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[Songs from the Showa Era] Introducing classic tracks that are easy to sing at karaoke.
Have you ever wanted to sing classic Showa-era hits to match the mood of the moment? In fact, many songs from the Showa period have simple, easy-to-remember melodies and are comfortable to sing without straining your voice! In this article, we introduce a wide range of Showa songs that feel great to sing at karaoke.
From nostalgic favorites to timeless classics loved across generations, you’re sure to find a song that becomes your go-to number!
Songs from the Showa Era: Introducing easy-to-sing karaoke classics (1–10)
Blue Coral ReefMatsuda Seiko
An early signature song that instantly made Seiko-chan famous nationwide! It’s a classic uptempo summer idol track bursting with tropical vibes.
The overall vocal range is F3–D5, and as you’d expect from an idol song, the chorus stays in the high register.
Endurance is crucial, so it might feel tough if you’re not used to singing.
Since the song starts right off with the high chorus, the key is how well you can project there.
When I did vocal training, I said clearly, “If you can’t nail the opening, it’s going to be hard!” Breathe in, get your voice ready, time it right, and project it far.
Just that should make it much easier to sing.
A long nightMatsuyama Chiharu
A smash hit released in 1981.
One of Chiharu Matsuyama’s signature songs, this classic Showa-era ballad straightforwardly conveys the “ache of a man’s heart.” The overall vocal range spans D3 to D5, and it’s a song most people can handle if they sing the talk-like phrasing in the verses and release fully in the chorus for contrast.
However, since the chorus jumps up into higher notes, be careful not to strain your throat.
Like Matsuyama himself, keeping your eyebrows raised while singing makes the high notes much easier to hit—highly recommended! When you project your voice, don’t hesitate—use instant power and send it far.
Cheer up!Takeuchi Mariya
Released in 1984.
It’s well-known as a song provided to Hiroko Yakushimaru, and Mariya Takeuchi’s own self-cover is also popular.
The overall melody is simple and centered in the mid-range, making it a relatively accessible key for most people to sing.
Since the song starts on the “na” sound, it can be hard to come in casually, so preparing your voice is very important! Hum along from the intro as if you’re already singing, and then, the moment the melody begins, project your voice with a quick burst of energy.
If the opening note comes out cleanly, you can keep singing with that momentum.
In general, singing with stronger accents might suit the mood of the song well.
foreignerKUBOTA Saki
A massive hit that can’t be left out of the Showa-era kayōkyoku genre, it topped the Oricon weekly chart and ranked second for the year in 1980.
I’ve heard the title was originally “Shiroi Asa” (White Morning) and was changed to “Ihōjin” (Stranger) at the producer’s request.
The verse sits low and the chorus is high, but if you sing with a breathy, relaxed tone, you’ll capture the mood and hit the highs without strain.
Basically, focus on head resonance and keep it light.
It might work to add a spoken quality to the chorus.
The key is to avoid forcing and make good use of your breath!
Until we meet againOzaki Kiyohiko
A smash hit released on March 5, 1971.
When you think of Kiyohiko Ozaki, doesn’t this song come to mind? When singing it, if you focus on the resonance of the low notes in the verse (A-melody) and the sense of release in the chorus, it becomes a real crowd-pleaser and feels great to sing.
Kiyohiko Ozaki’s low register has a very deep resonance—what you might call an “ikebo” (a cool, attractive voice).
To produce this kind of sound, try to resonate the inside of your mouth fully and imagine the voice coming from your entire mouth; you’ll get a deeper tone.
Also, for high notes on the vowel “i,” keep the shape of your mouth the same and increase the speed of your breath.
Try to stay relaxed as you sing.