Megumi Hayashibara [feel well] (Eleventh Album)

Over Soul
don’t be discouraged
Rumba Rumba
Hajimari wa Koko Kara
Sakura Saku
Namida no single rain (2002 version)
lost in you
trust you (2002 new arranged version)
brave heart
unsteady
Tokyo Boogie Night (2002 version)
Toki wo Koete
Cincia Aisuru Hito (Dear Tsubame Version)
feel well
Booska! Booska!!
Hare Tokidoki Hare

The album starts off with the up-tempo Over Soul. I have to admit this is technically not a song I would normally like, but I can not deny that I somewhat enjoyed listening to it. Its your typical anime opening song, sounds like an opening you’d here on an shonen show with the quick arrangement and fast though consistently paced vocals. This song isn’t particularly catchy, but I did like Megumi’s vocal performance, mostly during the chorus and the tracks flow.

The next track on the album is the hard-hitting don’t be discouraged. This song sounds so old-school anime-ish, I really like that. Its one of those songs that would play well at a concert and have all the fans screaming before it evens starts. I like how catchy it is, the chorus really stands out in that regard and how aggressive Megumi’s vocals are. I mean its like she really wants you to not be discouraged, not be afraid and not to give up.

The next track on the album is the mild Rumba Rumba. This is a rather cute song that captured my attention instantly and kept it throughout. The arrangement has such a Caribbean like flare, equipped with traditional instruments and it really gives you such a free and easy feeling that is rather refreshing. Megumi’s vocal performance was decent, but a bit much, she sounded like one of those people who sees a baby or a cute kid and just has to comment on how cute they are, it was a bit unsettling.

The next track on the album is the mellow Hajimari wa Koko Kara. This keeps the vacation themed songs coming and this one was a bit more tamer than the previous track. I thought the vocal performance was better in this one, much more smoother and tolerable and though the arrangement was nice, ‘rumba rumba’ was a lot more interesting though, variety wise.

The next track on the album is the frenzied Sakura Saku. Umm… I remember listening to this song a while ago when I was first getting into J-music through anime and well I kind a liked it then, not so much now. The arrangement is rather different for Megumi as its pretty synthed up and sounds a lot techno and electronica, which isn’t bad, it does go with the whole flow of the song and makes for an interesting listen. Megumi also managed to keep up vocal-wise and it was rather intriguing listening to her sing in such a quick and slick way. This isn’t a bad song, but its one that gets pretty annoying, pretty fast.

The next track on the album is the light Namida no single rain (2002 version). After the up-tempo, mad frenzy of the previous track, I was very glad that Megumi had decided to slow it down. The arrangement is really nice, it plays so well on the ears, simple and when its given time to shine its even more of a good listen, because it gives you such a carefree and content vibe. I thought Megumi’s vocals were lovely, very warm and she made this song quite the charming listen.

The next track on the album brings the pace back up with lost in you. I actually expected this song to be more down-tempo, I kind a wish it had been, but I still enjoyed it. The arrangement is typical, but it fits and keeps the song interesting. Megumi also gave a good vocal performance. This isn’t the type of song I go for, but I’d listen to it again.

The next track on the album is trust you (2002 new arranged version). This song is rather interesting. The arrangement is really nice, I love how it takes the song out with the violin, good touch. Megumi’s vocal performance was love, especially when it got to the chorus, you almost have to double-take, because the way she sings it is so cute, but she’s serious. This song gives off a longing yet content type vibe and makes me nostalgic.

The next track on the album is the addicting brave heart. This is definitely one of my favorite tracks from Megumi and most certainly one of her signature songs. The arrangement is pretty simple, but very infectious. Megumi’s vocals were slightly cute and the chorus is just so catchy you’re almost compelled to sing along with her. This is a fun song.

The next track on the album is the wonky unsteady. This song had the potential to be pretty good, but it just comes across as very plain and average to me. The arrangement was fitting, but it played mostly like tinkly air. Megumi’s vocals were very strained and it came across as very odd and off-putting to me. I also thought the backing vocals were tired.

