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Leah Dizon - Destiny Line 12 September 2007 Leah Dizon is irrefutable proof that having a pretty face is ninety percent of what you need to succeed in the Japanese pop industry. The other ten percent consists of singing, dancing, and least of all, song-writing.Born and raised in Las Vegas, Dizon wanted to be a singer from a young age. To that end she attended schools for the performing arts. At the age of eighteen she moved to Los Angeles for college, majoring in film. However, she would drop out of school within a year. While in Los Angeles Dizon worked as a grid girl to support herself. Her sexy photo-shoots quickly began to appear on the Internet and suddenly Dizon found herself with an unexpected fan-base in Japan. A lot of people found an exotic beauty in her French-Filipino-Chinese ethnic heritage. When these new-found fans learned that Dizon wanted to be a singer they began pressuring her to send out demos. And so she did, sending a demo to multiple Japanese labels. Victor Entertainment signed her in 2006 and relocated her to Tokyo.Leah Dizon released a photo-book six months after moving to Japan, nearly five months before she would release any music. Dizon had all the characteristics of stereotypical gravure idol trying to be a pop star. Arguably she was already a star before ever recording a single song. Eleven months later Dizon had recorded and released her debut album, Destiny Line.Something strange happened though. The album was actually good.While it was hardly an earth-shattering album, Destiny Line was surprising for demonstrating Dizon’s talents as a song-writer. She created or collaborated on all but three tracks of her thirteen-track debut. Calendar pin-up babes turning into Japanese pop stars is a common phenomenon. However, it is rare to see one who works closely on writing her own music. This fact alone made the album more interesting than one by—I don’t know—someone like Nao Nagasawa. Her vocals and lyrical skills had room for improvement but that did not prevent Destiny Line from being a refreshingly interesting album considering the extremely stereotypical, superficial events that led to its creation.Leah Dizon has been an hiatus since releasing her second album in 2008, Communication!!! The three major reasons were her marriage, subsequent pregnancy, and subsequent divorce. Once one becomes a pop star it can be impossible to have a private life; the media thoroughly covered Leah Dizon’s marriage troubles and legal battle for custody of her daughter which she won. At this time of writing she is back in the United States but has expressed interest in returning to Japanese music. Now it’s just a waiting game to see if any record label want to sign Leah Dizon and begin what would be the second stage of her music career.Personally I don’t see it happening, but who knows. In any case, I hope as always that you enjoy the album!
03/18 11:20 jusan
[얼티메이트] [131016] TVアニメ「這いよれ! ニャル子さんWHaiyore! Nyaruko-san W」コンプリートベスト「邪礼曲たち」/後ろから這いより隊 320K TVアニメ「這いよれ! ニャル子さんW」コンプリートベスト「邪礼曲たち」/後ろから這いより隊発売日 : 2013/10/16商品番号 : AVCA-62969JAN : 4988064629695メディア CD組枚数 2[内容紹介]『這いよれ! ニャル子さんW』作中で使用された歌を全曲収録! ニャル子ファン必携のベストアルバム!! これまでパッケージ未収録だった劇中曲「嫌いなワケLychee -ツル子ver.-」、最終話エンディング「キミのとなりで」をCD初収録。 DVDには、「Wonderナンダ? 片思い」「Sister,Friend,Lover」「キミのとなりで」のノンテロップ映像を初収録。「Sister,Friend,Lover」映像はエヴァンゲリオンTVシリーズの副監督であり、新劇場版エヴァンゲリオン制作会社カラー取締役でもある"鶴巻和哉"が制作!収録曲01. 恋は渾沌の隷也歌 : 後ろから這いより隊G / 作詞 : 畑亜貴 / 作曲·編曲 : 田中秀和02. よってS.O.S歌 : RAMMに這いよるニャル子さん / 作詞 : 藤林聖子 / 作曲·編曲 : RAMM03. Wonderナンダ?片思い歌 : RAMMに這いよる邪神さん / 作詞 : 藤林聖子 / 作曲·編曲 : RAMM04. 嫌いなワケLychee歌 : RAMMに這いよる珠緒さん / 作詞 : 藤林聖子 / 作曲·編曲 : RAMM05. Sister,Friend,Lover歌 : RAMMに這いよるクー子さんとクー音さん / 作詞 : 藤林聖子 / 作曲·編曲 : RAMM06. 愛クルセイダース†ストライバー歌 : RAMMに這いよる真尋さんと余市さん / 作詞 : 藤林聖子 / 作曲·編曲 : RAMM07. Blast of Fate ~疾風の行方~歌 : 後ろから這いより隊B / 作詞 : ヤスカワショウゴ / 作曲 : 楊慶豪 / 編曲 : 原田ナオ08. 嫌いなワケLychee -ツル子Ver.- 第4話劇中歌歌 : ツル子CV.山北早紀 / 作詞 : 藤林聖子 / 作曲·編曲 : RAMM09. ユゴスよりの使者歌 : The Mi-go hunters / 作詞 : 生田真心 / 作曲·編曲 : RAMM10. キミのとなりで 最終話エンディング曲歌 : RAMMに這いよるニャル子さん / 作詞 : 藤林聖子 / 作曲·編曲 : RAMM11. 恋は渾沌の隷也 -RAMMアレンジVer.-歌 : 後ろから這いより隊G / 作詞 : 畑亜貴 / 作曲 : 田中秀和12. ニャルニャルサービスメドレー歌 : 後ろから這いより隊DDL : http://pan.baidu.com/s/1xJRCo Password : jyswMagnet
03/18 11:20 anime (讨论)
