Kazuko Matsumura was somewhat of a flash-in-the-pan when she came into the music world plucking merrily on her shamisen in her debut song "Kaette Koi yo" (Come Back, My Love); a veritable youngster at the age of eighteen for a singer of an Enka tune. The song slowly grew on the Japanese populace through the end of 1980 and well into 1981. Although one may consider this to be a more pop-friendly kind of Enka song, the slightly melancholy aspect of the lyrics washed over in its rollicking melody, and the shamisen twanging away not in yearning, but just as accents. Regardless, the song proved popular enough to grant her a coveted spot in the New Year's Eve Red-White Song Competition in 1981, and that was the capstone for her musical career. Although she would continue recording into the decade, she is best known for this song, one of Japan's most treasured one-hit wonders. 帰ってこいよ (Kaette Koi yo) Music: Noboru Ichidai / 一代のぼる Lyrics: Tadao Hirayama / 平山忠夫
Hiromi Go possesses one of the most enduring careers in Japanese music, and has so far today not shown signs of slowing down just yet. Even so, it is still worth looking at how he once started, during the formative years of Japanese idols. He was the most junior (in terms of career) of the "The New Big Three" [新御三家], a trio of male singers in the 1970s, that comprised of him, Goro Noguchi, and Hideki Saijo, though none of them were ever truly alike in singing styles, Goro was primarily a ballad singer, Hideki was the slightly edgier rock-ish one, while Hiromi captured the pop world's attention. Yet, he was the first of the three to score the major hit. His debut single "Otokonoko Onnanoko" (Boy and Girl) certainly evokes that teen pop attitude, with its catchy refrain and light arrangement. Here, his voice had that quality common in young male Japanese singers: high, slightly nasal, and without significant depth. It would take some time for his voice to mature to that of a high, slightly nasal man. However, the song's appeal was strong enough in itself to garner Hiromi Go a Newcomer's Prize in the 14th Japan Record Awards, as well granting him his first of many appearances in the Red-White Song Competition.
The Nippon Television Network talent show Star Tanjou! [スター誕生!] (A Star is Born!) has produced a significant number of highly successful singers that graced the Japanese charts during the 70s and 80s, two of them have been featured here in this blog: Hiromi Iwasaki , Akina Nakamori and Momoe Yamaguchi. We'll be looking at another one of the show's successful alumni: Mako Ishino.
Despite her homely appearance and slightly crooked teeth (Asian dentistry wasn't so great at the time), her cute image and decent singing (of a Japanese cover of a Danièle Vidal tune) won the judges over, among them the lyricist Yuu Aku, who would later pen the words to several of Mako's earlier songs. She signed onto the Victor Entertainment label and released her debut single "Ookami Nanka Kowakunai" ("I Ain't Afraid of Wolves"). The song is a breezy number playing up the metaphor of men as wolves in the game of love. As per habit for Japanese singing, the song had its own trademark moves, in this case Mako pursing her right hand to imitate a wolf's head when singing the chorus. Her singing character straddles between the voice of the typical pop teen voice and that of a feminine and mature woman, giving her the potential for versatility in song material that is not very common for most singers. Needless to say, her producers took advantage of that, the results we'll see when we get back around to her again later on.
(Hit Studio Night [夜のヒットスタジオ])
狼なんか怖くない (Ookami Nanka Kowakunai)
Music: Takuro Yoshida / 吉田拓郎 Lyrics: Yuu Aku / 阿久悠
Saori Minami was at the forefront of a shift in the early 1970s towards giving attention and exposure to artists at younger ages, usually around 14 to 16 years old. Prior to that, in the 1960s and before, it is expected for singers to start around that age, but only reach their stride by the time they were in their late teens or early twenties through a few years of climbing up the ranks. However, with the growing trends of youth culture getting a stronger influence in Japan, their new stars now had to hit the ground running, thus giving rise to the first generation of "idols".
