[Single] Acid Black Cherry – Fuyu no Maboroshi

~Track Listing~
01. Fuyu no Maboroshi
02. Koi Ichiya

~Single Review~
Acid Black Cherry released their single, “Fuyu no Maboroshi” on January 16, 2008. Most likely, the song will snatch the group the envious number one ranking on the Oricon chart. Although the single’s sales were strong, they were quite low for a number one single; if the single had been released another week, it may not have gotten number one. That does not mean “Fuyu no Maboroshi” is not good, however.

Quite the opposite, actually: “Fuyu no Maboroshi” is hard rock expertly mixed with orchestrated strings. Although it starts slow, once the rock hits, the song does not let up. Once the rock enteres in, the result is an epic sounding piece that sounds reflective, dramatic, and emotional all at once. Despite the song being dominated by rock after the first verse and bridge, the melody shines through in the strings. The over all vocal effects and layering are quite excellent as well, fitting quite well in the discordant yet organized atmosphere. Although the production sounds older, it works well mainly because of the rock. The song may be hard rock, but it has unity, organization, vocal power, and a memorable melody. “Fuyu no Maboroshi” is exactly what J-rock should be: well-done rock that is accessible for the general public because of its pure musical strength.

“Koi Ichiya” begins with a futuristic intro that paradoxically, sounds like it has dated production. The use of keyboard and synthetic effects continue throughout the song, even when rock flows in, front and center. “Koi Ichiya” has a lot more energy than “Fuyu no Maboroshi” and while it a solid melody and decent production, the song does not have the same coherence as “Fuyu no Maboroshi.” Still, “Koi Ichiya” is quite impressive for a B-side because Acid Black Cherry mixes a variety of elements together to create good music.

As I reviewer, I must put a warning on this single; even if “Fuyu no Maboroshi” is great music, the fact remains it’s rock. If you can’t stand the thought of J-rock, you might as well pass it by. However, if you don’t mind rock, you’ll probably like “Fuyu no Maboroshi:” there’s enough to the single to make endearing besides the just plain rock.

93% A

[Single] WaT – Yume no Tochuu / Tokimeki☆doobeedoo

「夢の途中」/e2「TOKIMEKI☆DooBeeDoo」- WaT

~Track Listing~
01. Yume no Tochuu (夢の途中)
02. Tokimeki☆doobeedoo by e2
03. Yume no Tochuu (夢の途中) (Instrument)
04 Tokimeki☆doobeedoo (Instrument)

~Single Review~
After releasing their own solo singles, the boys of WaT have gotten back together to release the rather unremarkable single, “Yume no Tochuu / Tokimeki☆doobeedoo.” The single has peaked at number two on the daily charts and should be able to make a top three position. But charting well doesn’t mean WaT’s latest is amazing.

“Yume no Tochuu” features violins, piano, guitar and a mild beat. WaT’s voices are high and sweet as ever in this mid-tempo song, but that only makes the verses drag. Their voices, along with the background music of the verses, is very insubstantial. The choruses easily solve this problem, using a wider variety of instruments besides piano and guitar, as well as through the accompaniment by background vocals. The song also features a good, endearing crescendo, but that doesn’t hide the fact that “Yume no Tochuu” sounds like mid-tempo pop all the way through that lacks real feeling.

“TOKIMEKI☆DooBeeDoo” starts out with a distinct 90s J-pop sound because of the questionable use of synthetic beat. This feeling persists through the verses, but is eliminated in the bridges and in the choruses, which add-in better effects to improve the song’s sound. “TOKIMEKI☆DooBeeDoo” is catchy, but over the top at times with its cute hooks and the use of “I love you.” Even poppier than “Yume no Tochuu,” “TOKIMEKI☆DooBeeDoo” is fast, juvenile pop with decent hooks, nothing else; considering WaT has done this style better in “Ready Go!,” “TOKIMEKI☆DooBeeDoo” cannot be recommended.

WaT is a capable duo, and perhaps both Eiji Wentz and Teppei Koike and are capable soloists as well. Here, however, they have not done well as they have creating a single that lacks their usual flair. Of course, the usual WaT sound and vocals are there, but “Yume no Tochuu / Tokimeki☆doobeedoo” lacks WaT’s usual polish. If this single is meant to foreshadow their next few singles, I’m quite afraid.

74% C

[Single] Kana Nishino – I Don’t Wanna Know

~Track List~
01. I Don’t Wanna Know

~Single Review~
Kana Nishino, a new Sony artist will be releasing her debut single, “I” on February 20, 2008. However, preceding that release, Kana Nishino released “I Don’t Wanna Know,” an English download exclusive to iTunes US. The song is essentially the English version to “I.”

