BoA [BoA] (First English Album)

I Did It for Love
Energetic
Did Ya
Look Who’s Talking
Eat You Up
Obsessed
Touched
Scream
Girls On Top
Dress Off
Hypnotic Dancefloor

The album starts off with the infectious I Did It for Love. This is a pretty addicting track and a nice overall start to the album. The arrangement was tech’d to death, but suitably so and it certainly has enough going for it to get your body moving and keep it moving. BoA’s vocals were obviously vocodered, but she pulled it off I really liked how assertive she sounded, almost bitter in a sense. I didn’t too much like Sean Garret’s part he sounded like a girl in my opinion, but luckily his small part doesn’t detract. The chorus is definitely the high light.

The next track on the album is the synthy Energetic. This track pretty much plays like the previous, only difference is the tech’d arrangement has been turned up a notch and BoA’s vocals are a lot more hard-hitting. This track isn’t bad and I can certainly see why people would enjoy it, but to me its pretty not interesting. The whole approach seems very played out and lame.

The next track on the album is the relate-able Did Ya. I can’t believe I’m about to say this, but I must give BoA her props for this track, there is nothing I like more than a tune about self-empowerment. The arrangement is rather cliche, I honestly don’t care for it, because it does nothing interesting and sounds like someone blowing air through a pipe or something. I did however like BoA’s vocals, not a trace of Engrish and she gave a strong vocal performance, so I was rather surprised by that. This song makes me think of Rihanna’s ‘last time’ song and I’m feeling it.

The next track on the album continues the tech with Look Who’s Talking. I first heard this song like pretty much everyone else during a live and I remember thinking she should have released this instead of ‘eat you up’ because its more in your face and stable. The arrangement is nothing different, but I did like the heavy static during the ‘me, me, me’ parts of the chorus. BoA’s vocals were once again very consistent and strong, which is just blowing my mind at this point. This track seems oddly short for some reason, but it does get its point across. It reminds me of her ‘i don’t give a damn’ song off her fourth korean album, kudos.

The next track on the album is the first single Eat You Up. This song, goodness. I still think its stupid, but its certainly catchy. BoA’s Engrish is rather glaring in this, which I found strange, because I hardly noticed it in the previous tracks. The arrangement is pretty addicting, I like. I don’t know, maybe this song is growing on me, or maybe I’m losing my mind…

The next track on the album is Obsessed. This song is interesting, I actually found myself liking it a bit. The arrangement is the typical techno, electronica fare, but it managed to play nice and hold my attention. I kind a really liked BoA’s vocal in this, pretty smooth. The chorus is the best part.

The next track on the album is the rather out of character Touched. I’m nearly speechless, this is so unlike BoA, but I think I like it anyways. The arrangement is same, but its very hard-hitting, despite the fact that it does nothing. BoA does not sound like BoA, I’m actually having a hard time believing its actually her singing this and not someone else. I mean I didn’t notice any Engrish and her vocal performance was so straight to the point and aggressive that I actually can’t not like this song… and its pretty lame to me. I mean I guess I just find it sexy in a non sexy way, if that makes any sense.

The next track on the album is the semi dark Scream. I’m not surprised by the direction in which this song went, very fitting. The arrangement is pretty interesting, gives one the impression of conflicted emotions and white flashing on and off in the darkness. BoA’s vocals are edged with a confidence that I like and are rather powerful in this track. I’m not sure if I really like this, but I do like the flow and the chorus.

The next track on the album is the remake of Girls On Top. It appears that BoA and Utada were both thinking the same thing: ‘lets take one of our best and most well-known songs and turn them into crappy English versions of there originals’ I’ll admit, this is a far cry more better than Hikki’s English version of ‘automatic’ but it still sucks. The arrangement is the same, but it sounds underwhelming compared to the fire of the original. BoA harps on about wanting to be herself and how she’s going to be herself and by the end I’m thinking, ‘who cares?’ you’ve never sung techno before, so just like everyone else all of sudden you decide to jump on the techno bandwagon and devote your entire first English album to it. Yeah, way to be yourself BoA. Pass.

The second to last track on the album is the tired Dress Off. This song is lame, simply lame. The arrangement is forgettable and sounds like some throwaway beat from Britney’s Circus album. Ah, speaking of Britney why does this song seem to be channeling her? I kept thinking of Britney singing ‘Don’t Cha’ from the Pussycat Dolls. I can’t even pretend to like this song, mostly because it doesn’t sound like BoA at all. I stopped listening at the ‘want to take my dress off’ part. How lame is that? Boo.

The last track on the album is Hypnotic Dancefloor. This isn’t a bad song, but I just realized while listening to it that I just didn’t really care how hypnotic the dance floor is. The arrangement was pretty same, though I did think the whole techno snap and clap beat was odd. BoA’s vocals are pretty psuedo sexual, she did a decent job. I don’t know this is an all right ending to the album, but it just seemed pretty stale and cliche to me… kind a like this whole album.

-GRADE: C
Rating: * star

BoA’s first English album BoA went pretty much in the direction I thought it would, I’m really not surprised that she decided to dedicate her entire first English venture to techno music and Britney Spears. I’m not being bias in the least, though I may come across as such. This album is as average as it gets, nothing more and nothing less. The beats are all pretty much the same, just tweaked to fit the flow of the songs. I found it odd that BoA’s Engrish was so absent yet ‘eat you up’ stands out as a glaring beacon of light. I mean it just doesn’t add up; either that’s one hell of a vocoder or there’s someone else singing these songs, because there’s no way her English can get so good in such a short period of time and if it has, my mistake. The songs are all pretty hit or miss and the only ones that I care for are ‘i did it for love’, ‘did ya’ and ‘look who’s talking’, the rest are as forgettable and throwaway as it gets, even if I did like those other three songs. I don’t get why Utada’s album got so much hate and people seem to be praising this, if you ask me BoA went down the same route Utada did in terms of music: BoA picked the genre that everyone seems to be interested in at the moment an ran with it, only difference is hers is a bit more mainstream and appealing. I don’t think BoA’s album is better than Utada’s in the least, Utada’s English album was just as average, but a lot more satisfying. If you ask me the sellout is BoA, not Utada. Utada’s been doing rnb since the beginning, how is she selling out doing the very genre of music that jump started her career? I don’t get that part. I’m not surprised that people enjoyed this a lot more than Hikki’s English album, its to be expected. Me? I’m with Utada on this one.

BoA [MADE IN TWENTY (20)] (Fifth Japanese Album)

Lady Galaxy
七色の明日~brand new beat~ (Nanairo no Ashita ~brand new beat~) (A Tomorrow of Seven Colors ~brand new beat~)
Winter Love
STILL.
SO REAL
KEY OF HEART
OUR LOVE ~to my parents~
no more make me sick
Revolution-code: 1986-1105 feat. RAH-D
Your Color
Prayer
Candle Lights
Gracious Days
LAST CHRISTMAS
Winter Love (Live ver.)

