Review: MISIA – Hoshizora no Raivu ~Best of Acoustic Ballade~

Released: Oct 22, 2003

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Artist: MISIA

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Perhaps one of the most popular R&B artists throughout Japan, Misia has been dazzling audiences with her powerful voice and strong lyrics since 1998. She was at one point said to have the highest concert attendance rate of all Japan’s artists, and it’s easy to discover why on her “MISIA Hoshizora no Raivu” (MISA Starry Sky Live) ~Best of Acoustic Ballade~ live album.

Any artist that can successfully pull of a live acoustic concert gets my vote and Misia is no exception. She powerfully belts each song with the deep, soulful tones her fans have come to know her for. She never fails to disappoint, and this album, recorded during her outdoor concert tour, delivers the same high quality vocals fans are used to.

In an album as good as this it’s hard to pick out the best and worst songs Each has it’s own unique, imamate, acoustic feel you won’t find at any of her arena tours. The album starts off with the lead ballad from her 2003 album Kiss In The Sky, Nemurenu Yoru wa Kimi no Sei. (Even If You Don’t Fall asleep) A small intro accompanies the song with Misia adlibbing and the sounds of spring birds. This acoustic version of the ballad is amazingly redone to suit the circumstances. Flutes and other instruments replace sounds produced by drum machines and synthesizers, creating an excellent live rendition for all to enjoy.

Other amazing ballads are redone in the same manner. Toki wo Tomete (Stopping Time) and Kisushite Dakishimete (Kissing Me, Holding Me) are among the songs to receive acoustic makeovers that show off Misa’s vocal prowess.

Probably the most stunning of the songs are those that had to be totally redone for the acoustic set. Escape, a fast, high energy song, and Tsutsumikomu Youni, (Like it’s Wrapped Up) a mid tempo song, had to be toned down for the set. Escape was almost unrecognizable, as it was given a slower, mellower, jazzier beat. The opening guitar behind Misia’s adlibbing leaves you to wonder what song she’s doing, before finally going into the chorus. The song itself is an amazing down tempo blend of keyboards, drums, guitars, and flutes.

Tsusumikomu Youni was rehashed in the same fashion, although it’s original version is considerably slower in tempo than Escape’s, it still had to be totally redone. Misia is backed by a keyboard, guitar, and drums, making this the most intimate of the songs in the set. I was shocked at how well this song fit the mood, because the original version had a larger backing behind it, which added to the punch of the song.

For once, outside of set list complaints, I can’t find one real problem with this album. Even though I would have really loved to hear my two favorite Misia ballads Wasurenai Hibi (Unforgettable Days) and Hatenaku Tsuzuku Sutorii (End of a Continuing Story) in the set, I really can’t complain because of the shear greatness of album. This is the best Misia concert I’ve heard so far, and I hope she does another like it in the near future.