Popular Showa-era pop. Timeless hit songs.
Even when we say “the Showa era” in a single breath, it actually spanned more than 60 years—a long stretch during which, just off the top of my head, countless classics were born: folk songs of the ’70s, Group Sounds, the New Music of the ’80s, and of course kayōkyoku (Japanese pop) as well.
In this feature, we’ll be introducing plenty of those nostalgic Showa pop songs!
For those who experienced the Showa era in real time, we hope this brings back memories from those days.
And for those born in or after the Heisei era, we’ve tried to curate a selection broad enough to let you savor the flavor of Showa.
The genres are admittedly all over the map, but that, too, was part of the charm of the Showa music scene, I believe.
Please enjoy this collection of captivating Showa-era classics!
Popular Showa-era pop songs. Timeless hits (1–10)
ChampionArisu
Alice’s biggest hit song, “Champion.” Musically, it’s an extremely important track.
At the time, Japan was in the midst of a folk boom.
In that context, when Alice—a duo emblematic of the folk scene—released this rock-tinged number, it rapidly boosted the recognition of folk rock in Japan.
Beyond that cultural contribution, the song itself is highly compelling, with fiery lyrics that could rouse the spirit of any man.
Until we meet againOzaki Kiyohiko
Kiyohiko Ozaki’s signature song, “Mata Au Hi Made” (“Until the Day We Meet Again”).
The song was originally written as a commercial jingle, but it was rejected in a competition.
Later, Tsukasa Murakami, thinking “it would be a waste not to release this song to the world,” asked Yu Aku to revise the lyrics.
After further changes, it was released as a song about parting that is bright and forward-looking, quite different from its initial form.
Though the song has such a complex background, I think you’ll understand why the lyrics were changed to something brighter and more positive when you hear Kiyohiko Ozaki’s voice.
Love is overŌyō Fifi
Ouyang Feifei’s classic “Love Is Over.” It’s a timeless hit cherished by a wide range of generations, from adults to younger listeners.
I’ve heard the song was created with the image of “a woman who finally runs out of patience with her younger, unemployed boyfriend,” but it doesn’t just depict her giving up—it beautifully conveys lingering attachment and affection as well.
Perhaps the charm of Showa-era songs lies in how they gently evoke such deep emotions without being too direct.
There are many cover versions too, so it can be fun to compare them with the original and enjoy the unique flavor of each.
Words of FarewellKaientai
A famous song known as one of Japan’s quintessential graduation tunes, “Okuru Kotoba.” It’s the signature track of the folk group Kaientai, fronted by Tetsuya Takeda.
Since it’s still occasionally used as a graduation song today, even younger people may know it.
But here’s the thing—while it’s now treated as a work depicting students’ graduation, it originally centered on a man who was dumped by a woman.
If you listen to it as a heartbreak song in its original sense, you might discover something new.
I look up as I walkSakamoto Kyu
A song that represents Japan: “Ue o Muite Arukō.” It’s Kyu Sakamoto’s signature piece.
The track was released in 1961.
At the time, Japan was in the midst of its period of rapid economic growth, and the whole country was brimming with energy.
However, such rapid growth brought problems as well.
In an era when many people were worn down by various social issues, this song likely brightened their hearts.
Its message is simple, but that’s precisely why it resonates.
Perhaps its stripped-down musicality is what makes it so communicative.
Forever with youKayama Yūzō
The singer Yuzo Kayama, affectionately known as “Wakadaisho,” never ceases to amaze us with his youthful looks and boundless energy.
When it comes to his classic songs, many people probably think of “Kimi to Itsumademo.” Released in 1965, the song was not only a major hit but also gave rise to one of Kayama’s most famous lines: “Man, I’m so happy.” It feels like, compared to today, the Showa era had more things like this—memorable elements beyond just the music itself.
Do whatever the hell you want.sawada kenji
The singer Kenji Sawada, affectionately known as “Julie,” was undoubtedly the embodiment of a “charismatic” icon in Japan at the time, and he produced numerous classic hits.
When it comes to his masterpieces, many people probably think of Kattēni Shiyagare (“Do Whatever You Want”).
The song was inspired by the French film of the same name, and you can sense that influence throughout the lyrics.
Its portrayal of a decidedly less-than-wholesome, adult romantic relationship between the characters is something you don’t often see in contemporary pop, is it?