ZARD Album Review: "Kimi to no Distance"

Originally, the title for “Kimi to no Distance” was "Sayonara Made no Distance" which translates to “A

Distance as Far as Goodbye.”  Given this album marks the end of Izumi Sakai’s prolific career, it would have been the better title. Of course there was no predicting the future, she had no idea.  We all know this now though she is gone it is hard to say goodbye. 

Melancholy is how I would describe my feelings as I work through reviewing “Kimi to no Distance.” Maybe that's why I have been putting this off for so long.  Why I have listened to this album ore than others to review.  Over a dozen times.  What am I looking for?  While Sakai did release some singles posthumously, this really is goodbye.. Yet, I also know that Sakai wanted her music to be a standard that lived forever.  So here I am twenty years after its release talking about it. Perhaps she achieved the forever she wanted..  

“Kimi to no Distance” is a nicely put together album from a CD perspective, the cover photo is one of my favorites and shows Sakai well. Perhaps the last time we see her in good health.  With the below noted people in each handling arrangement and music composition the album is very cohesive, which is a trend I feel started after “Eien.”  Whether this is a choice by Izumi Sakai or not I do not know, I also I think it works well here. 

“Kimi to no Distance” contained three singles that were released from June 2004 to April 2005 with the album being released in September 05 2005. This is not uncommon in Japanese music where artists release singles and eventually an album follows. Thirteen months is a long time, but then again we have no idea what was going on in her life.

Aiko Ohno factors heavily on the album with eight tracks as the composer. Hard to tell if she contributed much to the album, I think she does appear on eight of tracks.  Perhaps one of the best pairings with Sakai for backup vocals.  Ohno deserves a lot of credit for both quality work but also providing a variety of music. Akihito Tokunaga factors in again in composition and production.  Takeshi Hayama also handles a lot of the production work.  

Interestingly "Anata to Tomo ni Ikite Yuku" is a very old self-cover from 1993 that was originally sung by Teresa Tang who passed away in 1995 due to a sudden illness. Teng in some ways paralleled Sakai as her popularity was tremendous and she also died young.  This track also marks Tetsurō Oda’s final contribution to ZARD, which given his early to middle influence is nice to see. 

Here we are at the end of the line for ZARD’s studio albums, follow along and see how it goes. 

"Natsu wo Matsu Sail no You ni" (夏を待つセイル(帆)のように)

Izumi Sakai / Aika Ohno / Takeshi Hayama

Vocals: 4  Music: 3.5  Production: 4

The open for “Kimi to no Distance Review”  of reminds me of the same style used in “Eien” but maybe not as good of a song, but perhaps more upbeat.  Not a bad thing, "Eien" is a tremendous album and the prior two albums were not quite as good.  Sakai is sounding good as ever here.  Ohno's music is a little up and down and the synth portions of the track I think distract a little.  Production and arrangement is solid, particularly going into the chorus.

The issue is that it winds up being compared to an incredible one. That is not to say this is a bad song, far from it.  The track was also used in a Detective Conan movie, the 2nd time Sakai’s music was used as a theme song in the franchise which by multiple accounts she was a fan of.  

2. "Sayonara Made no Distance" (サヨナラまでのディスタンス)

Izumi Sakai / Aika Ohno / Takeshi Hayama

Vocals: 5  Music: 4.5  Production: 5 

An electronic open with an admixture of 90s synth hits and Sakai’s heavily filtered singing. It somewhat reminded me of a Pink Lady song to start.  Her vocals settle into her normal delivery.  This is a delightfully throwback track and everything comes together.  There is a bit of a fuzzy sound design in the music which maybe matches the theme of a relationship about to end. Honestly, I like it and Ohno’s composition here is very good and Hayama’s production is really great.   I think this is one of those tracks that could be loved because it was not a single. Were it a single I am sure it would not have worked out because it would be compared to other songs that were more her style. This is my favorite song on the album.  

3. "Kakegae no Nai Mono" (かけがえのないもの)

Izumi Sakai / Aika Ohno / Satoru Kobayashi

Vocals: 2.5   Music: 2.25   Production: 2

A song about gratitude and love, I think had it been stripped down and simplified it would have been no less than an okay song.  It falls a little short of that. I don’t feel it is Sakai’s best vocal delivery.  Aika Ono’s music is alright, but I think less would have been more. The production is not great, I think it is a song trying to do too much.   

4. "Kyō wa Yukkuri Hanasō" (今日はゆっくり話そう)

Izumi Sakai / Aika Ohno / Akihito Tokunaga

Vocals: 5  Music: 4.5  Production: 5 

The prefect storm that is Sakai, Ohno and Tokunaga for a really nice love song of sorts.  "Kyō wa Yukkuri Hanasō" has an energy all its own and Sakai’s vocal delivery is really exceptional here. A lot can be said for the backing vocals, they are among the most complimentary backing vocalist Sakai sang with. This is my second favorite track on the album and maybe had I heard it first it might have gotten that number one rank.

5. "Kimi to no Fureai" (君とのふれあい)

Izumi Sakai / Aika Ohno / Takeshi Hayama

Vocals: 3.25   Music: 2.75   Production: 3

A tender and personal song, driven by piano. It's a run of the mill Zard track.  I had to listen to it a few times while writing this to figure out if I like it.  I kinda do, the chorus is fabulous.  I think had Sakai delivered in a lower pitch it would have been better, but where she does go low is to good effect. That said backing vocals are light so this track does highlight Sakai. 

6. "Separate Ways" (セパレート・ウェイズ)

Izumi Sakai / Aika Ohno / Hirohito Furui

Vocals: 3.75  Music: 3.75  Production: 4 

Sakai’s vocals come off a little husky in parts and then goes high.  It is a melancholic to heartbreaking song that is complimented by her vocal delivery.  Not a huge fan of the trumpet solo, it felt a little out of place.  Musically everything else is good with some nice layering and keyboards poking out in interesting place.  It is a nice standard sad Zard song and that is enough for me.

7. "Last Good-bye"

Izumi Sakai / Yoshio Tatano / Takeshi Hayama

Vocals: 2.5  Music: 2.25  Production: 2.25 

There is a feel to the opening of the track that is very intermixed with the 80s and 90s, then Sakai’s vocals kick in and they sound a little more retro.  I don’t think this, a Zard breakup song, aged well. It is interesting on an emotional level.  “Last Good-bye” was originally performed by Field of View and was released as a single in 1995 and a self-cover. It is an okay song, but more album filler than anything. 

8. "Hoshi no Kagayaki yo" (星のかがやきよ)

Izumi Sakai / Aika Ohno / Takeshi Hayama

Vocals: 4  Music: 4  Production: 4.25 

The piano opening conveys a void and then everything else kicks in to fill that space.  It is neat.  Sakai’s uplifting vocals are dynamic and Ohno’s music follows suit.  Production is really good there are very distinct and defined layers.  This is a song that needed to be delivered with precision and it was. 

9. "Tsuki ni Negai wo" (月に願いを)

Izumi Sakai / Aika Ohno / Satoru Kobayashi

Vocals: 2.75   Music: 2  Production: 1.75

A song with an interesting pace, which to me kinda sounds like circus music in regards beat.  It is playful and perhaps reflective.  Where the last track was layers with precision, "Tsuki ni Negai wo" is a bit more muddied.   Sakai’s delivery is not really the problem, she sings well… it is everything else. 

