01-31 |url-status=dead |archive-url=https://web.archive.org/web/20090122134930/http://music.jp.msn.com/special/folk/default.htm |archive-date=January 22, 2009 }}</ref> In the late 1960s, [[the Folk Crusaders]] became famous and the underground music around that time became called ''fōku''.<ref>{{Cite web|url=http://music.jp.msn.com/special/folk/fc.htm |title=The Folk Crusaders |publisher=MSN Japan Music |language=ja |access-date=2009-01-31 |url-status=dead |archive-url=https://web.archive.org/web/20090209064927/http://music.jp.msn.com/special/folk/fc.htm |archive-date=February 9, 2009 }}</ref> As with ''enka'', Japanese ''fōku'' singers Wataru Takada performed social satires.<ref>{{Cite web|url=http://music.jp.msn.com/special/folk/takada.htm |title=Wataru Takada |publisher=MSN Japan Music |language=ja |access-date=2009-01-20 |url-status=dead |archive-url=https://web.archive.org/web/20090207233349/http://music.jp.msn.com/special/folk/takada.htm |archive-date=February 7, 2009 }}</ref>

In the early 1970s, the emphasis shifted from ''fōku''{{'}}s simple songs with a single guitar accompaniment to more complex musical arrangements known as {{Nihongo|'''new music'''|ニューミュージック|nyū myūjikku}}.<ref name="newmusic">{{Cite web|url=http://www.bounce.com/article/article.php/3278/ALL/|script-title=ja:第11回 ─ ニューミュージック|trans-title=No. 11 ─ New Music|publisher=bounce.com|date=2007-03-22|language=ja|access-date=2008-11-16|archive-url=https://web.archive.org/web/20080411042531/http://www.bounce.com/article/article.php/3278/ALL/|archive-date=2008-04-11|title=Bounce logo }}</ref> 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 low effort or low quality form of music.<ref name="asahi">{{Cite web|url=http://www.asahi.co.jp/call3/diary/yamaken/essay_29.html|script-title=ja:雑感・戦後日本の世相と流行歌（29）|publisher=[[Asahi Broadcasting Corporation]]|language=ja|access-date=2009-01-24|url-status=dead|archive-url=https://web.archive.org/web/20090206210117/http://www.asahi.co.jp/call3/diary/yamaken/essay_29.html|archive-date=2009-02-06}}</ref> The highest-selling single of the year was the ''enka'' song by [[Shiro Miya]] and the Pinkara Trio, "[[Onna no Michi]]".<ref name="asahi" /> The song eventually sold over 3.25&nbsp;million copies.<ref name="smap">{{Cite web|url=http://www.oricon.co.jp/news/ranking/5139/|title=SMAP「世界に一つ」、 シングル売上歴代9位に！！|trans-title=SMAP's "The Only Flower In The World" becomes the ninth best-selling single in the history!!| language = ja |publisher=Oricon|date=2004-08-03|access-date=2008-11-21}}</ref> 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.<ref>{{Cite web|url=http://www.universalmusicworld.jp/yousui/upch1126/index.html|title=Korino Sekai|publisher=Universal Music|language=ja|access-date=2009-01-12|url-status=dead|archive-url=https://web.archive.org/web/20090206203127/http://www.universalmusicworld.jp/yousui/upch1126/index.html|archive-date=2009-02-06}}</ref> 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.<ref name="1000numberone" /><ref>{{Cite web|url=http://www.nishinippon.co.jp/nnp/culture/kayou/20061128/20061128_001.shtml|script-title=ja:第5部・井上陽水の世界＜10＞ミラー 大ヒットに戸惑い始めて|publisher=Nishinippon Shimbun|date=2006-11-28|language=ja|access-date=2008-12-27|url-status=dead|archive-url=https://web.archive.org/web/20090206205227/http://www.nishinippon.co.jp/nnp/culture/kayou/20061128/20061128_001.shtml|archive-date=2009-02-06}}</ref> [[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.<ref>{{Cite web|url=http://www.uta-net.com/user/jake_uta/yuming_sazan/yuming_sazan.html|title=Yuming and Southern|publisher=uta-net|language=ja| access-date=2009-01-14}}</ref> [[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.<ref name=autogenerated1>{{Cite web|url=http://www.who.ne.jp/modules/page05/content/index.php?id=10|title=New Music |publisher=Who.ne.jp |language=ja |archive-url=https://web.archive.org/web/20090603164729/http://idol.who.ne.jp/modules/page05/content/index.php?id=10|archive-date=2009-06-03|access-date=2011-06-13}}</ref> In 1979, [[Chage and Aska]] made their debut, and folk band [[Off Course]] (with singer [[Kazumasa Oda]]) released a hit song "Sayonara" ("Good-bye").

