![[Original Endoru] A Collection of Easy-to-Sing Songs by Junko Ishihara [2026]](https://i.ytimg.com/vi_webp/7Jbc79eEetw/maxresdefault.webp)
[Original Endoru] A Collection of Easy-to-Sing Songs by Junko Ishihara [2026]
When she debuted at 20, she was given the catchphrase “idol of enka,” and Junko Ishihara—often called the original “endol” (enka idol)—not only has solid credentials as an enka singer but also writes and composes her own music and is active as a reciter of traditional chant, showcasing her multifaceted talent.
Her repertoire spans not only classic, orthodox enka but also pop and folk-style songs, offering many tracks that are relatively approachable even for those not yet accustomed to enka.
Here, we’ve researched and compiled songs by Ishihara, from enka to pop, that are easy to try at karaoke and the like.
[The Original Endoru] A Collection of Easy-to-Sing Songs by Junko Ishihara [2026] (1–10)
Kazahana CapeIshihara Junko
Ms.
Junko Ishihara, who once drew public attention as an enka idol, has lately gained a mature presence and has been releasing many refined, deep-toned songs.
Among them, the one I especially recommend is Kazahana Misaki.
While it can be classified as enka due to its melodic line and kobushi ornamentation, its structure is very close to kayōkyoku, so even those who aren’t fond of enka can sing it.
The vocal range is narrow, and there aren’t any particularly complex pitch shifts, making it arguably an ideal warm-up piece.
Red MoonIshihara Junko
Among Junko Ishihara’s works, the masterful song “Akai Tsuki” (“Crimson Moon”) stands out for its exceptional sensuality.
It vividly portrays a woman’s femininity as she elegantly pins up her hair for the man she longs for, and her passion as she devotes herself to him.
The vocal line matches this theme, crafted to be both gentle and fervent.
The tricky part is the kobushi ornamentation in the A verse; as it approaches the chorus, the vocal line becomes simpler.
Surprisingly, the song’s range is relatively narrow, so even those who struggle with high notes can sing it with confidence.
Live with youIshihara Junko
Among Junko Ishihara’s songs, “Anata to Ikiru” is one of the most quintessentially enka works.
Perhaps because of her position as an “enka idol,” many of her tracks are catchy and feature relatively few kobushi (melismatic turns), but this piece includes them in earnest.
Of course, adding kobushi increases the difficulty; however, the kobushi here move up and down by only about three scale degrees at most, and there are no passages that require executing kobushi while belting.
As a result, even though it is authentic enka, the overall difficulty level is set on the lower side.
Just stay by my sideIshihara Junko
As her career progressed, Junko Ishihara began taking on not only enka but also other kayōkyoku and pop songs.
“Tada Soba ni Itekurete” is a pure pop piece and has become popular among fans as a moving work.
Because it’s pop, the difficulty is far lower than enka, and advanced vocal techniques like kobushi do not appear.
That said, you still need basic vocal technique, since it requires a certain vocal range and features sections with sharp pitch rises and falls.
I’ve fallen for you.Ishihara Junko
Junko Ishihara’s classic “Horemashita.” Released in 1988, this piece marked her memorable debut and is still beloved by many fans today.
While it inherits elements of enka, the song as a whole features an easy-to-sing vocal line reminiscent of kayōkyoku.
In particular, the kobushi (ornamental vocal turns) are very easy—there are no difficult kobushi in this piece at all.
They’re limited to, at most, a one-step pitch change, so anyone with experience singing enka should be able to perform it with ease.
Tsubaki GotoIshihara Junko
The Goto Islands are known as the most famous natural habitat of camellias in western Japan.
This song, “Goto Tsubaki,” is a work themed around the camellias that bloom in the Goto Islands, depicting the romantic relationships between men and women.
Among Junko Ishihara’s songs, this piece is particularly strong in enka elements and features kobushi (ornamental vocal turns) typical of authentic enka.
That might sound difficult, but the melismas stay within at most a two-scale-step range, so you shouldn’t struggle with the kobushi.
The tempo is relaxed as well, making it recommended for those who want to start singing enka in earnest.
Evening Mist StraitIshihara Junko
Among Junko Ishihara’s songs, Yūgiri Kaikyō is a masterpiece that’s packed with enka elements.
Of the tracks introduced in this article, this one falls on the more difficult side, but it’s still easier than typical enka.
As proof, the kobushi in the A-melody repeats small rises and falls on the same pitch.
The tricky part comes near the end of the chorus, where a series of fine kobushi is followed by a long sustained note, so you’ll need a certain amount of practice.
Since the overall pitch movement is relatively gentle, with solid repetition, anyone accustomed to singing enka should be able to handle it without trouble.
passing showerIshihara Junko
Ishihara Junko’s classic “Tooriame” is distinguished by its poignant melody.
While she’s known for an orthodox kobushi (melismatic ornament) style, this song features multiple kobushi turns that incorporate falsetto, reminiscent of rōkyoku.
Though such pieces may seem difficult, that’s not actually the case.
If you set the key so your voice flips naturally into falsetto at the right height, it can be easier to sing than standard kobushi.
Since the vocal line itself doesn’t have much contour, focusing on clean, natural flips in the kobushi can even help you aim for a high karaoke score.
I want to see you—I wish I could be with you right now.Ishihara Junko
Junko Ishihara’s classic “Aitai, Ima Sugu Anata ni….” Among her songs, this one is particularly easy to sing.
Rather than enka, it leans more toward kayōkyoku, with a melody that evokes the style of Machiko Watanabe or Mariko Takahashi.
The key reason it’s easy to sing is the gentle rise and fall of the pitch.
The tempo is slow and there’s no kobushi ornamentation, so if you focus on solid pitch control and sustained vibrato on long tones, you can even aim for a high karaoke score.
lingering-regret sakeIshihara Junko
Miren-zake, a famous song by Junko Ishihara, is marked by its orthodox, warm melody.
While the piece features quintessential enka-style phrases throughout, it surprisingly doesn’t use much kobushi (melodic ornamentation).
The trickiest spot is the kobushi at the end of the chorus, which shifts across two scale steps.
In a typical enka song, this kind of ornament would be commonplace, so the supposed “difficult passage” is actually quite easy.
Since there’s no need to belt, simply focusing on a smooth, expansive long tone will make it sound convincingly enka-like.