Reviews written by LiXioa
-
Don't Stop The Music (Japan Version)
Don't Stop The Music (Japan Version)
(4)Our Price: US$12.99Usually ships within 7 daysRelated promotions:February 23, 2002 Please stop the "Music"Finally after nearly seven months of waiting, comes young and talented Eriko Imai's sixth single and first since her debut album, "My Place." While her producer's hard rockish- "SPEED" styled music was flattened out after such long over-use, fans were hoping for a dramatic change in her image both music and production wise. In response to that, T2ya [Earth. Rina Chinen] presents her newest release, "Don't Stop the Music." mmediantly upon opening the lyrics sheet, one can't help but notice the lack of production notes, including the credits themselves. "Lyrics, Music and Arrangement by T2ya" sits atop the set of lyrics without further information. It's only reasonable to conclude either Eriko performed her own back up vocals and only one instrument was used or none of the other musicians were worth mentioning. This, unfortunatly wasn't the only puzzling aspect of the single. "Don't Stop the Music," in short, seems sloppily put together. While the chorus may be catchy after a few spins, the melody and beat of the song are inconsistent and 'plain' to describe at best. The same song samples are repeated throughout the track without much thought and it becomes more and more evident that there was indeed only one instrument used. As far as creativity goes, it's a balant attempt to create something that stands out amoung other mainstream music by T2ya, that only seems to back fire. During the breakdown it's more than noticable that there's an uncanny similarity between "Don't Stop the Music" and particular portions of hiro's "Confession." The structure of the song also sounds surprisingly like Earth's "Is This Love." However, it's the 'rap' portion of the track that's the most unfitting. Not only do the lyrics make absolutely no sense grammer wise, but vocally, Eriko's English needs a lot of work. Her vocals have improved milestones from her last release, however, with such a strong and dominating accent, the addition of English 'rap' seems pointless and only adds to the bewilderment one feels from listening to the track. The single continues with another full song, "Style." Unlike the first track on the disc, "Style" has a more consistent flow. It's an average 80-ish dance song with nothing special although Eriko does an exceptional vocal job. The only negative point to point out, is again, Eriko's limited English. "Do Be" sounds more like "Chu Be," rather strangely. Considering her new label, Avex, there is also a remix of "Don't Stop the Music" added onto the single. The remix, unlike trance mixes for example, is steady and fills in a lot of the void gaps of its original version. Personally, the remix makes an improvement. Overall, while seemingly unique, "Don't Stop the Music" is more so a collection of recyled beats and melodies thrown together than an actual song. Eriko's vocal range has expanded considerably, however with the faults of her English and the producing on this release it's difficult to appreciate this. "Don't Stop the Music" isn't bad: it's just not that good. Eriko has a lot of potential and it's only a matter of time until someone brings her talents to full bloom. Did you find this review helpful? Yes (Report This) -
I will (Japan Version)
February 23, 2002 Wrong producer: Hayama, not TKAlthough I hadn't intended on writing anything up for this single, I'd just like to note that it's highly recommended [just as everyone else has said]. Also, as much as I feel bad for saying it, the above review [the one marked Best at the top of the page] is a little off in its information. "I Will" was -not- produced by TK, but by Hayama, the same producer of select Earth, Chinen Rina, Hiro and Eriko Imai singles. However, considering the other songs he's produced, this is definatly his best thus far. Amuro Namie's lyrics have grown with sense and style since her last attempt: I hope she keeps up the great work. Did you find this review helpful? Yes (Report This) -
Tasogare (Japan Version)
January 11, 2002 It's a Winter DreamNearly eight months after the release of winter-pop queen's, "Search Light," finally comes a brand new ballad both written, penned and produced by none other than Kohmi Hirose herself. Upon the first listen, one immediantly recognizes Kohmi's destinctive combination of light pop and acoustic instruments, which, when combined with her controlled yet somewhat high pitched voice, creates an impressive scene of winter. Backed by her own vocals, the lyrics are sensitive and performed with the careful emphasis that only a woman of her skill and experience could deliver. "Tasogare" is the perfect song to listen to while snuggling with that "special someone" on cold winter nights. Coupled with the title track comes another brand new song both written and penned by Kohmi, "easy." Unlike, "Tasogare," this is a much lighter song both sound and lyrics-wise: it borders more on a popish easy rock song than anything else. Fans that remember back to her "welcome-muzik" album may compare "easy" to her older style of music. All in all it's a plesant and unique compliment to its more dramatic title song. The single concludes with the karaoke version of "Tasogare." As with all karaoke songs, the track is complete with Kohmi's background vocals. [This is what seperates "karaoke" songs from "instrumentals."] It's a lovely track by itself. As an added bonus, the maxi single case is flipped from it's usual presentation for a more "traditional" feel and look to it. "Taosgare" is yet another masterpiece from this highly aclaimed vocalist which I definatly reccomend picking up for an addition to any japanese pop fan's collection. It's destined to become a classic winter ballad. Did you find this review helpful? Yes (Report This) -
