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J-pop, Album Sales, Trends
Member No.: 1
Joined: 1-November 03
A great article. I have to agree. Japanese music is incredibly good. It has so many genres that I have suddenly lost interest in Korean pop.Music of the J-people
By STEVE McCLURE
Japan Times J-pop columnist
Japanese pop music is crap. So say many of my friends, especially the non-Japanese ones. They reach that conclusion after noticing that the charts are full of chipmunk-voiced idols who are long on looks and short on talent -- and whose shelf lives are only slightly longer than sushi.
But if you separate the rice from the chaff, you'll find that some of the most interesting, challenging and just plain good music being made on the planet today comes from Japan. In the last decade or so, the quality of Japanese pop music (J-pop, as it's usually termed) has increased enormously, while the stylistic range has expanded to cover just about every known (and unknown) musical genre.
There's the shimmering pure pop of female duo Puffy, the mysteriously seductive vocals of singer/songwriter Ua, the brilliantly eclectic pop/rock fusion of Great 3, the dark underground sounds of DJ Krush, the passionate indie guitar-rock of Syrup16g, the infectious ethnic sounds of Okinawa's Shoukichi Kina and Champloose . . . the list is endless.
Why has J-pop become so stylistically eclectic and musically excellent?
One reason is that Japanese kids have access to an incredibly wide variety of music. For example, Shibuya in Tokyo, the center of Japanese youth culture, boasts an amazing variety of CD stores selling every kind of music imaginable. It's probably the best place on Earth to buy music. Beside the big foreign music retailers, there's a profusion of specialist music stores selling everything from hardcore to Hawaiian, rap to rai, swing to soul -- name the genre, and you'll find a shop selling it.
With this kind of access to all sorts of music, it's no wonder that today's Japanese musicians are making music that draws on a wide variety of influences. But more than being influenced by different kinds of music, Japanese kids are mixing and blending those musical models into new, often startlingly original sounds, filtering them through a 21st-century sensibility that isn't limited by rigid stylistic boundaries.
Now that pop music has become a truly global phenomenon, it's just as natural for a Japanese boy or girl to use pop music as a confident, unselfconscious way of expressing their feelings as it is for kids in Seattle, London or Moscow. Kids in Japan don't think of pop music as a Western import -- it's part and parcel of their daily lives.
It's all a world apart from when Western pop music really began to have an impact on the Japanese music scene during the 1945-52 Allied Occupation, which brought about a huge increase in the amount of foreign music heard in Japan, especially through the U.S. armed forces' Far East Network radio service.
The most important singer in the postwar era was Hibari Misora, who remained a major star until her untimely death at age 52 in 1989. Misora's forte was enka, a type of melancholy ballad that usually deals with themes such as doomed love affairs and painful separations. Call it crying-into-your-sake music.
Then, inspired by the guitar-based instrumental music of the the U.S. rock band the Ventures -- who have been touring Japan regularly since the early 1960s -- many Japanese musicians took up the electric guitar in the mid-'60s so-called eleki era. That led to the "group sounds" boom of the 1960s, when Japanese musicians, inspired by groups such as The Beatles and the Rolling Stones, formed bands with names like The Tigers, The Spiders and The Jaguars, in which the electric guitar was again the main instrument, but where vocals were also emphasized.
It wasn't until the '70s that Japanese rock really began to find its own voice, with bands like Flower Traveling Band, Carmen Maki and Oz, the Sadistic Mika Band, Happy End and the Southern All Stars. Since their late-'70s debut, this latter band, led by Keisuke Kuwata, have gone on to become one of Japan's all-time top-selling musical acts with their unrelenting flow of straight-ahead, American-influenced rock.
Meanwhile, the '70s also saw the "new music" boom, in which singer-songwriters such as Miyuki Nakajima and Yumi Matsutoya gained popularity with their sophisticated, personal approach.
Then, in the late '70s, came the "idol boom," in which performers such as Seiko Matsuda, Momoe Yamaguchi, Hiromi Go and Hideki Saijo became hugely popular. You could say that the idol boom has never really unboomed -- just look at Morning Musume. However, the same era also produced Yellow Magic Orchestra, a three-man group (Haruomi Hosono, Ryuichi Sakamoto and Yukihiro Takahashi) whose brilliant synthesizer-based style of pop has had an enormous influence on musicians all over the world.
The next big thing (it, too, came as a "boom") was the "band boom" of the late '80s, spawned by the late-night TV program "Ikaten" (an abbreviation for "Cool-Band Heaven"), which featured amateur and semi-pro bands. But the boom ended almost as quickly as it began, as the mass media shifted its attention to the next "boom" -- and that was for dance music, as the popular Tokyo bubble-era disco Juliana's (in Shibaura, Minato Ward) set the musical mood.
Producer Tetsuya Komuro set the sonic template for music in the '90s with danceable, karaoke-friendly pop by acts such as TRF and Namie Amuro. Throughout that decade, too, and into the new century, the Japanese public's taste in music became more fragmented and sophisticated as the indies scene blossomed and foreign music stores such as Tower, Virgin and HMV shook up the market.
"The musical environment in Japan changed," said Hidemasa "Tony" Otani, head of leading Shibuya-based label Living Dining & Kitchen Records. "More information about music became available, and people are now listening to many different kinds of music."
Paralleling the indies boom was the so-called Shibuya-kei (Shibuya-style) movement, in which acts such as Cornelius and the now-disbanded Pizzicato Five introduced a new flavor of sophistication and ironic cool, sometimes degenerating into kitsch, to Japanese pop music.
The current indies boom offers a very real, very different alternative to the mainstream. An example of an indie band that has recently blazed its way into the charts is Okinawan "ska-core" outfit Mongol 800. "Message," their second release, has so far sold 2.2 million copies, with little in the way of conventional promotion. Instead, word about the band spread nationwide on a grassroots level.
Indie releases now account for 5-6 percent of Japan's total music sales, and many people in the Japanese music industry expect that to rise to 10 percent in the next couple of years.
So what's behind the current indies boom? Well, the most obvious answer is that the music has become much better than the days when "indie music" meant dissonant, poorly recorded rubbish. These days, it's inspired, confident and amazingly eclectic. Stylistically, it runs the gamut from the "melo-core (melodious hardcore)" of three-man band Hi Standard, to the bright, '60s-style pop of bands such as Advantage Lucy and the dark, ambient musings of Kyoto group Mana -- and just about every other conceivable genre.
Yoshikane Yamana, head buyer of indie product at Tower's Shibuya outlet, is a true believer in the indie gospel. "The quality of Japanese indie music has improved, across so many genres -- punk, hip hop, electronic -- you name it," he said.
