Hit songs in Japan in the late 1960s
When we think of Japan in the late 1960s, we picture an extremely vibrant era: the country had entered the period of rapid economic growth later dubbed the “Izanagi Boom,” and Expo ’70 was held in Osaka.
Musically, it was also a time when waves like the electric guitar craze, the Group Sounds boom, and the folk song boom produced numerous works that left a lasting imprint on listeners and powerfully influenced Japan’s music scene for years to come.
In this special feature, we present famous songs from Japan’s late-Showa 40s era (the 1965–1974 period).
We’ve tried to select as wide a range as possible so that both those who experienced the time in real time and those of later generations can enjoy it.
We hope you enjoy it.
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Hit songs in Japan from the Showa 40s (31–40)
Blind BirdZa Moppusu
This is the debut work released in November 1967 by The Mops, known as pioneers of the psychedelic movement during the tumultuous 1960s.
Its innovative arrangement—melding heavy guitar riffs with a dreamlike sound—shocked Japan’s music scene at the time.
Drawing attention for performances featuring outlandish costumes and light shows, this piece was also included on the album “Psychedelic Sound in Japan,” spawning numerous legends.
With the April 2014 release of the complete edition “Psychedelic Sound in Japan +2,” it became available on CD, prompting a renewed appreciation of its innovation.
It’s a must-listen for those who want to explore new musical possibilities or who are interested in the history of Japanese rock.
Ha-ha-haZa Rindo & Rindāzu
A lively pop tune by The Linds & Linders, released in August 1968, carried by a snappy rhythm and bright melody.
As one of the Kansai region’s representative Group Sounds acts, the song was featured in a popular TV commercial for Nobel Confectionery’s “Amand Kiss,” boosting its recognition even in the Tokyo metropolitan area.
As a signature number from a leading Kansai GS group, the single’s B-side includes the lyrical ballad “Four Days’ Love.” This track was later included in the January 2000 album “The Linds & Linders Meets The Youngers: Complete Singles,” winning over a new generation of fans.
Recommended for those who want to feel the spirit of the Group Sounds heyday or bask in the nostalgia of their youth.
Let’s go, Shake!Terauchi Takeshi & Banīzu
A happy tune from March 1967 that weaves together a seaside coming-of-age romance and the explosive sound of electric guitar.
A classic that epitomizes the golden era of Group Sounds, it won fervent support in dance halls and go-go clubs, symbols of youth culture.
Known as a signature work by Takeshi Terauchi and the Bunnys, it was included on the album “Let’s Go ‘Fate’” and won the Arrangement Award at the 9th Japan Record Awards.
The energetic sound born from Terauchi’s exceptional guitar technique and the band’s tight cohesion makes this a gem that conveys the essence of surf rock.
Highly recommended for anyone who wants to relive the radiance of youth or explore the history of Japanese rock.
No-No BoyZa Supaidāsu
This song fuses sophisticated chord progressions influenced by the British beat with a soul-stirring rock ’n’ roll sound.
The musical style crafted by Hiroshi Kamayatsu opened up new possibilities for Japan’s rock scene at the time.
Released as a single by Philips Records in February 1966, it was also featured in the Nikkatsu film Youth A-Go-Go that same year.
With catchy, love-themed phrases repeated throughout, it leaves a deep impression on listeners.
Boasting an innovative melody line and a stylish vibe, this track is recommended for those who want to relive the bittersweet memories of their youth, as well as music fans eager to savor a classic that represents the golden era of Japanese rock.
Please, God!Za Tenputāzu
A youthful prayer, staking sweet feelings on God, resounds alongside a heartfelt longing for love.
The Tempters’ passionate message is vividly colored by Kenichi Hagiwara’s husky voice and the band’s unified performance.
Released in March 1968, the song reached No.
2 on the Oricon chart and was also used in a Kanebo cosmetics commercial.
Its sound, infused with blues and R&B elements, continues to shine as a symbol of the golden age of Group Sounds.
This classic, which gently embraces the hearts of youth troubled by love, is perfect for moments when you want to be honest with your pure feelings or reaffirm your thoughts for someone special.
Examinee BluesTakaishi Tomoya
This was Tomoya Takaishi’s third single overall, released in February 1968 (Showa 43).
By the way, although the word “blues” appears in the title, there aren’t any blues elements in the melody or arrangement at all (lol).
If anything, it has more of a country/western-style arrangement.
Within the slightly comical lyrics, the worries and hardships of exam-takers are expressed brilliantly, reminding us that students preparing for entrance exams have always had it tough, then and now.
I imagine many current teenagers studying for exams will relate to these lyrics, too.
It’s another classic from the Showa era that you can enjoy on a purely instinctive level, no explanations needed!
My Blue BirdSakurada Junko
This was Junko Sakurada’s third single, released in August 1973 (Showa 48).
With this song, Sakurada won the two major titles of the time—the Best New Artist Award at the 15th Japan Record Awards and the Broadcast Music New Artist Award at the 4th Japan Kayō Awards—as well as sweeping the new artist prizes at various music awards that year! It truly stands as a monument of Showa-era idol pop.
The lyrics, which seem to imitate the chirping of a bluebird, are also striking.
Sakurada was still in her teens when this song came out, but having this level of vocal ability at that age is pretty remarkable, isn’t it? It’s a track that really showcases the high caliber of Showa-era idol singers.
teacherMori Masako
This was Masako Mori’s debut single, released in July 1972 (Showa 47).
While on the Oricon hit chart, it sold 514,000 copies, and it is said to be her biggest hit.
At the time, Masako Mori was often grouped with Momoe Yamaguchi and Junko Sakurada as the “Hana no Chūsān Trio,” but I’m a bit surprised at how superbly she performs this heartrending melody, incorporating many enka-like elements.
Truly a classic of the Showa era!
In conclusion
So, how did you like the selection of classic and hit songs from the late 1960s we’ve introduced so far? As I mentioned at the beginning of the article, this era produced numerous masterpieces and hits that remain in the history of Japanese music, and many of those classics have since been covered by later artists. The term “J-POP” didn’t even exist yet—in a sense, it was the dawn of Japan’s commercial music scene. Perhaps precisely because it was such a chaotic time, I feel that even more “timeless masterpieces” were born. There are still many songs we haven’t had the chance to feature, but we’ll continue to expand and refine our selection, so please stay tuned.