After Thought: The Beginning of a New Adventure (aka My Thoughts on ℃-ute Disbanding)

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It comes as no shock as the Japanese pop girl group ℃-ute announced that they are disbanding on June 2017. The reason? The girls realized that they have completed their idol dreams and have developed new ones. Many are sad that some of the girls are going into “disappointing” careers. Some are just sad as they are kicking the can. But, nothing ever really last forever. Even SMAP, who has been in the Jpop idol business long before these girls made their début in 2006, is announcing that they are disbanding by the end of this year (Thank god!).

I should be sad. I should feel sorrow for these lovely girls who are about to leave their singing careers. I should be saying something along the lines of “Like come on, Airi, you should be a solo singer”.

But, I am not.

I am really not.

It has been predicted for a long time that these girls would eventually graduate Hello! Project someday. Let’s face it. We knew that the other H!P Kid members were going to be grouped into another kids unit after Berryz Koubou was sticking with a permanent line-up by mid-2004. We also knew that ℃-ute would eventually break-up when Berryz Koubou disbanded last year. It’s just a simple cause and effect.

To tell you the truth, I wasn’t a big ℃-ute fan for a long time. Sure, I love a couple songs here and had a favorite member or two (Hey, Erika Umeda!) there. Yet, I was more into Berryz Koubou starting from my high school days to recently as they had talented members, catchier songs, and a stable lineup.

I actually lost interest in ℃-ute around 2009 or 2010 when Umeda graduated. She was my favorite even though she barely got any lines and was more of a background performer. Nevertheless, she was an interesting girl and was a good performer. At least she was able to carry a tune and dance pretty well unlike some girls…

The group’s musical quality has been diminishing over the recent years. It is true that the girls have grown-up and thus their musical and style tastes have changed. However, it didn’t get better, it got worse. I blame someone who calls them ℃-ute’s vocal couch as I feel like he or she didn’t coach them well. Airi can’t sing high notes really well anymore, Mai’s vocals got worse over time, and Chisato had to get surgery because of nodes. You hear this limiting and painful vocal style of not properly singing through your nose in other groups sadly. I experienced it first hand with a trial lesson at a well-known vocal studio.

One more thing, ℃-ute’s songs are always a hit or a miss. Other groups within Hello! Project (like Berryz Koubou) had more memorable songs than ℃-ute ever really did. I mean some songs like “Dance de Bakoon!”, “Bye Bye Bye”, “Massara Blue Jeans”, “THE FUTURE”, and others are impressive.  Hell, “Dance de Bakoon!” is a superb signature song for  ℃-ute as it’s funky and makes you want to dance. Still, there is a handful of the group’s songs are lackluster or have not a lot of meat on the bone. I still think one their latest songs named “Naze Hito wa Arasoun Darou?” is too mundane. Maybe that is because a) UFA is giving this group the short end of the stick or b) UFA is just having a bad year in producing decent good music (which isn’t really the case because Morning Musume. had a great single this year…)

Nonetheless, I am happy that the girls are going into something they love to do. Furthermore, they seemed to be pleased with their eleven-year career.

Maybe we should start making predictions for their last concert? I am secretly wishing that Erika Umeda would come back…

By the way, enjoy my favorite ℃-ute song, the 80’s flavored “Bye Bye Bye” (I think it would be something that Duran Duran would do):

P.S: I was watching a lot of C-ute’s music videos today. Oh my word, the music video for “Kanzen na Otona” is awful. The shot is 0:13 is so horrible that I want to call it something like “Dinosaurs Ready for Dinner” because it looks like it:

Achieving the Dream Within the Olympics

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Another round of the Summer Olympics has come and go. Legions of countries sent their finest athletes to Rio de Janerio to see who would come on top. Athletes trained for years and years to try to perfect that one moment of their lives. Capturing Gold.

Many around the world have watched various portions of the Games, cheering on their national treasures to excel and take the prized metal. Viewership peaked sharply when the opening and closing ceremonies. Dance, art, and music interpret the host city’s purpose and histories during these ceremonies. At the same time, each athlete enters the stadium and greeted by a thunderous applause from the millions attending.

Many of the world’s brightest music and movie stars perform in front of the world audience during these events. Some even come out of retire to sing one more time, like The Spice Girls. with their most anticipated reunion at the 2012 London Olympics.

However, there is one important piece of the Olympic puzzle that sometimes go unnoticed during the hype. That would be the soundtrack. This collection infuses the spirit of the Games with music through its rhythms, beats, notes, and words. One of the best representation is the soundtrack for 1984 Los Angeles Summer Olympics.

By the time of the album’s release, Christopher Cross was no stranger to the world’s attention. The singer-songwriter became an instant success when he released his self-titled album in 1979. Scoring several top 20 singles, Cross also walked away with five Grammys the following year. His follow-up album, “Another Page”, was yet another success that included various hits.

Cross’ career was never the same after the Summer Olympics as the musician couldn’t successfully gain a strong fan base with the new MTV generation. Cross continued to release albums with small success throughout the years. The latest album he released was “Secret Ladder” in 2014.