Indie artists don't have to worry as much about the kind of censorship that, for example, occurred when veteran rocker Kiyoshiro Imawano wanted to release a speeded-up rock version of the national anthem "Kimigayo" a couple of years ago. He had to do so on the independent Swim label after major label Polydor refused to put it out.
In 1993 pop/rock trio Shonen Knife was asked by its label, MCA Victor (now Universal Victor), to remove an alleged drug reference from a song on its album "Rock Animals." The song, "Catnip Dream," originally included the line, "Tane o maetara happa ga dettekita," which translates as, "I sowed a seed in the ground, and leaves came out."
Bass player Michie Nakatani, who wrote the song, said she was surprised when MCA Victor asked her to cut the happa (leaves) reference. "I didn't mean it as a drug reference," she said. "I meant it as something a cat takes and enjoys, like medicine. But Japanese people are too strict -- they don't understand jokes. There are bands that say a lot worse things than us."
In the past decade, Japanese DJ/producers such as Ken Ishii, DJ Krush, DJ Honda, DJ Hasebe and Captain Funk have been among the country's best-known musical ambassadors to the world. Ishii, probably the best-known Japanese techno artist, says the sounds he grew up with inspired his brand of techno."In my generation, everything around us in our daily life is mechanized," pointed out Ishii, who was born in Sapporo in 1970. "When we were kids, we played with computer games instead of playing outside. I grew up with computers, and that changed my mentality, so that it was natural to be with them."
Another key trend here in the last few years has seen divas such as Misia, Hikaru Utada, Sugar Soul and Yuki Koyanagi change the J-pop sonic template with their technically accomplished soul/R&B-influenced music. Beside proving that cuteness and ability can go together, these soul-kei onna (soul-style women) have been shaking up the Japanese business by penning their own material -- in the process, strengthening the concept of album-oriented artists.
In the last year or so, male acts such as Ken Hirai, The Gospellers and Chemistry have shown that it's not just the girls who've made R&B an integral part of J-pop's rich repertoire. I mean, these guys can actually sing, unlike some of the vocally-challenged idol tarento (talents).
Despite all this, idol culture shows no sign of dying out -- just look at the extraordinary success of groups such as the ubiquitous five-man SMAP (which, bizarrely, stands for Sports Music Assemble People), the all-girl ensemble Morning Musume and Barbie doll-like Ayumi Hamasaki.
Idols will be a fixture on the J-pop scene as long as the highly centralized Japanese mass media continue to require cute, malleable tarento to appear in TV shows, commercials, magazine and newspaper ads. The all-too-apparent lack of musical talent of a group like Morning Musume is irrelevant -- what's important is that they're cute and non-threatening. Mediocrity, far from being a drawback, is a plus -- people like the idea that anybody can be a star.
But if it's real talent you're after, make an effort to go to some of the showcase concerts being held Oct. 3, 4 and 5 as part of the annual "In the City" music-industry conference organised by the Federation of Music Producers Japan. A total of 76 new, unsigned acts will be playing over the three days at various venues in the Shibuya area. Reflecting just how wildly eclectic J-pop has become, musical styles represented at "In the City" include what are dubbed the "sophisticated club sounds" of female vocalist Synvi, the AOR (adult-oriented rock) of the band Silly, the "husky vocal" style of male-female duo Minao and the retro fun of group sounds revivalists the Captains.
Who knows, but at these gigs at the end of this week, you just might find you're . . . pleasantly surprised. You may then even be prepared to admit the awful truth: not all Japanese pop music is crap. In fact some of it is very, very good indeed. All you need are ears -- and an open mind.http://www.japantimes.co.jp/cgi-bin/getart...m20020929a1.htm
Thanks to kimurafan for the direction to this page - the article was very well-written but if more references and analysis as to further differences between the tarentos and muscians were included, it would have made the article even better. Because we know that some tarentos, like Kimura Takuya & Dohmoto Tsuyoshi, do pick up musical skills on their own and Dohmoto Tsuyoshi even composes his own songs...
However, I do wonder how SMAP got to be so phenomenal in terms of popularity even though the boys are so hardworking with a good dose of self-deprecating humour.
Don't the Japanese suffer from the all too common over-exposure syndrome, what with SMAPXSMAP episodes weekly and the SMAP doramas, variety shows hosted by the different SMAP members?
It's amazing how SMAP can command the attention of the Japanese even though they have been in the entertainment business for more than 10 years...
Member No.: 1
Joined: 1-November 03
| Credible awards show needed
Steve McClure / Special to The Daily Yomiuri
Music awards shows--are they glitzy, glamorous galas where the industry's outstanding creative achievements are commended, or venal, cynical orgies of mutual appreciation designed only to shift units of plastic and boost TV ratings?
Well, they're a bit of both, actually. The positive and negative aspects of music-biz gong-fests were on full display at the Recording Industry Association of Japan's Gold Disc Award (sic) and Space Shower TV's Music Video Awards shows, which offered handy snapshots of the current J-pop scene. Many big-name acts either performed or showed up to accept their prizes, and the two events also offered a chance to savor some fascinating examples of those oft-maligned rhetorical genres, the banal acceptance speech and the fatuous compere commentary.
But enough kvetching--who won?
Kumi Koda was named domestic artist of the year at the RIAJ's 20th annual Gold Disc Award ceremony, which was held at Tokyo's NHK Hall on March 9 and broadcast live on NHK satellite TV. La belle Koda won that honor on the strength of having sold more product--CDs, DVDs and videos--than any other Japanese pop music act in 2005: 3,546,712 units, to be exact. Good unit-shifting, Ku-chan!
The RIAJ awards, you see, are based on net sales, which makes them entirely transparent but, unfortunately, predictable. You didn't have to be a rocket scientist to figure out that the ubiquitous Koda, who performed her hit tune "Butterfly" at the event, would go home with the domestic artist of the year gong.
Koda shed some apparently genuine tears on receiving the award from the event's glib cohosts, Yasuhiko Akasaka and Mayuko Takada, proving that despite her slatternish image, Koda is basically a modest girl-next-door at heart.
The same cannot be said of O-Zone, the Moldovan pop trio who won the international artist of the year award, mainly due to the group's novelty hit song "Koi no Maiahi." O-Zone shifted 893,772 units in Japan last year.
Their success recalls that of Danish pop duo Me & My, who won the international artist award for 1996, but who are now residing in the "where are they now?" category.
The winners for best new domestic artist included female singer Yuna Ito, male pop duo WaT and pop/rock band Uverworld. Rooster and O-Zone were winners for best new international artist.
This illustrates another peculiar feature of the RIAJ awards: Most categories feature multiple winners, because awards are given to all the acts or songs selling above a certain amount in each category. The association's reasoning is understandable, but it hardly makes for the most scintillating of awards shows.
