July 31, 2009 at 9:05 am | Posted in Miliyah Kato | 3 Comments
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Eye Candy + Random Thoughts

Doesn’t she know that horizontal stripes make you look fat?  Well, she could stand to gain some weight (just look at her TOKYO STAR album cover with her legs, ick).  I’m happy she decided not to go with the raccoon eyes in this cover.  This cover might be a little bit boring, but at least she doesn’t look like a crack addict/hooker.  Actually, all of her covers this era have been decent.

* * * * *

  1. SAYONARA Baby
  2. Aitai
  3. Love Forever
  4. Breathe Again
  5. Love for you
  6. Arigatou,
  7. Kono Machi no Doko ka de
  8. Dance Tonight
  9. 20-CRY-
  10. Time is Money
  11. Anata ga Hoshii
  12. Love me. hold me
  13. Happy Celebration
  14. This is Love
  15. People

The album starts off with the first single of the era, SAYONARA Baby.  I find this song really catchy and easy to listen to.  It’s not really hard to memorize this song either.  The music also seems to be of high quality.  I’m glad she’s not all nasally in this song (unlike her earlier stuff).  I’m really impressed by this song.  I think it’s a little weird that the song is called SAYONARA Baby and it’s the first song on the album… but I still really like it.

Things slow down a lot when it moves Aitai.  Miliyah has a lot of ballads and she’s not afraid to make more, even if they sound the same.  Well, the verses are a little bland, but not to the pint where it’s unlistenable.  The chorus is where this song really stands out.  I like it when she  repeats aitai.  I don’t know why, but I like this ballad.  Again, I like the music in this song.  This is such a big change from her last three albums since I usually abhor a song by now.

Now we move onto her last single, Love Forever which is also a collab with Shota Shimizu.  In the chorus i can’t really tell the difference in their vocals since they both sound nasally, but that might just be his vocals mixing with hers.  By the way, I again find the chorus catchy and fun to listen to.  The only bad part about this song (for me at least) would have to be Shota’s vocals.  I don’t really like male Japanese singers in the first place and when they are all nasally, things can not get any better.  Still, I like this song despite all of that.  Oh, and the music is great too!

Miliyah hits us with another upbeat RnB track with Breathe Again.  Ok, now I’m just starting to notice the clapping that has been going on in all the tracks so far (besides Aitai).  I don’t think it’s a bad thing though, just a little unoriginal.  For some reason, I feel that she is trying to tell a story by the way she is singing this song, especially the verses.  The chorus is catchy, just like every chorus in the previous songs.  I like the music… again.  I think it might be that she is actually my first Japanese RnB artist that I really have gotten into.  “This is a true story”, seriously.

 Yet another upbeat song heads our way with Love for you.  By now there just starting to seem a little generic, but it’s still nice to listen to.  The main instrusment is a piano, which makes this song a little unique.  The whole song has a pleasentness overall, it’s not too aggressive or too slow.  It’s not the worst song on the album, but not the best either.

Arigatou,  is another ballad.  This is one of the better ballads on the album.  I just really like all the elements to it.  The chorus is also my favorite part, like usual.  I love it when she says arigatou at the end of the chorus and everything changes a bit.  It may seem a little generic to everyone else, but for me I really like it.

Kono Machi no Doko ka de started out nice, but it just became another generic song.  Miliyahdoes have a certain sadness to her voice, but that just had to ruined by the clapping beat… that appears again.  I don’t really mind it, it’s just that she does it so much that it just comes off on the boring side.  It’s not a bad song though, so I guess that’s a good thing.

Finally, Miliyah tries to go for something different and it works!  Dance Tonight  it an upbeat jazz/70s inlfuenced song that really works with Miliyah’ vocals.  I think is a little to short, but this really was a breath of fresh air that I needed.

Then we come to Miliyah’s more unique ballads, 20-CRY-.  This is another on of her songs that I really like, which is strange since her ballads are a little bland at times.  This song was actually her second single of the era.  I didn’t really understand it then, but on an album it works so much better.

OK… this is my favorite song on the album.  Time is Money  just seems so different than anything else on this album.  For some reason, I think it sounds somewhat Oriental which is always a good thing in my book.  This song’s music is really beautiful and Miliyah’s vocals do a lot for it.  This song = AMAZING!

Anata ga Hoshii is another song I really like, mainly because of the arrangement though.  The chorus is another thing that pops outs, especially when she holds those long notes and she gets someone louder.  It seems emotional.  Another good song on a great album.

