Cool songs from the Showa era. Masterpieces from Showa that shine with sensuality, passion, and rugged charm.
The Showa era gave birth to a wide range of timeless hits.
With the global city pop boom and more, classic songs from the Showa era continue to attract attention today.
This time, we’ve handpicked especially cool tracks from among those Showa classics!
From the intense coolness of rock to the smooth coolness of city pop, we’ve selected standout songs from a variety of angles.
We’ve highlighted both male and female artists, so feel free to use this as a go-to list for karaoke as well!
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Cool songs from the Showa era: Classic hits from Showa where sensuality, passion, and rugged charm shine (21–30)
SHADOW CITYTerao Akira
Atsushi Terao continues to captivate us with performances brimming with intensity.
Whether in films, TV dramas, or even in brief supporting roles, he leaves an overwhelming presence that elevates every work.
Speaking of Terao’s music career, we remember countless Showa-era legends still talked about today, such as his record-setting consecutive No.
1s on The Best Ten with “Ruby no Yubiwa,” and having three songs simultaneously ranked in the top ten.
“SHADOW CITY,” Terao’s third single, is exceptional for a hit song in that the entire first verse has no lyrics and is sung in scat.
Its cool, composed melody evokes the sophistication of Showa-era adults—and it’s incredibly stylish.
It’s a Showa masterpiece that today’s young people should absolutely hear!
Close your eyes and come here.BARBEE BOYS
A blockbuster hit by BARBEE BOYS, a rock band known for the striking twin vocals of KONTA and Kyoko.
Comedians RG and Onishi Tsubaki often sing it on TV, so I think it’s well known even among younger people.
The title “Close Your Eyes and Come Here,” which sounds ordinary now, was unusual at the time.
The lyrics—something like “Forget your ex-boyfriend, close your eyes, and come to me”—were truly at the cutting edge of urban rock.
KONTA’s thin-toned soprano sax, which appears in several songs, is insanely cool, and Kyoko sensually swaying to that sound is just mesmerizing.
I bet many people feel their youth is packed into this one track.
Tears aren’t just for show.Nakamori Akina
Akina Nakamori debuted with “Shojo A” at 17.
Even allowing for the generational gap that makes it hard to compare a 17-year-old idol then with one now, her presence was exceptional.
The song considered a masterpiece that Yosui Inoue, the artist, poured his heart into for Nakamori is “Kazarijanai no yo Namida wa,” released in 1984.
This track arguably cemented her position as a “cool beauty idol,” the rightful successor to the lineage of Momoe Yamaguchi.
The powerful female image Nakamori projected—declaring that “a woman’s tears are not mere decoration” and overwhelming even men—reportedly grew her fanbase among women as well as men.
And that seemingly nonchalant gesture she makes in the intro is pitch-perfect, isn’t it?
AGAINHOUND DOG
LOVE is the album released in 1986 by HOUND DOG, led by Yasuhiko Otomo, whose powerful rock vocals are undeniably cool.
It came out after their 1985 classic ff and showcases a band sound with even greater stability and appeal.
Among the tracks, AGAIN—the eighth song—is a rock ballad that sings of a man’s lingering regrets and sentimentality.
It’s highly recommended for its prominent electric guitar tones and Otomo’s deeply resonant vocals, both of which you can fully savor.
A street corner where even lovers get wetNakamura Masatoshi
These days, Masatoshi Nakamura thrills us with his wonderfully understated, seasoned performances, but when he was younger he was brimming with hot-blooded energy.
He might have been like today’s Shuzo Matsuoka—a fiery presence.
Above all, his passionate performance in “Prime Minister of Yūhigaoka” left a strong impression! He was a hero of his time and truly cool.
Among the songs he put real effort into as a singer, his signature hit is “Koibito mo Nureru Machikado” (“A Street Corner Where Even Lovers Get Wet”).
The lyrics and music were by Keisuke Kuwata of Southern All Stars, and the lyrics—very Kuwata-like—expertly portray the idea that “any man can lose his way in love and suffer for it.” It’s a song you’ll want to listen to while reminiscing about the Showa era.
Shot In The DarkBOWWOW
A track from VOW WOW’s third album, “III,” by a Japanese HR/HM band that was active not only in Japan but also globally—especially in the UK.
It was released in 1986.
This was a time when HM/HR was in the spotlight alongside the LA metal boom, but bands like VOW WOW, where keyboards and guitar duel on equal footing, were very rare.
In the featured song “Shot in the Dark,” a thrilling performance unfolds, starting with a high-speed keyboard arpeggio intro.
Another highlight is Genki Hitomi’s powerfully un-Japanese vocal style!
Forbidden Rouge MagicImagawa Kiyoshiro + Sakamoto Ryuichi
A collaboration song by Kiyoshiro Imawano and Ryuichi Sakamoto, released in 1982.
Although it was produced as Shiseido’s spring campaign song, it went beyond a simple commercial track to become a captivating work in its own right.
The lyrics, which stress the importance of living freely without worrying about others’ eyes, resonated deeply with the youth of the time.
In the promotional video, the striking image of the two racing through the city at night and scattering bundles of cash stands out.
During a TV performance, the scene where Imawano kisses Sakamoto became a major talking point and brought a fresh breeze to the music scene.