Hitomi Shimatani – Shiawase Hakoberu You ni March 7, 2012

Track Listing

1. Shiawase Hakoberu You ni (Gasshou ver.)
2. Shiawase Hakoberu You ni (Piano Gakushou ver.)
3. Shiawase Hakoberu You ni (Karaoke)

1. Shiawase Hakoberu You ni (Gasshou ver.)

Well, the main version of Shiawase Hakoberu You ni is pretty simple with just piano as the only instrument playing while Hitomi is singing along it.  As it is tagged as such a children’s choir is also singing along and are singing at an equal volume to Hitomi’s simple vocals.  The melody is pleasant and the piano arrangement is sweet as well.  It’s not as boring as I thought and has a bit better of a meaning that a lot of charity songs out there XD. 

2. Shiawase Hakoberu You ni (Piano Gakushou ver.)

The other version of the song is essentially the song without the kids choir.  Just piano and Hitomi singing.  I think I like this version better because we get to hear her vocals a LOT more clearly and since she has the great vocals to pull off ballads like this, it ends up making the song a bit more prettier in that aspect.  Though after a while it does seem a little empty without the kids so it’s both good and kind of meh at points for me.

 

 

The first thing I noticed was that this single was a charity single which made me think *why would you wait THIS LONG to release this…it’s a bit late*.  After that went away and I took a listen to the song, Shiawase Hakoberu You ni isn’t bad persay but it sure doesn’t help the fact that if this is considered as a single for a potential album alongside “Mayonaka no Guitar” and “Kantan ni Ietanara” then this wasn’t anything special.  Besides the kids in the Gasshou ver. it’s kind of plain but the vocals were still great from Hitomi.  Overall, it’s alright as a charity single but in Hitomi’s discography not very good.

Hitomi Shimatani – Sign Music February 28, 2012

Track Listing

1. Furusato
2. Soshu Yakyoku
3. Oborozukiyo
4. Shabondama
5. Soushunhu
6. Natsu no Omoide
7. Aka Tombo
8. Pechika
9. Okaasan
10. Kono Michi
11. Ondo no Funauta (CD only)

1. Furusato

I could have only hoped that it was going to be a cover of Morning Musume’s “Furusato” but nahhh it’s based off the children’s song of the same.  I really must say that I love the breezy and jazzy feel this song has and Hitomi’s vocals really sound nice amongst the arrangement as well (but then again who doubted that she would sound bad?).  Adding the flute solo and I was just happy with this song for sure!

2. Soshu Yakyoku

Next song in the album is just as jazzy but a little more soothing and has a nice deep bass involved as well.  I will say I’m surprised there was a much longer solo to be had from the violin but I guess it works for here.  It’s nice but I think the strings could’ve been less seen because I felt myself paying so much more attention to that than poor Hitomi.

3. Oborozukiyo

I guess the could be considered the album’s first ballad (maybe?).  Either way, I’m loving the fact that I hear saxophone opening this wintery tune.  This is where I start to see Hitomi’s real exceptional vocals since she’s soft and singing so peacefully and pleasantly.  It’s nice and the sax solo in the middle worked well as well…

4. Shabondama

I’m surprised that Shabondama is as short as it is because it would’ve made a great full song though once again, I kept thinking of Morning Musume here but once again, it’s the children’s song.  I like the deep string acting as the low beat and then hearing marimba in the background and having a solo as well.  It’s a nice song but I wish it was tad bit longer.

5. Soushunhu

One song I’m pretty sure I’m not going to listen after this review is probably Soushunhu which can be compared as lifeless and just plain boring.  Shimatani fans should know that she’s been on this major line of songs that really are plain jane and features not a whole of instruments.  Soushunhu has acoustic guitar only and Hitomi singing along.  It makes me feel like I’m listening to “Kantan ni Ietanara” or “Mayonaka no Guitar” which isn’t a very good thing here.  Just boring and not really fitting the album very well.