The album starts off with the thumping Lady Galaxy. This is a song I never really expected to like, but it grew on me pretty quick. The arrangement is really infectious, I mean it really sounds like she’s in space, and I love how when she talks it sounds like she’s speaking over an intercom, it was very creative. It also kept the song interesting, engaging and fun as well. BoA’s vocals were pretty good in this, I really liked the chorus, it was rather catchy. I hated the bridge, ‘use your imagination…use your imagination’ its just all so corny. I also don’t like how this song is just so short, its like you barely have time to enjoy it because right when you get into it, it seems to just end. This was a good opening to the album though.

The next track on the album is the vibrant Nanairo no Ashita ~brand new beat~. I can not believe people were branding this song, ‘bland new beat’ I mean how can you not like this song? I love it to death. It reminds me of a more tamer version of Shine We Are! and when it plays it fills the room with color and makes me content with life. I love the arrangement its so wonderful and just makes you think of hanging with your close friends and just being silly and having a good time with each other. Its so sparkly and nice. I really adored BoA’s vocals in this song, especially during the bridge and when she starts ad-libbing towards the end. Ah, this song is so special, I never get tired of hearing it!

The next track on the album is the dull Winter Love. I’m sorry but this has gots to be one of the boring-est songs I have ever heard in my life. I mean, every time I hear this song I just go into such a daze because it is just so impossibly boring. It goes absolutely nowhere, the stale arrangement (which does give off a winter-like feel) nor BoA’s strained to death vocals. I don’t understand why people like this song, its really just the dullest. Yawn.

The next track on the album is the down-tempo STILL.. This song isn’t down-tempo per say, but its somewhere along those lines. The arrangement is rather smooth, I want to say rnb so bad, I mean it is, but like a very light rnb, which is so rare coming from BoA, well the Japanese music side of BoA. It was nice. BoA’s vocals were very casual, really flowed well with the music. I mean this song can seriously go completely over your head but it has a nice chorus and the arrangement shines.

The next track on the album is the mid-tempo SO REAL. I always confuse this and ’still’ with each other, because they seem very similar to me. The arrangement for this song is like a lighter version of the ‘lady galaxy’ arrangement, as it sounds very space-like. Its a bit different, but nothing memorable. BoA’s vocals were nice, I liked her voice most during the chorus, she seemed to get into it a bit even if she did sound like she had a slight cold. This song offers a taste of rnb, but manages to play so plainly. I still like it though.

The next track on the album is KEY OF HEART. This is another good song from BoA that seems to get no love. I mean I’ll admit, it offers nothing we haven’t already heard from her, but I like it because its just so care-free and really embodies a special type of love. The arrangement is very fresh and seems to wash over you in such a soothing way, but it also carries a sadness to it that is very captivating. I really liked BoA’s vocals in this song, the slow somber way in which she sung the verses and then the rush of the chorus and the highness of the ad-libs, I really like this line: ‘i’ve been in love too hard’ I wonder if that’s what she says though? Anyways, I like this song. However, I like the Korean version more… the Korean video to this was also world’s above its Japanese counterpart.

The next track on the album is the down-tempo OUR LOVE ~to my parents~. This song really reminds me of her Korean song ‘my prayer’ these two songs are really quite similar. Japanese-wise, I’ve never really heard a song quite like this from BoA. The arrangement is pretty plain, it has a taste of rnb well, its actually quite rnb-ish and though its nothing memorable it does go with the whole flow of the song. BoA’s vocals were good in this she kept it simple with deep and or low vocals and she really pulled it off. I liked the chorus, but I thought BoA could have put a bit more into this song, other than that its a nice and pretty emotional listen.

The next track on the album is the somewhat mid-tempo no more make me sick. Its a relief to finally hear something a bit different and I like how experimental this track is. The arrangement is pretty tech-ish, it makes me think of the dark though. Its all right, but nothing overtly interesting and it did kind of go with the song. BoA’s vocals were interesting, I really liked it during the chorus and the: ‘no more make me sick’ it was good to hear BoA playing with a new sound, but she still has a ways to go. I really like this song though.

The next track on the album is the up-tempo Revolution-code: 1986-1105 feat. RAH-D. This is definitely one of BoA’s strangest titles, if not the strangest, because it seems to carry no meaning but I’m quite sure it does. I stumbled upon this song on accident, I was suppose to be listening to ‘did u’ by Namie but ended up listening to this, I didn’t like it. I then listened to it on the album and found that it wasn’t a half bad song, it was actually pretty interesting and with some bass can actually get you up and moving.

The next track brings the pace back down with Your Color. I have never too much cared for this song, but it certainly sticks to my memory banks longer than winter love its a ballad of course, but its not a very interesting one. The arrangement is appropriately slow and mood setting and BoA’s vocals are all right if not a little underwhelming for a song like this. I mean it doesn’t ask for much, but her vocal performance did seem a bit weak especially compared to ‘OUR LOVE ~to my parents~’ I also thought the song was a bit awkward, which made everything a little strange. I still like this song though, considering.

The next track on the album is the clunky Prayer. I have never liked this song, at least I don’t think. I don’t like how I keep thinking this song is down-tempo, but its actually mid-tempo–though it plays like it should be up-tempo. This song is quite average and mediocre. I really hate how awkward and generic the arrangement sounds, its really bland. BoA’s vocals are a bore and she sounds just as awkward as the arrangement. This is one uninteresting song that should be interesting but just fails in that regard because it offers nothing and leaves your mind as soon as it ends. It also sounds quite filler-ish and random.

The next track on the album brings the pace back down with Candle Lights. After the lack luster last track I was grateful for a soothing slow jam. BoA has plenty of ballads and several of them are pretty damn good, this one is kind of in the middle. I really like the arrangement, the plucking of the guitar really gives off a very intimate setting and feeling and it brought meaning to the title. BoA’s vocals were decent, but I did feel as if she could have done a bit more, this song just doesn’t stand out as much as it should. This is a lot better than ‘winter love’ but even so, its still pretty unmemorable. I like it though, its all right.

The next track on the album is the feel good Gracious Days. I absolutely adore songs like this, I just can’t get enough of them. This track always reminds me of Ayu’s ‘beautiful day’ they both have the same vibe. The arrangement is clear, crisp and very nice on the ears. BoA’s vocals are just love, I mean it wasn’t a knock out vocal performance but I thought she did a good job with it. The chorus is the high light, I just love how it makes you want to smile truly. This is a wonderful song, I really wish more artists would come out with ’sunshine after the rain’ type songs like this.

The second to last track on the album is the bonus LAST CHRISTMAS. I’ve always liked this song and I listen to this Christmas song from her more than I listen to ‘meri kuri’ BoA’s English is questionable (I always think she says ‘with a fly in his heart’ but I think she’s saying ‘with a fire in his heart’), but I thought she did a pretty good job.