A total of 12 "song of the year" awards were presented. The winning tunes included no fewer than four tunes by Okinawan pop-rock band Orange Range: "Asterisk," "Onegai! Senyorita," "Kizuna" and "Love Parade." The sole international winner in this category was "Truth/Hohoemi o Ageyo" by South Korean male heartthrob Pak Yonha.
At the 10th annual Space Shower Music Video Awards, in contrast, there was just one winner in each category. The hit single "Joy" by female vocalist Yuki won the honor for best video at the Space Shower show, which was held March 17 at the Nippon Budokan and broadcast live by the Tokyo-based music TV channel.
The event was hosted by Hisashi Yamada, a hyper-genki chatterbox, and Lisa Stegmeyer, whose style was much more sedate than her bleached-blond cohost.
Awards were decided by Space Shower staff, with the exception of the "best your choice" prize, for which some 600,000 Space Shower viewers cast votes through the channel's Web site or mobile phone-based e-mail. That award went to the video for rock band Remioromen's "Konayuki."
The best new-artist video award went to "Elec-Trick" by female hip-hop/R&B trio Ya-Kyim; best male video went to Kreva's "Kokuminteki Gyoji"; and best female video was also won by Yuki's "Joy." Best international video went to Madonna's "Hung Up."
Acts performing live at the show included gratingly loud rock band Sambomaster, who won the rock video award for "Utagoe Yokore," and the rather more polished Asian Kung-fu Generation, who copped top honors in the group video category for "Blue Train."
The Space Shower awards are undemocratic in that they are chosen by industry professionals, who presumably know what to look for in a pop-music video. In contrast, winners at the upcoming MTV Japan Video Music Awards are decided by that channel's viewers, who are more apt to vote for their favorite artist or song, irrespective of the quality of the video in question.
What's missing in Japan is an awards show with the credibility and mass appeal of the Grammys, which are chosen by the members of the National Academy of Recording Arts and Sciences, or the American Music Awards, which are based on a nationwide poll of music fans. Awards shows are a great promotional tool for the music industry--and a guilty pleasure for anyone in need of a strong dose of good old-fashioned shlock and schmaltz.
(Mar. 23, 2006)http://www.yomiuri.co.jp/dy/features/arts/...323TDY14002.htm
The only group in this winner list that I know of is UVER World because my daughter really likes them and I am subjected to the onslaught all night long.Note to mee:
Mee, if you haven't checked it out yet, of all the JE groups that have been listed so far, the most outstanding singer/composer I think now is Domoto Tsuyoshi of Kinki Kids.
Do visit the Johnny Entertainment (Boy Band Factory of Japan) thread and the Kinki Kids Related Programs thread.
Official Pop Addict
Member No.: 232
Joined: 4-October 04
| J-Pop Is the Quiet Storm in American Culture
BY Austin Osueke, Jul 07, 2006
There’s no longer a doubt in anyone’s mind that there is Japanese influence in American pop culture like never before. With the mainstream and commercial success of anime and video gaming, Japanese pop culture is gaining greater acceptance in American society.
But after video gaming, anime and manga, what’s the next wave? Is there a quiet storm brewing? If you ask any otaku — a hardcore anime fan — they would tell you that Japanese pop music, or “J-pop,” is what’s catching on fast.
J-pop refers to Western-influenced Japanese popular music. In Japan, it describes many different musical genres including pop, rock, dance and hip hop. J-pop has also spawned sub-genres like J-rock. All of it is heavily influenced with Western composition, but with its own distinct sound and style.
J-rock music and composition often sound distinctly like Def Leppard and the ‘80s metal bands. But the vocals and lyrics feel different. The lyrics are in Japanese regardless. The symphonic sound of the Japanese language — with limited use of English peppered throughout the song — is what adds to J-pop’s appeal to American fans.
The newest shift among American teenagers is happening with J-pop idols like Hyde and Glay. At anime conventions, American fans go so far as cosplaying (masquerading) as their favorite J-pop performers. The cultural and language barrier doesn’t stop American fans from connecting with the music of J-pop.
And, the sound is everywhere in Japanese pop culture: anime, stores, commercials, movies, radio shows, TV shows and video games. Some television news programs even run a J-pop song during their end credits.
The pillows is one notable J-pop group that has found an American audience. Many of their songs are used in the popular anime, FLCL or Furi Kuri.
In 2003, a multiplatinum selling J-pop artist, TM Revolution performed at an anime convention in Baltimore, Maryland. Over 3,000 fans packed the stadium. Two years later, L’arc~en~Ciel (one of Japan’s most successful rock bands), performed at the same venue; this time, over 12,000 fans came out.
In March 2005, The pillows played their first-ever U.S. show in Austin, Texas, and then toured New York City, Chicago, Seattle, San Francisco and Los Angeles. Band members told interviewers the American welcoming and adulation overwhelmed them.
So how did J-pop begin? J-pop can be traced back to jazz music, which became popular during World War II, but was eventually outlawed in Japan by the Imperial Army. In the postwar U.S. occupation, American soldiers brought more genres of music to Japan.
Japanese musicians began performing American styles such as mambo, blues and country for the American troops. U.S. musicians like Louis Armstrong frequently performed in Japan. Around the 1950’s, rock and roll became popular, but the music’s high level of technical skill became difficult for Japanese musicians. Some performers merged traditional Japanese pop music with rock and roll.
Eventually, a number of Japanese rock-and-roll bands such as Kosaka Kazuya and the Wagon Masters gained popularity with their renditions of Elvis Presley’s “Heartbreak Hotel.”
From the early ‘70s to the mid ‘80s, J-pop’s general music style shifted from rock and roll, which contained social themes, to simpler songs about love and life experiences. J-pop music also was being played with a single guitar accompanied to more complex musical compositions. This sound became similar to new wave.
Tokyo also started to heavily influence the sound and theme, adding elements of disco and techno. In the ‘90s, many groups such as SPEED began to emerge and experience mainstream success throughout Asia. Now J-pop is influencing other Asian countries like Korea (which helped spawn K-pop music).
American urban music R&B and hip hop also gained some popularity in Japan in the ‘90s. R&B singer-songwriter Utada Hikaru debuted her first single “Automatic.” Her first album, First Love, sold 9,500,000 copies, the highest-selling Japanese album of all time.
The new wave sound was also still popular, led by solo female singers like Ayumi Hamasaki (Japan’s bestselling female artist) and BoA. Currently, J-hip-hop/rock bands like ORANGE RANGE and SOUL’d OUT are at the top of the Oricon charts.
Another shift in trend is that solo male singers and male-only bands like L’arc~en~Ciel now dominate the charts, while female pop artists have declined since the ‘90s.
