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 Shōwa-era masterpieces (11–20)
Akasaka in the RainBurū Komettosu
In this song by the Blue Comets, looking sharp in chic dark suits, the reverb on the vocals creates a mysterious effect, as if casting the real world in a dramatic light.
On the street corners of Akasaka, a city enclave where sophisticated adults gather, even the rain becomes a prop that stylishly adorns a love story.
Longing for RainYashiro Aki
It was released in 1980 as Aki Yashiro’s 30th single.
With lyrics by Yū Aku that express a woman’s heart, it won numerous awards, including the 22nd Japan Record Award.
It ranks as the second best-selling single of Aki Yashiro’s career and has become one of her signature songs, covered by many enka singers.
And, KobeUchiyamada Hiroshi to Cool Five
When it comes to iconic songs that define Mood Kayō (Japanese mood music), this track is indispensable.
Released in 1972 as a signature work by Hiroshi Uchiyamada and the Cool Five, it is set in the city of Kobe and portrays both the pain of heartbreak and the hope of new encounters.
Kiyoshi Maekawa’s deep vocals leave a strong impression, and the wistful melody line resonates deeply.
In 1973, it won the Japan Record Award for Composition and was also performed on that year’s NHK Kōhaku Uta Gassen.
The arrangement, influenced by jazz and blues, adds to its charm, and the song even contributed to promoting tourism in Kobe.
It’s a piece you’ll want to hear if you’ve experienced heartbreak or are standing at a turning point in life.
Woman of ShinjukuFuji Keiko
Released in 1969 as Keiko Fuji’s debut single, this song brought a fresh breeze to the world of enka.
Her vocals, which sing of heartbreak, loneliness, and a woman’s struggles, draw listeners in with an emotional blend of sorrow and strength.
It’s a memorable track distinguished by Fuji’s uniquely husky voice and a richly expressive melody steeped in enka elements.
After its release, the single entered the top 10 on the Oricon charts, and her first album set a remarkable record by holding the No.
1 spot for 20 consecutive weeks.
A film with the same title was also produced, and a monument inscribed with the song’s lyrics was erected at Nishimukiten Shrine in Shinjuku.
This is a recommended listen not only for enka fans but also for younger music enthusiasts interested in Showa-era pop.
The third-year affairHiroshi & Kībō
A signature work by Hiroshi & Kebo, known as a classic of mood kayō (Japanese mood pop).
The lyrics, told through a husband-and-wife conversation, strikingly portray the complexities of human relationships as they sway between love and betrayal, forgiveness and refusal.
Released in August 1982, the song spent three consecutive weeks at No.
1 on the Oricon charts and made a major impact on Japan’s pop music scene.
Written and composed by Tsutomu Sasaki and arranged by Nobuyuki Sakuraba, the piece brilliantly captures the conflict between a married couple.
A must-listen for fans of mature love stories and aficionados of Shōwa-era kayōkyoku.
I’m appearing under my former name.Kobayashi Akira
Released in 1975, Mr.
Akira Kobayashi produced numerous hit songs and was a major star at Nikkatsu.
He gained popularity with the Wataridori (Wanderer) series and later married the legendary singer Hibari Misora, but it was a common-law marriage and they never officially registered it.
Their married life lasted only a short time, so many people may not know about it.
The song is a female version of the Wanderer theme: a woman changes her name and works at a harbor bar, hoping she might possibly meet someone again.
It has a wonderfully moody atmosphere—perfect for drinking alone at a snack bar, don’t you think?
Enthralling mood kayō: A collection of Showa-era classics (21–30)
Until we meet againOzaki Kiyohiko
A smash hit released on March 5, 1971.
When you think of Kiyohiko Ozaki, doesn’t this song come to mind? When singing it, if you focus on the resonance of the low notes in the verse (A-melody) and the sense of release in the chorus, it becomes a real crowd-pleaser and feels great to sing.
Kiyohiko Ozaki’s low register has a very deep resonance—what you might call an “ikebo” (a cool, attractive voice).
To produce this kind of sound, try to resonate the inside of your mouth fully and imagine the voice coming from your entire mouth; you’ll get a deeper tone.
Also, for high notes on the vowel “i,” keep the shape of your mouth the same and increase the speed of your breath.
Try to stay relaxed as you sing.
