Somehow I thought that something major was going to happen in J-Pop during my two weeks of honeymoon, and just in time for the last day before I have to go back to my day job, it did.

Erena Ono, a member of AKB48′s Team K (Megumi Ohori was one of her bandmates before she was moved to SDN48) that has been on all of their major single A-sides and one of my favorite members of the group, is graduating from the band soon, reportedly to pursue first educational activities and then more entertainment work outside of the AKB universe. No date has been given for her final show, as far as I can tell.

To say that this is a major shockwave in AKB48 fandom is an understatement, given that the 4’11″, soon-to-be-17-year-old is one of the band’s most beloved veteran members. It also doesn’t seem completely surprising, since she isn’t one of the members selected to represent the group on the cover of the Kami Kyokutachi album. Given that she’s been a prominent member of the group on all of their major label A-sides, this is a damn shame.

Hopefully, Erepyon’s time out of the spotlight will be brief and we’ll still get to hear her lend her pretty voice to songs like “FIRST KISS” from the Namida Surprise EP. The OPV below, done by a fan earlier this year, should prove to be a fitting tribute to her.

Today I marry my longtime girlfriend and lover, Tara Ann Welsh. In fact, by the time this entry automatically posts, we will have already said our vows. So, there’s no other appropriate song for today than this one from my favorite band:

…except maybe for this one that could have been our first dance had Tara been more into J-Pop. Still, it’s also appropriate, so I’ll post it here (lyrics in both Japanese and English will open in a new window here):

See you all again here very soon… the honeymoon awaits. In the meantime, you can keep up with us here and here!

THE BIG CATCH-UP… In which the wearied webmaster of this here site gives some quick capsule reviews to recent albums he’s liked but hasn’t gotten around to writing about.

I usually don’t like to do capsule reviews. In my view, they tend to be written by lazy hack writers who only seem to skim through the promotional copies of CDs they obtain for review before piling them up in a box somewhere for them to sell off at a used CD store somewhere – if they bother to listen to them in the first place. But since I’ve been doing a whole lot of listening but no blog-related writing over the past few months – thanks in part to all of the preparations I’ve been going through for my wedding this Saturday – this particular format will have to do. After the honeymoon and once I’ve gotten settled in, I’ll go back to my regular reviewing style. This’ll be part one. Part two I’ll be completing and posting after the honeymoon.

AKB48 – Kami Kyokutachi (You! Be Cool/King) – While there’s a whole pile of albums out there with the AKB48 name on them, they’ve all been, with the exception of the Set List – Greatest Songs 2006-2007 compilation, basically “original cast albums” of all of the separate teams’ shows – lots of good songs and good singing, but nothing that could cohesively be called a studio album. Fortunately, although billed as a “best-of album”, Kami Kyokutachi comes off as close to a coherent studio album as the group has ever come. All of the band’s King A-sides plus their interim digital-only indie single “Baby! Baby! Baby!” get supplemented with a few random B-sides (no Undergirls/Theatre Girls material or Erena Ono’s beautiful solo cut “First Kiss” though) and some new tracks and make for the most cohesive – and long overdue – long-playing experience to be released under the AKB48. Now if they could put out a single A-side that is a hell of a lot more exciting than the last couple of singles they’ve released since the year started…
Rating: Available on CD/DVD combo and on iTunes Japan.

DEVO – Something for Everybody (Warner Bros.) – When it was first announced that Devo had gotten back together full-time, resigned to their original American record label Warner Bros., and started working on a new album, I saw a couple of skeptical tweets from people who wondered why anyone would want a new Devo album in the first place. Well, not only have Devo debunked Thomas Wolfe’s old yarn about not being able to go home again by returning to Warner Bros., they’ve also followed in the tradition of the Stooges, New York Dolls, Mission of Burma and Ace Frehley and handed in an album that was worth both the multi-decade wait (two decades, in the case of our beloved spudboys), but they’ve made their finest album since 1983’s Oh No! It’s Devo. Simply put, they’ve redeemed themselves after the debacle of their Enigma Records period and made an album that stands up as tall as their classic back catalog (most of which has been very nicely remastered and reissued by Warner Bros.). (Also, in my opinion, Warner Bros. should surprise the hell out of casual listeners and service the ballad “No Place Like Home” to radio.)
Rating: Available on CD, LP, and in three different iTunes/Amazon MP3 editions; this review is based on the highly-recommended 16-track deluxe edition.