6. Natsu no Omoide

After that speed bump, Natsu no Omoide kind of brings us back into that jazzy/bossa nova side to this album and I’m so happy it did!  I like the fact that this time the sound is based upon the trumpet and even from the solo to the end was pretty awesome.  It’s pretty good but I think the music took over Hitomi who I felt didn’t have enough time to sing the song but it’s still nice otherwise.

7. Aka Tombo

I felt our next song started so oddly with those ~ahs~ going on there.  As another slow song on the album, I felt zoned out with this song but not at the same level I did with “Soushunhu”.  At first it felt so slow and quiet and essentially was a blur in my mind.  After a while, the song does grow louder and I start paying attention and she pulls it off at the end but just barely for me.

8. Pechika

Which sucks because it’s followed by another slow-moving song in Pechika.  I think by now you guys know that my weak points to music are ballads and seldom are seen repeated on my iTunes so this one definitely was testing my patience.  There were a few parts that did connect to me like the muted trumpet solos throughout.  Besides that, I couldn’t tell you how the melody of the song went hahaha.

9. Okaasan

Our next song is for all teh mothers out there XD.  Kind of a shame as it’s the only other song that’s under three minutes in length (the other was “Shabondama” by the way).  It’s kind of cute in a way because of the arrangement that has some interesting instruments playing along with Hitomi’s vocals which are a bit cutesy (I guess you can call it that).  Short but sweet I guess.

10. Kono Michi

Ending the album, Cono Michi is a soft way to end things (despite most if not all of the album is soft songs).  It seems to be paralelling “Soushunhu” because unlike acoustic guitar, there’s only piano in this song.  However, I felt this suited her quite a bit more to be honest.  Pleasant, but not the best the album offered.

11. Ondo no Funauta

Of course it was shocking to see that the CD only had a bonus track with Ondo no Funauta.  When I saw the title, I was thinking it was going to be actually an ondo-type song.  Which made me think of numerous songs from H!P…  What we got was an interesting song that features Hitomi singing in an enka style (something we haven’t seen or heard since her debut!).  I was surprised that like “Kono Michi”, the song only uses piano but that’s alright because Hitomi totally took over the arrangement with her powerful vocals.  I’m surprised she pulled this song off since she really didn’t do well on “Osaka no Onna” but those were different times for her.  Great song to finish up!

Tracks Recommended

• Furusato
• Shabondama
• Ondo no Funauta
• Okaasan
• Natsu no Omoide

Song of Avoidance

• Soushunhu

As this is Hitomi’s third cover album (first that isn’t based off of guy’s songs) Sign Music is nice but now I’m sure she’s trying to leave her dance/pop phase in the past because of everything since “Flare” was released.  I guess I’m alright with it but at the same time I feel she’s leaving what made her amazing for something that’s lowkey and not super popular as in the case of this album.  I don’t think jazz is VERY popular in Japan.  Otherwise this was her most interesting release since “Flare” so that should tell you guys something.  Though that enka song at the end was a nice little treat for people TBH.

Hitomi Shimatani – Kantan ni Ietanara February 17, 2011

Track Listing

1. Kantan ni Ietanara
2. moment
3. Kantan ni Ietanara (Instrumental)
4. moment (Instrumental)

1. Kantan ni Ietanara

Really Hitomi?  Why are we still releasing boring songs?  I mean just like “Mayonaka no Guitar”, the song is another ballad which isn’t helping her through her career of recent times.  Unlike the acoustics of the last single, this is more along the lines of a piano ballad.  I do think Hitomi’s vocals are great (when isn’t it TBH?) but the lack of instrumentation made it snooze-worthy.  The chorus though was pretty though…still…where’s the upbeat stuff?!?

2. moment

Well, I guess this is upbeat enough for me…  moment to me takes a more interesting route and it sounds like a mix of light disco and jazz, but Shimatani-fied if you know what I mean.  It’s this kind of light and fluffy track that makes her music slightly good, but after the last few singles, I’m still kind of suffering, if you know what I mean.

