Experts Debate the Appeal of 1990s Idol Songs Featuring Morning Musume and SPEED

The concept of the idol group

In contrast to the 1980s, when nationally beloved idols such as Seiko Matsuda (64) and Akina Nakamori (60) emerged like stars in the sky, the 1990s came to be called the idol winter era. Popular music programs such as “Yoru no Hit Studio” (Fuji TV) and “The Best Ten” (TBS) were discontinued one after another, taking away the stages where idols could perform. However, even in such an era, superstars who captivated people of all ages were still born, releasing a series of million-selling hits that surpassed the 1980s.

In this feature, FRIDAY invited idol critics Akio Nakamori and Fuminori Takakura, as well as freelance announcer Naoki Yoshida, who is well-versed in idol songs, to hold a roundtable discussion on the theme of 1990s idol songs. After intense debate, they selected a top 10 list of iconic songs.

Nakamori: First, let’s review the overall picture of 1990s idols. In the early 1990s, there was still a lingering scent of the 1980s. Idol groups like Onyanko Club, which debuted in 1985, were still active.

Takakura: Groups like Ribbon and CoCo, which debuted in 1989, and Tokyo Performance Doll, which debuted in 1990, were active as well.

Nakamori: What really symbolized the early 1990s was Tokyo Performance Doll. Ryoko Shinohara (52), who later became active as an actress and singer, was also a member. They were strict, athletic-type performers who required no lip-syncing and mandatory training, and their emergence established the now-standard style of singing and dancing female idol groups.

Yoshida: Their representative song is “Kiss wa Shounen o Roushitsu Suru,” released in 1993. It was a luxurious collaboration, with lyrics by Yasushi Akimoto and music composed by Tetsuya Komuro.

Takakura: The catchy chorus starting with “Kiss wa kiss wa” was very memorable.

Nakamori: They also released other songs like “CATCH!!” and “Diamond wa Kizutsukanai,” but in terms of sales and impact, they were not very successful. When you think of Tokyo Performance Doll, “Kiss wa Shounen o Roushitsu Suru” is the defining song.

Takakura: When it comes to representative 1990s idol groups, I would choose Morning Musume. Their 1999 release “LOVE Machine” became a million-seller and a social phenomenon.

Nakamori: I once heard directly from producer Tsunku♂ (57) that when they released their debut single “Morning Coffee,” most of the fans who attended events were male. So, in order to attract a wider range of fans, they rearranged their second single “Summer Night Town” into a disco style. That eventually led to the huge success of “LOVE Machine.” Tsunku’s impressive point is that he aimed to create music that reached not only men but also women.

Yoshida: Back in the 1990s, female idol fans were not as common as they are today. However, if you focus too much on appealing to women, you risk losing male fans. “LOVE Machine” brilliantly struck that delicate balance and managed to attract both.

“SPEED” — Special songs of the four members

Takakura: Another group that cannot be left out when discussing the 1990s is SPEED. For generations who did not experience them in real time, it may feel somewhat strange to define them as idols.

Nakamori: I believe SPEED were definitely idols. Not only their songs, but many fans were also drawn to their looks and fashion. I think idols are not something you call yourself—they are something fans name you. Since many fans support SPEED as idols, then they are idols.

They released a string of million-selling hits such as “STEADY,” which sings about the delicate romantic feelings of young women, and my graduation, a standard graduation song.

Takakura: Their representative song is probably “White Love,” released in 1997. It became SPEED’s biggest hit (1.84 million copies) and led to their first appearance on NHK’s Kohaku Uta Gassen. Even after the group disbanded and made a full comeback in 2008, they performed “White Love” again at Kohaku. It must have been a special song not only for fans but for the group itself.

Nakamori: When discussing 1990s idols, we cannot avoid Ryoko Hirosue (45). In the winter era, when there were fewer solo idols, she was like a savior-like presence. When she held a stage greeting for her 1997 starring film “20th Century Nostalgia,” 2,000 fans rushed to Theatre Shinjuku, causing chaos and prompting police to be dispatched. Her popularity was that overwhelming.

Yoshida: She was definitely an idol. She stood apart from actress-type idols like Rie Miyazawa (53), who released songs after becoming successful as an actress.

Takakura: Her debut songs “Maji de Koi suru 5-byoumae” and “Daisuki!” are her representative tracks, but I personally like her third single, “Kaze no Prism,” written and composed by Haruko Kuwana. Its refreshing lyrics perfectly suited Hirosue at the time.

Nakamori: That’s a deep cut! It certainly embodies her pure, innocent image even more than “Maji de Koi suru 5-byoumae.”

Yoshida: At the time, the pure and innocent Hirosue and the gyaru-style Namie Amuro (48) were seen as rivals. In my view, the idol who came after Hirosue was Ami Suzuki (44), who debuted in 1998.

Precious solo idols

Takakura: Ami-go debuted through the audition program ASAYAN (TV Tokyo), which also produced acts like Morning Musume and CHEMISTRY. Her first single, “Love the island,” immediately sold nearly 300,000 copies.

Yoshida: Her follow-up “Alone in my room” sold 350,000 copies, and her third single “All night long” sold 390,000 copies—she became a star in no time.

Nakamori: What stands out most to me is “BE TOGETHER,” which sold 800,000 copies in 1999. It is a cover of TM NETWORK, and was used as entrance music by former Hanshin Tigers player Norihiro Akahoshi during his early career.

Takakura: The song I would include in Ami-go’s ranking is “Love the island.” The key is set right at the edge of what she could comfortably sing at the time, but it matches the song’s theme of bittersweetness and stubborn confidence very well.

Also, Chisato Moritaka (57) should also be included as one of the 1990s idols.

Nakamori: I still remember hearing her manager say early in her debut in 1987, “She’s basically a ‘pseudo-Kyoko Koizumi.’” It meant she was beautiful and had a great figure but was seen as lacking individuality. But that turned out to be completely wrong—she is now truly one of a kind.

Yoshida: She had many hits such as “Watarasebashi” (1993) and “Kaze ni Fukarete,” but the impact of her 1992 song “Watashi ga Obasan ni Natte mo” is enormous.

Nakamori: I agree. In terms of sales, “Watarasebashi” and “Kaze ni Fukarete” may be bigger, but Moritaka’s signature song is definitely “Watashi ga Obasan ni Natte mo.” It has been covered by many idols and artists, including Nozomi Tsuji and Maki Goto.

 

From the May 15-22, 2026 issue of “FRIDAY”