Confession (Japan Version)
January 11, 2002 Confessing... talent?After a relatively short pause of three months, comes Hiro's latest solo venture, "Confession." Unless her previous singles, not only is "Confession" on her new record label [Avex], but the convention of three songs, three karaoke tracks is finally broken. Some may wonder whether this is a postive thing, but considering the quality of the tracks and lower price [back to the 1050 Yen price of her first two singles] it's more than worth the purchase. "Confession" runs more along the same synthesized vein as "Your Innocence:" mid tempo and upbeat with no addition of any acoustic instruments. But unlike "Your Innocence," the key and voice tone is slightly higher which at first glance may seem perfectly fitting for Hiro's high pitched, smooth vocals. Unfortuantly this isn't the case. Immediantly withen the first bridge, Hiro's voice seems to crack when switching pitches at a quicker rate than normal. One has to wonder after watching her recent live performances, if this is merely a sign of exhustion or perhaps a bad move on the song writer's part. Netherless the song has its faults, but generally it's an enjoyable song with a sweet melody and thoughtful lyrics. The single's b-side song, "Next Stage" comes as quite a surprise. Varying milestones from "Confession," "Next Stage" takes back old SPEED fans to Hiro's debut solo song, "South Paw," a catchy techno-like dance song. Immediantly one thinks of Ayu [Ayumi Hamasaki]. Hiro's performance in this song is wonderful and when compared to the title track, is a much more polished and finished product with little or no cracks in her voice. However, for some odd reason, the quality of the recording of the track onto the CD isn't actually CD quality: it sounds almost "misty"-like and comparable only to mediocre .wav files. Despite this production flaw, the song is the highlight of the single. Also, included on the disc in Avex tradition, is a remix of the title song. Spanning an average remix time, the mix is reminescent of trance with an interesting climax about three minutes into the track. Hiro's voices are slightly spend up throughout the song which becomes more evident into the final chorus. Generally it's not a bad remix. Finally included are instrumentals of the first two tracks which may pose of little or no interest depending on personal taste. Overall "Confession" is a pretty solid release from this young and talented solo artist with the only major flaws being the strange quality of "Next Stage," and her slightly cracked vocals on the first track. Both are nothing that can't be fixed in the future. Definatly recomended to both fans and casual j-pop listeners alike. Did you find this review helpful? Yes (Report This) -
January 10, 2002 One Final Dream [?]
It was over two years ago that girl group sensation, SPEED disbanded much to the sadness of fans all over the world. However, on October 6th, 2001 fans and new fans alike were given one final chance to experience the talents of Hiro, Eriko, Hitoe and Takako all together again as SPEED. As a result came a brand new single and this disc, their first official live audio album. Despite being known in their younger years for their less than "perfect" singing quality live [most likely due to their high energy dancing during performances] the girls more than prove this false. While the album contains a total of only four unheard songs [two remixes and one new 'tune] the girls' newly trained vocals shine a brand new light on these familar hits. From such big sellers as, "ALL MY TRUE LOVE" to "Go!Go!Heaven," immediantly their skill and talent is heard. Hiro in particular, who was known for uncontrollable high pitched screams, displays full notes with true depth and control. Eriko's chirpy but netherless lovely voice, has a brand new substance to it which is noticably obvious in "STEADY." Most skillfully performed is, "White Love," a personal favourite. The girls harmonize incredibly well in this song. While not as evident as Eriko and Hiro, both Hitoe and Takako's voices have improved over these couple years, which is heard when they sing a few lines together in a brand new ballad, "One More Dream." The ballad itself has a pretty simplistic beat to it but is netherless meaningful and quite the ear candy. Unlike the version of the concert aired on television, the variation of "One More Dream" we hear on this disc, has a slightly different arrangement and is obviously sung live. [The version aired was a dub over from the single]. Most surprisingly included is, "Lovely Friendship," an much older and less credited b-side song that