
I canât quite put my finger on why I 4 Real just doesnât hold in my memory, but Iâmma try to. There are songs on this album that just plain do not fit. âNice & Slowâ, Iâm Not Aloneâ and âOver the Rainbowâ. Chile. Now, I like âNice & Slowâ. Itâs my jam. But as was a theme with Crystalâs earlier releases, Crystal was too damn young to be talkinâ about getting anything nice and slow other than bus rides to school. And the full title of this song which isnât printed on the CD is âNice & Slow (Justa Little to the Left)â. Excuse me!? Maâam. This is a First Kitchen, and you are 17 years old. I like âIâm Not Aloneâ, which features a songwriting credit from Keri Hilson years before weâd be introduced to her via âThe Way I Areâ, âKnock You Downâ and Britneyâs âGimme Moreâ. But both of these songs sound a tad dated, which is bizarre given that âWhat Time Is it?â, âCandyâ and âKataomoiâ all sound so fresh, refined and timeless. So it seems strange to me that we have âNice & Slowâ and âIâm Not Aloneâ, not exhibiting the execution of the other songs. 4 Real also feels like it wants to be this wholly uptempo affair, which is where 4 Real shines. So plonking these slow / mid-tempo songs smack 3 tracks into the album drop the energy of the album as a whole. And it does it again towards the end with the ballad âLead me to the Endâ and the Japanese jazz cafĂ© cover of âOver the Rainbowâ.
The sequencing of this album is a complete mess, but itâs more than this. Something about how 4 Real was put together just feels off, and I feel it so clearly when I listen to it from top to bottom.

As the likes of T.Kura and Michico had done on Almost Seventeen with âGirl U loveâ. and âGirlâs Nightâ on 637 -Always & Forever-, there is no trend chasing with their contributions here. âWhat Time Is It?â feels almost Mariah Carey-esque. It doesnât sound anything like a song like âHoneyâ, and yet it reminds me of it. Strange, I know. All of the R&B songs here are just feel good, well produced R&B songs helmed by folk who know the genre, respect it and avoid the pitfalls and clichĂ©s which were fucking up everybody else who was trying to do R&B at the time, unless they had the Hikaru Utada and Toshiba budget to hire Rodney Jerkins.
4 Real also features a more of a Hip-Hop edge than any of Crystalâs albums either side of it, because of her growing affiliation with M-Flo; with DJ Taku producing Almost Seventeenâs âHard to Sayâ and Verbal featuring on 637 -Always & Forever-âs âEx-Boyfriendâ, which led to the Crystal collaborating with M-Flo proper for the songs âI Like Itâ and âREEEWIND!â. The DJ Taku produced âKataomoiâ is one of the best songs on this album, and itâs wild to me that this wasnât made a single. This song right here is what made me even bother entertaining Japanese Rap, because of the vibe and energy that 51-Goichi, Arkitec and Coyass bring to the song. Coyass sounds like Gollum on the beat, but itâs everything.
Crystal Kay working Hip-Hop so casually is another instance of Crystal doing something in Japanese music and doing it well before anybody else did, but not getting the credit she deserves for doing so. So few pop and R&B artists in Japan were putting rappers on songs. And if they were, it was usually just Verbal of M-Flo, and itâd be for remixes. Never for singles or albums. Meanwhile Crystal has the most thuggy, miscellaneous rappers on songs for singles, in music videos and on her albums. And sheâs also doing the one thing I adore when a singer has a rapper on their song, which is ad-libbing around and over the raps to give a full sense of collaboration and awareness of the rap. This also shows just how in tune Crystal Kay and her team really was with popular R&B in the US, because putting rappers on songs and ad-libbing around them is straight out of the Mariah Carey playbook. Another artist who is also is never given enough credit for popularising what is now a widespread trend across all genres of music.
Itâs a shame that Hip-Hop didnât form the complete basis of 4 Real. I get the feeling that this may have been the plan at some point, based on songs such as âKataomoiâ, âWhat Time Is It?â, "I Like It" and the Clipse sampling âCandyâ; but it wasnât carried through for whatever reason.

The one constant on this album is Crystalâs vocals. Whilst a couple of these songs do sound like they were recorded during sessions for Almost Seventeen, there is a smoothness to Crystalâs vocals which holds for the majority of 4 Real. You can also hear that Crystal is starting to feel confident enough in her voice to go a little off script with her ad-libs; which is most noticeable on "Kataomoiâ. Crystal just glides over songs on this album in a way she hadnât on anything before. âCanât Be Stoppedâ is an absolute joy to listen to because of how free Crystal sounds on it. This is the album where you really start to get that sense of âOH, not just any bitch in J-Pop could sing these songs how Crystal doesâ. There is a noticeable jump in the quality of Crystalâs voice and her approach to singing, which isnât common in J-Pop. Crystal was really working on her voice in-between albums and it shows.

4 Real is the one album in Crystal Kayâs discography which is the least definable in terms of its sound and the songs that make it up, which is why itâs such a forgettable album to me. And this isnât because of the quality of the songs. Itâs because of the selection. 4 Real just doesnât feel like a wholly considered album. It makes me wonder if it was intended to be an EP, but was then fashioned into an album. Or if its English language counterpart Natural was intended to be a bigger deal and the sole album, but shit fell through and an album had to be scrambled together. But then again, Natural also doesnât feel like a complete album. So, who the fuck knows?!
4 Real features some great songs. But as a body of work? Itâs a no from me dawg. Itâs nothing that revised tracklist wonât fix though, which is what makes this album even worse. It wouldnât have taken much for it to be a standout album.
Highlights:
â Nice & Slow
â What Time Is It? đ„
â Candy đ„
â Canât Be Stopped đ„
â Kataomoi đ