A new Berryz Koubou single is coming out on August 27th… if you can call it that.
Right in-between the releases of their 17th single “Ike Ike Monkey Dance” on July 16th and their as yet untitled 5th LP on September 10th is a single involving a remix of their cover version of Dschinghis Khan’s eponymous single, which will have the collective release title Dschinghis Khan Onkochishin Remix. I do have to agree with those who think this particular release, on appearances, comes several months too late, given that the original Berryz single came out this past March. Remixes usually tend to come out within weeks of an original version’s release, rather than months, no?
Is Tsunku running out of ideas, as some of us have feared? No. Considering that a new, original, Berryz single is coming out the month before this remix EP, and an album of new material plus “Dschinghis Khan”, “Yuke Yuke Monkey Dance” and “Tsukiatteru no ni Katamoi” is coming out the month after, it’s not even a possibility. Since the EP is coming out on Piccolo Town, Tsunku’s only real role in the release in question is probably just approving the final master of the CD. So many Berryz Koubou releases coming out in a very short time period is nothing new either: Their first three singles came out in three consecutive months in the spring of 2004, and the band closed out 2005 by releasing in a five-week period the Dai 2 Seichouki LP, the “Gag 100kaibun Aishite Kudasai” single, and the Special! Best Mini ~2.5 Maime no Kare~ EP.
However, it should be pointed out that as of this writing, “Dschinghis Khan” is Berryz Koubou’s biggest selling single to date, having sold over 37,000 copies in outlets whose sales are counted by Oricon. It’s also the Berryz single that has had the most first week sales of any single in their career and the single that has had the longest stay on Oricon’s sales chart (eight weeks). The song apparently still has some wings over in Japan; although the single hasn’t been on the Oricon chart since May, the song is presumably still getting scattered airplay on Japanese radio, and given the song’s origins as a popular European and Asian disco hit in its original incarnation in 1979, it’s not unlikely to think that Berryz’ version is getting some club play as well, in spite of its radio-length brevity.
It’s also not unlikely to think that some enterprising bedroom remixer somewhere hasn’t done an unofficial remix that combines the Berryz version with the Dschinghis Khan original, or that some DJ in a dance club in Japan hasn’t already crossfaded between both versions in the course of a club set. Hence this impending release.
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