Saori's debut single "Jyunana Sai" (Seventeen Years Old) is appropriately titled, as she was to turn 17 the month after the single's release date. On first listen, it is clear that composer Kyohei Tsutsumi was heavily influenced by "Rose Garden" by country singer Lynn Anderson from the year before. The story goes that with Tsutsumi in charge of writing the music to Saori's songs (as was also soon becoming a trend for songwriters and lyricists to be tasked to write songs almost exclusively for a suite of artists), he asked her what she liked to sing, and "Rose Garden" was her answer, thus he gave her his own way of writing a "Rose Garden"-esque song. Paired with Mieko Arima's coastal-themed lyrics, the song rose to 2nd on the Oricon charts winning a couple prizes from the Japan Record Awards and Kayo Grand Prix for that year. The song soon became one of her standards, as well as a standard in the Japanese songbook, inspiring many other songwriters in the coming years to use 17 as a special age in their songs, reinforcing the prevalence of teenagerhood that was sweeping the nation. Saori Minami's strong start in her singing career set a high bar for future singers who wish to make their mark in music.
(22nd NHK Red White Song Competition [第22回NHK紅白歌合戦])
The most famous and successful Japanese idol of the 1970s started out with humble origins. One of three girls who gotten top marks at the famous Star Tanjou! television talent show, she grew in the hearts of the Japanese with her sullen image yet mature and powerful singing. "Hito Natsu no Keiken" (A Summer Experience) was her first smash hit, even though it was her 5th single to be released. As was typical at the time, many lyricists would often push their lyrics, very sensual and sometimes lurid to the point of scandal, onto these singers, who are only in their mid teens. For example, the beginning lyrics of the song "あなたに女の子の一番 / 大切なものをあげるわ" translates roughly to "I'll give you the most precious thing a girl has" and the end of the chorus "誰でも一度だけ 経験するのよ / 誘惑の甘い罠" means "Everyone experiences it at least once, The sweet trap of temptation". Even though the lyrics for this song were suggestive, she chose this as the song to sing in the New Year's Eve gala Red-White Song Competition since it was one of the least suggestive songs in her repertoire! Regardless, this song, with its soaring melody and ardent momentum, won her prizes in the Japan Record Awards and Kayo Grand Prix, and firmly planted her in the world of Japanese music, her career just getting ready to run into full blossom.
(25th NHK Red White Song Competition [第25回NHK紅白歌合戦])
Nana Okada was one of the minor idol singers of the 1970s, a product of the TV talent show circuit, she gained recognition as an actress, photo model, and a singer, all simultaneously (nowadays wrapped together in the term "tarento"). Her 2nd single (and we seem to be talking quite a bit about those aren't we?) "Jogakusei" (Schoolgirl) typifies the cute girl image her production company cultivated around her. Frankly I don't know much about the content of the lyrics to justify it, but just listening to the song along, the swinging momentum, the matter-of-fact singing, and the general "innocentness" of the music in the song brings out in the mind a girl in a sailor suit singing about some sort of secret love. Nevertheless, the unadorned and honest sound to the song speaks out to those who finds contentment in simple things.
Much like in the rest of the world during the early and mid 1980s, there was a wave of nostalgia for the 1950s. This was just as so in Japan at the time, although unlike the more genuine "5-10 years lag" that created actual songs of that vein, it became a form of pastiche in the 1980s. In comes the The Checkers. After Rats & Star (formerly Chanels), The Checkers were the most visible of retro groups in 1980s Japan, and was wildly popular with the young girls at the time. As can be seen in the EP cover here, they commonly sported checkered blazers to help reinforce their image associated with the name. Their breakthrough came with their 2nd single "Namida no Request" (Tears of Request) which exemplified the the 50s pastiche a great deal, replete with simple chord structure, wailing saxophones, and rebellious-then-but-tame-today tones, an earnest love song in the backdrop of a sock hop. By the end of 1984, this single became the 4th most popular song, giving them the base to further stardom (much like how Akina Nakamori had with her 2nd single in the post previous).
The other prominent figure in Japanese music during the 1980s aside from Seiko Matsuda was Akina Nakamori. In the popular imagination, the two of them were often pitted against one another in a light/dark dichotomy, with Seiko being the innocent "girl-next door" idol, while Akina was the mature and expressive adult singer. Even if neither of them took those labels seriously, the songs they've sung tend to reflect that attitude. This was the case with Akina's second single "Shoujo A", the one that started her path to stardom.
