Filed under Reviews

DIVA – A Quick & Dirty Review from Tokyo!

Dear Akina fans, I’m somewhere between a state of hyperventilation, and tearing right now. Just finished spinning DIVA in the hotel room. with me are: Jamez, Kenji, Ranbi (who picked up the CD early in the morning). all i can say is – get ready to be FLOORED by this album. this is the Akina we’ve all been waiting for. pining for. hoping for – this is the BEST FREAKIN’DANCE ALBUM from her ever. to sum it up in 3 words, so aptly put across by Jamez – The Diva Awakes.

i recount the number of conversations i’ve had with Kenji when blasting Namie Amuro albums in the car lamenting the fact that Akina should do a kickass dance album, with a current sound, as i believe with my heart and soul that she still has it in her to deliver something like that. i mean, she’s the original J-pop Dance Diva, no?

i can’t remember the last album from her which has brought me to sucha level of euphoria. Femme Fatale? no. Stock? no. Destination? well, i love that album of hers, but it’s not even close.

it’s a totally different sound. She HAS NOT done this sound before. No other previous album comes close. Her singing technique (not a single strained note in this album i swear – she sings with her normal register, very low but extremely comfortable range), diction, sound, English pronunciation (has she been going for English lessons?) – all changed. it’s like rediscovering a brand new Akina all over again.

from the get-go, you’ll be surprised track after track. 10 songs, not a single one you’d skip. not a single favourite you can pick out immediately. throw in 2 kickass, mindblowing remixes (they can go straight into any clubs with no further work required!! DIVA Michitomo Remix stands at a whopping 7:44 minutes and is the BEST REMIX in the entire Akina career, dripping with thumpa-thumpa finesse; Heartache Michitomo Remix is actually a remix of HEARTBREAK with different lyrics infused with a refreshing clash of chinese strings Guzheng) – you have one heckavu statement. the DIVA is back alright. this is a wonderful juxtaposition against Mood Kayou, and Folk Songs 2. this girl’s got range.

suffice to say, i’d spun Destination in my car for a good half a year before taking it outta my CD player. gawd knows how long DIVA is staying in it this time.

i’ll give a track  by track review later, together with the concert review, this evening. we’re running outta time here, but I wanted to share this quick and dirty review with you guys rightaway!!!!

Update:

Ok guys, sorry this took longer than expected. I had wanted to upload this before we left for the concert, but was experiencing stubborn problems with my application. anyhowzah, here’s a sampling of some highlights from DIVA!!! bon appetite! and please, you’ve gotta turn up your speakers, k? =)

A Personal Mood Kayou Review

HEY GUYS!!!! I got my copy this evening! Much thanks to the ever trusty Ranbi-Courier service. top notch delivery! LOL.

SOOOOO. i’ve heard the album a few times by this point of writing. and the more i let it play without paying it attention, the more i enjoy it!! *excuse me, while i hit repeat*

if you’d indulge me – i’m going to give you a track by track, blow by blow account as i play the album now.

氣氛歌謡 Openning (Instrumental) – yes, with typo when you do the iTunes import. the opening and ending tracks are both instrumentals (as with the rest of the Uta Hime series. with the exception of Folk Akina i think). Jerry’s description of “Toilet Break” was spot on! except to that, i would add THE OSCARS TOILET BREAK!!! the type of big band music they play when the camera pans up and down and across the big Oscar Statue… across the sea of celebrities seated… before they switch to the commercial break! it sets the mood for the rest of the album, and is an upbeat, broadway showy opener. rather Double Decade, except more retro. Rating: 8/10

経験 – YAMETTE! it’s super retro and a fun number. the arrangement is similar to Shojo A from Double Decade. i love her voice on this track as the pitch is perfect for her current voice. a strainless, smooth delivery. this track runs at 2:12 minutes. a sign of old times when tracks were super short and zippy! Rating: 8/10

恋の季節 – a wonderful big band follow-thru from the earlier track. the highlight here is when she does her “lu lu lu”. trumpets galore! Rating: 7/10

