Keys to Everything

1. Vanilla
2. LOVE SWEET CANDY
3. Kanashimi to Egao no Naka de
4. Vanilla (Instrumental)
5. LOVE SWEET CANDY (Instrumental)

Vanilla initially did not impress me much. Though that was partly the fault of the not brilliant PV rip that I was listening to. There can be no disputing the fact that, after Love Paradox, Vanilla is a bit of a let down. Leah trades in the hip-pop style that worked so well for her to go back to her, somewhat generic, pop. Reminiscent of previous song such as L.O.V.E and Koi Shiyou, Vanilla is actually quite good now that I listen to it in full sound. Leah’s vocals are okay in the same way as they were on her debut album. She’s gotten better and hopefully this will continue, occasionally she sounds a little off but that doesn’t ruin anything too much. Vanilla is actually pretty disco/funk and that really works well when mixed with the strong pop elements. I’d also like to mention that the backing singers add a lot to this, from strategic oohs and yeahs to joining Leah on the main melody. Vanilla does require a good listen to like though.

Track Rating; B+/A-

Described as “mid-tempo reggae” I wasn’t holding out much hope for LOVE SWEET CANDY. Imagine my surprise when halfway through the opening verse I found myself smiling. The reggae idea isn’t used in the stereotypical way. It’s actually pretty background and parts of it feel like it might-could-possible-even spiral off into a very unusual ska song. My favourite thing about this song is the interesting melodic twists in the song. I can’t describe it really as I don’t know all the appropriate musical terminology but it makes it a great song to listen to for the first time, because what you expect it to do it doesn’t do. The English lyrics are a bit twee but used in just the right way/amount. I particularly enjoy the “My love’s like candy” line.

Track Rating; A

One should always be careful when they find themselves listening to a Leah Dizon ballad. It could either be boring or badly sung. Truthfully, Kanashimi to Egao no Naka de is neither. Leah displays unusual sturdyness in her voice. She sings nasally, we all know this, but it doesn’t get in the way of the melody here. In fact, occasionally it helps her put a twist to the tone of the note she’s singing. The bridge is probably the worse part of the song because she sort of loses that control, which is a little disappointing but then there’s another couple of choruses to make up for it and I’m willing to overlook that slight flaw. Tell me if I’m wrong but that English chorus sounds like Leah’s forgetting how to pronounce the words, but I slur things when I’m singing in English so I’m not one to talk.

Track Rating; A

Single Rating; A+