Her first single "Slow Motion" was cut from the usual idol mould, a typical love song done in an agreeable and pleasing pop style. What inspired the shift in mood for her second single is unknown to me, but somehow her producers thought a new style would be a better fit. The songwriting team of Hiroaki Serizawa and Misao Urino, mostly known for their rock-inspired pop songs, had originally planned a song for flashy rock-pop singer Kenji Sawada titled "Lolita", but when he didn't pick that up, they switched the lyrics gender roles and retitled it "Shoujo A" and offered it to Akina. The song's rousing tempo and rock affectations were a stark contrast to her previous single. Most notably different between the two songs was her use of her deeper singing voice (what she would later be identified with the most), granting the song a mature overtone that would've been lost had used a more girl-like voice. The lyrics, detailing the hungry lust of a seventeen year old teen for a biker, were risque at their time, enough to nearly have the song banned from the Japanese airwaves. Nevertheless, the song was a major success, and set Akina towards her own path to music stardom.
The origin of Seiko Mastuda's debut single was one of serendipity. During a cover shoot and filming of a commercial for the Shiseido cosmetic line, Seiko was supposed to be one of the models, but was later rejected due to her dimples. However, they instead had her sing the theme song for the commercial (good talent doesn't go to waste). Despite her nerveousness during the recording, the song proved to be a good debut hit. Even though it never cracked the top 10 in the Oricon charts, she received much positive publicity in the weeks and months ahead. This song was the beginning for her long and highly successful career as an idol and paved new paths for a new generation of singers that would later shape and define the music scene of 1980s Japan.
(Hit Studio Night [夜のヒットスタジオ])
裸足の季節 (Hadashi no Kisetsu)
Music: Yuichiro Oda / 小田裕一郎 Lyrics: Yoshiko Miura / 三浦徳子
Chiharu Matsuyama is one of the major singer-songwriters in Japanese popular music. His style is in line with the New Music movement that arose in the 1970s, although he has written and sung in various other styles as well. His most famous song "Kisetsu no Naka de" (In the Middle of the Seasons) was a distinct departure from his usual style, incorporating the then-current and popular disco sounds in its chorus. Whether or not this nod to common tastes led to its immense popularity in both 1978 (26th overall) and 1979 (24th overall). By then the song heralded Matsuyama's peak period where he wrote many more hits before trends went against him in the mid-1980s. Regardless, this song remains a timeless classic, now amongst the annals of popular Japanese song.
Takashi Hosokawa is one most successful Enka singers in Japan, despite coming into the genre at a time when new talent in Enka was on the start of a downturn. His wildly popular debut single "Kokoro Nokori" (Heart Pieces) stayed at the top of the Oricon charts for 4 weeks and ranks 8th overall for 1975. It is a strident song about abandoned love and regret, carried along in its doo-wop styled music. By the year's end, he has won many awards with his song including "Most Excellent Newcomer" in the 17th Japan Record Awards (日本レコード大賞) and the 3rd FNS Song Festival (FNS歌謡祭), "Broadcast Music New Member Prize" in the 6th Japan Song Grand Prix (日本歌謡大賞), and a "New Member Prize" in the Japanese Television Music Festival (日本テレビ音楽祭). Both Hosokawa and his debut song have become established standards in the Japanese music world.
心のこり (Kokoro Nokori)
Music: Yasushi Nakamura / 中村泰士 Lyrics: Rei Nakanishi / なかにし礼
Linda Yamamoto started her career as a teen model, often referred to in fashion circles as the "Japanese Twiggy" for her thin build. She turned to singing and scored her first hit with "Komacchau na" in 1966. However, her fame as a singer was rather middling soon after that and she continued her modeling career. She didn't see another musical success until 1972 when she released her smash hit "Dounimo Tomaranai", which ranked 32nd overall in the 1972 Oricon charts. This exotica-infused number by Shunichi Tokura and Yuu Aku with its incessant conga drumming reshaped Linda Yamamoto from a teen sensation to an star idol. And it didn't hurt that she combined it with her stage dress, slashed low-rise flares and a blazing red shirt tied up to reveal her midriff (or as the Japanese termed it then the "heso-dashi"), giving her performances a provocative sexual appeal in an otherwise conservative society. Regardless, the song proved popular enough to grant her a spot in the 23rd Red-White Song Competition in New Year's Eve of the same year.
どうにもとまらない (Dounimo Tomaranai)
Music: Shunichi Tokura / 都倉俊一 Lyrics: Yuu Aku / 阿久悠
We start with one of my favorite artists, Hiromi Iwasaki. Presented here is her fifth single "Mirai" (The Future) which is one of her more energetic songs, influenced strongly by the burgeoning disco music that would define much of popular music throughout the world in the 1970s. There really isn't much to explain about this song, other than its uplifting melody, tight arrangement, and it's rather inviting beat. While it was highly successful, chart-wise, it was not one of her most defining songs in her repertoire. We will find out which ones are when we come back to her later.
