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Archive for the ‘Nitta Eri’ Category

Fushigi na tejina no you ni – Nitta Eri

I think i have an order to these things:
1st. Something about the Onyanko Club’s member number and maybe a little information past that if i know of any.
2nd. Something about the song. Whatever dumb thing i can wrench out of myself to write.
3rd. A performance video, if there is one.
4th. A video of someone covering the song, be it karaoke or with an instrument. Today i’ll post the sundaytube02 cover. She doesn’t play my favourite part of the song (the intro and outro) which is a little disappointing.
5th. Who knows….

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Fushigi na tejina no you ni – Nitta Eri

Guess what i go in the mail yesterday!

Along with her first album and another 19 Onyanko Club or related LP’s. Yes i’m a hopeless nerd. A beginners guide to for 2000 yen! Oh and shipping… Shipping…

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Fushigi na tejina no you ni – Nitta Eri

On that intro again: When sung on TV, or maybe only on Yuyake Nyan Nyan, a lot of these songs are cut of verses and choruses for time. As such, those times Eri sings this song the intro is left out completely from its place at the beginning, though thankfully kept at the end where it counts. It would appear on a list of as pop musics greatest crimes if it weren’t. It shows its impact is not reliant on it being an echo of anything that happened before. Just so long as it happens there.

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Fushigi na tejina no you ni – Nitta Eri

Ok. Nitta Eri was Onyanko Club member #4, which was the highest number anyone would hold during the time the Onyanko Club actually released music. The benefits of not being caught smoking. Even though the number is not indicative of any rank, i wonder if it ever went to her head. Judging from appearances and her constant dedication and enthusiasm throughout, i’m going to say not. Though not always, and never for the big performances, she was also one of the only of the girls to wear glasses onstage.

This was her third solo single, her third number one, and it is among my favourite Onyanko Club and related songs. As well as just being a rollingly perfect pop song, there is this symmetry to it that works so wonderfully, as though the song could be folded over on itself. It leaves as it comes, ending with the intro you don’t realise is its best part until it comes around again, falling exactly where it has to. Everything that has come before now feeds into it, it soaring beyond the glory of the chorus and leaving you in its bliss. The walk up to a first kiss is now the walk away, with every momentous, euphoric thing that has just happened still swirling unsettled, delirious, in your head.

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