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Hi Eric and all,

Great message...you have some very good and accurate observations here.

Right now is probably the worst time possible for Seiko to issue a USA project
(unless she is doing so under the assumption that it will be purchased by her
existing international fans...in that case, it doesn't matter what / where she
releases next).

The Mariah Carey story is still big news here...Virgin Records trying to decide
how they can terminate her $80 million contract after the failure of "Glitter."

Your Coco Lee example was especially excellent. I have an interest in Asian
popular culture, and I saw a few magazine / television features on Coco. Her
CD was at one of the Tower listening stations, so I checked out a few tracks 
and bought it. But that was because I had a pre-existing interest and
curiosity, not because the record company succeeded in a cross-over promotion.

Dreams Come True tried a USA release. Sank without a trace.

Puffy's "Spike" is an excellent album, and the single "Sumire" is sublime...
easily one of the greatest, catchiest JPOP singles EVER. The USA release of
Spike...you guessed it, ended up at the bottom of the lake with Dreams Come
True.

You're right, Eric, it's not talent...it's connections and promotion. That's
why I wrote so many posts regarding Jimmy Jam and Terry Lewis. They have the
power and finesse and talent to get Seiko noticed. I know a lot of people here
consider "Was It The Future" a favorite, but that doesn't change the fact that
Robbie Nevil is a "one hit wonder," a "has-been," a joke. He is not in the
"inner circle" of popularity and influence. So while Seiko may consider him a
friend and may also enjoy writing and recording with him, he's the wrong 
person to hook up with if one is looking for success.

However, I read all of the posts here, and the one thing that comes through
consistently is that Seiko doesn't do everything with the anticipation of
big success. People are starting to get pretty vocal in the "Dump Shinji"
arena, but Seiko apparently feels that he challenges her, encourages her to
stretch as an artist. Look at Alan Reed...not the most talented guy you'll ever
meet, probably competent as a dancer but completely undistinguished as a 
singer, and Seiko was giving him solo vocal spots in her concerts. And she
apparently does the movies just for the experience of doing them. I'm assuming
there's a certain rush, a certain amount of adrenaline that comes with standing
on a Hollywood soundstage. 

Now, the ideal...the perfect situation...would be a new Japanese release that
feels like "Forever" or "My Story" or any of the Ryo-era classics. What we may
get is a Robbie Nevil-produced USA effort or another 30-minute Shinji CD. And as
Seiko fans we'll support whatever release it is, but it does get frustrating
because we've been there for songs like "Koisuru Omoi" and "Angel" and many,
many more that somehow still seem much more satisfying than the majority of
her output with Shinji (or Robbie). 

I guess the moral of the story is that we should be grateful that she still
chooses to perform, in any capacity. She'll do what she feels is right (and
unfortunately will listen to her management while making these choices). But if
you weigh "Love & Emotion" against a retired Seiko, it's probably better to 
have L&E.

On a final note, my favorite USA performer, Neil Young, had a ten year stretch
in the 1980s while on Geffen records in which he released a series of albums
which sounded nothing like his "trademark style." He actually got sued by
Geffen for releasing albums that "didn't sound like Neil Young," which he took
as a big joke. In 1990, when his contract with Geffen expired, he returned to
his original label and released "Ragged Glory," considered one of the absolute
greatest albums of his entire career.

So if Neil can do it, Seiko can too...when she's ready...and we'll just have to
wait for that day to come. As they say, "good things come to those who wait."

Best regards,

Mike

Date:1/11/1998. Eric 's message 

>Just visited Hollywood during Christmas and New Year and felt the special atmosphere there. Stardom is a 
>weird thing. It does not always go to the most talented, it is more like a 
>reflection of the taste of the public.
>So Seiko enjoyed this super stardom in Japan, failed to conquere Hollywood.
>Not because she is not good enough, just the majority of Americans have
>a different taste than the majority Japanese. Not to compare which is better,
>because I think both have a few excellent artists, and many bad ones. To release
>another US album/single and hoping not to fail again, Seiko needs a lot of luck.
>Not only she needs to work with big names in the music industry in Hollywood,
>she also needs a wholehearted support from the record company. For foreign
>singers like her, promotion does not guarantee success (like Coco Lee got all
>the explosure but still an unknown in US), but no promotion guarantees failure.
>It's a big risk to take, because even if she produced a very high quality 
>album, and there is lot of promotions, how the general Americans receive her
>is still a big unknown.
>Being international recognised is certainly tempting. But Seiko's status
>has been confirmed in Asia many years  ago. It's senseless for Seiko
>to take roles like those in Ammargardan and Drop Dead Gorgeous. She is 
>a singer, not so much an actor. So it seems all she/her management wanted
>was to make her name in Hollywood. Wrong move, wasted Seiko's precious time.
>Other substandard US music projects also wasted time and money. Unless Seiko
>has a good plan in penetrating the US market, personally I would rather see
>her investing such time and money in producing a kickass Japanese release.
>I know she does not want to win the public by changing her style. I totally
>respect that. But being a pop singer, record sales is an indicator for
>success. So keep your style Seiko, make an excellent release that would appeal
>to non-Seiko fans too. She is almost 40, although she is already deemed
>as a national treasure, it's too early for her to give up hard work. She
>always work hard, but some energy was diverted to bad projects.
>With that heavenly voice, all Seiko needs is some good muscians to make 
>some big hits. No matter what style she chooses to do, I know she can do
>way better than what she has been doing in the past. I have very high
>expectation of Seiko, because I know she is capable. And I am not the kind
>of fans who will take whatever she delivers. The last song that I really 
>really love is the Boat of Sadness, which was released in 1999. I am looking
>forward to something even better. And I know I will get that soon.
>Eric