As the era’s 2nd (or 3rd including “SMILES”) single, Kantan ni Ietanara is a little more even than “Mayonaka no Guitar was, but it’s still far from what made her big if you ask me.  She’s becoming too much light pop for me and usually that kind of music lulls me to sleep.  moment is slightly better because it’s a lil more upbeat, but still…I want epic Hitomi back…

Hitomi Shimatani – Mayonaka no Guitar October 7, 2010

Track Listing

1. Mayonaka no Guitar
2. Futari no Sora
3. Mayonaka no Guitar (karaoke)
4. Futari no Sora (karaoke)

1. Mayonaka no Guitar

Why Shimatani!!!  Why are you going in this direction with your music?  Since that’s out of my system, Mayonaka no Guitar isn’t that bad of a song, but with how she’s been putting her self out there, this just continues to show that avex doesn’t exactly care to make her interesting.  It’s calm and slow of course, but c’mon try harder…or release something that makes me put faith in you again!  What hurts more about this is that it’s also a cover…yeah…can we get off this plz?

2. Futari no Sora

I guess the redeeming factor for this single was Futari no Sora.  It’s still pretty much acoustic heavy both with a little more oomph from Hitomi and the arrangement and I liked that it was flowing and nice to hear.  I mean it’s her best song in a while…since “Shinku” for me at least.  I still think she could’ve done more, but what we got with this is not at all bad.

While Mayonaka no Guitar is a smidge better than her last single, “SMILES”, she’s still got quite a ways before getting back to what we’ve known from Shimatani.  To me, Mayonaka no Guitar is a snooze-fest of the song and makes me wonder if she’ll fix that…and she did with Futari no Sora which is so much better than the A-side.  Maybe she’ll release “VENUS” and “Communication” as a single…and that for sure has made me REAL HAPPY!

Hitomi Shimatani – Amairo Maxi September 27, 2010

Track Listing

1. Amairo no Kami no Otome ~Full Ukelele Version~
2. Hold my soul
3. Dakishimete ~Shou no Ballad~
4. A.S.A.P. ~as soon as possible~
5. Amairo no Kami no Otome ~Full Ukelele Version (Instrumental)
6. Hold my soul (Instrumental)
7. Dakishimete ~Shou no Ballad~ (Instrumental)
8. A.S.A.P. ~as soon as possible~ (Instrumental)

1. Amairo no Kami no Otome ~Full Ukelele Version~

Yeah, we’re on our third version of Hitomi’s 7th A-side.  Luckily, Hitomi didn’t just shove a ukelele a called it a new version.  I also actually enjoy this version of the song since it doesn’t really sound awkward.  Of course there’s more than one ukelele present as well.  It’s a bit strange hearing it all bare and such but this definitely reminded me of the opening of the original version.

2. Hold my soul

Since the next two songs are brand new tracks, Hold my soul actually kind of tries to be something different and I approve of the changes, but why is so Hitomi so quiet with her vocals this time around…Actually it kind of reminds me of a more controlled “Glorious Day” and also with the background vocals having a lot of time in the song.  I guess it’s alright, but yeah it’s just not that amazing.

3. Dakishimete ~Shou no Ballad~

As for the other new song on the single, Dakishimete is definitely correct with the title.  I was surprised she put a song with just piano, acoustic guitar, and strings.  Lot of people concluded that Hitomi can be a good balladeer if she had the right arrangement and usually she doesn’t.  I mean it’s kind of hard to swallow with this song since there’s not a lot going for it, but her vocals are just bright and fill the song with color.  Good ballad, might need a touch up one day, but it’s still good nonetheless!

