A little spooky, a little smoky, and oh so smooth.

Dive into the jazzy, progressive world of City Pop and soak in the midnight ​vibes of Tokyo's backstreets.

This mid-tempo, groovy City Pop mix will transport you into the ​midnight backstreets of Tokyo.

From deep and dope to smooth and mellow, this is a City Pop ​mix unlike anything you've heard before.

"Matsuribayashi ga Kikoeru" serves as the original soundtrack to the 1977 ​drama of the same name, starring Kenichi Hagiwara (Shoken).

The album features two main themes, Dream Racer and Stranger, ​showcased in a variety of arrangements. The music was composed and ​arranged by Katsuo Ōno, renowned for his work with The Spiders, PYG, and ​the Inoue Takayuki Band, as well as his extensive work on Taiyo ni Hoero! ​and numerous other projects.

Performing on the soundtrack is Nadja Band, well-known as Shoken’s ​backing band. The highlight of the album is the soulful, mellow groove of ​the vocal track Matsuribayashi ga Kikoeru, featuring the powerful voice of ​George Yanagi, standing as a pinnacle of Japanese blues rock.

Kyozo Nishioka follows up his previous album Machi Yuki Murayuki with Rock-​a-Bye My Baby, his third solo album from 1975, once again under the full ​production of Haruomi Hosono.

With contributions from Shigeru Suzuki & Huckleback—with Hiroshi Sato among ​its members—alongside artists like Nagao Ishida and Mari Kaneko, the album ​delivers a laid-back yet funky groove, deeply infused with the influences of ​Shigeru Suzuki’s time in the U.S.

The standout track, Funky Doll, perfectly embodies this sound, offering a funky, ​relaxed performance that remains a fan favorite. A must-have deep and ​psychedelic cut for any DJ!

The Formation and Rise of Piranha Gundan

Formed in 1975 by actors affiliated with Toei, Piranha Gundan was a group of ​tough, scene-stealing character actors who made a name for themselves playing ​villains, henchmen, and expendable fighters in films and TV dramas. What started ​as a casual drinking club among these “bit players” was christened the "Piranha ​Club" by actor Katsumi Shiga, who dreamed that one day they would devour the ​lead roles. The group later became an official entity when producer Sadao ​Nakajima and actor Tsunehiko Watase took the initiative to establish Piranha ​Gundan.

Their big break came in October 1975 when Takuzō Kawatani and Hideo Murota ​appeared in the NTV drama Zenryaku Ofukuro-sama. As their performances ​gained attention, other Piranha Gundan members also started receiving ​recognition. The momentum continued into 1976, with core members Nenji ​Kobayashi, Ryūji Katagiri, and Katsumi Shiga landing key roles in action films like ​Violent Panic: The Big Crash (directed by Kinji Fukasaku) and Crazy Beast ​(directed by Sadao Nakajima). The Piranha Gundan boom reached its peak in ​1977, culminating in the ensemble film Piranha Gundan: Daboshatsu no Ten ​(directed by Kōsaku Yamashita).

The Legendary Piranha Gundan Record

The idea for a Piranha Gundan music record came about during a night of drinking ​between folk singer and actor Kan Mikami and Tsunehiko Watase. Intrigued by ​the concept, Mikami helped bring it to life through Bellwood Records, leading to ​its release on May 21, 1977.

Since its initial release, the album has never been reissued on LP, making it a ​rare and highly prized collector’s item today. Produced by Kan Mikami and Sadao ​Nakajima, the record also features liner notes written by Tsunehiko Watase, and ​includes the song Nanohana Damon, sung by Maki Tachibana, who was known ​as the “Female Piranha.”

The album’s backing band was a dream team of top musicians, including Ryuichi ​Sakamoto (arrangement & keyboards), Shuichi Murakami, Tetsurō Kashibuchi, ​Tsugutoshi Gotō, and Nobu Saitō.

The music embodies the raw emotions of the Piranha Gundan—a cry of sorrow, ​frustration, and rebellion from those who lived on the fringes of the industry. Like ​the namesake predator, their voices tear through the silence, leaving an ​unforgettable mark on the soul.

A defining figure in 1980s City Pop, Kingo Hamada—born in Shinjuku—released ​his fourth album, Midnight Cruisin’, in 1982, marking his first release after ​signing with MOON Records.

This City Pop masterpiece delivers a sophisticated AOR sound, featuring ​contributions from top musicians like Yasuo Tomikura (from Tranxam), Larry ​Sunaga, and Makoto Matsushita (from AB’S).

The track I’m introducing today is the epitome of urban mellow groove—”Dakare ​ni Kita Onna”

"Guilty" is the fourth single by Masayuki Suzuki, released in 1988. Written by ​Mariya Takeuchi, and composed, arranged, and produced by Tatsuro Yamashita, ​this track was a re-cut single from his second album, Radio Days.

Takeuchi’s lyrics explore the theme of infidelity, set against a backdrop of ​contemporary Southern Soul. The song is rich with a bluesy essence, giving it a ​refined, timeless quality.