The next track on the album is the mildly pumping Tokyo Boogie Night (2002 version). This is a pretty cool song. I mean its not a song I’d listen to on a regular basis, because its pretty average and doesn’t really do much to hold my attention, despite being pretty interesting. The arrangement has a dash of rock, laced with synth and makes you think of the nightlife though a rather fun nightlife, as opposed to a dangerous one. Megumi’s vocals are cute, but they hold an edge that I liked. The chorus is the best part and truthfully the reason why I think I enjoyed this song as much as I did. I really enjoyed the guitar taking the track out, nice.

The next track on the album is the down-tempo Toki wo Koete. This song is pretty simple, as simple as songs like this gets and its works.

The next track on the album keeps the down-tempo’s coming with Cincia Aisuru Hito (Dear Tsubame Version). This track is similar to the previous as its a very simple tune that doesn’t really do much of anything, but its a nice blue-sy listen. Its really for those into slow songs mainly, so I guess I qualify.

The next track on the album ups the pace with feel well. This isn’t a bad song, but I don’t too much like it. The arrangement is a bit sparkly, which isn’t surprising, but it just seems to jump out at you. Megumi’s vocals are nice and cheery, and this song gives off an atmosphere that definitely reflects the title. It just doesn’t do much for me, or I’m just on the fence, I honestly don’t know, but I’ll go for the half and half.

The next track on the album is the painful Booska! Booska!!. Oh my… I really want to puke. I like cute songs, but this is a sheer overdose and my mouth is aching because of it. The tea party arrangement and Megumi’s cutes-y vocal performance (in which she sounded like a five year old girl) literally made my mind numb.

The last track on the album is the brief Hare Tokidoki Hare. This song seems awfully short to me, but that’s not why I dislike it. Well, I don’t dislike it, it just does nothing for me. The arrangement is pretty nice, the tinkle of the piano was charming and made me think of two-stepping for some odd reason… Megumi’s vocals were decent despite her sounding like a more mature sounding five year old girl. This isn’t a bad song, but I don’t really care for it and it also seems to just end. I didn’t really like that.

-GRADE: B+
Rating: ** stars

Megumi Hayashibara’s eleventh album feel well was a pretty good album. I expected it to be pretty pass, or so-so, but it kind a exceeded my expectations. Its hard to summarize a Megumi album, because like all seiyuu singers they seem to bring the same material with each album, with a few tracks shining brighter than the others, thus making the album stand out more than it would have. Megumi has a ton of albums, so I’m worried about saying the same thing over and over. I decided during my first album review of her to keep the overall relatively short. This was a good album, with the first half being a lot better than the second half.

Megumi Hayashibara [Enfleurage] (Sixth Album)

IT’S DESTINY-Yatto Meguriaeta- (New Version)
REINCARNATION
Harikitte Trying!
Forever Dreamer
Touch and Go!!
Watashi dake no Yume e
Daremo Shiranai Mirai wo Dakishimete
Sunday Afternoon
Yoru wo Buttobase
SPACE LONELY SOLDIER (Aki version)
Until Strawberry Sherbet
My dear
Kokoro no PLANET (NUKU NUKU version)
FAI-FAI-TU!
Machi e Deyou

The album starts off with the feel-good IT’S DESTINY-Yatto Meguriaeta- (New Version). Oh, this is definitely one of my favorite Megumi songs and as a new version its pretty darn good. I love how light the arrangement is, it doesn’t do much but it really makes you give way to a true smile, grab some of your friends and go have a good time and enjoy life. Megumi’s vocal performance was just very charming, I really couldn’t help but smile and sing along, especially on the, ‘hey! hey!’ parts. Ah, good start the album.

The next track on the album is the mid-tempo REINCARNATION. I honestly keep thinking this song should be faster than it is, but it never gets to that point. I had to listen to this twice, because I wasn’t sure if I too much liked it, I still don’t think I do, but I’ll say its half and half. I liked the verses, Megumi’s vocals were good, not saying they were bad during the chorus, because they weren’t, its just that though the chorus was a bit more quick paced it just didn’t jump out at me. I think that in turn brings this song down a bit. Its still an all right listen though.

The next track on the album is the mid-tempo Harikitte Trying!. This song is pretty cute. The arrangement sounds like a small band, because of the trumpets? I heard throughout, it was nice and went well with the carefree nature of the song. Megumi’s vocals were light, though a touch on the serious side. This is one of those songs you play every once in a while, but its always a nice listen.