4. A.S.A.P. ~as soon as possible~

Yeah, one of the album’s songs actually makes it onto a single and isn’t changed either.  I know I just reviewed it not that long ago so I don’t have much of a concrete opinion song, but I like that it’s upbeat and not as annoying as “Hold my soul”.  It’s one of the better upbeat songs she’s had in her early years as a singer so holds that quite nicely.

 

 

I’m sure that the popularity of Shanti and Amairo no Kami no Otome fueled this recut single.  I mean I still don’t think too highly for this single since we’re once again shown ANOTHER version of her biggest song and a recut song which is still pretty good.  The new songs were alright I mean Hold my soul could’ve been on Shanti just fine…but it’s definitely a “Glorious Day” ripoff while Dakishimete was a beautifully sung ballad and deserves to be touched up.

Hitomi Shimatani – Shanti

Track Listing

1. ~introduction~
2. Shanti
3. Amairo no Kami no Otome
4. Glorious Day
5. ~interlude~
6. A.S.A.P. ~as soon as possible~
7. She is…
8. Remember of you
9. ~interlude~
10. Yasashii Kiss no Mitsuke Kata
11. freeze ~Ushinawareta Natsu no Hi~
12. Hello!
13. beloved
14. farewell
15. colors
16. Amairo no Kami no Otome -HIRO KURETANI REMIX-
17. Single Hits Non-stop Mega mix -Trans Mission Mega Mix- (First Press Bonus Track)

1. ~introduction~

Opening up Hitomi’s sophomore album, the intro track begins with some steel drum passages and then opens into the R&B styled instrumental with timpanis and strings and beats.  It’s nothing jaw-dropping but I guess it does make for a good album opening.

2. Shanti

Since it goes into the second single released in the era, Shanti still kind of sets itself as the best A-side of the era because it’s not a cover for one thing and it’s got enough pep to keep me interest.  I still think the whole feel of the song seems like a sea shanty of sorts, but it’s still pretty good and one of the good songs off the album.

3. Amairo no Kami no Otome

Other people would disagree just because of how powerful this single sold for Shimatani.  I still get thrown off by the opening section of the song because I was thinking it was going to be that simple of a song.  Then it becomes like something that only avex would pull off.  I don’t know why, but I just never connected with the song much and just shows. 

4. Glorious Day

Getting into our first new song off the album, Glorious Day sounds like it would’ve been better placed as the song’s final album because it just has this celebratory sound to it.  I was a little thrown off how it began and moved into the first verse…I do love how powerful Shimatani is singing throughout the tune and it makes me happy, but I swear the background vocals are a bit much and once again sounds like an ending to a performance or something.

5. ~interlude~

Well getting into the first of the two interludes, the first is just a car starting up and revving off and playing music and then the cell phone rings off.  Not much to go by, but whatever…

6. A.S.A.P. ~as soon as possible~

For being the song that gets turned into a recut track, A.S.A.P. takes the song into a much softer side and I’m liking the fact that there’s acoustic guitar found in the song since it lets Hitomi singing better….but that chorus is a little odd, but still good.  The thing that’s weird is that I’m hearing the synth sound that turned me off from “Ashita to Kyou no Aida” and while I hated it there, I think it actually fits in this song. 

7. She is…

I guess we have to reach back for Shimatani with She is… which is clearly the “papillon” of the album especially how much it tries to be a hard song, but it kind of seems one-dimensional and not really fitting with Hitomi’s vocals.  I hate the BKGD vocals in this song since they’re so pitchy and sharp in contrast with her.  There’s even some English found in the song and she kind of doesn’t do well since the accent is heavy here.  I don’t know I think Kuu could’ve done more with this song TBH.

8. Remember of you

Since this is the first ballad on the album, Remember of you I think tries to bring the best out of Hitomi’s vocals with mostly a strings/piano arrangement and I do like the chords of the song since there’s little bit of gospel kind of mixed with like some other things haha.  Once again this doesn’t feel like it should be in the middle of the album and feels more like a song to end things.  It’s got a pretty good touch to it and I remember this song from the album.

