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.

2010 is barely two days old, and already there’s new music to look forward to. Nothing on the Western music front yet, as far as I know. But by the time this post is less than a week old, a new Shonen Knife album will be on my desk. A new Koda Kumi album and new Buono! album will follow next month, followed by a new Morning Musume album the month after that – the latter just in time to define the final months of my bachelorhood. And there’s also singles from MoMusu, AKB48, Buono! and SCANDAL to deal with during that time period as well. The last time I recall looking forward to a new non-J-pop release at the beginning of the year, it was The Stooges’ The Weirdness album, which was scheduled within days of Morning Musume dropping Sexy 8 Beat – and those two albums dropping within weeks of each other early in 2007 made the rest of that year quite the anti-climax. By the end of the year, while I was trying to sum up the year in albums at MotokoAoyama.com, I was also planning to propose to my girlfriend.

Oh yeah, there’s that little interruption.

Truth be told, I’m already planning ahead, and not just for that. I’ve already anticipated that there’s going to be a short break in blogging action around the last week of June and going on for at least another week. Which only means one thing: I intend to stay as busy as possible, trying to post as much as possible here and at So Hot She Shits Fire (and whenever I can at My Sweet Meetan), while also going into final preparations for the wedding, getting the last scenes folded into Here Is The Wonderland in the immediate weeks to come, thus finishing that long-in-the-making first draft before plunging into the second, which should only take a minuscule fraction of the time it took to complete the first draft. And also upping my guitar skills.

What?

Yeah, I got a new electric guitar over the Christmas holidays. I don’t think I will be discussing it much here – this blog is meant for serious music discussion, and personal ramblings about trying to re-master the pentatonic scale or getting a better handle on sweep picking don’t really belong here, so there may be a little place somewhere where I’ll let those out of my system. (Updates about my personal life don’t belong here either, of course. I might refer to them in vague here or in “conversation” at SHSSF, but that’s another story, and I already have places for that.)

This, in a nutshell, is as personal as I intend to get, and I’m keeping it in topic: 2010 is going to see a lot more activity here. Beyond that, I’m not hard to find, as the list of “personal” links that has always existed here and at this blog’s predecessor will attest. With one of the series that I hinted at back in November (the Best Albums of 2009 series) out of the way, the other one will be starting next week to formally kick off blogging activity here at TGML for 2010. For now, I’m going to spend the rest of the weekend decompressing from New Year’s Eve/Day.

Other than that (and my wedding), I don’t know what’s going to take place in 2010. Hell, I didn’t know when 2009 started that Morning Musume were getting ready to announce their American debut and that Ron Asheton was going to be transferred from the Stooges to Rock N’Roll Heaven’s Helluva Band either.

Stay tuned. Things are only going to get insane here. But in a good way, of course.

Before I reveal the top two albums of the year, I figured I’d throw in something different to prolong the agony of revealing those two top albums… by throwing up a second list, and a first for this blog (and its predecessor): A top singles list.

#10) MILDRED AND THE MICE “I Like My Mice (Dead)” (Third Man)
Officially supposed to be a socially awkward goth chick from a small town in Kentucky, but more rumored to be the wife of Jack White playing a rather eccentric character, with a few Raconeturs/Dead Weather members posing as Mildred’s “band”. Either way, this is demented two-chord garage punk that makes The Cramps look like the Carpenters.

#9) BIF NAKED “I Won’t Cry (Fuck You 2)” (Her Royal Majesty)
Bif’s big comeback single after her cancer-forced layoff… and boy, did she come back swinging! Never before did a standard 50’s doo-wop chord sequence sound so menacing.

#8) WE ARE THE FALLEN “Bury Me Alive” (self-released)
Mistake this for Evanescence, and you wouldn’t be far off, as three-fifths of this group were the creative hub of Ev. Throw in a more fuller-bodied-voice compared to Amy Lee (courtesy of American Idle alumni Carly Smithson), and you’ll wonder why The Open Door didn’t sound like this. The band had planned to slip out leaked tracks every month or so, but fate – and a contract with Universal Music – intervened. Now this is just a teaser for next spring’s LP.