HANK WILLIAMS III – Rebel Within (Sidewalk/Curb) – This is the last album Hank III is doing for Curb Records, and once it was announced earlier this year that he had completed the album and handed it in to the label, people wondered how much of an effort he’d put into it, given his open disgust with how the label handled his music. Given his intentions to continue as an independent artist for all future albums onward, III could not certainly squander his hard-earned fan base for the sake of kissing off his soon-to-be-former-label. Thus, Hank hands in a set of mostly country material closer to Lonesome Broke and Driftin’ than his seminal Straight to Hell, but changes gears in a few places with the title track’s touches of Assjack-style hollering in the chorus, the eerie “Karmageddon” with its lyrical allusions to the plight of Native Americans, and – the true highlight of the album – a raucous country/punk/metal hybrid in “Tore Up and Loud”, where III’s “Hellbilly” style gets kicked up several notches with personal lyrics, power-metal double-kick drumming (done by III himself – like “Punch Fight Fuck” on Damn Right Rebel Proud, anytime you hear Slayer-style drums behind country guitars, III’s sitting behind the kit), and Pantera-esque electric guitar riffing, culminating in a blatant, obvious, and long-overdue Declaration of Independence capped with a “Fuck all y’all” to the Curb Records staff. Fuck Curb, indeed – and a big “fuck, yeah” for Shelton Hank Williams.
Rating: Available on CD, LP with bonus CD, and on iTunes and AmazonMP3.

Again, part two comes after the honeymoon… see you then! Until then, one can follow our exploits via Twitter.

AYUMI HAMASAKI
Rock’n'Roll Circus
(Avex Trax)
Available on CD, CD/DVD, and limited edition collector’s set.
Rating:

Actually, I’m merely endorsing how good this album is. There’s no review I could write of this that could do as much justice as Vee’s review at her new site, Microphone Fiend. Go there. I’ll be back later with a few other reviews.

Fourth Blogging Anniversary, that is…

I almost forgot to post something today, but I have a good excuse: Today was also my fiancee’s bridal shower, and guess who had to schlep gifts back and forth in his car? Yep…

I should note that for the past few weeks I’ve been – on top of planning towards the wedding and subsequent move into mine and my wife-to-be’s new apartment – finishing up the novel (yeah, still… but then again if I didn’t have to hold a day job it would have been finished already), working on a screenplay for Script Frenzy, working on a couple of reviews for this blog (they’ll be up this week), and working on my guitar.

And last night, boy, did I work on my guitar… I got this thing (Epiphone Les Paul) a few months ago, but I never changed the strings until last night. Such was my Saturday night:

And to keep things J-pop related, here’s another part of what helped keep me sane, especially today:

Besides, I couldn’t figure how to equal or better the live MoMusu and Stooges clips from last year! But what I can do is (even though I didn’t get this finished until after midnight when the 11th became the 12th) update a list I posted two years ago on my second blogging anniversary at MotokoAoyama.com, which would make this “A List That Took Four Years To Make”:
Read the rest of this entry »

OK, let’s review:

For the first Cake Day in 2008, I posted two MiniMoni baked-goods-related videos – and a naughty pun that Brother Ray Mescallado appreciated about the kind of “pie” two lucky bastards were getting from Ai Kago and Nozomi Tsuji at the time – at this blog’s predecessor MotokoAoyama.com, and a YouTube clip of Reina Tanaka working in a restaurant for a TV skit at So Hot She Shits Fire.

For the second Cake Day in 2009, I posted a different kind of baked good: my smoked paprika chicken thighs recipe here at TGML, and some “cheesecake” (i.e. some bikini shots of Reina) over at SHSSF.