ANIME AS J-POP’S GATEWAY TO AMERICA
As J-pop performers began seeking worldwide success, they looked to the United States. Artists like Utada Hikaru signed with Def Jam Records. In 2004, she released an album for an English-speaking audience, but the crossover album was not commercially successful. Unfortunately, no J-pop artists have experienced commercial success in the United States.
Sony Music Japan’s U.S. record label, Tofu Records, has learned to successfully target the anime fan audience. They affiliate with J-pop artists who have produced music as anime theme songs. For example, Nami Tamaki, whose music is in the anime, Mobile Suit Gundam Seed Destiny.
Tofu Records’ most successful J-pop act to date is the duo Puffy Ami Yumi. The Cartoon Network animation series based around the group has been a hit ever since its release. It instantly catapulted Puffy Ami Yumi to a mainstream audience. Since 2003, Tofu Records has had national tours for Puffy Ami Yumi.
Up until now, J-pop performers have relied on the anime market to enter the U.S. market, often performing live concerts at anime conventions. However, there is a growing trend to limit and even distance ties to anime.
L’are~en~Ciel’s front man, Hyde, for example, is launching a U.S. concert tour in Hollywood and San Francisco. He will be performing at concert venues such as The House of Blues, despite the fact that he will be in the same town as North America’s largest anime convention, Anime Expo (which registered over 33,000 attendees in 2005). The pillows have also passed on Anime Expo, and instead chose to finish their tour at San Francisco’s Slim’s.
J-pop is also using alternative channels to enter into the American market. Many close-circuit college networks began featuring J-pop music videos. Distribution firm eigoMANGA jointly worked with Sony Music Japan to produce and distribute the J-pop music video show, Pop Japan TV for the U Network.
Pop Japan TV’s weekly run broadcasted to 8 million university dorms nationwide, and quickly became the top program for the U Network. A San Francisco-based radio program on KYOU Radio 1550 AM called Shibuya Airwaves plays J-pop music, and their DJs try to educate their listeners about J-pop music and its artists.
J-pop isn’t a phenomenon like The British Invasion. Platinum-selling groups in Japan haven’t made a dent on the U.S. Billboard’s chart. Yet J-pop is a quiet storm. Hyde sold out his San Francisco performance in three hours. Puffy Ami Yumi successfully fills concert venues throughout the country.
The pillows’ finished successful U.S. tour in San Francisco last week. J-Rock group Dir~en~Grey is on a U.S. and international tour with the mainstream rock band Korn. Lemon Drop Kick recently produced original music for the video game, The Fast and the Furious 3: Tokyo Drift.
Although anime has been the launching pad for J-pop in America, J-pop is now developing an identity of its own.http://news.asianweek.com/news/view_articl...690ff18578074bc
Official Pop Addict
Member No.: 232
Joined: 4-October 04
| J-Pop princesses in dirty duel for chart queen crown
Dirty diva Kumi Koda seemed to have the Japanese music world at her feet thanks to an arousing amalgamation of sexy outfits and racy tunes, but a new rival has emerged to threaten her position -- even within her own record label, according to Shukan Shincho (8/31).
Koda, last year's winner of the Nihon Record Taisho -- Japan's equivalent to the Grammys -- is aiming to double up in the country's most prestigious music award, but Ai Otsuka has come out of virtually nowhere to usurp Koda's title as J-pop's heir apparent to the throne currently held by Ayumi Hamasaki.
Making the rivalry even fiercer, like Hamasaki, Koda and Otsuka both belong to Avex Inc., Japan's most powerful popular record label.
"When an artist makes a name for themselves at Avex, the company sets them up with a support team of their own. The number of people in the team reflects the popularity of the artist. (At the start of the year) Ayumi Hamasaki had the biggest support team, with about 30 members, Koda's team had around 20 and Otsuka was in third, with a team a little bit smaller than Koda's," an entertainment beat reporter tells Shukan Shincho.
Things have changed a little recently that have got Koda and Otsuka at odds.
"Otsuka's team has been increased to about the same size as Koda's. The music industry is in a real slump at the moment.
Avex is feeling the pinch and needs to find new ways of making money. The company's emphasis is shifting toward its movie-making division. That's why Otsuka appeared in the movie 'Tokyo Friends.' This was a straight-to-DVD product.
In a line where sales of 10,000 units is judged to be a huge hit, 'Tokyo Friends' sold 50,000 copies," the hack says. Otsuka ripping up the charts inside Avex has got Koda cringing.
"They're both 23, but Koda spent a lot more time working her way up through the ranks. Otsuka's rise has been meteoric in comparison. And (unlike Koda) she's now making movies," a TV network insider tells Shukan Shincho. "Koda was popular last year for being behind the erotic-cute phenomena, but she's still doing the same thing now. Some say she knows people are gonna get sick of her gimmick eventually. Koda's rivalry with Otsuka has more than a little jealousy in it."
Trailing behind Koda not so long ago, Otsuka has now moved on to equal footing.
"Avex held a concert for its shareholders in June. Ayumi Hamasaki took the top billing, but Otsuka was given second billing, with Koda after her. Koda was furious," the TV insider says. "Koda and Otsuka are bitterly opposed to each other and make little secret of their rivalry. Koda goes around saying that Otsuka has no talent. And Otsuka says that Koda is 'vulgar' and 'acts like a cheap, nightclub hostess.'"
Their battle has made Koda's quest to repeat her Nihon Record Taisho win even more desperate than ever.
"Winning a second award would restore her place in the pecking order. But Otsuka is standing in her way," the entertainment beat reporter says.
Avex, however, disputes the accounts.
"They belong to the same record company, so there's no question of a dispute," an Avex spokesman says.
Music critic Masaaki Hiruma says that the problem is not whether Koda and Otsuka are at each other's throats.