夢は夜ひらく – The mood switches completely with this smokey number. i’ve read comments from Japanese fans that this was a lil disappointing after the first 2 upbeat tracks. but i BEG TO DIFFER and couldn’t disagree more, i think this is THE standout track in this album. she starts off with her heavy-hearted vocals, with basic piano accompaniment. after the first verse, the moody drumbeats enter, and the rest of the song mesmerises with the lazy laidback sultriness. this is the longest track on the album at 4:29 min, which is “normal” length by current standards. Rating: 9/10

他人の関係 – this was performed during last year’s Dinner Show. frankly, i HATED it, and was wondering why she’d cover such a blase song. her live delivery was also kinda sleep-inducing. BUT, this recorded version carries attitude, and for some reason, when i listen to this, i can’t get a slithering Akina outta my head. You’ll want to slither with her too! You’ll know what i mean when you hear this. this was also one of the 3 tracks on the DVD (more on the DVD later). Rating: 8/10

面影 – The arrangement is Oboe infused. Very excellent. She sings with her falsetto throughout the song, and i personally detest her recent taking to masking her vocal flaws with this singing technique. the manner in which she delivers the high notes – argh. very irritating. this will be the track i skip. especially when i’m in a bad mood (no pun intended). Rating: 5/10 (would have failed this if not for the arrangement)

雨の御堂筋 – PHEW. done with that dreadful song. are you ready guys, cos from this point onwards, it’s all the good stuff. We’re getting started! this song has a very live concert feel. this song reminds me of SHAKER’S “夢見るように眠りたい” Rating: 8/10

ラブユー東京 – I LOVE THIS!!! This great track is bouncy and she made this a totally new song from the original. Fresh coating. Rating 9/10

絹の靴下 – the energy sustains from the last song. I love an upbeat, genki Akina. the band is getting busy! Shortest song on the record at a mere 2:09 minutes. Just when you want more, she stops! Rating: 8/10

コモエスタ赤坂 – Here Akina switches to Bossonova. it’s lovely. the only minor gripe i have is why does every bossonova song she do has to sound like the Akina True ’95 version of “Slow Motion” & “Second Love” arrangement? listen to the piano bit around 1:40 min. you’ll know what i mean. This is probably the only song which I felt the original was better. Rating: 6/10

非情のライセンス – Ooh! Acidy Jazzy territory we’re treading here. I love the sound. She hasn’t had this sound on record before, but it’s something she usually does live with old songs during her concerts. Rating: 7/10

伊勢佐木町ブルース – this is the song which is most wildly anticipated. we wanna know what magic Akina can do with her low pipes on this masterpiece. ok, you’d expect the highlight to be the “Ah-Ah” bits right? but no… i tell you, you’ll have goosebumps when she unleashes her “Doo Doo Bee Doo Bee Doo Bee Doo Bee Doo Baaaaaaa” on your quivering ears and hair follicles. her Ah-Ahhhh bits carry a thirst quenching effect that is deeply embedded, somewhere only we can imagine. okay, that didn’t quite come out right. ew. hee hee. but yeah, it’s the perfect closing act. she leaves you high and dry, wanting more. 9/10

氣氛歌謡 Ending (Instrumental) – the second original composition by the sound producer and arranger 村田陽一 (he did the arrangement for the entire album – boy is he the Akira Senju of Big Band sound! think he was responsible for the many tracks on Double Decade as well), rounds up a fun journey through the 70s cityscape with Akina. 8/10

All in all, i agree with Jerry that it’s a novelty album. i haven’t heard Akina exercise such variation with her singing styles within one album for a long time. at the end of the day, nothing hits the fans’spot better than an original feast…. much like relieving a sore knot on your back with accupressure massage.

until August, we’ll make do with a chi chi relaxing, pampering swedish massage that doesn’t quite take away the nagging need for something more substantial.

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DVD – Oh crap. Excerpts from 3 songs. More of the same. Akina sings with headphones. Akina sings with mic. Akina touches headphones. Akina in mixing room. Akina with headphones. Akina touches headphones. You get the drift.