It rides on a grooving 16-beat rhythm at a medium tempo, with an electrifying ​drum intro by the legendary Jun Aoyama. The deep, steady bass lines are played ​by Koki Ito, while Hiroyuki Namba and Tatsuro Yamashita provide the lush ​keyboard work.

One of the standout moments is the guitar solo in the interlude, performed by ​Kenji Omura, whose soulful, weeping guitar lines elevate this track to ​masterpiece status.

This is a song strictly for mature listeners—a dive into a world of bittersweet ​emotions and intoxicating melancholy.

Mariya Takeuchi – "Every Night"

"Every Night" is a track from Mariya Takeuchi’s fourth album, Miss M, released ​in 1980.

The album is structured into two distinct sides:

• The "LA Side" (A-side) was recorded in Los Angeles with full participation ​from David Foster and Jay Graydon, who had just released an album under ​the name Airplay.
  
• The "Tokyo Side" (B-side) was recorded in Japan with a live band setup.
  

While Miss M did not achieve the same commercial success as her previous ​megahit album, LOVE SONGS, it was an ambitious effort for Takeuchi, marking a ​shift toward writing more of her own songs.

"Every Night" appears on the A-side and was co-written by Tatsuro Yamashita ​and Alan O’Day. The two first met in Los Angeles in the late '70s, quickly forming ​a strong musical bond that led to their collaboration. At the time, Yamashita had a ​strong desire to write his own English-language songs, and O’Day sent him ​several sets of lyrics—one of which became "Every Night."

Yamashita composed the melody and initially planned to record the song himself. ​However, just as he was considering recording it, Takeuchi’s new album was ​being recorded in Los Angeles, making it the perfect opportunity for the song to ​be included on Miss M.

"Every Night" is included as a bonus track on the 2002 remastered edition of ​Tatsuro Yamashita’s 1982 album FOR YOU. The lyrics were written by the late ​Alan O'Day, making the song entirely in English.

This track was originally composed by Yamashita for Mariya Takeuchi’s album. ​The version by Takeuchi is the more well-known one, appearing on her album ​Miss M. However, this particular take is a demo (rehearsal vocal) and doesn’t ​include the final instrumental sections, such as the interlude.

Although the key differs, I’ve seamlessly blended both versions—one by the City ​Pop Queen and the other by the City Pop King—into a single, continuous ​listening experience.

I hope you enjoy it!

"Sha La La" is the 11th single by Southern All Stars, released as a double A-​side with both "Sha La La" and "Gomen ne Charlie." It was released by ​Invitation Records as a 7-inch single in 1980 and is a duet between Keisuke ​Kuwata and Yuko Hara.

Originally, Kuwata sang the song solo during its production, but after ​expressing a desire to include Yuko Hara’s vocals, the band members ​contributed their ideas. As a result, Hara’s parts were gradually added, and ​the song eventually took its final form as a duet, which has become a well-​known story behind the track.

"AUGUST RAIN" is a track from Toshiki Kadomatsu’s sixth studio album, ​TOUCH AND GO, released in 1986.

On his previous album, GOLD DIGGER, only the drum overdubs were ​recorded in New York. With TOUCH AND GO, Kadomatsu took a significant ​step forward in his approach to international recording. The album’s basic ​tracks were recorded abroad, with additional overdubs taking place not only ​in Tokyo but also in Los Angeles, making it his first album to be extensively ​recorded overseas.

Lyrically, the album reflects a shift from the direct expressions found in ​GOLD DIGGER back toward a more platonic, nuanced style.

A re-recorded version of "AUGUST RAIN" was later included in Kadomatsu’s ​second ballad compilation album, TEARS BALLAD.

Japanese singer Mizuki Koyama, known for her contemporary sound, ​released her debut album ANGEL'S DREAM in 1985.

Today, I’d like to introduce "River Side Cafe," a track from this album ​composed by Yasuhiro Abe, known as the "Prince of City Pop."

ANGEL'S DREAM features an incredible lineup of songwriters, including ​Kyohei Tsutsumi, Makoto Saito, Toshinobu Kubota, and Yoichi Takizawa. ​Among them, the mellow groove of "River Side Cafe" is particularly ​outstanding.

A double-sider blending Japanese mellow stepper and modern soul.

"Uwaki na Natsu" delivers a perfectly smooth, mid-tempo mellow groove—​a true City Pop gem! (And the B-side, "PRISM," is just as great!)

This 1979 single comes from Kay, a British-born(?) female singer also known ​for performing the theme song of Dirty Hero, a film based on Haruhiko ​Oyabu’s novel.

The song and arrangement were crafted by Jun Fukamachi, and the lineup ​is nothing short of spectacular:

• Steve Jordan & Will Lee (from the legendary 24th Street Band, well-​loved in Japan)
  
• David Spinozza, David Sanborn, and Mike Mainieri—key players in ’70s ​New York fusion.
  