"It's the ridiculous way they both desperately want to win the Nihon Record Taisho. It's a really tacky fight," the critic tells Shukan Shincho. "Unfortunately, it's also a sign of how far the prestigious award has fallen." (By Ryann Connell)
Ai Otsuka in "Tokyo Friends"http://www.mainichi-msn.co.jp/entertainmen...aph/08_3/9.html
Ai Otsuka Photo Galleryhttp://www.mainichi-msn.co.jp/entertainmen...ph/19_2/10.html
Ai Otsuka Photo Galleryhttp://www.mainichi-msn.co.jp/entertainmen...20051108/1.html
Kumi Koda in concerthttp://www.mainichi-msn.co.jp/entertainmen...0060226/21.html
Kumi Koda at MTV Japan Awardshttp://www.mainichi-msn.co.jp/entertainmen...raph/29/31.html
August 25, 2006http://mdn.mainichi-msn.co.jp/waiwai/face/...0dm011000c.html
Member No.: 1
Joined: 1-November 03
The following records are ending November 11, 2005. (Kat-Tun’s Real Face is therefore not reflected.) SMAP is highlighted in green, Kinki Kids are highlighted in red.21st Century Japanese Music Top 600 sales of SINGLES 1 2,547,424 世界に一つだけの花 (シングル・ヴァージョン) [SMAP]
2 1,484,940 Can You Keep A Secret? [宇多田ヒカル]
3 1,319,070 M [浜崎あゆみ]
4 1,231,350 白い恋人达 [桑田佳佑]
5 1,131,850 PIECES OF A DREAM [CHEMISTRY]
6 1,111,250 波乗りジョニー [桑田佳佑]
7 1,051,699 さくら (独唱) [森山直太朗]
8 1,012,544 independent (『H』) [浜崎あゆみ]
9 996,853 花 [ORANGE RANGE]
10 986,040 恋爱レボリューション21 [モーニング娘。] These are the JE family group results: 15 919,560 ボクの背中には羽根がある [KinKi Kids]
53 594,740 情 热 [KinKi Kids]
64 525,905 Anniversary [KinKi Kids]
94 429,170 メッセージ/ひとりぼっちのハブラシ [TOKIO/桜庭裕一郎] 98 418,000 Hey！ みんな元気かい？ [KinKi Kids]
103 397,280 I WILL GET THERE [J-FRIENDS]
104 395,406 希望 ～Yell～ [NEWS] 108 388,024 薄荷キャンディー [KinKi Kids]
110 384,460 时 代 [岚]
112 378,050 a Day in Our Life [岚] 114 372,917 BANG！ BANG！ バカンス [SMAP]
122 365,011 友だちへ ～Say What You Will～ [SMAP] 123 362,497 永远のBLOODS [KinKi Kids]
135 343,960 ALWAYS (A SONG FOR LOVE) [J-FRIENDS] 141 329,610 カナシミ ブルー [KinKi Kids]
143 328,362 solitude ～真実のサヨナラ～ [KinKi Kids]
144 326,791 ね、がんばるよ。 [KinKi Kids]
149 323,020 君のために仆がいる [岚] 154 319,120 ビロードの闇 [KinKi Kids] 160 309,301 freebird [SMAP] 169 300,609 心に梦を君には爱を/ギラ☆ギラ [KinKi Kids] 190 278,570 らいおんハート [SMAP] 195 271,500 街/溺爱ロジック [堂本 刚 Tsuyoshi's solo]
205 261,584 チェリッシュ [NEWS]
209 256,187 瞳の中のGalaxy/Hero [岚]
213 251,709 红く燃ゆる太阳 [NEWS]
231 240,225 Love Me All Over [J-FRIENDS]
232 239,790 出せない手纸 [V6]
233 239,742 TEPPEN [NEWS] 254 224,630 Smac [SMAP]
257 222,687 ハダシの未来/言叶より大切なもの [岚] 267 213,549 ORIGINAL COLOR (『WAVER』) [堂本 刚 Tsuyoshi's solo]
271 209,717 AMBITIOUS JAPAN！ [TOKIO]
274 206,418 Darling [V6]
277 204,290 花 呗 [TOKIO]
286 199,015 梦物语 [タッキー＆翼]
288 197,480 Feel your breeze/one [V6/V6 feat. Shoo (S.E.S.)]
307 190,539 お前やないと あかんねん [桜庭裕一郎]
331 179,239 PIKA☆NCHI [岚]
339 175,290 とまどいながら [岚]
340 175,128 浪花いろは节 [関ジャニ∞]
345 172,737 サクラ咲ケ [岚]
366 161,946 UTAO‐UTAO [V6]
377 156,990 爱のMelody [V6]
386 154,031 ding‐dong/glider [TOKIO]
403 146,260 ありがとうのうた [V6]
430 138,860 キセキのはじまり/SHÔDÔ [V6/Coming Century]
439 136,355 PIKA★★NCHI DOUBLE [岚]
447 135,280 カンパイ!! [TOKIO]
480 124,344 仮面/未来航海 [タッキー＆翼]
506 117,973 自分のために/for you [TOKIO]
539 110,679 One Day, One Dream [タッキー＆翼]
552 107,658 大阪レイニーブルース [関ジャニ∞]
554 107,298 卒业 ～さよならは明日のために～ (『To be, To be, Ten made To be』) [タッキー＆翼]
564 105,265 COSMIC RESCUE/热くなれ [V6]
566 105,068 サンダーバード ―your voice― [V6]
Thanks to baidu.com Koichi forum for posting the above information.
So as you could see, Kinki Kids and SMAP are both very solid groups.
Sigh, I just don't understand why Tackey & Tsubasa don't do well where CD sales are concerned when they have the most loyal of fans that I've seen.
And they are the group with 1943719371913 versions of 1 single/album.
But happy for SMAP and KK!
Keep up the good work!
Member No.: 1
Joined: 1-November 03
ORICON Rankings ending October 4, 2006 SINGLES TOP 150
SMAP songs are in BLUE and KINKI KIDS songs are in RED. Johnny's Entertainment groups are in orange.
*1 1,035,102 Real Face KAT-TUN 2006/03/22
*2 *,754,448 粉雪 レミオロメン 2005/11/16 累计847,932
*3 *,672,159 青春アミーゴ 修二と彰 Shuji & Akira 2005/11/02 Cumulative total is 1,617,474 from the period before.