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CD Art – You won’t see her face anywhere. Not even a toenail. Or a strand of frizzy hair from her auntie hairdo. although i can’t see how looking having a cover like an omnibus compilation album will help sales, the art direction of the album is tight. i like the images used in the lyrics booklet. they’re from the library archives which she attributed. and what a delight the CD face is! A vinyl print! =)

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i’ve done my job! now we’d like to hear reviews from all of you! =)

Updates from Tokyo: Folk Akina フォークソング

Hey guys!! This is Danny reporting from Tokyo! Sorry this took a day longer than planned cos I had so much work to clear after the Dinner Show last night and by the time I finished, I crashed.

Anyhow, the bad news first – my new memory card reader requires an adaptor and I didn’t bring it. =( So I will not be able to upload any pictures taken so far. Gomenasai. I’ll upload them when I return, of if I can lay my hands on an adaptor here.

But I thought I’d still go ahead with a text report for you eager beavers. ;)

FOLK AKINA COMPLETE VOL.1

The official album release date is 24th December, X’mas Eve… which is today. But 2 days ago, Ranbi-san managed to lay his hands on a copy in the morning when doing his round of shopping (the CDs haven’t been displayed and were still in the box), and he brought it over to our room as a breakfast surprise for Kenji and myself. He got the Pink limited edition press that comes with the DVD (seeing it in the flesh, cover is still hideous). We watched the DVD first – It was the usual lame visuals of her recording the songs in the studio… there was a selection of about 4 songs.

Onward with the album – my personal verdict for it is this will be both a shower and grower. It should go down very well with fans. No major frills nor surprises there, but in return she offers this mature piece of work which is musically solid which has the stamp of an evergreen classic. She sounds slightly different (as with many of her previous releases cos her vocals keep changing, deteriorating, improving, and she also adapts her singing style to suit her altered pipes) but this time, you’ll agree she sounds better, with more clarity and less strain. I wonder if she did go for the rumoured throat operation, and if this was the result. =)) Emotionally, well, Akina never fails to nail them right?

Upon the first listen, you should have a couple of instant favourites. Mine were “さよならをするために” and “恋”. But, upon a few more spins, you’ll start to fall in love with other tracks which are beautifully restrained in their execution. I am enjoying “「いちご白書」をもう一度” now. I know Ranbi and Jamez both love this classic which has been covered to the nines by other artistes, both were apprehensive about matching their favourite singer to this number, BUT, Miss A doesn’t disappoint. DJ Suzy’s favourite track is “22才の別れ” (she sounds different on this track, almost like she’s singing right next to you, the vocals are super organic) . So there, all good tracks. And we’re bound to end up discovering a new favourite 2 years down the road… on some rainy lonesome night… (sidenote: I got struck by “Standing In Blue” from Cruise a decade older… a song which I used to skip… on a cool, quiet night by myself)

The Original Press looks the best. The Limited Editions – all hideous, but if I were to pick the worst one outta the dismaying lot, it’ll be the orange and green one. the CDs match the colour of the covers, as well as the print on the back (which is different from Original Press). Booklet photos should be the same if I’m not wrong, and are tastefully done. A mixture of shots of her in the studio together with some macro shots of recording equipment/studio.

They were selling the CDs at the Dinner Show (I scooped all versions – Can you tell I really love this woman? I blow my hard earned cash on pieces of Andy Warhollyshit!) and you get a poster (the same one which appeared on the TV programme). If you get the CD in the store, you’ll get a postcard. I have so many posters now. Any takers?

At Yamano CD store in Ginza tonight, I was mega pleased to see a prominent set up for the release (I took some great shots dun worry! But I got told off by the store attendant whilst in Operation Sneakaround.) There was even a TV screen showing the promo clip for the album (basically the 4 min clip from the DVD with text overlay).

Both Anthony and myself agree that the subtitle “Complete Vol.1″ is rather redundant. Is there an incomplete version in the first place? It all depends on how she’s going to position the upcoming Mood Kayou album. Will that be “Complete Vol.2″ then?

In summary, I’m heartened that Akina continues to make music for the soul. There will be no one else who can fill the thirst and void I have in my system, after spinning the Seikos and Ayumis in this world. Not even the Kobukuros.

Thank you for the wonderful X’mas pressie, Akina. I love you.

