![Kohji Yoshikawa Popular Songs Ranking [2026]](https://i.ytimg.com/vi_webp/flsWQTKEnJk/maxresdefault.webp)
Kohji Yoshikawa Popular Songs Ranking [2026]
He debuted in 1984 with “Monica,” and while working for many years as a singer, he also steadily gained popularity as an actor.
Here, we’ll introduce the most popular songs by Koji Kikkawa—beloved by a wide range of generations—in a ranking format.
Kōji Kikkawa’s Most Popular Songs Ranking [2026] (1–10)
MonicaYoshikawa Koji1rank/position
People around 60 to 63 are the generation that experienced the peak of the second band boom.
Since the band craze continued through acts like COMPLEX and BOØWY, those who have kept following rock have probably listened to Koji Kikkawa’s songs a lot.
One track I recommend is Monica.
Its vocal range is slightly on the high side at about mid1 D to hi A#, but since notes around mid2 C to mid2 D appear frequently, you won’t really feel a wide range is required.
The pitch movement is also relatively gentle, making it very easy to sing.
It’s a song that can get people in their 50s excited too, so definitely add it to your repertoire.
Brain SUGARYoshikawa Koji2rank/position
It was released in 1992 as Koji Kikkawa’s 16th single.
The song was a single cut from the 1992 album “Shyness Overdrive,” and it was used in a Kanebo “NFL” commercial.
The lyrics were written by Goro Matsui, and the music was composed by Koji Kikkawa.
I can hear the RAIN-DANCEYoshikawa Koji3rank/position
Koji Kikkawa, who is still active today, made a sensational debut at the time as a masculine rocker like no one before.
His style, singing, and songs captivated not only many women but also men.
It’s said that the height to which he lifts his leg during dance moves in his live shows hasn’t diminished even now.
“Goodbye is an August lullaby.”Yoshikawa Koji4rank/position
A song that vividly captures the end of a summer in the ’80s, where a sense of exhilaration and bittersweet emotion coexist.
It’s one of Koji Kikkawa’s early hit singles, released in June 1984, and is also known for peaking at No.
6 on the Oricon weekly chart.
The charm of this track lies, above all, in its soundscape that conjures up images of racing along a seaside road at summer’s end, paired with lyrics that tighten around the heart.
It portrays a protagonist on the verge of parting, putting on a brave face while still caring for the other person—stirring the listener’s emotions.
The use of synthesizers and an effect that mimics the sound of shattering glass is striking, bringing a fresh breeze to the music scene of the time.
Also featured on the album LA VIE EN ROSE, this gem is perfect for those who want to sink into reflection as summer fades or lose themselves in a poignant melody.
I want to be shot by KISS and fall asleep.Yoshikawa Koji5rank/position
If you’re looking for a song that will get everyone hyped at karaoke, Kōji Kikkawa’s track is perfect.
Released in February 1993, this song was his 17th single, created to celebrate the 10th anniversary of his debut.
With its cool sound arrangement and passionate lyrics, it’s ideal for blowing off steam from work or home—belt it out and you’ll feel refreshed! It’s also a great pick when you want to get pumped up with friends of the same generation.
Virgin MoonYoshikawa Koji6rank/position
I’m captivated by its shadowy atmosphere! This track by musician Koji Kikkawa—who’s been at the forefront of the Japanese music scene since his 1984 debut—was released in 1991 as his 13th single.
The crisp, sharp vocal delivery and the slightly mysterious tone of the song intertwine in a way that sticks in your ears.
The lyrics, rich in fantasy elements themed around a werewolf, are also striking.
It makes you think, “No one could pull off a song like this except Kikkawa.” Turn up the volume and give it a listen.
VENUS ~The Future of the Lost Child~Yoshikawa Koji7rank/position
“VENUS ~The Future of a Lost Child~” is the 18th single by Koji Kikkawa, released in 1993.
The ‘VENUS’ in the song refers to a woman he once loved.
The lyrics recount memories with her—content that could be read as lingering attachment—but the song’s tone spares it from feeling that way.