10. "Anata to Tomo ni Ikite Yuku" (あなたと共に生きてゆく)

Izumi Sakai / Tetsurō Oda / Satoru Kobayashi

Vocals: 3  Music: 3  Production: 3

"Anata to Tomo ni Ikite Yuku" is a self cover originally sung by Taiwanese singer Teresa Teng in 1993.  It is very much a dedicated love song, which you can feel from Sakai’s vocal delivery.  Teng and Sakai sing this song differently, but there are some similarities.  It is right that Tetsurō Oda had a contribution to Zard’s last album,

Teresa Teng, like Sakai, passed away at an early age (42).  She was on vacation and suffered a severe asthma attack which led to heart failure.  

11. "I Can't Tell"

Izumi Sakai / Seiichiro Kuribayashi / Takeshi Hayama

Vocals: 4.25  Music: 3.5  Production: 4

Opens up as a jam and keeps an up tempo pace.  Sakai’s vocals are really good and convey unspoken feelings and the difficulty of sharing true emotions.  It is a good song and better than a track meant to round out an album. I like it and would be quite happy if it came into a song rotation, I’d be happy. Originally recorded in 2003, this track supposed to be on the prior album “Tomatteita Tokei ga Ima Ugokidashita.”  That album’s loss is this album’s gain. 

12. "Good-night Sweetheart"

Izumi Sakai / Akihito Tokunaga / Takeshi Hayama

Vocals: 2.5  Music: 2.5  Production: 2.5

Here is the quandary.  There is nothing wrong with any of the components of this playful sentimental track, everything is well executed but I do not especially like it.   The backing vocals are a bit off and it sounds like Sakai provided those.  

13. "Kimi to Kyou no Koto o Isshō Wasurenai" (君と今日の事を一生忘れない)

Izumi Sakai / Akihito Tokunaga / Akihito Tokunaga

Vocals: 4  Music: 3.5  Production: 3.25

A brooding opening and becomes a bittersweet track.  Perhaps it is appropriate to end Zard’s studio career here.  It is the right song. Cherishing memories and ensuring they are not forgotten make this final track poignant. A very Tokunaga ballad and I think Aiko Ono contributed to the backing vocals.  

Overall “Kimi to no Distance” is a good album but falls short of great. "Sayonara Made no Distance" and "Kyō wa Yukkuri Hanasō" are not just great tracks on the album, they are solid entries which wound up wrapping up Zard’s career.  I think it is a more listenable album than the sum of its parts, it flows nicely and I can listen to it in a sitting.  It is a shame this was Sakai’s last album, it felt like a turning point in her evolving sound after “Eien”.  We’ll never know.

Final scores

Vocals: 3.54, Music: 3.21, Production 3.39 for a final score of 3.38

No spin from me in this review.

ZARD Album Review: "Toki no Tsubasa"

Marking a decade after "Good-bye My Loneliness" is ZARD's ninth album and two years after "Eien."
By any measure ZARD is now an established and legendary artist, after a decade does Sakai break new ground or give us more of the same? That is the question I ask myself as listen to "Toki no Tsubasa" front to back.

This was the final album to top the Oricon charts but also the first since "Mō Sagasanai" to sell significantly under a million albums. Likewise the five singles that partially formed the album also were down in sales. This was the start of a trend for ZARD as she enters the back third of her shortened carreer.

For several reasons I made the decision to review the 30th anniversary re-release instead of the original album. First being the production of the original "Toki no Tsubasa" was rough for a ZARD album, it sounded off. Secondly if I have the opportunity to eliminate re-mixes, I'll do it. Lastly it was not just remastered for the ZARD's 30th anniversary it was rearranged. I am not 100% sure if new recordings were made or they dove back into the cabinets of masters. This effort gives "Toki no Tsubasa" another chance to be in its (hopefully) best form.

Track 1: "Get U're Dream"

Izumi Sakai / Aika Ohno / Takeshi Hayama
Vocals: 2.75 Music: 2 Production: 2

A very synthy open, then Sakai's vocals come in and I think they're a little too back. There is a dated sound to this happy love song. Sakai's vocals are fine, but Aika's music misses the mark. The production is not especially good. Sakai probably saves this track, but not by much. It's not a song I would throw on a playlist and strong odds I would hit next if it came up on rotation. I get this is probably contentious.

Track 2: "Kono Namida Hoshi ni Nare" (この涙 星になれ)
Izumi Sakai / Yuuichirou Iwai / Hirohito Furui
Vocals: 3.25 Music: 3.25 Production: 3

A pretty aggressive opening but it settles down and again the song feels a little dated but not in a bad way more like a retro future. It's a break up song, Sakai vocals emote a very matter of fact recollection and she's really on point. Music is pretty good. Production is not bad and though there is dated sound it works. The end evokes a cyberpunk feel for me.

Track 3: "Promised You~with P-edition~"
Izumi Sakai / Seiichiro Kuribayashi / Cybersound
Vocals: 3.25 Music: 3 Production: 3

...and the album slows down into a ballad tinged with a little power. This feels like a paint by numbers ZARD song, given I very much like ZARD that's just fine. If it came up on rotation, I'd let it play though. Sakai's vocals are nice and clean. Music is nothing special. Production is a bit forced and music tracks could stand to be pushed back a little.

Track 4: "Itai Kurai Kimi ga Afureteiru yo" (痛いくらい君があふれているよ)
Izumi Sakai / 4D-JAM / 4D-JAM
Vocals: 2.0 Music: 1.75 Production: 2.25

Slowing down a little more "Itai Kurai Kimi ga Afureteiru yo" also has Sakai rapping a little. Objectively it's not bad, but also it doesn't work. I seem to recall this being a thing around this time frame, but I could be wrong. Music is pretty simple maybe a little too much. Production is not bad, but given the song structure it did not require a lot. The song does not work well at any level.

Track 5: "Mado no Soto wa Monochrome" (窓の外はモノクローム)
Izumi Sakai / Yuuichirou Iwai / Yoshinobu Ohga
Vocals: 3.25 Music: 3 Production: 3.25

A very interesting open to the track. A love gone sideways song, Sakai's vocals are nice here and feel personal. Music has a lot going on, though the synth percussions feel like their fighting the song a little. Production is solid, Sakai's vocals are at the front albeit barely.

Track 6: "Omohide" (お・も・ひ・で)
Izumi Sakai / Hiroshi Terao Furui and Akihito Tokunaga
Vocals: 3.5 Music: 3.25 Production: 3

A pretty song that has the open feeling of Mt. Omuro. Feels like love fondly remembered. Everything generally works on this track and what one would expect from a ZARD song.

Track 7: "Ashita Moshi Kimi ga Kowaretemo" (明日もし君が壊れても
Izumi Sakai / Aika Ohno / Akihito Tokunaga
Vocals: 3.25 Music: 3.25 Production: 3.5

I could tell this was an Aika Ono song without looking at track info. Feels like another past love song. Overall this track is good and very on brand, but also not distinctive. Also I think the production is a little better than the music and vocals.

