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)
Don’t cry.Wada Hiroshi to Mahina Sutāzu
A signature work by Hiroshi Wada and the Mahina Stars, renowned as a classic of Showa-era mood kayō (romantic ballads).
Released in 1958, this song is a ballad about the sorrow of parting that resonates deeply with listeners.
Set to a gentle tempo, the soundscape woven by Hiroshi Wada’s soft vocals and the Mahina Stars’ beautiful harmonies creates a vivid sense of presence, as if witnessing a farewell scene firsthand.
The lyrics, which eloquently express the bittersweet feelings of a man saying goodbye and the emotions of the woman who receives it, are something anyone with experience in love can relate to.
This piece also served as the springboard for nine consecutive appearances at NHK’s Kōhaku Uta Gassen beginning in 1959, and it’s a must-listen not only for fans of mood kayō but for anyone interested in Showa-era popular music.
Such is a woman’s soliloquyMasuiyama Tashirō
When it comes to classic Showa-era songs, this is the one.
As a quintessential mood kayō (romantic ballad), it continues to be loved by many to this day.
It’s marked by deeply expressive vocals and a richly emotional melody, with a charm that seeps into the listener’s heart.
Released in September 1977, the song peaked at No.
13 on the Oricon chart.
Total sales reached 1.39 million copies, and it won the Wired Music Award and Best Hit Award at the 11th Japan Yusen Awards.
Taishiro Masuiyama’s rugged, resonant voice beautifully captures the melancholy that drifts through the night streets.
It’s a recommended track for those who want to feel the subtleties of adult romance and life’s nuances.
It might be nice to listen to it alone on a quiet night and reflect on your life.
Red and Black BluesTsuruta Koji
This song is a signature number by Koji Tsuruta, known as an actor and singer who epitomized the Showa era.
Released in 1955 by Victor Records, it was created with lyrics by Tetsuo Miyagawa and music by Tadashi Yoshida.
Recognized as one of the early hits of mood kayō (moody pop), it cemented Tsuruta’s status as a top star.
The lyrics, depicting a heart that has lost its dreams, days drowned in cards and drink, and nights steeped in loneliness, symbolically express despair and a sense of self-loss.
The work later led to the release of a film of the same title, “Gang vs.
Gang: Red and Black Blues,” which Toei released in 1972.
Brimming with adult allure, this piece is also recommended for younger music fans interested in Showa-era kayōkyoku.
Thank you, night fog, again tonight.Ishihara Yūjirō
A timeless masterpiece by Yujiro Ishihara, whose sweet, wistful voice and emotionally rich lyrics gently seep into the heart.
Its calm, elegant mood is captivating, as if it symbolizes mature romance in the Showa era.
Released by Teichiku Records in February 1967, the song was also used as the theme for a film of the same name and became a major hit.
In the movie, Ishihara’s character experiences a heartrending love story that perfectly matches the world of the song.
This is a piece that quietly stays by the side of those carrying a hidden love or the pain of parting.
It’s also recommended for nights when you want to reflect on memories with someone dear.
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.