![[Sub-chan] A Collection of Easy-to-Sing Songs by Saburo Kitajima [2026]](https://i.ytimg.com/vi_webp/k0XbnO8muuA/maxresdefault.webp)
Saburo Kitajima is a priceless treasure whose name is etched in the history of Japanese popular music, transcending the boundaries of enka.
He has sung numerous famous songs that almost every Japanese person has heard, and he remains a rare figure who continues to showcase his multifaceted talents—not only as a singer, but also as an actor and as a lyricist-composer under the name Gen Hyoji.
As an enka singer, he has a voice you can recognize the instant you hear it.
His rich vocal power and soaring high notes are so remarkable that even an untrained ear can appreciate them.
While it may be difficult to sing like Kitajima, in this article we’ve researched and compiled a selection of his many classics that are comparatively easy to sing.
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[Saburo-chan] A Collection of Easy-to-Sing Songs by Saburo Kitajima [2026] (1–10)
festivalKitajima Saburō
When it comes to Saburo Kitajima’s songs, many people probably think of Matsuri first.
As the title suggests, this piece features a very dazzling melody with a festival theme.
Because of the powerful instrumentation, the vocal line is often perceived the same way, but in fact…
among enka songs, this one has a particularly narrow vocal range.
Especially for men, almost anyone should be able to sing it without difficulty.
The use of kobushi (melismatic ornamentation) is also surprisingly limited, so it’s definitely an enka song suited for beginners.
Shall I head home?Kitajima Saburō
Saburo Kitajima’s early work “Kaerokana.” Rather than pure enka, this piece can be described as a fusion of folk song and pop.
Its kobushi (ornamental turns) feature the solid phrasing characteristic of traditional enka and folk music, while the arrangement is built primarily around brass instruments influenced by overseas music.
Though it’s a curveball within the enka genre, the frequent rests allow ample preparation before difficult passages.
For singers who excel at kobushi with emphasized vibrato, it is a very singable song.
Woman of HakodateKitajima Saburō
Saburo Kitajima’s classic “Onna no Hakodate,” still passed down today, is one of Japan’s representative enka songs, noted for its remarkably expansive vocals.
Among enka pieces, it has a particularly wide vocal range, so it isn’t easy in every respect.
However, because the most challenging element of enka—the kobushi (melismatic ornament)—doesn’t appear very often, the overall difficulty is on the lower side.
The kobushi that does appear isn’t as demanding as in styles like Kawachi Ondo or Tsugaru folk songs; it’s more like an extension of vibrato.
Even those who struggle with enka-style phrasing should be able to sing it without issue.
The sky of TokyoKitajima Saburō
Saburo Kitajima’s new song “Tokyo no Sora,” released in November 2024.
While Kitajima no longer has the wide vocal range he once did, he has recently been releasing songs that emphasize the lower register instead.
This work is no exception, centering on the low notes.
As a result, the vocal range is notably narrow.
The kobushi ornamentation also doesn’t feature the dramatic pitch changes of the past, tending to be more understated, making it an easy song to sing even for those who struggle with enka-style phrasing.
Consider adding it to your repertoire.
bridgeKitajima Saburō
Saburō Kitajima is well known for his ‘men’s songs.’ He has produced many masterpieces in this genre, and among them, “Hashi” (The Bridge) is especially popular as an uplifting, encouraging men’s song.
Its hallmark is a somewhat powerful singing style, but it isn’t particularly difficult; the shout is only applied at the opening, so it’s quite reproducible even for amateurs.
The kobushi ornamentation is strong, but not complicated with hiccup-style techniques, so anyone reasonably accustomed to singing enka should be able to perform it without trouble.
Woman of KagaKitajima Saburō
Saburo Kitajima’s song “Kaga no Onna” features a memorable melody with a Latin essence.
While it firmly inherits the hallmarks of enka, the piece also strongly reflects elements of kayōkyoku throughout.
As a result, the characteristic kobushi ornaments typical of enka appear less frequently.
The vocal range is wide, which limits who can sing it, but aside from that there aren’t many difficult aspects, making it one of the more approachable songs among Kitajima’s works.
Consider adding it to your repertoire.
YosakuKitajima Saburō
One of Saburo Kitajima’s signature songs, Yosaku.
This piece changed the history of enka, distinguished by a very powerful and rugged singing style not seen in earlier enka.
Many might feel that delivering such forceful enka is difficult, but Kitajima’s songs generally have relatively simple kobushi (melismatic ornamentation), so they aren’t extraordinarily hard.
If you apply kobushi with the feeling of using strong vibrato, you can achieve a phrasing similar to Kitajima’s.
Give it a try for reference.
riverKitajima Saburō
Among Saburo Kitajima’s songs, the classic “Kawa” (River) is especially renowned for its powerful vocals.
It’s categorized as a so-called ‘man’s song,’ built around a bold, masculine vocal line.
With such a forceful singing style, it might seem difficult to master, but that’s not the case.
This piece contains many shouted, growling passages, yet it rarely features rapid tempo shifts or large melodic jumps.
As long as you have a solid foundation in shouting technique, there’s a good chance you can sing it through successfully.
Consider adding it to your repertoire.
Woman of OnomichiKitajima Saburō
Saburo Kitajima’s classic “Onomichi no Onna” is marked by its delicate melody and instrumentation.
It features a relaxed tempo and, unusually for Kitajima’s songs, a vocal line with overall restrained volume.
That said, there are moments with expansive long tones, so care is needed.
It leans more toward kayōkyoku (Japanese pop ballad) than traditional enka, and in fact uses kobushi (melismatic ornamentation) only sparingly.
As a result, it’s a very singable piece for those who find enka’s characteristic vocal stylings challenging.
Five Chivalrous Men of the Blue CloudsKitajima Saburō
Saburo Kitajima’s song “Seiun Gonin Otoko,” released in 1966, has the feel of traditional enka, with a notably relaxed tempo.
Precisely because the tempo is laid-back, the vocal line is quite intense, with pitch moving up and down at a somewhat brisk pace.
That might sound difficult, but the pitch movements where the kobushi (melismatic ornament typical of enka) appears are relatively gentle, so the kobushi itself isn’t especially hard.
However, because there are many long sustained notes and few rests, it’s important to steady your breathing well before you start singing.