VAMP

i think i am the only VAMPire that is still pinning hopes that she will ever appear on 紅白 again….

 today is the annoucement of the singer list…again, she’s not on the list…..

 yes…there is the countdown live…but seriously, I will continue to be hopeful that she will make it back again…

maybe next year…. 

I’d never thought I would say this. I’d probably die if I knew at 16 or 20 that I was going to sound like my parents. "Music just isn’t what it is anymore …", they would lament to the "innovative" sounds of Faye Wong, who brought on a new generation of breathy singing. "You are just a "traditionalist" that can’t keep up with the times", I used to think.

Japanese music has really moved on from the traditional enka to 70′s pop which still had a very distinctive Japanese flavour to 80′s bubblegum pop, 90′s R & B infused pop to today’s hip hop and rap generation. Where have all the good songwriters gone? Have they run of ideas or inspiration, or just that their melodic songs are no longer being heard because they feel that they have to conform to today’s trends?

Today’s popular Japanese music is heavily Western influenced and rarely do we all agree on a good melody because there simply isn’t one anymore. It’s all about hooks and all 5 seconds of it, repeating itself throughout the songs. The rest of the songs become fillers around this hook. I’m not complaining about all of them, and I am not sure if it is because I have grown older that I don’t feel like humming/singing to those songs anymore. The new generation move their bodies to the beat like waves hitting the shores, as they close in their little worlds with their iPods. then, my music transported me to a new fantasy land, and I sing to the entire song, with as much belief, even if I couldn’t understand what they were singing. That probably helped a lot too because then I could plan my own magic carpet ride …

Is this why we are seeing a growing trend of cover albums by singers that we have grown up with in the 80s and 90s? That they share the sentiment that there are not many good songs that they really feel are worthy or is it a project that they take on, in hope of good sales so that they can move projects that they really want to embark on?

Akina is slowly gaining more recognition amongst the younger generation as a "cover artist" because her cover albums sell a lot more than her originals. Not surprising since more marketing is dedicated to it, but are we, as a generation who have started listening to Japanese music in the 80s and 90s, unable to move on, and prefer to hang on to our melodies and memories?

What constitutes a good cover album? A good selection of songs or good sales? Is it a singer who is able to make the compositions theirs and move you to a new level or one that inclines you to pick out the originals and immerse yourself in those bitter sweet memories again? Where does Akina lie?

For me, Akina likes to pick more obscure songs, with the exception of Zero. It is always a gamble to challenge an original especially if the singer who popularised it is synonymous with the song. It is going to invite comparison but it is a good selling/talking point as well. It takes a lot of courage to do so and walk away with it victorious. Overall, I believe that Akina is good singer and is able to inject her own life into their songs. I don’t particularly feel that I have a desire to go listen to the originals to relive my memories. I can still walk that road with Akina. Another singer that I feel I can do is with is 福山雅治, whose cover album "The Golden Oldies" is the best selling cover album of all time and deservedly so. He is able to transcend the originals and make a song his, even if the original is a female singer. I haven’t listened to any of 岩崎宏美’s 「Dear Friends」 series, but she is a good singer, so I think she will fall into the "good covers" category.

Not so successful is 工藤静香 whose cover album is not as interesting, though it may be because she covered plenty of obscure material to me. Many people may also say that she has a rather unique voice which is not soothing, and the cover albums tend to be more "stripped to the basics", with a band or orchestra, creating that jazzy, easy breezy listening style that is unintrusive . However that said, she did lead me to the discovery of the song 「かもめはかもめ」 which I love. It is also one of the "quieter" songs in that album though.

Another singer that I have a hard time debating myself over is 徳永英明, who 乱火さん adores. His 「Vocalist」 series have been huge hits and I have always been cynical because I think it has more to do with the song selection that anything else. He can hit all the higher notes alright, but to me, he sounds monotonous, and I yearn for the originals to let them wash over me like tsunamis, not ripples that he sends.

While 「艶華-Enka-」 keeps its daily ranking of 28th for the second day, I noticed yesterday that 徳永英明’s 「Vocalist」 and 「Vocalist2」 re-entered the daily charts from nowhere to No. 9 and No. 6 respectively. Fuelled probably by the release of his new cover single 「恋におちて -Fall in Love-」 this week, it has invigorated sales of his two previous cover albums, in anticipation of his cover release due 15th August. Out of curiosity, I played his two 「Vocalist」  albums this morning, and in my "semi-conscious" state, I found them rather enjoyable, in an unintrusive sort of way, like BGM. Maybe I can now understand  how 乱火さん feels. I think it is also a quiet evening album of loneliness, and his voice projects that. I sing along, but in my head, the voice of the originals floats, and my voice seem to channel them instead of him. I wonder why …

According to the AN Fun Site, the songlist for his new 「Vocalist 3」 has been released together with the news that another singer that I like, 杏里 is also releasing a new cover album to celebrate her joining the Universal Japan family. These are the tracklists for both albums:

