Motoharu Sano - No Damage mp3 | flac download free
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- Author: Motoharu Sano
- Album: No Damage
- Size: 1438 mb
- Genre: Rock, Pop
- Format: flac, wma, mp3 archive
- Category: Rock, Pop
Style: Pop Rock
Year: 1983
Download links
- Motoharu Sano - No Damage
- 2438 downloads at 28 mb/s
MP3 version
- Motoharu Sano - No Damage
- 2914 downloads at 32 mb/s
FLAC version
- Mix - Someday 佐野元春 Motoharu Sano YouTube 約束の橋 - 佐野元春＆THE COYOTE GRAND ROCKSTRA (DaisyMusic Official) - Duration: 5:12. 佐野元春 - DaisyMusic 635,455 views.
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Tracklist
Listen to 20th Anniversay Editionby Motoharu Sano on Slacker Radio, where you can also create personalized internet radio stations based on your favorite albums, artists and songs.
| Boy's Life Side |
| スターダスト･キッズ |
| ガラスのジェネレーション |
| Someday |
| モリスンは朝、空港で |
| It's Alright |
| Happy Man |
| グッドバイからはじめよう |
| Girl' Life Side |
| アンジェリーナ |
| So Young |
| Sugartime |
| 彼女はデリケート |
| こんな素敵な日には |
| 情けない週末 |
| Bye Bye Handy Love |
Versions
| Category | Artist | Title (Format) | Label | Category | Country | Year |
|---|---|---|---|---|---|---|
| 28-3H-81 | Motoharu Sano | No Damage (LP, Comp) | Epic | 28-3H-81 | Japan | 1983 |
| 35 8H-6 | Motoharu Sano | No Damage (CD, Comp) | Epic/Sony Inc. | 35 8H-6 | Japan | 1983 |
| ESCB 1323 | Motoharu Sano | No Damage (CD, Comp) | M's Factory | ESCB 1323 | Japan | 1992 |
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<p>2012 issue 01Welcome to our rst catalog of 2012!</p><p>TABLE OF CONTENTS</p><p>This year is our 25th anniversary and there are some big changes are in store for Right Stuf this year. The rst change is in your hands now. Were moving to a more frequent catalog cycle, three times per year instead of two. This will allow the catalog to be more current, and for us to better inform you about new releases! Our Nozomi Entertainment production team is busy at work on Dirty Pair as we continue to re-release this classic series with remastered video at a value price. There will be a number of exciting things to announce in the coming months, so stay tuned to www.nozomient.com for details! Were also expanding our digital offerings, with more of our titles available on venues such as iTunes, XBox Live, YouTube, and more. Speaking of our website, watch for big changes there soon as well. Were planning a major update this year! 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Whether ordering online or by mail, only one coupon may be used per order.</p><p>ARTICLE BEHIND THE SCENES OF GASARAKI GOT ANIME SAVINGS CLUB JOIN THE CLUB! MEMBERS VIDEO VOTE DVD & BLU-RAY ANIME LIVE ACTION K-DRAMA FAQ ORDER FORM BOOKS MANGA OTHER ASIAN MANGA AMERIMANGA NOVELS ANIME & FILM GUIDES ART BOOKS CULTURE & HISTORY LEARNING JAPANESE TRAVEL WALL ART APPAREL BAGS MERCHANDISE</p><p>02 04 04 05 18 20 21 23 25 38 39 40 41 41 42 42 42 43 44 45 46</p><p>Items already heavily discounted (weekly specials, bargain bin items, closeout items, and specialty import items) are excluded from coupon discounts. Orders which do not fulll the terms of the submitted coupon will be returned or accepted with request for additional payment, at our option. If you have any questions about the use of a coupon, please email at info@rightstuf.com or call us at 1-800-338-6827.</p><p>rightstufFront cover image: Rental Magica 2007 MAKOTO SANDA/pako/KADOKAWASHOTEN/Rental Magica Partners. Back cover image: Gasaraki SUNRISE. Catalog Design 2012 Right Stuf. All rights reserved. Production and Design by Right Stuf, Inc. All images are copyright of their respective owners. Opinions expressed may not be those of Right Stuf. Right Stuf cannot be held responsible for typographical errors. For comments or questions about this publication, please email the company at info@rightstuf.com Visit us online at www.rightstuf.com</p><p>@animetoday</p><p>nozomient</p><p>For wholesale inquiries, contact resale@rightstuf.com 800.338.6827 www.rightstuf.com</p><p>Behind the Scenes of GasarakiIts been awhile since weve seen Gasaraki available in the States, but with Nozomi Entertainments release of the series this past February, a whole new generation of fans can experience it. The following is an exclusive interview with the original creator and director, Ryosuke Takahashi, along with his assistant director, Goro Taniguchi, providing a brief insight into the changes that Gasaraki underwent during the production process.It seemed as though things proceeded according to the original plan up to around when they return from Belgistan, and then it felt like the story became more inuenced by the momentum of the production. Takahashi: I think thats pointing to right around when Nishida shows up, but the truth is, our