#7) CARL SAGAN “A Glorious Dawn” (Third Man)
This song – comprising of AutoTuned monologues from the late scientist/TV personality’s Cosmos mini-series – started off as an experimental pro-science viral video with a free download available to those who wanted it. Then Jack White heard and saw the video, wanted to put it out on his own label, and the rest is history – just like the Voyager Golden Record whose design is reproduced on the back of the one-sided single.

#6) AYUMI HAMASAKI “Sunrise/Sunset ~Love Is All~” (Avex)
Two ways (uptempo and ballad) of saying the same thing, and both done very well.

#5) KODA KUMI “3 Splash” [EP] (Rhythm Zone/Avex)
Three sides of Kuu-chin in one handy single: Upbeat pop-rocker (“Lick me”), heavy techno in the vein of “Taboo” (“Ecstasy”), and a solid foray into funk-rock (“Hashire!”) – and all with PVs to go with it. Sold.

#4) MORNING MUSUME “Kimagure Princess” (Zetima)
The opening high-register vocals notwithstanding, after three rather emo singles a more upbeat number was the perfect track to close out both one of Morning Musume’s most triumphant years as well as Koharu Kusumi’s tenure in the band.

#3) AKB48 “Namida Surprise” (King)
In my opinion, the best of AKB48’s four single releases this year. It was definitely the most memorable, both for the title track and for the solo cut by Team K member Erena Ono, “First Kiss”.

#2) MORNING MUSUME “Shouganai Yume Oibito” (Zetima [Japan]/JapanFiles [US])
Referring to this particular period of Morning Musume’s singles as their “emo” period should not be interpreted as a putdown, because it isn’t. The fact that this single took Morning Musume back to the #1 spot on the singles chart in Japan shows that they were on the right track at the time; it’s definitely the standout of the three “emo” singles.

#1) BUONO! “My Boy” (Pony Canyon)
The guitar riffs in this song alone are insane – putting the sweet voices of Airi, Miyabi and Momoko makes it sound even more insane thanks to the seeming clash of elements, but it works, big time.

AKB48
RIVER
(King Records)
Available on CD/DVD, CD, and on iTunes Japan
Rating:

I’ve been enjoying AKB48’s singles output in the wake of “Oogoe Diamond”, with that song and this past summer’s “Namida Surprise” being personal highlights. Their new single may have broken that streak somewhat.

“RIVER” starts off in an unusual way for a J-pop single. Unison chants from group are accompanied by the sound of stomp dancing. This introduction is different, but at over 40 seconds, it is also a tad overlong. Had this tack been done by an American pop group, the length introduction would have been excuse enough for listeners to reach for the radio dial and change the station – not a good idea when you’re trying to attract new listeners. When the song proper comes in, we do get a good AKB48 song. The problem is, it’s only good enough for an album track – and not as an opener, but more like at the halfway point of an album (where Side Two would traditionally start on a vinyl record) – it doesn’t seem to work as A-side material.

“Kimi no Koto ga Suki Dakara” (credited to the “Undergirls”, although not the same line-up as on “Tobenai Agehachou” – there’s no Meetan to be found), on the other hand, is more worthy of being the single’s A-side, with the verses recalling the band’s DefSTAR-era material and the choruses being in a similar vein to the band’s more recent singles. Had this song been the A-side, it would have made for a stronger single.

“Hikoukigumo”, credited to the “Theater Girls”, was originally a stage song from Team A’s 5^th Stage that was recorded with an entirely different lineup. While the intent behind having three different lineups on the single – highlighting members that haven’t gotten much exposure on past single releases – is worthy, the fact that producer/lyricist Yasushi Akimoto is recycling material for B-sides (“Shonichi”  from one of Team B’s stages was one of the “Namida Surprise” B-sides) should be some cause for concern. Could this be why we haven’t seen an actual studio album (that wasn’t a soundtrack to one of their stage shows) from the group yet?

For what is probably going to be (if past discographical history is any indication) the last AKB48 single of the year, this three-song disc is unfortunately their weakest of their releases since they switched labels from DefSTAR to King. Hopefully, AKB48 and their creative team can use the next couple of months to recharge and get some stronger material out on the market.