immi - Switch 6 August 2008 Mayu Nakazawa is better known by her stage name: ‘immi’. It is not uncommon for musicians to adopt a different moniker for performances. But Nakazawa first attempted a music career under her own named and failed.A pianist since childhood, Nakazawa began writing her own music and performing when she was in high school. During this time she came to the attention of a producer at Universal Music Japan who encouraged her to move to Tokyo. Nakazawa took the advice and made the move in 2001, signing with the company and began recording in studios. Within one year Nakazawa created and released three singles and one album, Step Into my Heart 27 November 2002. They were all commercial failures and Universal Music Japan subsequently terminated her contract.It seemed like Mayu Nakazawa had blown her one chance at a music career. She receded from the Tokyo scene and slowly began to rework her style. During this time she adopted the name immi and began composing electronic music that drew influences from contemporary club music and 1980’s Western synth-pop/rock. She re-emerged with the label Grand Trax and released her first single as immi, Cosmic Pink, on the 28th of Novmber 2007, almost five years to the date that she released her last album. Unlike her earlier endeavors Cosmic Pink was quickly successful and was swiftly followed by another single, Klaxon.immi released her first album under this name a little less than a year later. This time her album was both commercially and critically successful, making it onto to Oricon charts, something that did not happen with any of her music released under her real name. Critics praised her combination of sultry vocals and measured synth-pop that washed over listeners like a wave instead of trying to blow out the speakers e.g. ‘Power Station’. A year later immi signed with DefStar Records and released her second album, Spiral, in 2010 to even greater success.It seems like most people do not get second chances in the music industry. Mayu Nakazawa blew her first chance, but instead of calling it quits she began a musical self-reconstruction that lasted five years and resulted in her return as immi. The two albums I’ve mentioned are her only ones as immi; I would have uploaded them both but I can’t find my copy of Spiral damnit…. Anyways—nowadays a lot of her focus has gone into Tacomimi, a duo of her and DJ Jetbikini, a long-time friend who actually made some contributions to immi’s two studio albums.I’ll upload Spiral whenever I actually find it, along with the remix album for Switch. Until then, as always, I hope you enjoy the music!
03/18 11:20 naruto
lecca - City Caravan 30 July 2008 I am uploading this album for reasons I describe in the description for Gollbetty’s Betty’s Buggy, which you can find on my user page. In the past I uploaded lecca’s eponymous debut album and talked about her there, so I’ll try not to repeat myself; but those of you who do me favor of actually reading this stuff I write thanks! know that I usually chatter on and on anyways.In my opinion City Caravan has the most interesting structure of all of lecca’s albums. You will notice from the track list that it not only has a prologue and epilogue, but also four tracks directly related to the title itself. At first glance they appear to come in the wrong order: what should be the first song is the final track, ‘City Caravan II’ comes first, and ‘City Caravan III’ is split in half by another song. It is all intentional though. More than that, unlike any other lecca album, it establishes a melodic theme that runs throughout the entire CD, book-ended by the opening and closing tracks. This type of musical thematic design was a first for lecca, and to date remains her only album with such an over-arching form.I also want to point out something that always makes me laugh. The lyrics of the song ‘BELLE EPOQUE’, featuring Diggy-MO’, crack me up. Specifically, fifty-four seconds into the song lecca says in English: “Let’s make a hot shit.” It does not sound like it because she slurs the last word, but that is what’s printed in the lyric booklet that comes with the album. It always makes me laugh because I can’t understand what point she was trying to make or what she thought that contributed to the song.Anyways, I hope you enjoy the album! Requests are welcome as always, and my thanks to everyone who downloads these albums I rip because I love sharing my passion for Japanese music.