徳永英明「VOCALIST3」
2007年8月15日発売
【収録曲】
01. PRIDE (今井美樹)
02. まちぶせ (original: 三木聖子written by 荒井由実 and popularised by 石川ひとみ in 1981. 松任谷由実 self covered it to higher heights in 1996)
03. ENDLESS STORY (伊藤由奈)
04. 桃色吐息 (高橋真梨子)
05. CAN YOU CELEBRATE？ (安室奈美恵)
06. やさしいキスをして (Dreams Come True)
07. わかれうた (中島みゆき)
08. 迷い道 (渡辺真知子)
09. たそがれマイ・ラヴ (大橋純子)
10. 恋におちて-Fall in Love- (小林明子)
11. Time goes by
12. 月のしずく (Rui: 柴咲コウ)
13. 元気を出して (薬師丸ひろ子,written and covered by 竹内まりや)

 杏里「tears of anri」
2007年9月12日発売
【収録曲】（予定）
悲しみがとまらない（杏里）
やさしいキスをして（DREAMS COME TRUE）
夜空ノムコウ（川村結花）
雨音はショパンの調べ（小林麻美）
会いたい（沢田知可子）
優しい雨（小泉今日子）
あなたのキスを数えましょう～You were mine（小柳 ゆき）
探偵物語（薬師丸ひろ子）
聖母たちのララバイ（岩崎宏美）
雨（森高千里）
LOVE IS ALL～愛を聴かせて～（椎名恵）

I am still happy to listen to 「VOCALIST3」 but I am looking forward to Anri’s cover album more. Maybe it is novelty but if Anri released an original album and this cover album, I think I would be more inclined to buy the latter. I wonder if I am now a laggard, someone who does not follow the buying trend as quickly as the younger generation would, or I just enjoy my music the way it used to be.

I don’t know if I ever want Akina to stop singing covers, because I think she would release a grea
t jazz influenced original album, or a cover album of 山口百恵 songs. I would also like to see her cover/sing a 中島みゆき and 松任谷由実 composition (魔法の鏡 is from her 荒井由実 years) in my lifetime because I think she has the experience now to cover them to satisfaction. Just like 「いい日旅立ち」, I think she covered it well. I don’t want to compare it with the original because Mome sang it when she was 19 and she is synonymous with the song, but I think Akina interpreted it well.

let’s hope i make it through this post. i had needed more time to deal with my demons, making sense of how my love for Akina and her music, when confronted with the irrational fucktards (please pardon my lingo. i’m not one who mince my words) has been the single source of my torment lately.

when i asked to be left alone, i meant it Kenji. why can’t you do that for me? i feel violated. pushed into a corner. i can’t breathe cos i can’t make sense of it all. how can this turn out to be sucha melodrama?

re: my decision to call it quits. a part of me immersed in regret right after those seething words, fueled by grave disappointment and raging anger, were penned. why did i find it so darn difficult to stand for my own beliefs? why do i have to justify my actions? why do i have to answer and bow to others’selfishness/cowardice/whatever shite it is? why do i have to leave the baby i set up? what about the other fans who genuinely appreciate the work that has gone into this site? and then there are the friendships and acquaintances that have been forged and possible only through this site? what happened to my lofty aspirations of reassigning the pop queen pedestal to Akina again? who’s going to connect the very dispersed (and disconnected) fans from all over the world?

i was about to tender a firm resignation from this site after being further antagonised tonight over Kenji’s relentless revisiting of this matter which would have been better left alone. when i’m pushed into a corner, i don’t bite nor lash out, nor defend myself. i scald myself with hot boiling water. this is who i am. i’m the type who will bear and inflict hurt upon myself, so i spend the next 24 hours trying to find my way through hell so i can feel better.

just before wrapping up the email and clicking on the send button, Pearl’s email came through. this is playing out just like your typical tv series. i’ve received a few personal notes from you guys (thanks Patrick, CJ, Jamez; it’s nice to know that you put my wellbeing before the fate of this site; as for the rest, i’ll take your inaction as giving me space so i must thank you too) but Pearl’s came in with immaculate precision. reading her email calmed me down and i knew with the negative energy in remission, i had a window of opportunity and strength to hit on that VAMP bookmark glaring at me on my browser toolbar. i read through the comments, and am deeply, immensely touched.

wow. where have you guys been? does it take a kamikaze attempt to hear from someone? thanks for sharing your experience with VAMP. for the first time, i know we’re not running this blog for our own enjoyment per se. we are doing actual constructive work in uniting Akina fans, propagating Akina’s great music and voice to all corners of the world, and stimulating sales so she can rehash less of her wardrobe. nice. very nice.

penning this is cathartic at the very least and i hope this is a small step for me in eating my words. there are genuine discerning Akina fans out there worth writing for.

Kenji Tan, this doesn’t mean you’ll get away scot free. i’ll strangle you before you get to feast on my Ah Mah’s pork chop next week.

thanks everyone for making this coming out party a roaring success. see, my sense of humour is still intact.

if you’ll excuse me, i need to beg Live365 not to cancel the radio account. 

hi guys, this will be my last post on VAMP as i am so bloody disapppointed and cheesed off at the selfishness that’s plagued Akina fans. what’s wrong with you lot? with the close to non-existent promotion Akina’s doing online i can only wish her the very best.

i’ve given up. you can now merry make, and pray that she makes enough sales to cut a few more albums for your enjoyment. and when she’s doing no more encores, it’ll personally thrill me to no end to see the faces of those guilty for her nosedive. which has started anyway as hard as i may fight and deny it.

VAMP Radio Station will run till the end of the month-long period. 

that’s all folks.