Tommy february6 (album)
Tommy february6 is the eponymous debut album of the brilliant green vocalist Tomoko Kawase's alter ego Tommy February6. The album, in addition to launching Kawase's solo career established Tommy February6's trademark sound, influenced by 80's synthpop music. Most of the lyrics on the album's original material are either dominated by English lyrics with occasional Japanese lines, or are wholly in English – despite the fact that Kawase cannot speak much of the language – with only one song sung in Japanese; the original first pressing of the album came with a promotional DVD that included music videos, karaoke videos and furitsuke videos for "Kiss One More Time" and "Bloomin'!". Included was the making of the PV's for "Kiss One More Time", "Bloomin'!" and "Candy Pop in Love" All lyrics written by Tommy February6. Tommy february6 – lead and backing vocals Malibu Convertible – keyboards, drum programming, arrangements Team Real Men – backing vocals Tommy February6 – executive producer Malibu Convertible – producer, recording engineer, mixing engineer Auspicious Feather – recording engineer, mixing engineer Dark Undercover – assistant engineer
Heavy Starry Heavenly
Heavy Starry Heavenly is the second album by the brilliant green vocalist Tomoko Kawase under her pseudonym Tommy heavenly6. "Heavy Starry Heavenly" is Tommy Heavenly6's second studio album, released two years after Tommy heavenly6. It is billed as "the "dramatic" new album" featuring "12 cute new songs". Following the release of "Tommy heavenly6", Kawase released a continuous string of singles starting with I'm Gonna Scream+ and ending a single-productive phase with Heavy Starry Chain; each single in between "Tommy heavenly6" and "Heavy Starry Heavenly" was included on the album. The initial Limited Edition pressing includes a bonus promotional DVD, including music videos and "making of" videos. All lyrics written by Tomoko Kawase. After the release of the album, Kawase started on her "Tommy heavenly6 Heavy Starry Tour'07" in order to promote the album; the tour consisted of four live shows in four cities around Japan, taking place in March 2007. The shows took place in Fukuoka, Aichi and ending in Tokyo.
On certain legs of the tour, her bandmates from The Brilliant Green appeared as guest musicians. The songs played were from both "Heavy Starry Heavenly" and "Tommy heavenly6". Wait Till I Can Dream Stay Away from Me I'm Gonna Scream+ Door Mat 2Bfree My Bloody-Knee-High-Socks +Gothic Pink+ Lollipop Candy Bad Girl Gimme All of Your Love!! LCDD Roller Coaster Ride Pray Heavy Starry Chain Ready? Hey My Friend Lucky Me Tommy heavenly6 Official Site
MusicBrainz is a project that aims to create an open data music database, similar to the freedb project. MusicBrainz was founded in response to the restrictions placed on the Compact Disc Database, a database for software applications to look up audio CD information on the Internet. MusicBrainz has expanded its goals to reach beyond a compact disc metadata storehouse to become a structured open online database for music. MusicBrainz captures information about artists, their recorded works, the relationships between them. Recorded works entries capture at a minimum the album title, track titles, the length of each track; these entries are maintained by volunteer editors. Recorded works can store information about the release date and country, the CD ID, cover art, acoustic fingerprint, free-form annotation text and other metadata; as of 21 September 2018, MusicBrainz contained information about 1.4 million artists, 2 million releases, 19 million recordings. End-users can use software that communicates with MusicBrainz to add metadata tags to their digital media files, such as FLAC, MP3, Ogg Vorbis or AAC.
MusicBrainz allows contributors to upload cover art images of releases to the database. Internet Archive provides the bandwidth and legal protection for hosting the images, while MusicBrainz stores metadata and provides public access through the web and via an API for third parties to use; as with other contributions, the MusicBrainz community is in charge of maintaining and reviewing the data. Cover art is provided for items on sale at Amazon.com and some other online resources, but CAA is now preferred because it gives the community more control and flexibility for managing the images. Besides collecting metadata about music, MusicBrainz allows looking up recordings by their acoustic fingerprint. A separate application, such as MusicBrainz Picard, must be used for this. In 2000, MusicBrainz started using Relatable's patented TRM for acoustic fingerprint matching; this feature allowed the database to grow quickly. However, by 2005 TRM was showing scalability issues as the number of tracks in the database had reached into the millions.