For the third Cake Day, I didn’t know what to do. I cook, but I don’t usually bake (my sole baking attempts have been a couple of instances of buying Pillsbury Snoopy Christmas Cookies and following the package directions), and I could never top my blogging BFF and fellow Cancerian VeePinku’s Yuke Yuke Monkey Cake. Then my fiancee Tara came to the rescue with something she makes on the regular…
Read the rest of this entry »

KODA KUMI
BEST ~third universe~/8th AL “UNIVERSE”
(Rhythm Zone/Avex)
Rating:

I am of the suspicion of late that a couple of years ago, Lady Gaga had to have caught find of some Koda Kumi videos on YouTube, because in what few Lady Gaga songs I’ve heard, I’m swearing she’s snuck traces of recent Kuu-chin tuneage like “FREAKY” and “TABOO”. And I am certain that Kuu-chin knows this as well, as while Gaga leans heavily on programmed arrangements in her work, Kuu-chin has pretty much gone organic [save for the reliance on drum machines throughout – there’s nothing wrong with having precise beats behind you!] with her instrumentation on much of 8th AL “UNIVERSE”, the studio portion of her new double-disc set. [Quick side note: I won’t be reviewing BEST ~third universe~, the "greatest hits" portion of the package, outside of saying it’s a highly recommended compliment to your collection if the only Koda long-players you own are her previous BEST compilations ~first things~, ~second session~ and ~Bounce and Lovers~. In fact, if you can swing it, go for the edition that also has the DVD of video clips from both portions of the album.] Perhaps we should have seen this coming – her 3 SPLASH EP, released last summer, was primarily guitar-oriented, save for the cut “ECSTASY”.

“UNIVERSE”’s opening cut, “Step Into My World”, doesn’t give much of a hint as to this direction, as it starts off the album much like her most recent LP’s, Black Cherry, Kingdom and Trick kicked off. After those potboiling three minutes, Kumi grabs herself a rock band and kicks into “Can We Go Back”. Between this, Black Cherry’s “Ningyao-hime” and Trick’s top-notch cover version of Shocking Blue’s “Venus”, Kuu-chin seems quite comfortable with Marshall-amped guitars behind her. This shouldn’t be much of a surprise, however – Kumi has always been a vocalist who doesn’t hesitate to slip into any musical arrangement that serves the song. Much of the first half of “UNIVERSE” is dominated by organic instrumentation, and her vocals float like butterflies over those arrangements.

Halfway through “UNIVERSE”, Kumi glides back into digital keyboard territory, but that is OK. Koda Kumi is a vocalist who has never been married or completely linked to one particular set of instrumentation, whereas someone like Gaga would probably seem out of place singing over anything not synthesized or without any AutoTune filtering on her voice.

Not counting the bonus live version of “Moon Crying” on some copies, Kumi closes out the album with “Alive”, yet another classic Kuu-chin ballad. Kumi always shines on her ballads (and someone at Avex must have thought as much to devote an entire compilation, BEST ~Bounce & Lovers~, to them a couple of years ago) and while that’s nothing new, it’s also always welcome, and you can’t ask for more than that.

5 out of 5 stars.

I don’t think I could add any more insight to what has already come out from Hello! Blog and Selective Hearing in the wake of much of Anime Expo’s staff getting up and leaving in what is apparently justifiable disgust. I will say this, however:

Although others in the blogosphere have said that the most likely place for popular Japanese acts to bond with their Western cult audience is at conventions like Anime Expo, this is an aspect that I have disagreed with for years. The incidents referred to in that ‘silenced staff members’ post really disgusted me – how the hell did that douchebag think he could get away with disrespecting Morning Musume like he did? I came away from reading that more convinced that Japanese music acts should not rely on the conventions for their American performance venues.

Instead of dealing with anime con organizers, Up-Front Works and other agencies should hook up with established booking agencies outside of Japan and start organizing tours for their acts, much like they should avoid the quick-hit-oriented, throw-against-the-wall approach of most major labels when looking for Western labels for their recorded product in favor of a big independent label like Matador or Merge, or an independent-minded major-label imprint like Warner Bros.’ Nonesuch or A&M’s Octone.

