Showa-era kayōkyoku: hit songs by male singers, classic masterpieces of Japanese popular music.
Showa-era kayōkyoku have seen revival hits and renewed booms, becoming beloved across generations.
What songs do you like?
In this article, we’re spotlighting songs by male artists from the Showa kayōkyoku scene!
Through our research this time, we discovered a variety of hit songs.
From masterpieces that bring back memories the moment you hear them, to kayōkyoku that feel fresh and comfortably familiar even to younger listeners—there are so many captivating Showa-era songs.
Please use this as a reference when you’re looking for men’s kayōkyoku tracks.
[Showa Kayō] Hit songs by male singers, classic masterpieces of kayōkyoku. (1–10)
Do whatever the hell you want.sawada kenji
It’s the 19th single by Japanese singer Kenji Sawada, released in May 1977 (Showa 52).
It’s an undisputed masterpiece of Showa-era pop that won the Grand Prize at the 19th Japan Record Awards that same year! The action where Sawada throws off his hat during the song was also very striking.
Musically, the arrangement actively incorporates live brass and live strings, and the melody development—from the intro to the ending—features a clear narrative arc with a beginning, development, twist, and conclusion.
I think it’s a track that distills the very essence of Showa kayōkyoku.
Please enjoy it!
Imperial Regent Declarationsadamasashi
This is the 14th single by Japanese singer-songwriter Masashi Sada, released in July 1979 (Showa 54).
As the title suggests, the song’s lyrics proclaim the singer’s intention to be a domineering husband upon marriage, which sparked widespread discussion and became a huge hit.
However, the lyrics were harshly criticized by women’s groups and others as promoting “male chauvinism” and “misogyny,” turning it into a social phenomenon at the time.
The lyrics are structured like a story, and if you listen all the way to the end, you quickly realize it’s not actually advocating male chauvinism.
It’s a very comical, fun, and warm-hearted song.
Please enjoy it.
Until we meet againOzaki Kiyohiko
With his steady low notes and soaring high notes, Kiyohiko Ozaki’s singing instantly captivated listeners of the time.
His adorable sideburns quickly became one of his trademark charms, too.
The song “Mata Au Hi Made” won both the Japan Record Award and the Japan Music Awards, and the following year it was chosen as the entrance march for the National High School Baseball Invitational.
Its memorable intro—buoyant horns and a resounding “thump” of the drums—keeps you coming back again and again.
Legends like Fubuki Koshiji and Yuzo Kayama, as well as distinctive acts such as Kome Kome Club and Momoiro Clover Z, have covered this compelling tune.
Every cover has its own appeal, so start with your favorite artist’s version and give it a listen.
ChampionArisu
Alice may feel like every song was a huge hit, but records show that only this song, “Champion,” reached No.
1 on the Oricon chart.
Incidentally, it also held the top spot on TBS’s “The Best Ten” for four consecutive weeks.
A song that portrays the life of a “lonely boxer” likely struck a chord with the passionate hearts of young people at the time.
In any case, seeing the remarkable success of Alice’s members after the band’s breakup—Tanimura, Yazawa, and Horiuchi—proves they truly deserve their legendary status.
It’s a timeless Showa-era masterpiece I’d recommend even to younger listeners who haven’t heard it yet!
Journey of the Heartchūrippu
Kokoro no Tabi is defined by its captivating chorus melody.
This song was the third single released in 1973 by the folk-rock band Tulip.
In fact, because the two singles released before it didn’t sell well, the band was on the verge of breaking up if Kokoro no Tabi didn’t become a hit.
That’s why the song is packed with carefully crafted pop sensibilities that anyone can remember, and before you know it, you’ll find yourself humming the melody as you listen.
