Enthralling mood kayō: A collection of classic Showa-era songs
Suddenly, but what kind of image do you all have of “mood kayō” (mood ballads)?
If you’re from a younger generation, you may not have even heard of the genre “mood kayō” in the first place.
Born in the postwar era, mood kayō is, as the name suggests, a form of kayōkyoku (Japanese popular song), but its definition is actually quite ambiguous.
You could say it’s a genre that values sentiment—indeed, the very “mood”—more than strictly musical elements.
This time, we’re focusing on this uniquely alluring, adult music born of the Shōwa era—mood kayō—and have gathered some representative classics.
Whether you’re a young music fan curious about Shōwa-era kayōkyoku or someone who lived through those times, please enjoy!
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Enthralling mood kayō: A collection of Showa-era classics (71–80)
Loving is scary.jun & nene
This is a song released in 1968 by the female duo Jun & Nene.
It’s a pure love kayōkyoku that expresses the frustration of feeling more afraid to be alone the more deeply you love someone.
Many women may find themselves relating to these sentiments.
Love is overŌyō Fifi
Released in 1979 (Showa 54), this is a wonderful song about lovers separated by distance singing earnestly about the end of love.
There are many breakup songs, but this is surely one that represents the Showa era.
Ouyang Fei Fei debuted with “Ame no Midosuji,” and at the time she could hardly speak Japanese, so her pronunciation sounded a bit different for a Japanese song.
While her pronunciation in “Love Is Over” isn’t perfect, she delivers it superbly with outstanding vocal power.
It’s a classic that has been covered by many artists, including JUJU and Takeshi Tsuruno.
embraceHakozaki Shinichiro
It was released in 1979.
While “Night in Atami,” originally released in 1969, may be considered his signature song, the B-side of the re-released, re-arranged “Night in Atami” is “Embrace.” It’s a hidden gem that truly rewards careful listening, a song that captures a woman’s heart.
Its mood evokes the backdrop of a Showa-era snack bar—a uniquely atmospheric quality rarely found today.
Enchanting mood kayō. A collection of Showa-era masterpieces (81–90)
Tangled HairMisora Hibari
This is a single released by Hibari Misora in 1987, a song set at the Shioyasaki Lighthouse located in the Usuiso area of Taira, Iwaki City, Fukushima Prefecture.
An album with the same title was also released in 1988.
The key is set so that the chorus is sung in falsetto, and it is said that the composer, Toru Funamura, provided the song because he favored Misora’s high notes (falsetto).
I miss you so muchSono Mari
It was released in 1966 as Mari Sono’s 19th single.
With lyrics by Tokiko Iwatani and music by Tai Miyagawa, it is one of Mari Sono’s signature songs.
That same year, a Nikkatsu film of the same title—featuring Mari Sono herself in a singer role—was released.
The song has been covered by many artists and is regarded as one of her representative works.
brandy glassIshihara Yūjirō
This is a single released by Yūjirō Ishihara in 1977.
Although it initially sold very little, it gained nationwide attention after a scene aired on the TV Asahi drama “Seibu Keisatsu,” in which Ishihara himself, who played Inspector Kenzo Kogure, performed the song.
It won the Long Seller Award at the 23rd Japan Record Awards and became a hit, selling over 1.52 million copies.
In conclusion
As I mentioned at the beginning, the very definition of “mood kayō” is vague, and what qualifies as mood kayō depends on each person’s sensibilities. Still, it’s strange how listening to the songs I introduced this time makes you feel, “This is exactly mood kayō.” It’s a distinctly Showa-era adult world—somewhat dandy, tinged with sensuality—different from both enka and J-pop. If this piqued your interest, try digging into what you consider to be mood kayō!