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Kiyoshi Maekawa’s Most Popular Songs Ranking [2026]

Hailing from Nagasaki, he is one of Japan’s leading singers.

He was discovered while singing at a cabaret in Nagasaki City and began his career by joining Hiroshi Uchiyamada and the Cool Five as the lead vocalist.

He is also known for having been married to Keiko Fuji.

Kiyoshi Maekawa Popular Songs Ranking [2026] (11–20)

I want loveMaekawa Kiyoshi15rank/position

In the world of enka and kayōkyoku, it’s quite common for male singers to perform lyrics that portray a woman’s feelings, and Kiyoshi Maekawa’s 1988 single “Ai ga Hoshii” is one such example.

It’s no exaggeration to call Maekawa a master of songs that express a woman’s heart; using keywords like a rainy night or alcohol, he vividly sings lyrics that, through skillful scene-setting, depict the loneliness and emptiness of a woman who seems to have just suffered a heartbreak.

The song leans more toward mood kayō than pure enka, with a fairly average vocal range and no difficult kobushi ornamentation, so even beginners to enka should definitely try it at karaoke.

Beside love and dalliance…Maekawa Kiyoshi16rank/position

This is a single released in 2005 by Kiyoshi Maekawa, whose mournful horn tones and refined strings leave a strong impression, radiating a timeless charm untouched by passing trends.

It’s a standout masterpiece that showcases Maekawa’s signature style as he richly sings of the sorrow in a woman’s complicated, conflicted heart, and it’s also very popular for karaoke.

While the overall sound and melody lean toward enka, the song retains a touch of kayōkyoku, making it accessible even for beginners to enka.

Feel the 6/8 meter and try to articulate each word clearly as you sing with a smooth, expansive delivery.

Hold meMaekawa Kiyoshi17rank/position

If you’re part of the generation that knows the 1990s well, you may remember the variety show “Shitte Dō Suru no!?” which aired for a short time.

The song used as its ending theme was Kiyoshi Maekawa’s 1996 single “Dakishimete.” It has the feel of a kayōkyoku ballad elevated by grand orchestration, and Maekawa’s singing seems to dial back enka-style techniques a bit.

The melody unfolds straightforwardly, making it approachable even for those not used to enka, but to be honest, executing the long-tone vibrato perfectly isn’t easy.

Rather than trying to sing it exactly like the original from the start, it’s best to practice with the mindset of gradually getting closer step by step.

The whistle in my chest still soundsMaekawa Kiyoshi18rank/position

[MV] Kiyoshi Maekawa / The Whistle in My Heart Still Blows
The whistle in my chest still soundsMaekawa Kiyoshi

In Kiyoshi Maekawa’s long career, this single “Mune no Kitete wa Imamo” (The Whistle in My Chest Still Blows), composed by the renowned Takashi Toshimi—who also crafted hits like “Otokoto Onna no Kakera” and “Wakare-kyoku demo Utatte”—was released in 2021 in the Reiwa era.

It has the feel of a wistful medium-tempo ballad, and structurally it’s very close to J-pop, so it seems like a song that’s easy for enka beginners to sing at karaoke.

That said, if you aim to nail it perfectly, vibrato is essential, so if that’s not your strong suit, this song might be a good one to practice your vibrato with!

It was rainy again in Nagasaki today.Maekawa Kiyoshi19rank/position

Kiyoshi Maekawa “It Was Rainy Again Today in Nagasaki” (Lyric Video)
It was rainy again in Nagasaki today.Maekawa Kiyoshi

The classic song that marked vocalist Kiyoshi Maekawa’s memorable starting point, “Nagasaki wa Kyou mo Ame Datta” (“It Was Raining Again in Nagasaki Today”), was a smash hit released in 1969 by Hiroshi Uchiyamada and the Cool Five.

It’s also a quintessential ‘local song,’ and a popular Nagasaki-themed number alongside “Nagasaki no Onna” and “Nagasaki Blues.” It has since been covered by many singers, and Maekawa himself continues to perform it as a solo artist, so most people have likely heard it at least once regardless of generation.

The piece is in 4/4 time with a melody that’s essentially built on triplets, and it briefly weaves in a 2/4 measure at the climactic part of the chorus.

It’s best sung with careful attention to the rhythm.