Kaori Kozai Popular Song Rankings [2026]

dollKouzai Kaori22rank/position

Omocha

Among Kaori Kozai’s hidden gems, the song “Ningyo” (Doll) enjoys enduring popularity among fans.

Rooted in Showa-era pop, it’s distinguished by its incredibly sultry vocals.

It begins quietly with a gentle, intimate vocal line, then surges in the chorus.

Rather than classic, old-school Showa kayō, the composition is closer to works by Takao Kisugi or Koji Tamaki, featuring an alluring yet leisurely undulating melody line.

Consider adding it to your repertoire.

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Kurashiki, alone in the rainKouzai Kaori23rank/position

Kurashiki Alone in the Rain – Kaori Kozai – Local Song Okayama, Volume 5

Set against a rainy backdrop reminiscent of Kurashiki’s Bikan Historical Quarter, this piece portrays the aching heart of a woman as sung by Kaori Kozai.

It poignantly narrates the image of a woman who keeps waiting in the rain for someone whose arrival is uncertain, intertwining her longing with the concrete place name of Kurashiki.

The song was included in March 2008 as the B-side to the single “Kazekoi Uta.” With its relaxed tempo, it’s easy to sing; those who can delicately convey breathy nuances will be able to savor the world of this work even more deeply.

Nambu Tawatsumi UtaKouzai Kaori24rank/position

Kaori Kozai’s Acoustic Singing: Nanbu Tawatsumi Uta Edition

Enka singer Kaori Kozai performs a traditional celebratory song handed down in Aomori Prefecture with a modern approach.

Originally a folk song performed as a door-to-door New Year’s entertainment—visiting homes alongside the Seven Lucky Gods, stacking rice bales as a trick while offering blessings—Kozai elevates the piece into her own unique sound world by infusing it with jazz and funk flavors.

The dynamic vocals, where traditional melodic turns merge with the expressive power of enka, are especially compelling.

The rustic vigor inherent in folk music is beautifully balanced with sophisticated arrangements, so if you’re interested in Japanese traditional music, be sure to give it a listen.

Nanbu Tawatsumi Uta (Jazz ver.)Kouzai Kaori25rank/position

Kaori Kozai – Nanbu Tawara-tsumi Uta

Nambu Tawaratsumi-uta is a type of Daidō-gei, in which performers go from house to house, visit gateways and guest rooms, present dances, and receive money or goods.

A jazz-mix performance by Kaori Kozai, who is also highly acclaimed as a folk song singer, offers a glimpse into a new side of minyo (Japanese folk music).

Love RegretKouzai Kaori26rank/position

Koimachibito

Kaori Kozai often uses a vocal technique called the hiccup style.

This technique involves briefly flipping the voice, and she frequently uses it to add kobushi-like ornamentation.

A classic song that makes extensive use of this distinctive kobushi is “Koi Miren.” Once you get used to hiccups, executing this kind of ornamentation is easy, and this piece also features a vocal line with gentle rises and falls in pitch.

Therefore, if you’re accustomed to the hiccup technique, you should be able to sing it without any trouble.

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Love BoatKouzai Kaori27rank/position

Koifune

It beautifully depicts the helpless yearning of a woman who can do nothing but stand before the river of fate with no boat to cross.

The ache of not being able to meet the one she longs for, and the way a forgotten lipstick revives memories of love, seem to be conveyed with searing clarity through Kaori Kozai’s rich, sultry voice.

Released as a single in May 1990, the song is a work by the golden duo of lyricist Ryuichi Satomura and composer Yuh Hijirikawa.

This piece became a cornerstone that led to her first appearance on the Kōhaku Uta Gassen with the 1991 smash hit “Ruren-sō,” making it a pivotal track from the early stage of her career.

When your heart aches from an unforgettable love, this song will gently stay by your side.

Love Town ShowerKouzai Kaori28rank/position

Kaori Kozai – “Koimachi Shigure”

Ko-zai Kaori’s masterpiece “Koimachi Shigure” is notable for its heartwarming melody and bittersweet romance.

Released in her later years, the song features vocals that emphasize emotion and expression rather than showcasing technique.

As a result, the kobushi—often a challenging aspect of enka—is relatively easy here, mostly condensed into turns that shift by just a single scale degree.

The Kawachi-ondo-style kobushi at the end of the chorus should pose no problem for those who have mastered the hiccup technique.

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