Vinyl collectors and DJs, this is a must-have!

The B-side of Mai Yamane’s 1981 single, "(You and Me Still Keep On) Fall in ​Love," is a mellow City Pop masterpiece, featuring a sleek, urban AOR-style ​arrangement that perfectly showcases Makoto Matsushita’s signature touch.

A highly skilled vocalist, widely recognized for supporting major artists, ​Yamane once again delivers a standout performance on this track.

Great Mellow Dancer – "Persona"!!

This 1982 record comes from Ryoko Sakaguchi, an actress also well known ​for her work in film and television.

The B1 track, "Kamen (Persona)," composed and arranged by Tetsuji ​Hayashi, is a fantastic mellow dancer, seamlessly blending smooth grooves ​with spoken-word elements to convey the emotions of a complex, ​vulnerable woman.

To be honest, her singing isn’t particularly strong... but the poetic interlude? ​That’s where her acting skills truly shine!

If you're interested, be sure to check it out on Discogs.com!

"Twilight Train" is a hidden gem of urban mellow groove featured on Mami ​Koyama's 1982 debut album YU.RE.TE.mami. Koyama, known for her voice ​roles in anime like Dr. Slump Arale-chan, surprises listeners with this ​unexpected yet brilliant AOR and light mellow album. This was during her ​peak year as a voice actress, when she was also voicing iconic characters ​like Arale Norimaki and Minky Momo. It's truly surprising to hear her ​exploring this genre at such a high point in her career!

"My Saturday Man" is a track from Mai Yamane's second album SORRY, ​released in 1981.

The arrangement for the A-side was handled by Shigeru Suzuki, while the B-​side was arranged by Makoto Matsushita, known for his work with AB'S. ​The album features contributions from notable musicians like Tatsuo ​Hayashi, Tsukasa Goto, Shigeru Okazawa, and Jake H. Conception.

This album is a classic example of Japanese AOR and City Pop!

Starting her career as a lyricist at the age of 15, Yumi Matsutoya (formerly ​known as Yumi Arai) released her debut album Hikouki-gumo in 1973, and ​since then, she has produced numerous masterpieces. In 2013, she was ​awarded the Order of the Purple Ribbon. One of her key albums is BENI ​SUZUME, her fifth album, released in 1978.

This album features an incredible lineup of musicians, including Tatsuo ​Hayashi, Nobu Saito, Kenji Takamizu, Haruomi Hosono, Shigeru Suzuki, and ​Masaki Matsubara.

BENI SUZUME includes classic tracks such as the Japanese Brazilian-​inspired gem "Watashi Nashi Demo," the Bossa Nova track "Chichuukai no ​Kanshou," which is set in Barcelona, and the samba rhythm-infused "Tsumi ​to Batsu" (罪と罰). The album is full of unforgettable songs. For this playlist, ​I’ve chosen the track "Laundry-Gate No Omoide," which opens with a heavy, ​captivating instrumental intro.

"First Light" is the debut album by Makoto Matsushita, one of Japan's top ​guitarists and arrangers, recorded in 1981.

The album is a masterpiece in Japanese AOR history, capturing the ​shimmering brightness, refreshing sensation, and bittersweet emotions that ​are universally associated with summer. These themes are expressed with ​sophisticated musicality and a refined style.

For this playlist, I’ve chosen "Love Was Really Gone," a flawless example of ​a mellow groove that perfectly captures the essence of East Coast AOR from ​the United States at the time.

Yuusuke Nakamura, also known as "Kintaro Nakamura," hails from ​Yokohama and remains active today, both with his own compositions and ​as a prolific songwriter for many other artists. His 1978 album MILD features ​collaborations with Hideki Ishima (The Happenings Four, Flower Travellin' ​Band, Trans-Am) and Nobuhiko Shinohara.

For this playlist, I’d like to highlight the bittersweet track "Sarigenaku," a true ​gem that captures the essence of CITY POP and LIGHT MELLOW at its best.

"Twilight" is the final album released in 1982 by Yoiko Maeno, the first ​vocalist of Pedro & Capricious. From this City Pop / Light Mellow ​masterpiece produced with a fusion sound, I’d like to introduce her ​Japanese cover of Grover Washington Jr.'s "WINELIGHT."

"Tsumetakushinaide" is a track from Miwa Yoshida's debut album beauty ​and harmony.

In this album, she collaborates with top musicians like Michael Brecker, ​David T. Walker, Ralph MacDonald, Chuck Rainey, Herbie Mason, and Gregg ​Adams, all of whom are active in New York and Los Angeles. The backing ​band is nearly identical to the one on Marina Schouw’s Who Is This Bitch, ​Anyway?, making this album a must-listen for niche soul fans.

For this playlist, I’d like to highlight "Tsumetakushinaide" from that album.

How was the CITYPOP Twilight Mellow MIX for you?

If a song catches your interest, bookmark this page ​and enjoy it later at your leisure.