appeared on "Rise." The concert is concluded with the girls singing, "my graduation." Pure ear candy. Finally, included on the album are three new remixes of old favourites. Both the "STEADY" and "ALL MY TRUE LOVE" remixes are slightly above average at best but certainly present the listener a better time than their past remixes [if you can even call them that]. Both remain true to the original songs but manage to maintain a somewhat new sound. In particular the "ALL MY TRUE LOVE" mix was entertaining. Finally, the disc concludes with the "Gospel Mix" of "White Love." Don't let the name fool you for one bit: loud choruses and refrains are the exact opposite of the finished product. The lyrics are changed slightly and upon first hearing, the chorus is heard with a lovely harp and strings in the backing track. The finished product is simply amazing: though somewhat funkier than the original, the girls' newly polished vocals and beautiful instruments truely capture the lyrics' romantic meaning. An instrumental track of this would have made the CD even better. The only few gripes found with the production had more to do with management. Where's the rest of the concert? Most obviously omitted was the girls' acapella version of, "Starting Over." Considering this was SPEED's trademark ending to their concerts, it would have made a suitable closing track to the disc: the girls' vocal power and strength really shinned through. This album is an initial pressing release ONLY: a particular number of these CD's have been produced by the manufacturer which means once this CD's sold out, it's gone. Partial sales from this album also go towards the "UNICEF," a relief fund for children all over the world. Overall, the album makes a perfect collection for any casual j-pop fan: this is what Japanese pop is really about, folks. A fond fairwell to probably one of the best girl groups in Japanese pop, SPEED: it's a fitting parting gift from the girls. Did you find this review helpful? Yes (Report This) -
the meaning of peace (Japan Version)
the meaning of peace (Japan Version)
(10)Our Price: US$12.99Usually ships within 7 daysRelated promotions:January 10, 2002 The Meaning of MusicAlmost immediantly upon first listen, the average J-pop fan has to wonder, "Why didn't this happen sooner?" Surprsingly amoung Kumi Koda's "Amuro-like" low pitched voice and young BoA's flexible deep vocals, is a gold mind combination of talent. Their voices almost perfectly compliment each other without overpowering or being too in sync. "The Meaning of Peace," spanning a somewhat long five minutes and three seconds, gives the listener a chance to really see what these two artists are capable. Recently since this single there's been quite the buzz over Kumi Koda's likeness to J-pop queen, Amuro Namie. Sure they sound alike at first listen, but if really investigated, Kumi Koda has a slightly higher pitch and a lot more control over high notes. This is definatly a plus for such a song as this where the final product is relying purely on its vocals. The song itself is a pretty basic TK-ish mid-tempo dance tune sporting his trade mark synthesized keyboard heard throughout the track. However, it's BoA and Kumi Koda that really make the song as colourful and obnoxiously catchy as it is. The "Tv-Mix" is, as usual, Avex's way to say, "instrumental," so don't expect any further new material. Considering the symplicity of the backing track, the instrumentals don't pose much interest unless used for karaoke purposes [it's identical BGM as that of the full song]. While the idea of only one full song for the usual 10.50 USD price may not seem attractive, bare in mind profits go towards September 11th relief funds. Overall, this is a fantastic introduction to both of these highly skilled but somewhat little known pop artists. BoA may be increasing in popularity, but the idea of another "Amuro-wanna be" may be what's stopping Koda from making a higher stand in the music world. For those curious about these artists and would like to contribute to a needy cause, what better place to start than "The Meaning of Peace?" Did you find this review helpful? Yes (Report This)
-
November 27, 2001 Not bad...
What being able to speak English well or not has anything to do with someone's music abilities are far beyond me. Actually, I'd give credit to BoA for working her rear end off to LEARN languages that she didn't already know. So what Joanne knows English fluently? Does that make her any better? Probably not. I first heard of Joanne from a music BBS. I must admit: after the flood of young teeny-bopper acts this past year, I was alittle discouraged from looking any deeper into Joanne. But to be quite honest, I'm glad I did. Her vocals aren't bad at all: in fact, tbey're quite good. The tracks spanning the disc range anywhere between "sweet" and "loud." Unfgortunatly, some may complain that the songs have a certain, "lack of originality," which may be the case. However, for music fans looking for a good ole taste of old fashioned pop, Joanne may just be the answer. Intelligent fans who enjoy Yuri [whom I reccomend], BoA and Dana will definatly get a kick out of this one. Did you find this review helpful? Yes (Report This) -
September 3, 2001 Not Just for a Sunday Afternoon..
