Last week on January 27, Tomohisa Yamashita released his first greatest hits collection. As one of the few male solo singers in J-pop getting it right, it’s a shame that the album is such a pitiful example of the best this guy has to offer. Caught between traditional Johnny’s-pop and more mature dance music, I’m surprised this greatest hits isn’t spread across two discs! Yet, somehow, despite the wealth of singles, styles, and sheer number of songs to his name, apparently his record company was only able to find ten songs that they thought exemplified the best he has to offer. That’s right. Ten.
In case you’re looking for a complete starter kit on Yamapi, here’s a better collection of songs to get you started (I did the best I could, but apologies in advance for the lack of samples – he’s Johnny’s, which means you won’t find any of his work easily on YouTube, if at all). Let’s start with singles, because there are a lot of them, and it’s important to filter out the duds upfront so we can be honest about where things went wrong.
First there’s “Daite SENORITA.” Arguably Yamapi’s most well-known song, “Daite SENORITA” was also his debut single released ten years ago. Yamapi was still a member of the boyband NEWS at this point — actually, he didn’t leave until 2011, which is perhaps why so many of his later releases started doing poorly. Without the added benefit of NEWS fans, it was hard for him to gain a whole new set of fans, which left him scrambling to find them while still providing for the old with his more signature Johnny’s sound. This double life basically defines this guy’s career, so get used to picking through the mess to find the songs that speak to you. It was hard to find any songs off of Loveless worth adding here; there’s six to choose from, and none of them are bad, but none of them became fan favorites. All of these songs signaled Yamapi’s desire for a more “mature” sound, where “mature” means R&B, I guess.
Finally, Yamapi struck gold with “One in a million.” This is pop music at its best: it’s a love song, it’s a dance song, it’s the beginning of songs in the vein of old-school teen heartthrob odes, but with an updated sound. You can’t not include this song: it’s almost genius, and the only thing that could improve this collection is adding the remix he performed in concert as a bonus track. Shortly after this, Yamapi embarked on an epic American road trip across Route 66 to find himself and brought back “Ai, TEXAS” as a souvenir. While that explains the nature of this somewhat gimmicky single, with its twangy Americana, it’s still a great song. The B-sides “Candy” and “PERFECT CRIME” are even better. But since we’re running out of room, we’ll have to leave them behind and tack on “LOVE CHASE” and “NOCTURNE” to represent the EDM-vibe we’ll be hearing more of in a second. I’ve left “Ke Sera Sera” for the purists instead of “Beating,” but let’s just admit it’s a way better song. And I put “ERO -2012 version-” on there, though I couldn’t tell you why. It’s not particularly interesting. I’ve also included the one-off single he did under the name The MONSTERS with Shingo Katori from SMAP. It’s not a bad song and it has genuine gravitas with Katori on it.
You’ll notice that five singles are already on YAMA-P, with the exclusion of “Hadakanbo” (seriously, screw this single, does anyone even remember this song?), anything off Loveless, “One in a million,” (WHAT WHY), and “Ai, TEXAS” (HOW). It’s inconceivable how “One in a million” wouldn’t make the cut; I honestly can’t even speculate upon this matter. If they couldn’t include the original, why not that amazing, unreleased remix that was featured on the 2013 -A NUDE- tour? The world will never know.
So we still have tons of space left now for some of the edgier cuts from his albums; I doubled down so we could fit it all onto one disc. This is where I’m sure everyone’s opinions will diverge. I promise you, this is just my personal preference, so when you put your own playlist together for a friend, you can substitute twelve of your own songs. I’ve chosen a collection of fan favorites, with a balance of standard J-pop and more dance-pop (with help from which songs get the most love during concerts).
Plus, in 2011, Yamapi was also featured on Namie Amuro’s Checkmate!, a collection of collaborations she’s done over the years. “UNUSUAL,” her duet with Yamashita, was one of the new songs used to promote the album. Reader, this song is amazing. I have no idea why they wouldn’t put this on here: you had an amazing veteran of J-pop paired with a talented up and coming male solo singer and struck gold. I would rather have eight more collabs like this than any of the treacle m-flo comes up with. Namie Amuro performs this a lot on tour (without her partner, sadly), Yamapi not so much. One way of looking at it might be that this is more Amuro’s song: he’s guesting on her song, not the other way around. Let’s change that. Let’s put it on the greatest hits album and officially mark this as one of the greatest in J-pop for both of them. And there you have it. A much, much more precise, yet expansive, greatest his collection that both fans and newer listeners deserve. Take note, Johnny.
“One in a million”
“Ke Sera Sera”
‘”ERO -2012 version-”
“Hadakanbou (Album ver.)”
“Saigo no LOVE SONG”
“PARTY DON’T STOP (feat. DJ DASK)”
“Hit the Wall”
“SING FOR YOU”
“Konya ga Kakumei Zenya”
“LET IT GO”
“UNUSUAL (with Namie Amuro)”
There it is. 20 tracks. The closest we can get to summarizing Yamapi’s career in one hour seventeen minutes and forty-three seconds.