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Lovely artist

The fiery soul and the roots of folk felt in Tsuyoshi Nagabuchi’s classic song

Tsuyoshi Nagabuchi continues to breathe a fiery soul into the Japanese music scene.

Since his 1977 debut, he has freely expressed profound messages through his powerful voice and moving lyrics.

The hope embedded in “Kampai” and “Himawari,” the heartrending feelings in “Gekiai,” and the deep love for “Family”—each song carries messages that continue to resonate with our lives.

Here, we present the gems of Tsuyoshi Nagabuchi’s music, forged as he has carved out new horizons with a vocal style often described as a cry from the soul.

The Fiery Soul and Roots of Folk Felt in Tsuyoshi Nagabuchi’s Classic Songs (1–10)

It’s nothing good.Nagabuchi Tsuyoshi

The lyrics, sung over a light, acoustic guitar backing and a simple 8-beat highlighted by distinctive piano tones, portray the unique conflicts and impatience of teenagers and continue to resonate with young people across generations.

Released as a single in 1987, “Rokuna Mon ja Nee” served as the theme song for the drama Oyako Zigzag, in which Tsuyoshi Nagabuchi himself starred.

With its ultra-famous chorus—practically beyond words—and the explosive moment where he shouts the title, it’s a masterpiece with immense impact.

CheersNagabuchi Tsuyoshi

Kanpai is a song created for a friend’s wedding and released as the title track of the third album.

In addition to the original version, it became a signature piece supported by listeners across generations, thanks to its inclusion in elementary school music textbooks and the many cover versions by various artists.

It’s a heartwarming number that guarantees a rousing group sing-along at karaoke after events.

JunkoNagabuchi Tsuyoshi

“Junko,” a masterpiece that defined Tsuyoshi Nagabuchi’s early career, was released as a single in 1980 and became a huge hit, topping the Oricon charts for eight consecutive weeks.

The lyrics—an unbroken stream of a heartbroken man’s bitter lament—are both achingly lonely and somehow a bit comical, while the wistful melody showcases Nagabuchi’s exceptional talent as a singer-songwriter.

Though the melody has a folky vibe, the sound arrangement bounces with a funk-like flair.

It’s also a karaoke staple, so be sure to master it and get the crowd going!

The fiery soul and the roots of folk felt in Tsuyoshi Nagabuchi’s masterpieces (11–20)

CLOSE YOUR EYESNagabuchi Tsuyoshi

CLOSE YOUR EYES – Tsuyoshi Nagabuchi
CLOSE YOUR EYESNagabuchi Tsuyoshi

It’s the theme song of the film “YAMATO,” and a very warm piece.

If you listen while thinking of someone dear to you, I think the song will resonate with you even more.

With its gentle, quiet tone, it might help you relax and fall asleep if you listen before bed—together with Tsuyoshi’s kind words.

Soap bubbleNagabuchi Tsuyoshi

I think it has some similarities to “Tonbo,” but I might like this one more than “Tonbo” (lol).

I’m not really sure why, but this one just feels right, and when it gets to the chorus, I often find myself humming along.

Nagabuchi Tsuyoshi

Shingū Cemetery Commercial

This footage showing someone visiting a cemetery by motorcycle is an introductory commercial for Shingu Cemetery in Shingu Town, Fukuoka Prefecture.

Despite being only about 30 minutes from Fukuoka City, the video conveys that it’s a tranquil cemetery surrounded by nature.

And above all, the standout feature of this commercial is that Tsuyoshi Nagabuchi performs the CM song.

Unlike his usual wild vibe, his pure and straightforward singing voice leaves a strong impression.

bare faceNagabuchi Tsuyoshi

If you only know Tsuyoshi Nagabuchi as the passionate singer with a husky voice, you might be surprised when you hear a song like Sugao, where he sings beautiful melodies in a clear high tone.

It’s a track from his 1979 album Gyakuryū, which became his breakthrough in the early stages of his career.

The tune carries a folk-rock flavor steeped in a distinctly ’70s sense of melancholy.

And don’t forget to carefully read the lyrics, which are very characteristic of the ’70s: the perspective shifts from a woman in the first verse to a man in the second, giving it a diary-like, autobiographical narrative quality.