[Karaoke] A roundup of easy-to-sing Misora Hibari songs

Love Radiant

Love Radiantly

It uses difficult kanji, but it’s written as “愛燦燦” and read as “Ai Sansan.” The title appears right at the start of the lyrics, so it leaves a strong impression, doesn’t it? This “Ai Sansan” is a single released in 1986 by Japan’s eternal songstress, Hibari Misora.

The song was written and composed by singer-songwriter Kei Ogura, and as a masterpiece of Showa-era pop, it has been covered by many artists and is well known from frequent appearances on TV.

That said, it apparently didn’t sell very well at the time of release and only later became a long-running hit.

It’s also very popular for karaoke, and because the melody is easy to remember and the vocal range isn’t too extreme, it’s definitely one of the more singable songs among Hibari Misora’s many classics.

Try riding the relaxed rhythm, savoring the deeply expressive lyrics, and focusing on clear pronunciation as you sing!

Like the flow of a river

Like the flow of a river

“Like the Flow of the River” is the final single released during the lifetime of the legendary songstress Hibari Misora, and among her illustrious discography—through which she continually sang to the hearts of the Japanese people—it stands out as one of her most famous masterpieces.

With lyrics by Yasushi Akimoto that convey a profound outlook on life, and a beautiful melody composed by Akira Mitake, Hibari’s flawless vocal performance continues to move countless listeners even in the Reiwa era.

Ever since its release, the song has, unsurprisingly, been immensely popular for karaoke as well.

In fact, when you actually try singing it, you’ll find the range isn’t overly demanding; the calm mood of the verse and the soaring, memorable chorus make it both easy to learn and satisfying to sing.

While being able to add vibrato is certainly a plus, there’s no need to force it—let yourself flow with the melody and focus on clearly enunciating each word of the lyrics.

Eyeless plover

Eyeless plover

This song, “Men-nai Chidori,” is not an original by Hibari Misora.

Its first release dates back to 1940 as a single by Noboru Kirishima and Miss Columbia.

Later, Chiyoko Shimakura covered it in 1965, and Eisaku Okawa covered it in 1969—both times as B-side tracks that nevertheless became hits, giving the song a rather curious history.

The evocative beauty of Satō Hachirō’s Japanese lyrics and Masao Koga’s wistful melody resonate with the Japanese heart, even for those who aren’t particularly interested in enka.

Hibari Misora’s rendition is what you might call standard enka, but she sings it smoothly without heavily leaning into vibrato ornamentation.

The melody features a characteristically enka-like development—soaring from low lines up into a higher range—which can be challenging if you’re not used to it.

However, the pitches themselves are fairly approachable, so with repeated practice, paying attention to the rhythm of the lyrics and melody, you’ll be able to sing it well.

car dealer

car dealer

If you’re familiar with Japanese rock from the 2000s, this song might ring a bell.

“Kuruma-ya-san” drew attention from younger music fans when Tokyo Jihen, led by Ringo Sheena, covered it and released it as a single in 2004.

Its first appearance, however, was back in 1961 as the B-side to the single “Hibari no Dodonpa.” Since then, “Kuruma-ya-san” grew in popularity and began to be performed frequently in concerts.

The distinctive phrasing and rhythmic feel typical of kayōkyoku might seem a bit challenging if you’re not used to this style, but you’ll handle it well by practicing in sections: focus on the contrast between the bouncy rhythm of the A verse and the dramatically more expansive singing in the chorus.

Don’t be shy—lean into the vibe, even to the point of overdoing it a little.

a bright red sun

Crimson Sun

Crimson Sun is one of Hibari Misora’s signature masterpieces—so famous that most people, regardless of age, have probably heard it at least once.

The contrast between the powerfully sung, full-bodied low-register A section and the driving, relentless chorus, coupled with Nobo Haru’s jazz-influenced composition and the Group Sounds-style band arrangement by Jackey Yoshikawa and the Blue Comets, makes it sound absolutely cool even today in the Reiwa era.

Many young music fans find this sound “cool,” and some will want to try it at karaoke.

It’s also a karaoke standard among Hibari Misora’s songs, so performing it in front of older listeners is sure to be a hit.

While simply following the melody isn’t too difficult, as mentioned earlier, lean all the way into the theatrical flair in the A section, and in the chorus, focus on momentum while paying attention to your breathing points!

Tokyo Kid

Tokyo Kid

Tokyo Kid is a signature song from the period when Hibari Misora was shining as a prodigious young star, and it’s a classic that brought bright hope to postwar Japan.

If you watch the film of the same name, in which Hibari herself starred, you’ll see how charming she is singing this song with confidence at the age of 13—and you’ll surely be struck by her overwhelming vocal prowess.

Although Tokyo Kid has some ups and downs in pitch, it’s the kind of song where the melody comes naturally once you catch the rhythm, so it shouldn’t be too difficult to sing.

Next time you go to karaoke with your family, try singing it in front of your grandpa and grandma!

A Poem by a Woman

A Woman's Poem

The opening women’s chorus is full of atmosphere, and this “Aru Onna no Uta” is a masterpiece that serves as a model of Showa-era mood kayō.

It was released as a single in 1972 and was also performed at that year’s Kōhaku Uta Gassen.

The lyrics are simple and the melody is easy to remember, but to be honest, it’s difficult to sing this song well.

The range is very wide, and you’re expected to hit the low notes firmly and project the high notes without relying on falsetto, so it might be tough unless you’re fairly confident in your singing.

That said, the highest notes only appear in the chorus, so start by thoroughly practicing the low parts of the A-melody, and be mindful of your breath so you can nail the soaring high section when the song reaches its climax.