I wasn't very sure about whether to purchase this CD or not. Immediantly one can pick out familar titles from the track list such as "First Love" and "Love Machine." Upon reading that the CD was in both Mandarin and Japanese I made the poor assumption that this album would be just another mediocre music attempt by another Chinese idol group. However, it was my birthday at the time and I decided to take a risk with my 17 dollars: you really can't go too wrong with such a low price. The first moment I popped the CD into my player, I reliezed my assumptions were completely wrong. While it is true that the entire album give for 2 songs, are covers of past Japanese [and one America] hits, the girls by no means are lacking in talent. Unlike past attempts at covers by other individuals, the quality of the audio is in no way resembling a "karaoke" party. Their beautiful vocal ranges are best displayed in the second track, "Sukiyaki," which is a cover of a very old American pop song [I unfortunatly don't know the name]. Many of the songs on this disc are in both Mandarin and Japanese which is somewhat impressive considering it takes talent to switch between the pitches of both languages: the girls do this wonderfully. The best example of this is on track three, "Fresh" [a cover of the techno pop song by girl group, "Happie"]. The album goes on with an impressive array of variety: amoung the bests are their rendition of "First Love." The beat is sped up enough just to change overall feeling of the original while Chika and Mai's voices still mantain the emotion of the first. "Kuai Le Zai Yi Qi" [track six] continues the album with a cheery, but not nausiating, flair. I particually liked this song. Near the end of the album are two very famous and popular Tsunko songs: "Hao Xiang Jia Ge Ta" ["Happy Summer Wedding!"] and "Love Machine." The lyrics for "Happy Summer Wedding" have been completely re-written in Mandarin with great care: despite the minor changes it still carries the peppiness and overall party feeling of the original. "Love Machine" wraps up the album with a dynamite explosion: the girls' voices are absolutely perfect for this song and in my opinion, rival the voices of the Morning Musume version. Another extra "goodie" included with this CD, is a second disc gone unmentioned in the description: a "teach yourself Japanese" VCD. Particually, this VCD is meant for those who speak Mandarin since the girls go through over 100 phrases and words translating them carefully into Japanese from Mandarin and not English. Personally, this is a fabulous feature and the girls must be given credit for their hard work: it must be pretty boring to have to recite all those words and phrases for the sake of an album release. Overall, this is an excellent album. Many people are againest albums that are covers: to some, it's just a sign of un-originality. Who can blame them with examples such as "Mirai," "Ring" and co? But in this case, an exception should be made... these girls have -wonderful- talent that shouldn't go without credit. Each and everyone of the songs have been handled with great care: fantastic audio, wonderful lyrics and completely re done BGM. I highly recommend this album to all true fans of j-pop willingly to give young talent a chance: you won't regret it. Did you find this review helpful? Yes (Report This) -
July 28, 2001 Not For Me?
I admit to eagerly awaiting this single when I first heard months ago that she had decided to release a remix cover of "Distance," the voted most popular song on her album. After the shooting took place and she changed it to fit the dedication of one specific little fan girl [Rena] who was shot in the chaos, I thought it was one of the most noble, caring things I've seen in a long time. Yet, when the single was released, it was a swimming pool of hypocritsy. The song itself, "Final Distance" has been altered if anything: not changed. The tempo of the original song is slowed down drastically and the BGM is replaced with soft, aucoustic instruements. It's really lovely if you ask me. The entire song wasn't changed: only the final line, "I wanna be with you" to "I need to be with you." But it wasn't this that bothered me. The fact that with a song so symbolic and beautiful, two less important, mediocre remixes were also included of the original songs. If this were truely a dedication, wouldn't you as the artist use the whole single to commemorate the little girl? After all, she only -died-. Another slip of uncaring sentiment definitely shows in the fact that this single was used in a huge money making series of commercials for one of Japan's biggest cell phone networks, NTT. And the fact is, she is -not- donating the money to any charity. These above facts combined with the slight arrogence in that huge photo of her face plastered on the cover, just goes to show that any chance is a good chance to make money. Personally I find it slightly offensive to make such a huge deal in the media about dedicating it and then do a half-blown job of it. After all the money her and her producers must be making from the NTT commercials alone, you'd think she'd donate the money towards a memorial or something along those lines. But even after the dust clears, "Final Distance" still managed to find its way to Oricon's number 2 spot. I may have been a big fan of Hikki in the past, but unless I don't mind "commercialized shootings," I'm not so sure anymore. Did you find this review helpful? Yes (Report This)
-
My Place (Japan Version)
