Revival among the youth? Japanese dance music that was a hit in the 1980s. Showa-era dance tracks.
Due to American influence, in the 1980s Japan also saw dance music that heavily used drum machines and synthesizers become popular as it was incorporated into pop and other genres.
Behind the scenes, a wealth of superb, funky disco tracks were produced in large numbers, many of which remain timeless classics still talked about today.
In this era of retro revival, why not listen to the dance music that was in vogue in the ’80s?
For those who spent their youth back then, it will sound nostalgic; for generations who didn’t experience the era, it will sound fresh and new!
In this article, we’ve selected recommended dance tracks from that time.
Enjoy!
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Revival among the youth? Japanese dance music hits from the 1980s. Showa-era dance tracks (21–30)
Jenny is in a bad moodJūshii Furūtsu
A single released in 1980.
Juicy Fruits is a band formed around Haruo Chikada.
For its time, the piece—sung entirely in a whispery voice by the female vocalist Illya—was innovative, and it was very cute and danceable.
Mugo… mm… that’s sexy.Kudō Shizuka
As an idol who looked great in purple, she was extremely popular among the slightly delinquent-style fashion-loving older guys and gals of the time.
The fact that the lyrics were written by Miyuki Nakajima was also a hot topic.
The guitar in the intro was striking, and kids who couldn’t play guitar all imitated it with their mouths.
The electronic elements of the song matched well with Shizuka Kudo’s vocals, too.
Revival among the youth? Japanese dance music hits from the 1980s: Showa-era dance tracks (31–40)
Lucky LoveWada Kanako
It’s a very catchy song featuring the vocals of Kanako Wada, an idol who epitomized the ’80s.
Set to a lively melody, it portrays the wavering feelings caught between an ideal love and the reality of romance.
Released in November 1988, this track was also used as the theme song for the Fuji TV drama “Ie to Nyobo to Otoko no Meiyo,” and it left a lasting impression on many listeners.
It’s the perfect song for anyone struggling with love or feeling nostalgic for their youth.
Just one listen will lift your spirits—like a little bit of magic.
Wine Red Heartanzenchitai
This sumptuous song portraying the perilous intricacies of adult romance was released as a single by Anzen Chitai in November 1983.
It gained wide recognition as the image song for Suntory’s Akadama Punch commercial and as the opening theme for the Fuji TV drama “Machigai Darake no Otto Erabi” (“Choosing the Wrong Husband”).
With lyrics by Yosui Inoue and music by Koji Tamaki in perfect harmony, it exquisitely captures the delicate nuances of mature love swaying between reason and passion.
Blending a smooth, moody melody line, an irresistibly swaying beat, and lyrics that exude a sense of danger, the track topped the Oricon weekly chart and sold 714,000 copies, becoming one of Anzen Chitai’s signature songs.
It’s an ideal pick for those who yearn for the allure of adult romance or are seeking a bittersweet, passionate love song.
TOP SECRET MANThe Plastics
In the 1980s, Plastics were known alongside P-MODEL and Hikashu as the “Techno Big Three.” The sound of this work carries hints reminiscent of the B-52’s.
Their singular style was unrivaled, and their sole female member, Chika Sato, was a former stylist.
It’s no wonder many young women imitated her hairstyles and fashion.
HeartbeatFujiwara Miho
This track fuses energetic synth-pop with funk.
Released by Miho Fujiwara in 1986, it portrays a sophisticated, urban woman and expresses the passion of romance.
The pounding of the heart and the sway of emotions amid the city’s bustle are conveyed through powerful vocals.
It was also used as the ending theme for the anime “California Crisis,” marking a turning point in Fujiwara’s career.
It’s a perfect song for anyone who wants to feel the thrill of love and the vibe of urban life.
Late-blooming girlTogawa Jun
A song included on the 1985 album “Suki Suki Daisuki.” Jun Togawa, with her distinctive persona and style, was an extraordinary presence even in the 1980s—her image was “avant-garde,” though she herself was apparently aiming for mainstream success.
This work is unusual for her in that it’s a poppy, exuberant track.
However, when you listen to the lyrics, it’s still a decidedly idiosyncratic piece.