[[Saki Kubota]] was described as the standard bearer of new music.<ref>Teppei Akagi.
[https://books.google.com/books?id=P-OZAAAAIAAJ ソニーの 21世紀戦略: 進展するソフト革命の全貌]. Japan Management Association. 1990. p 156.</ref>

====Emergence of Japanese rock and electronic music====
{{see also|Japanese rock|Synth-pop}}

[[Rock music]] remained a relatively [[underground music]] genre in the early 1970s in Japan,<ref name="newmusic" /> though [[Happy End (band)|Happy End]] managed to gain mainstream success fusing rock with traditional [[Music of Japan|Japanese music]].<ref name="beatles"/> 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 music|pop songs]].<ref name="jenkins_2007">{{citation|title=Analog synthesizers: from the legacy of Moog to software synthesis|author=Mark Jenkins|publisher=[[Elsevier]]|year=2007|isbn=978-0-240-52072-8|pages=133–4|url=https://books.google.com/books?id=c3EHIpo0DKwC&pg=PA133|access-date=2011-05-27|author-link=Mark Jenkins (musician)}}</ref> 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 rock|progressive]] [[psychedelic rock]] album ''[[Benzaiten]]'' (1974), both of which involved contributions from Haruomi Hosono,<ref>{{Discogs release|2509617|井上陽水 – 氷の世界}} ([https://translate.google.com/translate?hl=en&sl=ja&tl=en&u=http://www.discogs.com/%E4%BA%95%E4%B8%8A%E9%99%BD%E6%B0%B4-%E6%B0%B7%E3%81%AE%E4%B8%96%E7%95%8C/release/2509617 Translation])</ref><ref>{{Discogs release|1303605|Osamu Kitajima – Benzaiten}}</ref> who later started the electronic music group "Yellow Magic Band" (later known as Yellow Magic Orchestra) in 1977.<ref name="discogs_paraiso">{{Discogs release|1188801|Harry Hosono And The Yellow Magic Band – Paraiso}}</ref>