July 20, 2001 .. .Or is it Hiromasa Ijichi's Place?I had a feeling this album would be a disappointment. But as a big fan of SPEED and all of its members, I had to give her the benefit of the doubt. However, just as expected, this album left a sour taste in my mouth after listening to it once... twice.. and a final third time. Immediately one can notice the over abundance of previous single and solo songs included. Nine single/solo tracks in total leaves a mere five original album songs. Many of the single songs were mediocre at best, her most notable being "Red Beat of My Life," "In the Name of Love," and the still refresing "Identity." The five remaining original songs were also mediocre: they all seemed to sound the same after a few tries with the slight exception of "Darlin." Eriko's vocals are of course smooth and energetic as usual, but in this terrible case of poor producing, not even her talent can make up for the lack of originality. Even after listening to this album once, one initially takers notice on "Identity" one of the more original and promising sounds for this young artist. The difference of quality can be heard when comparing this track to any given number of others album songs. This is no small wonder seeing as how it was produced by a compltely different person. Even as a fan of SPEED, this same combination of dance and rock has become outdated: it worked for SPEED when it was original and fresh but it's been played out horribly over the years. "My Place" is slightly ironic: shouldn't it be "Hiromasa Ijichi's Place?" Eriko undoubtably has talent: she has the looks, the voice and the moves to become a j-pop sensation. But with low quality music being spat out at her, it's difficult to determain how sucessful her career will be. I don't suggest this album to anyone who has been following Eriko's work and hasn't enjoyed it thus far: the waste of thrity bucks will only enrage you. However, I highly recommend this disc to those who have never heard SPEED, Eriko or any such related artist: perhaps this would stand out as original amoung the many other j-pop artists out there. Truthfully, this album deserves a 6.5 at the most for Eriko's outstanding performance. Other than that, this album has made a poor addition to my collection. Did you find this review helpful? Yes (Report This) -
Perfect Crime (Japan Version)
Perfect Crime (Japan Version)
(45)Our Price: US$34.25Usually ships within 7 daysRelated promotions:July 20, 2001 A Start in Her Life..I admit to buying this album with exceedingly low expectations. From the very beginning I didn't like Mai Kuraki as much as other aspiring artists. Yet at the same time, I couldn't understand why listeners would compare her music so often to Hikaru Utada's tunes. To me, they seemed like compltely different artists with completely different styles. Mai Kuraki's music didn't appeal to me very much simply because many of her slow songs didn't touch me in any special way. I found myself liking a few of her singles, but not all. In the end I gave in and purchased "Perfect Crime." Immediantly the first track, "Perfect Crime" dragged me in. Her vocals have noticiably impoved and the song manages to be beautiful and give a sense of seriousness, something I hadn't seen in Mai for a while, flawlessly. Her other original album songs, such as "What are you Waiting For," "Come on Come on" bring us back to the old R&B flair she debuted with. Unfortunatly, the flow of the album was a bit inconsistent and too many of her single songs were included. From "Stand Up," a fast paced traditional R&B song [or acoustic rock as some may call it], the scene switches to "Come on Come on." The biggest mistake however on this album may have been the omission of her first single after "Delicious Way," "Simply Wonderful." That was one of my personal favourite Mai songs as it was a very dancable song with a great R&B flair. But even after all the single songs included, Mai Kuraki manages to pull off a wonderful performance here. For the first time in a while, I enjoyed each and every single one of the original album songs. My favourite, "THE ROSE," is a short but sweet piano and vocal set. I don't recommend this CD to those fans of j-pop looking for something a bit more fasted paced and loud: Mai Kuraki's album is exactly the opposite, that being low and slowly unfolding like a flower. I cannot recommend this CD enough, however, to fans who have stopped following Mai's career and to those who enjoy soft albums with an R&B flair. This is definitly Mai Kuraki's best release yet. Did you find this review helpful? Yes (Report This) -
PAPILLON (Japan Version)
1 people found the following helpful
July 17, 2001 It Doesn't Really Matter..Honestly I didn't have very high expectations for Hitomi before I even had a chance to listen to her work. After hearing that "Papillon" was nothing but a cover of Janet Jackson's "Doesn't Really Matter," I assumed the quality would be like that of MAX's "Rose Coloured Days": a combination of a lack of imagination and little talent. However, I decided to take a chance and give a new artist the benefit of the doubt. I must say, I have no regrets for the 30 bucks I spent on this album. "Papillon" is a wonderful grab bag of both fresh and funky pop tunes. Immediantly the listener is pulled in by Hitomi's clean and smooth vocals which certainly don't wear thin by the next few tracks. "Fantasia" and "Ichiba Ni Ikou" are definitely my favourite songs on the disc. Both are quite lovely and danceble tunes with a cultural Spanish flair. If they don't capture your attention, then Ms Shimatani's music definatly isn't for you. The rest of the album goes on to display her talents through a number of R/B beats and zippy pop tunes. Her remaining singles "Osaka no Onna" and "Kaihouku" are also added for good measure. The physical presentation of the album is quite some eye candy: the glossy photo/lyric booklet displaying Hitomi in Europe is classy and plesant. I highly recommend this album to any fans of j-pop: Hitomi is surely destined for fame. Did you find this review helpful? Yes (Report This)
-
July 2, 2001 One word.. incredible...