9. ~interlude~

Wait, you’re lazy enough to not put a “2″ here?  I’m like oh great…  It’s a bit longer than the first one, but this one is kind of hard to describe.  I don’t know WTH that watery sound is but it annoyed me…then there was the piano melody that was like somewhat jazzy….strange.

10. Yasashii Kiss no Mitsuke Kata

I was pretty happy that Yasashii Kiss no Mitsuke Kata is one of a odder songs Hitomi has done in her early career since it was more of a light reggae tune and since it began the Shanti era, it’s not like it was amazingly bad, it’s just kind of forgotten for more of her better produced songs.  I still think the flute playing the solo was just great to have…but otherwise I was like…it’s kind of too slow.

11. freeze ~Ushinawareta Natsu no Hi~

Hey latin guitar and disc scratching?  I’m surprised that freeze is only a small percent of latin-like songs off the album (because well “PAPILLON” was just overflowing with it).  I really don’t know how to feel for freeze because it’s so different and it’s kind of sexy in a weird pop Shimatani kind of way.  Her airy vocals kind of gives this mysterious vibe and I kind of like it a bit.  I think I like this a lot.

12. Hello!

I’m starting to notice that there’s a lot of disc scrathing on the album…Hello! is just a weird song for me since it tries to decide if it wants to be R&B or dance or something else.  I thought her English was a lot better than before and I can understand her well.  For me this was just kind of the odd song out and almost felt like the throwaway tune.

13. beloved

I think beloved prolly feels a little old because of the arrangement’s kind of oldish sound to it.  I don’t know why but the bass was too much for the song and kind of ruined a lot for me.  I try to pay attention to the guitars and Hitomi but it just wasn’t happening since it was just too much and too loud!  Without it, I know it would’ve been a good song.

14. farewell

I kind of thought that sticking farewell from “Yasashii Kiss no Mitsuke Kata” was probably going to be her best choice for the album since the other two had more problems than this one, it was a good choice TBH.  When I first listened to it, it felt like “papillon” and I still get that feeling every so often, but it has grown on me since then…I just wished that besides the acoustic guitar solo, there was something else to make it stand out.

15. colors

As the final new song on the album, colors sounds totally detatched from the album.  It’s nice that it’s a bit more of a ballad since this album doesn’t really have any let’s be honest.  That’s not the point though, colors sounds like 90′s easy listening and it kind of threw a fast ball since I wasn’t expecting something like this (I should know better since it’s Shimatani and all).  It’s upbeat and has a nice hook to it as well…ok so I might like it a bit, shoot me!

16. Amairo no Kami no Otome -HIRO KURETANI REMIX-

Yeah kind of like how “PAPILLON” had a remix at the end for the most popular song, Shanti has one for Amairo no Kami no Otome.  Of course this is avex and since this was released during the whole fiasco with Ayu’s singles I wasn’t expecting much and I found myself bored in the first minute and a half.  Even when Hitomi sings it doesn’t fit at all…Sorry it’s just not a good remix

17. Singles Hits Non-stop Mega mix -Trans Mission Mega Mix-

• Kaihouku
• papillon
• Yasashii Kiss no Mitsuke Kata
• Shanti
• Amairo Kami no Otome