Track 8: "Sekai wa Kitto Mirai no Naka〜another style 21〜" (世界はきっと未来の中)
Izumi Sakai / Yuuichirou Iwai / Akihito Tokunaga & Yoshinobu Ohga
Vocals: 4.5 Music: 4.5 Production: 4.5

The album jumps into a fast peppier love song. Absolutely everything works and it should have been the album's opening track and not languishing near the end. A couple spots Akasi is definately flexing her vocals skills and that's great. She is the star.

Track 9: "Hero"
Izumi Sakai / Aika Ohno / Yoshinobu Ohga
Vocals: 4.75 Music: 4 Production: 4

Shifting gears into a ballad, "Hero" shows off Sakai's vocals very well and I'd argue it might be her best performance on "Toki no Tsubasa." Music is good and Ono has a lot of sneaky synth parts in the back. Production is very solid and everything is arranged in a balanced way. I like this song maybe a little more than I though I would when it started.

Track 10: "Toki no Tsubasa" (時間の翼)
Izumi Sakai / Aika Ohno / Akihito Tokunaga
Vocals: 4.25 Music: 4.25 Production: 4.25

Feels like "Toki no Tsubasa" might have been a leftover from "Eien." Certainly the lyrics touch on the concept of forever. Its a nice song and Ono and Tokunaga pair well here.

The rearranged "Toki no Tsubasa" is a better version of the original album, which I thought suffered in the production process. Aika Ono generally pairs well and that gives me hope that she, as a much younger woman than Sakai, provides a different energy and hopefully more cohesiveness. That is where I think "Toki no Tsubasa" suffers, I do not think the album has much of an identity to itself. It is a very paint-by-numbers ZARD album. No track it outright bad on this album, but "Itai Kurai Kimi ga Afureteiru yo" and "Get U're Dream" are right on the line.

I would say that Sakai's vocals are as good if not better than they have been. An upside to this album is we can hear the quality of her vocals which is reflective in my scores. Conversely, I feel like third time was not a charm for Sakai as producer and it feels like turning a corner into a new ZARD. After a few listens, I am unsure if that is for the better.

End result is "Toki no Tsubasa" is an decent album and nothing more than that. It is an album that fans (like myself) will think well enough of. It is also and album I could not see it attracting new fans then or now. Of all her albums to this point this is the one i would suggest people exploring her music avoid. These comments might explain why sales dropped significantly and why it say in a fugue state for years, if I recall it was out of print for a period.

Overall:

Vocals: 3.55 Music: 3.35 Production: 3.33

Overall Score: 3.3

Adjusted Score: 3.3

No adjustment, there is nothing that warrants a shift either way. ZARD met expectations here.

ZARD Album Review: Eien

"Eien" is a word that comes up with Izumi Sakai, maybe because of this album as it does mark the end

of a musical chapter.  Perhaps the enormity of her as a person and artist.  It is also the word inscribed on her grave at Yokohama Midori no Sato (which I made a trip to in 2023, I have things to write about that...).  This is a hard album for me emotionally as so much of who Sakai was is captured on "Eien."  Yet this album gives me joy, which I felt after that visit to her grave. I felt my grief for her evaporate and that is what I feel about this album.  

I'll note this is the last album in what I would call ZARD's prime, as it does mark the end of her million selling albums. Combined her next three studio albums will not sell as much as "Eien."  This is no reflection on those albums as I have not listened to them with a critical ear and I endeavor to treat each album individually.     

Did something happen with "Eien" that triggered the downturn of her album sales?  I do not think so, but what I would say is perhaps Sakai's strenuous avoidance of media appearances combined with encroaching health issues were more of contributing factors.  That said, I wound up enjoying "Eien" considerably and would say it is one of her best albums because it is so consistent. 

End result is seven singles were generated from the album which marks the most from (or to as Japanese labels released singles before albums) but also these spanned about a year and a half which is also by far the longest period for a single album of ZARD's.  Like "Today Is Another Day" Sakai is the producer, which likely at the time a female artist producing her own work was more rare. I will also say this album in particular feels personal, which I ascribe to her expanded role on the album as the producer. 

Track 1: "Eien"

Izumi Sakai / Akihito Tokunaga / Akihito Tokunaga

Vocals: 5 Music: 4.5 Production: 5 

"Between you and me I wonder if we could see forever" is such an amazing phrase and this song starts of at a slow clip but comes up to speed.  Sakai's vocals are very much at the forefront but the arrangement and music is not overwhelmed by her. There is a depth of sound as well that is really nice. It is hard not to say this is Sakai at her best.

Track 2: "My Baby Grand ~Nukumori ga Hoshikute~"

Izumi Sakai / Tetsurō Oda / Daisuke Ikeda

Vocals: 4.25 Music: 4 Production: 3.75 

I'll be honest "My Baby Grand" is a song I have had many feelings about over the years.  But end of the day this love song won me over and I think it is a good bridge song back to ZARD's earlier songs, but with very solid production.  The piano work is definitely a signature of Oda and his music is complementary of Sakai's delivery.  Maybe the only thing on this track is the music is just a touch too forward, not to the point of fighting with Sakai but it is close. 

Track 3: "Wake Up Make The Morning Last ~Wasure Gataki Hito he~'

Izumi Sakai / Hiroya Fukuyama/ Hirohito Furui

Vocals: 3.25  Music: 3 Production: 2.75 

There is a bit of a 70s throwback to the track and that's not bad, but the horns are a little too much.  Backing vocals don't work great for me, but I think Sakai is doign her own backing in parts which is uncommon.  Kind of a melancholy song to me, but just kind of average.  

Track 4: "Brand New Love"

Izumi Sakai / Masaaki Wanatuki /Akihito Tokunaga

Vocals: 5 Music: 5 Production: 4.75

The lyrics on "Brand New Love" are voluminous and structured.  Sakai's vocals are absolutely top notch and she hits some notes really well that maybe she could not have before.  The music is dialed up with a Japanese metal feel, but counterbalanced with Sakai's vocals.  Backing vocals are really good. Its definitely a song with a lot of emotions, but even anger comes off differently with Sakai. 

 

Track 5: "Unmei no Roulette Mawashite"  

Izumi Sakai / Seiichiro Kuribayashi / Daisuke Ikeda

Vocals: 3.5 Music: 3.25 Production: 3.25

There is a musically deep opening to the song, then it jumps to Sakai almost alone.  It figures itself out but it is an odd song musically. I do not mean that negatively, it just hits the ears differently.  Sakai's vocals have a couple of spots that maybe she should not have tried for that high note.  It is a probably more interesting than great, but I would not mind it if it came up on rotation.

Track 6: "Tooi Hoshi wo Kazoete"

Izumi Sakai / Masato Kitano / Hirohito Furui

Vocals: 4.25 Music: 3 Production: 3 

A slow love song.  Sakai's vocals are really great, backing vocals are not great in parts.  Musically it is pretty simple, very piano and synth focused. Production is on point, but maybe backing vocals should have been push back a little at points. This is a song I score fairly well, but not a song I'd seek out, but might not skip if it came up in rotation either.

Track 7: "Atarashii Door ~Fuyu no Himawari~"

Izumi Sakai / Masato Kitano / Hirohito Furui

Vocals: 4.25  Music: 3.75 Production: 3.25  

Opens and end with a poppy fun sound, then the middle shifts into a more serious tone.  The back minute of the track feels like a bit of padding, the song would not have suffered being removed. This kind feels at odds. I think its a song about a love that was and going on alone.  Sakai's vocals are really good here, I wonder if this is one of her personal songs versus something a friend experienced?  Music is good and is assertive or more passive as it needs to be but if Sakai is singing it definitely gets pushed back.  Production is good though like the music there is a slight dated feel to the overall song. 