The last track on the album is Winter Love (Live ver.). I’m not sure why BoA felt the need to add a live, but I like this song even less now… thanks BoA.

-GRADE: B
Rating: ** stars

BoA’s fifth Japanese album MADE IN TWENTY (20) was a good album but compared to OUTGROW its definitely a step down. I really liked this album when it first came out, for some reason it just seemed a bit different to me compared to her previous Japanese albums. I guess that was because this was the first time I actually heard some form of rnb on her J-albums, even if it was a bit watered down and unmemorable. This album plays like all her previous albums, just a bit more on the average and mediocre side. I never really have a problem with BoA’s album openers and ‘lady galaxy’ certainly was a lot more bearable than ’silent screamers’ the up-tempo tracks though oddly seemed to lack that ‘oomhp!’ that they’ve always had and in turn played more like mid-tempo. ‘Brand new beat’ and ‘key of heart’ are still very stand-out considering. BoA’s down-tempo songs were a bit on the boring side, normally BoA has some very good ballads but the way these played really just drags you way down. ‘Our love ~to my parents~’ was pretty good and so was ‘candle lights’ in a sense, but the others are pretty dull, the most glaring being the snore-fest that is ‘winter love’ I’m not sure why, but this album seems pretty unmemorable, I mean it just plays like one of those things lost to time in forgotten. I guess this was the start of BoA’s disinterest in her music career and that disinterest certainly shows. MADE IN TWENTY (20) has some good authentic BoA tracks, I really loved ‘no more make me sick’, ‘gracious days’ and even ‘last christmas’ I’ll also give this album props because it definitely played better than THE FACE. Still, its a bit disappointing. This album offers nothing we haven’t already heard from her and better at that.

BoA [ID; Peace B] (First Korean Album)

ID; Peace B
Come To Me
체념 (Heart Off)
SARA
비밀 일기 (I’m Sorry)
안돼, 난 안돼 (No Way)
차마 (Every Breath You Take)
Whatever
I’m Your Lady Tonight
어린 연인 (Young Lovers)
이별준비 (Letting You Go)
먼훗날우리 (Someday Somewhere)

The album starts off with the infectious ID; Peace B. This is BoA’s very first single in which she dropped when she was thirteen and honestly for a thirteen year old she certainly brought it. I just adore this song, even after all this time I just simply love it. The arrangement is so pop its nearly cute, it sounds a bit futuristic as well, but its not really all that obvious. I wonder if the dominant sound I kept hearing was a violin? It made the song a bit dramatic. BoA’s vocals were really good, you could tell she was young but I thought she did a good job vocal wise considering. BoA has a nice voice and I really dislike how people seem to overlook that fact, not many people can sound like her. This is a classic or it’ll become a classic, because it never seems to get old and I always find that I enjoy it more and more each and every time I listen to it. A really good start to the album.

The next track on the album is the mid-tempo Come To Me. This song really sounds dated, but that’s not a bad thing. Its sounds more 90’s than new millennium and I think that’s one of the reasons why this song appeals to me so much. The arrangement sounds a bit similar to the previous track only less dramatic. I liked how BoA put a bit of variety into her tones, it really made it interesting. I liked her attitude during the verses and how she would hold her voice on certain parts during the chorus. This is a pretty underrated song from her, but its a pretty good one. Those type of songs always are.

The next track on the album is the rather dull 체념 (Heart Off). This song should be good, but its really just too boring and generic to be much of anything. I mean this is literally a song you listen to once and then never listen to again. I thought BoA’s vocal performance was pretty good though even if the arrangement wasn’t.

The next track on the album is the somewhat up-tempo SARA. Well, it actually plays more like mid-tempo. This has always been one of my favorite BoA songs, it reminds me of an more edgier version of ‘id; peace b’ so I always love listening to it. The arrangement sounds a bit rnb, watered down but its there, plus the random rap was a nice touch. BoA has some good vocals in this as well. The chorus is definitely the high light.

The next track on the album is the down-tempo 비밀 일기 (I’m Sorry). The first ballad of the album and I have to admit, I like it. The arrangement is really nothing we haven’t already heard before, its pretty unmemorable and oddly sparkly as well, but it does suit the song. BoA’s vocals are pretty light, she sounds so innocent and I get the whole apologizing to her lover for not being what he wanted or vice versa vibe from this song. Its not one of her ballads that stands out, but I always find it a good listen.

The next track on the album is the mid-tempo 안돼, 난 안돼 (No Way). OK, where did this song come from? Its so filler its almost amazing. The arrangement is giddy pop, that sunny days, jump in your car and lets ride pop and its nearly nauseating and way generic. BoA’s vocals are decent, but I just couldn’t find the will to care. The guy randomly singing/talking/rapping all over the place was very WTF? I mean what was the point of that, this song? Its forgettable and a bit annoying.

The next track on the album is the down-tempo 차마 (Every Breath You Take). This is a ballad from BoA that is very underrated but one I really like even though it offers much of nothing. The arrangement is appropriately angsty and BoA’s vocals–though obviously displaying how young she was when she recorded this–were nice. I have a soft spot for this track, though I think I like ‘i’m sorry’ a little more.

The next track on the album is the mid-tempo Whatever. This is the first true semblance of some sort of rnb on the album and its actually pretty decent. I mean it sounded surprisingly like 90’s rnb and gave me such an S.E.S. vibe. The arrangement is very typical, but in a sense it could quite possibly get your body moving, I found my own moving a little bit. BoA’s vocals are very casual in this song, I thought she pulled it off and didn’t sound too wannabe. The rap part was all right, I mean I didn’t care for it, but it seemed to fit in. I also kept thinking it was one of the Shinhwa members who were rapping?

The next track on the album is the peppy I’m Your Lady Tonight. This song is rather brief as well, its like you don’t get time to actually enjoy it even if it is a somewhat fun song. The arrangement sounds very bubblegum pop to me, but I strangely didn’t mind that fact. BoA’s vocals were awfully cute, even though I don’t think that was her intention, she sounded really young, though that’s because she was. This song is all right, but its not one I’d find myself listening to often.

The next track on the album brings the pace down a little with 어린 연인 (Young Lovers). This song is hit or miss; some will find it a nice listen despite the fact that it offers nothing and is your typical semi down-tempo track and others will find it a bore. I’m part of the former, I thought BoA’s vocal performance in this was nice–the arrangement played like water though, slow trickling water.

The next track on the album is the somewhat mid-tempo 이별준비 (Letting You Go). This is a song I never really paid attention to until I downloaded it one day and listened to it. What stands out the most about this song is how well BoA seems to hold those notes during the chorus, that alone makes this song worth listening to. The arrangement as well as BoA’s vocals are really laid back and that aspect made the song a bit enjoyable. Its not a song I listen to often, but every once in a while its a good listen.