Yokohama X’mas Dinner Show 2007

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HI HI! Hisashiburi! it’s been a long time. this is not a continuation of the Countdown Dinner Show (that will have to wait a bit more… haha oops!), but i thought i’d post some photos of the X’mas Dinner Show, which was essentially a shorter version of the Countdown Show. bon appetite and i hope everyone’s well, Akina included! =)

Continue reading

New Year Countdown Show Report (Part 2)

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[i'm back with Part 2! thanks for your patience guys!]

SOOOO. after much clawing and lots of neck-stretching exercises, we managed to get our precious tickets! (wow! finally!) the staff were all decked in the Akina Countdown Show t-shirt and it’s really one of the best tees i’ve seen. it’s something i would actually wear! well, that’s IF it was available in my size. the S-sizes were out so my M-sized tee is now chucked in my Akina cupboard, together with the rest of the “unwearables”. haha.

together with the tee, we were given a goodie bag from Phiten (sponsor for the event) which comprised of a Phiten newsletter (er… i was expecting at least a lil report on their collab with Akina), and some Phiten sample products (including a small vial of massage oil?… plus a couple of plasters that were perfectly sized and shaped for the nipples. to make them perky perhaps? hahaha!).

there were 2 merchandise booths (apart from the ticketing booth) – one for Music and Video items (all her recent releases); and another for the usual items like Tees, Tour Booklets, Caps, Postcards, Phiten & Akina Collaboration Necklace, and er, that hideous Akina Logo Monoprint Bathrobe wasn’t missing of course. but of particular interest was a little Bear (which Anthony got if i’m not wrong), and the 2008 Calendar (with a misprint on one of the monthly grids, but i’m not arsed about it cos i never hang them anyway. i only buy them for the pictures). and the HUGE Resonancia poster was only going for 500 yen (cheap cheap). in line with the tradition of weird behaviour, we couldn’t buy any merchandise cos they won’t “open” the booth until something like 8:45pm, when we were in the midst of our dinner. how thoughtful. anyway, big thanks to Ranbi for Q-ing up for us!

onwards with the dinner. it was very much like a wedding dinner. 10 at each table. there was no ambience whatsoever with the ballroom house lights fully on, which would have been fine by me if the people seated at our table weren’t so glum-looking. there were 2 vexatious ladies (one of them captured in digital glory below) who were grating my nerves throughout the dinner. for some reason, we must have got on the wrong footing when waiting in queue (in front of them) at the basement (refer to Report Part 1) – we were obviously excited (who wouldn’t? i mean we’re here to watch Akina! i’m not sure about them though. did someone force them at gun point to buy tickets?) and couldn’t contain our hyperactivities (i’m sorry if you choose to waste life being half-sedated); and as we were conversing in various foreign languages (Mandarin, English, Cantonese, and a bit of Espanol) they thought we didn’t understand Japanese – they started making rude remarks, skilfully masked under their plastered smiles, about Kenji, Sharon and myself. very childish remarks that could have come out only from country bumpkins themselves – such as “how rude, they’re talking so loudly”, “put so much pepper in his soup, he doesn’t even know how to eat Western food… hahahaha…”

anyway, after we discovered they were seeking pleasure in overtly ridiculing us, Sharon proceeded to prominently converse in Japanese with one of the waitresses, and i virtually emptied a quarter of the pepper shaker into my soup whilst staring at Boring Subjects A and B. thank you for your hospitality. i felt very welcomed.

you’d think that ordinarily, if you threw a bunch of people at the same table, who were there to celebrate their love for the same idol and music, on top of welcoming the new year, there’d be so much to banter and indulge in. but nada. zilch. kosong. what’s wrong with these people?

thankfully, i was with good company (Ranbi and Anthony were seated a table away), and we dug into the rather yummy food (much better than the X’mas Dinner Show fare). champagne wasn’t served at dins, but we were told there’d be some when we countdown with Akina later in the evening. fair enough.

each of us was handed a Lucky Draw Coupon (see picture) and table by table, we were called for a spin at the new Akina Slot Machine (to be launched soon). everyone’s a winner, and we each went home with a cute plastic mug/cup thingie with Akina cartoons all over it! but then, we also won something more than the rest…