“I Don’t Wanna Know” is an interesting song that borders on discordant at times. The vocals and lyrics aren’t especially strong; Kana Nishino is hard to understand as her pronunciation is Engrish at best. This means that you can’t understand much other than the chorus and the bridge. And her vocals don’t exactly soar above the rest of the rock track, letting the words mix into the music too much at times. Those problems are not present in the Japanese version of the song, so it is the superior version. Still, the hook “I don’t wanna know” is catchy and memorable, and the instrumental’s rock guitar riff base is great. The track is synthetic, rock, and dark all at once. Over all, “I Don’t Wanna Know” is probably regular J-pop single filler, but displays a nice new sound from a debut artist.

82% B

[Single] GReeeeN – BE FREE / Namidazora

~Track Listing~
01. BE FREE
02. Namidazora

~Single Review~
GReeeeN released their fifth single on January 16, 2007. The lead A-side, “BE FREE” experienced great download success before the physical release of the single, topping Chaku-Uta downloads easily. Building off of the success of their hit, “Ai Uta,” and their previous song, “Hito,” “BE FREE / Namidazora” focused on GReeeeN’s unique sound.

“BE FREE” is the stronger of the two tracks on the single. Even though the vocals aren’t strong (GReeeeN is not a vocal powerhouse, so if you are looking for an amazing vocal performance look elsewhere) the production and composition on the song is topnotch. The combination of keyboards with the melody during the intro that persist throughout the whole song create a memorable tune. And despite weak vocals, the hook, “BE FREE” is suprisingly strong because of synthetic editing of voices. Because of these factors, “BE FREE” has amazing moments that allow it to become a great ringtone, but as a full song, some moments weigh done the brilliant ones. The vocals are stylistic at best. The good thing is, that’s all that I can say is bad about “BE FREE.” It’s well-done, it’s just a pity to see the weakness be the group itself.

While “BE FREE” was mid-tempo, “Namidazora” is a slow ballad. The chorus sounds much more strained because of the poor vocals, and the verses deteriorate to rapping. Despite excellent composition, the production on this track isn’t as good as “BE FREE’s;” without vocal editing and with rapping, “Namidazora” isn’t a memorable, emotive ballad even if it has great composition and keyboards. The extro is nice, but not enough to make “Namidazora” sound great or better than “BE FREE.”

With GReeeeN, the only glaring flaw to find is their vocals. They aren’t as strong as say FUNKY MONKEY BABYS’, but GReeeeN’s composition is better. What can GReeeeN do to resolve that problem? They’ve done about all they can here on this single: rapping and vocal editing. Because of the way the music industry works, GReeeeN makes more money singing their own songs than hiring other people to sing them, so they’ve done all they can. If they can continue with vocal editing and hip vocals, they should be able to maintain popularity. “BE FREE” should atone to that, as it is a solid pop song that doesn’t rely on its vocals.

91% A-

[Single] Yuna Ito X Celine Dion – Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~

~Track Listing~
01. Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~
02. Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~ (USA Mix)
03. Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~ (Ito Yuna Solo Version)
04. Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~ (Instrumental)

~Single Review~
Every once in a while, there comes a release that makes it a joy to be a reviewer, letting me look forward to reviewing the song. Well, believe it or not, “Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~” is one of those songs. The single, featuring the amazing combination of J-pop starlet Yuna Ito and experienced American (Canadian by birth) pop songstress Celine Dion, was released on January 16, 2008. The single had larger than life expectations to fit, and it is my joy to confess that yes, the two met them. They have done splendidly.

The lead version of “Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~” is the version featured in the PV. The song features a great instrumental and vocal combination. Compared to the USA version, the instrumentals are fuller here and Celine Dion is more on the back burner. That’s not a bad thing; Celine Dion still sings the English parts of the chorus with soaring vocals, and Yuna Ito takes over for the Japanese parts. The song is split quite evenly; even though the song may be Celine Dion (it feels like a lot of her discography) the two share the spotlight here. Celine Dion even sings phonetically in Japanese, backing Yuna Ito up. That only strengthens a catchy chorus that is both memorable and emotional. Although at times over the top with full violin, guitar, drums and synthetic instrumentation, Dion’s and Ito’s vocals are over the top as well; they feel at home on this power ballad, and that comes off across. Over all, “Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~” is catchy, despite not sounding extraordinarily special.

“Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~ (USA Mix)” features less full instrumentation that is much more guitar based, leaving the vocals in the spotlight. Although the violins do make an entrance during the bridge, the song never attains to that J-pop feeling the original version did. That’s probably because the chorus just feels much barer without those elegant string sections at the end. That’s not to say this mix isn’t good, at moments, this mix is better than the other one; but the background vocals don’t meld as well and the chorus just isn’t as strong. The weak link in the chorus turns out to be Dion, who vocals still soar, but lack the depth they had with Ito’s full background vocals. They try to harmonize here and a gospel even enters the fray near the end, but “Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~ (USA Mix)” just isn’t as good and as big.

The Yuna Ito solo version of “Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~” features a new verse and bridge, all in Japanese. Ito does a good job taking up the helm of the song here without Celine to lean on. However, Ito’s voice was clearly not meant to sing the powerful notes that Celine’s does, and her voice sounds out of place when she sings Dion’s “you gave me a world to believe in.” Even though clear and pretty, Ito’s voice does have that melisma. For that reason, “Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~ (Ito Yuna Solo Version)” sounds inferior to both other versions.

In the end, “Anata ga Iru Kagiri ~A WORLD TO BELIEVE IN~” sounds incredible. Celine Dion heard an artist who is usually hit or miss and guided her towards a big hit.

94% A

[Single] AAA – MIRAGE

~Track Listing~
01. MIRAGE
02. Love Candle
03. SUNSHINE (Live in Budokan 2007.09.22)
04. MIRAGE (Instrumental)
05. Love Candle (Instrumental)

~Single Review~
AAA released their 17th single “Mirage” on January 9, 2008. The single debuted at number one on the Oricon charts and sold around 25,000 copies its first week on sale. That makes “MIRAGE” AAA’s highest charting single, but it also makes it one of the lowest number one debuts ever.

I’ll start this review on a personal note, because I think it’ll help give my review better context. I’ve followed AAA since 2006 right after their debut, and I’ve been impressed with their music many times over. Then 2007 hit, and I became disenchanted with their songs. Although their earlier songs were catchy, poppy, and dancy, I’ve felt their more recent releases have failed to capture that magic. Blame it on their rushed release schedule (17 singles since 2006? That’s obscene). However, that said, “MIRAGE” does remind me why I still like AAA, even if it isn’t as superb as the energetic “BLOOD ON FIRE” or the powerful “Let It Beat!”

The intro to “MIRAGE” is prolonged, but works well preparing the listener for the instrumental stylings of the song that border on trance. Sadly, the intro isn’t anything amazing after the first few seconds of Middle Eastern sounds. The verses aren’t that special either, featuring bare solos from the members. The bridges do up the temp noticeably, which carries over to a fuller, catchy chorus. The song may have a good chorus, but even that doesn’t sound as good as many of AAA’s past releases. The song is pop, but AAA’s done better.

“Love Candle” is a ballad that works off of the voices of the guys of AAA juxtaposed against the girls in the background. AAA specializes in dance music, and when they release songs like “Chewing Gum” and “Love Candle” they mystify me. They definitely don’t have depth to their voices, or believable emotion, which really undercuts the ballad. The nice element of the song that does make it sound nice and sweet is the depth achieved through use of background vocals. Because of those background vocals, courtesy of AAA’s girls, the bridges and the chorus sound surprisingly good.

This particular Budokan live of “SUNSHINE” is good; AAA can sing live. Of course, the studio track is superior, but the live recording has energy and a responsive crowd. As such, the live of “SUNSHINE” is a must have for the die-hard AAA fans, but passable for everyone else.

Over all, “MIRAGE” feels like just another single from AAA. I sincerely wish they’d slow their release pace down and take time on production. If this single was further polished and practiced, I believe it could have been better. And yes, had it been better, it may have been able to sell even more, making it more than the lowest number one debut in Oricon’s history. One can only hop they’ll slow their release rate after the release of their best album, “ATTACK ALL AROUND.”

78% C

[Single] Akikawa Masafumi – sen no kaze ni natte

~Tracklist~
01. sen no kaze ni natte (千の風になって)
02. sen no kaze ni natte ~Karaoke~ (千の風になって~カラオケ~)
03. ringo oiwake (リンゴ追分)

~Single Review~
“sen no kaze ni natte” is a song that gained popularity because of the moment. In a case of lucky exposure, “sen no kaze ni natte” was performed on the year end show, Kouhaku, and began to sell. Before this year end performance, “sen no kaze ni natte” sold only around 5,000 copies. Afterwards, it became the best selling single of 2007 (despite being released May 24, 2006), and went on to sell 1,122,618 copies. Akikawa Masafumi also performed “sen no kaze ni natte” at the year end shows in 2007, which is really The stretching the power of a song released in 2006. The effects of even more year-end performances have yet to be seen.

