Nostalgic Japanese hit songs from the 1970s: the golden age of idols and kayōkyoku (Japanese pop songs)
What songs come to mind when you think of Japanese hit songs from the 1970s?
Those who lived through that era in real time probably recall a wide range of hits.
With the spread of color television, people began to enjoy music from a visual perspective as well.
The 1970s are often called the golden age of kayōkyoku and idols.
Even generations who weren’t yet born will find many familiar, approachable songs that make you think, “Hey, I’ve heard this before!”
Please enjoy these captivating hit songs from the 1970s!
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Nostalgic Japanese hits from the 1970s: The golden age of idols and kayōkyoku (1971–80)
Love in KyotoNAGISA YŪKO
A hit song from 1970.
It served as a forerunner of the Ventures’ kayōkyoku (Japanese popular song) releases tailored to the Japanese market by The Ventures, who enjoy enduring popularity in Japan.
The Ventures’ blend of American and Japanese styles creates a uniquely exotic allure, further enhanced by Kyoto, the setting of the song.
The Apple Murder CaseGō Hiromi, Kigeki Kirin
Released in 1978, this song drew attention as an insert track for the TV drama “Mu Ichizoku.” The duet by Hiromi Go and Kiki Kirin is particularly memorable.
The lyrics by Yu Aku comically depict a story of a murder case and a detective, while hinting at a melodrama of love and hate between a man and a woman—making it very intriguing.
Paired with a lively melody, it has a captivating charm that draws listeners in.
It was extremely popular at the time, even taking the top spot on The Best Ten for four consecutive weeks.
It’s a recommended track for those who enjoy detective-themed works or witty, humorous lyrics.
The Pattern of LifeTakada Wataru
A song released in 1973 by the legendary folk singer Wataru Takada.
Based on a poem by Baku Yamanokuchi, this number poetically conveys the harshness of life and the coldness of society from the perspective of someone forced into a wandering existence.
It delicately depicts the image of lying between the night sky and the earth, sleeping while buried in grass.
It’s a track that showcases Takada’s talent as a “troubadour,” shining a light on society’s darker corners and giving voice to those who suffer.
A timeless classic that continues to influence many people across generations.
Nostalgic Japanese pop hits of the 1970s: The golden age of idols and kayōkyoku (81–90)
A woman born in OsakaBORO
1979.
This is a masterpiece of a local Osaka song written and composed by BORO.
BORO’s own version is great, but Shoken’s rendition is also wonderful.
Although it was only a smash hit at the time, in the sense that it has been long loved and sung, it can be called the last great song of the ’70s.
Imperial Regent Declarationsadamasashi
The lyrics list the conditions and requests for getting married, making it a song that essentially declares a domineering husband stance.
At first glance it might seem selfish, but lines like “Happiness is something we nurture together” and “You are the only woman I will love for a lifetime” reveal a deep affection throughout the song.
withered silvergrasschiaki naomi
She covered a song originally sung by Sakura and Ichiro in 1974.
The song is still widely known today as a karaoke enka duet, but when she—who was renowned for her vocal ability and very popular at the time—sang it, it revealed a different kind of charm.
It’s a song that exudes a strong Showa-era vibe, and it probably became such a big hit because it fit perfectly with the mood of that era.
Times change, but great songs endure.
Secrets in My PocketAgunesu Chan
A hit song from 1974.
It was a commemorative work marking Takashi Matsumoto’s transition to a full-time lyricist—he had been the drummer and lyricist for Happy End.
The recording’s backing was handled by Caramel Mama (Haruomi Hosono, Shigeru Suzuki, Masataka Matsutōya, and Tatsuo Hayashi), and when performing on TV music shows, the backing was provided not by the program’s resident jazz full band but by the rock band Hachimitsu Pie.
This song subsequently became a catalyst for the fusion of kayōkyoku and New Music.