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New Year Countdown Show Report (Part 1)

after watching the X’mas Show, which i personally felt was erm, lacklustre, mainly cos i think Akina wasn’t in the best of moods (no personal plans after the show perhaps, so kinda pissed?) and the French fare was a tad cold and uninspiring (but give me free flow champagne and I’m a happy bunny! booze flow was generous!), we were of course looking forward to the Countdown Show which she promised would be an “extended” (inverted commas cos we should all have learnt by now to take these promises with a pinch of salt) show. however, securing tickets to the show proved to be one of the biggest challenges 2007 would throw us before bidding adieu…

as we all know, details of the countdown show were announced rather late, in fact, after many of us had secured tickets to the X’mas show. i’m amazed at how much of an ordeal they’ve created for overseas fans to purchase tickets. it’s as if they had to administer a true test of your adoration for Akina before they let you through. “ONLY THE FITTEST SURVIVES!” being an exclusive event, tickets in the initial stages were only available for fan club members. to secure tix, you better have someone native in Japan to handle the enquiry and to sort out the payment (which you need to send to their post office) cos they do not accept credit card payments (so old school, like the yucky Official Website), otherwise it’s tough luck. and of course by the time we sussed that out and got in touch with them proper, they said tickets were sold out (which was not true cos they subsequently opened sales to the public), and they’d put us on waiting list and call us back with a confirmation (which they never did). whilst the public continued to have access to the tickets, we were counting sheep on the waiting list – a privilege of being a member perhaps?

then we tried calling the Reservation Hotline, and all we got was a “network is currently under construction” message. repeatedly. for over 4 days! WTF!? called Okura Hotel (performance venue), and they said we had to call the hotline. ho hum~! by this time, we were making alternative plans to celebrate New Year’s Eve…

eventually, we managed to get hold of a Faithway rep at the X’mas Show, whined to her about the pain, and then good news!! – we could buy tickets on the spot! she couldn’t issue the actual tickets to us, and all we got was a pathetic lil piece of paper with our order numbers penned down. and her staff chop. it all looked very dubious and we were very prepared to show up with no assigned seats on the actual day. we also had to pay cash in full (thankfully we carried enough with us without getting robbed) as they didn’t accept credit card payment, again naturally (kore kara naturally).

anyway, we made it to the show. that’s not the end. i have more to complain about!!

the event was very poorly managed. you asked fans to turn up early for a surprise, and you let them queue, standing around like lost puppies for almost an hour. how nice. next, collecting tickets and getting the seat numbers was an utter bio-hazard. they were shouting out a series of numbers (some of them right at the end of the queue) to come forth and realign themselves into rows of 6. what type of a system is that? what’s the point of coming early? it was sucha mess so if you do not comprehend Japanese, good luck to you.

here’s Part 1 of our journey, leading all the way up to the mess orgy. enjoy and stay tuned for Part 2!!

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艶華 review by 乱火

天城越え

Being a 名曲 in enka, naturally the expectation of Akina’s rendition of this track is demanding. The music arrangement was splendid, keeping the mood of the original track. Yet, Akina’s poetic approach gave it another world of interpretation, just like 私は風 from 歌姫. I would have to say that this is my favourite track in this whole album!

無言坂

Personally, I wanted to hear Akina sing this song badly, when it was decided to be included. To me, this song is one of my favourite enka song, also partly due to 玉置浩二 who composed the song.I guess Akina took a very different approach to this song, and also with a relatively different music arrangement compared to the original, I felt that Akina’s rendition could not bring out the images in the song. A very big disappointment for me alone, whereas the rest of the VAMPires seem to be enjoying this track.

氷雨

My impression of this song came from 日野美歌’s 1983 紅白 performance. A pleasant song which depicted a raining scene. I have to say that Akina managed to sustain that image of watching the rain goes while drinking 酒.

みちづれ

In my opinion, this is a very typical 演歌 tune. But somehow in Akina’s rendition, it turned into quite a 歌謡approach..which is enjoyable =)

空港

Upon first-time listening, it was quite difficult to decide whether this track is nice or not. However, after much listening, it simply grows on you and I come to realize that it is very much close to テレサ’s approach in singing, which I think Akina did very well !

越冬つばめ

This has to be my favourite 森昌子’s song. A technically demanding chorus, which I guess not many can do it well. Certainly, Akina has proven her powers! The music arrangement was true to the motif in the original music, yet with a modern touch.