“sen no kaze ni natte” is a ballad with piano and violins. It’s very plain and spartan, so the focus is on Akikawa Masafumi’s tenor voice. The best way to describe the song to people who don’t normally listen to tenors is that he sings like a man in opera. This translates into overemphasizes, deep vocals that make the song is very hard to get into as a casual listener. The success of the song then, is probably the touching lyrics. Below is a translated excerpt:

I am a thousand winds that blow.
I am the diamond glints on snow.
I am the sunlight on ripened grain.
I am the gentle autumn’s rain.

The lyrics are bittersweet, and describe a love that can’t be felt tangibly. Perhaps that explains this song’s appeal; along with a powerful voice, this song speaks sadness while reassuring, all at once emotional. The cover also makes sense in hindsight as your love never leaves that environment. An interesting idea that has caught on with the current Japanese populace, “sen no kaze ni natte” is based off an emotion and an idea. Musically, it’s not amazing, but for the lyrics and the idea, the opera-like vocals and simple instrumentation work.

“Ringo Oiwake” is probably Akikawa Masafumi’s element; it sounds a bit over the top with his deep voice throughout the song. Nonetheless, the song is an interesting way to round out the single. Lyrically, I don’t know what he’s singing about, but from a musical stand point, there is more variety. This track is another interesting listen, if you’re willing to venture out of your safety zone for J-pop listening.

Over all, Akikawa Masafumi represents a trip of pop off the beaten path; such a non-mainstream song has captivated the Japanese public, so you know it has to have something to it. Of course, it’s not well done pop. But it is well done music, and that’s what matters. If you’re willing to try it, “sen no kaze ni natte” is worth a listen, at least to understand its widespread popularity.

90% A-

[Single] Namie Amuro – Baby Don’t Cry

~Tracklist~
1. Baby Don’t Cry
2. Nobody
3. Baby Don’t Cry (TV MIX)
4. Nobody (TV MIX)

~Single Review~
“Baby Don’t Cry” was released on January 24, 2007, and has peaked at number three on the Oricon chart, selling 144,081 copies in total, making the single the 48th best selling single of 2007. The song, “Baby Don’t Cry,” was used in the drama “Himitsu no Hanazono.” There has been a fair amount of buzz surrounding “Baby Don’t Cry,” as its pop edge reminds some old Namie fans of her older music; it’s no wonder it became it her best selling single since 2001’s “Say the Word.”

“Baby Don’t Cry” starts out with powerful percussion, mixes in snapping then allows the pop synths to flow in as the song progresses. The background talking of Namie throughout the song helps the atmosphere maintain a pretty pop sound, as well. “Baby Don’t Cry” is definitely R&B because of the prominent beats, but still features very poppy instrumentals, much poppier than in Namie Amuro’s other recent music. The song is best defined as hip-pop, the style Namie Amuro is best known for. The combination of her vocals and the background music in the chorus is the best part of this mid-tempo song, but nothing compares to the climax and the extro. The vocals accompany the music well with layering, becoming a mixture of pop sounds. “Baby Don’t Cry” is very different from anything Namie Amuro has done as of late, but that does not mean it is bad. It is oh so very good.

“Nobody” uses the same instrumentation as “White Light,” but different, softer vocals. The background music is slightly different, but still sounds the same. It’s a much softer version with some more engrish and a forced chorus, which really hurts the song. “Nobody” is not a good B-side in any respect. It doesn’t compare to “White Light,” and it’s not even close to being as good as “Baby Don’t Cry.”

Over all, “Baby Don’t Cry” started off 2007 in one of the best ways possible. This pop single was great and reintroduced many fans to Namie Amuro’s music, which gained popularity once more in 2007. One need look no further than the break-out success of the album “PLAY.”

92% A

[Single] Crystal Kay – anata no soba de

~Tracklist~
01. anata no soba de (あなたのそばで; Next to You)

~Single Review~
Crystal Kay released “anata no soba de” on May 16, 2007, and the single charted at 30 on the Oricon charts. This low position compared to her previous singles could be explained by the fact that this single is a stand alone single, a la Utada Hikaru’s “Be My Last.”

“anata no soba de” is mid-tempo R&B based off of a clapping rythym and keyboards coupled with vocal layering. Kuri’s vocals are smooth throughout the song, but the problem with the song is that it is capable of so much more. The chorus is capable of being so much more powerful than it is, especially considering how the bridge builds into the chorus. Instead, the chorus is slighter faster paced, poppier, and lighter. It’s well done R&B from Kay, but she could have easily made the song into an anthem by speeding it up instead of leaving it as mid-tempo.

