[Classic Showa Kayō Hits] The captivating Showa-era pop songs beloved even by younger generations
Nowadays, thanks to the internet, vinyl records, and other avenues, Showa-era pop songs have become popular with younger generations.
Here are some classic Showa hits that are especially loved by today’s youth!
We’re highlighting timeless songs that have been sung for decades, tracks that saw revival hits, and—city pop included—songs that are gaining fresh momentum by going viral on TikTok.
Many of these tracks are danceable, but part of the charm of Showa pop is how beautifully it lets you relax and sink into the music.
Let’s focus on that unique appeal of Showa-era pop.
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[Masterpieces of Showa Kayō] Captivating Showa-era pop songs loved by younger generations (21–30)
Surely more than anyone else in the worldNagayama Miho
Released in 1992, this duet by Miho Nakayama and WANDS gained attention as the theme song for the Fuji TV drama “Dareka ga Kanojo o Aishiteru” (“Someone Loves Her”).
Their sweet yet heartrending vocals leave a strong impression, and the love story—beginning with imagery that evokes the end of summer—strikes a chord.
Its message of a fateful reunion and the resolve to keep dreaming with a passion hotter than anyone’s blends perfectly with the drama’s narrative.
The song was also a commercial success, topping the Oricon weekly singles chart and selling over one million copies within just 20 days of its release.
Even now, thanks to frequent use on television and numerous artist covers, it remains widely recognized across generations.
Highly recommended for those who want to resonate with powerful feelings for a loved one and the pure determination to pursue one’s ideals.
pale blue rainYagami Junko
A 1978 track by Junko Yagami.
Like works by Tatsuro Yamashita and Mariya Takeuchi, it was remixed by Night Tempo, a Korean DJ and producer, and picked up momentum online.
It remains one of those kayōkyoku songs that vaporwave and future bass creators are eager to remix.
That said, the original already delivers a thick, danceable rhythm and low end robust enough to hold its own on the dance floor.
Music from this era really shines on big speakers, so if possible, I’d love to spin the vinyl in a club.
[Classic Showa Kayō Hits] Captivating Showa-era pop songs loved by younger generations (31–40)
Cotton HandkerchiefŌta Hiromi
This song is one of the most talked-about tracks in the current city pop boom.
It seems its popularity was reignited in Japan in a kind of reimported way after Korean DJ Night Tempo—often cited as one of the catalysts of the boom—started playing it in clubs.
The lyrics, depicting a boyfriend setting off for the city and the girlfriend seeing him off from the countryside, are beautifully crafted.
Their feelings are expressed like an exchange of letters between a man and a woman, and the bittersweet emotions of pure young people resonate across generations.
With lyrics by Takashi Matsumoto and composition by Kyohei Tsutsumi, this is a monumental masterpiece from a golden duo of Japanese pop.
Kanda Riverkaguya hime
Kaguyahime is a folk band centered around Kousetsu Minami, known as a folk singer.
Their fifth single from the group’s second era, Kanda-gawa, became a massive hit, selling 1.6 million copies, and is recognized as one of Kaguyahime’s signature songs.
The poignant lyrics, written by Tadashi Kitajo and based on memories from his student days, convey such vivid, realistic scenes that they can leave your chest tight with emotion.
Thanks in part to numerous covers by many musicians, it’s a classic Showa-era song that almost everyone has heard at least once.
Until we meet againOzaki Kiyohiko
A signature song by Kiyohiko Ozaki, who took Japan by storm at the time with his overwhelming vocal prowess and strikingly deep, handsome features uncommon among Japanese artists.
It was released in 1971 as his second solo single.
With lyrics by Yuu Aku and music by Kyohei Tsutsumi—both iconic creators of the Showa era—the song is a grand kayōkyoku ballad about love and parting.
It’s not that they’ve fallen out of love; the two choose to part ways to move on to the next stage.
Though bittersweet, they face forward and walk toward hope—lyrics that resonate across generations.
EnchantedJudi Ongu
Some people have probably heard the striking intro or chorus on TV and elsewhere.
It’s a classic that was even performed on NHK’s Kōhaku Uta Gassen, and the choreography where Judy Ong spreads her dress while singing the chorus became a huge talking point.
The exotic mood of the song is inspired by the Aegean Sea, and the word “Aegean” even appears in the chorus.
It’s different from today’s J-pop, yet it’s also a highly distinctive work within Shōwa-era kayōkyoku.
In 2011, Saori Yuki’s “Yoake no Scat” took the top spot on the iTunes chart, and riding that momentum, ballads by artists like Ouyang Fei Fei and Judy Ong began to attract renewed attention.
Message of RougeMatsutoya Yumi
This is a song distinguished by its lively rhythm and refreshing melody.
The story of a woman who discovers her boyfriend’s infidelity, leaves a message written in lipstick on the bathroom mirror, and boards a train to visit his mother is bold and humorous, making it especially appealing.
While it carries a cautionary message about cheating, it also presents a positive, strong female figure—one of Yumi Matsutoya’s masterpieces.
Released in February 1975 and included on the album COBALT HOUR, the track features chorus contributions from Tatsuro Yamashita and others, resulting in a vibrant sound.
In 1989, it was chosen as the opening theme for the film Kiki’s Delivery Service, and it has continued to be loved across generations.
With its bright and cheerful tone expressing powerful feelings toward a lover, this song gently encourages women struggling with romance and is highly recommended to many listeners.