Dir en grey, Puffy AmiYumi, and the many acts that have participated in the yearly Japan Nite package tours certainly don’t need the anime conventions – and wisely bypassed them entirely in favor of performing in more music-centric venues. Neither do Morning Musume or any other J-pop act that we all love. Given that MoMusu drew 7,500 last summer for their sole US show to date, it’s a no-brainer that American J-pop fans would go see their idols at a venue closer to home.
—–
On a vaguely related note (well, related to MoMusu, anyway) – the MoMusu/AKB48 singles “comparison” will resume shortly, and I’ll explain briefly in the next installment why the series has been taking longer that I would have wished to come to further fruition.

AKB48 Sakura no Hanabiratachi b/w Dear my teacher AKS AKB-101, released 2.1.06	MORNING MUSUME SEXY BOY ~Soyokaze ni Torisotte~ b/w Chance Chance Boogie Zetima EPCE-5390/91, released 3.15.06

The lyrical subject of AKB48’s debut A-side is… graduating?

In a way, it makes sense: The group had already been giving shows at their eponymous theatre in Akihabara for several months before Yasushi Akimoto decided to shepherd his new protégés – at the time consisting of what became “Team A” (no Meetan or Erepyon in sight) – into a recording studio for their first single – and this one, self-released, to boot. And a ballad! I wouldn’t be surprised if quite a few of the early regulars at the AKB48 Theatre were picking up the group’s first single, recognizing the song as being one of the band’s slower numbers, and running to their online message boards to post their discontent: The nerve! A slow song for a new all-girl pop group’s first single? And one with lyrics about moving on, yet? What is that schmuck AkiP thinking?

Consider that, for one thing, Akimoto and AKB48 were pretty much going the DIY route for this first single. They hadn’t courted, or been courted by, any of the major labels yet. No doubt many of the early fans of AKB’s live shows were clamoring for a CD of some sort. Judging from the packaging, however – a four-panel 2×2 insert briefly describing the band’s concept, lineup, and theatre, plus a randomly inserted collector’s card of one of the then-current members – Akimoto’s intention was, in part, to attract more attention to his new musical venture.

A slow song doesn’t necessarily mean a sad song – “Sakura no…” is very upbeat (in spite of its slow tempo), very innocent, and very major key. There’s no line division – the twenty-girl lineup sings the entire song in unison. And the lyric was appropriate because AKB48 was going from just being a live unit with an indefinite residence in its own performance venue to being recording artists. And given that school graduations were on the horizon in Japan at the time this single was released, AkiP’s and the group’s timing was close to impeccable. The song peaked at #10 on the Oricon singles chart, so the strategy worked.

The B-side of “Sakura no…” is practically the A-side’s direct opposite. Rather than an innocent and upbeat ballad about looking ahead to the future, “Dear my teacher” finds the girls singing (over an underground disco beat) from the point of view of a female student who wants to cross the line with her male instructor (at least I’m assuming the object of the song narrator’s affections is male). Some of the lyrics are pretty blunt, judging from the translation at Stage48: “Do it, BABY! / Do it, BABY! / Won’t you teach me a lesson? / I secretly want special extra credit / … If you lock the door / I’ll be a good girl.”

Meanwhile, a few weeks after AKB’s debut single, Morning Musume were all business as usual with “SEXY BOY”. There is a slight techno influence on the A-side, and I say slight because most of the techno I’ve heard didn’t have upfront harmony lead guitar breaks breaking up the otherwise keyboard-dominated landscape. There are some para-para moments in the chanted backing vocals in the chorus, but not as much as your average Eurobeat tune – Tsunku kept things less specialized and more mainstream as far as the basic musical arrangement went. It was and is a catchy and memorable song.