80% B-

[Single] Crystal Kay – konna ni chikaku de…

~Tracklist~
01. konna ni chikaku de… (こんなに近くで…; So Close…)
02. FEEL
03. konna ni chikaku de… -KZ Future Disko Remix- (こんなに近くで…; So Close…)
04. FEEL -Singo.S Remix-
05. konna ni chikaku de… -Instrumental- (こんなに近くで…; So Close…)

~Single Review~
After the mild top twenty success of her last ballad oriented single, “kitto eien ni,” Kuri took a turn back towards the pop territory inhabited by “koi ni ochitara” (by and far her most successful single). “konna ni chikaku de…” sounds familiar and new all at once as it tries to play towards “koi ni ochitara’s” sound while being upbeat in order to capitalize upon its success. “konna ni chikaku de…” did not come close to recreating the karaoke magic of “koi ni ochitara” however, and only reached number fourteen its debut week, selling about 9,000 copies.

“konna ni chikaku de…” sounds most like “koi ni ochitara;” its keyboard based and supported by strings at times, which is a really odd combination. In the end though, despite not sounding quite normal, “konna ni chikaku de…” defies explanation and is good. It’s so funky with its synth and so smooth with Crystal Kay and the violins that the song becomes great, catchy pop that doesn’t sound quite like anything else out. Add in a catchy hook and strong choral vocals and “konna ni chikaku de…” is easily a fun tune a J-pop fan can jam to any day.

“FEEL” is a mid-tempo R&B song that seems to cater to Kuri’s R&B song as “konna ni chikaku de…” is not really the R&B she usually puts out. It’s smooth, sleek, but also sometimes cumbersome sounding. The choruses sound great, but the high notes sound a bit strained which is a problem, hurting this B-side.

The remixes are filler. “Konna ni Chikaku de”‘s is on speed, and “FEEL”‘s doesn’t sound good.

In the end, this is a single carried by a stellar A-side. Kuri sometimes falls into a rut of releasing mediocre crud, but here, she succeeds at releasing one of the pop gems she’s known for.

89% B+

[Single] Crystal Kay – kitto eien ni

~Tracklist~
1. kitto eien ni (きっと永遠に; Surely Forever)
2. As One
3. kitto eien ni -STUDIO APARTMENT REMIX-
4. As One -REMIX-
5. kitto eien ni -INSTRUMENTAL-

~Single Review~
“kitto eien ni” was released on January 17, 2007, and debuted at number 12 on the weekly charts, higher than the number 27 position of her last single, “Kirakuni / Together.” The song “kitto eien ni” was used as the ending theme to Boku wa Imouto ni Koi wo Suru (My Sister, My Love), a movie surrounding incestuous love that never should have been.

“kitto eien ni” is a strong song, the sort of ballad that Kuri’s been due to sing. It’s very smooth with the piano and soft beat backing Kay’s voice. The chorus is especially good, with powerful vocals, strings, and a stronger beat.. I especially like the ending. Perhaps the best part of this song is the growth that Crystal Kay emits; her earlier teen songs cannot compare to this song in the slightest. It’s a beautiful ballad, although in the end it feels like it lacks a little something.

“As One” is a true blue R&B ballad compared to the poppier “kitto eien ni.” It’s completely in English, as well, which suits Crystal Kay just fine. The only really negative thing to say about the mellow song is the lack of fullness in the chorus; it’s clearly not an A-side. It just feels like they could have put some background vocals in, or something. Otherwise, a strong B-side. It is not as good as the Japanese version, “STILL,” however, which was a digital release in Japan.

The remix of “AS ONE” may be worth a listen, but the remix of “kitto eien ni” is long, boring and does not fit the tone of song at all. In the end, the originals are definitely better than their remixes.

84% B

[Single] Arashi – Love so sweet

~Tracklist~
1. Love So Sweet
2. Itsu Made Mo
3. Love So Sweet (instrumental)
4. Itsu Made Mo (instrumental
5. Fight Song (G no Arashi Theme Song) (First Pressing Bonus)

~Single Review~
Love so sweet was the theme song of Hana Yori Dango 2, rated most popular Japanese dorama of the year. The drama starred Jun of Arashi. Because of the drama’s popularity, “Love so sweet” went on to reach number one on the Oricon chart when it was released February 21, 2007, sell 429,832 copies in total, and become the fourth best selling single of 2007.

For many, “Love so sweet” can be immediately associated with the lighter moments of “Hana Yori Dango 2”, bringing up images of Tsukushi-chan and the finale. Because of that association, “Love so sweet” is an excellent song. As a stand alone track, however, it’s a mid-tempo pop track with above average vocals for a Johnny’s track. There’s use of harmonies in the chorus, but that isn’t really anything all that special, and the individual duets or solos sound quite strained at points. Of course, the fact that the song is insanely catchy bubblegum pop with excellent production helps cover that up, as does the hook “Love so sweet,” but for some reason, this song feels like it’s something important. Depth. It’s a great song for Johnny’s and Arashi lovers alike, but other people, you might want to be wary of this one.

