Posted on Sunday, 12th July 2009 by Miri
First things first – IT’S OUT!! The long-awaited album featuring all of current Hello! Project, many of them shuffled into blasphemous “revival” groups like Tanpopo#… In fact, how do you even read that? Tanpopo-pound? Tanpopo-hash? Tanpopo-sharp? The last option seems pretty feasible, since all the younger girls have such screechingly sharp voices. Good choice, Tsunku. Good choice.
Putting all sarcasm aside, I offer up my thoughts on the album as a whole. Before we delve into my criticism, a disclaimer: I listen to old-school J-pop, and many of these songs are rearrangements of some good 80′s or early 90′s hits. Thus, should I ever diss Hello! Project’s arrangements, you will know why – I simply like the Silver Age of idol music way too much.
Track 01 – Diamonds (High-King)
The original song was by Princess Princess, one of Japan’s first girl bands (as opposed to plain singing). Not only that, the band specialized in pop-rock songs. Not surprisingly, the original song was also sung in a lower key. I was rather surprised that High-King sounded so high-pitched. In fact, they sound more like C-ute or “just another” group in the Wonderful Hearts division. I can’t say I really like this sound for High-King; many people liked them because Cinderella\Complex was lower-pitched and carried a lot of stylish flair. The High-King in this song sounds very typical-Hello! Project, and I must admit that I’m a little disappointed. Even Takahashi Ai doesn’t sound badass, and you know something’s wrong when that happens.
The harmonies were a lot more prevalent in the original version of the song, as were the guitar instrumentals. Hello! Project has taken the original pop-rock song and turned it into a gentler, cuter rendition. Not saying that’s totally bad, since H!P is known for producing cotton-puff songs like this, but a bit of variety once in a while wouldn’t hurt, right? I also feel as if the solos were very poorly chosen. At least there wasn’t Reina-dominance. I’m not sure what atrocity would have ensued if that had been the case.
Track 02 – Ai wa Katsu (C-ute + Manoeri)
An interesting tidbit – the original artist, KAN (a male, might I mention) plays the piano for the music video of this song. I’m pretty sure he also provided the piano in the instrumental as well. And there goes Tsunku, throwing Manoeri into the mix. Maybe she’ll play the piano when they sing this at a concert. Either way, I loved the original and was kind of apprehensive as to what the Hello! Project Squeakers would do to it…
I ended up being really surprised! I expected a super-high-pitched, nasally, overly-squeaky version of the song (which actually does happen during the solos, but I can survive that). For the most part, though, there’s REALLY good blending, and the chorus arrangement makes it really nice. I get that fuzzy happy-wedding feeling in the pit of my stomach when I listen to this – all I can picture is the happy bride and groom walking out of the church as flower petals fly around them. It’s a very congratulatory song, I feel =) Great job, C-ute, for you never cease to amaze me with your talent!
Now if only Arihara Kanna was in the album…
Track 03 – YES-YES-YES ([new] Aa!)
Although the official name isn’t “new Aa!” that is how I shall be referring to them. It’s not old-school Aa! without Tanaka Reina; as much as I dislike her in Morning Musume, I must admit she made Aa! what it was, and this new reincarnation can’t hold a candle to the Reina-led Aa!
This is also the first song on the album in which I was not familiar with the original song, so I did a quick YouTube search. Turns out it’s a ballad sung by an old-school boyband. It’s actually a really nice song, with overlapping effects in the chorus, gorgeous harmonies, and a very mellow, soothing sound. I fell in love with it right away, despite the somber lilt of the instrumental (I’m usually not a fan of slow songs, as you can tell). So I guess when I turned back to [new] Aa!’s version, I had high expectations.
I’m kind of surprised, actually, how nicely [new] Aa! handled the song. They emulate beautifully that soothing sound, but instead of mellow, it’s very clear and almost angelic. An interesting female twist on an originally-male song. I’d also like to applaud Suzuki Airi for not sounding like she’s on helium during her solos. I can’t say I love the song yet, but it definitely has potential. Perhaps after a few more scrobbles on my last.fm…
Track 04 – Tentou Chuu no Samba (Shin Minimoni)
First off – it’s NOTHING like the original by CHERISH (a super-awesome 70′s band – give them a listen). The 70′s hit sounds very… classic. You can picture how this song must have looked like performed in concert – pale-faced backup dancers in ankle-length skirts bobbing along demurely to the music, gesturing with their hands once in a while. It’s a very feminine and cute song, and I love it a lot.
Then BAM. Enter Shin Minimoni (headed by the fearless Linlin). It’s a super-peppy remix version, in true Minimoni fashion. Okay, -now- we have a samba party! It’s amazingly catchy and I swear I listened to it at least three times before I finished typing this section. The modernized instruments and staccato-style singing really helps pump up the energy. Shin Minimoni doesn’t sound all that bad, actually. I’m not really upset over the formation of another group; I’m just a little upset that these four girls are being compared to the original Tsuji/Aibon/Mari/Mika quartet. They will never live up to the original, but I definitely give them props for trying and doing so well =)
Track 05 – Kimi ga iru dake de (Pucchimoni V)
First off – THIS IS NOT PUCCHIMONI. Give me my money back. The original Pucchimoni never sounded so “girl group” generic.
Secondly – the original was done by KomeKome Club. Strong, tenor voices. Edgier, rockish feel.
Thirdly – Hagiwara Mai does not fit the bill of “Pucchimoni.” Saki, yes. Manoeri, wtf?!
This is definitely one song that does not deserve to be covered by the younger squeaklings of H!P. I hated it. The end.
Track 06 – Heya to Y Shirts no Watashi (Tanaka Reina)
*snore* Reina solo. Like this is anything new.
