A collection of iconic, cool Showa-era kayōkyoku classics sung by male vocalists
Even now, well past the 2020s, classic Showa-era hits continue to draw attention not only in Japan but also from music fans and artists abroad.
As famous singers cover 80s city pop and quote it in their own songs, many younger music fans are finding themselves wanting to learn more about Showa-era pop.
In this article, we’ve compiled songs under the theme of “cool Showa-era tunes sung by men” from among the countless masterpieces of Showa kayo.
From sleek, urban tracks and rock numbers to mellow ballads, enjoy a wide range of “cool” Showa-era songs!
- Cool songs from the Showa era. Masterpieces from Showa that shine with sensuality, passion, and rugged charm.
- Showa-era kayōkyoku: hit songs by male singers, classic masterpieces of Japanese popular music.
- [Songs from the Showa Era] Introducing classic tracks that are easy to sing at karaoke.
- Heart-touching, tear-jerking masterpieces from the Showa era
- Showa-era nostalgic songs: Popular ranking
- Karaoke songs popular with women that they want men to sing
- Popular Showa-era pop. Timeless hit songs.
- Karaoke songs you’ll want to sing for men in their 70s: Enka and nostalgic Showa-era pop
- [Karaoke] Recommended Songs for Men in Their 80s: A Collection of Showa-Era Classics You’ll Want to Belt Out
- [Classic Showa Kayō Hits] The captivating Showa-era pop songs beloved even by younger generations
- [For Men] Cool, Popular Songs That Impress at Karaoke
- [For Beginners] Recommended Enka Masterpieces for Karaoke — Male Singers Edition
- Timeless classics only! Showa-era hit songs perfect for acoustic sing-alongs
Compilation of Cool Showa-Era Kayōkyoku Classics Sung by Male Vocalists (21–30)
Good luckNoguchi Goro
Goro Noguchi is a singer from Gifu Prefecture.
His song “Good Luck,” released in 1978 (Showa 53), is an enka-pop tune with a charmingly sweet atmosphere.
It opens with an intro where urban-tinged guitar, bass, and synthesizer phrases interlace, and Noguchi’s refined vocal delivery gives it an even more modern feel.
Although it’s a song from the ’70s, it has a stylish quality that also connects to today’s J-pop.
The performance by the band is full of thoughtful details—like the guitar phrase that comes in from the right channel in the second verse’s A-melody—making this track especially rewarding to listen to.
City DolphinHamada Kingo
An artist known for his sweet vocals, Kingo Hamada.
He was active in the 80s, but has come back into the spotlight thanks to the recent city pop boom.
Among his works, a song I especially recommend is “Machi no Dolphin” (“Dolphin in the City”).
It’s a track marked by a bouncy bass and a smooth melodic line.
If you want to make it sound cool, don’t push the key too high—sing it lightly and effortlessly.
Give it a try.
Unstoppable ha~haYazawa Eikichi
Eikichi Yazawa, the king of Japan’s rock scene.
His incredible vibes are overwhelmingly powerful even among rock singers across generations, and he’s still gaining new fans today.
Among his works, a song that’s especially cool for men to sing is “Tomaranai Ha~Ha.” It’s a well-known classic by Eikichi Yazawa.
Making this song sound cool is easy: just crank up the vibes and sing with fiery masculinity.
If you lean fully into that gritty, earthy feel, anyone can end up sounding cool—it’s a fantastic piece.
Shot by a TIME showerKubota Toshinobu
Toshinobu Kubota’s “Time Shower ni Utarete” is a track released in 1986 that, for its time, boldly incorporated many elements of soul and funk.
Its appeal lies in how its sound anticipated the R&B boom that would later spread, led by artists like Hikaru Utada.
The slightly laid-back vocal delivery also differed from conventional kayōkyoku, evoking the polished feel of Western R&B.
It’s remarkable that such a forward-thinking genre was emerging in the mainstream during that era!
Azusa No. 2karyūdō
This is a signature song by a male duo from the Showa era.
I love folk songs from this period! In “Azusa No.
2,” the A and B sections are relatively quiet, but once the chorus hits and the harmonies come in, it suddenly soars! It’s incredibly cool and feels so good to sing! The harmony is basically a third below, but since the main melody’s chorus sits around G4 and has that belting quality, the harmony should come in firmly so it doesn’t get overshadowed.
When entering the chorus, listen carefully to the backing track and breathe together so you both come in at the same time! The unison at the end of the chorus after all that harmonizing is wonderful, too.
It might be a somewhat wistful song, but when the harmonies lock in, it’ll give you goosebumps—so definitely find a partner and give it a try!
No End SummerKadamatsu Toshiki
No End Summer, sung by Toshiki Kadomatsu, is captivating with its chord progression that feels quintessentially Showa-era kayokyoku.
Compared to conventional kayokyoku, this track is arranged with a dance-music sensibility, elevating it to a more urban atmosphere.
In particular, after a major break in the C section, an aching melody with English lyrics comes in, instantly tugging at your heartstrings.
The use of brass instruments like the saxophone is also highly effective, resulting in a beautiful arrangement that would fit right into contemporary music.
Mary Janetsunoda☆hiro
This is one of Hiro Tsunoda’s signature songs, depicting someone looking back on and mourning an unforgettable beloved.
The gentle, soulful sound strongly underscores the song’s lyrical worldview and the power of the vocals.
Since the title “Mary Jane” is sung powerfully right at the beginning, how compellingly you deliver that part is a crucial point for drawing listeners in.
Sing while vividly envisioning that unforgettable love, and cherish the mood and airy floating feel of the sound.