03/18 11:20 bleach
Gollbetty - Bettys Buggy 6 August 2008 The Japanese music scene boasts a number of great ska bands, and Gollbetty was one of them. I say ‘was’ because they disbanded in 2010. Their six year career began back in 2004—congratulations to me for doing basic math—in the Nagoya area. Nagoya is not as big of a music scene as Shibuya or Osaka, but it does have a strong punk rock pulse which over the years has produced bands like Kuroyume and Phobia. So it should come as no surprise that Gollbetty incorporates pop-punk into their overall ska sound.Gollbetty propelled into success partially because of their vocalist: g-yun. During the formative year of the seven-member band she was also working as a fashion model. It did not take long for someone—in this case Run Run Run Records—to find out g-yun was also the front-woman of a band. And so Gollbetty signed with a label faster than most indie bands. Personally, I think that is superficially unfair, the fact that Gollbetty was able to get a label faster than their peers simply because of their vocalist’s attractiveness. I say that as if the entire J-pop industry does not work that way. However, to her credit, g-yun was not just a pretty face; she packed the booming vocals and energetic stage presence that fit perfectly with Gollbetty. In six years they released four original albums; none of them were chart-topping commercial successes, but all were critically well-received.Now for a game of ‘Good News, Bad News’.Yesterday I said I would be uploading two albums today. I hope you interpret that as good news. But my reasons for doing so are the bad news: my copy of Betty’s Buggy has a scratch across the back and when I ripped the CD it screwed up the second track. I tried to fix this in multiple ways, but I could not get the track off the album without errors; and I couldn’t find the album anywhere else online or I would have just used that to replace the track. So to apologize for uploading an album with a damaged track I am uploading two albums today, this one and City Caravan by lecca, which you will find listed on my user page.Sorry about the damaged track, but I hope you enjoy the album anyways!
03/18 11:20 bleach
m-flo - Neven 13 March 2013 I have said before that I started uploading one album a day with the intent of introducing people to both older albums and Japanese artists they may not have ever heard of. So this upload is a rare change of form, the first time I’ve uploaded something which came out this year. I was simply surprised to see it was not available here. I’m about to go into one of my common long-winded rants, so the ‘TL;DR’ version is this: m-flo is awesome and so is this album.Often I like to provide some biography for the artist whose music I’m uploading, but m-flo is one of the most successful Japanese hip-hop groups in history. I’ll assume most of you have some idea of who they are—not that it will prevent me from rambling on about them. But what I’d like to try and do is frame the album Neven from the view of a fan who has followed their career from the start and how it stacks up against their previous albums.The first, immediately noticeable aspect of Neven is how it continues to carry on traces of Planet Shining, m-flo’s debut album from 2000. m-flo was undeniably a different group then. They were a trio: emcee Verbal Young-Ki Yu, DJ Taku Takahashi, and Elisabeth Sakura Narita, better known as Lisa. The music of Planet Shining reflected their mixture of abrasive urban sounds and soulful youth. The bright-red, photo negative album cover featuring the three members sitting among a faceless crowd makes a visually blunt statement: this was three people who were dead-set on doing their own thing in a country where conformity is the norm. But where’s the connection to Neven? You can hear it in the first ten seconds of both: the albums open with prologue of female narration that leads into the second track, and both albums have short tracks of dialogue laced throughout. The sonic nature of Planet Shining sounds a world apart from the house music of Neven but the both share an atmospheric structure built by the weaving narration.m-flo’s second album, Expo Expo, came a year later in 2001 and shared a similar structure. It is notable for showing the earliest signs of m-flo moving in the direction of the house/club music style of Neven, but also because it would be their last album as a trio. Lisa left the group on bad terms and began her solo career. Fortunately though they would reconcile later and begin collaborating again, but m-flo has remained a duo of Verbal and Taku ever since.Lisa’s departure triggered m-flo’s series of collaborations with other Japanese musicians: BoA, Bonnie Pink, Ryuichi Sakamoto, Crystal Kay, Bennie K, Miliyah Katoh, Emi Hinouchi, Akiko Wada, Ryohei Yamamoto, Sowelu, Diggy-mo, Yoshika, Namie Amuro—between 2003 and 2009 m-flo worked with more guest vocalists on their albums than I can name. This proclivity to bring in a plethora of vocalists continues with Neven, albeit with one interesting difference that I will mention later. Neven features:* Miliyah Kato* Minmi* Minami* Matt Cab* Kiko Mizuhara* UnicoThe last two make their debut on Neven actually. The difference I mentioned is that Neven does not explicitly mention the vocalists in the song titles. This is only the second time m-flo has omitted that information from the track titles; the first time was their 2012 album Square One. That album came at the end of a five year hiatus during which Verbal and Taku worked on solo projects. To be completely honest, I felt like Square One was disappointing. Verbal and Taku admitted that they were still somewhat in the mindset of being solo artists when creating the album, and there is a lack of overall cohesion that I find in their previous albums. Neven does not suffer from this problem. It’s release came so soon after Square One because the Verbal and Taku had rediscovered their ‘zone’ as a duo and were able to compose and create music with the pace and focus you see in albums like 2004’s Astromantic and 2005’s Beat Space Nine. In fact, m-flo was writing some songs for Neven just prior to the release of Square One.This all leads to Neven, their seventh album referenced by the name, having the sonic focus of older albums like Beat Space Nine mixed with the atmospheric structure of Planet Shining and the effective collaboration of Astromantic. Personally I think it’s a terrific album, but I admit to being biased as I love m-flo.Sorry for the lengthy rambling and ranting, as well as the later than usual upload. I hope you like Neven. And tomorrow I have two albums ready to upload instead of just one, for a reason I’ll explain then. Until then, as always, enjoy!
03/18 11:20 anime