悲しい酒

This track is a 苦手 for me. Both 美空ひばり and 明菜’s version.

舟唄

The intro is loyal to the original and I enjoy this track a lot! I guess it is not difficult to imagine 明菜’s voice in this 八代亜紀 song, as they share commonalities in low vocals.

石狩挽歌

Nice try! Enjoyable I would say!

矢切の渡し

The music arrangement took away the original 演歌 taste, but added an ethnic flavour. Overall, I enjoy Akina’s version more than the original =)

夜桜お七

This has to be the second best music arrangement in the album, after 天城越え. Full of dramatic building up to chorus and a wonderful usage of instruments to create the exotic atmosphere. Lastly, glad that Akina handled the さくら、さくら part well and not 土. Haha!

以上、乱火’s 2 cents worth.

Yahoo Talk Show

This is Hamu’s wonderful translation of the Yahoo Talk Show that Akina participated. For Akina fans like me who don’t understand spoken Japanese too much, this is most appreciated. Thanks Hamu san!

 From the reculsive Hamu san:

I was a little late for the "Yahoo Live Talk" and the connection wasn’t beri good so I only got bits and pieces of the talk.

Below is a summary as i remember the talk:

At the begining, 明菜姫 talked to the compare about her ability to remember faces and seeing "things", especially during her early-20s. She said that sometime she would describe a person that she saw down the corridor to her staffs and they would tell her there’s noone there…. Also during concert, she seems to see people clapping hands at dark corners…. (Seriously think she has run out of chat topic)

Then compare asked her if she is still not connected to the internet. 明菜姫 apologetically replied "no". Then the topic moved to if 明菜姫 is interested in new tech. 明菜姫 replied there is no need for her to use the computer, so she didn’t pick up net surffing. But she insisted that she likes new tech. Not new break through LCD TV type of new tech, but new gadgets that she can participate in.

Compare asked if she play hand-held games, to which she replied that she used to play Mario and someother 1st generation PC games. Now she doesn’t play them anymore.

Then they got into the main topic – 艶華

明菜姫 revealed that she thought it’s a joke when her staffs suggested the cover of 演歌. She hardly sings 演歌 at Karaoke. Also, she thought it’s too tough a challenge to take on, as there is a fixed way to sing 演歌. It took her staffs and 千住明 a long time to convince her. 千住明 reassured 明菜姫 that his arrangement would make the songs contemporary and hence she can interpret them her own way.
明菜姫 said that \nthough "艶華" isn't her idea and she was "made" to sing the songs, she is happy \nthat she attempted. In addition, even though the production of "艶華" isn't her \nidea, the jacket art is. She thought that since it's 演歌 cover album, it would be \nfun to look at 演歌 from an outsider's point of view, like Asian.\u003cbr\>明菜姫 compared \nthe making of "艶華" jacket to the wearing of mini skirt to perform one of her \nhits, "Tattoo". She said she looked at the production objectively and suggested \nthe "艶華" jacket art, only to realise that that it would mean she has to endure \nthe long hours of make-up and hair dying to get the desired effect that she \nherself proposed. It reminded her of how she suggested wearing of mini skirt, \nwhich she hated, then realised that she had gotten herself in \n"trouble".\u003cbr\>Towards the end of the talk show, 明菜姫 promoted "艶華", saying that \nyou can listen to it on radio, but she's sure you would want to get a copy once \nyou have a listen to it.\u003cbr\>\u003c/div\>\u003c/div\>\n”,0] );
// –>

When asked about 天城越え, 明菜姫 jokingly said it could be her staff’s fixing that "天城越え" came in 1st in the poll. She explained that as "天城越え" is a popular request at her concert, her staff might thought it’s a good idea to make 明菜姫 cover it. 明菜姫 mentioned that the lyrics is a bit too intense.

明菜姫 said that though "艶華" isn’t her idea and she was "made" to sing the songs, she is happy that she attempted. In addition, even though the production of "艶華" isn’t her idea, the jacket art is. She thought that since it’s 演歌 cover album, it would be fun to look at 演歌 from an outsider’s point of view, like Asian.