In 1978, [[Eikichi Yazawa]]'s rock single "Jikan yo Tomare" ("Time, Stop") became a smash hit that sold over 639,000 copies.<ref>{{Cite web|url=http://www.oricon.co.jp/news/ranking/30481/|title=アーティストのブレイクにひと役買う、資生堂CM30年のパワー|publisher=Oricon|date=2006-08-08|language=ja|access-date=2009-01-14}}</ref> He is regarded as one of the pioneers of Japanese rock.<ref>{{Cite web|url=http://www.hmv.co.jp/news/newsDetail.asp?newsnum=311010020|title=Top 100 Japanese pops Artists - No. 14|publisher=HMV Japan|date=2003-11-17|language=ja|access-date=2008-11-19}}</ref> 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 [[Yellow Magic Orchestra (album)|self-titled album]]. The band, whose members were [[Haruomi Hosono]], [[Yukihiro Takahashi]] and [[Ryuichi Sakamoto]], developed [[electropop]],<ref>{{cite news|url=https://www.theguardian.com/music/2008/jun/20/culture.electronicmusic|title=Yellow Magic Orchestra|newspaper=[[The Guardian]]|date=2008-06-20|access-date=2009-01-08 | location=London | first=Paul | last=Lester}}</ref> or [[techno]]pop as it is known in Japan,<ref name="sarasota">{{cite journal|title=Computer rock music gaining fans|journal=[[Sarasota Journal]]|date=August 18, 1980|url=https://news.google.com/newspapers?id=7s4mAAAAIBAJ&pg=4481,2128223|access-date=2011-05-25|page=8}}</ref> in addition to pioneering [[synthpop]] and [[electro music]].<ref name="wire_1996">{{citation|title=A-Z Of Electro|work=[[The Wire (magazine)|The Wire]]|issue=145|date=March 1996|author=David Toop|url=http://www.thewire.co.uk/articles/210/|access-date=2011-05-29}}</ref><ref name="broughton_2007">{{cite book|last=Broughton|first=Frank|title=La historia del DJ / The DJ's Story, Volume 2|year=2007|publisher=Ediciones Robinbook|isbn=978-84-96222-79-3|url=https://books.google.com/books?id=1GMxP6mpRdgC&pg=PA121|access-date=25 May 2011|page=121}}</ref> Their 1979 album ''[[Solid State Survivor]]'' reached number one on the [[Oricon]] charts in July 1980,<ref>{{Cite web|url=http://eonet.jp/music/sp_live/index_070412.html|title=Look back on YMO|publisher=eo Music Tribe|language=ja|access-date=2009-01-12|url-status=dead|archive-url=https://web.archive.org/web/20090207032249/http://eonet.jp/music/sp_live/index_070412.html|archive-date=2009-02-07}}</ref> and went on to sell two million records worldwide.<ref name="Hardy_1987">{{cite book|title=Encyclopedia of Rock|author1=Phil Hardy |author2=Dave Laing |author3=Stephen Barnard |year=1987|edition=2nd|publisher=Macdonald Orbis|isbn=0-356-14274-4|url=https://books.google.com/books?id=tgcKAQAAMAAJ|access-date=25 May 2011|page=476}}</ref> 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.<ref>{{cite web|title=ポルノが24年ぶりの快挙達成！|publisher=[[Oricon]]|date=August 17, 2004|url=http://www.oricon.co.jp/news/ranking/5122/|access-date=2011-06-09}} ([https://translate.google.com/translate?hl=en&sl=ja&u=http://www.oricon.co.jp/news/ranking/5122/ Translation])</ref> Young fans of their music during this period became known as the {{Nihongo|"YMO Generation"|YMO世代|YMO sedai}}.<ref>{{Cite web|url=http://trendy.nikkeibp.co.jp/article/pickup/20080430/1010090/?P=2|title=オリコン週間ランキング1位！今、Perfumeがウケている理由は？|publisher=[[Nikkei Business Publications]]|date=2008-04-30|language=ja|access-date=2009-01-10}}</ref><ref>{{Cite web| url=https://www.apple.com/jp/articles/interviews/sakamotoryuichi/ |title=Ryuichi Sakamoto Special Interview|publisher=[[Apple Inc.]]|date=2007-03-19|language=ja|access-date=2009-01-08|archive-url=https://web.archive.org/web/20081224053240/http://www.apple.com/jp/articles/interviews/sakamotoryuichi/ <!--Added by H3llBot-->|archive-date=2008-12-24}}</ref> YMO had a significant impact on Japanese pop music, which started becoming increasingly dominated by [[electronic music]] due to their influence,<ref name="loubet_couroux">{{cite journal|title=Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere|journal=[[Computer Music Journal]]|date=Winter 2000|volume=24|issue=4|pages=19–32|jstor=3681552|author1=Emmanuelle Loubet |author2=Marc Couroux |publisher=[[MIT Press]]|doi=10.1162/014892600559498|s2cid=32835136}}</ref> and they had an equally large impact on electronic music across the world.<ref name="fidelity_1993">{{citation|title=Yellow Magic Orchestra: Hi Tech/No Crime|journal=High Fidelity News and Record Review|volume= 38|issue=1–6|publisher=Link House Publications|year=1993|page=93|url=https://books.google.com/books?id=-zg9AQAAIAAJ|access-date=2011-05-29}}</ref><ref name="allmusic_ymo">{{cite web|url={{AllMusic|class=artist|id=p5886|pure_url=yes}}|title=Yellow Magic Orchestra profile|website=[[AllMusic]]|access-date=2009-06-03}}</ref> 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.<ref name="whonejp"/> Both bands, SAS and YMO, would later be ranked at the top of [[HMV]]'s list of top 100 Japanese musicians of all time.<ref>{{citation|title=Geek Monthly, Volumes 17-22|work=[[Geek Monthly]]|year=2008|publisher=CFQ Media|url=https://books.google.com/books?id=oADsAAAAMAAJ|access-date=12 June 2011|page=20}}</ref>