Yamapi: An alternative greatest hits collection


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-”

“Crazy You”
“Hadakanbou (Album ver.)”
“Saigo no LOVE SONG”

“Hit the Wall”
“Baby Baby”


“Birthday Suit”
“Konya ga Kakumei Zenya”


“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.

Top ten albums of 2015: Honorable mentions, Bollywood, etc.


Honorable mentions:


callme’s Who is callme?: More than just Perfume knockoffs, this is a solid electro-pop debut that runs just a little long at 16 tracks.

Arashi’s Japonism: Idol seniors expand on the recent national pride movement with an album heavy on traditional instruments. I’ll give them their due.

JUJU’s WHAT YOU WANT: Fun disco-pop from an underrated stateswoman of J-pop.

AILEE’s VIVID: R&B vocal powerhouse finally given songs that aren’t just Beyonce-replicas (bonus points for the track featuring Amber).

Flower’s Hanadokei: Ballad masters hit all the sweet spots with this beautiful collection of slow-tempo torch songs.

Hey! Say! JUMP’s JUMPing CAR: Fun boy band idol pop that see-saws between cutesy idol pop and EXILE-light jams.

The Only Three Bollywood Soundtracks You Need, 2015:


01. Amit Trivedi: Bombay Velvet
02. Sanjay Leela Bhansali: Bajirao Mastani
03. A. R. Rahman: Tamasha

Top Ten English Language Pop Albums of 2015:


01. Adam Lambert: The Original High
02. Justin Bieber: Purpose
03. Ellie Goulding: Delirium
04. Selena Gomez: Revival
05. Madeon: Adventure
06. Carly Rae Jepsen: E-MO-TION
07. One Direction: Made in the A.M.
08. Hilary Duff: Breathe In. Breathe Out.
09. Marina and the Diamonds: FROOT
10. Miami Horror: All Possible Futures

Top ten albums of 2015, #1: Ai Otsuka’s LOVE TRiCKY


Ai Otsuka: LOVE TRiCKYaiotsutrickapp

I still haven’t found a sexier song this year than Ai Otsuka’s “affair.” I still haven’t found a better beat  than Ai Otsuka’s “laugh” (BT’s “Lifeline” is the only thing that comes close). I still haven’t found an artist more willing to evolve and change, while staying true to the core, underlying message of all of her albums this year, than Ai Otsuka. There’s always a possibility that this wouldn’t work out for someone else attempting this advanced level of sorcery, but LOVE TRiCKY‘s magic lies in the hands and incantations of producers like STUDIO APARTMENT. Together they’ve conjured the perfect mix of wide-eyed wonder and chilly intimacy. Her sales are doing worse and everyone thinks she’s sounding worse: I think Ai Otsuka is only growing and getting better, willing to take risks that just so happen to keep working out. You can read my further analysis of this album over at the full review here.

Top ten albums of 2015, #2: Wonder Girls’ REBOOT


wondergrroeappWonder Girls: REBOOT

The praise that rolled in for Wonder Girls’ comeback REBOOT are not without cliches: “late 80s nostalgia,” “synth-pop that is so utterly ’80s it defies logic,” “a vintage synth-pop dream on VHS,” etc. It’s simply impossible to talk about this album without using the words “retro,” “vintage,” “synth,” or “throwback,” so let’s skip them and get to the heart of why this album succeeds where so many have failed: this album is the perfect marriage of a razor sharp understanding of pop music and the skills of master producers who use just the right sound effects to achieve that scary-good level of authenticity. It’s the addition of a visually accurate mock up of all the best and worst things we loved about 80’s music videos. It’s the keytar. It’s the breathless vocals and cascading star bursts on “Candle,” the drawn out “eh eh eh”s on “Baby Don’t Play,” the alluring anonymity of “John Doe,” and the euphoric, chilly shadows of “One Black Night.” REBOOT isn’t just an attempt to revive the best of Madonna’s golden era, or cleverly appropriate a culturally significant touchstone as the title, it’s a thank you to the decade that taught us how modern pop music should be made: with an emphasis on the now, on how it should be listened to after the fact, and how we should see it when we get older. There’s nostalgia, yes, but all of our accumulated nows, too, everything we’ve heard and experienced to help us appreciate what a wonderful “then” it was, without having to sacrifice our own “now” to have it: we get K-pop AND Carly Rae Jepsen AND Donna Summer AND The Beach Boys (if that’s your thing), and what a wonderful world we live in that we can experience all of it in what was once the distant future.

Top ten albums of 2015, #3: SHINee’s Married To The Music


SHINee: Married To The Musicshineemarrapp

Girls’ Generation might have been around longer than SHINee, but not much longer — SNSD debuted with “Dasi Mannan Segye (Into the new world)” in 2007, while SHINee released their first single a year later in 2008. But the boy band has managed to avoid many of the potholes that seem to be tripping up the girl group, which is mostly to say, that while the quality of SNSD’s music declined, it took a sharp nosedive after the departure of Jessica; SM Entertainment truly does not care about Girls’ Generation anymore. Maybe they always sensed a waning interest, maybe they understand how fragile a group can become when the original members are no longer intact, or maybe they sense the futility when there are so many new girl groups who are doing SNSD so much better than they can, and maybe that’s why sister group f(x) (also under SM) also got the short end of the production stick (in this case, pretty much everyone agrees that f(x) got SHINee’s leftovers; great leftovers, and yet).