This issue was resolved in May 2006 when MusicBrainz partnered with MusicIP, replacing TRM with MusicDNS. TRMs were phased out and replaced by MusicDNS in November 2008. In October 2009 MusicIP was acquired by AmpliFIND; some time after the acquisition, the MusicDNS service began having intermittent problems. Since the future of the free identification service was uncertain, a replacement for it was sought; the Chromaprint acoustic fingerprinting algorithm, the basis for AcoustID identification service, was started in February 2010 by a long-time MusicBrainz contributor Lukáš Lalinský. While AcoustID and Chromaprint are not MusicBrainz projects, they are tied with each other and both are open source. Chromaprint works by analyzing the first two minutes of a track, detecting the strength in each of 12 pitch classes, storing these 8 times per second. Additional post-processing is applied to compress this fingerprint while retaining patterns; the AcoustID search server searches from the database of fingerprints by similarity and returns the AcoustID identifier along with MusicBrainz recording identifiers if known.
Since 2003, MusicBrainz's core data are in the public domain, additional content, including moderation data, is placed under the Creative Commons CC-BY-NC-SA-2.0 license. The relational database management system is PostgreSQL; the server software is covered by the GNU General Public License. The MusicBrainz client software library, libmusicbrainz, is licensed under the GNU Lesser General Public License, which allows use of the code by proprietary software products. In December 2004, the MusicBrainz project was turned over to the MetaBrainz Foundation, a non-profit group, by its creator Robert Kaye. On 20 January 2006, the first commercial venture to use MusicBrainz data was the Barcelona, Spain-based Linkara in their Linkara Música service. On 28 June 2007, BBC announced that it has licensed MusicBrainz's live data feed to augment their music Web pages; the BBC online music editors will join the MusicBrainz community to contribute their knowledge to the database. On 28 July 2008, the beta of the new BBC Music site was launched, which publishes a page for each MusicBrainz artist.
Amarok – KDE audio player Banshee – multi-platform audio player Beets – automatic CLI music tagger/organiser for Unix-like systems Clementine – multi-platform audio player CDex – Microsoft Windows CD ripper Demlo – a dynamic and extensible music manager using a CLI iEatBrainz – Mac OS X deprecated foo_musicbrainz component for foobar2000 – Music Library/Audio Player Jaikoz – Java mass tag editor Max – Mac OS X CD ripper and audio transcoder Mp3tag – Windows metadata editor and music organizer MusicBrainz Picard – cross-platform album-oriented tag editor MusicBrainz Tagger – deprecated Microsoft Windows tag editor puddletag – a tag editor for PyQt under the GPLv3 Rhythmbox music player – an audio player for Unix-like systems Sound Juicer – GNOME CD ripper Zortam Mp3 Media Studio – Windows music organizer and ID3 Tag Editor. Freedb clients can access MusicBrainz data through the freedb protocol by using the MusicBrainz to FreeDB gateway service, mb2freedb. List of online music databases Making Metadata: The Case of Mus
Complete Single Collection '97–'08
The Complete Singles Collection'97–'08 is a compilation album released by The Brilliant Green on February 20, 2008. It collects all of the group's previous singles. "Bye Bye Mr. Mug" "Goodbye and Good Luck" "There Will Be Love There -Ai no Aru Basho-" "Tsumetai Hana" "Sono Speed de" "Nagai Tameiki no Youni" "Ai no Ai no Hoshi" "Call My Name" "Bye! My Boy!" "Hello Another Way -Sorezore no Basho-" "Angel Song -Eve no Kane-" "Forever To Me ~Owarinaki Kanashimi~" "Rainy Days Never Stays" "I'm So Sorry Baby" "Stand by Me" "Enemy" "Ash Like Snow" Oricon: #1 Billboard: #2 Sony Music Shop album page
Romanization of Japanese
The romanization of Japanese is the use of Latin script to write the Japanese language. This method of writing is sometimes referred to in Japanese as rōmaji (. There are several different romanization systems; the three main ones are Hepburn romanization, Kunrei-shiki romanization, Nihon-shiki romanization. Variants of the Hepburn system are the most used. Japanese is written in a combination of logographic characters borrowed from Chinese and syllabic scripts that ultimately derive from Chinese characters. Rōmaji may be used in any context where Japanese text is targeted at non-Japanese speakers who cannot read kanji or kana, such as for names on street signs and passports, in dictionaries and textbooks for foreign learners of the language, it is used to transliterate Japanese terms in text written in English on topics related to Japan, such as linguistics, literature and culture. Rōmaji is the most common way to input Japanese into word processors and computers, may be used to display Japanese on devices that do not support the display of Japanese characters.