Oh wait. She’s singing a slow, lullaby-like song?! Nevermind, this is new. And strangely, she doesn’t sound too bad doing it until she hits her upper range. Then it’s just a one-dimensional, nasally melody line. Boooring.
Let me go back to snoozing.
Track 07 – Mamotte Agetai (Niigaki Risa + Kamei Eri)
About time the GakiKame duo got something on an album together. After Reina’s singing, Risa’s strong mezzo voice is a welcome sound. Matsutoya Yumi, the original artist, has a really nasally and edgy lower tone (that’s really more suited to rock, actually), and I feel like using Risa and Eri to emulate that was a wonderful experiment. The song is not my favourite (I found it rather boring), but the singers chosen for the track definitely do it justice. Risa’s lower notes and Eri’s higher notes blend together so beautifully. The chorus, while definitely in the upper register of both girls’ voices, still sound smooth and beautiful (no squeaking at all!) Such is the awesome of the GakiKame pair.
Track 08 – Cosmos [Sakura in Fall] (Takahashi Ai)
Oh my goodness. It’s an old-school ballad, akin to Teresa Teng’s Aijin! I have a certain weakness for songs in this genre (which I really can’t name). They are the Chinese and Japanese ballads of the late 70′s and early 80′s, completely separate from the idol-pop that was developing at the time. They sound sorrowful, anguished, yet mellow and overflowing with emotions. Such is the amazingness of Yamaguchi Momoe’s Cosmos.
For Takahashi Ai’s version, they kept the instrumental much the same, which I was surprised to hear. Then, Ai-chan starts singing and… WHOA. If I weren’t an Ai-chan fan to begin with (which I wasn’t), then I would definitely be one by now (which I am). I almost feel as if she does better than Momoe’s performance. It’s a lot smoother, and a lot more in-tune. There’s so much emotion in the song, and Ai-chan adds just the right amount of tone to draw out the beauty of the song without being overbearing. This is definitely one that will be going on repeat for a while.
Track 09 – Mirai Yosouzu II (ZYX-alpha)
My first thought was, “This sounds like Sakura no Hanabiratachi.”
My second thought was, “This is essentially a collection of some of the highest-pitched singers in H!P.” (if Risa doesn’t count)
My third thought was, “Damn this song sounds boring.”
And then I hit the chorus. And was blown away by the power and strength in the unified singing. There are some damn beautiful harmonies in there, and unfortunately, you don’t get to hear this beauty until you suffer past the boring verses and bridges. If only the entire song was as interesting as the chorus, or at least carried the same power and emotion.
Track 10 – ONLY YOU (Zoku v-u-den)
This is the point in the album where I’m getting tired of hearing all these songs and newly butchered groups. I think this track kind of pushed me over the edge. Let’s just say that out of all the revived groups here, I am most protective of v-u-den. I had really high expectations for Zoku, and unfortunately, they did not provide.
Old v-u-den: Ishikawa Rika, Miyoshi Erika, Okada Yui
New Ishikawa Rika: Michishige Sayumi, who unfortunately is WAY too squeaky to be charming like her predecessor
New Miyoshi Erika: Junjun, who – while having the correct range – doesn’t have a smooth enough tone to emulate Erika
New Okada Yui: Sugaya Risako, who – while having the correct nasally tone – is too unpolished of a singer to be Yui and she doesn’t have the chest either
Verdict: Zoku v-u-den is a disaster, and I will never listen to this song ever again.
Track 11 – akai sweet pea (Tanpopo#)
I’m really getting tired by this point. Ranting about Zoku v-u-den’s failures takes a lot of energy, you know. Thankfully, I don’t need to complain too much about Tanpopo#. Granted, they are definitely nowhere good enough to be compared to original Tanpopo, but the choice of song is nice, and I can tell they tried their best to provide that soothing, mellow Tanpopo-esque tone. Nothing spectacular, but nothing that makes me cover my ears and cry either.
Track 12 – for you… (Linlin)
I don’t like Linlin’s singing. She doesn’t deserve a solo. I rest my case.
Track 13 – Kanpaku Sengen (Berryz Koubou + Manoeri)
Firstly, I must ask why Manoeri is in three tracks in this album. She’s the only non-Musume to have this honor bestowed upon her, and I’m really wondering why this is so.
As for the song itself, I think Berryz is trying too hard to put some interesting folk-song-esque spins into their singing, and it really comes out as extremely silly. Not to mention I hate the original as well. Another one that I will never play again for the rest of my life.
Track 14 – Sekai wa futari no tame ni (Michishige Sayumi, Kusumi Koharu, Mitsui Aika, Junjun)
The song itself is rather boring, but the singing is gorgeous. Another very “angelic” track. And I’m not just saying this because the miracle girl of Hello! Project sings in it. I believe the lyric arrangement (solo verses followed by group choruses) works very well for this quartet. Each girl did fabulously on her own solos. They are a group of voices distinct enough from each other to have their own personalities, but they still blend together very well during the choruses. I am pleased that the final track on the album turned out so well. Sayumi’s singing is also gorgeous in this track.
Overall thoughts and musings
Some of the revival groups I can stand (Shin Minimoni). Some of them I can’t (Zoku). Manoeri gets marketed way too much. The album is a bit too long for my tastes (right after listening to it all the way through, I switched back to looping Nanchatte Renai). There were definitely some surprises (Takahashi Ai’s solo) and some all-too-typical expectations (Berryz). Overall, not a bad album, but should I ever decide to replay it, I will be picking out a select few songs to enjoy.
Tags: berryz koubou, c-ute, Hello! Project, high-king, idol, japanese, manoeri, morning musume, pucchimoni v, shin minimoni, tanpopo#, zoku v-u-den, zyx-alpha
Posted in Hello! Project, Japanese music industry, Review | Comments (4)
July 12th, 2009 at 1:22 pm
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