Archive for August 2010
- In: Pop | Rock
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Since I’m on the topic of Oricon no. 1 songs, and since this song is a favorite of shuichi on Lang-8.com, I would like to talk about Mr. Children’s breakout hit “Tomorrow Never Knows”. The song was released in November, 1994 to massive success. The fledgling band sold 2.7 million singles, practically assuring their success for years to come. The single was used as the OP to the drama “Wakamono no Subete” (All About Young People).
The song begins with a pleasant sequence with doubled piano and glockenspiel, moving to a very dated Fmaj – Gmaj progression with off-beat hat hits. This section begins the verse, which describes feelings of regret and nostalgia over youth. The opening lines of the chorus (償う事さえ出来ずに今日も痛みを抱き) are very moving and talk about the singer’s inability to reconcile the pain of his past with his future ambitions. Ultimately, the lyrics of the song are optimistic, even if the future is uncertain. The last line states ambiguously, “I’ll go wherever my heart leads me, toward an unknown future.” (心のまま僕はゆくのさ誰も知ることのない明日へ）
A song about missed opportunities, regrets, remorse and an uncertain future made it to the top of the Oricon Chart?! Seems a bit heavy compared to the 1994’s “The Sign” by Ace of Base, right?
Let’s put the song in context. “Tomorrow Never Knows” was released at the end of 1994 when the nation was in the throws of a recession. The seemingly-infallible, consumerist “bubble” economy had popped and lots of people were scared and disillusioned. Despite the recession, people bought CDs and other commodities to pacify their concerns, trusting in youthful, optimistic idols such as Namie Amuro and Tomomi Kahala.
Instead of the up-beat dance tracks of those girls (penned by none other than Tetsuya Komuro), Mr. Children took a completely different tact. They poignantly characterized the feelings of the era in “Tomorrow Never Knows” without hiding from the anxious atmosphere of early 90’s Japan. And, thus, the song became an instant classic, which for many people perfectly encapsulates the ethos of being young, being insecure, but putting one’s hopes in “tomorrow.”
Sources:
Yell – いきものがかり
Posted on: August 6, 2010
- In: Folk | Pop
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Toward the end of 2009, the band Ikimonogakari released the song “Yell” for the Junior High division of the NHK Nationwide School Music Contest. It’s clear that Yoshiki Mizuno (the band’s lead guitarist) wished to create a song that would be simple enough for a child to sing, but powerful enough to relate to everyone. As it turned out, he produced the right formula to take “Yell” to the covetous number one position on the Oricon charts. After an appearance on the widely-seen New Years Eve entertainment concert, Kohaku Uta Gassen, a number one album, “Hajimari no Uta,” and a slew of anime and television main theme contracts, Ikimonogakari has quickly attained mainstream success.’
You want my take? I think Yoshiki Mizuno is a smart person. With YELL (as well as with 「なくもんか」), He captures the simplicity of early 90’s dance hit J-Pop writing, along with several nods to the pop-folk sound of current artists such as Yuki and ayaka. I’m a total sap for harmonic sequences of all kinds, and the opening with its descending minor scale strikes me as quite touching.
The song is sentimental, but also hopeful. The most cheerful section appears toward the end of the song, leading to a climax of emotional intensity on “ひとりひとつ道を選んだ” (“hitori, hitotsu, michi wo eranda.” (poss. “everyone alone chooses a path.”)). Unfortunately, the brief excursion to the relative major, following a modulatory string instrumental, is not nearly as compelling as the theme.
Oshioka Kiyoe’s singing bears moments of pure bliss. Like ayaka, she does not shy away from the power of the female voice. She executes the simple words with painstaking attention to emotion. The second vocalist definitely lets Ms. Kiyoe’s voice shine, but gives enough juice for us to fall in love with her part as well. Constantly leaping above Kiyoe’s line, it seems difficult. Still, she performs Mr. Mizuno’s part with flair.
All of the pieces fall into place: the texture is applicable, the context is simple, the instrumentation is suitable, the group sounds great. But, doesn’t this seem a little too simple? While Ikimonogakari could be criticized for overusing the sequence, I really enjoy how the progression diverts our expectations at the third chord of the chorus, giving the chorus considerable emotional leverage. And, Kiyoe’s style fits this idea perfectly. Mizuno’s subtle craft ties together the whole package, the whole hermetically-sealed, top-hit-guaranteed packaged.
Score: ♡♡♡♡
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