Being a first press bonus track, the mega-mix is quite something and since the whole thing is a remix as well it’s not surprisng the songs on the list has been changed around.  Kaihouku opens things up and since it has been growing on me since the album version came out, I thought giving back it’s dance style back was risky but worked out well because it wasn’t forced and almost ethereal like “colors” was.  It’s a good breezy section.  Now since it’s a mega-mix a lot of focus is on the transitions and it’s kind of slight getting into papillon since it’s a totally different style than the previous.  I really think they sped the song 10x more than normal and it was like WTF am I listening to.  It’s not that I didn’t like the section, but it was just way too quick in lyrics and just flew over my head.  I’m kind of wondering why she excluded “Ichiba ni Ikou” from the mega-mix and just skipped right into Yasashii Kiss no Mitsuke Kata.  I thought she sounded weird in this section because while the flute returns, Hitomi’s vocals were like messed around or something…but it’s just something strange and yet the transitioning into this was awesome like the transitioning into Shanti since it really gets into the song quite nicely since it already has a nice dance style implemented.  I think of all the remixed version in the mega-mix, Shanti’s impressed me the most and was definitely the easiest to follow with.  Sadly it’s transitioning into Amairo no Kami no Otome is a little jaggedy and takes a little while to get into it.  Once again, it’s a song that probably shouldn’t be remixed because it sounds just as awkward if not more…actually wait…it’s the damn HIRO KURETANI REMIX…talk about killing the mood right?  I thought the full mega-mix is a great little treat for the fans…but it’s missing friggin “Ichiba ni Ikoi” and I liked that song!!!!

Tracks Recommended

• Shanti
• freeze ~Ushinawareta Natsu no Hi~
• colors
• Remember of you
• A.S.A.P. ~as soon as possible~

Song of Avoidance

• She is…

I really don’t know why Shanti gets so much hate because IMO, it’s way better than what “PAPILLON” turned out to be.  I’d say this ranks equally to “Flare”, but that’s still pretty low on Shimatani albums.  I guess the complaining for the album is the kind of dated sound it had…I mean her debut had a bunch of latin songs to keep it modern, but Shanti was more 90′s pop and I didn’t have too much too complain.

Hitomi Shimatani – Amairo no Kami no Otome

Track Listing

1. Amairo no Kami no Otome
2. Ashita to Kyou no Aida
3. Amairo no Kami no Otome (Instrumental)
4. Ashita to Kyou no Aida (Instrumental)

1. Amairo no Kami no Otome

Ok, I had to hear what the hype is for this song.  I mean jesus, she keeps playing this song like it’s the only song she has.  I guess trying to even further herself from “PAPILLON”, Amairo no Kami no Otome is a cover of Village Singers’ song of the same name and to me the beginning was kind of hiding how upbeat this song really was.  I thought the little guitar/ukelele opening was cute, but when it opened it was like listening to “kiss & hug” again.  To be honest, I don’t really see why this song is still Shimatani’s best single, but w/e it’s no my cup of tea.

2. Ashita to Kyou no Aida

Thank god the B-side for the single is an actual ballad from Shimatani.  It isn’t grandiose like “Eternity” was, but it’s got a more simpler arrangement with piano and some light keyboarded stuff.  I actually thought the weird keyboard fluxation thing was just a bit out of place for me.  At least it gains a little bit of momentum as the song continued.  I guess it grows stronger as the song plays so I guess it worked back to my good side, but that weird synth thing is just a bad choice.

 

 

Since this is Hitomi’s best-selling single and still one of her most recognizable tune, (Ami Suzuki much?) Amairo no Kami no Otome does nothing for me unfortunately.  It could be the fact I just came off of listening “kiss & hug” in which the two seem similar in sound.  Still…Amairo just gets remixed and reedited and touched up so many times…it’s like LET IT GO!  As for Ashita to Kyou no Aida, it’s a nice ballad, but it’d be better off without that weird synth.  Not a bad single and most people prolly consider it the best of the era…for me it’s “Shanti”.  Unfortunately it isn’t worthy to talk bout with the album’s flop coming up.

Hitomi Shimatani – Shanti

Track Listing

1. Shanty
2. kiss & hug
3. Shanty (Instrumental)
4. kiss & hug (Instrumental)

1. Shanti

I really like that Hitomi is willing to try to move away from the more icky stuff she released in the last era.  Likewise…It does remind of a sea shanty which makes me happy and begins Hitomi’s world-like sound that she keeps coming back to later in eras after.  It’s still pretty much Hitomi keeping things simple and letting her voice do the talking but it’s not such a bad thing here…Although it does eventually get compared to later song, “Tsukikage no Eden e”…

2. kiss & hug

As for the fellow B-side it’s just a bit strange for me.  It reminds more of the meh songs of “PAPILLON” but this song really started out like it was already getting close to the end.  Once again besides the good vocal performance from Hitomi, the song just kind of felt boring to listen to and paled to Shanti.

