"It feels like 1 Band" - Chicchi
--Members of Legal Lilly participated in Chicchi's recording of "Yoru Ouji to Tsuki no Hime".
Did you have a chance to talk with them?
Chicchi: Yes. I'm good friends with the Vocalist, Honoka-chan. I'm a fan of Legal Lilly, and like them allot, so when I decided to record "Yoru Ouji to Tsuki no Hime", I met with Honoka-chan and asked for her help. She said it would be her pleasure to help with the recording.
--Are Legal Lilly also fans of Ging Nang Boyz?
Chicchi: Not at all. No one in Legal Lilly follows Ging Nang Boyz. However, I thought I really wanted to work on the song with those people. I thought it would be better to record it through Legal's point of view, rather than imitating the style of the original song. We got together during pre-production, and talked about what to do with the Key (*As in what key the song should be in). We recorded it with the feeling that we were 1 band. I shared all the things I liked, and the members of Legal expressed how they wanted to approach the recording.
--So you feel like you made it together instead of a vocalist with a backing band?
Chicchi: It was amazing! We spent over 10 hrs. on pre-production alone, and then I worked on the arrangement for the entire song, which was a first for me. It was thrilling.
"My dream has come true that allot of instruments have entered" - Aina
--Aina-san, "Kienai de" was produced by Kameda Seiji. When did you meet him?
Aina: I've always really like Ringo Shiina, and I've seen videos of Kameda performing with her. I had the chance to meet him at the Viva La Rock in May. I admired the way the music and his live performance come together in a cool way. Now that we're both on Avex, I asked him "how would you feel about doing the arrangement?". He immediately replied, "Am I dreaming?" and accepted my request.
--Kameda-san's sound has allot of depth.
Aina: I wrote this song when I was 18, so I didn't know anything about Songwriting, the A melody, the B melody, or how to utilize Sabi (*Low Japanese vocals). I don't understand the meaning in this messy song (laughs). I only considered whether "the bass should enter here" or "is it better if the drums come in here". Because of that, this is a dream come, and I'm glad to have Kameda-san add bass and drums to the song (laughs).
--So did the final version turn out the way you imagined?
Aina: While staying true to the original composition, it was given the "Kameda treatment", and now the bass sounds amazing. It's actually become a cool song (laughs). After I received the instrumental, I danced the whole time while listening to it at home. That's why I want everyone to listen to it. It's filled with the sound of so many instruments.
--What was your impression during the recording?
Aina: I wrote "Kienai de" on a piece of paper after every Chu.
(*I wrote "Chu" since it's an onomatopoeia. I don't think I need to explain it since it's well known, but I don't understand the context for it. There's no kissing or mouse-like sound in the song, unless Aina means the "La, La, La" part. I don't know if there's a new context for it)
--Why did you do that?
Aina: Because it was a song I couldn't attempt without doing so. At the beginning, since I was singing each part separately, I thought it was something different, so I had to remind myself I was singing 1 song.
(*There is another meaning for "Chu". It can refer to spaces for Street Parking. Because the parts were divided up in the song, maybe that's why she used Chu)
"There was no shouting in the original song, so I wanted to shout." - Chicchi
--Both songs are different from BiSH is releasng these days. Were there any pionts in the song that you careful about singing?
Chicchi: In BiSH, I do my best to listen to the advice of Matuskuma (Kenta)-san, and I think that makes the best use of my essence. However, this time, I sang just for myself. I listened to Honoka-san's opinon, but I tried not to think about it too much.
--Your straight forward singing voice is impressive.
Chicchi: Yes. I only focused on the Sabi and singing straight. I didn't think too deeply when I approached the song. More than singing well, I wanted to put all of myself into it.
(*I'm never quite sure how to translate "Massugu" when it's used in this context. It means "straight", "not bending", etc. In this context, they probably just mean singing simply)
--I see what you mean. Chicchi-san is said to be "very skilled at singing", but with this song, there's a feeling of simplicity with the way you sang it.
Chicchi: Especially during the first acapella part. I wanted to sing with the feeling like I was just walking around. I thought it would be good if it sounded natural. However, when the lyrics "Kimi ga hoshi koso kanashikere" come in, that's the saddest part to me. There's no shouting in the original song, but I wanted to shout those lyrics. So, in the end, the feeling of BiSH's Cent Chihiro Chicchi makes an appearance.
--Has Mineta-san already heard it?
Chicchi: It seems he has listened to it, but I haven't talked with Mineta-san himself about it.
However, the Engineer who recorded it was also in charge of Going Steady and Ging Nang Boyz. They said "This is the 3rd time I've recorded 'Yoru Ouji to Tsuki no Hime'". They went on to say "You have a good head voice. I think it's really suited for 'Yoru Ouji to Tsuki no Hime'", so I was really glad. Now I feel like I'm part of some sort of history (laughs).
--Aina-san's singing also feels like it has more of a private atmosphere than usual.
Aina: I agree. I don't know if I sang well. I didn't care much about pitch, and focused more on giving an impression of my private life. I wonder if that's good.
--The 2 of you are always singing to your fullest in BiSH, but it's interesting in your solos that you're thinking "I shouldn't sing too well".
Aina: I said earlier that I sang this song for my best friend. However, even though I'm singing with such strong feelings to one person, I believe they will reach anyone who listens to it. I think it's a song that will have a deep impact on absolutely everyone who hears it.
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