All Japanese who have attended elementary school since World War II have been taught to read and write romanized Japanese. Therefore all Japanese are able to read and write Japanese using rōmaji, although it is rare in Japan to use this method to write Japanese, most Japanese are more comfortable reading kanji and kana; the earliest Japanese romanization system was based on Portuguese orthography. It was developed around 1548 by a Japanese Catholic named Yajiro. Jesuit priests used the system in a series of printed Catholic books so that missionaries could preach and teach their converts without learning to read Japanese orthography; the most useful of these books for the study of early modern Japanese pronunciation and early attempts at romanization was the Nippo jisho, a Japanese–Portuguese dictionary written in 1603. In general, the early Portuguese system was similar to Nihon-shiki in its treatment of vowels; some consonants were transliterated differently: for instance, the /k/ consonant was rendered, depending on context, as either c or q, the /ɸ/ consonant as f.
The Jesuits printed some secular books in romanized Japanese, including the first printed edition of the Japanese classic The Tale of the Heike, romanized as Feiqe no monogatari, a collection of Aesop's Fables. The latter continued to be read after the suppression of Christianity in Japan. Following the expulsion of Christians from Japan in the late 1590s and early 17th century, rōmaji fell out of use and was used sporadically in foreign texts until the mid-19th century, when Japan opened up again. From the mid-19th century onward, several systems were developed, culminating in the Hepburn system, named after James Curtis Hepburn who used it in the third edition of his Japanese–English dictionary, published in 1887; the Hepburn system included representation of some sounds. For example, Lafcadio Hearn's book Kwaidan shows the older kw- pronunciation. In the Meiji era, some Japanese scholars advocated abolishing the Japanese writing system and using rōmaji instead; the Nihon-shiki romanization was an outgrowth of that movement.
Several Japanese texts were published in rōmaji during this period, but it failed to catch on. In the early 20th century, some scholars devised syllabary systems with characters derived from Latin that were less popular since they were not based on any historical use of the Latin script. Today, the use of Nihon-shiki for writing Japanese is advocated by the Oomoto sect and some independent organizations. During the Allied occupation of Japan, the government of the Supreme Commander for the Allied Powers made it official policy to romanize Japanese. However, that policy failed and a more moderate attempt at Japanese script reform followed. Hepburn romanization follows English phonology with Romance vowels, it is an intuitive method of showing Anglophones the pronunciation of a word in Japanese. It was standardized in the United states as American National Standard System for the Romanization of Japanese, but that status was abolished on October 6, 1994. Hepburn is the most common romanization system in use today in the English-speaking world.
The Revised Hepburn system of romanization uses a macron to indicate some long vowels and an apostrophe to note the separation of confused phonemes. For example, the name じゅんいちろう is written with the kana characters ju-n-i-chi-ro-u, romanized as Jun'ichirō in Revised Hepburn. Without the apostrophe, it would not be possible to distinguish this correct reading from the incorrect ju-ni-chi-ro-u; this system is used in Japan and among foreign students and academics. Nihon-shiki romanization, which predates the Hepburn system, was invented as a method for Japanese to write their own language in Latin characters, rather than to transcribe it for Westerners as Hepburn was, it follows the Japanese syllabary strictly, with no adjustments for changes in pronunciation. It is therefore the only major system of romanization that allows near-lossless mapping to and from kana, it has been st
I Kill My Heart
I Kill My Heart is the third studio album by Tommy heavenly6. It was released on April 29, 2009, was Kawase's final album with DefSTAR Records. "I Kill My Heart" is a concept album in which Tommy heavenly6 uses a less energetic and darker sound than on previous albums, each track was played by the same backing band. All lyrics written by Tomoko Kawase. Although no singles were released for the album, two music videos were released for I Kill My Heart: "Wait for Me There", "Leaving You". Two versions of each video were released: one featuring Tommy heavenly6 and one featuring Tommy february6. All four of the videos used the same set and similar themes, although the February6 versions feature a more upbeat attitude; the "Wait for Me There" video uses a tea party setting inspired by Alice in Wonderland, as well as a "pumpkin graveyard" and fashion runway. The "Leaving You" video is inspired by the androgyny of 1970's Glam Rock. "I Kill My Heart" received mixed reviews from critics. Adam Greenberg of Allmusic stated "The songs aren't landmarks of grunge writing by any measure, but within the context of bubbly Japanese pop, an album like "I Kill My Heart" holds secrets that haven't been spread into the territory before".
The album reached number 9 on the Oricon charts in the first week of its release. Tomoko Kawase – Vocals Chiffon Brownie – Guitar Satoshi'Anthony' Yamada – Bass Yasuo Sano – DrumsNotesCredits adapted from album's liner notes