The last track on the album is the whimsical 먼훗날우리 (Someday Somewhere). I heard this song a long time ago and absolutely fell in love with it, though it wasn’t this version or I believe BoA who was singing it, it was the Japanese version and I remember I use to listen to it everyday sometimes more than three times. I just really loved it. The whole atmosphere of the song just exudes a sort of magic and makes you feel free and loved. BoA’s vocals are quite good and I’d have to say she gave her best vocal performance with this song on this album, even beating out ‘id; peace b’ and ’sara’. I still like the Japanese version more, but the Korean version is good too and who would have thought it was originally BoA’s?

-GRADE: B
Rating: ** stars

BoA’s first Korean album ID; Peace B is good in a sense, but its terribly average. This album is quite dated and it came out in about 2000, but it sounds more like a 90’s release or something. BoA was very young when she recorded this and it shows, I mean its really no excuse there are a lot of singers who started out young and can belt out like they’re grown, so it was a bit off-putting and cute to hear her former childish vocals. The tracks on here aren’t really all that memorable but ‘id; peace b’, ’sara’ and ’someday somewhere’ definitely stand-out. ID; Peace B use to be one of my favorite BoA albums, but not anymore. I mean this was before the wear and tear on her vocals and when she was making average yet clever music, so its nice for nostalgic purposes, non-fans and even casual listeners will be mostly unimpressed and bored with it.

BoA [the Love Bug] (M-Flo loves BoA)

the Love Bug
the Love Bug (Big Bug NYC Remix)
the Love Bug (covered by BAGDAD CAFE THE trench town)

BoA’s 5th collaboration single starts off with the energetic the Love Bug. I really liked this love series thing m-flo had going on a while back, my favorite from the series is ‘love song’ with Bonnie Pink and my least favorite is the one with Crystal Kay. This one with BoA is definitely one of my favorites, it was a really good collaboration. They seemed to feed off of each other, as in BoA gave a good vocal performance as well as M-Flo and I loved how spot on it was when they were responding to each other. I believe I first heard this song through a live and I must say BoA really did her thang–this is a good rnb collabo track that in a sense a certainly get you up and your body moving as well as your lips singing along: ‘just tell me that you want me!’

The next track on the single is the Love Bug (Big Bug NYC Remix). This is a really good remix, a bit slower than the original, but it seems to bring the message home a lot harder. I think I actually like this remix more than the original song.

The last track on the single is the Love Bug (covered by BAGDAD CAFE THE trench town). I really couldn’t stand this remix when I first heard it, in fact I refused to listen to it all the way through because whoever is singing, it hurts. This is actually my first time listening to the song in its entirety and well its not as bad as I thought it was–you get use to the vocals after a while and the arrangement is pretty smooth. This is longer than the original and the remix, but it plays like both of them combined. It never seems to end.

-GRADE: A-
Rating: ** stars

BoA’s 5th collaboration single the Love Bug from the M-Flo loves series was pretty darn good. The only reason the minus is in front of the ‘A’ is because the original is a bit weak and the trench town version is draggy.

BoA [Merry Christmas from BoA] (5th Japanese Digital Single)

Meri Kuri
WHITE CHRISTMAS
Akahanano Tonakai (Rudolph the Red-nosed Reindeer) (Japanese~Korean~English)
THE CHRISTMAS SONG
First snow
Meri Kuri 2005 winter MIX

BoA’s 5th Japanese digital single starts off with the a-side Meri Kuri. This is a rather gorgeous Christmas song, that really gives off a wholesome feeling. The bells give off a very traditional and winter-y feel and the guitar gives the song a modern twist that actually fits. BoA’s vocals were nice, but she does strain a lot and its just glaring. I’ve always noticed that, I just never really paid attention to it, because when you really like a song you tend to overlook a lot of things, I couldn’t really overlook it this time around. It takes away from the song, but not by much, since you still find yourself enjoying it and singing along to the chorus. This is a really good original Christmas song from her, I hope one day she re-do’s it with a better vocal performance.

The next track on the digital single is its first b-side WHITE CHRISTMAS. I’ve never really liked this song or better yet its never been one of those old Christmas songs I could find myself getting into. I do like this song, when sung right it fills you with a nice warmth. BoA’s vocals were a lot better in this than in ‘meri kuri’ and this song is sung in full English. There’s of course an accent, but I thought she did a good job, I especially loved when she sung the, ‘and may all your Christmas’ be white…’ parts.

The next track on the digital single is its second b-side Akahanano Tonakai (Rudolph the Red-nosed Reindeer) (Japanese~Korean~English). I have a love–hate relationship with this song, I mean I use to love it when I was a kid, now I find it terribly annoying. BoA puts a nice twist on it and decides to sing it in three different languages: Japanese, Korean and English. I thought it started off on a pretty decent note, but it fell off towards the middle and when she got to the English part of the song it just crashed and burned. I’m wondering if the same person was singing the previous song because her accent is so obvious its almost laughable. Its safe to say I don’t like this at all.

The next track on the digital single is THE CHRISTMAS SONG. Ah, one of the best Christmas songs of all time by the late and great Nat King Cole. I never get tired of this song, how can one? I mean there seems to be no wrong way to sing this, but no one has sung it better than him yet and no one ever will. BoA’s English seems to be stable and this an I found that I enjoyed her cover of it, even if it isn’t all that memorable.

The last track on the single is its fourth and last b-side First snow. This is another original Christmas song from BoA, though compared to ‘meri kuri’ its pretty weak. The arrangement is winter-y and does give one the feeling of snow. BoA’s vocals were nice and I have to admit though this song can not compare with ‘meri kuri’ it does display a better vocal performance. I dislike that this was on Outgrow though, I really can’t understand why she included it on the album.

The last track on the digital single is Meri Kuri 2005 winter MIX. This is a lot slower than the original, and it boasts a better vocal performance. It seems longer though and that kind of dragged the enjoyment value down, its still a nice listen though.

-GRADE: B
Rating: ** stars

BoA’s 5th Japanese digital single Merry Christmas from BoA was pretty decent for a Christmas single. In terms of what the actual number for this is, I’m really unsure. I know this is a digital single, and its one of her Japanese releases. I didn’t know BoA had so many digital singles, but there you go. I use to really like this single, but my enthusiasm regarding it has died, a lot. Its pretty weak and not very memorable, not even Meri Kuri is memorable and I use to really adore that song. Its a good single to listen to, to get into the Christmas spirit though, so next Christmas I’ll be sure to give it a proper listen. I was also going to review this as well as Bonnie Pink’s CHAIN and KOKIA’s Christmas Gift album, but I ended up getting behind on my reviews in had to take a rain check on them. Eventually they will be reviewed, just not for a while.