3½ out of 5 stars. (Ouch – looks like AKB just found something in common with Kiss besides being on my iPod.)

I’ve had a Last.fm account since around the late summer of 2004, around which time I had a nice Apple PowerBook, no iPod to speak of then (although I did have iTunes and was burning mix CD’s like a motherfucker), and come to think of it, last.fm was known under another name back then. Anyway, thanks to last.fm’s scrobbling technology I’ve found it quite interesting to see how it charts my listening habits day to day and week to week as far as my iPod and laptop go. Obviously, it does nothing when I’m slapping a record onto the turntable or slipping a CD into the player of my car, but since the iPod still seems to be the primary device I derive much of my melodic and rhythmic intake from, we’ll go with that.

Using my last.fm page’s static weekly charts as a guide, I’m going to self-analyze my listening habits and try to put a paragraph to them. Because goodness knows, I’m the only one who can explain why Mission of Burma comes up on my iPod one moment and John Coltrane comes up the next. (I’m sure the guy who has been running Gallery of Sound in West Hazleton since it first opened in 1987 sometimes tells the guys who work under him about the one time in 1992 when I walked up to the counter with a New Kids on the Block remix CD in one hand and the Bitches With Problems CD in )the other…

Just as a general foundation, here’s what my overall last.fm Top10 chart looks like:

1) Morning Musume
2) The Stooges
3) Nine Inch Nails
4) Minutemen
5) Black Flag
6) W
7) Puffy AmiYumi
8) Sayuri Ishikawa
9) Frank Sinatra
10) Hank Williams III

Now, here’s what my listening habits looked like, from #10 on down, as they looked for the week ending Sunday, August 30, with my somewhat pithy/pitiful explanations following each one: (Last.fm usually finalizes these charts at Midnight Greenwich Mean Time on Sundays) Read the rest of this entry »

First, to Miyabi Natsuyaki of Berryz Koubou and Buono! (one of whose shirts inspired this blog’s name), who turns 17 today…

Then to Megumi Ohori of AKB48 (well, until October, anyway) and subject of our sister worship blog My Sweet Meetan, who turns 26…

…and finally to Elvis Costello, who turns 55 today.

…Asami Kimura, ex-member of Country Musume, who turns 24 today:

…and to me, who turns 42 today (my last birthday as a bachelor!). AKB48’s new single “Namida Surprise”, with its appropriate chorus and bridge, came out just in time:

…and to the late great Ron Asheton of the Stooges, who would have been 61 today.

From Midori’s J-Pop Overanalizations: Let’s see how well I pass the “You Know You’re A Wota When…” test:

You can name and/or recognize half or more of the AKB48 research students or H!P Eggs. I couldn’t even name anybody in AKB48 proper, except for Megumi Ohori because of her solo single.  

You own at least 10 photos of your favorite idol. Guilty as charged!

You buy t-shirts advertising your favorite idol/idol group and wear them on a regular basis. If you’re a man 25+, you don’t feel any regret or embarrassment about this. Regrettably innocent. Japan doesn’t seem to make their shirts in American XL size, otherwise I’d have at least one Morning Musume shirt and one Reina Tanaka shirt.

You know all of your favorite idol’s stats by heart. I know Reina Tanaka’s birthday, where she’s from, and what her first single with the band was. Beyond that, fuggedaboutit.

Whenever anyone insults your favorite idol or idol group, you immediately come to their defense… even if you know you’re b.s.ing half your compliments. (i.e. “They’re good singers!” “She can dance well!” “She has more personality than [insert some famous TV personality here]” “They’re NOT ugly!”) For one thing, I don’t bullshit my compliments when it comes to J-Pop. Other than that, guilty as charged, especially where my fiancée is concerned. All that having been said, anyone in MoMusu could run circles around [name of a certain teen pop/TV star deleted as I vowed never to mention her name on this blog ever again].

You have spent more than you make a day on idol goods. Guilty!

You can recognize all of your favorite idols’ voices. Yep.