The next track slows it down, but only by a little with Forever Dreamer. This is a nice song and its perfect for putting you in a relaxed sort of mood. The arrangement is airy and that along with Megumi’s light vocals makes this song quite a good listen and also gives it a very old-fashioned flare. I also really like the title.

The next track on the album is the down-tempo Touch and Go!!. Wow… the title is rather misleading, because I honestly expected this song to be much more up in the tempo. It does a complete 180 though and plays like smooth Jazz, so nice on the ears. I love, love the saxophone (what a sexy instrument). I really like how it took the song out. Megumi’s vocals are rather nice, she really sounded like she was in love and it gave the song a rather romantic atmosphere.

The next track on the album is the mild Watashi dake no Yume e. There’s nothing that really stands out about this track, but I like the pace, the typical arrangement which makes me think of fun days in the sun and Megumi’s rather nice vocal performance.

The next track on the album is Daremo Shiranai Mirai wo Dakishimete. I’m pretty half and half with this song, but I think I like it. The arrangement is typical, sparkly and overall cute-sy but not to the point of nausea. I’ll say the same for Megumi’s vocals, which really didn’t do much for me, but they weren’t bad either. The chorus stands out, its pretty OK. This is also one of the many songs that you wouldn’t dance too, but sway enthusiastically side to side to and maybe do some stupid hand gestures while you’re at it.

The next track on the album is the surprisingly not down-tempo Sunday Afternoon. I really thought this was going to be down-tempo, I would have liked it more if it had been too. This track plays similarly to the previous track, in which I’m kind a on the fence with it. I somewhat enjoyed the chorus, but the song doesn’t really do much. Hmm?

The next track on the album is the up and down Yoru wo Buttobase. This song is weird to me and I would say half and half, but I do know I like it. The arrangement is very Jazzy, but in a modern show tune type way, its neat. I like how Megumi’s vocals were a bit slow during the verses and sped up during the chorus, it made the song interesting and edgy.

The next track on the album is the catchy SPACE LONELY SOLDIER (Aki version). This is your typical old-school anime-ish song and oddly enough I kept thinking about Trigun while listening to this. The arrangement is synth based; fitting. Megumi’s vocals are good and she brought a lot of personality and Cowboy Bebop flare to this song (well because of the title really…)

The next track on the album is the quirky Until Strawberry Sherbet. This track is pretty crazy, I can’t really understand what is going on because there is some sort of duel vocal thing Megumi’s got going on in the verses, then everything gets sugary sweet towards the ultra kawaii chorus, which I just adore. I don’t know, this song is just really cute and fun. A tiring, yet always enjoyable listen.

The next track on the album is the rather stale My dear. I don’t know this song had potential, because I really like the innocent and carefree nature of the arrangement. I also sort a liked Megumi’s light vocal performance, but at the same time she sounded a bit sharp and that threw me off a bit. I also don’t really like the flow or the pace of this track, but its not a bad listen.

The next track on the album is the down-tempo Kokoro no PLANET (NUKU NUKU version). This song sounds very old-school, but in a nostalgic way. The arrangement is synth-based, but it sounds very melancholy and Megumi’s rather sorrowful though oddly dramatic vocal performance only enhances that. Its like one of those songs you would use in memory of someone in a clip show whose passed.

The second to last track on the album is the nauseating FAI-FAI-TU!. I mean that in a good and bad way, but mostly bad. I kind a expected this song to be overly cute-sy, the title really gave it a way, but at the same time, titles can be misleading. The arrangement is typical, I hardly noticed it really. Megumi’s vocals were very child-like and it seemed like during the chorus she was kind a over-doing it a little. This song is all right, but its a cute track I don’t really care for.

The last track on the album is the mellow Machi e Deyou. This song is so retro, or should I say throw-back to the 50’s. I kind a wanted to laugh while listening to this, because the whole execution is just really corny. Its a cute song though, just not my cup of tea.

-GRADE: B
Rating: ** stars

Megumis Hayashibara’s sixth album Enfleurage was all right, but a bit forgettable. I hate how I can say so much about a Megumi song but when it gets down to summarizing the album I’m always left at a stand-still. I honestly never know what to say, because I know I’m going to end up having to say the same things over and over. It could be the curse of being a seiyuu singer, everything seems to sound the same and every once in a while you get a song that completely separates itself from the rest, but that’s few and far between. Or it could be that she has so many albums and so many songs it all just seems to bleed together, I don’t know. I mean Center Color out of all of her albums just stands out the most to me, this doesn’t seem to be any different from Bertemu. I don’t know. Enfleurage is a decent listen, with some good authentic Megumi songs, just don’t expect to hear anything you haven’t already heard.

