Karaoke songs that are easy to sing even for tone-deaf beginners, recommended for women in their 60s
Even if you’re not confident at singing, there are times when you want to belt out a song at karaoke and feel great.
This time, we’ve put together a selection of songs for women in their 60s that are both nostalgic and easy to sing.
People often assume that enka or kayōkyoku suit those in their 60s, but we’ve also included many folk and pop songs from the 1970s—the era when today’s sixty-somethings likely spent their youth.
We’ve focused on songs with melodies that seem easy to sing, and some articles include tips on how to sing them well.
Find your favorite tune and enjoy singing!
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Karaoke songs recommended for women in their 60s that are easy to sing even for those who are tone-deaf (51–60)
Lucky Man's SongAki Yashiro

Aki Yashiro has left behind many classic songs, but among them, an unusually distinctive masterpiece that continues to be talked about is The Lucky Man Song.
This piece was released as the theme song for the popular anime Tottemo! Luckyman.
It’s fundamentally structured as a pop song, so it doesn’t have the difficulty of enka.
However, in the middle of the track there’s a section that pays homage to part of the famous song Funauta, which does require techniques like kobushi (ornamental vocal turns).
That said, the kobushi and vocal lines aren’t particularly difficult, so if you’re accustomed to singing enka or kayōkyoku, you should be able to handle it without any trouble.
Anemone flaccida (nirinsō; literally “two-flowered anemone”)Miyuki Kawanaka

This is one of Miyuki Kawanaka’s signature songs, released as a single in 1998.
It won the Excellent Work Award and the Arrangement Award at the 40th Japan Record Awards.
A duet version was also released, and she has performed this song at the NHK Kohaku Uta Gassen five times.
With its gentle, easy-to-follow rhythm, it’s a fun song to sing at karaoke.
Life won't give (it) to me / Unyielding lifeEiko Segawa

It was released in 1986 as Eiko Segawa’s 40th single.
After gaining traction through cable radio, it became a massive hit, selling a total of 1.
7 million copies, and she achieved her long-cherished first appearance at the 38th NHK Kouhaku Uta Gassen in 1987.
While her distinctive, slightly nasal vocal tone is a hallmark, the melody stays within a relatively singable range, making the song popular for karaoke as well.
Because I Want to See You ~Missing You~Seiko Matsuda

It was released in 1996 as Seiko Matsuda’s 38th single.
It was used as the ending theme for TV Asahi’s “Beat Takeshi’s TV Tackle” and as the image song for Canon’s “PIXEL.” It became her biggest hit and earned her first million-seller.
As a ballad about adult love, it remains a popular choice for karaoke.
Karaoke songs recommended for women in their 60s that are easy to sing even for those who are tone-deaf (61–70)
Let yourself go with the flow of timeTeresa Teng
It was released in 1986 as Teresa Teng’s 16th single.
At both the 19th Japan Cable Awards and the 19th All Japan Cable Broadcasting Awards, it won the Grand Prix for the third consecutive year—the first time in history.
The song was performed twice on NHK’s Kōhaku Uta Gassen, in 1986 (the 37th) and in 1991 (the 42nd).
It has also been covered by many artists and is celebrated as one of Teresa Teng’s signature masterpieces.
ScandalTeresa Teng

Teresa Teng’s songs are full of that quintessential ’80s vibe.
You can especially hear it in the synthesizers and the vocal lines.
This track, “Scandal,” is unusual for a Teresa Teng song in that its vocal line is crafted more like a 1970s idol tune.
It features a melody that leans somewhat toward doo-wop, and in contrast to the sprightly rhythm, the vocal line is characterized by a narrow range and gentle, gradual pitch movement.
celebratory sakeFuyumi Sakamoto

It was released in 1988 as Fuyumi Sakamoto’s third single.
At the 30th Japan Record Awards, it won the Gold Award and went on to become a long-selling hit.
It is often performed at weddings, and thanks to the song’s success, she made her first appearance at the 39th NHK Kōhaku Uta Gassen.
It remains one of Fuyumi Sakamoto’s notable early signature songs.