BoA [LOVE & HONESTY] (Third Japanese Album)

Rock With You
Shine We Are!
SOME DAY ONE DAY feat. VERBAL (m-flo)
LOVE & HONESTY
Midnight Parade
Be the one
EXPECT
OVER ~across the time~
Kokoro no Tegami (心の手紙)
DOUBLE
Easy To Be Hard
Song With No Name ~Namae no Nai Uta~ (Song With No Name～名前のない歌)
Milky Way ~Kimi no Uta~ (Milky Way～君の歌～) (Bonus Track)

The album starts off with the up-tempo Rock With You. One of the greater BoA album openers. This song has a lot of energy, and I really like that. It has a great pop rock element about it, that really separates it from the sheer pop of her music. I already talked about the arrangement and how its very high energy, but its also consistent and really gives you this urge to get up and dance. BoA’s vocals were pretty intense, I thought she really brought a lot of personality to the chorus and made it interesting, I mean when she demands: ‘Hey! hey! Give me love!’ you can just feel it. I also liked the hook as well. This is one of those up-tempo songs you strangely never get tired of, because it just delivers.

The next track is the wonderfully poppy Shine We Are!. I never get tired of this song. I’ve listened to this so many times, I’ve seriously lost count, but I never once listened to it and got bored with it, or sick of it. Its just such an infectious song, that has the ability to make you feel good no matter how down in the dumps you are. The arrangement is so light and pop-ish to the point of it being near cavity inducing. I just picture a plethora of bright colors when I listen to this. BoA’s vocals were really nice, and it sounded like she was not only into the song, but enjoying it. This song really is a lot of fun, and a great song to sing on Tour: ‘Yes I’m gonna be the one, gonna take a chance!’

The next track on the album is the laid-back SOME DAY ONE DAY. This is a collaboration track feat. Verbal from M-flo. I always thought this song had a quiet rnb appeal to it, that really always made it appeal to me even if the song isn’t really all that interesting or memorable. The arrangement is pretty basic and slow-paced, but mellow and I liked that. There was a also a mellowness to BoA’s vocals, and a confidence that is very subtle. This song is honestly, quite boring, but I still find myself inclined to like it.

The next track on the album is the whimsical LOVE & HONESTY. This is a really nice song, that has a lot of variety. The arrangement gives off a very fantasy-like an sparkly feel that makes it very appealing, and keeps you interested and somewhat moved. BoA’s vocal performance was really nice in this song, even though she really didn’t do much with it, it still stayed consistent. I loved the echoes throughout, and just really the whole flow of this song. It gives you hope in concerns with love.

The next track on the album is the boring Midnight Parade. This song has always been a downer to me, I have never once listened to this song and actually enjoyed it. The arrangement is basic and a little too simple for my tastes. BoA’s vocals aren’t bad, but its like she’s singing this song in such an irritating way, that I found really got on my nerves, because it all seemed so forced. This song is just so lukewarm and forgettable. The only thing you’ll retain is the ‘Midnight parade’ of the chorus.

The next track ups the pace with Be the one. After the stagnant bore-fest of the previous track, it was good to hear one of my favorites. The arrangement is still pretty basic, but it has enough going for it to keep you interested. BoA’s vocals brought a lot of energy to this track, especially during the chorus where it felt like she really got into it. This song just doesn’t slow down, but keeps going at just the right pace, setting the right mood and keeping it there. Great song to sing and dance along too.

The next track keeps the fast pace going with EXPECT. I really didn’t enjoy BoA’s oddball English in this, it really took away from the song, luckily though the song makes up for it. The arrangement is a pretty basic BoA up-tempo one, it stays consistent and keeps the song going just enough to not lose your interest. BoA’s vocals were really good in this. This track is a lot more tame than Be the one, but it still manages to get its point across.

The next track on the album is the down-tempo ballad OVER ~across the time~. I have never liked this song, it has always come across as so long-winded and impossible to me. Its like BoA is trying to do too much and it isn’t working. I like BoA’s ballads, but a lot of the time they are seriously a chore, and that’s exactly what this song is, a chore. I like the arrangement, its pretty calming and nice, would probably make for a good instrumental, and its good for interpretive dance. BoA’s vocals are what ruins this song in the end. The tones she used are just very grating, especially when she tries to hit this note that just fails on so many levels. Plus, this song goes on for far longer than it should. This is not a bad song, its just one that I don’t really care for.

The next track on the album is the somewhat depressing Kokoro no Tegami (心の手紙). This song is really quite lovely and one that I would expect to hear on her earlier Korean albums like ID; Peace B and NO. 1. The arrangement is gorgeous, it really is. I love when BoA stops singing and just lets it shine, such a feeling of melancholy overcame me, it really made me sad. BoA’s vocals also came across to me as very heavy, as if she was holding back tears while singing this, it made the song quite poignant, especially considering her vocals were really good in this song. This was a really beautiful song, really took me by surprise.

The next track on the album is the up-tempo DOUBLE. Very rarely do I like a song and its accompanying video. DOUBLE is a rare case in which I like both. I thought the video was very creative, and I thought the song had a lot to offer. Its incredibly fast-paced, and even so you never get tired with it, it really does keep your interest from the beginning to the end. BoA’s vocals were powerful and energetic, and I liked that. I also liked the note she hit and held at the end. BoA really has the talent to hit hard with her up-tempo, dance tracks–DOUBLE is a shining example of just how hard she can hit it.

The next track on the album is the mid-tempo Easy To Be Hard. I first heard this song back when I watched BoA’s LOVE & HONESTY TOUR, and I remember thinking it was a really good if not lost song of hers. I mean this song really plays like a lost episode (not a television series), listening to it was a very odd experience. The arrangement was nice if not a bit child-like and innocent. BoA’s vocals were decent, but nothing memorable. This song reminds me of youth, and though it doesn’t really play like a sad song, it really does have a bit of a sad overtone to me. Its like a forgotten song, that lingers on.

The next track is the poignant Song With No Name ~Namae no Nai Uta~ (Song With No Name～名前のない歌～). This song is really just quite beautiful. I find myself loving this song more and more every time I listen to it. The arrangement is so sorrowful, it almost feels like you’re wilting, and you want to weep because of it. It’s just so moving, and I would love to hear the instrumental version of this. BoA’s vocals are quite intense, but very sad. Its like the end of a dream, that’s what this song sounds like. The end of a dream, the end of love. This song also sounds very incomplete to me, and this is something that has always bothered me about this track, it seems so unfinished. I wish she could have fleshed it out more, because its like it just ends. Still, this is a gorgeous song, and the title is just a whole bunch of sad, incomplete-like love.

The last track on the album is a bonus, Milky Way ~Kimi no Uta~ (Milky Way～君の歌～). This is a Japanese cover of the original Korean version off her Atlantis Princess album. Despite how much I loath Korean to Japanese or Japanese to Korean songs, I quite enjoyed this.