*4 *,596,555 抱いてセニョリータ 山下智久 Yamapi 2006/05/31
*5 *,562,196 ただ…逢いたくて EXILE 2005/12/14
*6 *,561,862 SIGNAL KAT-TUN 2006/07/19
*7 *,511,562 纯恋歌 湘南乃风 2006/03/08
*8 *,484,969 supernova/カルマ BUMP OF CHICKEN 2005/11/23
*9 *,419,399 タイヨウのうた Kaoru Amane 2006/08/30
10 *,413,167 Dear WOMAN SMAP 2006/04/19
11 *,405,586 箒星 Mr.Children 2006/07/05
12 *,383,467 4 hot wave 幸田来未 2006/07/26
13 *,358,170 milk tea/美しき花 福山雅治 2006/05/24
14 *,342,696 旅人 ケツメイシ 2006/04/26
15 *,340,768 Triangle SMAP 2005/11/23
16 *,330,164 SPLASH！ B'z 2006/06/07
17 *,317,397 SNOW!SNOW!SNOW! KinKi Kids 2005/12/21
18 *,312,282 宙船(そらふね)/do! do! do! TOKIO 2006/08/23
19 *,310,516 夏模様 KinKi Kids 2006/07/26
20 *,304,370 冲动 B'z 2006/01/25
21 *,301,192 Venus タッキー＆翼 T&T 2006/01/18
22 *,292,346 フィーバーとフューチャー GYM 2006/08/30
23 *,287,307 to U Bank Band 2006/07/19
24 *,271,186 恋のつぼみ 幸田来未 2006/05/24
25 *,260,667 桜 コブクロ 2005/11/02 累计421,698
26 *,259,874 Deep in your heart/+MILLION but-LOVE 堂本光一 Domoto Koichi 2006/07/12
27 *,258,566 BLUE BIRD 浜崎あゆみ 2006/06/21
28 *,233,375 ゆるぎないものひとつ B'z 2006/04/12
29 *,224,827 I believe 绚香 2006/02/01
30 *,222,848 サヤエンドウ/裸足のシンデレラボーイ NEWS 2006/03/15
31 *,221,965 DIRTY OLD MAN～さらば夏よ～ サザンオールスターズ 2006/08/09
32 *,220,955 チャンピオーネ ORANGE RANGE 2006/05/10
33 *,220,826 Good-bye days YUI for 雨音薫 2006/06/14
34 *,218,807 テルーの呗 手嶌 葵 2006/06/07
35 *,211,399 Precious 伊藤由奈 2006/05/03
36 *,207,543 アゲ♂アゲ♂EVERY☆骑士 DJ OZMA 2006/03/22
37 *,206,076 ANSWER GLAY feat.KYOSUKE HIMURO 2006/08/02
38 *,202,645 きっと大丈夫 岚 Arashi 2006/05/17
39 *,201,485 ∞SAKAおばちゃんROCK/大阪ロマネスク 関ジャニ∞ Kanjani 8 2006/06/07
40 *,200,423 Only Human K 2005/11/23
41 *,200,256 ハネウマライダー ﾎﾟﾙﾉｸﾞﾗﾌｨﾃｨ 2006/06/28
42 *,190,060 you 幸田来未 2005/12/07
43 *,189,096 アオゾラペダル 岚 Arashi 2006/08/02
44 *,188,551 Startin'/Born To Be... 浜崎あゆみ 2006/03/08
45 *,188,088 决意の朝に Aqua Timez 2006/07/05
46 *,185,113 太阳の下 レミオロメン 2006/03/01
47 *,183,425 Space Sonic ELLEGARDEN 2005/12/07
48 *,179,912 G4(ROCK'NROLL SWINDLE/谁かの为に生きる/恋/LAYLA) GLAY 2006/07/12
49 *,178,268 ５センチ。 WaT 2006/01/25
50 *,173,115 フレンジャー 大冢 爱 2006/04/12
51 *,167,270 男女６人夏物语 ケツメイシ 2006/07/19
52 *,164,299 Around The World MONKEY MAJIK 2006/02/22
53 *,163,987 ソメイヨシノ ENDLICHERI☆ENDLICHERI 2006/02/01
54 *,156,962 マタアイマショウ SEAMO 2006/04/05
55 *,143,910 Mr.Traveling Man TOKIO 2006/02/08
56 *,141,268 ユメクイ 大冢 爱 2006/08/02
57 *,140,887 マイペース SunSet Swish 2006/03/01
58 *,140,761 Ho！サマー タッキー＆翼 T&T 2006/08/09
59 *,140,435 Salamander ELLEGARDEN 2006/08/09
60 *,137,653 The Rainbow Star ENDLICHERI☆ENDLICHERI 2006/06/28
61 *,136,818 夏音/変な梦～THOUSAND DREAMS～ GLAY 2006/09/13
62 *,132,993 Bold & Delicious/Pride 浜崎あゆみ 2005/11/30
63 *,132,386 A Perfect Sky BONNIE PINK 2006/06/28
64 *,131,348 No Regret 幸田来未 2006/01/25
65 *,129,689 ボクノート スキマスイッチ 2006/03/01
66 *,127,341 振り向けば…/Destination ジャンヌダルク 2006/02/08
67 *,127,163 気分上々↑↑ mihimaru GT 2006/05/03
68 *,126,284 WISH 岚 Arashi 2005/11/16 累计303,812
69 *,125,077 Keep Tryin' 宇多田ヒカル 2006/02/22
70 *,124,955 REDEMPTION Gackt 2006/01/25
71 *,122,223 ENDLESS STORY REIRA starring YUNA ITO 2005/09/07 累计467,335
72 *,122,039 グッデイ！！ V6 2006/06/14
73 *,116,672 Believe AI 2006/04/19
74 *,115,223 ガラナ スキマスイッチ 2006/08/16
75 *,113,705 熊野古道 水森かおり 2006/04/05
76 *,113,198 魔法のコトバ スピッツ 2006/07/12
77 *,113,039 仆のキモチ WaT 2005/11/02 累计285,246
78 *,112,345 Passion 宇多田ヒカル 2005/12/14
79 *,111,891 一剣 氷川きよし 2006/03/15
80 *,111,373 スター aiko 2005/11/30
81 *,106,034 君という名の翼 コブクロ 2006/07/26
82 *,105,198 ブルートレイン ASIAN KUNG-FU GENERATION 2005/11/30
83 *,103,396 HEAVEN/メビウス ジャンヌダルク 2006/05/10
84 *,102,009 SEASON'S CALL HYDE 2006/02/22