Christopher Cross was such an influential musician during the late 70s and early 80s that most Americans have listened to at least one of his songs during their lifetime. Even though he wasn’t very prominent in my generation, I grew up listening to his songs like “Ride Like a Wind” and “Sailing” as my parents loved listening to music from their youth.

Cross is a well-crafted musician as he has a smooth singing style, catchy tunes, and writes lyrics that is relatable to anyone. Because of his talents, Cross was able to successfully create “A Chance of Heaven” as a catchy and pleasing tune that could inspire anyone, athletic or not. The evidence is in the song as it starts off with a worried mood. This could be a motif for an athlete who has fully concerned everything on winning. However, with help from the lyrics, the mood lightens and becomes fully positive during the chorus as Cross reassures that there is always one more chance at everything.

The musician never falters as he amazingly arranged this song with electronic instruments like a blazing electronic guitar, synthesizer, and drum kits. Cross doesn’t use these instruments heavy most of the time. He uses them instead in a light way to create a dreamlike, calming atmosphere. His voice also portrays this light tone very well throughout the verses.

“A Chance of Heaven” is a magnificent piece for the Summer Olympics. Cross used the music and the lyrics triumphantly to paint a delightful musical picture of one’s ambition at getting gold during the Games. It’s not over the top and heavy but instead light and laid back as it’s mood tries to present the theme vigorously.

 

Please check out the 1984 Summer Olympics soundtrack too. It has wonderful pieces from John Williams, Quincy Jones, Toto, Loverboy, Bob James, and others.

 

 

 

A Critical Point in Miho Nakayama’s Music Career

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I am slowly processing all the CDs I got from an auction lot about two months ago. There are a lot of good and surprising finds, including an album from one of my favorite Japanese female singers Miho Nakayama!! 😀

For those who aren’t familiar with  Ms. Nakayama, let me fill you in. Nakayama didn’t initially start her entertainment career in music. In fact, she was a model for magazines and print ads during her junior high school years. It wasn’t until she switched agencies in 1984 or 1985 that she became an idol singer.

She released her first single, entitled “C”, during the summer of 1985. The single did really well, reaching #12 on the weekly Oricon charts and sold over 170,000 copies. Nakayama nabbed the Rookie of the Year Award at the Japan Record Awards due to the successful start. However, her first #1 didn’t come until two years later with the release of the upbeat dance tune “CATCH ME” (which I looooooooooooove because Toshiki Kadomatsu, whom I adore a lot, wrote it).

Nakayama continued her music career throughout the late 80s and 90s. She worked with significant musicians in the industry like Mariya Takeuchi, Tetsuya Komuro, Toshiki Kadomatsu, and ANRI. She also went overseas to record material in places like Los Angeles and France.

Nakayama took a break from singing at the turn of the new century. She then went on to marry Tsuji Hitonari in 2002 (whom she would later divorce twelve years later) and put her entertainment career on hold to move to Paris with her husband. As of August 2016, she is still living in Paris and helping her ex-husband to raise her only son.

Miho Nakayama has always found new ways to reinvent her music career. Starting off with the innocent idol kayokyoku of the 80s, Nakayama bounced in and out of various musical genres like dance, latin, electronica, blues, and AOR. She constantly modified her sound every two years as the market and her fan’s tastes were continually shifting. Wondering what her fans wanted next, she decided in 1992 to go to Los Angeles and recorded the album Wagamama na Actress.

“Gakeppuchi” (崖っぷち; critical point) is a bold number that opens the album. The song attracts listeners with its boisterous and upbeat feeling. It opens with a bluesy organ solo followed by a dynamic horns section. The piece includes a wicked 90s’ style guitar solo during the break. This style reminds me of Amy Grant’s 1991 album Heart in Motion, something like “Every Heartbeat” and “Hats”. It also sounds like Peter Cetera’s 1988 album One More Story. Maybe I am just crazy. Do you hear the similarities too?

The only issue I have with this tune is that the instrumentation is a bit overpowering. Miho Nakayama has always been a good singer. However, she always had a soft voice that fits perfectly with her songs “Mermaid”, “Rose Color”, “Tada Nakitaku Naru no”, and “You’re My Only Shinin’ Star”. Those songs are pretty quiet with the instruments kept to a minimal.

I also noticed that Miho Nakayama struggles vocally with bluesy music quite often. SThe singer struggles a bit on “Gakeppuchi”. She also has problems on the poorly arranged “Sea Paradise -OL no Hanran-“. Albeit, it isn’t my favorite Miho Nakayama tune as the arrangement is so messy. It does point out that Nakayama has a weakness at very fast and loud songs. Maybe the producers should have scaled back a bit on both songs.

Overall, “Gakeppuchi” isn’t a terrible song if you ignore its flaws. I love it because the song has an upbeat tempo with an awesome 90s vibe to it.  I also loooooooove early 90’s AOR songs like this one.

If you are a fan of early 90’s Chicago, Amy Grant’s Heart in Motion era, or and Peter Cetera’s One More Story era, then this song is for you!

You can listen to the song here on Ket nool.