-GRADE: A
Rating: *** stars

BoA’s third Japanese album LOVE & HONESTY is still good this umpteenth listen around. I don’t know what it is, but I just never get tired of this album, no matter how many times I listen to it. I think its because the songs on here are just so good. This album has a fantasy like, whimsical appeal to it. Its like BoA was in the studio and decided to make an album in the form of a fairytale and thus LOVE & HONESTY was born. The album started out on a bang with Rock With You and ended on a somewhat calmer note with the Japanese version of Milky Way. A few of her best up-tempo songs are on here: Shine We Are! a song in which I never get tired of hearing and one in which always makes me happy and puts a smile on my face, Be the one, EXPECT and DOUBLE. BoA also had some really good slow songs on here, the memorable ones being LOVE & HONESTY which is one gorgeous song and Song With No Name which is one of the most simple and moving songs I have ever heard. Kokoro no Tegami is just beautiful and sadly a very under-rated song, as well as Easy To Be Hard which sounds like a lost song amid the hundreds of BoA songs. SOME DAY ONE DAY is one of those good songs you hear, but for some reason can never quite remember it. Midnight Parade and OVER ~across the time~ are just boring and forgettable. LOVE & HONESTY is like some sort of magical journey, an album that plays like a beautiful dream. Its my favorite Japanese album from her, and for good reason, it shows perfectly the talent she no doubt possesses.

BoA [Girls On Top] (Fifth Korean Album)

MOTO
Do You Love Me?
Girls On Top
If you were here
Love Can Make A Miracle
Addiction
Freak In Me
Garden In The Air
I Spy
Can’t Let Go
Heroine
Breathe Again (숨…)
Autumn Letter

The album starts off with the edgy dance number MOTO. This is a really great album opener, because from the minute it starts with the synthesized beat and ends, you’re hooked. It’s an incredibly catchy song, that really puts you in the: ‘Hey, lets get together and do choreographed and synchronized dance moves!’ BoA’s vocal performance was really intense, I liked how it just felt like she was really into the song, she put a lot of emphasis in her voice and made this just such a great and memorable track. It really makes you excited for the rest of the album.

The next track is the down-tempo Do You Love Me?. The first track left me a bit buzzed so it was a bit disappointing that BoA decided to slow it down. Luckily for her it was a good slow down. This song reminds me a bit of Beyonce’s Dangerously In Love, because its not really acoustic, but the arrangement is minimal enough to display her voice and allow it to shine. BoA can not compare to Beyonce vocal-wise, but she does have a bit of range. Though her vocal performance seemed genuine, it came across as  very show-offy; then again, what’s wrong with that? You’re proving to people that you actually can sing, and there ain’t nothing wrong with that.

The next track is the up-tempo Girls On Top. I never get tired of this song, it is just so upbeat and infectious. I love how experimental and edgy this song is. The arrangement really just pounds into you and gives you such a self-assured feeling, and not only that but its a great beat to dance too. BoA’s vocals weren’t all that, but she really brought power and energy to this song, to keep it consistent, interesting and engaging. This is one of those rare songs that an artist comes out with that just blows the listener away and they never forget it. This is definitely top ten best in her entire discography.

The next track on the album is the down-tempo If you were here. I really am a fan of BoA’s ballads, she does them just as much justice as she does her up-tempo’s and sometimes a little better. I first heard this song by chance when I was watching an AMV and absolutely fell in love with it. The arrangement really embodies a feeling of longing. BoA’s vocals were a little whiny but I did like how her performance came across as very sincere. I love when she starts aud-libbing towards the end and her tone goes a little high, it adds a lot of depth and emotion. This is such a wonderful, but terribly underrated song.

The next track keeps the down-tempo’s coming with Love Can Make A Miracle. This has gotta to be one of the most uninteresting and forgettable BoA songs, but I just adore it. The beat is just so calm and lovely on my ears. BoA gives forth a nice and very sincere vocal performance, and the: ‘Love can make a miracle’ parts, always tugs at my heart-strings. Its so true, and wonderful.

The next track is the pseudo-sensual Addiction. I’m thinking this song was suppose to be sexy, but it comes off as very rebellious. I don’t really favor this song. Yes, the beat is pretty addicting, its got a nice rhythm to it, and I can certainly see myself dancing to it, but at the same time its bland and repetitive. I did enjoy BoA’s voice in this, her tones were really spot on with the beat, its just that it seems that she was trying too hard to get her voice to sound like that, and it came across as very fake to me. I don’t know, I just dislike this song, and its not even a bad song. Weird.

The next track is the oddly bland Freak In Me. I’ve always rather liked this song, but listening to it now it just seems so lank. The beat plays like static, irritating static? BoA’s vocals are very lazy and uninspired, and the two combined just makes a perfectly good and catchy dance track, tragically limp and forgettable.

The next track is the easy-going Garden In The Air. This song reminds me so much of LONG TIME NO SEE from BoA’s OURGROW album that it really just blows my mind. The arrangement is rather sparkly and reminds you of the Big City (any Big City) at night. Its the type of arrangement that invokes sadness and happiness at the same time. BoA’s vocals were pretty interesting, she sung it in a nice tone, but it wasn’t a very impressive performance, and I felt she could have done a bit more with it. This is one of those songs I just never get tired of hearing.

The next track brings the pace back up with I Spy. ‘Meet me at the dance floor’ when I heard that line, I thought two things: ‘Uh…meet me on the dance floor’ and ‘Is this a sexy dance song?’ Well its not a sexy dance song, but its close enough. The beat is typical, but nice. BoA’s vocal performance was pretty good in this, especially in that one part in the bridge where her voice goes high, it sounded so Broadway. I thought it was very neat. I want to like this song, since its pretty decent, for an up-tempo dance number, but I just can’t. It holds my interest for such a brief time, and it comes across as so pointless and BoA trying a little too hard to be sexy and edgy at the same time. The combination just drowns this song in mediocrity.

The next track is the down-tempo Can’t Let Go. After the mediocrity of the last three up-tempo songs, if was good to finally hear a slow one. BoA has tons of better ballads than this, but I actually really liked this song. The arrangement isn’t anything special, but I like the simplicity of it. BoA’s vocals were also good, she sounded sincere and not bored or disinterested. To my ears this had a bit of an rnb flavor to it that really appealed to me. Though I would write it off as a nice light pop ballad.

The next track is the oddly brief Heroine. For a song that’s so short, it really does manage to get its point across. The arrangement is pretty basic and forgettable, but BoA’s vocals manage to shine in some form. This song is pretty aggressive, and makes you think of a woman taking charge of her life for the first time, letting lames know: ‘Its over’.