明菜姫 compared the making of "艶華" jacket to the wearing of mini skirt to perform one of her hits, "Tattoo". She said she looked at the production objectively and suggested the "艶華" jacket art, only to realise that that it would mean she has to endure the long hours of make-up and hair dying to get the desired effect that she herself proposed. It reminded her of how she suggested wearing of mini skirt, which she hated, then realised that she had gotten herself in "trouble".

Towards the end of the talk show, 明菜姫 promoted "艶華", saying that you can listen to it on radio, but she’s sure you would want to get a copy once you have a listen to it.

————————————- Fin ———————————————

I think it is interesting that they start off with such trivial subjects to ease into the conversation. I wonder if Akina has 阴阳眼, eyes that can see ghosts (See! Even I am sucked into this stupid conversation/analysis. Whatever!) Regardless, it is a great water cooler topic. It has got nothing to do with the promotion but it will field new questions for her next interview like her staff "complaints" the last time, which seems to be worked into every single interview now. They have to ask her because she is such a "relic" when it comes to technology.

I like it that she used to play games and she imitated all those firing sounds when you are playing games and I like it even more that she has gotten over that fad (because I don’t play games too. Ha! Ha!) I wonder what new technology she is talking about embracing – new curling irons? I think the defence of her liking new tech stuff is so that her image will fit in more with the new generation, and she is not going to be viewed as weird.

Anyway, onto more interesting topics like her new album, so it is her staff who is reading our blogs, and I like how she thinks they rigged the poll. Ha! Ha! I wasn’t aware that 天城越え was such a popular request and she said how she would listen out to requests like "Slow Motion" and then she would heard 天城越え. I wonder how she never hears 帰省 no matter how fans scream for it. Selective listening I must say.

I also find it interesting that it is 千住明 who persuaded her to record this album. He must be a fan of Akina to want her to try new challenges, and I must say that even though I had huge reservations about the album (because I don’t like enka that much),  I really like the album because it has its own contemporary flavour, and it is very easy listening. She doesn’t attempt to sing it in the traditional enka style, and it is more acceptable to fans who don’t like enka much to start with. It is not as dramatic or in your face, and I am really rather surprised by how pleasant it is. 

Lastly, the most interesting part of the interview I feel is the tidbit about "Tattoo" and her dislike for mini-skirts and how she digs herself these graves with her wonderful ideas that we so adore. Akina, we love your challenges, so please don’t stop.

For those of you who still have not ordered your copy of Enka, please do because it is a really good buy! 

Akina Singles Review – 少女A

 

This section was always going to be revived during Akina “low period” seasons – aka no news period. Since Patrick requested for it, and I had been thinking of it for some time, here is the second installment. I was debating whether to do an album review first because プロローグ<序幕> was released before 少女A but since I have not listened to the album for yonkers, I thought I might do this first.

The other reason why I wanted to cover 少女Afirst, was also to show how her popularity was rising at this stage, which had an impact on 「プロローグ<序幕>」’s debut on Oricon. I will share that information later, but it is interesting to note that when 「少女A」 entered Oricon charts around the 40th – 50th position on its first week, her debut single 「スロ-モ-ション」 had exited the charts but when 「少女A」 became a big hit, 「スロ-モ-ション」 returned to the Top 100, and eventually reached No. 30 and stayed for 39 weeks altogether. If you calculated the weeks, it is very possible that the first 3 Akina’s singles were in the Top 100 at the same time.

If 「スロ-モ-ション」 introduced Akina to the mass market, it was 「少女A」 that helped her break ground. The similarity between the 3 main 歌姫s in Japanese Pop history is that they all made a major impact with their second singles. 松田聖子 scored the best results amongst the three with a runner up position for her mega hit 「青い珊瑚礁」 selling a whopping 602,000 copies while 山口百恵 scored her first Top 10 hit with 「青い果実」, peaking at No. 9 with 196,000 copies sold.

The main similarity between Akina and Momoe is that both singles were infamous for their suggestive lyrics. In 「青い果実」, Momoe sings “If you want, I will give it all to you” at 16, while Akina sings about flirting at 17. Both songs created a slight furore, and thus thrusted their careers into the spotlight. It was evident from this move that the marketing company wanted to groom Akina as “Momoe No. 2″ and carve a niche for herself in the mass market. They succeeded and Akina flew from there … achieving creativity unsurpassed by Japanese pop artistes.