Megumi Hayashibara [Plenty of Grit / Revolution] (45th Single)

Plenty of Grit
Revolution

Megumi Hayashibara’s 45th single starts off with the a-side Plenty of Grit. This is a rather odd title, but the song is definitely good. Its a bit more on the experimental side in concerns with Megumi, who always plays it rather safe. I haven’t listened through the entirety of her albums, but so far I haven’t heard anything quite like this, not even on Center Color. Its nothing extreme, but I do like its somewhat frenzied pace as well as Megumi’s vocal performance, she really kept up and made this song quite the interesting listen. I mean its not a song I would listen to just to listen to it, but its pretty good for an a-side, though it doesn’t sound much like an anime opening or maybe that’s just me?

The second track on the single is its second a-side Revolution. This keeps the up-tempo tracks coming, but its pretty mild compared to the first a-side. I don’t know this track is pretty hit or miss. It still retains the edge of the first a-side, but less experimental, techno-ish sounding and more rock-ish, which I liked. Megumi’s vocal performance was also decent for a track like this, but it offers nothing really. I don’t know, its hard not to like a Megumi song, because she brings the charm. This is an all right track, sounds more like an a-side than ‘plenty of grit’ but also less interesting than said song.

-GRADE: B
Rating: ** stars

Megumi Hayashibara’s 45th single Plenty of Grit / Revolution is an all right single, but I must say I did like A Happy Life more, but that’s probably because of my character. I thought both songs were interesting and good listens in their own right, but at the end of the day… they’re pretty so-so.

Megumi Hayashibara [Center Color] (Twelfth Album)

KOIBUMI (remix version)
Omokage
brave heart (Moon Shake Version)
Treat or Goblins
Cream Puff Shuffle
Anatano kokoro ni
Shiawase wa chiisana tsumikasane
Kimi sae ireba
faint love
Asa madaki yoru watarri
Daikirai
Northern Lights
Northern Lights (Ballad version)
Zankoku na tenshi no thesis (A.D. 2001)

The album starts off with the interesting KOIBUMI (remix version). Oh, remixes how I loathe you. Too many things were going on in this song, and that is what ultimately ruined it for me. The arrangement is quirky and fun, but a bit too childish for my tastes. The same can be said for Megumi’s vocals, I mean I like it, it sounded like she was having a lot of fun singing this song, and when we get to the singing parts they’re pretty good, but when she starts talking and somewhat rapping???? I just had to turn my ears off. Funky way to start the album, but this song is just not my cup of tea.

The next track on the album is the tame Omokage. This song is both interesting and flat at the same time, but I’m inclined to like it. The arrangement seems dormant during the verses, because I could barely make it out, although Megumi’s voice was good the verses were pretty unmemorable, so that could be why. It rises during the chorus, which is good, and though its nothing that ‘wows’ it does its part. This is an okay song.

The next track on the album is the infectious brave heart (Moon Shake Version). Oh, I really want to laugh, how cute and fun is this song? Its so enjoyable, I really love it. The arrangement is quick with the synth and the bass, and let’s not forget the piano and it all flows just so consistently with Megumi’s vocal performance. I mean she sings the verses a bit slow, and then she just goes straight into the danceable chorus and that’s when the song really shines. It all just stays so consistent, and the chorus just makes this song all kinds of catchy love.

The next track on the album is the quirky Treat or Goblins. We transition from one catchy song to the next. This is definitely one of my favorites. Its just so interesting, and very Halloween-ish in the cutest kind of way. I liked the ghoulish, yet funky arrangement and absolutely enjoyed Megumi’s vocal performance, it sounded like she really enjoyed recording this song, and why not? This song just oozes good time.

The next track on the album is the annoying Cream Puff Shuffle. This song just did not end fast enough, I thought my ears were going to start bleeding and by the end I was practically begging to go deaf. The arrangement is of course very elementary, mindless and basic beyond all belief. Megumi’s vocals were very childish and it just made this song unbearable, because even for a seiyuu it just came across as so wrong and irritating. Then to add insult to injury she had these weird clapping segments throughout that just made me go: ‘WTH is going on with this song?’ I mean I guess its meant to be a fun song, but it just came across as very head ache inducing.

