Superman was Crystal Kay’s 27th single, 1st under her new label Universal Music Japan. It was released on December 14, 2011 and debuted at no. 55 on the Oricon Weekly Charts. It was released in a limited CD+DVD edition as well as a regular CD-Only edition.
2. Love Road
3. Superman -Piano ver.
4. Superman (Instrumental)
5. Love Road (Instrumental)
This is Crystal’s first release in over a year, and it feels like its been forever. But she’s back, and this time with another killer single! Her newest track since her label switch to Universal Music Japan is none other than the spectacular Superman. Like her usual works, it’s another smooth R&B song. It’s filled with some synth beats, claps, and other R&B elements. And like her songs, it features a good amount of English and Japanese; the bridge is completely sung in English, along with some distorted vocals (which sounds edgy and aggressive, yet still cool). As usual, her vocals are clear, crisp, and spot on. As for the song overall? It’s incredibly catchy, even though it’s only a light R&B song. This song is most definitely going on my playlist! In addition to the regular version, there’s also a piano version. It’s more stripped down, the sound overall sounds more raw, and her vocals sound more powerful as well. The original has essentially been transformed into a beautiful ballad. I didn’t think I’d like it all that much, but it’s just as good as the original. Simply lovely.
There was also a B-Side Love Road. It’s a ballad as you might have guessed. Rather typical in its arrangement and sound. It’s very classical, featuring an orchestra of strings as well as a piano. In all honesty though, it was just really boring. I tried to listen to it multiple times, but I just ended up hearing a bunch of words. Not really her finest B-Side or ballad.
Other than the mediocre B-Side, this is a super single (pun intended)! I am in love with the title track and the piano version! Her R&B tracks are always impressive and the title track is no exception. The B-side really didn’t belong in this case, and it was just boring. Title track was stellar though and that’s all I really care about, although the B-Side does stick out like a sore thumb.