Things take a turn for the worst with Love me, hold me.  That doesn’t mean it’s a bad song though.  Although Miliyah tries something different with this jazzy ballad, it just seems a little boring. and right now I can’t take boring.  It might sound better by itself, but on listening to it on this album makes it a little blah.

Oh great, a song that reminds me of church.  That makes me hate Happy Celebration more now.  Miliyah tries to pull off a cute song, but just like the previous song, I find it somewhat boring.  I’m trying to think of what else to say, but I can’t think of anything else… besides NEXT!

Another bore fest of a song is next.  This is Love is a mid-tempo ballad thing or whatever that really fails to stand out.  I do like the way she says “this is love”, but this song is the song I skip when I listen to this album (well this and sometimes Happy Celebration).

After those three tracks I thought that this album was on a downward spiral, but things get a lot better with People.  It sad too since the clapping beat comes back again, but in a less noticeable way.  Miliyah sounds really happy and cheery in the song which is a good thing.  My favorite part would have to be when she says, “We’re just people.”  It makes me think if this song’s meaning is not to be so judgemental and that everyone has their faults, but then again I don’t know Japanese so who knows?  I think this was a great way to end this album.

The Songs That Didn’t Make it

  1. Koi Shiteru
  3. Kanashimi Blue
  4. let’em go
  5. Looking your eyes

Koi Shiteru, the other A-side with SAYONARA Baby, is a pretty sh!tty song.  I’m so glad she didn’t add it to the album.  It is a sickeningly cute song.  It’s really that awful.  I can actually picture myself going in the recording studio and beating up everyone (excpet Miliyah since she still makes some good songs).  Ya, I would go all Hulk mode on their asses.

PERFECT PITCH is way better.  I really like how it’s really beat orientated yet it uses more classical instruments.  Too bad her voice gets all thin and somewhat annoying in the chorus.  Thanks for calling me a “perfect bitch.”  I wish all people looked up to me like you do.

Most of Miliyah’s b-sides aren’t really good and that fact is starting to piss me off because out of all of them this era, I think Kanashimi Blue has to be the worst.  It’s yet another bland Miliyah ballad that is so draggy it makes me want to sticka needle in my eyeball which I’m pretty sure would be better than listening to this.  There is nothing about this song that makes it sticks out.  The melody during the chorus is somewhat nice, but still.  Miliyah can do way better than this.

Finally, a good ballad.  let’em go is an emotional powerhouse that is catchy at the same time.  The chorus has to be the best part of the whole song.  It’s just really saddening.  She needs to do more ballads like this.  This could have been put on the album and I would have been ecstatic.

The b-sides to Love Forever actually have to be the worst of the era.  It starts with Looking your eyes.  It tries to be a ballad, but it really fails.  It just seems really mess since things get quieter then louder.  Shota’s voice also gets distorted at one point then he does this annoying rap which just wants me to punch him in the face even more.  During that rap, he actually says “stop” and then music does stop, but sadly it starts again.  Definitely a song to avoid.

I’M YOUR ANGEL is a completely english ballad which can only spell trouble.  Shota’s vocals really suck here.  Miliyah’s parts are actually understandable.  The lyrics are extremely cheesy and gushy cheesy.  I just can’t get over how bad Shota’s vocals are.  I want to like this song, but I just can’t.

* * * * *

Ring was an album that really surpassed my expectations.  It definitely is way better than her past three albums since there usually at least one song (if not more) that I really, really hate, but I can’t say that with Ring.  There was a part of every song that made it enjoyable.  This has to be one of the best albums I listened to this year, if not the best.

5 nipple rings out of 5

~courtesey of Kurayami Monogatari~

  1. Time is Money
  2. Aitai
  3. SAYONARA Baby
  4. People
  5. let’em go
  6. Anata ga Hoshii



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  1. I like how you also review the songs that didn’t make it on the album! That’s pretty neat. Anyways, I never used to like Miliyah Kato, until she released this album. It’s a pretty good one and I was really impressed. Great review, too!

  2. I know you’re going to get annoyed with this but I really have to disagree on Shota’s vocals because I actually liked them on Looking Your Eyes and I’m Your Angel. I’ve been a fan of him ever since I’ve heard his Umbrella album but as for Ms. Kato, I have yet to listen to her music although I heard that her music is just as boring as Aoyama Thelma’s music is so I’ve been kinda putting off giving this album a try.

    • This album is way different than her past albums which means it has barely any ballads. I think it’s like four. I admit, her past albums suck a whole lot of you-know-what.

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