Fuyumi Sakamoto Popular Song Ranking [2026]

In a dreamSakamoto Fuyumi29rank/position

In a Dream / Fuyumi Sakamoto / Hideyang Cover

In 1995, she released two singles: Uzushio, released on June 7 (peaked at No.

30, 61,000 copies sold), and this song, released on December 13.

It’s a cover of a song by Kiyoshi Kobayashi.

The original was the theme song for a period drama, but she interpreted Kobayashi’s world of masculine melancholy in her own way.

It feels like she was challenging herself with various styles of music around this time.

It peaked at No.

67 and sold 22,000 copies.

ambition (aspiration)Sakamoto Fuyumi30rank/position

Great Ambition (Kokorozashi) Fuyumi Sakamoto COVER

Released on March 5, 1997 (Heisei 9).

It’s written as “Taishi” but read “Kokorozashi” (meaning ambition).

Perhaps it was the forerunner of the life-encouragement songs that followed.

Over the past two or three years, there seemed to be some trial and error with collaborations with other music, but this one is classic enka.

Maybe because she returned to a style of taking a full year to sing a song carefully, it peaked at No.

44 and sold 140,000 copies, becoming a hit approaching the level of “Yozakura Oshichi” from three years earlier.

A woman, embraced, becomes an ayu (sweetfish).Sakamoto Fuyumi31rank/position

Fuyumi Sakamoto – A Woman Becomes an Ayu When Embraced

It was released in 2016 as Fuyumi Sakamoto’s 45th single.

It was selected as the theme song for the TBS drama “The Man with the God Tongue” starring Osamu Mukai, and in the final episode, Fuyumi Sakamoto herself appeared in a scene singing and dancing to the theme song together with the Hanayanagi Ito no Shachu troupe.

sistersSakamoto Fuyumi32rank/position

Sisters / Fuyumi Sakamoto / Relaxing Music

This is a song released in 1993 by enka singer Fuyumi Sakamoto, known for “Mata Kimi ni Koishiteru” and “Yozakura Oshichi.” The song portrays an older sister quietly standing by her younger sister, who has left home after a painful love affair.

The older sister went through a similarly difficult love once and was scolded by her sister at the time, but when the younger sister does the same, she gently gives her a push forward.

She also urges her sister to at least let her know she’s safe.

It’s a song that makes you deeply feel the significance of having an older sister.

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sasashina

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Love is like a prayer.Sakamoto Fuyumi33rank/position

Fuyumi Sakamoto – Love Is Like a Prayer (Orchestra Version)

This is a song released in 2013 as Billy BanBan’s 33rd single.

While Billy BanBan’s original version was featured in iichiko commercials such as the “Texas Cowboys” and “Northern Lights” editions, Fuyumi Sakamoto’s cover has also been used multiple times, beginning with the Hita Zenkōji commercial “Hita/Taio Kinzan Edition.” The lyrics explore what love is and express feelings toward a beloved person, making it a song that grows more powerful and moving the more you listen to it.

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Hane Keisuke

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Migratory Birds of HarimaSakamoto Fuyumi34rank/position

Harima No Wataridori

A travel-tinged song by Fuyumi Sakamoto.

Released in September 2004, it’s set in the Harima region of Hyogo and portrays the lonely feelings of a protagonist who wanders like a migratory bird after leaving their hometown—truly heart-wrenching.

Sakamoto’s powerful voice and intricate vocal inflections, honed through rokyoku narrative singing, deepen the poignancy of the story’s world.

Its popularity is evident from her performance of the song at that year’s NHK Kouhaku Uta Gassen.

Why not immerse yourself in the scenery of Harima and sing it as if you were the protagonist?

Like cherry blossomsSakamoto Fuyumi35rank/position

Fuyumi Sakamoto – Like Cherry Blossoms

With its warm, lively melody and lyrics, “Sakura no Gotoku” is a fan favorite.

Released to commemorate the 25th anniversary of their debut, the single is crafted less as a showcase of virtuosity and more as an approachable enka number.

The kobushi (melodic ornamentation) is relatively easy, it’s rare to repeatedly move the pitch up and down on the same vowel, and there aren’t many particularly forceful sections.

However, there is a shout-like, raspy vocal delivery at the end of the chorus, so that part requires caution.

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Ryo

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