You have almost a stalkerish obsession with wanting to meet them or even just see them in person. I definitely don’t know about stalkerish obsession, but let’s be fucking blunt: Morning Musume are my favorite band along with Iggy Pop & The Stooges, and since I’ve gotten to see the Stooges play live last year in what was the best fucking concert I’ve ever seen in my life, I need to get my ass to Japan someday so that I can complete that equation! If I got to MEET them, I’d probably be extremely fucking nervous.

You hear someone say something that remotely sounds like your favorite idol’s name and you immediately assume they’re also a wota. Let’s just say that it doesn’t help that Reina is also a common name for Latin females!

You heavily anticipate any news from your idol. Guilty.

You have sent fan-mail. Honestly, I wouldn’t know where to send them fan mail.

Your favorite idol appears in your dreams more than once. Hasn’t happened with Reina Tanaka yet, but I do remember a dream where I was supposed to be going away somewhere the next day and I’m in a room with my parents and Mika Todd. 

You have wondered what would happen if your idol dated you. (Mainly for guys, but if we include Johnnys here…) Actually, I haven’t wondered what a date with Reina would be like. A record-shopping trip with Reina would be quite interesting, though…

Your husband/wife/boyfriend/girlfriend/immediate family has learned to deal with your obsession long ago. Perhaps.

If your favorite idol is suspended/fired/retired/graduated/has no work with their agency/other you check more than two sources of possible info everyday and accept any rumors about his/her return to be true immediately. Um, seriously, I’m trying to put what happened with Ai Kago out of my mind, but…

You have at least 3 photobooks or DVDs of your favorite idol. To date, four photobooks and two DVDs of Reina.

You could colorcode a song sung by AKB48 O.o (I’m afraid of those who can!) I couldn’t even colorcode a song sung by MoMusu!

You do fandubs, cosplays, or fandances of your favorite idol or idol group. This would be fellow Cancerian wota Vee’s department. Personally, on a related note, I’m surprised I haven’t sat down with my guitar and figured out the chord changes to MoMusu songs!

You make birthday and worship posts on a blog/forum. Guilty in the first degree – hell, I started So Hot She Shits Fire on Reina’s 18^th birthday and did birthday posts that day on MotokoAoyama.com and YODC as well.

You don’t take the cheap route and buy your idol’s songs from iTunes or another mp3 site, you spend the money to order every edition of the CD/DVD. Unfortunately, I’ve taken the impatient route and downloaded a few things from either iTunes or Hello-Online.org’s tracker when the mail service for an advance order was way too slow for my liking. 

MESHIBE OHORI (Megumi Ohori of AKB48)
“Amai Kokansetsu” single
(VAP)
Available on CD
Rating:

According to legend (well, actually the news as reported here), AKB48’s oldest member, Megumi Ohori, was alleged to be “struggling” to be a popular idol within the band. Her age, 25, is being used as an excuse as to why. AKB48’s creator and lyricist, Yasushi Akimoto, reportedly put forth the challenge: sell 10,000 copies of a CD single under an assumed name, or be next to graduate from AKB48. The reason for an assumed name is said to be insurance for the rest of the band in case the single flops. The single is also released on a label other than AKB48’s new label, King or their previous label, DefSTAR/Sony Japan. Talk about covering your ass! Members of the band seem to be behind her, given that a reproduction of a note of support for Meetan-hime is being given to buyers of the single. Will she get those 10,000 sales (well, 9,999 more, since a copy sits on my desk)?

If she doesn’t get those sales, there’s something wrong. The song, a Latin-infused number a la Sexy Otanajan’s “Onna, Kanashii, Otona” (only several beats faster in tempo, very sexy-sounding, and not so bossa-nova’ed), is very well written and played by an all-live band, and Megumi/Meshime’s voice reminds me a lot of Kaori Iida’s.

The only caveat? No coupling track. I would have liked to have heard a B-side that complimented “Amai Kokansetsu”, because I was left wanting more than just the A-side and an instrumental version.

Hopefully Megumi/Meshime will still be a part of AKB48 after this single reaches its sales target, because I want to hear more.

Five stars.

ETA: When I got home from work, I had a chance to see the PV on the single’s bonus DVD. Let’s just say that it’s been a long time since I had difficulty picking my jaw up off of the floor…