The next track on the album is the down-tempo Anatano kokoro ni. This song is really calm and serene in such a nice way. The arrangement consists mainly of a piano which stays consistent and plays like somebody walking in the sun. Megumi’s vocals were also really good, I just like the un-hurried way in which she sung this and how she held certain notes, and its just nice and refreshing and ordinary. Good song.

The next track on the album is the slow-paced Shiawase wa chiisana tsumikasane. I really shouldn’t be surprised that this song sounds like an old school anime ending theme. I really shouldn’t. The arrangement is pretty calm and slow, it was very nice. Megumi’s vocals as well, she sung this song in a very un-hurried and content fashion. I really liked the whole approach to this song, because it winds things down in such a good way. A lot of people will become bored with this track, because of its pace, but I thought the flow was nice.

The next track on the album is the dull but still good Kimi sae ireba. This song reminds me of the opening theme to Fruits Basket, I really loathe that song by the way. Anyways, this song is bearable unlike the Fruits Basket’s opening which is not. It has a nice mellow arrangement, with a bit of variety and Megumi’s vocal performance was good, with some nice tone changes. I mean this song, if tired enough, will really lull one to sleep, because of how much it plays like a lullaby, but in a good way.

The next track on the album is the irritating faint love. I believe I liked this song at one point, alas that like has dimmed. This song really just comes at you in the most annoying of ways. The arrangement is uninteresting and forgettable. Megumi’s vocal performance was decent, but I just found that I didn’t care for it, plus it sounded like she was punching something and singing at the same time, her weird vocal performance just gave me that vibe. Ugh. I just really don’t like this song.

The next track on the album is the woeful Asa madaki yoru watarri. This song seems really dull and uninteresting, but its actually pretty good. The arrangement is basic, but nice and Megumi’s vocals were good. I mean there’s not really much more that I can say about this song, its not a very memorable track or one that really stands out, but its a nice listen. Oh, and I think I heard a shamisen at the end.

The next track on the album is the lovely Daikirai. This is definitely one of my favorites, I just love listening to it. The arrangement has a very festive air about it, like you could play this at Christmas, and people a either think its a holiday song or a ask you if it is. It just gives you that feeling. Megumi’s vocals were gold in this, I love her light, whimsical tones, she brought such personality and warmth to this song. I mean, this would make a really touching video. Though I think I’d consist of Megumi going around granting people’s wishes.

The next track on the album is the up-tempo Northern Lights. Goodness knows I didn’t care for Shamen King, but I did like its theme. The arrangement is pop rock, with the electric guitars and bass, and just the simple fact that you know this is a theme song for an anime aimed at kids. Megumi’s vocal performance was pretty good, even with that childish air she sang with, she still kept an edge to her voice that made it bearable. This is a fun song, and I love how she briefly holds that last note towards the end.

The second to last track on the album is Northern Lights (Ballad version). I actually like this more than the regular version, but I will never understand why Megumi chose to put this on right after its original version, it just doesn’t make any sense. The arrangement is very down-tempo, and moving. It makes you think of the sky at night, littered with stars. Megumi’s vocals are gorgeous, I especially love the chorus and when she says: ‘do you believe in destiny?’ This is a very touching ballad version of an already good song.

The last track on the album is the Egyptian sounding Zankoku na tenshi no thesis (A.D. 2001). This song really, always makes me think of Egypt and Yu-Gi-Oh. This is one of my favorite Megumi songs. This is a much slower version of the original song, Megumi sounds almost like she’s hypnotized. I liked this version though. A somewhat nice end to the album.

-GRADE: B+
Rating: ** stars

Megumi Hayashibara’s twelfth album Center Color is still one of my favorites, but not my favorite anymore. Megumi has a whole slew of albums, and her disco is huge, but when I first listened through them, this was the one that stood out the most. At first listen, I liked every song on here, not so much so this time around, but they are all really good tracks. I thought the up-tempo songs were fun and catchy, and the down-tempo songs where heart-warming and memorable. Its not everyday a song like Treat or Goblins amazes me. Center Color is a solid album.

