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
- Songs Women Want Men to Sing: Popular Karaoke Picks Chosen by Girls
- 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)
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!
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.
If I could become the winditō ginji
A defining song from Ginji Ito’s early solo career was released as a single in May 1977, serving as the lead single from the album Deadly Drive.
The lyrics were written by Ito himself together with Taeko Onuki, while Ito composed and arranged the music, with Ryuichi Sakamoto contributing the string arrangement.
Marked by a gentle melody and delicate arrangements, the track has an urbane pop atmosphere.
Influenced by West Coast sounds and city pop, it showcases Ito’s rich musicality and melodies that resonate with listeners.
Its intertwined themes of freedom and romance have also struck a chord with many.
Saravah!Takahashi Yukihiro
One of the singer-songwriters who epitomize Japan’s new wave, Yukihiro Takahashi.
In his later years, beyond being a singer-songwriter and drummer, he was also active as a fashion designer and actor.
One of his signature tracks is “Saravah!” Centered on an ennui-tinged melody, it’s an incredibly cool piece even just as a track.
To sing it in an even cooler way, avoid pushing your voice too hard and aim for a downbeat, subdued feel.
Looking to R&B-influenced artists like Fujii Kaze for reference could be helpful.
Sake, Tears, Men, and WomenKawashima Eigo
This is a socially conscious masterpiece that portrays the subtle miscommunications between men and women and the nuances of emotional expression with deep insight.
It warmly observes how men open up through drinking and women through tears, each revealing their inner feelings.
Born from impressions Eigo Kawashima had at age 18 during a family memorial gathering, the song was included on the November 1975 album “Jinrui” (Humanity) and released as a single in June 1976.
Also known as the jingle for the sake brand Kizakura, it became a major hit, reaching No.
9 on the Oricon weekly chart.
It is a gem I recommend to anyone who wants to face their heart honestly when confronted with life’s sorrow and poignancy.