Track 8: "Good Day"

Izumi Sakai / Masaaki Watanuki / Daisuke Ikeda

Vocals: 4.5 Music: 2.75 Production: 3.75 

I am not sure this is a good day... feels like a one night stand and walk away.  Musically this is very 80s/90s rock in sound and a little overwrought. Sakai shows a lot of range on this track though.  Arrangement and production is great, everything is well balanced against Sakai. For me, this track is a little bit of a guilty pleasure, I like it a little more than my numbers would suggest. A bit of padding in the back minute of the song, the album is hefty there is not a lot of air. 

Track 9: "I Feel Fine, Yeah!"

Izumi Sakai / Makoto Miyoshi / Hirohito Furui

Vocals: 4.75 Music: 4.5 Production: 4.25 

A happy, peppy throwback love song.  I'll be honest this song is so different from the tracks on the "Eien" and what Sakai has sung in the past that it is a perfect choice.  Everything is dialed in very well, though Sakai's vocals could have been brought up a quarter notch.  There is also a couple bits that backup vocals get a little echo-y.  Too bad this did not make the 35th anniversary collection, it is distinctive and a significant re-master would have been amazing.  For me this is the surprise track on "Eien." 

Track 10: "Shoujo no Koro ni Modotta Mitai ni" 

Izumi Sakai /  Aika Ohno / Daisuke Ikeda

Vocals: 4.75  Music: 4.25 Production: 4  

Opens with a chirpy piano, then more serious.  Befitting a love song for sure.  There is an odd sound in the music, I know it is deliberate but comes off sounding like a hiss.  Sakai's vocals are very good here.  Given the piano focus, pretty easy to tell it is an an Aika Ohno song, which is great as Ohno has always felt a little under celebrated (note she's the only B-Gram talent that was on the orchestral memorial concert).  Ikeda's arrangement is good, though the guitars don't feel completely right. 

Track 11: "Iki mo Dekinai" 

Izumi Sakai / Tetsuro Oda / Takeshi Hayama

Vocals: 5 Music: 5 Production: 5 

This is a perfect song and absolutely everyone delivers this power pop masterpiece.  The song structure is something else, to me is is chorus leading into another chorus and it is very different than what Oda had done before with Zard. Sakai's vocals are powerful and tinged with sweetness, but I guess love is complicated.  If I had to pick the most distilled Zard song "Iki mo Deinai" would be a contender.  My favorite track on the album and I would be hard pressed to name a song I love more. 

Track 12: "Kaze ga Toori Nukeru Machi he"

Izumi Sakai / Tetsuro Oda / Daisuke Ikeda

Vocals: 3.75 Music: 3 Production: 3 

A very busy opening with some talking in the background.  This is definitely a throwback song with modern production.  Sakai's delivery is a tiny bit off, mostly issues with her high notes, when she goes a little deeper with her unique delivery its nice.  A few parts feel like music is fighting with her vocals.  They could throw the flute bit into Tokyo Bay and not miss it... A track to fill out the album and its hard to stand next to "Iki mo Dekinai," which is a ridiculously great track. No real issues with the song its fine and I would not hit next.  

Track 13: "Photograph"  

Izumi Sakai / Akihito Tokunaga / Akihito Tokunaga

Vocals: 4.5 Music: 4 Production: 4 

A touching love song and I think the perfect track to end "Eien."  Sakai's vocals are really strong and objectively this is one of her best.  A shame this did not make the 35th re-master, its a great song.  Tokunaga helming music and arrangement does a really nice job here.  

My opinion of "Eien" might be different than others.  I am listening to ZARD's album sequentially and can only compare against what I have heard thus far as part of the exercise.  Even without my spin, "Eien" is arguably her best overall album, every track earns a place on the album and none are fillers.  This is ZARD (really Sakai) at her best and most refined. Likewise there are enough tracks that sound different that I would suggest she was still discovering herself musically, which after eight albums is remarkable.  The shift to her being producer of her albums shows.  I can comfortably give this album nearly a half point bump as an adjustment, everything works and is better than the sum of its parts. 

Overall:

Vocals: 4.36  Music: 3.84  Production: 3.82

Overall Score: 4.01

Adjusted Score: 4.5

Cross Posted on Reddit: here...

ZARD Album Review: "Today Is Another Day"

Going into this review, it shocked me (and should not have) that "Today Is Another Day" is ZARD's seventh album and by this point would the magic of Sakai have worn off? I say no, this is very much akin the the ZARD albums we have heard before and barring a few tracks delivers exactly what I expect and need from her albums. Also, no more than that.

Two tracks in particular I think were critically weak points in the album, specifically "Sayonara wa Ima mo Kono Mune ni Imasu" and "Nemurezu ni Kimi no Yokogao Zutto Miteita." Notably neither had Oda and Ikeda contributing, which can also be said for the track "Mitsumete Itai ne" which was just a mid level track and acceptable album filler. "Today Is Another Day" would have been a fine album of a nice length without the above mentioned tracks. I know "Sayonara wa Ima mo Kono Mune ni Imasu" charted for 8 weeks, topping off at #1 to start which at the time the song was maybe a better fit with the times.

Also what makes "Today Is Another Day" interesting is Sakai elected to self cover four tracks originally recorded by Field of VIew and Seiichiro Kuribayashi, to which as noted above three worked out well. I always wonder how the original artists feel about this on one hand it validates that they had a worthwhile song but on the other they now have to share that song. I certainly think of ZARD when I hear "Dan Dan..." even though I know Field of View's original is good too.

Also of note the cover shows Sakai on a pier crowded with boats in Monaco, yet somehow we alone in that process. It is a striking difference to other albums before on since.

Here is the track by track break down.

My Friend (マイ フレンド)
Lyrics: Izumi Sakai
Composer: Tetsurō Oda
Arranger: Takeshi Hayama

A syth opening setting up very clear vocals by Sakai which sets the tone for the track, a love song. Sakai is front and center. The layers of tracks for the most part is simple and everything is well balanced against her. The song ends a little busier in regards to production.

Vocals: 4.5, Music: 4.5, Production: 4.5

Kimi ga Ita kara (君がいたから)
Lyrics: Izumi Sakai
Composer: Tetsurō Oda
Arranger: Takeshi Hayama

Taking it down a notch, "Kimi ga Ita kara" is a slower love song definitely highlights Sakai as a vocalist. I wonder if this is proving she is a great singer? The music is good and like "My Friend" is well balanced with Sakai's vocals and absolutely does not cross any line. Production is alright if my assertion is boosting Sakai's vocals.

Vocals: 4, Music: 3.5, Production: 3

Sayonara wa Ima mo Kono Mune ni Imasu (サヨナラは今もこの胸に居ます)
Lyrics: Izumi Sakai
Composer: Seiichirō Kuribayashi
Arranger: Takeshi Hayama

An upbeat breakup song. The music and production feel upside down and wrong, not really a fan of the heavy piano through the track. End result is the music tracks feel like they are fighting with the vocals making for a muddled end result. Sakai hits the edge of her vocal range, which maybe should have been dialed back a notch. "Sayonara wa Ima mo Kono Mune ni Imasu" is a track good enough to fill out an album, but it would never be on rotation. I acknowledge that Japan in the 90's disagrees with me here as this track did chart at #1 and charted for 8 weeks.