The last full-length track on the album is the rather dull Breathe Again (숨…). Its not a bad song, but it is pretty boring and long-winded. The arrangement played like air, and BoA sounded like she had a head cold. Though the song isn’t really bad, and is tolerable, I still find myself not really caring about it this time around.

The last track is the brief and boring outro Autumn Letter. I always remember wishing that she would have made this into a full length song, listening to her tired vocals this time around makes me wonder why.

-GRADE: B
Rating: ** stars

BoA’s fifth Korean album Girls On Top was pretty disappointing to me. I love the title, its like my favorite album title of all time and I love how she got a little dirty with this album. Her image wasn’t so clean cut, not exactly sexy, but it was close enough. BoA’s whole approach to this album was very raw, and Girls On Top the title track and stand-out song on this album proved that. However, there’s nothing on this album that we haven’t ALREADY heard from BoA. I mean even MOTO sounded like another version of Spark from her previous album My Name. The up-tempo songs though creative, were ridiculous and came across as BoA trying too hard to be something she is clearly not: Sexy and badass. We didn’t buy it then and we are certainly not buying it now (I’m looking a you Eat you up). The mid-tempo songs I liked a bit such as: Garden In The Air and Heroine. BoA’s down-tempo songs were pretty good too, stand-out being Do You Really Love Me?, If You Were Here, Love Can Make A Miracle and Can’t Let Go. The others were pretty forgettable album filler. When I first listened to this album I loved practically every song on here… not so much this time around. Girls On Top could have been a whole lot better than it was; Girls On Top the song was a smash hit, and really mislead me into believing that this album was going to add up to its hype. It didn’t. Still, its a pretty decent album, worthy of a listen or two from BoA fans, or the Korean music BoA fans.

AnyBand [AnyCall] (1st Single)

TPL (Talk Play Love)
Promise U
Daydream (Cover of popular German song “Scream”)

Anyband’s 1st (and most likely last) single starts off with the a-side TPL (Talk Play Love). I shouldn’t be so disappointed that there may never be a second or third single and the release of an album. I mean they were a concept group meant to promote cellphones and promote them they did because this song shot up to No. 1. I wasn’t too enthused with this idea when it first came out, mostly because it had Junsu in the group, and I didn’t want this to interfere with his DBSK/Tohoshinki duties. I really tried not to like this song, but well I obviously failed in that regard. Jin Bora displayed some really kick-ass piano skills (I wonder if she’s going to come out with some solo material, or if she has already?), I was impressed, she’s way talented. Tablo is a really good rapper, and that’s saying something because I don’t too much care for K-Rappers, or Asian rappers period. BoA of course sung her heart out, and Junsu who was the highlight really did his thing. This was a surprisingly really good and catchy song. I even found myself enjoying the video immensely, and I don’t really care for videos. They picked the right people for this collaboration, I must say.

The second track on the single is the b-side Promise U. This was also featured in the video they released. I didn’t like this song when I first heard it, and I believe it was because it sounded like BoA and her backup singers. Still though she really did a good job vocal wise on this song, and so did Junsu whose voice I just adore. Tablo was absent, and I was a little disappointed with that. Jin Bora, though she doesn’t add anything vocally really displayed some beautiful piano skills.

The third track on the album is a cover of some German song called Scream. They changed the name to Daydream. This sounds like some song you would play at a Halloween party, which I thought was kind of freaky and kind of endearing. Tablo talks at the beginning, and that’s it. The main vocals are BoA and Junsu (mostly BoA), and Jin Bora plays the piano, all lovely and Halloween-ish like. I didn’t like this song, even though it wasn’t a bad cover.

-GRADE: A
Rating: *** stars

AnyBand’s 1st single AnyCall was a really good single. I was so surprised that I enjoyed this single so much, considering I was so against it when it first came out. TPL is one of the catchiest songs I’ve ever heard, Promise U is pretty damn good for a power ballad and Daydream was a downer, but the vocals were good, I’ll give it that. I wouldn’t mind hearing some new material from them, but…yeah.

BoA [Eat You Up] (U.S. Release) ~Review+Rant

Eat you up

There’s been a lot of hype concerning BoA’s first ever English release into the states, and though the hype is founded I find myself left pretty unimpressed. I am a woman of many opinions and I’m not going to sugarcoat anything. I don’t like this song and as far as I’m concerned BoA has as much chance of making it in America as DBSK do. None. That may be a little harsh, but I’m just being as realistic as possible. Do I by chance want BoA to make it in the States? Of course. But let’s keep it real, if Utada Hikaru couldn’t make it, what in all nine hells makes anyone think that BoA has a chance?

When I first heard about this release, it pissed me off. One, because I was hoping that she was going to put out some long-awaited and highly anticipated Korean singles, possibly even an album. Two, because of all the people I’m anxious to see go into the American market BoA was not exactly high on my list, or even personally one of them. When I heard the teaser to the song, I nearly died laughing. ‘Eat you up?’ What the hell does that even mean? I mean I KNOW what it means, but who the hell goes around saying they’ll eat someone up, let alone dedicate a whole song to it? I also wondered ‘what audience is she aiming for’? The white audience? The black audience? Both? Every one? The song personally appeals to no one American. I could ask my friends to listen to this, and they’d wonder what the fuck was wrong with me. Its corny. BoA has a nice voice, so I hated hearing it so tech’d up. I mean of course T-Pain has made a hugely successful career out of the vocoder (Akon sounds like his voice is on vocoder), and a lot of artists use it from time to time, most recent being Kanye West in his newest single Locked Down, but they of course speak English fluently and that little aspect has nothing to do with them being American, there are a lot of Asians that don’t even live in America that speak fluent English (and I doubt all of them were born in the States), BoA is not one of them. Her accent is glaringly obvious and it makes a potentially decent song, absolutely ridiculous and laughable. The chorus is painful: ‘I’ll eat you up (your love, your love)!’ Ugh. Its so tasteless. It doesn’t even make any sense. I’ll eat up your love? It’s like BoA is trying to sound seductive and sexy but comes across as disgusting and whore-ish. There are a few interpretations of the term ‘Eat you up’ and no one is going to automatically connect it to love. Honestly. The most repulsive part of this song to me, and the one that always makes me cringe when I hear it is the part where she sings: ‘You look so good I could eat you up alive’ I always have this sudden urge to barf, it’s just something about that one line that disturbs me. The beat is really quite pathetic. How long did it take them to come up with this overly synthesized and techno’d to death beat? Its makes me think of something I’d hear on an 80’s break-dancing sound-track, its really quite juvenile and dated. The song all in all disappoints me greatly. I can not see myself singing along to this song, let alone enjoying it (even if the chorus is pretty catchy, I’d feel like an idiot if anyone caught me singing it).

