While enka, a reasonably traditional Japanese vocal pop (sometimes viewed as something of the correlate of fado), quietly fades into memory space under the excess weight of J-Pop’s recognition, several proponents have propped in the genre. Going swimming against the existing of his age group group’s musical propensities, Kiyoshi Hikawa started singing enka items while working in a medical home. Creating a tiny fan base one of the genre’s even more traditional viewers, Hikawa developed a repertoire and an individual design, spending time beneath the mentorship of composer Hideo Mizumori. While focusing on his stage existence, Hikawa gained extra interest as something of the iconoclast; he’s significantly younger, a lot more handsome compared to the ordinary enka vocalist, generally outfitting himself with matches and styles even more based on the popular Asian youngster bands compared to the even more traditional kimonos connected with traditional enka performing (an especially conservative type of design). The recently crowned “Prince of Enka” cemented his name with is victorious for both tune and record of the entire year within the enka group of 2002’s Yellow metal Disk honours, both for his debut collection. Launching an record or two every year from 2001 onward, Hikawa constructed a solid discography quickly, preserving high (though short-lived) graph positions with each following release, including lots two slot in the Oricon graphs for 2008’s Genkai Funauta.