Odd was released in May of this year, followed three months later by this repackaged version, Married To The Music. It’s essential that we examine MTTM, rather than Odd, because the former contains two extra songs that I simply can’t live without, particularly “SAVIOR.” This is an album that grows on you, rather than pulling you in from the beginning, the type of songs that take root and blossom over time. These are mostly jazzed-up R&B songs, deep-fried in pop, the kind that SM is famous for, with an ear worm of a 90’s house lead single. Despite all the vocal flourishes and genre influences on this album, it never feels overwhelming. Instead, it feels like just the right mix of dance, hip-hop, and five unmistakable vocals, coming together in a fun, understated declaration of what victorious staying-power sounds like.

Top ten albums of 2015, #4: Red Velvet’s The Red


redvelvettheredRed Velvet: The Red

A lot of the criticism that Red Velvet gets stems from their perceived inheritance of everything f(x) lost with the departure of Sulli. They’re considered knock-offs, the worst kind, that don’t even get original material but hand-me-downs and rejects, the stuff f(x) probably took a hard pass on. But it’s impossible to compare the two when f(x) released such a dismal follow-up to two of the greatest K-pop albums of all time. I didn’t hate 4 Walls, but it certainly has none of the subversive elements of Pink Tape or ambition of Red Light. Even if you like both SHINee’s “View” and title song “4 Walls” despite the fact that they’re so similar (maybe that’s why you like them? I know I do), it’s hard to find redeeming qualities in duds like “Glitter” and “Traveler.”

On the other hand, label mates Red Velvet might still be considered rookies, but their album sounds more like what 4 Walls could have been if it wasn’t constrained by f(x)’s need to stay so Insta-hip. “Dumb Dumb” has the effusiveness of “Cheos Salangni (Rum Pum Pum Pum)” even when it doesn’t have any of the underlying mystery. Unburdened like their veteran superordinates, Red Velvet is able to embrace tried-and-true K-pop formulas like “Huff n’ Puff” and “Red Dress,” songs that might not be particularly special, but that have such high production value and catchy staying-power, it’s impossible not to find yourself scrolling past 4 Walls to get to The Red again. “Oh Boy” knows all the right ways to emphasize keyboard, while more R&B numbers finally perfect the group’s earlier attempts with “Automatic.” By the time “Cool World” hits, it’s easy to forgive SM’s relentless attempts to keep reminding you they created once-legendary group Girls’ Generation and would like to continue breaking out that sound just to remind you on “1 Day.” The Red might not be a perfect album, but it has so many hooks hanging on impeccable arrangements, it makes 4 Walls sound less and less the cool comeback it was supposed to be. It’s official: Amber too good, too pure for this world.

Top ten albums of 2015, #5: Namie Amuro’s _genic


Namie Amuro: _genicnamgenicapp

Namie Amuro has been flourishing in her senior year as a pop singer: everything she does is cool and effortless. She is a master of keeping her audience interested with her quiet, unassuming presence, her lack of social media exposure, and her insistence on a level of professionalism that defies logic. She’s the blueprint of what the media might call an “ice queen.” She’s where fans still find inspiration for everything from fashion to ambition. There’s no shortage of hardworking women in pop, but Amuro is almost obsessed in her pursuit of making it look so easy, without ever sacrificing her privacy.

Despite that, it’s no secret that all of the songs on _genic were selected by Amuro using a simple process: as soon as she heard the intro. Despite the fact that less and less singles are being released by our living legend (and when Amuro does, they don’t even appear on albums anymore — her excuse? they mess up the vibe), each song on _genic could be a hit song: it grabs you and piles on hook after hook, like the opening guitar of “Photogenic” which literally boasts its best feature upfront. From the blaring horns on “Golden Touch” (and its viral PV), to the pleasant number of dance-pop show pieces like “Scream” and “Stranger,” the album is textbook pop. Some of the best songs aren’t even the obvious ones (my personal favorite is “Space Invader,” where she cheer leads a series of irritations that segue into exposing grievances against the most annoying person you know; it’s a fuck you, but classy-like), like the unassuming grace of the only slow song on the album, “Anything,” a kind of updated “Heartplace” on acoustic guitar.

Of all of my favorite female solo singers, I can see how Namie Amuro might be pinned smack dab in the middle, neither safe, nor too risky. Hers is a calculated sound, the pop music that can’t fail, that’s so inoffensive it might be boring. It’s easy to dismiss the album because there’s only one “Golden Touch,” and a dozen “Neon Lipsticks,” or because there’s an opaque shield over the entire affair. No, this album is for those of us who go nuts when we watch Amuro perform and finally catch her crack an unintended smile, a small giggle, a tiny glimpse into the human behind the carefully crafted pop star who’s so determined to keep us happy, but guessing.