The B-side finds the band mining some big band/jazz influence again. This wouldn’t be the first time (“Mr. Moonlight –Koi no Big Band-“, of course) or the last (MoMusu’s last B-side of 2006 would also mine similar musical territory, but that’s another column). While it’s a good song, and the girls’ vocals are up to standard, in retrospect it’s one of their weaker B-sides, although I’m sure it served the purpose of being both B-side as well – given the band’s usual concert protocol – as part of the band’s Spring 2006 tour set list.

For their next singles, both groups would shift gears – but that’s a story for the next column.

There is considerable temptation – both spoken and unspoken – to compare Morning Musume and AKB48 to each other in the J-pop community, both in the blogosphere and amongst those who frequent boards and chat rooms. In many ways, this is an apples vs. oranges argument. Morning Musume are an established act with over a decade’s worth of albums, singles, and DVDs under their collective belt. AKB48 are practically the new kids in town, not even five years old. One is a more compact unit (albeit one that once boasted 15 members on recordings), the other is a veritable rotating talent pool/reparatory company. One act is more of a singles band than an album act, while the other could be either/or. One has eleven studio albums (counting a forthcoming March 2010 release and a cover/concept album that wasn’t traditionally numbered), the other has several album-length releases, but none could really be called studio albums in the traditional sense – more like cast recordings of their theatrical performances. One band has eleven Number One singles and only ever missed the Oricon Top 5 twice in their entire career to date – and both times, they never peaked at a position lower than #6; the other only has one Number One single so far, and didn’t break the Oricon Top 5 until the fall of 2008 – until then, #6 had been their highest chart position.

However… they both make great recordings. And that is where this series – in planning since last November – comes in.

Over several parts – each devoted to a single apiece from both bands – this author will be comparing the singles of Morning Musume and AKB48, strictly on musical grounds. Neither single covers nor PVs will be involved in the comparison. Sales numbers and chart rankings will have no relevance here, either, especially since neither has anything to do with the long-term impact of the music itself. (Consider how three of the most influential and beloved albums to be released in the mid-Eighties – the Minutemen’s Double Nickels on the Dime, Husker Du’s Zen Arcade, and Slayer’s Reign in Blood – have had far-reaching cultural impact in the twenty-some years since those records were first released, even though their initial sales were a fraction of what the major pop acts of the day were selling.)

How this works will be quite simple: Each Morning Musume single will be evaluated alongside its AKB48 counterpart – or vice versa, depending on which single came out first. The first installment, for example will pair MoMusu’s “Sexy Boy ~Soyokaze ni Yorisotte~” with AKB’s “Sakura no Hanabiratachi”. There will be no pre-determined outcome; there may not even be one. Yes, I refer to Morning Musume as my favorite band almost as regularly as I eat, shit, and breathe, but I am also a big AKB48 fan. If I had disliked AKB48, I would not even be writing this series, let alone be owning, hosting, and collaborating on a site dedicated to a favorite member of that group. This will simply be a somewhat scientific/scholarly look at where each act was when they released singles within weeks of each other.

In most cases, their release schedules for singles happened within weeks of each other, making the comparisons easy. In a couple of cases, AKB48 released singles within weeks of a previous single of theirs while Morning Musume had no brand new release to counter it; one single, the 2008 “re-release”/re-recording of “Sakura no Hanabiratachi”, will be left out of this comparison for reasons to be fully explained later, and their digital-only single “Baby-Baby-Baby” will also, most likely, be left out since there was no Morning Musume single to counterbalance – using the MoMusu side band High-King’s single “C/C (Cinderella Complex)”, released around the same time, would not be a very fair comparison, even if for many fans the single filled what has to be the longest gap between Morning Musume singles (April 2008’s “Resonant Blue” and September 2008’s “Pepper Keibu”) ever. “Boku No Taiyou” has also left me with a bit of a dilemma, given that it dropped seemingly within days of the release of “BINGO!” – I haven’t decided on whether or not it will be part of this survey. It might be, but pitting two AKB singles against one MoMusu single from the same time period will probably be pushing it. No matter. This is strictly for fun, not part of a contest to determine which band is better than another.