Pick-up of famous lyricists who left their mark on the history from Showa-era kayokyoku to J-POP!
When we recall the masterpieces that have colored the history of Japanese popular music and have been loved for so long, it’s the wonderful lyrics—awakened alongside the melodies—that linger in listeners’ hearts.
They give us a powerful push forward, put into words worries we can’t tell anyone…
No matter how great a melody is, many hits owe their success to the lyrics being what they are.
This time, we’re shining a spotlight on the renowned lyricists who brought such remarkable words into the world—along with their signature works.
- [Classic Showa Kayō Hits] The captivating Showa-era pop songs beloved even by younger generations
- [2026 Edition] Songs Loved by People in Their 60s: Classic Hits from Their Youth
- Cool songs from the Showa era. Masterpieces from Showa that shine with sensuality, passion, and rugged charm.
- Heart-touching, tear-jerking masterpieces from the Showa era
- Great songs recommended for people in their 80s: a collection of tracks with lyrics that touch the heart
- Evokes the charm of the good old days. Showa-era inspirational songs that are still loved today.
- A collection of iconic, cool Showa-era kayōkyoku classics sung by male vocalists
- Showa-era nostalgic songs: Popular ranking
- So nostalgic it feels new? Showa retro classics that colored Japan’s period of rapid economic growth
- Showa-era masterpieces roundup: A must-listen collection of nostalgic oldies and hit songs
- [Feeling Despair] Classic Showa-era Songs with Dark Lyrics
- Good songs recommended for people in their 60s: classic and popular Japanese tracks
- Coming-of-age songs for your 50s: heart-thumping × heartwarming classics and popular tracks [2026]
Showa-era Kayōkyoku to J-POP: Spotlight on Legendary Lyricists (11–20)
Girl AUrino Masao
Masao Urino made his debut as a lyricist in 1981 with the Chanels’ song “Hoshikuzu no Dance Hall.” The following year, in 1982, Akina Nakamori’s “Shōjo A” became a major hit.
His partnership with composer Hiroaki Serizawa was also a key highlight: starting with “Shōjo A,” the duo went on to handle the Checkers together and produced numerous hits.
Urino’s distinctive touch includes the use of unconventional ruby readings in his lyrics—such as having “saimin” read as “wana” (trap) and “hanshats(u)” read as “hanatsu” (to fire)—which heighten the songs’ mood.
He is a renowned lyricist who has left his mark on history, providing lyrics for a wide range of artists from idols and TV personalities to rock musicians.
Cotton HandkerchiefMatsumoto Takashi
If Hiroshi Akutsu, born before the war, established a golden era in Shōwa kayō in the 1970s, then without a doubt it was Takashi Matsumoto, born after the war, who brought transformation to pop songs and idol music from the late 1970s onward.
Born in 1949, Matsumoto was reportedly immersed in subcultures such as literature, manga, and film from a young age.
After several stints in bands, he made his full-fledged debut in the music industry as the drummer and lyricist for Happy End, one of the pioneers of Japanese-language rock.
Matsumoto’s lyrics, which adopted a confessional, “desu/masu” polite style, sparked debate at the time, though he himself seemed uninterested in such controversies.
After Happy End disbanded, he worked energetically as a producer and helped form the Original Moonriders; his debut as a professional lyricist came with Tulip’s popular 1973 release Natsuiro no Omoide (Summer-Colored Memories).
The song was highly praised by the great composer Kyōhei Tsutsumi, who would later form a golden partnership with Matsumoto.
Although Matsumoto initially harbored some skepticism toward kayōkyoku, meeting Tsutsumi and working on the 1975 smash hit Momen no Handkerchief (Cotton Handkerchief) ignited his passion for lyric writing.
From the 1980s onward, he brought his Happy End-era comrades into the mainstream world of kayōkyoku and, as noted at the outset, helped transform Japanese popular song.
Even after the 2000s began, he showcased undiminished talent to younger generations with hits like Seikan Hikō, an insert song from the anime Macross Frontier.
And now, in the 2020s, many of the city pop masterpieces gaining attention overseas are works created by the Matsumoto–Tsutsumi duo.
A Cruel Angel’s ThesisOikawa Nemuko
Nemuko Oikawa, who is also active as an essayist and columnist, is best known for songs like Wink’s “Samishii Nettaigyo” (“Lonely Tropical Fish”) and Yoko Takahashi’s “A Cruel Angel’s Thesis.” She has written many lyrics for idols including Wink, and her work is characterized by a somewhat cool, detached worldview.
Having been asked to create “difficult” lyrics, she has said she made “A Cruel Angel’s Thesis” more philosophical—this kind of worldview is one of her signatures, lending a mysterious quality that makes listeners want to know the artist more deeply.
She is also active as a lyricist for anime songs, leveraging her strengths while working across a wide range of genres.
March of 365 StepsHoshino Tetsurō
Tetsurō Hoshino, who wrote a wide range of lyrics—from upbeat songs like Kiyoko Suizenji’s “March of 365 Steps” to poignant numbers like Akira Kobayashi’s “I’m Using My Old Name”—believed that “the first two lines determine the lyrics.” Many of his songs hook you with the opening phrase alone.
He also wrote cleverly tricky lyrics that use interjections like “Ah,” as in Aiko Moriyama’s “Anko Tsubaki wa Koi no Hana.” Listening to his work, you can’t help but be awed by his sense of style.
LOVE Machinetsunku♂
Tsunku♂ made his major debut in 1992 with the pop rock band Sharam Q.
His greatest strength lies in lyrics that poignantly—and at times intriguingly—depict relationships between men and women, as heard in “Single Bed” released in 1994 and “Zurai Onna” the following year.
In 1999, he both wrote and composed “LOVE Machine” for Morning Musume, a group he produced.
Capturing the sentiments of young people eager to ride the wave of a new era, the song became a massive hit.
Sad SakeIshimoto Miyuki
Miyuki Ishimoto was one of the representative lyricists of the Showa-era kayōkyoku scene.
There’s an anecdote that he was sickly as a child and often read poetry at home, including Goethe.
That rhetorical background of his was put to full use in Hibari Misora’s 1966 release “Kanashii Sake” (“Sad Sake”).
The song is a tragic love ballad from a woman’s perspective, and it skillfully expresses, through artful wording, the feelings of someone who drinks to forget a man, only to find his image inevitably surfacing in her mind.
Pick-up of famous lyricists who left their mark on the history from Showa-era kayōkyoku to J-POP (21–30)
Youthful Amigozopp
Lyricist zopp is a unique figure who discovered the joy of songwriting after a high school study-abroad experience in the United States and later studied at a university in Boston.
Since his debut in 2003, he has remained at the forefront of the J-POP scene.
“Seishun Amigo” by Shuuji to Akira, released in 2005, became a social phenomenon as the theme song for the TV drama Nobuta wo Produce and was the best-selling single of the year.
In 2006, he topped Oricon’s annual lyricist sales ranking, among other overwhelming achievements.
His lyrics, which leverage each idol’s individuality while balancing storytelling and catchiness, leave a deep impression on listeners.
As a wordsmith, he is active on many fronts—including teaching lyric-writing courses and penning novels—and is a highly recommended creator for anyone interested in exploring the depth of lyrics.