Songs with titles starting with 'O' [Great for karaoke and shiritori!]
Songs with titles starting with “O” often feature unique names—like those using characters meaning “dance” or “gold,” as well as Osaka-themed songs.
They also tend to be great for getting everyone fired up when singing! I can’t think of many off the top of my head, so I want to look some up…
This is a list that might come in handy at such times: songs with titles that start with “O.” Use it when you’re wondering, “What songs start with ‘O’?” and also as a prompt for shiritori or when choosing tracks at karaoke.
- Vocaloid songs that start with 'O'
- Masterpieces with titles that start with 'A'
- Songs with titles that start with “wo.” Useful as hints for karaoke and shiritori!
- 2000s: A Collection of Hit Karaoke Classics
- A roundup of songs with titles starting with 'Da' (Dai-〇〇, Diamond, etc.)
- Songs with titles that start with 'Ke'
- Songs Men Want Women to Sing at Karaoke: Irresistible Tracks [2026]
- A compilation of Vocaloid songs with titles that start with 'wo' (を)
- Songs by Yoshimi Tendo, the songstress born in Osaka, that are easy to sing
- Songs with titles starting with “No” (Perfect for karaoke and shiritori!)
- Songs with titles that start with a number. Useful for karaoke or playlist selection.
- [If You Can Sing These, You're Amazing!] Cool Karaoke Songs for Women
- Songs with titles that start with 'de'. Perfect as hints for karaoke or shiritori!
Songs with Titles Starting with “O” [Great for Karaoke & Shiritori!] (441–450)
A Woman’s Life: The Flower of AsakusaKitano Machiko
Machiko Kitano, an enka singer from Hirosaki, made her debut in 1989 and quickly drew attention with her powerful voice and expressive performances.
She won the Grand Prix at the “Hōchō Ichidai Singer Recruitment Contest” and debuted with Sony Music under the name Machiko Kitano (written as Kitano Machiko).
In 1997, she changed her stage name to the current Machiko Kitano, and in 2002 she moved to King Records.
She has many songs themed around Aomori Prefecture, and her singing that incorporates the Tsugaru dialect is especially appealing.
Her willingness to venture beyond the traditional boundaries of enka and embrace a wide musical range makes her recommended not only for long-time fans but also for those just beginning to take an interest in enka.
I’m heading to Tokyo.Yoshi Ikuzo
The song that catapulted Ikuzo Yoshi to nationwide fame, “Ora Tokyo sa Igu da.” It’s a signature comic song of the enka world, with charming lyrics that humorously depict country life.
While this piece is firmly categorized as enka, it doesn’t feature the elaborate kobushi—those complex pitch bends—typical of more traditional enka.
The Aomori dialect phrasing might take a bit of getting used to, but the song itself is quite easy to sing for an enka number, so it’s well worth adding to your repertoire.
drunk on menYoshi Ikuzo
Among Yoshikazu Ikuzō’s songs, the masterpiece “Otokoyoi” stands out for its especially powerful melody.
It’s a straight-up ‘man’s song,’ crafted with a consistently forceful melodic line throughout.
There are many shout-style sections where the voice is driven hard, but because the emphasis is on sheer power, you won’t find ornamentations that demand delicate control, like intricate kobushi runs.
Even the kobushi at the end of the chorus is essentially an extension of the vibrato, so the difficulty level is relatively low.
Gentlemen with a rich, gravelly voice should definitely consider adding this piece to their repertoire.
A Hazy Moonlit Nightshouka
A song that beautifully portrays a spring evening depicts, with delicate nuance, a scene where the setting sun and haze spread over a field of rapeseed blossoms, and a pale moonlight floats in the sky.
Alongside the tranquil countryside, it gently embraces quintessential images of spring in Japan—the hues of the forest, people walking along rice-field paths, the croaking of frogs, and the tolling of bells.
Released in 1914 as a Ministry of Education school song, the work seamlessly marries lyrics by Tatsuyuki Takano with music by Teiichi Okano, and it has long been cherished in educational settings.
It has continued to be loved across generations, with Aiko Moriyama covering it in 2009 and Ai Nishida performing it on a program in June 2023.
As a song to hear on a calm spring evening, it offers a warmth that deeply touches the heart.
Osaka-Kansai Expo ~Yoko of the Harbor, Yokohama, Yokosuka~Kamon Tatsuo
This is a song brimming with Tatsuo Kamon’s heartfelt feelings for the Osaka-Kansai Expo, brought to you by a leading figure in Osaka’s music scene.
It brilliantly blends nostalgia for the Osaka Expo of the past with excitement for the new Expo, drawing you in with its upbeat rhythm and Kamon’s witty, lighthearted narration.
The arrangement, based on hit songs from the Showa era, is also outstanding, striking a perfect balance between a nostalgic atmosphere and a contemporary sound.
Although it was released digitally in December 2024, the track already captures the growing excitement ahead of the Expo.
It’s recommended not only for Expo enthusiasts but also for anyone looking to rediscover the charms of Osaka and the Kansai region.
“Welcome home” is a good-luck charmSakamoto Fuyumi
Fuyumi Sakamoto is known not only for enka but also for taking on kayōkyoku and pop.
Since the release of “Mata Kimi ni Koishiteru,” she has even ventured into pure pop songs that don’t incorporate enka elements, likely buoyed by her popularity as a pop singer.
Among these, the one I especially recommend is “Okaeri ga O-mamori.” It has a relaxed tempo, yet it doesn’t rely heavily on long sustained notes, making it exceptionally easy to sing—not just compared to enka, but even to typical pop songs.
The vocal range isn’t wide either, so if you adjust the key appropriately, you should be able to aim for a high score.
Men’s Fire FestivalSakamoto Fuyumi
The piece “Otoko no Himatsuri” is notable for its warm, comforting melody.
While it follows the classic enka tradition, the vocal line is surprisingly simple, with no complex kobushi ornamentation.
In addition, there are few long tones and no parts that require belting, so it doesn’t demand a high level of foundational singing technique.
The only challenging section is the kobushi in the middle of the chorus, where the ornamentation navigates three pitch changes.
Aside from that, the song is low in difficulty, so enka beginners should definitely consider adding it to their repertoire.