“Itsu Made Mo” is an interesting B-side; it’s a synth based song with plenty of violins and trumpet and a beat backing Arashi up. It’s not as good as Love So Sweet, but the song is surprisingly good for a Johnny’s B-side. The crescendo near the end is a definite high point, as well as the double repetition of the choruses. The harmonies in this song are great. Over all, an excellent B-side with polish.

“Fight Song (G no Arashi Theme Song)” feels like just another song on the limited edition/first press in order to move units. It feels a bit like Ayu’s “Beautiful Fighters” without the synthetic interference in their voices and with booming instrumentation at points; that’s a downside considering the haphazard sounding nature of the crowd intermingling with the Arashi’s harmonies. I guess that fits as a fight song, but the harmonies on this song are not Arashi’s best, although it’s worth noting the individual parts are stronger than usual. And he chorus has the energy you’d expect from a fight song.

As one of the biggest singles of 2007, “Love So Sweet” had to be well-done pop. It was, and together with the biggest drama of the year, it achieved great success. Ringtone sales were high, as were physical sales. For Johnny’s Entertainment fans, boy’s band fans, and pop fans in general, “Love So Sweet” is a must listen.

88% B

[single] Mizuki Nana – Meikyu Butterfly

Character song release from “Shugo Chara,” the latest release from “Rozen Maiden” hit-makers Peach Pit.

~Tracklist~
01. Meikyu Butterfly
02. Blue Moon
03. Meikyu Butterfly (Vocal off)
04. Blue Moon (Vocal off)

~Single Review~
Mizuki Nana released “Meikyu Butterfly” on December 19, 2007.

Most of Mizuki Nana’s releases are well polished with great, instrumentals that are well produced, especially for anime and a seiyuu singer. Here in “Meikyu Butterfly” the song is still well done for the most part, although it lacks some of her traditional power. That power change works well, as it is backed by a piano during the first part of the song. The song builds well, becoming very techno sounding towards the end, which is a fairly complete shift from the beginning. For anime fans especially, the son is worth a listen.

“Blue Moon” is a ballad B-side with piano, some percussion, guitar, windchimes, and keyboards. Over all, the song never really attains the power of the last song. It’s beauty isn’t enough to excuse this fact, either; “Blue Moon” ends being solid, but not as anything special.

“Meikyu Butterfly” is the polished anime music we’ve come to expect from Nana Mizuki. It should be worth a listen to fans, but compared to some of her other songs, its not quite as well done.

85% B

[Single] YUKI – Wonder Line

~Tracklist~
01. Wonder Line
02. Wonder Line (Night Swimming Mix)
03. Biscuit (2007.10.06 Live@Osaka-Jo Hall)

~Single Review~
YUKI released, “Wonder Line” on December 12, 2007. Both “Wonder Line” and “Wonder Line (Night Swimming Mix) were used in FOMA N905i CMs. Upon release, “Wonder Line” peaked at number four on the Oricon weekly chart, selling 23,147 in its first week on the charts.

“Wonder Line” is an interesting song with variety. YUKI’s vocals are very different, even when compared to her J-pop peers. Her voice is high and particularly nasal. Nevertheless, she controls that nasality fairly well in this song, which makes a world of difference in the chorus. It’s catchy and upbeat, with the hook “wonder line.” The surreal instrumentation, orchestrated backing, and strong beat really create an excellent J-pop in the end. YUKI’s experience shines through on this track. The only downside to the song would be that YUKI’s voice is a bit high, and the extro is a bit long. But if you can take those “bits,” “Wonder Line” is a good song.

The “Night Swimming Mix” of “Wonder Line” is much more real in it’s instrumentation, opting for mainly strings and piano and a soft bongo beat. The song sounds very pretty, but doesn’t have the power of the original mix of the “Wonder Line.”

“Biscuit” is more of rock song mixed with piano and violins here. Live, YUKI’s voice gains a welcome bit of depth, and the music feels as if it fills the room. YUKI is a musician and that shines through on “Biscuit” as she performs wonderfully. A nice way to round out a wonder of a single.

Considering YUKI’s music can be too stylistic and nasal to listen to, “Wonder Line” is a welcome step towards the mainstream for YUKI.