I first heard BoA on her first Korean album "ID; Peace B." I was highly impressed. Lately I've noticed Hikaru Utada has been the leading model in Japanese R/B. Although I agree she's talented, I don't think she's the best singer in the world and -the- definitive singer. I've seen her live and her overall performance wasn't impressive. In search of more R/B options I've tried many artists: Misia, Mai Kuraki, Denda Mao, Tina, One Voice, Double and the list could go on. Out of everyone I tried Denda Mao, Double and Tina seemed to be the strongest. However unfortunatly they seem to be lacking in popularity. Why? Most likely because they are adults and are lacking the youthful spunk of such pop-sters Color, Mai Kuraki, Utada Hikaru, One Voice, etc. The moment I heard BoA [Best of the Angel] was beginning a career in Japan, I jumped to buy her single. Let me start by saying.. her voice is incredible. Not only for a 14 year old but for -anyone.- Many people have compared her to Coco Lee.. as a big fan of Coco Lee.. can say I agree. She may not be exactly at her level, but I believe by the time she's Coco's age, she surely will be. This girl is a jewel: not only does she sing well on her releases, but her performances live are PERFECTLY done... the girl can dance -and- hold up a tune. She definitely has the moves too. Her first Japanese single "ID; Peace B" is a nice remake of the famed Korean song. The song itself isn't incredibly original or sticks out in any special way: it's standard American-type R/B. BoA's vocal performance in Japanese is crystal clear however and really brings the song to a whole new level. The second track, "Dreams Come True" is a faster, rockish pop tune that assures us that 'yes, this is j-pop.' This is a nice touch to the single and her performance is again, outstanding. As a bonus we also get an English version of "ID; Peace B." While her English isn't as perfect as Utada Hikaru's or Denda Mao's, it definatly is good enough if she ever decided to release in the US. All in all, I'm behind her releases 100%. I hope that someday soon she'll be known as a leading gal in Japanese R/B. I'm sure most of us can agree with that. Did you find this review helpful? Yes (Report This) -
Stand Up (Japan Version)
June 4, 2001 In question..For some odd reason, j-pop listeners tend to constantly compare Kuraki Mai to Utada Hikaru on 3 major points: the fact that Mai doesn't write her own music, her voice isn't as strong as Utada's and lastly, that "she's a bite off." Is it just me or is Utada being made out to be the -only- singer in the R/B, j-pop world? When I listen to Mai's music, it's not meant to be compared to just one and only one artist: it's meant to be taken as is and perhaps compared to the current trend in music today. While I agree that Mai's voice may not be as strong as Utada's, it's quite a breath or fresh air from the common, stuff idols that are releasing CD's. She may not write her own music, but for what she is, I like her releases. People also tend to forfget that Mai does have a -producer. And if her music seems too much like Utada's, it's most likely not because of the artist but the people she works with. "Stand Up" is quite different from her previous releases. Unlike the first arc of her career, "Stand Up" is leaning more on a more traditional side of R/B and borders on rock. Her vocal performance is a huge improvement over her past songs: it's much more assured and strong. The melody is both addicting and solid while the song proposes a perfect mix of English and Japanese lyrics. The second c/w track, "Double Rainbow" is a typical, slow R/B ballad. Nothing particular stands out, however when listening to the lyrics and vocal performance, it really is quite a beautiful song. Track three is a new remix of the song, "YES NO." I have no idea where this came from seeing as how it hasn't appeared on any of her English, or Japanese releases. Since the lyrics are entirely in English, this hints towards it perhaps being an older song meant to be used on "Baby I Like" that ended up being dumped. It's an average remix that definatly isn't this singles' highlight. The one gripe I had with this single after both hearing it and watching the PV, was that it seemed as if Mai was trying to be flat out, American. The music video shows Mai wearing a red and white striped hat in front of a huge American flag and an all African American band. For a Japanese release, it seems all too cliche, and in some perpectives, even stereotypical. However, aside from this one problem I found, this is a rather strong and good release: maybe her best yet. While most R/B fans may not find much in this disc, fans of acoustic rock will have a field day. So for the last time.. she is NOT Utada Hikaru.. enjoy this for what it is. Did you find this review helpful? Yes (Report This) -
Single Video Clips - Brilliant on Films (Overseas Version)
Single Video Clips - Brilliant on Films (Overseas Version) VCD
(1)Our Price: US$16.99Usually ships within 7 daysRelated promotions:May 24, 2001 Great video..I admit to buying this VCD even after watching four out of the six promotional videos included on this disc. Each of the four videos I've seen were taped from television in Japan when they were released. I didn't really expect anything new or shocking but after flipping on the first video, I was plesently surprised. To start off, the interface of the VCD is a simple, practical menu screen. Of course it's just a menu but the design was pretty darn snazzy. Included before each video is the track number, title and "preview" screens over a black outling. It's easy to use, looks nice and works well in every type of media player. Track zero [on most players] is Hiro's introduction "Going to the Future" from her album.. or at least part of it. Seconds after is when the real fun starts. The first full video on this disc is "As Time Goes By," which in the on air version from over a year ago, featured Hiro bopping on a stoop in New York City and wandering around aimlessly. For whatever reason or another most of this was cut out and the entire original "format" was changed. While some of the original footage is included, most scenes were cut out and replaced with a short "snippet" storyline where Hiro walks into a diner watching everyone pass in and out. Scenes of Hiro in an empty warehouse room overlooking Manhattan is also added. Personally, these changes were made for the better: the video is a -lot- more interesting than it originally was. Next is a new video based on one of her