Vocals: 2.5 , Music: 2 , Production: 1.5

Love Nemurezu ni Kimi no Yokogao Zutto Miteita (Love 眠れずに君の横顔ずっと見ていた)
Lyrics: Izumi Sakai
Composer: Seiichirō Kuribayashi
Arranger: Masao Akashi

A honky tonk piano opening and a suggestive song... then it kinda moves into a more pop sound then back to honky tonk. There is odd synth percussion in the mix too. The music is not great on this one. Backing vocals are odd. Production is a mess. Rarely will I say a ZARD track is bad, but here we are. "Love Nemurezu ni Kimi no Yokogao Zutto Miteita" is bad.

Vocals: 1.5, Music: 1, Production: .5

Dan Dan Kokoro Hikareteku (DAN DAN 心魅かれてく)
Lyrics: Izumi Sakai
Composer: Tetsurō Oda
Arranger: Daisuke Ikeda

And... we're back. "Dan Dan" is a great ZARD song Like a few tracks on "Today is Another Day" this is a self cover from a Field of View song and it is 100% a matter of preference, but I prefer ZARD's version. The music is well balanced and the production gets back in line and there are a fair number of layers to the song. The guitar solo is a little overlong and kind of takes over the end of the track. Sakai is way upbeat here, which is nice.

Vocals: 5, Music: 4.5, Production: 5

Nemuri (眠り)
Lyrics: Izumi Sakai
Composer: Izumi Sakai
Arranger: Daisuke Ikeda

Sakai's song in both lyrics and composition. It is an interesting inspection point for what she writes for herself. It is a very different song, I am not sure she knew how to integrate guitars into music as there is a little bolt on feeling to them. Backing vocals are interesting on this track. Overall this is a good song but I think it is more interesting for what went into it.

Vocals: 4, Music: 3, Production: 3

Kokoro wo Hiraite (心を開いて)
Lyrics: Izumi Sakai
Composer: Tetsurō Oda
Arranger: Daisuke Ikeda

It is hard bordering on impossible to say this track is anything but perfect. Maybe the piano is played a little hard? Sakai's vocals here are absolutely on point and the backing vocals are also impressive with how many parts are actually being sung. I'd argue this is one of ZARD's top songs.

Vocals: 5, Music: 5, Production: 5

Totsuzen (突然)
Lyrics: Izumi Sakai
Composer: Tetsurō Oda
Arranger: Takeshi Hayama

A bit of a slow start, but "Totsuzen" picks up speed fast. The pace is interesting and I think plays well with the lyrics which have a frantic love quality. I think there are some parallels to how Oda wrote the music for "Kokoro wo Hiraite" so I think these tracks compliment each other greatly. It is a very solid song.

Vocals: 4, Music: 4, Production: 4

Kyō mo (今日も)
Lyrics: Izumi Sakai
Composer: Tetsurō Oda
Arranger: Takeshi Hayama

Sakai's vocals are a little more husky here. "Kyō mo" is definitely a very ZARD song in this part of her career, but also I don't feel there is a timelessness to the song. I think it was probably a better song at that time and place. I think the production is a little busy and maybe had it been a little stripped down it would have complimented the vocals and music a bit more. Not a bad song, I'd certainly like it if it came on during a rotation.

Vocals: 3.5, Music: 3.5, Production: 2.75

Today Is Another Day
Lyrics: Izumi Sakai
Composer: Tetsurō Oda
Arranger: Daisuke Ikeda

A kinda sad song but upbeat, ah Japan you confound me sometimes. Sakai is subtly powerful in her delivery, you can feel her fill the mic. Oda's music is well paired. Production is well balanced across the board. There is also a speed to the song too, its faster than other ZARD songs. The back 30 seconds of the song feel like a bit of padding and could have easily ended with Sakai's utterance of today is another day.

Vocals: 5, Music: 4.5, Production: 4.5

Ai ga Mienai (愛が見えない)
Lyrics: Izumi Sakai
Composer: Masazumi Ozawa
Arranger: Takeshi Hayama

Oh boy is this a breakup song of breakup songs. There is a nuanced fierceness to Sakai's vocals, she stays in a higher pitch in her delivery which I think is more akin to her speaking voice. Ozawa delivers a change of pace is the music which is a good choice and honestly maybe should have been pushed into an earlier part of the album. There is also an interesting balance between harder rock and pop here that meshes well. Even thought his was a single (#15) I have overlooked this one, its a heck of a song and I like it a little more than the sum of its review parts.

Vocals: 4.5, Music: 4, Production: 4

Mitsumete Itai ne (見つめていたいね)
Lyrics: Izumi Sakai
Composer: Seiichirō Kuribayashi
Arranger: Masao Akashi

Now we shift into a slower song pretty abruptly, its very melancholy. Sakai's vocals are fine here and she absolutely does not push her range which works. Music sort of feels like it is fighting her vocals. The piano is way too turned up and the underlying music tracks are a little at odds. The real bummer here this is a good song brought down by the arranger.

Vocals: 4, Music: 3.5, Production: 2.5

Summary

In summary I thought "Today is Another Day" when Oda had his finger print on songs had great tracks, double so when Ikeda was arranging. At this point in ZARD discography, Sakai had done seven albums and keeps delivering. Many bands never get more than a few and maybe one of them is great. Overall I enjoy this album and it is a solid effort.

Overall scores:

Vocals: 3.96, Music, 3.57, Production 3.44

Overall Score: 3.66

Adjusted Score: 4.05

My adjusted score is that I think the two songs that, to me, dragged "Today Is Another Day" down were more isolated compared to what I enjoyed about the album which has a number of powerhouse tracks.

"The Puffy" Album Review

A review that has been a long time coming for an album that has really been a long time coming.  "The Puffy" by Puffy comes not so hot on the heels of their last album "Thank You" which was released in 2011.  A lot has happened over the decade plus between albums.  Starting with two two greatest hits albums; "15" and "20th Anniversary Best Album which I have one and kinda felt a bit squeezed by the other. 10 singles. Yumi had a kid. Various tours, festivals and so on.  

Of the 10 tracks, we see quite a few of the singles make their way onto "The Puffy" so some of the songs like "Paffipipoyama" stretch back five years.  I think it would have been nice to throw in "Datsu Dystopia" and "Sweet Drops" onto the album as bonus tracks.  I mean why stop at five year old songs?  

As a bonus is a DVD with their 25th Anniversary Concert at Line Cube Shibuya.  I have not watched that one yet, but I will get around to it... which I think I totally lied about when I did the the review of "Bring it on!"  Okay I have two things to go watch.  