85 *,100,671 手を出すな！ GAKU-MC/桜井和寿(Mr.Children) 2006/05/31
86 *,100,555 プラネタリウム 大冢 爱 2005/09/21 累计315,669
87 *,*99,973 たらこ・たらこ・たらこ キグルミ 2006/09/06
88 *,*95,512 明日を目指して TOKIO 2005/12/07
89 *,*95,462 ルパン・ザ・ファイヤー SEAMO 2006/07/26
90 *,*95,025 SHAMROCK UVERworld 2006/08/02
91 *,*92,756 ハレ晴レユカイ 平野绫,芽原実里,後藤邑子 2006/05/10
92 *,*92,622 YES! EXILE 2006/03/01
93 *,*92,036 影 柴咲コウ 2006/02/15
94 *,*91,575 Hava Rava WaT 2006/08/02
95 *,*90,123 七色の明日～brand new best～/Your Color BoA 2006/04/05
96 *,*89,413 Someday/Boys♥Girls 幸田来未 2006/02/22
97 *,*89,178 云は白リンゴは赤 aiko 2006/07/12
98 *,*88,544 ｼﾞｮﾊﾞｲﾛ/DON'T CALL ME CRAZY ﾎﾟﾙﾉｸﾞﾗﾌｨﾃｨ 2005/11/16
99 *,*86,776 Hot chocolate RIP SLYME 2006/01/25
100 ,*86,720 凉宫ハルヒの诘合 平野绫,後藤邑子 2006/06/21
101 ,*84,562 一轮の花 HIGH and MIGHTY COLOR 2006/01/11
102 ,*83,523 青空のナミダ 高桥 瞳 2005/11/30
103 ,*82,962 JET!!!/SUNSHINE DREAMS COME TRUE 2005/11/30
104 ,*81,788 惑星タイマー 福耳 2006/07/12
105 ,*81,398 バイマイメロディ 平井 坚 2006/06/14
106 ,*79,862 音速パンチ Cocco 2006/02/22
107 ,*79,525 CAN'T SLEEP, CAN'T EAT, I'M SICK/人鱼 安室奈美恵 2006/05/17
108 ,*78,505 UN ROCK STAR ORANGE RANGE 2006/08/30
109 ,*77,657 Colors of the Heart UVERworld 2006/05/17
110 ,*74,744 Everlasting BoA 2006/01/18
111 ,*73,025 ワールドアパート ASIAN KUNG-FU GENERATION 2006/02/15
112 ,*72,997 Get Your Dream TOKIO 2006/06/21
113 ,*72,739 高瀬舟 五木ひろし 2006/04/19
114 ,*68,968 Kiss Me Good-Bye アンジェラ・アキ 2006/03/15
115 ,*67,722 BATTLE FUNKASTIC HOTEI vs RIP SLYME 2006/01/25
116 ,*67,459 恋のメガラバ ﾏｷｼﾏﾑ ｻﾞ ﾎﾙﾓﾝ 2006/07/05
117 ,*65,864 ３月９日 レミオロメン 2004/03/09 累计133,798
118 ,*64,958 指轮／最爱 navy&ivory 2005/02/23 累计81,772
119 ,*62,723 夏の梦/好きです、好きです リュ・シウォン 2006/04/05
120 ,*62,587 冒険でしょでしょ？ 平野 绫 2006/04/26
121 ,*62,561 This Love アンジェラ・アキ 2006/05/31
122 ,*59,109 Story AI 2005/05/18 累计270,791
123 ,*58,436 抱きしめる BoA 2005/11/23
124 ,*57,878 纯情～スンジョン～ DJ OZMA 2006/07/12
125 ,*57,794 TREE CLIMBERS 木村カエラ 2006/09/06
126 ,*57,741 ベスト オブ ヒーロー 仓木麻衣 2006/02/08
127 ,*57,651 ラヴぃ リップスライムとくるり 2006/07/05
128 ,*56,999 いのちの限り 天童よしみ 2006/01/25
129 ,*56,940 交响诗「希望」Symphonic Poem"Hope" 叶加瀬太郎 2006/03/01
130 ,*56,912 いつまでも続くこのmelody/ﾏｼﾞｶﾙｽﾋﾟｰｶｰ mihimaru GT 2006/08/16
131 ,*56,801 约束のカケラ w-inds. 2005/11/23
132 ,*56,584 HANABI いきものがかり 2006/05/31
133 ,*56,308 亡国覚醒カタルシス ALI PROJECT 2006/05/24
134 ,*55,851 Faith/Pureyes 伊藤由奈 2006/03/01
135 ,*55,135 Cassis ガゼット 2005/12/07
136 ,*53,988 rose ANNA inspi'NANA(BLACK STONES) 2006/06/28
137 ,*53,905 Magic Music 木村カエラ 2006/06/28
138 ,*53,069 バラ色の未来 森昌子 2006/06/07
139 ,*51,902 最北航路 香西かおり 2006/03/22
140 ,*51,105 IT'S IN THE STARS w-inds. 2006/02/22
141 ,*50,999 I remember you YUI 2006/09/20
142 ,*50,908 恋のダウンロード 仲间由纪恵withﾀﾞｳﾝﾛｰｽﾞ 2006/03/15
143 ,*50,700 轰轰戦队ﾎﾞｳｹﾝｼﾞｬｰ/冒険者 ON THE ROAD NoB,ｻｲｷｯｸﾗﾊﾞｰ 2006/03/08
144 ,*49,923 男の拳 北山たけし 2006/02/22
145 ,*49,734 Keep Holding U SunMin thanX Kubota 2006/07/05
146 ,*49,513 Dear/旅立ちの日に… 川嶋あい 2006/02/01
147 ,*49,506 SAKURA いきものがかり 2006/03/15
148 ,*48,667 SEXY BOY～そよ风に寄り添って～ ﾓｰﾆﾝｸﾞ娘。 2006/03/15
149 ,*48,424 TONIGHT,TONIGHT,TONIGHT BEAT CRUSADERS 2006/09/06
150 ,*48,324 誓い 平原绫香 2006/01/18
Exclusive: Please do not repost this listing outside of this forum.
I am so proud to see that Koichi's Deep in your heart single is way up there right underneath Kinki Kids. Endlicheri Endlicheri is Tsuyoshi Domoto's solo name. His music is very different from Kinki Kids' pop.
I see Gackt and Hyde one each, one Fukuyama Masaharu, one Ken Hirai.
Member No.: 1
Joined: 1-November 03
| Oricon Rankings ending October 4, 2006 for TOP 100 ALBUM SALES
SMAP is in blue, Kinki Kids in red, JE groups are in orange.