 

 

Being the 2nd single of the era, Shanti has always been people’s issue.  Is it Shanti or Shanty?  You know I don’t know either because like I said the main track gives me a sea shanty vibe which is kind of interesting but otherwise the lyrics and PV didn’t really have anything to do with or near water so it’s prolly the former.  Still it’s a good song but gets way surpassed by later singles.  kiss & hug however is basically forgettable and it’s no surprise that I couldn’t remember the tune anyways.  At least it was better than “Yasashii Kiss no Mitsuke Kata”.

Hitomi Shimatani – Otoko Uta II ~20 Seiki Nostalgia~ January 26, 2010

Track Listing

1. GET BACK IN LOVE
2. Kimi ga Iru Dake de
3. You’re the Only…
4. Choushou
5. Shiroi Kumo no You ni
6. Shounen Jidai
7. Kimi ga Omoide ni Naru Mae ni
8. I LOVE YOU
9. Missing
10. Konomama Kimi Dake wo Ubai Saritai
11. Junko
12. Omoide ga Ippai
13. Time After Time ~Toki no Hate Made~ (CD Only)

1. GET BACK IN LOVE

Beginning this second cover album off, GET BACK IN LOVE is kind of a relaxing lounge song to listen to.  I mean yes, Hitomi’s vocals are pretty awesome still.  I’m surprised it’s this fitting in such a style like that and I’m liking her cover of this.  I think the best was the interlude before getting louder and more better.  I’m impressed with this song.

2. Kimi ga Iru Dake de

One of the promotional tracks, Kimi ga Iru Dake de is a pure strings/piano ballad and while Hitomi’s ballads show off the best vocals from her, Kimi ga Iru Dake de got it right.  It’s got enouigh to not make me bored and Hitomi’s vocals are just amazing in this song.  It definitely makes up for the borefest in “Nakitai Nara” for sure.  Simple ballad, but definitely a strong track from her.

3. You’re the Only…

While I know Hitomi has been releasing these mid-tempo songs since “Flare”, You’re the Only definitely put me back into a dark place at first because the verses were so meh  I guess it got better than the other tracks because Hitomi’s singing a lot more and I don’t think I’ve heard her radiate so much passion in her songs.  Strong song as well.

4. Choushou

We get into an acoustic tune next with Choushou.  It really does pull the heartstrings for sure, Hitomi just sounds so sincere and beautiful and it’s so I don’t know emotional I guess?  Definitely one of those songs you’d have to hear to really understand.  Amazing tune right here.

5. Shiroi Kumo no You ni

Probably the most energetic song, Shiroi Kumo no You ni has a pretty distinct sound from the rest of the album because it sounds more pop/rock.  Problem is is that her vocals are not as good as in the previous tracks, but I guess it’s passable.  Maybe needs a little more oomph.

6. Shounen Jidai

I love how fireworks opens up our next tune.  Other than that the song oddly just flies right by me without anything really positive or negative to say about it.  It’s a ballad of course, but there’s just something that doesn’t quite make it stand out good enough, but I do love the piano, oboe, and strings together.

7. Kimi ga Omoide ni Naru Mae ni

Strings open up our next song and annoyingly the strings open the song up on one side of my headphones before opening to both…Once again, I’m feeling rather bored with the song since it plays a little too safe.  Sorry to say, but the song is another pass.

8. I LOVE YOU

Oh boy, this title is so ORIGINAAAAAL.  Why are we getting a string of ballads all of a sudden?  I LOVE YOU is a little more R&B like than the others and it’s not too bad of a song really.  It’s still rather plain against other songs so that’s not a good thing, but Hitomi still is sounding really nice.  I think she could’ve done better but w/e.