I've mentioned in the first post that this blog will primarily deal with Japanese music from the 1960s through the 1980s (and some ventures into the first few years of the 1990s), so we will be seeing music as diverse as Kyu Sakamoto's 1961 hit "Ue wo Muite Arukou", which later charted at number one two years later in the USA as "Sukiyaki" to the middle stages of singers and groups like Dreams Come True and X-Japan, which border at the point where people into J-Pop will start to hear familiar sounds.
J-Pop for the most part, is not much different from popular music elsewhere, and is also full of the subgenres typical to current popular music, such as folk, rock, bubblegum, dance music and so forth. There is a Wikipedia article on J-Pop that is decently informative, but I think is poorly organized and is not broad enough in scope.
As is said in the article, various influences shaped the sound of Japanese popular music, drawing both from traditional sources from the country to foreign sounds like jazz or rock and roll. After WWII, the general term for most popular songs in Japan was Kayoukyoku (歌謡曲), which to this day still has a concrete definition. It ranges from "music with lyrics" to excluding other song forms like Enka.From the 1960s, much of the music dominant at the time were similar in sound to what may be considered "pop standards" today, akin to the likes of Frank Sinatra and Doris Day. There was also the emergence of Enka (演歌), a particular brand of traditional pop music driven by melancholy and complex romances. By the late 1960s, stronger influences from folk and Western rock music gave rise to the Group Sounds genre, patterned after the British invasion, as well as seeing the first of Japanese Rock such as The Mops and Happy End.
The pop sound of the turn of the 1970s were heavily influenced by European pop music and sounded much like mid 60s American music at the time (for the most part, Japan usually had a 5 to 10 year lag behind the Anglo-American musical front, but that difference diminished significantly in the 1980s). That period also saw the beginnings of the fickle and intense Idol culture that would dominate Japanese music for the next two decades. Artists from the time such as Agnes Chan and Momoe Yamaguchi would later become commonplace in the Asian music world. The rise of New Music and the singer-songwriters like Yosui Inoue and Yumi Matsutoya (neé Arai) and the appropriation of Disco in the middle of the decade showed how quickly the J-Pop sound evolved and adapted to changing tastes.
By the 1980s, the Idol genre was at its peak churning out dozens of potentials but only producing a handful of superstars such as Seiko Matsuda and Akina Nakamori. The tunes became even poppier and the average pitch of female singers began to rise (a trend that doesn't appear to be stopping soon). Mid-decade, the increasing portability of music and increasing connectivity of media worldwide made sure Japanese popular music tastes would not be far behind from the West. During that time, dance-pop from both America and Europe would heavily influence artists that would craft their music in that style, as seen by the likes of Yoko Oginome and Miho Nakayama. As we get to the turn of the 1990s, the J-Pop sound has entered into somewhat familiar territory, and that is where the scope of this blog ends, as there are plenty of resources for music from that point forward.
As for how the content of this blog will be done, a majority of the entries will showcase a single song with statistics as well as lyrics and a video clip if applicable. There may also be entries focusing on a single genre or an artist, when the time seems right for that. Otherwise, the format will be generally free-form, as I doubt there are many English language sites that cover what I'm covering to that extent.
Hello and welcome to the Classic J-Pop blog, where you will find information and others resources concerning Japanese popular music (pop, folk, rock, and enka) from the 1960s to the late 1980s.
This period of Japanese popular music is for the most part and unknown territory, even to those who enjoy J-Pop and J-Rock today thanks to its inclusion with video games and Japanese animation as well as the growing fanculture surrounding them. For the most part, the music of that period never left Japan or even Asia for that matter, and a few handful across the Pacific have real access to it.
Regardless, where I come in is to help create an easy-access and understandable portal where those interested and curious about classic J-Pop can learn more about the genre and hear new things.
I hope you will enjoy the music that makes up this vast and fascinating period of Japanese popular music, as it is the foundation which led to what most would understand as contemporary J-Pop.
I'll just use this post here to list songs I've encountered, but was unable to obtain a good mp3 copy of it. If you happen to possess a good mp3 copy of the song, I will be much obliged!