*1 2,059,761 Complete Single Collection '95-'05 歌バカ 平井 坚 2005/11/23
*2 1,754,014 BEST～second session～ 幸田来未 2006/03/08
*3 1,212,294 Catch The Wave Def Tech 2006/04/26
*4 1,191,725 B'z The Best "PleasureⅡ" B'z 2005/11/30
*5 1,097,675 BEST 中岛美嘉 2005/12/07
*6 *,877,433 (miss)understood 浜崎あゆみ 2006/01/01
*7 *,871,327 ULTRA BLUE 宇多田ヒカル 2006/06/14
*8 *,864,743 NAMELESS WORLD コブクロ 2005/12/21
*9 *,826,450 LOVE COOK 大冢 爱 2005/12/14 10 *,736,768 Best of KAT-TUN KAT-TUN 2006/03/22
11 *,672,641 CYCLE HIT 1991-1997 スピッツ 2006/03/25
12 *,637,680 空いっぱいに奏でる祈り Aqua Timez 2005/08/24 累计640,895
13 *,632,753 HORIZON レミオロメン 2006/05/17
14 *,622,341 BEST ～first things～ 幸田来未 2005/09/21 累计1,830,134
15 *,601,983 Beautiful Songs～ｺｺﾛ ﾃﾞ ｷｸ ｳﾀ～ Various Artists 2006/05/24
16 *,556,988 ALL SIGLES BEST コブクロ 2006/09/27
17 *,540,953 Daniel Powter Daniel Powter 2006/03/08(输2005/09/10) 累计541,512
18 *,535,583 MONSTER B'z 2006/06/28
19 *,535,215 CYCLE HIT 1997-2005 スピッツ 2006/03/25
20 *,501,682 ASIA EXILE 2006/03/29
21 *,471,616 Every Single Days -Complete BONNIE PINK(1995-2006)- BONNIE PINK 2006/07/26
22 *,464,545 THE LOVE ROCKS DREAMS COME TRUE 2006/02/22
23 *,457,078 Confidence HY 2006/04/12 24 *,435,842 Pop Up! SMAP SMAP 2006/07/26
25 *,431,604 Home アンジェラ・アキ 2006/06/14
26 *,427,871 OUTGROW BoA 2006/02/15
27 *,425,938 Curtain Call:The Hits EMINEM 2005/12/02
28 *,420,420 彼女 aiko 2006/08/23
29 *,392,167 湘南乃风 ～Riders High～ 湘南乃风 2006/08/30
30 *,390,407 Amarantine Enya 2005/11/23
31 *,360,718 STADIUM ARCADIUM Red Hot Chili Peppers 2006/05/10
32 *,356,218 Confessions On A Dance Floor Madonna 2005/11/16 累计409,281
33 *,328,655 Back To Bedlam James Blunt 2005/12/07
34 *,323,636 Wave YUKI 2006/09/06
35 *,293,604 大人(アダルト) 东京事変 2006/01/25
36 *,292,435 Def Tech Def Tech 2005/01/22 累计1,950,066
37 *,255,734 リボン ゆず 2006/01/18
38 *,253,137 ファンクラブ ASIAN KUNG-FU GENERATION 2006/03/15
39 *,250,698 Call me Miss... Crystal Kay 2006/02/22
40 *,230,211 爆笑ｽｰﾊﾟｰﾗｲﾌﾞ第2集！ガンバッテいただきたいの… 绫小路きみまろ 2006/01/25
41 *,223,327 #1's Destiny's Child 2005/10/26 累计588,465
42 *,219,612 COMPLETE BEST ALBUM「FRESH」 JUDY AND MARY 2006/02/08
43 *,213,152 FLASH～BEST～ THE HIGH-LOWS 2006/01/01
44 *,209,917 KJ1 F・T・O 関ジャニ∞ 2006/03/15
45 *,209,845 ＆ 一青窈 2005/12/21
46 *,205,123 In My Own Words Ne-Yo(ニーヨ) 2006/03/01
47 *,204,849 我流旋风 MEGARYU 2006/07/12
48 *,201,375 Crispy Park Every Little Thing 2006/08/09
49 *,199,576 爱・自分博 KREVA 2006/02/01
50 *,197,286 mihimagic mihimaru GT 2006/09/13
51 *,190,272 Circle 木村カエラ 2006/03/08
52 *,181,592 B'DAY Beyonce 2006/09/04
53 *,175,050 ANOTHER WORKS remixed by Piston Nishizawa 福山雅治 2006/05/24
54 *,174,223 VOCALIST 2 徳永英明 2006/08/30
55 *,170,204 FROM ME TO YOU YUI 2006/02/22
56 *,168,167 卒业TIME～仆らのはじまり～ WaT 2006/03/01
57 *,167,222 ﾍﾞｽﾄ ｵﾌﾞ くるり/TOWER OF MUSIC LOVER くるり 2006/07/26
58 *,166,065 Live Goes On SEAMO 2006/09/20
59 *,163,530 A GIRL LIKE ME Rihanna 2006/04/19 60 *,158,927 Very bestⅡ V6 2006/08/02
61 *,158,688 fo(u)r CHEMISTRY 2005/11/16 累计278,721 62 *,157,838 ARASHIC 岚 2006/07/05
63 *,156,174 ALL TIME SUPER BEST 布袋寅泰 2005/12/07 64 *,155,620 Coward ENDLICHERI☆ENDLICHERI 2006/03/01
65 *,151,867 Celtic Woman Celtic Woman 2006/02/01
66 *,149,658 1000000000000 T.M.Revorution 2006/06/07
67 *,149,384 Japana-rhythm BENNIE K 2005/11/09 累计405,716
68 *,147,559 Day by Day MEGARYU 2006/03/08
69 *,143,998 ether〔エーテル〕 レミオロメン 2005/03/09 累计399,085
70 *,143,640 m-flo inside -WORKS BEST Ⅱ- m-flo 2006/07/26
71 *,142,221 Beyond the Sea K 2006/01/18
72 *,141,448 musication HOME MADE 家族 2006/02/15 73 *,140,234 mirror 堂本光一 2006/09/13
74 *,135,740 The Best of Shogo Hamada Vol.2 浜田省吾 2006/08/09
75 *,134,519 アメイジング・グレイス 本田美奈子. 2005/10/19 累计188,598
76 *,132,121 LIFE IN DOWNTOWN 槇原敬之 2006/02/22
77 *,130,652 姫トランス Various Artists 2006/01/25
78 *,130,136 DIAMOND WAVE 仓木麻衣 2006/08/02
79 *,129,804 FAITH HYDE 2006/04/26
80 *,129,252 ベスト・クラッシック100 Various Artists 2005/04/13 累计552,986
81 *,128,719 The Best of Shogo Hamada Vol.1 浜田省吾 2006/08/09
82 *,128,521 上升気流 MEGARYU 2005/07/13 累计156,455
83 *,127,621 Daniel MONGOL800 2006/08/08
84 *,127,092 ケツノポリス４ ケツメイシ 2005/06/29 累计2,042,325
85 *,126,945 PARADE スガシカオ 2006/09/06
86 *,125,910 NIKKI くるり 2005/11/23
87 *,125,652 ザンサイアン Cocco 2006/06/21
88 *,125,271 A GIRL IN SUMMER 松任谷由実 2006/05/24
89 *,121,397 Addicted Sweetbox 2006/03/01
90 *,121,388 ゴスペラッツ ゴスペラッツ 2006/04/19
91 *,119,820 ALIVE SOUL'd OUT 2006/03/08
92 *,118,559 The Dutchess Fergie FROM BLACK EYED PEAS 2006/09/13
93 *,114,652 UNDER:COVER T.M.Revorution 2006/01/01
94 *,113,063 ひとりあそび 柴咲コウ 2005/12/14 95 *,111,098 KOICHI DOMOTO Endless SHOCK OST 堂本光一 2006/01/11
96 *,110,983 「七色の落书き」 Aqua Timez 2006/04/05
97 *,109,692 VOCALIST 徳永英明 2005/09/14 累计292,591
98 *,104,651 Curious George Jack Johnson 2006/02/01
99 *,102,676 KILLER STREET Southern All Stars 2005/10/05 累计1,127,767
100 ,102,614 Let Go Kierra Kiki Sheard 2005/12/07 Exclusive: Please do not repost this listing outside of this forum.
Absolutely delighted to see Koichi has two listed!!!
And I just ordered all of Tsuyoshi Domoto's albums. Too bad they don't count overseas sales.
Ken Hirai is all the way up there!! smappie123 must be very happy!!! SMAP as usual is always there.