Megumi Hayashibara [A Happy Place] (44th Single)

A Happy Life
Lucky & Happy

Megumi Hayashibara’s 44th single starts off with the a-side A Happy Life. There is a such thing as too happy, this song is definitely that. The arrangement is pretty simple, I heard sparkles, like cymbals, a trumpet, bass it all meshed together to form a very cutesy and sort of rhythmic sound that blended in well with Megumi’s vocals. Megumi’s vocals were very light and fluffy, and its near cringe-inducing, but you can’t help but to enjoy the song because it just sounds so nice. I mean this song is so cute and light sounding, its like one of those taboo songs you’re afraid to listen to in public… though that would account for the majority of her songs. Megumi pulls songs like this off, I like it, its nice.

The next track on the album is the singles b-side Lucky & Happy. I thought this was a lot more cutesy than the a-side, but at the same time that it was it also seems to pop out at you more. I liked how majestic sounding the arrangement was, it also sounded a bit Christmas-y, because I heard bells throughout, or they could have been sparkle sounds, or cymbals, triangles, whatever. I know I definitely heard either a trumpet or a horn. Megumi’s vocals as usual are cute, but she put a bit more feeling into her voice, as it doesn’t sound so light on this track. I have a weakness for fluff songs done right.

-GRADE: B+
Rating: ** stars

Megumi Hayashibara’s 44th single A Happy Life was a very light single and I think that was the intention. A Happy Life is very light and carefree and in someways a bit serious, because of the somewhat low tone of her voice. Lucky & Happy ups the light factor a bit and sounds a bit anime-ish, like something you’d hear on one of those wacky school girl anime’s or something. I enjoyed both songs, which is crazy because I normally wouldn’t like either.

Megumi Hayashibara [Bertemu] (Seventh Album)

Give a reason
Touch Yourself
Hanarete itemo (はなれていても, Even if we are separated)
Zankoku na Tenshi no Tēze (残酷な天使のテーゼ , A Cruel Angel’s Thesis )
MIDNIGHT BLUE
Matsuri Uta (まつりうた, Festival Song)
Shakunetsu no Koi (灼熱の恋, Scorching Love)
-Life-
FLY ME TO THE MOON
Shining Girl
Nostalgic Lover
TOO LATE
Going History
Cherish Christmas

This album starts off with a bang, with the first track Give a reason. It has such an infectious beat that you are literally compelled to move along with it, which always makes a song fun. Megumi’s vocal performance was a little weak, mostly because she sounded so childish, which in a sense got a little annoying because you wish she would have put a little bit more base into her voice. However, I did still think she did a good job with this song, everything stayed consistent and high-energy, and the chorus is absolute catchy love.

The next track is the mind-numbing Touch Yourself. I’ll be doing none of that, thank-you… anyways, this song is awful. I was completely surprised by the fact that I did not enjoy this song at all. The guitar solo at the beginning was just loud and annoying; then we go into the song and it seems like Megumi has no idea where to take it, because she is singing so stiffly it’s almost like she had no time to memorize the song and is just stumbling along through it. The chorus I thought was pretty catchy, but even that isn’t enough to save this song from seriously getting on your nerves.

The next track is the down-tempo Hanarete itemo (はなれていても, Even if we are separated). It’s a moderately slow-paced song, with a smooth easy-going arrangement and lovely vocals from Megumi. Nothing much is going on with this song, but you can feel its sincerity and its a very touching track.

The next track on the album is one of my absolute favorite Megumi songs, Zankoku na Tenshi no Tēze (残酷な天使のテーゼ , A Cruel Angel’s Thesis ). This is one of the best anime songs ever made, but this version is really not as hard-hitting and engaging as the original version. I thought it was entirely too slow, and there was just too many things going on, especially the saxophone solo which came out of nowhere and just left me scratching my head. This version isn’t all that bad and I’m sure people will like it, I’m just not one of those people.

The next track is one of Megumi’s most well-known songs, MIDNIGHT BLUE. I’m not sure if I really like this song, because the way it’s sung by Megumi is just so odd and long-winded and after a while I just feel like my ears are going to bleed. The arrangement is nice, but not anything overtly interesting and it’s not a bad song. I just don’t like Megumi’s vocals and they ruin the song for me.