Some of the good news here is Puffy wrote the lyrics for five tracks. Of note, "The Puffy" was in the making for years and different producers handled each track.  The production is not wildly inconsistent across tracks produced over an extended period, which was a surprise.  Puffy has done albums that way before to good effect.  The issue is with many of the songs, more on that later,

Here is the track list for "The Puffy"

1. Essafossa

2. Pathfinder-

3. Choegoist-

4. Paffipipoyama* 

5. Susume Nonsense*

6. May Be Sinful-

7. Coco Hawaii*

8. Bouken no Dadada-

9. Sunlit Hill

10. Always-

    * Previously released as/on a single

    - Lyrics by Puffy

I'll get into more over all feelings after final grades.  Here are my thoughts about the songs after a re-listen of "The Puffy."  I go this route because I think it gives a more honest review of what I hear at the time.  I only did a second pass to clean up my writing. Here is a track by track breakdown:

The lead in track "Essafossa" is a standard kind of Puffy song these days that could be written in their sleep.  Not a bad thing, but also a sign of things to come. Its funky, not too up or too down.  I think it was probably the better choice than "Pathfinder" for the first track. I also do not think it is the better song between the two.  This is the start of many conflicting feelings about "The Puffy."   

"Pathfinder" is a little more upbeat than "Essafossa" and feels like a track that should have been on "Bring It!"  Also the song is in English and I would have to guess Ami had more of a hand here given she speaks English.  The song itself has nice pacing and jumps from some fast bits to slow to mid to fast in a rock wrapper.  Its my favorite song from the album and a good choice as the single.

"Choegoist" is a song that feels like a big girl group jpop song with tinges of Perfume.  There are also rap elements, to which I wish they would avoid that, it does not resonate.  Overall this is a nice song to listen to, but it also feels a little out of place if you look at their career arc.  Anytime Puffy tries to flex this way it doesn't work, they can be themselves... they owe nobody an apology for their uniqueness!

I was going to try and give "Paffipipoyama" another chance a half decade would blunt my complete distaste for this song.  Nope.  Its just a random mix of song styles and sounds with a frenetic weird Japan sound.  Nothing about the song works. Again this got onto the album and slightly older and better songs were left in the dust?  In the strata of bad Puffy songs it sits above "Wake Up, Make Up" and "Himitsuno Gimmy Cat Ufufu Hontouyo" but that is a low bar.

"Susume Nonsense" has a throw back feel to earlier jpop songs.  Not a bad thing.  Vocal delivery is a little less intense than the instruments.  Probably by design, but Ami and Yumi feel a little in the back seat on this one.  There is a lot going on in the underlying mic of this song, so it is interesting and engaging.  

Slowing down the album is "May Be Sinful" which maybe would have been well placed in their earlier albums, it isn't a sound that I think holds up.  Its not a bad song, not one I would seek out either. 

Written for a travel TV show, "COCO HAWAII" is a fun non-sequitur of a song.  Back part of the song is in English, which kind of like "Good Buddy" is an interesting twist.  "COCO HAWAII" is kind of all of the place but in a quirky way that works.  Ami and Yumi and very much in command on this one and I like their assertive delivery.

Leaning on a lot of horns and a 70's sound, "Bouken no Dadada" didn't work for me.  I'd say it is a notch above easy listening and that is not music I liked at the time, much less now. It is not badly sung, it doesn't land a sonic punch.

"Sunlit Hill" steps up the pace and kinda feels like Puffy doing a song that is more contemporary in the jpop scene.  Puffy has a bit of an edge on this one, I could see a band like Nemophila doing it with a ton more energy.  Overall this is a good song but if you threw "Sunlit Hill" at me blind I would not recognize it as a Puffy song either.

Wrapping up "The Puffy" is "Always" which vibes a jazz / ska song.  Puffy has used this sound to good effect over the years and it is alright, it isn't quite dialed in and ends the album on a slight "meh" note. 

"The Puffy" is an album fans of Puffy have been waiting a decade for and as great as "Thank You" was, this album is a let down.  Just not worth the wait and a bit heavy of an admixture of songs that we've heard years ago which is to say songs like "Paffipipoyama" got no better with age.  I'd say if there were other albums in the decade since "Thank You" I'd probably feel less disappointed. Every group has ups and downs so waiting a decade for this is a tangible disappointment for me.  

This is is an album of halves.  Half the songs are okay to pretty good and the other half not.  The front half of the album is better than the back half.  Half the album sounds somewhat contemporary the other half more throwback.  Half the intensity as other albums. All of this leaves me confused where Puffy wants to go or what the heck the have been doing for a decade now.

Maybe the most noticeable thing in "The Puffy" is like their live performances in recent years.  There is a less energy and fun.  Puffy's show-womanship is something I always liked about them.  Ami and Yumi are now well into their 40s and maybe high energy power pop is best left to younger acts.  I'm still happy they remain a duo and are doing things.  There was a heavy dose sentimentality as I chugged through "The Puffy" for this review.  The feeling of wanting more of what they were and wanting something different nagged me through out this process. 

There are no Puffy albums I hate, but "The Puffy" to me this is Ami and Yumi's weakest effort in a remarkably long jpop career.  This might explain why it took me a year to write this review. These couple of passes are the the only time I have come back to the album and honestly other than "Pathfinder" and  "Essafossa" which are on my jpop playlist I'm probably not returning to "The Puffy" any time soon.  

Final Grades 

-------------------------

Music: C-

Production: C

Performance: B-

The Night Begins To Shine Review

It has been a while since Puffy released a new song though in this case "The Night Begins To Shine" appears on the "The Teen Titans Go Songs From The Night Begins To Shine Special" which is both long, unwieldy and goofy for a soundtrack album.  I will not use it again as there is no need. I only purchased Puffy's track as the other tracks were not of interest.

Vocally Ami and Yumi are in fine form, though I suspect there is a little processing.  Not a good or bad thing.  The delivery is evocative of 70's disco, which is well within their wheelhouse.  They show a little more dynamic singing which is good.

The music for "The Night Begins To Shine" is basically driven by synthesizers and drum machines and would not be out of place on a Perfume album. The flip side is with the vocal processing the music and vocals are tied together well.  I honestly was not missing anything resembling a guitar on the track.  That feels weird to admit, but I have been listening to Perfume a fair bit as of late.


Engineering for "The Night Begins To Shine" is good, but there are parts where the synthesizers sound a bit muddled and there are a couple bits where I thought I hear a little fuzzy sounds.  There are some neat underlying bits that bounce between the left and right channels.  On headphones the track does not fade out as you would think, it actually goes on quietly for a few seconds fading into a synth classical music sound.

Quick Scores:
Vocals: A-
Music: B+
Engineering: B-

Puffypipoyama Single Review

Received Puffypipoyama in the mail a couple days ago from cdjapan, so after a few listenings (along with the other stuff I bought) I am ready to review Puffy's latest single coming on the heels of their 20th anniversary.  The question I had when getting into the entirety of the single cd was: is this a run up to the big year for Puffy or a let down?

Looking at the packaging as my impression is art from 8-bit retro pachinko machine clip art slapped on top of a fun but re-purposed picture of Ami and Yumi.  The disc itself is dual color print on the top which is somewhere between uninspiring to awful.    The obiwan is nice with an abstraction of the over all art and a cute 8-bit version of Puffy.  The liner notes are basic song lyrics, nothing special but helpful.  The art choices there are a bit odd, the underlying graphics and text over them are not a great marriage.

So slot this single somewhere in the Nice Buddy range of single presentations, but as the old cliche goes: don't judge a book by its cover.