89% B+

[Single] The Brilliant Green – Enemy

~Tracklist~
01. Enemy
02. angel song ~Eve no Hitomi~ (acoustic version)
03. Enemy (original instrumental)

~Single Review~
The Brilliant Green released “Enemy” on December 12, 2007. The single peaked at number 21 on the Oricon weekly chart, selling 5,804 copies its first week on sale.

“Enemy’s” best trait is the haunting quality it has throughout the song. The song does well mixing rock with other elements, including an organ in the final bridge. However, that good production does not cover up the vocal weakness in the song. The song may feel haunting, but the vocals sound weak, and at times, strained.

If the vocals were better, the acoustic version of “angel song” may have sounded better. As is, it’s certainly a decent track, but without the haunting rock of “Enemy,” the song is easily forgettable.

79% C+

[Single] Makihara Noriyuki – Akai Mafura/Ogenki de!

「赤いマフラー」槇原敬之　

~Tracklist~
01. Akai Mafura (赤いマフラー)
02. Ogenki de! (お元気で!)
03. Akai Mafura (Backing Track)
04. Ogenki de! (Backing Track)

~Single Review~
Makihara Noriyuki closes out his seventeenth year in the Japanese music industry with the single, “Akai Mafura/Ogenki de!,” released December 12, 2007. This single did not match the success of “GREEN DAYS,” only reaching 33 on the Oricon weekly chart when it was released.

“Akai Mufler” is an excellent wintry song with a great variety of instrumentation, from violins to interesting sampled percussion. The track has a nice sound, which makes the song a very pleasant listen.

“Ogenki de!” uses more synth to create a positive song that just sounds happy. The song dings and uses keyboards, but works well mainly because of the mellow vocals. A fun song that isn’t too cutesy by any means. Nary a moment is bland due to the variety in synthetic editing throughout the song.

This single is not as strong as “GREEN DAYS,” but it’s still surprisingly good and well done. If you’re looking for songs that just sound positive, this is the stuff for you. The plus is that Makihara Noriyuki sounds happy without singing in falsetto.

85% B

[Single] SMAP – Dangan Fighter

~Tracklist~
1. Dangan Fighter
2. Christmas Night
3. Dangan Figter (Backing Track)
4. Christmas Night (Backing Track)

~Single Review~
This single was released on December 19, 2007 and peaked at number one on the Oricon daily charts. Unlike many other Johnny’s Entertainment releases, “Dangan Fighter” maintained consistent sales its second day, suggesting it may have a potentially long chart life.

“Dangan Fighter” is a very different song for SMAP to sing. The melody is very hard to find and not memorable at all, mainly because the instrumentals are very nontraditional and synth. There is always almost always a beat, but there is never a melody besides the tune that they’re singing. In the end, it doesn’t matter than “Dangan Fighter” has a catchy chorus with the hook “You’re got the power” or “Dangan Fighter-des.” The song ends up as average pop without a feeling a purpose, a definite sub-par A-side from SMAP, as their sales reflect.

“Christmas Night” feels much more traditional for a SMAP song, which is a definite plus. Download sales reflect this, as “Christmas Night” has almost equaled “Dangan Fighter” in download sales on Japan’s leading download store, Chaku-Uta. On the plus side, “Christmas Night” has a melody, even though it is not very memorable. The instrumentation is average, with a piano, guitar, and soft percussion. The bridge leads well into the chorus, which is the well-layered high-light of the song with vocals that push much harder than the rest of the song. Besides a nice, pleasant holiday tune, “Christmas Night” isn’t really much else.

After a stellar year in 2006, SMAP has released only one single in 2007, the lackluster “Dangan Fighter.” It should be noted that despite being well produced, the instrumentals are inadequate. Change is good, but not when it is detioration. SMAP can bank on their popularity carrying this single, but if they release more low-quality music, their sales may greatly suffer.

76% C

[Single] Stephanie – Winter Gold

~Tracklist~
01. Winter Gold
02. Life
03. Kimi ga Iru Kagiri (Acoustic Version)

~Single Review~
This is Stephanie’s 3rd single and first non-ballad single. She released this single on December 12, 2007, and “Winter Gold” peaked at number 37 on the Oricon daily charts before falling out of the top fifty.

“Winter Gold” is a fun pop song written about first love and the trouble in expressing yourself to the other person. Stephanie’s vocals and production aren’t necessarily anything special – unless you adore the fact that she can hit that envious whistle note. Nevertheless, “Winter Gold” seems to realize this and not take itself too seriously. As a fun song, nothing more, “Winter Gold succeeds.” The song has a memorable melody, despite sounding like an anime song out of a run of the mill show. The song has a catchy hook, despite not being anything special lyrically. Once you get past the fact that the song is just pop, it should be very enjoyable. If you’re looking for depth, unique production, or stellar vocals, look elsewhere, because frankly, Stephanie has none of them. But if you’re looking for a song that’s just plain enjoyable, look no further. Defying explanation, “Winter Gold” will stick with you.