The next track is the gorgeous Matsuri Uta (まつりうた, Festival Song).I love how it translates to festival, because it really feels like that and makes this song very atmospheric. I love, love Megumi’s vocals in this, they’re so soft and opera-ish. The chorus in the background that backed her up was a lovely touch. This song has a very sad and longing vibe going for it, and that really makes this a touching, heartfelt listen. Definitely one of my favorites.

The next track is the very mystic Shakunetsu no Koi (灼熱の恋, Scorching Love). Though this song is very anticlimactic, it really gives you the feeling of a scorching, burning love. I thought the arrangement was very carnival-ish, but at the same time it has a very sensual feel to it and is somewhat danceable. Megumi’s vocals were nice in this song, but I honestly wish she would have did more with it, because after a while this song became a chore and to be nearly close to four minutes it seemed to go on for forever.

The next track is the light -Life-. I really love how this song started out, the arrangement is so smooth and carefree, giving off the atmosphere of blue sunny skies in waves. I thought Megumi’s vocal performance in this was very sweet. The only thing I didn’t like was when she would speed up the chorus, it sounded so immature and nearly ruined the song for me.

The next track is a cover of Frank Sinatra’s FLY ME TO THE MOON . I only ever heard this song sung by Utada and she did them very well in both versions. Megumi takes a crack at it and she doesn’t half ass it. The arrangement is just gorgeous and I thought Megumi’s vocal tones in this were lovely. However her English is not very good and dragged the song down a bit.

The next track is the up-tempo Shining Girl. This is a pretty fun and catchy song, with a nice engaging arrangement and wonderfully assertive vocals from Megumi. I loved when she held the note towards the last chorus. I really didn’t expect to like this song, because it sounds so kiddy-ish, but ironically I think that’s why I enjoyed it so much.

The next track is the windy Nostalgic Lover. There isn’t much I can really say about this song, since it doesn’t offer anything new and isn’t really all that interesting vocal or arrangement wise. I do however like how slow paced it is, and the chorus is pretty nice. I mean its a song that just comes and goes, and when its over its hard to remember it.

The next track is the surprisingly mid-tempo TOO LATE . It’s the new version of the song, and it’s very slow, which surprised me because I actually expected it to be more up-tempo. I can’t at the moment recall how the original went, but I believe it was much faster than this version. I thought the arrangement was very discreet, but it was nice. Megumi’s vocals were pretty I thought and really went well with the pace of the song. The best had to be the end when it went out with the instrumental.

The next track is the highly irritating Going History. I have never liked this song, because it is just really annoying and grates on my nerves. It’s fast-paced, but the arrangement is so chaotic that you couldn’t possible dance to it because you wouldn’t even know where to start and would just feel stupid if you tried. Megumi’s voice is very painful in this song, especially when she gets to the chorus that is extremely long, unless of course she was singing it more than once. I couldn’t even be bothered to care. This song is a mess.

The last track on the album is the cute-sy Cherish Christmas. Oh man, I LOVE Christmas songs. I can not wait for Christmas to actually roll around so I can be listening to Christmas tunes all night long. This is a nice Christmas song from Megumi, the arrangement is very festive and cute and Megumi’s vocals seem excited and genuine, all around Christmas spirit like. The song is pretty generic, but it’s still a nice and warm way to end the album. I actually wish it was Christmas, that would have made the song even more enjoyable.

-GRADE: B+/B
Rating: ** stars

Megumi Hayashibara’s seventh album Bertemu is actually quite an enjoyable listen. It’s not one of my favorite albums from her, because she of course has better, (the best in my opinion being Center Color) but I did find myself enjoying this more than I originally thought I would. I never really pay attention to an artists whole album, and Megumi has like twelve studio albums so its really hard to keep up with her music. I usually find about two to four songs that I really enjoy off an individual album and listen to them over and over. This seventh installment happens to have three of my all time favorite Megumi songs on it: Give a reason, Matsuri Uta and Cruel Angel Thesis though not this version of the song. I did feel a little disappointed with a few of the tracks, because they had a lot of promise, but just didn’t deliver properly. Megumi is one of the few artists I truly like, to where I find it hard to dislike her songs, because they all have there own unique charm that makes them really good–but I have to go by ear, and I’m surprised to find that I disliked more songs on this album than I normally would have. I still love Megumi and think she’s the best seiyuu singer, (well her AND Maaya Sakamoto) there is. Bertemu could have been a lot better, but I still liked it.