Songs listed here can be found as A-Side singles, unless otherwise noted.
アリス - Alice エスピオナージ [Espionage]
アン・ルイス - Ann Lewis 白い週末 [Shiroi Shuumatsu] ハッピーヨコハマ [Happy Yokohama] わかりません [Wakarimasen] フォー・シーズン [Four Season] 恋のおもかげ [Koi no Omokage] ごめんなさい [Gomennasai] ラストコンサート [Last Concert] 女にスジは通らない [Onna ni Suji wa Touranai]
杏里 - Anri インスピレーション [Inspiration] TROUBLE IN PARADISE SURF & TEARS Back to the BASIC
安西マリア - Maria Anzai サヨナラ・ハーバーライト [Yokohama Harbor Light]
あおい輝彦 - Teruhiko Aoi 一人の旅 [Hitori no Tabi] 君がいても [Kimi ga Itemo]
朝倉理恵 - Rie Asakura 坂の上のアパート [Saka no Ue no Apaato]
チェリッシュ - Cherish 愛の終末 [Ai no Shuumatsu]
ダウン・タウン・ブギウギ・バンド - Downtown Boogie Woogie Band 山谷ブルース [Yamatani Blues]
フォーリーブス - Four Leaves 若いふたりに何が起る [Wakai Futari ni Nani ga Okoru] ハートブレイク急行 [Heartbreak Kyuukou]
ふきのとう - Fukinotou 冬銀河 [Fuyu Ginga] メロディー [Melody] 涙のらぶれたあ [Namido no Love Letter] ひとりの冬なら来るな [Hitori no Fuyu Nara Kuruna] 雨に濡れて [Ame ni Nurete] 12月の雨 [Jyunigatsu no Ame] 季節の夕暮れ [Kisetsu no Yuugure] 星空のページェント [Yozora no Pageant]
布施明 - Akira Fuse 旅愁～斑鳩にて～ [Ryoshuu - Ikaru Nite] 陽ざしの中で [Hizashi no Naka de] 愛よ飛べ [Ai yo Tobe]
郷ひろみ - Hiromi Go 天使の詩 [Tenshi no Shi] 魅力のマーチ [Miryoku no Match] モナリザの秘密 [Mona Lisa no Himitsu] わるい誘惑 [Warui Yuuwaku] 悲しきメモリ [Kanashiki Memory] もういちど思春期 [Mouichido Shishunki] 純情 [Junjou] 美貌の都 [Bibou no To] ロマンス [Romance] シャトレ・アモーナ・ホテル [Chartres Amona Hotel] ヤクシニー [Yakushinii]
浜田朱里 - Juri Hamada 18カラトの涙 [18 Carat no Namida] 本気半分エキストラ [Honki Hanbun Extra]
ハイ・ファイ・セット - Hi-Fi Set 素直になりたいDON'T YOU TELL HIM? [Sunao ni Naritai DON'T YOU TELL HIM?] 熱帯夜 [Nettaiya] Rainbow signal
光GENJI - Hikaru Genji 笑ってよ [Waratte yo] 風の中の少年 [Kaze no Naka no Shounen] 奇跡の女神 [Kiseki no Megami] GROWING UP TAKE OFF この秋‥ひとりじゃない [Kono Aki . . . Hitorijanai]
弘田三枝子 - Mieko Hirota 恋はノン・ストップ [Koi wa Nonstop]
堀ちえみ - Chiemi Hori 暗くなるまで待って [Kuraku Narumade Matte] (Album)
桑名正博 - Masahiro Kuwana そこからがパラダイス [Sokokara ga Paradise]
ザ・リリーズ - The Lilies パパ キケン! [Papa Kiken!] シェルの涙 [Shell no Namida]
松原みき - Miki Matsuhara ハロー・トゥデイ～Hello Today
松本典子 - Noriko Matsumoto 感性のままに [Kansei no Mama ni] (B-Side)
黛ジュン - Jun Mayuzumi 涙でいいの [Namida de Iino] バスを降りたら [Bus wo Oritara] 風の大地の子守唄 [Kaze no Daichi no Komori Uta] 男はみんな華になれ [Otoko wa Minna Hana ni Nare] たとえば鳥 [Tatoeba Tori]