“Life” is the incarnation of the rock B-side Stephanie has included on all of her singles. She sounds like she’s enjoying the different sound, but rock isn’t really her strength. These songs are really just testing the waters in my mind. The choruses are decently catchy, but undeniably powerful. Stephanie puts herself behind her voice, and the background vocalists give her footing. Besides a piano bridge that shakes things up a bit, this song really isn’t very notable and ends the same way it came in.

Oftentimes, a song’s true strength will be revealed when it is turned into an acoustic version. Without production covering the singer, they’re left exposed, ready for the listener to judge. “Kimi ga Iru Kagiri -Acoustic Version-” doesn’t completely strip of background vocals. Stephanie sounds pretty fantastic, even with those whistle notes that drive many away. However, the choice of instrumentation hurts the song a bit. “Kimi ga Iru Kagiri” is not meant to be sung with a guitar at that temp. It sounds hearing a gospel-sounding song sung with acoustic guitar. A nice listen in the end that shows Stephanie can sing.

85% B

[Single] Jordin Sparks – Tattoo

American Music Spotlight: Jordin Sparks

~Tracklist~
01. Tattoo
02. Tattoo (Instrumental)
03. Tattoo (Acapella)

~Single Review~
“Tattoo” was released to American radio on August 27, 2007, but did not become available for download until September 25, 2007. The song did not gain mainstream popularity until much later as radio play gradually ramped up.

“Tattoo” features a beat reminiscent of Beyonce’s 2007 hit, “Irreplaceable,” but sounds altogether different. The intro to the song is slightly prolonged, but adequately prepares the listener for the backing of the remainder of the song. The verses are passable, but when Sparks reaches her chorus, the catchy hook enters front and center. What helps the chorus really enter a level above the rest of the song are the background vocals alongside fuller instrumentation. Sparks’s vocals take a leap upwards at the crescendo of the song, as well. She demonstrates that she can sing on this mid-tempo pop track. The only downfalls of the song are the cheesy lyrics (which really leave a lot of emotion to be desired) and the verses. Nevertheless, the choruses are more than enough to make up for those flaws.

Now, “don’t look back,” Sparks: if she can continue to produce refined pop like “Tattoo,” she could certainly be the next Kelly Clarkson – with a pop edge.

All at once, Jordin Sparks’s latest sounds familiar and new. It is often these tracks reminiscent of music we’ve heard before that resonate the most with listeners. Because Jordin Sparks combines familiarity and a new, modern feeling to her song, “Tattoo,” she’s created a pop hit.

90% A-

[Single] Koda Kumi – Yume No Uta / Futari De…

『夢のうた / ふたりで…』 倖田來未

~Tracklist~
01. Yume no Uta (夢のうた; Dream Song)
02. Futari de… (ふたりで…; Together…)
03. Yume no Uta ~Quartet version~ (夢のうた; Dream Song)
04. Futari de… ~WHOOSH MIX~ (ふたりで…; Together…)
05. Yume no Uta (instrumental) (夢のうた; Dream Song)
06. Futari de… (instrumental) (ふたりで…; Together…)

~Single Review~
“Yume no Uta / Futari De…” was released on October 18, 2006 and reached number one, selling 301,169 copies in total. This single was based off of the idea of using the same melody in both of the A-sides. Which of the songs is better?

“Yume no Uta” is far superior, there is no doubt. “Yume no Uta” is exactly the song that 2006 built up to, especially following the upbeat powerhouse that was 4 hot wave. “Yume no Uta” has excellent instrumentation, starting with piano-based verses and moving towards grander instrumentation as the song progresses into the chorus. Compared to her 2007 releases, “Yume no Uta” is bigger, better, and altogether more emotive. This single was written by Koda Kumi, as well, giving it a personality that the listener doesn’t see in a lot of her songs. In the end, the instrumentation creates an excellent ambience for Koda Kumi’s voice.

“futari de…” is a much softer version of “Yume no Uta” with different lyrics. As such, it was probably better suited to be a B-side on this single rather than second A-side. Still, the song is a pleasant listen, it’s just nowhere near as powerful with it’s keyboard backing among synth.

The two mixes on this single do not work very well. The quartet version of “Yume no Uta” is too bare and sweeps away all traces of being epic from “Yume no Uta.” The whoosh mix of “Futari de…” is even worse, it ruins the song completely. One other thing worth noting – the instrumental for “Yume no Uta” is very pretty and might be worth a listen.

88% B+