album songs, "In Season." This wasn't the best song on the album nor was it the most noteworthy. The song itself is pretty laid back and the video displays exactly that. Basically it features Hiro [with her new look] in a rural town, overlooking the ocean and various scenary. The use of camera angels and fade in's are aboslutely the best on the VCD. In many ways it reminded me of Uehara Takako's "Empty:" snazzy, low key and beautiful. You can really see how Hiro's grown up. Next is her second solo song [after "South Paw"] "Mitsumeteitai." This is definatly the funkiest and most energetic song on this disc. Basically it's various shots of Hiro dancing wildly in different outfits. Keep in mind this video was made during her days of SPEED so the dancing reflects just that. I really like this one. Did I mention it has its own intro? Next is the unforgettably sugar coated, "Bright Daylight." Hiro is obviously very young in this one and dances around in various "cute" outfits somewhere near the ocean. It's not the best video but it certainly wins the award for most spunky. The fifth video is probably her most well known song and her last single, "Treasure." This marks an unforgetable transition from "the cute girl from SPEED" to just plain, Hiro. The video is recorded in a studio set which is unusual to her videos. The film is simple: Hiro dances with two back ups in front of a glowing, red background and the scenes flash to herself in an elevator, on a couch and in some sort of blue "Star Trek" outfit. All in all it works -very- well and the "snake" dance she does is so damn cool. The last video is "Sweet Love" the featured track from her album. This is probably the most boring PV on the disc: it's Hiro roaming about New York looking at the various landmarks of the city. It's not a terrible video: it's just not that great either. Lastly, as in the true tradition of Toy's Factory, all of her main commercial clips for each single is included as a 7th track. Unfortunatly this VCD version does not include the special "making of" clip. In the end, "Brilliant on Films" is exactly that. In one swift triumph, Hiro manages to show us through the stages of her career as she grows up with just enough "mellow" and "energy" to pull the audience neither way and keep them right in the middle. I -highly- reccomend this VCD to ANY fans of j-pop and especially fans of true musical talent. Did you find this review helpful? Yes (Report This) -
May 23, 2001 Hrm..
I definatly agree with the below post.. it's so bad to see some fans who automatically assume Ayumi's music is "good" just because "it's her." I agree that while I do like many of Ayumi's music, there is a good chunk of songs I -don't- like. "Endless sorrow" just happens to be one of the songs I adore. While "Never Ever" was also a slower song in comparison with..let's say.. "Fly Away," I was disappointed with it. For a slow song I usually judge my hearing experience based on instrumentals, lyrics and whether the vocals are emotionally stirring. "Never Ever" didn't expecially touch me and I felt like I was ready to fall asleep. This single however is the opposite. Ayumi's vocal performance, in my opinion, is the best I've heard from her so far. Her voice is strong but emotional and fits the mood of the song excellently. The instrumentals are beautiful as well.. the lyrics are deep and I feel in love with them the minute I heard this song. Then why the nine instead of a ten? My only complaints are as followed: I didn't care very much for most of the remixes. A song like this deserves, slower, more emotional remixes [try orchastrated versions] with less electronic "noise." The remixes of "vogue" and "NEVER EVER" weren't bad: they were actually pretty good...however they really ruined the flow of the disc for me... I would have perferred if they added two mixes of other slower songs. Lastly, I also wish that the vocal track alone was included as was the trend with some of her earlier works. Those few imperfections can be overlooked though with such a gorgeous song on our hands here. And no, it's not just gorgeous because it's from Ayu chan. Did you find this review helpful? Yes (Report This) -
May 18, 2001 As One?
I admit to buying this album with extrodinary and high expectations after reading each of the raving reviews. One happy consumer referred to the girls' voices as "soulful" which is what got me interested in purchasing this album in the first place. Unfortunatly I was mildly disappointed. Min and Crystal's voices are in no way powerful: they sound just like every other singer on the market. Their singing style is low toned and very quiet sounding much like a certain two girls from "Fin KL." The first 12 tracks of this two-CD set are mildly well performed and easy on the ears. I really liked "Destiny's Desire": the girls' English is very impressive. Unfortunatly, while each of the tracks are indeed well done, most of the music sounds very much like the previous track creating a slightly repetitive feel. I wouldn't have minded this so much if the tracks were a little more funky and interesting. The second CD has a classy look to it: a metallic picture disc PLUS a glossy photo book. [The first CD contains the lyrics book full of photos in New York, messages, etc.] Unlike the first CD, this one is a special four track remix disc including a number of cool features for your computer. This is NOT a VCD/Video CD: it does NOT work in any DVD or VCD player and is an enhanced disc. The special additions for your computer include a number of promotional videos, interviews, movie clips, a screen saver and more. Very cool. The four remix tracks on the audio side are not nearly as entertaining. The mixes are well done and generally could provide a fun dance time for most listeners..however, the girls' quiet voices don't go as well as they could have been. In the pop version of "Day By Day" their singing is so low it's difficult to hear them over the blasting Euro-styled beat. Perhaps a more subtle mix would have suited them better. All in all.. this is a decent collection. While the girls voices are definatly not powerful or even "soulful," the light, R/B feel will keep fans of this type of music listening over and over. They remind me very much of the Japanese idol sensation, Uehara Takako. However, I strongly don't reccomend this release to anyone looking for a unique and powerful R/B album. With time and experience their voices can only grow better. Did you find this review helpful? Yes (Report This) -
BRILLIANT (Japan Ver.)