plans for how the story develops changed drastically during that period. Which is to say, while I didnt have anything concrete, I did have in my mind what the nal scene would be. But that ended up changing. Taniguchi: I remember the scene that you initially described... Takahashi: You know how there are documentaries where they use aerial photography to shoot a scene along some Tibetan mountain range at four to ve thousand meter elevation, and then the camera suddenly zooms out to show you this vast, pure space? I wanted a scene like that and to have Yushiro and Miharu standing there naked after theyd been sent down from the moon... An image to evoke the idea of a fresh start from nothing. But it started looking like I wouldnt be able to use it. Taniguchi: We gured out partway through that it didnt seem like the story would allow us to get to the moon. Plus, the nuance of the ending for those two seemed like it would be changing a little. Takahashi: With me, I dont always craft stories with their nal scenes xed in my mind, but when I do, the process becomes about how to manipulate the story and characters to get to that nal scene. Taniguchi: Most writers are like that, too. And when thats the case, the challenge lies in how to structure the story and esh things out. Takahashi: But when the major premise of your story, the thing that youd been aiming towards as a goal, becomes unusable, you have no choice but to reorganize everything. And that restructuring took place around where they return from Belgistan. Does this sort of change in direction happen a lot? Takahashi: Things didnt really change enough to call it a change in direction though. Taniguchi: Its one thing if youre dealing with a single-season series of just 13 episodes total, but when you get to twoseason series like Gasaraki or something even longer, youre almost always coming up with the details of your future episodes while producing your current episodes. So, you do get the occasional show where the story veers off course from the initial plan. The important thing is not to prevent this from happening, but rather, about how smoothly you incorporate those changes. Takahashi: Nishida was a character we introduced in order to make the transition smooth. But once he came into the mix, he brought his own unexpected complications. The character I had in mind was a younger, good-looking, composed, Zhuge Liang sort of man. But then Mr. Murase, the character designer, came up with a design of an older man. When I saw that, it got me wafing, Oh, we could go in this direction, too, and that was how it got started (laugh). The popularity and directionality of the show changed because of Nishida, after all. When the show was airing, some comments were made about how the studio was an unstoppable force when it came to Nishida. Taniguchi: Its true, that character changed quite a bit from what Ryosuke initially expected. Whenever directorial and animation staff insistently pressed Ryosuke with suggestions about how Nishida should be, he would yield to them in the belief that those ideas would be good for the show...Truly, what you</p><p>might call pressure (laugh). There was also that time when Ryosuke wanted to change Nishidas outt halfway through and got rejected as an impossibility by the production desk (laugh). Takahashi: Well, it wasnt that I wanted to change his outt. I just wanted it to match the situation. I remember this well. Hes blinded himself, so fundamentally, he doesnt go out. Because of that, he normally wears a casual mens kimono. But a man who embodies the spirit of Japanese virtue and renement would never go to the Diet Building dressed like that. Hes not a Yakuza gangster, after all (laugh). When I stated this, the production desk said it was too late for that... I should have noticed it at a much earlier stage, but it had slipped through the cracks during the checking process. But the nal spirit of the show is something I do check on, and if there was anything that contradicted that spirit, I wanted to do everything in my power to do something about it. So I said I wanted him wearing</p><p>ceremonial hakama pants, even if we had to do it as a still shot. Taniguchi: From the production desks perspective, in coordinating the schedule, you want to minimize any work that wasnt planned for and save your studio as many headaches as possible. The thing is, they happened to have this conversation within earshot of the studios staff. And instead of being glad of the production desks concern for them, everyone on the oor ended up siding with Ryosuke... Takahashi: Well, its these unexpected, or perhaps, unplanned events that can sometimes change the direction of the story (laugh). 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