9. Missing

Another piano/strings ballad appears and Missing is definitely missing something in the song.  It’s maybe a little too slow for me and doesn’t move forward as it should which is pretty bad IMO.  I guess it’s alright, but still not as good as her previous ballad on the album.

10. Konomama Kimi Dake wo Ubai Saritai

I don’t know why but whenever I listen to this song, it really reminds me of something I’d hear in a Charlie Brown special.  It’s just that smooth and has distant everything throughout.  Song flows nicely throughout and made a way better song than that crazy “Missing”. 

11. Junko

I kind of like the weird instrument opening Junko up.  It’s like a more chiller version of “Shiroi Kumo no You ni” with it’s more acoustic pop sound, but it’s definitely kind of right with her.  Junko though does seem to be in between the various songs off the album, like it’s soft…but it’s catchy…it’s that difficult to really explain.

12. Omoide ga Ippai

I actually remember this track because it’s an anime opening so I’ve already listened to other covers.  I think Hitomi’s cover fits nicely on the album it’s on, but otherwise it just seems more of a “Flare” song than anything else.  Especially with the Mediterranean sound going on, it’s nice.  I’m liking the song, but iono I’m just tired of the album.

13. Time After Time ~Toki no Hate Made~

For an album called “Otoko Uta” it confuses me why there’s an “Onna Uta” track on the album.  Covering the famous Cyndi Lauper tune, Hitomi’s is quite different from the others because she is singing a JPN cut of the song.  Her cover of the song is R&B like Sowelu’s, but a whole lot slower with more piano.  Her cover sounds really pretty since it is Hitomi we’re talking about.

Tracks Recommended

• Choushou
• Time After Time ~Toki no Hate Made~
• Kimi ga Iru Dake de

Song of Avoidance

• Kimi ga Omoide ni Naru Mae ni

Hitomi’s 2nd cover album was good at first but then it started to slip once we got further in the album.  I mean I’m up for soft pop songs, but this was just torture.  She really needs to step her game up again because this was just evil.  I really need another “Falco”, “Shinku”, and/or “Perseus”.

Hitomi Shimatani – Yasashii Kiss no Mitsuke Kata September 18, 2009

Track Listing

1. Yasashii Kiss no Mitsuke Kata
2. farewell
3. Kaihouku (one love remix)
4. Yasashii Kiss no Mitsuke Kata (Instrumental)
5. farewell (Instrumental)

1. Yasashii Kiss no Mitsuke Kata

Oh Hitomi, you weird me out sometimes with your music.  Yasashii Kiss no Mitsuke Kata is a rather light pop tune with light reggae touches to make it sound “fresh”.  That being said, I don’t really find it that memorable because well Hitomi is singing flat I think.  I don’t know it just doesn’t sound like she’s trying to keep it in tune this time.  Though in the middle, there’s a flute solo and talk about odd.

2. farewell

I’m not sure how to describe farewell’s arrangement.  At first it sounds like bhangra…but then it just turns into a mix of R&B and pop.  While it does sound like one of though ethnic tracks that she does sometimes, this one felt a little tacked on about as much as the A-side.  There was a latin guitar solo, but that made things even more off-balance.

3. Kaihouku (one love remix)

If things couldn’t get worse, we get a reggae remix of Kaihouku her 2nd single.  The album version continues to be the best version as the remix is just nasty.  I mean it sounds a bit like “Yasashii Kiss no Mitsukekata” and that right there is just not right.  Add in the mehness already from Kaihouku and you get this song. 

 

 

I’m sorry, but right now this is Hitomi’s worst single right now.  I didn’t exactly enjoy the reggae-ness of the A-side and the remix and farewell was just a hot mess.  Definitely a terrible way to begin the “SHANTY” era.