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Cover artwork Sambomaster
Subete no Yoru to Subete no Asa ni Tambourine wo Narasu no da

Released: 2005.11.02 (SRCL-6063)
Label: Sony Music Records

Reviewer: Bob Vielma (2005.11.23)
Tracklist
01 - Subete no Yoru to Subete no Asa ni Tambourine wo Narasu no da
02 - Ano Kane wo Narasu no ha Anata
03 - Hanarenai Futari
Review
Sambomaster's new single "Subete no Yoru to Subete no Asa ni Tambourine wo Narasu no da" was initially a bit of a disappoinment. For one, it's probably the furthest they've ventured into straight-up pop music, and I've always enjoyed their more rockin' songs instead of the light-funk they've dabbled in. Today, however, while driving home from a nice day with a nice girl, the song's melody popped into my head, and it was then that I realized that I indeed did like it. Though the song lacks the raw energy upon which they've built their reputation, Sambomaster has made up for it with one of their catchiest melodies to date.

The first b-side, "Ano Kane wo Narasu no ha Anata", is a fairly faithful cover of an old Akiko Wada song. An unabashed soul tune with some delightfully excessive horns backing singer Yamaguchi's crooning makes this one a winner in my book. This song wouldn't have felt out of place on their last album, Sambomaster ha Kimi ni Katari Kakeru, which also benefitted from an enjoyable horn accompaniment on several songs.

The second b-side "Hanarenai Futari" is a typically rockin' song, along the lines of "Utsukushiki Ningen no Hibi" or any other number of Sambomaster songs.

These three songs clustered together onto one CD are an almost tailor-made display of Sambomaster's increasingly contradictory and schizophrenic style. So far, their motown-punk hasn't failed them though, so I'm interested in seeing where they take it from here. Certainly, their music has been tamed since the violent funk rock of "Kick no Oni", but the thought of three less-than-attractive men bucking the phoniness of the mainstream and taking over the Japanese pop scene is still incredibly dangerous and inspiring.
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