![The Allure of Deep Vocals: A Collection of Yutaka Yamakawa’s Easy-to-Sing Songs [2026]](https://i.ytimg.com/vi_webp/l_v8fTt_Cm4/maxresdefault.webp)
Yutaka Yamakawa, a veteran enka singer whose debut single “Hakodate Main Line,” released in 1981, became a hit, captivates listeners with his appealing low voice that carries a touch of melancholy while still feeling urbane and polished.
His elder brother Ichiro Toba, as well as his nephews Ryuzo Kimura and Tetsuji Kimura, are also active as enka singers, making the family a force that energizes Japan’s music scene.
Although Mr.
Yamakawa is currently battling illness, he continues to work energetically, and his song “Aniki,” released in October 2024, drew significant attention.
Among Mr.
Yamakawa’s many classic songs, I researched and compiled recommendations that are easy to sing at karaoke.
If you’ve only recently discovered Mr.
Yamakawa, this is a great chance to check them out.
- [Sub-chan] A Collection of Easy-to-Sing Songs by Saburo Kitajima [2026]
- [Prince of Enka] Keisuke Yamauchi’s Easy-to-Sing Songs [2026]
- [Japan’s Best Vocalist] Fukuda Kohei’s Easy-to-Sing Karaoke Songs
- [Flower News] A Collection of Hiroshi Takeshima’s Easy-to-Sing Songs [2026]
- [People・Songs・Heart] A Collection of Miyuki Kawanaka’s Easy-to-Sing Songs [2026]
- [Enka 7th Generation] A Collection of Easy-to-Sing Songs by Yuto Tatsumi [2026]
- From Comic Songs to Enka: Easy-to-Sing Songs by Ikuzo Yoshi [2026]
- [For Beginners] Recommended Enka Masterpieces for Karaoke — Male Singers Edition
- [2026] Easy Enka Songs Recommended for Karaoke – Male Singers Edition
- [2026] Recommended for those who find high notes difficult! Enka by male singers that you can sing in a low register
- [2026] A roundup of classic enka masterpieces about siblings
- [2026] Easy-to-Sing Enka: From Timeless Classics to Recent Hits [Male Singers Edition]
- The Most Idol-Like Star in the Enka World: Easy-to-Sing Songs by Kiyoshi Hikawa
[The Charm of Deep Voices] A Collection of Yutaka Yamakawa’s Easy-to-Sing Songs [2026] (1–10)
America BridgeYamakawa Yutaka
Among Yutaka Yamakawa’s songs, “America-bashi” stands out for its particularly catchy melody.
As the title hints with “America” in it, the piece is generously infused with pop elements.
While the vocal line strongly evokes the flavor of Showa-era kayōkyoku, the interlude features an accordion that conjures up French jazz.
True to classic Showa pop, the song is characterized by a gentle, relatively even vocal line with few dramatic rises and falls.
Though expressive nuance is required, the scarcity of open vowels relative to the melody allows you to set up a solid pause before each entrance.
If you find breath control or the distinctive kobushi ornamentation of enka challenging, consider adding this song to your repertoire.
stationNEW!Yamakawa Yutaka
Enka singer Yutaka Yamakawa, who has captivated fans for many years with his emotive phrasing and handsome looks, made his debut in February 1981 with “Hakodate Main Line” and boasts a glittering career, including numerous appearances on the Kōhaku Uta Gassen.
Marking the 45th anniversary of his debut, his newly released single is “Eki” (Station).
This time, he composed the music himself, crafting a minor-key enka that poignantly depicts a man and woman’s parting on a winter platform.
The scene of snow turning to rain and the sound of the last train overlap with the nuanced vocals only a veteran can deliver, moving listeners to tears.
Including the coupling track, this is an irresistible disc for those who want to savor the very essence of enka.
Be sure to check it out.
Farewell at a Rain-Soaked InnYamakawa Yutaka
Wakare no Shigure Yado, the song featured on the B-side of Yutaka Yamakawa’s renowned classic Aniki, is beloved among fans as a hidden gem.
Among Yamakawa’s works, it especially stands out for its expressive vocals.
While the range isn’t particularly wide, it features techniques such as kobushi embellished with hiccup-like voice flips and an opening delivered with a shout-like intensity.
However, the tempo is very slow and there are a fair number of rests, allowing ample time to prepare for the challenging spots.
Overall, it can be considered a relatively easy song to sing.
Stopover (getting off partway)Yamakawa Yutaka
Speaking of Yutaka Yamakawa, his smooth, tender phrasing is memorable, but this work, while retaining that quality, is characterized overall by powerful singing that requires substantial vocal projection.
Another hallmark, for a Yamakawa song, is the kobushi ornamentation that uses the hiccup-style vocal technique frequently heard in rokyoku and Kawachi ondo.
That might sound difficult, but the kobushi in this piece only shifts by one or two scale steps.
Compared to folk songs, the melodic rises and falls are far fewer, so as enka goes, this can be considered a relatively easy song.
Big brotherYamakawa Yutaka
A work that leaves a strong impression of masculinity and sincerity, “Aniki” honors an older brother and is known for its moving lyrics.
While the piece firmly inherits elements of enka, the vocal line is surprisingly understated, with none of the intricate kobushi runs typical of the genre.
If the presence of kobushi is used to define enka, this work would be classified as kayōkyoku, as every part features a simple vocal line.
As a result, even those who are not confident in their singing ability should be able to perform it without difficulty.
parting snowYamakawa Yutaka
Among Yutaka Yamakawa’s songs, the especially melancholic masterpiece “Wakare Yuki.” This piece falls on the wider side in terms of vocal range for his repertoire.
However, it does not demand a broad range throughout the entire song.
The only truly high section comes at the end of the chorus; the rest centers on the mid to low register.
The use of kobushi (ornamental scoops common in enka) is also less frequent than in typical enka, and the tempo is relaxed, so despite the wide range, it remains a relatively easy enka song to sing.
From AimatigusaYamakawa Yutaka
Yutaka Yamakawa’s classic “Aimachigusa yori” makes a strong impression with its depiction of the singer’s imagination running wild over a letter from an unknown sender.
In stark contrast to the highly cryptic lyrics, the vocal line is shaped into a gentle, relatively even contour with few rises and falls.
In particular, there are very few kobushi ornaments, so the intricate pitch undulations typical of enka phrasing aren’t required.
Instead, given the nature of the lyrics, it’s important to convey the emotions clearly.
Also, because the chorus begins with a sustained long tone on the nasal “n” sound, you need to be mindful of using nasal resonance.