Eat you up in my opinion would leave the American audience confused and wondering if they had been listening to an actual song meant to catapult someone to the top of the charts or a song full of pointless and tacky sexual innuendos that will most likely come across as desperate and absurd. I’m a fan of sexual songs, chocked full of innuendos or point blank sexually explicit lyrics, but not when its done in such an immature and elementary way. I want BoA to succeed, but it just doesn’t seem like she is taking this chance seriously, because this song is just really lame. I’m sorry, every one is opted to their own opinion and as it stands no one I know will even pay this song the slightest bit of attention. Though I’m glad to say that some people will and that’s good to know. I like BoA’s music, but I won’t say I like this just because of that. I feel she can do so much better. I hope her first full length English album shows that and makes me eat my words.

-GRADE: C
Rating: * star

BoA [LISTEN TO MY HEART] (First Japanese Album)

LISTEN TO MY HEART
POWER
Every Heart -Minna no Kimochi- (-ミンナノキモチ-; Everybody’s Feelings)
Kimochi wa Tsutawaru (気持ちはつたわる; My Feelings are Being Handed Down)
Share Your Heart (with me)
Dreams Come True
Amazing Kiss
Happiness
ID; Peace B
Nobody But You
Nothing’s gonna change
LISTEN TO MY HEART (Hex Hector Remix)
the meaning of peace and love

The album starts off with one of BoA’s most well known and overrated songs, LISTEN TO MY HEART. I went through a period of absolutely loathing this song, because that’s what happens when an artist tends to sing the same songs over and over, and have so many other wonderful songs that they could be singing. Still this is a nice little mid-tempo, up-tempo track, with some nice vocals from BoA. I have to say though it’s so overrated, it’s still a really good song, and a hard one to truly hate.

The next track is very reminiscent of LISTEN TO MY HEART, but definitely one I like more: POWER. I wonder why BoA never sung this for any of her tours? It would be a great song to sing to get the crowd moving. BoA’s vocals are a lot more clear and powerful in this track, especially during the chorus, which is really fun and catchy. This is sadly one of BoA’s most underrated and obscure songs. Pity.

Next up is the most well known BoA song EVER, if only because it was one of the ending theme’s to InuYasha, Every Heart -Minna no Kimochi- (-ミンナノキモチ-; Everybody’s Feelings). I remember hearing this song when I was first getting into J-Pop, and thinking that it was an incredibly beautiful song. I still do, though it’s been replaced with other BoA ballads that I think are better, this song still withstands the test of time; with one of BoA’s best vocal performances, it’ll always be a favorite of mine.

BoA picks up the pace with the edgy dance-track Don’t Start Now. BoA is very adept at making some pretty catchy and danceable tracks, and Don’t Start Now is one of her best, it reminds me a lot of Be The One for some reason. Nice vocals and beat, which sounds very techno-ish, or girlband-ish.

Keeping the up-tempo tracks coming we transition into the next track, Kimochi wa Tsutawaru (気持ちはつたわる; My Feelings are Being Handed Down). I love how it starts off with this sort of whimsical, fantasy like instrumental, and then BoA comes in with ‘check it up, i check it up, i just want to get your love, check it up, i check it up, can you imagine, check it up, i check it up, i just want to get your love, I’m here, try me baby!’ and it hooks you. The song is hard-hitting and never slows down, which is good, because it’s gives you no opportunity to become bored or distracted.

We get a break from the up-tempo tracks with a down-tempo one, Share Your Heart (with me). This is another underrated and obscure song from BoA, with distinct rnb elements that really make it pop and shine. BoA may never be a popular rnb artist, because it’s not really her image or her style, but when she does try, she produces some real gems. Not her best down-tempo track, and it’s forgettable in a sense, but with BoA’s heartfelt vocal performance, it’s a great listen.

The next track is the up-tempo and rather mind-numbing Dreams come true. The chorus sounds all right, but the verses are very stiff and awkward, and not to forget this sounds like something that would be featured on the Disney Channel or something, and if there are any songs I hate with a passion it is those songs sung by Disney-boppers and tweens. I like the end when BoA says: ‘dreams will come true’, because they do.

The pace keeps moving with Amazing Kiss which is a far cry more better and engaging than Dreams Come True. I remember hearing this song a long time ago and absolutely hating it, hearing it again I can’t believe I did, and really wish BoA would sing this song in her tours, because it’s a lot more crowd-amping than both LISTEN TO MY HEART and the abysmal Valenti. BoA’s high note towards the end is very noteworthy in it’s accuracy, she does have a great voice.

BoA brings it down just a tad with the mid-tempo Happiness. I always think of Dreams Come True when I hear this song for some reason, but it’s of course a lot better, with better vocals as well. It’s one of those songs that you would have a hard time singing along too, unless your native tongue is Japanese or you’re fluent in it. It somewhat brings the enjoyable quality of this song down, but it’s still a good track.

I’m not a fan of Korean songs translated to Japanese songs or vice versa so I went into the Japanese version of BoA’s first ever single and classic, ID; Peace B with absolutely no expectations. I still like the Korean version more, but the Japanese version isn’t bad either.

No matter how many times I hear this next track I always go into it thinking it’s going to be a ballad. Nobody But You is a fast-paced, up-tempo pop track, that never let’s up and goes down the same route as Don’t Start Now in terms of attitude. Though I like Don’t Start Now a bit more than this, Nobody But You is definitely more memorable.

The second (third actually) to last track is the beautiful ballad Nothing’s gonna change. I use to always hear this song on DBSK’s banjun dramas, I knew it was BoA but I had no idea what the song was. Now I do. The Korean version is better in my opinion.

Why did BoA feel the need to put this terrible remix on here? LISTEN TO MY HEART (Hex Hector Remix) is one of the WORST remixes I have ever heard. EVER.

The last song on the album is BoA’s rendition of her collaboration with Koda Kumi, the meaning of peace and love. I’m almost tempted to say this is better than their original collaboration, but it’s not. It is however better than Kuu’s version. BoA’s vocals are very clear and fresh and makes her solo of this song a very enjoyable listen.

-GRADE: A
Rating: *** stars

BoA hardly comes out with amazing songs, in retrospect the majority of her songs are very average; every once in a while though she manages to come out with something that wows, the best examples that comes to mind would be OUTGROW ~Ready butterfly~ and Girls On Top. As her debut into the Japanese market LISTEN TO MY HEART delivers in leaps in bounds. It’s actually one of the best debut albums I’ve ever heard, and thankfully, something I absolutely adore BoA for, interlude free. We have great up-tempo songs like Amazing Kiss and Nobody But You, mid-tempo tracks such as Happiness and the meaning of peace and down-tempo such as Share your heart (with me) and Nothings gonna change. Plus I did like the Japanese version of ID; Peace B and I normally wouldn’t. This is one of BoA’s best albums Japanese or Korean, and in my opinion should have been the one to sell a million+ records, instead Valenti took that honor, and it hardly deserves it.