「少女A」 continued its amazing run to No. 5, scoring her debut TV performance in most musical programs and was her first entry into charting TV, like 「ザ・ベストテン」 and 「ザ・トップテン」 . Akina’s debut on 「ザ・ベストテン」 was on 16.9.1982, entering at No.9, eventually bowing at No. 3 for a total of 11 weeks. It was also No. 12 on the 1982 year end tabulations on the program.

少女A

1982年7月28日発売

作詞:売野雅勇 

作曲:折澤廣明 

編曲:萩田光雄

C/W. 夢判断

作詞:中里綴 

作曲:三室のぼる 

編曲:船山基紀

最高位=5位 売り上げ=39.6万枚 登場週数 = 29 (Total sales from another source: 653,767 枚)

There was also a history chart by an analyst about the most influential songs of the century, and Akina scored only one song 「少女A」 sharing the same honours that year with the only Seiko song 「赤いスイートピー」. If anyone is interested to know why 「赤いスイートピー」 is termed as Seiko’s signature song, it is because up to that point in her career, an overwhelming majority of her fans were male and it was only after this 9th single that females started liking Seiko. It’s a breakthrough of sorts for her. As for Akina, it has been noted that she has more female fans than male, though this blog seem to differ in opinion …

Overall, 「少女A」 was a major success on the sales and awards front as well, grabbing many Best Newcomer awards that year, though losing at the two majors 日本レコード大賞 and 日本歌謡大賞, to Shibugaki Tai and Matsumoto Iyo. For a list of the awards, you can see Akina Fun Site.

Jamez’Review

 「少女A」 has never been a fave of mine and if it wasn’t the suggestive lyrics, I don’t think the song would have fared very well for someone who pays more attention to the melody. There is no doubt that it is a catchy number and it is interesting for fans to notice that Akina does use her signature lower vocals on this song than her debut 「スロ-モ-ション」, showing off her versatility. As Hamu pointed out once, it was the marketing department’s strategy to release a ballad followed by an uptempo number, thankfully ceased when she started singing her more mature works and having more creative control.

Like Akina who doesn’t like to sing this song very much, it is funny to note that fate does play a cruel part in a singer’s life sometimes, providing them fame with one of their least favourite songs, ensuring that they have to sing it in public due to demand. Another notable example is HK singer, Faye Wong (王菲), who absolutely detests her breakthrough hit “容易受伤的女人” and had to argue with management who would insist that she sing it to please the fans. Likewise, Momoe would also refuse to sing her earlier hits in the latter part of her career.

It is definitely another mature number as compared with the other singers at that time, concentrating on the “cuteness” factor. She sang and moved like Momoe with a maturity well beyond her young years. You could see that Akina had a vision and she captivated audiences and fans enough. Instead of posing for the single cover with a cute smile, she chose to tilt it and acted a little confused or maybe her “mature” look then. It is definitely different and not something that she would cringe at 10 years down the road.

That said, I am still not terribly fond of the cover, though I like the Hawaiian summery feel. On the coupling song, its style is not surprisingly similar to 「条件反射」 because it is written by the same team. A rather forgettable number destined to be hidden on the B-side. She hasn’t covered 「少女A」 many times, which really shows her opinion on the song, but I have to say that my favourite version is the rockish cover on 「歌姫-Double Decade-」. It was a more refreshing update and I really enjoyed her making it a lot more fun to listen to. Even though 「セカンド・ラブ」 really aced it for Akina in the popularity stakes, it was 「少女A」 that paved for that to happen.

Cover – ***

「少女A」 – ***1/2

「夢判断」 – **1/2

I have selected this video from 「ザ・トップテン」 because it was her debut on the program and it showed a longer interview with the compares. Hope you will like it too.

 

Special Note: For those of you who are interested in great English translation, our fellow VAMPire, Hamu chan, has very kindly and expertly translated them, so you can now understand what Akina is singing about. Please visit this site: Nakamori Akina ~ Jpop Queen of the 80s

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