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Tracklist | |
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01 - Theme of Highway61 02 - Sing A Well 03 - Sweet Sugar Jane 04 - ナイトフィーバー (Night Fever) 05 - Under The Big Tree 06 - 茶色い鞄 (Chairoi Kaban) 07 - 昨日あった場所 (Kinou Atta Basho) 08 - Power To Live 09 - 銀色バス~希望という名のバス~ (Giniro Bus ~Kibou to iu Na no Bus~) 10 - Rock 'n' Roll Will Never Die 11 - ダンス天国~land Of 1000 Dances~ (Dance Tengoku~land Of 1000 Dances~) 12 - さよならの名場面 (Sayonara no Meibamen) 13 - 行け! (Yuke!) |
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Review | |
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Popular bands that sign to major labels endure much scrutiny and cheap shots from their fan collective, and Highway61's case is living proof this is true, regardless which side of the Pacific a band calls home. In fact, before this album's release the band was already close to striking out with their pickier fans. Strike one was the jacket design for Power to Live - too close to the Tom Robinson Band's design on Power in the Darkness. Strike two, the bigger scandal, erupted with the single Sayonara no Meibamen, as fans accused Highway61 of plagiarizing longtime pop diva Nakajima Miyuki's 1983 hit "Fight!" With more than half of the new album's songs coming straight from the controversial singles, Highway61 faces an uphill battle protecting the plate on their major debut. For better or for worse, the band has become more poppy at the expense of volume and pure energy. American folk influences, especially from the southeastern US, are more prevalent, and vocalist Tamashirou sings in a clearer, more melodic voice. At its best, the newer style suits the band well, but Highway61 stumbles repeatedly in the process. After an energetic intro track, the band blows its early lead on "Sing a Well" and "Sweet Sugar Jane." The saccharine, repetitive melodies, especially on "Jane" sound like songs that didn't make the cut for a Disney sing-along, and the dubious choice of simplistic English lyrics only compounds the problem. In comparison to later tracks, Highway61 sounds like they weren't trying on these two. English lyrics return to spoil another track on "Under the Big Tree." The song itself sports a pleasant melody, only to fall flat once the instruments drop out. Tamashirou's poor enunciation and over-emoted vocals almost sound like an Engrish parody. Of course, the originality problems plaguing the band come into play as well. The now infamous "Sayonara no Meibamen," out of context, is a strong contribution that builds nicely into the chorus, but listeners familiar with "Fight!" will note both the chord progression and chorus are uncannily similar. Whether this is truly a case of plagiarism (Nakajima's label Yamaha is not filing a lawsuit) may never be known, but it does not reflect well on the band. Similarly, the first half of "Dance Tengoku" sounds like a rousing winner, but to American ears, the second half, which breaks into a cover of "Land of a Thousand Dances," is not much more than a retread, thanks to the song's overexposure in the West. Even so, listeners who do not recognize either of these songs will probably find much to enjoy here. Highway61 may sound down at this point, but they're not out. The excellent harmonizing between guitar and harmonica in "Chairoi Kaban" and the folky melody on "Kinou Atta Basho" turn the album around, and fit Tamashirou's cleaner voice to a tee. How is this the same band that wrote "Sweet Sugar Jane?" With the simultaneous clamor of harmonica, guitar, and Masaru's quick fills, "Power to Live" and "Giniro Bus" boost Highway61 back to their punkier roots and classic pedal to the metal pace for the back half of the album, while "Yuke!" closes it in familiar style. Highway61 sound like they were aiming for broader appeal with their self-titled while still looking to keep older fans satisfied. Were it not for a couple of duds and the risky songwriting decision on "Sayonara," this could have been a remarkable debut. Regardless, the better songs here are highly infectious and played with such energy that they easily drown out the album's weaker moments. Highway61 may not have hit it deep this time, but they didn't go down looking, either. Score this one a stand-up double. |
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