The disc contains six tracks, three songs plus the instrumental versions of them.  Of the three principle tracks only the title track Puffypipoyama is a new song.  Colorful Wave Surfers was a previous digital release and COCO Hawaii was a song for the show In Love With Hawaii.



Puffypipoyama is the lead off track and I re-approached it with an open mind.  It sounds like a more synth heavy Datsu Dystopia but as if it was intended for a Dance Dance Revolution game.  I really do not mean that in a flattering manner.  Like some of the more recent Puffy releases there are elements of Puffy's stylings but it is a frenetic mess that never comes together.  As a reader pointed out it feels like them cashing in on the weird Japan meme.  I will give some good marks to the traditional Japanese synthesizer elements, I did like that.

     Puffypipoyama Grade: C-

Colorful Wave Surfers is the second track and we drift back into more familiar Puffy territory.  I reviewed this previously so I will not dwell on the track beyond where my opinions are after some time and distance.  To me it is a song that sort of looses my interest as it goes along, but it is still a good track.  I think one of Puffy's strengths has been marrying multiple styles in one song and Colorful Wave Surfers is kind of one note but a well executed one.

     Colorful Wave Surfers Grade: B

COCO Hawaii is the final track and Puffy nails it.  The start is kind of slow and I did not know what to think but then pretty much every element of a great Puffy song is there.  Ami and Yumi both deliver good vocals and the COCO Hawaii picks up a lot of good energy as they progress through it.

     COCO Hawaii Grade: B+

The instrumental tracks are basically filler.  Though I would say COCO Hawaii is the one that suffers without Ami and Yumi's vocals but it is neat to hear how the song shifts tempo instrumentally.

After multiple listenings of the Puffypipoyama single I come away with some mixed feelings.  Puffypipoyama is not a good song and represents the unevenness of Puffy's singles since their last full album Thank You.  Colorful Wave Surfers is a decent song and if that is the direction Puffy is going then that is probably going to be an album that is good but not 20 year anniversary good.  COCO Hawaii was a good one off but I am not sure I would want an entire album like that either.

Where are the winds are blowing for Puffy's 20th year?  I do not know and the frustration and dejection you are reading comes as much from that which is a product of uneven material for the better part of five years. Regardless of the unevenness of this new Puffy single they are still active and that makes me happy.


Overall Score

Vocals: B
Instruments: A-
Production: B-

P.S.  I ordered a few other discs from cdjapan, which I wound up being very happy with.  Seagull Screaming Kiss Her Kiss Her's new album (after only a 15 year gap...) Eternal Adolescence is really good.  Also ordered Minmin's Air Girl and her old band Chocolate Chip Cookies' Your World.  Both solid albums as well.

Colorful Wave Surfers Review

After a hectic few weeks, I finally got a chance to listen to Puffy's new (digital only) single Colorful Wave Surfers.  Pitching in this time is the Okamotos and what we get is a solid but not spectacular single that has the trace elements of a Puffy song and something new.

What makes this a Puffy song that I would expect?  There is a nice layered quality to the instruments and for the most party they are balanced and intertwined.  The piano might be a big heavy handed, but that sort of lends itself to the 70's sound the single is summoning, which again is a well that Puffy successfully goes to. This time focusing on a piano is new and I appreciate that nuanced experiment.

A sticking point for Colorful Wave Surfers lies in that Ami and Yumi's vocals feel a bit overwhelmed by the instruments.  While their vocals are delivered skillfully they lack a bit of range and punch.  Again, not a huge concern just something I noted.

The guitar work is nice though maybe a touch restrained.  That has been a common issue for me with Puffy's singles as of late, but they are there and there is a brief solo. Bass and drums are solid and present a safety net in the song that I find comforting as Puffy has traditionally had great backing in that department.

Engineering wise Colorful Wave Surfers is good and speaks to the fact this is a more serious effort and not a gap filler like some previous singles. The sound is crisp and sounds nice.

The truth is Colorful Wave Surfers is a good single and for fans something that was needed.  After the debacle that was Himitsuno Gimmy Cat Ufufu Hontouyo, my scoring for this single might be skewed, yet my faith has been restored that the odds of Puffy releasing a good album by their 20th anniversary are also better.


Scoring
-------------------------
Vocals: B
Instruments: B+
Production: B+

Datsu Dystopia Single Review

After a modest hiatus Puffy is back with the Datsu Dystopia single.  The album cover(s) are nicely shot but do not really convey much beyond Puffy is back.  The upside is both Ami and Yumi look terrific and their new look works.  Hopefully this is a sign they have stepped away from the hobo fashion culture that they have been sporting for a few years (to be fair that just may be a Japanese fashion trend they were compelled to follow).  This review is covering the regular single, but almost everything is applicable to the deluxe version.

Datsu Dystopia is not a bad song, it simply is not the song I wanted.  Not like I get to vote. There are a lot of elements I like and the electronic influences and over the top synthesizers are fun changes.  Unfortunately the things I do not like about the track balance out the things in the positive column.  The pace of the song feels staggered and a touch manic, which doesn't quite work for me.  Ami and Yumi do a decent job singing, but at points it feels like the instruments overwhelm their performance.

My Journal is a solid b track and probably closer to what I like hearing from Puffy.  It probably is not as well engineered song as the title track but the weird part is that it is probably the better song and were it tightened up a little it probably should have been the a track.  I found myself enjoying the guitar focused instrumentation more than the synth heavy lead track.  More importantly there is a throwback feel to My Journal which is a better feel for what Puffy has done musically over the past decade and a half.

Ultimately after the hiatus Datsu Dystopia is not what I was waiting for and it doesn't leave me wanting for more.  I think the contracts with Dareka Ga in that was a single most of us can agree was a great single and created an enthusiasm for Thank You.  As with Dareka Ga I would be surprised if Datsu Dystopia made it onto the next album. If it does I won’t mind but I also do not want the that album to sound like Datsu Dystopia either.

Scorecard
Music: C+
Singing: B-
Instruments: B
Engineering: A-


P.S.  Have a happy Independence Day.  

P.P.S. I will hopefully post something up before I leave for Singapore and Japan, but I just might post up while I am overseas if I find some fun Puffy inspirations.  No luck on reaching out to Puffy, but I did not have high hopes to begin with.

P.P.P.S.  Strong odds I will be spinning another blog from Amiyumidas,at some point. Not am issue with Puffy at all, just that there is so much more I would like to talk about regarding Japanese music that is not Puffy.  You'll still see me kicking out content here, I promise. :)  

Album Review: Puffy Covers

The only Puffy album release this year is not by Ami and Yumi, rather it is a sanctioned cover album.  Cover albums I have always felt conflicted about.  On one hand I really like it when a band or artist takes someone else’s work and makes it their own.  On the other I hate it when a song is recorded the exact same way, a Xerox if you will.  Putting a wrinkle in this is Puffy has always mixed in material they have written and other musician’s songs.  In the case of Puffy Covers what is a cover and what is not is blurred on a number of tracks. 

Having only heard a smattering of Marching Puffy, I can’t say Puffy Covers is better or worse but I would have liked to heard Marching Puffy in its entirety as a point of reference.  Not that this always works well.   While not technically cover albums, the PRMX remix albums do not come close to setting the world on fire for me.  What I can say in advance is that I like Puffy Covers more than either of the remix efforts.

