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REBECCA Popular Song Ranking [2026]

Rebecca’s fourth single, “Friends,” released in 1985, became a massive hit, and their fourth original album, REBECCA IV ~Maybe Tomorrow~, released the same year, achieved the rare feat of selling over a million copies for a rock band at the time.

We’ve compiled a selection of popular songs from among their many classics.

REBECCA Popular Song Rankings [2026] (11–20)

Love is cashREBECCA11rank/position

In an era when bands with female vocalists stood out, NOKKO’s overwhelming vocal ability and powerful performances made the band popular with both men and women, and many of their singles were tie-ins.

Although they unfortunately disbanded, they reunited temporarily in recent years, and fans from back in the day must have been thrilled to see her unfading presence on stage.

76th StarREBECCA12rank/position

It’s a medium-tempo dance number included on REBECCA IV ~Maybe Tomorrow~.

The synthesizers really stand out in this track and contribute wonderfully to the overall atmosphere.

The catchy, pop-leaning melody is also a highlight.

Bottom LineREBECCA13rank/position

This “Bottom Line” is REBECCA’s first 12-inch single, released in 1985.

NOKKO’s wild, untamed lyrics really come through.

It’s a song that vividly expresses her worldview—like a stray cat that’s gone with the flow of society and gotten used to it, yet is still lurking and aiming for something somewhere.

Tattoo GirlREBECCA14rank/position

This “Tatoo Girl” is the B-side to “Raspberry Dream,” released on January 23, 2002.

It is different from the B-side of “Raspberry Dream” that was released in 1986.

This “Tatoo Girl” is an early-period work, an unreleased track that was included when the record was reissued.

It was composed by the group’s early leader, Mr.

Kogure.

VANITY ANGELREBECCA15rank/position

Released on April 30, 1989, this “Vanity Angel” is REBECCA’s 11th single.

The previous song, “One More Kiss,” had a slightly more mature feel, but this time the lyrics feel like she’s gone back to being a girl.

The line, “In the barefoot high heels I forced myself to wear, a maiden’s pride is packed tight,” conjures up the image of a girl trying to have a grown-up romance, doesn’t it?

Private HeroineREBECCA16rank/position

REBECCA PRIVATE HEROINE ~ Private Heroine
Private HeroineREBECCA

This is a signature song by REBECCA, a band that was active in the late 1980s.

The lyrics, which portray the pain of heartbreak and the struggles of love, are particularly memorable.

NOKKO’s lively vocals and the danceable melody are very appealing.

It was included on the album REBECCA IV ~Maybe Tomorrow~, released in November 1985, which became a million-seller.

If you experienced that era in real time, you can probably still hum it today.

With its cool performance and vocals, this is a great chance to give it another listen.

mirageREBECCA17rank/position

Rebecca 'Mirage' cover band Berry-becca
mirageREBECCA

A beautiful, melodic track from their third album, “WILD & HONEY,” released in 1985.

With a powerful bass and drums complemented by a prominent synthesizer, it’s a very stylish song.

Rebecca MedleyREBECCA18rank/position

18 Best Nonstop Rebecca (REBECCA) Classics! DMC Remake Version Vol. 11
Rebecca MedleyREBECCA

This is a medley of Rebecca’s songs, ranging from the strong, synth-driven rock of their debut era to tracks featuring pop-style melodies reminiscent of popular American music of the time.

Thanks to their wide musical range, the medley is crafted to be enjoyable for a long time.

(It’s just a) SMILEREBECCA19rank/position

It’s a tearjerker included on their fifth album, TIME, released in 1986.

The song feels like 1950s pop set to a Japanese-style melody, and it’s put together beautifully.

The clear, transparent vocals make it a really nice track.

BLOND SAURUSREBECCA20rank/position

BLOND SAURUS (WILD REMIX) / Rebecca
BLOND SAURUSREBECCA

This “BLOND SAURUS” is a song included on REBECCA’s album of the same title, released in 1989.

Back then, artists like Tetsuya Komuro from TM NETWORK were popular for their use of synthesizers and programmed sounds.

Dobashi also increasingly incorporated similar arrangements, and I felt it was a bit of a shame because it didn’t make the most of NOKKO’s unique character.