X / Jealousy (Special Edition) / February 14, 2007
Miscast / 07. Stab Me in the Back
Voiceless Screaming (Instrumental)
X Japan is pretty much the reason I invested so heavily into Japanese rock and pop music in the first place. In fact, Jealousy was the very first Japanese CD I ever bought, way back in 1999. Up until that point, I had heard plenty about the band from online mailing lists and the like, but I had never heard one song by them except “Crucify My Love” which was a dangerous starting point, considering the genre culminating the bulk of their discography. I was quite startled to find their CD in a downtown, independent music store that I frequented and absolutely loved until it closed down. I left the store without purchasing it, as I found the $40 too much to spend on ten songs but the CD stayed on my mind all day until I decided to buy it on the way back home.
I popped the CD into my player and proceeded to hear the opening strains of a quiet piano solo. It was quite beautiful, or something like it. The next song started up and again, a haunting piano melody came up and I thought, Dear Lord, the whole CD better not be all piano and then boom! the drums kicked in and a saucy little guitar riff and the next 7 minutes and 15 seconds rocked my little world. The next song started up, even better than the one before it. “Miscast” entered with pounding drums accompanied by sweet guitar solos and plenty of nonsensical calls (“Game is over! Game is over! Miscast! You are fired!“) and is probably the best rock song on the album, infact, despite its understated praise. “Desperate Angel,” track number four, was just as good, with an extra 80s glam-band drum intro. “White Wind From Mr. Martin ~Pata’s Nap” was probably the only track I found myself skipping, a listless acoustic guitar solo from the rhythm guitarist du jour of X Japan, the curly haired Pata. “Voiceless Screaming,” another acoustic number, this time with vocals, was also a rather dull listen at first, but the power and intensity of Toshi’s vocals coupled with the understanding of a rather polished Engrish language had me attached to the song in no time.
With track number seven, “Stab Me in the Back,” the whole album proceeded to finish with dizzying triumph. “Stab Me in the Back,” a hide composition, was a short and bad-ass speed metal number worthy of the most nonsensical Engrish lyrics, but coupled with drive, melody, and screaming, lots of screaming, the angst of Toshi all coupled in the repeated shouts of “Stab me in the back!” before the electric guitar came in for more aural assault; definitely a track I overplayed plenty of times in my perceived angst-ridden childhood. “Love Replica,” however, was the song that captured me the most. Another hide composition, it was a simple, eerie, carnivalesque number with a French-speaking female elaborating on the mysticism of mirrors and butterflies and God knows what else. And at the very end of the ten track epic stood “Say Anything,” the only Yoshiki ballad on the entire disc, wrapping up the gift with shiny bells and pretty bows and a beautiful, tear-jerking finish.
Needless to say, I played this album obsessively for the better part of the last stretch of grade school. Without it, I probably would not have gotten into hide’s solo work as much, my greatest gateway drug to other Japanese visual kei artists. Just as T.M.Revolution and Two-Mix bourgeoned my interest in Japanese pop music (Ayumi Hamasaki, Rina Aiuchi, move, etc.), X Japan brought my attention to Dir en grey, Luna Sea, etc. All because of a little album released in 1991.
X / Blue Blood (Special Edition) / February 14, 2007
X / 04. Endless Rain (Instrumental)
Blue Blood captivated my interest slightly less, although considerably more than Vanishing Vision, the X Japan album I’m least interested in (probably the second album I’m most interested in is DAHLIA). Blue Blood contains “Week End,” a slightly less hurried song that culminated in an ecstatic live version during the DAHLIA TOUR 1995. But most importantly, it contains “X” the quintessential X Japan-anthem, as Toshi screams “X!,” a triumphant exclamation that renders fans during the lives completely servile to the jump-up-and-make-an-X-with-your-hands dance. The second most stand out track to me was “Orgasm,” a frenzied four-minute combination of Yoshiki’s unmistakable lightening paced drums and hide’s hurried, erratic guitar screeching, reminiscent of the typical X Japan rock number, morphed into a twenty-four minute live event during the DAHLIA TOUR as the band members jumped around, screamed, riled the crowd up, and Yoshiki pranced through the crowd with a fire extinguisher as fans grappled to savor a mere touch of him; probably the best twenty-four minute “Orgasm” you will ever have. The rest of Blue Blood…meh. Sure, I like it (“Endless Rain,” “Rose of Pain,” “Kurenai””), but Jealousy has always ranked above it, perhaps because of the nostalgia and credit I owe to it.
However, because of their early production, Jealousy being released in 1991 and Blue Blood 1989, the quality was always slightly questionable. However, as of February 2007, you can purchase the re-mastered editions for a limited time; sales stop May 2007. jrocknyc spoke of the lackluster quality brought to the reworked edition, although there is at least a noticeable volume increase and slightly more distinct sound, but altogether nothing amazing. However, there are still other bonuses you can enjoy from the CDs: each comes with an extra disc containing instrumental versions of the songs; good for those karaoke fiends and allowing for a closer inspection of the instrumental masterpieces created by Japan’s most popular rock band pretty much ever.
In other news, on February 11, Toshi, lead vocalist, guy who broke up the band, joined a cult, and shunned his former rock-star life, announced that X Japan would be reuniting to mark the band’s 25th anniversary. I’m still not quite sure how to react to this news. I mean, the dude renounced his former life and ruined a good portion, if not all, of Yoshiki’s musical career (I know since X Japan he has managed to gain a minimal amount of press for Eternal Melody II, Violet UK, (the Chinese Democracy of Japan), and various other small projects, but he has not managed to produce anything of much startling significance because I guess the false promises is how he rolls). Not to mention that, umm, he broke up the band. Sure, sure, they were all pursuing various solo careers, blah blah blah. Choose to believe what you will, the group is reuniting, sans the lead guitarist hide. Because he’s, you know, like…dead and stuff.
♫ Official Site
Buy Special Edition Blue Blood / Jealousy
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