I am not going to go into any great detail about the tracks themselves.  Individual songs have been previously covered by Jeff or myself.  The direction I am taking in this album review is gauging the performance, the differences and what I liked (or did not) about the track.

Uncovering Puffy Covers is The Birthday’s cover of Dareka Ga.  The vocals are nicely whiskey voiced, the instruments feel just a nudge more in the background than I would like.  That said, I like the cover and feel it compliments Puffy’s version.

Mother sounds a little too much like a Tamio Okuda impersonator singing it.  This is not a bad thing per se, but Low IQ 01’s effort is nowhere near as good of a delivery.   I have heard one of Tamio renditions and this is nowhere near as nuanced as Puffy’s version; it lacks the emotional depth or bitter.  This  cover feels rushed which may explain why it is kind of a one note delivery that could be performed by any number of lower tier bands.  

Circuit no Musume which is covered by Tamio Okuda has demo tape written all over it.  Not a bad thing, but this rendition probably was not meant for people like me (or you, i.e. us) to hear and the rough performance and production shows.  I imagine this was done about a decade ago, then put on the shelf and pulled off for Puffy Covers.  No dusting off in the process. 

Kuchibiru Motion  is one of my favorite songs from honeycreeper and for the most part Yoshii Kazuya’s cover falls into the emulating Puffy’s version.  Which by my general rules governing cover songs would make me dislike it… just the opposite. He nails it, though in regards to execution it is a slight notch down from the Puffy’s take.

Saito Kazuyoshi delivers an overly nasally version of Hare Onna with instruments that sound a bit mushy.  Maybe this song is more popular than I know, but Puffy has enough proven songs (either commercially or critically) that choosing Hare Onna seems like a weird selection.  It does not work for me.

Ai no Shirushi, the lead singer of Spitz wrote this and Puffy released the song first then about a year later Spitz released their version (or original…. see what I mean about lines blurring?).  This version is one of the more polished tracks given it was a release by Spitz, so it sounds great.  I like it better than Puffy’s version.  

Rolly doing Tararan is definitely different and unlike other tracks the vocals at times are behind the instruments.  It is also a fun (and at times weird) cover and another I probably like a touch more than Puffy’s version which was a paint by numbers effort.

Fujifabric’s rendition of Bye Bye is polished and I believe they also released the song.  Again this was probably one that could be pulled off the shelf with ease, but in Puffy’s catalog would this be one that leaps out as one which must be covered?  That said as compared to Puffy’s, I don’t like it as much but there is nothing wrong with it.

My Story as covered by Kishidan has cleaner sounding instruments, but also does not have nearly as many layers in instruments or vocals.  As mentioned in the Bring it on! Review comments, it is a lyrically cheap song, but when Puffy delivers it they deliver it well.  Kishidan falls well below the mark Puffy set with a slightly more rock version (which I should like as I tilt that way…).  It is okay, but it doesn’t garner the same reaction from me that Puffy’s version does. 

Nagisa Ni Matsuwaru et cetera goes along the lines that one track on recent Puffy albums must be unforgivably bad (e.g. Wake Up, Make Up).   The opening is reminiscent of Yokai Puffy as delivered by what sounds like puppets.  It kind of sounds like Ami and Yumi in the lead up dialog, but that just might be an affect by the performers.  On the plus side if you thought the lead up to the actually song was horrible… there is the cover itself which consists of the same people yelling out the lyrics and often out of tune.  It. Is. Hideous.

After the previous track anything would sound better, but Hasanjauze is actually a fun rhythm and blues (of sorts) cover that I give The Cro-Magnons high marks on.    It captures the spirit of Puffy’s version but manages to be different at the same time. 

Oriental Diamond, another demo tape from Tamio Okuda… though in this case I heard it years ago and really liked it then.   Apparently he liked it so much he used it as a b-track, so I think everyone can agree this one is a winner.

Umi he To, again a pretty stereotypical rock cover this time by The Pillows… It doesn’t really go outside of the box Puffy sang but it is better executed than Low IQ 01’s cover of Mother.

Kore Ga Watashi No Ikiru Michi is a more electronic version by the Magokoro Brothers.  It is probably on the lower tier of songs on Puffy Covers, but there is nothing outright bad with the track.  It just didn’t work for me.

Onna Machine Gun is a completely exploded version by Guitar Wolf.  I won’t say it is good, but I appreciate it even though it borders on the unlistenable.

Summoning The Who and Tamio Okuda the Okamotos nail this version of Jet Keisatsu.  It sounds like a song from the 60’s that Puffy then reassembled and covered themselves. It blurs the genres in some weird reverse manner that I love (also a reason why I adore Puffy…).  Instrumentally it is sans keyboards and boiled down to some nice guitar, bass and drum work.  The vocals have a slightly washed out feel, but again this works.

Asia no Junshin… one would immediately assume something re-covered by two legends of Japanese music would be awesome.  Tamio Okuda and Yosui Inoue’s take on their own song is a slightly more drawn out rhythm and blues version.   Yosui Inoue’s vocals are admittedly very different as a rule and do not work for me here.  Tamio has done better.  This is not the first time I have heard them perform Asia no Junshin as there is a live clip on YouTube.  I did not care for that and I have to say I did not care for this version either despite enjoying the work both have done as individuals.

The end result of Puffy Covers is a mixed effort consisting of songs taken off the shelf and ones recorded for the album.  Given Puffy sanctioned and marketed this album I was hoping for more of a work of love than a space till fill, but ultimately the weak points of this album make it more the later than the former.   That said of the clunkers Nagisa Ni Matsuwaru et cetera is what weighs down Puffy Covers.  It is the most singularly awful song ever attached to Puffy and that is counting Wake Up, Make Up and All Because Of You.  Were this track salvoed my opinion of Puffy Covers would significantly improve.

I decided to grade Puffy Covers by track and then as an album.  I think the granularity is important but also the overall effort is important especially as this album (like most others in Japan) is not cheap.

Here are my grades per track (vocals / instruments):
Dareka Ga  (The Birthday): B+/B-
Mother (Low IQ 01): B / C-
Circuit no Musume  (Tamio Okuda): C-/C
Kuchibiru Motion  (Yoshii Kazuya): A+/A
Hare Onna (Saito Kazuyoshi): C+/C-
Ai No Shirushi  (Spitz): A/A
Tararan (Rolly): C/C
Bye Bye (Fujifabric): B-/B
My Story (Kishidan): B+/B
Nagisa Ni Matsuwaru et cetera (Group Tamashi): F-/F
Hasanjauze  (The Cromagnons): B+/B+
Oriental Diamond (Tamio Okuda): A-/A-
Umi He To (the pillows): B/B
Kore Ga Watashi No Ikiru Michi (Magokoro Brothers): C/C-
Onna Machine Gun (Guitar Wolf): C-/C
Jet Keisatsu (Okamoto’s): A/A+
Asia No Junshin (Tamio Okuda, Yosui Inoue): C-/C+ 

Overall I would give Puffy Covers the following marks:
Singing: B
Instruments: B-
Production: C+

While I think Puffy Covers is a serviceable release given the events outside of music with Yumi, it is not an album I would say you should immidiately buy.  I have to because I run this site (though if anyone from Sony/Puffy haunts this site...).  I would not call Puffy Covers an essential Puffy album to have in your collection but I don't regret my purchase either.