Masayuki Suzuki’s greatest and most popular songs
Let me introduce some songs by singer Masayuki Suzuki—also known as Martin—who previously found success as part of Rats & Star.
Masayuki Suzuki is famous for classics like “Koibito,” and his greatest appeal is undoubtedly his overwhelming vocal ability.
He has a captivating power that makes you want to stop and listen closely.
It seems he was quite the delinquent in his school days, and he’s said to have been friends since high school with Masashi Tashiro, who was also a delinquent.
Who could have imagined that the two of them would one day become nationally beloved singers?
Now then, please enjoy the music of Masayuki Suzuki, one of Japan’s leading singers.
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Masayuki Suzuki’s Greatest and Most Popular Songs (41–50)
5 o’clock in ShibuyaSuzuki Masayuki
It’s a duet with Momoko Kikuchi.
It still seems to be popular as a standard duet number even today.
I saw it on a concert program or something, and it seems Masayuki Suzuki fell in love with Kikuchi’s voice and made the offer.
Kikuchi initially declined, saying their singing abilities were too different, but he insisted, and she said she accepted, feeling humbled.
I think Suzuki’s deep voice and Kikuchi’s beautiful soprano match perfectly.
No creditsSuzuki Masayuki
Don’t miss “No credits,” a song about a romantic night.
It’s one of the tracks included on the album Tokyo Junction.
Believe it or not, ASKA handled both the lyrics and the composition.
The strongly accented vocal style characteristic of ASKA meshes perfectly with Masayuki Suzuki’s voice.
When you sing it, try to articulate more clearly than with other songs.
That said, the rhythm itself is steady, so I think you’ll find it easy to sing.
Lipstick on a T-shirtSuzuki Masayuki
When you have a big crowd, many people probably prefer to include well-known songs.
With that in mind, let me introduce the classic “T-Shirt ni Kuchibeni.” It was released as Rats & Star’s second single, and Masayuki Suzuki later covered it as a solo artist.
It’s a bittersweet love ballad, but the choral backing keeps it from getting too melancholy.
It’s also great for livening up the mood when you want to energize the room! The key is on the lower side, so even those who struggle with high notes should be fine.
sighSuzuki Masayuki
Masayuki Suzuki’s fifth album, FAIR AFFAIR, features “Sigh” as its fourth track.
It’s a song that portrays a steamy, grown-up romance and the intertwined emotions of love and hate.
The melody blends pop with blues, giving it a sensual feel.
Overall, it’s quite slow-tempo, which makes it easier to incorporate technique and creative arrangements.
Also, be mindful of the striking ending of the song as you practice.
GuiltySuzuki Masayuki
This is a production by the married duo of Mariya Takeuchi (lyrics) and Tatsuro Yamashita (music).
The theme is, surprisingly, an affair.
Masayuki Suzuki delivers a powerful performance of this forbidden adult romance.
It’s a song that makes you feel as if you’re watching a scene from a drama.
Its erotic atmosphere is also part of the appeal.
City of FarewellsSuzuki Masayuki
Wakare no Machi (City of Parting), sung by Masayuki Suzuki, who also made his mark as a member of Rats & Star, was released in 1989 as his seventh single.
It’s a heartrending love song depicting a couple who break up after the woman falls for someone else.
The line about both their beginning and their end being in this town is just devastating.
The man’s feelings—still being in love despite everything—cut painfully deep.
The wistful melody further doubles the sadness.
A must-listen for anyone who has been through this kind of experience—or is going through it now.
Bottomless SeaSuzuki Masayuki
If you’re looking to hype things up with an up-tempo track, “Bottomless Sea” is also a great pick.
It’s a song included on the album “She・See・Sea.” The lyrics compare love to the sea, but instead of praising it as something purely wonderful, they also portray its darker side.
Reflecting this duality, the vocals are crafted with sharp contrasts in intensity.
When you sing it, focus on emphasizing the differences between the quiet parts and the intense parts.