三原順子 - Junko Mihara ホンキでLove me Good!! [Honki de Love Me Good!!] 悲・GEORGE [Kana GEORGE] 氷河期 [Hyougaki]
森川美穂 - Miho Morikawa ブルーな嵐 [Blue na Arashi] サーフサイド・ブリーズ [Surfside Breeze] Real Mind 心のパーキングゾーン [Kokoro no Parking Zone] LOVIN' YOU 目覚めたヴィーナス [Mezameta Venus] 翼にかえて [Tsubasa ni Kaete] 君が君でいるために [Kimi ga Kimi te Irutameni]
森田健作 - Kensaku Morita 青春の旅 [Seishun no Tabi] 若い涙はみな熱い [Wakai Namida wa Mina Atsui] 若者たち [Wakamono-tachi] 青春のバラード [Seishun no Ballad]
森田公一&トップギャラン - Kouichi Morita & Top Gallant 沿線名画座 [Ensen Meigaza]
森高千里 - Chisato Moritaka 夜の煙突 [Yoru no Entotsu]
中原めいこ - Meiko Nakahara 眠り姫 [Nemuri Hime] (Album)
中村由真 - Yuma Nakamura さよならの冒険者たち [Sayonara no Boukensha-tachi]
夏木マリ - Mari Natsuki 裸の青春 [Hadaka no Seishun] 裏切り [Uragiri] 誘惑されて-LIPS・SCANDAL- [Yuuwaku Sarete LIPS SCANDAL]
西田佐知子 - Sachiko Nishida 夜霧のむこうに [Yogiri no Mukouni] 気になるあなた [Ki ni Naru Anata]
西城秀樹 - Hideki Saijo 恋の約束 [Koi no Yakusoku] 涙と友情 [Namida to Yuujou] 至上の愛 [Shijou no Ai] セクシーロックンローラー [Sexy Rock n' Roller] エンドレス・サマー [Endless Summer] 漂流者たち [Hyouryuusha-tachi] 哀しみのStill [Kanashimi no Still] Do You Know ミスティー・ブルー [Misty Blue] 約束の旅 – 帰港 – [Yakusoku no Tabi - Kikou - ] 心で聞いたバラード [Kokoro de Kiita Ballad] Blue Sky 夏の誘惑 [Natsu no Yuuwaku] リバーサイドで逢いましょう [Riverside de Aimashou]
坂口良子 Ryoko Sakaguchi 青い山脈 [Aoi Sanmyaku]
堺正章 - Masaaki Sakai 明日の前に [Ashita no Mae ni] 小さな声で [Chiisana Koe de] 今では遅すぎる [Ima de wa Oso Sugiru] SONGOKU 遥かなるレディー・リー [Harukanaru Lady Lee] メリーゴーラウンド [Merry-go-round] 倖・せ・な・女 [Shiawa-se-na-Onna] 二十三夜 [Nijuu Sanya]
榊原郁恵 - Ikue Sakakibara 真夏のファンタジア [Manatsu no Fantasia]
坂本九 - Kyu Sakamoto そして想い出 [Soshite Omoide]
沢田研二 - Kenji Sawada アリフ・ライラ・ウィ・ライラ 〜千夜一夜物語〜 [Alif Layla wa-Layla -Senya Ichiya Monogatari-] 女神 [Megami] きわどい季節 [Kiwadoi Kisetsu] CHANCE Muda ポラロイドGIRL [Polariod GIRL] DOWN 世界はUp & Fall [Sekai wa Up & Fall] SPLEEN 〜六月の風にゆれて〜 [Rokugatsu no Kaze ni Yurete] そのキスが欲しい [Sono Kiss ga Hoshii] HELLO
世良公則 - Masanori Sera TOKYO指輪 [TOKYO Yubiwa]
島田奈美 - Nami Shimada 愛を走らせて [Ai wo Hashirasete]
庄野真代 - Mayo Shono おでかけブギ [Odekake Boogie]
少女隊 - Shoujotai バランスシート [Balance Sheet] ナポレオンのくしゃみ [Napoleon no Kushami]
杉田二郎 - Jiro Sugita 八ヶ岳 [Yatsugatake]
立花理佐 - Risa Tachibana こっちからJoker [Kocchikara Joker] NEXT
谷山浩子 - Hiroko Taniyama 銀河系はやっぱりまわってる [Gingakei wa Yappari Mawatteru]
Artist: Kazuko Matsumura / 松村和子