April 10, 2001 Still Growin UpI'll be the first to admit: I've always been a huge fan of SPEED and each of its members [Hitoe and Takako being my favourites]. I had all the posters, photobooks, penny candies and even saved up and went to see their final dome tour lasT year. Their break up was a horrible thing to hear especially for the Japanese pop industry. Unfortunatly I didn't have much faith for each girl's solo career with the exception of Takako whoes voice was only getting better and her music more "interesting." Hiro's debut song, Mitsumete Itai [which is included as track 13] was nothing short of unoriginal and really didn't showcase the best of Hiro's talents. To be honest, until I decided to pick up a copy of this disc, I didn't anticipate her solo outings in the least. However, "Brilliant" is exactly that. For once I'm pleased to see that Hiro has learnt to somewhat contain her voice was becomming so darn high pitched and scratchy. For all of you who remember Hiro as "the little screaming girl" from SPEED, this is a great place to take a look and see what a talented young lady she's become. This massive album contains a well-balanced entertaning assortment of music. Highlights definately include "Sweet Love," "You Make Me Cry," and "In Season." However, not all albums go without a single glitch. Unfortunatly, despite the disc spanning an impressive 16 tracks, not each of the tracks are as comparable in quality as the last. "Give it to Myself" is an attempt at a retro type dance song but comes off more as annoying than anything else. Many of the songs are too similiar in beat to really sound original compared to the last. In the end however, this album is nothing short of an impressive, first attempt at a full CD by a very talented young lady. Hopefully in the very near future we'll be able to see more of her original, funky music. I definately reccomend this album to ALL j-pop fans. Did you find this review helpful? Yes (Report This) -
Ai no Bakayarou (Japan Ver.)
Ai no Bakayarou (Japan Ver.)
(18)Our Price: US$12.25Usually ships within 7 daysRelated promotions:April 8, 2001 Interesting...I'll be the first one to admit that I'm not a huge fan of Morning Musume or any of their "sub-groups" for that matter [with the exception of the original Tanpopo]. Tsunko's wacky musical styling that he's given to the girls was fresh for the first couple times but quickly is going old. I've always wondered if any of the girls have enough talent to actually be capable of releasing a more serious, toned down song. Because of the sugary bubble gum pop of the past I assumed Maki Goto's single would be the same. However, after taking a long shot chance with my 12 dollars I was pleasantly surprised. The title track of this maxi single, "Ai no Bakayarou" takes on a completely different course than her past releases in M.M. The back-tracking reminds me of a twisted remix of Hinako Saeki's "With A Cool Moon Like Girl," which of course is always interesting to listen to. Ms Goto's voice, however, leaves much to be desired. Unlike the talents of Ami Suzuki, she can actually hold up a tune without being horribly off, however this doesn't nessecarily mean she's incredibly skilled. She often goes short on higher notes creating a strange audio effect during her "crying crying" parts. This is a flaw that can be over-looked though. In the end, this disc is a surprisingly well balanced single which I reccomend to any fan of j-pop and Maki Goto. If you're anti-Morning Musume, this single should be given a chance: you might actually like it. Did you find this review helpful? Yes (Report This) -
Is This Love (Japan Ver.)
April 4, 2001 Four? ^^;;Aside from taking a brief moment to comment on this wonderful single, I thought I might also correct the above information: the group is obviously a three girlS group and not four. This is to prevent any wasted time starring at the cover searching for the mysterious 4th member. Anyhow, here we see EARTH finally take a turn for the better. Their debut "Time After Time" wasn't bad: in fact it was quite a nice song.. but it wasn't quite nice enough for me to hear 2 different versions of it all summer long. Their 2nd single was in a word "mediocre." But with "Is This Love" they've proved to be more than anither girl group still in the shadows. The opening track is a wonderful R&B electronic mix. The girls' vocals aren't incredibly impressive, but they're improved a lot since their debut. The second track comes as a surprise: an even heavier R&B influence! This makes for an interesting and unique sound that I guarantee will have this track on repeat for a while. The mixes aren't as great as they could be...but they're not ear shattering. All in all, this is a great single. It was this disc and this disc alone that actually made me hand over 37 dollars of my money for their album. For fans of SPEED and especially those who couldn't stand SPEED for their high pitched voices, this is the girl group to start with. Did I mention they could dance well too? Wonderful single worth your 11.99! Did you find this review helpful? Yes (Report This)
Bookmark & Share