Ayumi Hamasaki Discography Rate Pt. III
- Thread starter Cutlery
- Start date
Hey, this is difficult to get, not everybody has that.
He/Him
Me showing up out of nowhere, a week late:
ANYWAY
32
Breakdown: 7.68
HIGH: 10 (@otenkiame @RUNAWAY)
LOW: 5 (@Ana Raquel)
After getting some good rest, we're back to getting a M(A)DE IN JAPAN cut. Composed by the not-so-bulletproof (quite the opposite in fact) duo of Yukumi + Nakano, this one starts with a 'progress'-like piano melody and similar Hamasaki video game tie-in songs. This then leads to some minimalist verses not unlike 'momentum'. And then the chorus has the easily-identifiable Nakano strings all over it. Its bridge is instrumental, letting the strings soar, to come back for a final chorus that becomes distorted and rock-like in the vocal processing and guitar suddenly taking over. And they say GUILTY has no impact!
On the lyrical department, 'Breakdown' is one of those times in which Ayu sees the pain of others through her own lens. We do get lyrics in a way that feels a bit punchy in the guts for any of us who've had these recurring unhealthy thoughts now or in the past:
When I'd felt like I'd finally reached the place of my dreams
In the end it was just a continuation of reality
Translation courtesy of @otenkiame
Are we doomed to dissatisfaction and grasp to the far and few between fragments of happiness in life to make sense of it? Sometimes feels like we are. The title of this track is apt.
Personally, I find this emotional and serviceable, as y'all can see from the great songs I said I think this referenced from, but my stanning comes from the glorious breakdown (pun intended) in the last chorus. The first time I listened to it, I was caught offguard and I love that. How she surprised me with this twist on the safest song, sonical palette-wise, in the flawless 'opening Run' of M(A)DE IN JAPAN, whew.
@RUNAWAY's praise is concise, "Gorgeous instrumental, lyrics, and vocals. Love this song~". @evilsin opts for highlighting the heavy topics at hand, "Another heavy one content wise. You never know what a person is going through and what facade they have to show to the others on a daily basis".
@otenkiame, who's lost three 10s in a row, sorry girl, more or less explains what makes it a perfect track, "GORGEOUS. That piano melody is everything and more to me. I love how dramatic and sad it sounds right off the bat, and can't find any fault with this diamond of a song. I don't know what she did, but she did THAT with this song. And talk about chills with that final «konomama»", oh yeah I forgot to highlight how the sole «like this» of mere resignation is the final blow really.
ANYWAY
32
Breakdown: 7.68
HIGH: 10 (@otenkiame @RUNAWAY)
LOW: 5 (@Ana Raquel)
After getting some good rest, we're back to getting a M(A)DE IN JAPAN cut. Composed by the not-so-bulletproof (quite the opposite in fact) duo of Yukumi + Nakano, this one starts with a 'progress'-like piano melody and similar Hamasaki video game tie-in songs. This then leads to some minimalist verses not unlike 'momentum'. And then the chorus has the easily-identifiable Nakano strings all over it. Its bridge is instrumental, letting the strings soar, to come back for a final chorus that becomes distorted and rock-like in the vocal processing and guitar suddenly taking over. And they say GUILTY has no impact!
On the lyrical department, 'Breakdown' is one of those times in which Ayu sees the pain of others through her own lens. We do get lyrics in a way that feels a bit punchy in the guts for any of us who've had these recurring unhealthy thoughts now or in the past:
When I'd felt like I'd finally reached the place of my dreams
In the end it was just a continuation of reality
Translation courtesy of @otenkiame
Are we doomed to dissatisfaction and grasp to the far and few between fragments of happiness in life to make sense of it? Sometimes feels like we are. The title of this track is apt.
Personally, I find this emotional and serviceable, as y'all can see from the great songs I said I think this referenced from, but my stanning comes from the glorious breakdown (pun intended) in the last chorus. The first time I listened to it, I was caught offguard and I love that. How she surprised me with this twist on the safest song, sonical palette-wise, in the flawless 'opening Run' of M(A)DE IN JAPAN, whew.
@RUNAWAY's praise is concise, "Gorgeous instrumental, lyrics, and vocals. Love this song~". @evilsin opts for highlighting the heavy topics at hand, "Another heavy one content wise. You never know what a person is going through and what facade they have to show to the others on a daily basis".
@otenkiame, who's lost three 10s in a row, sorry girl, more or less explains what makes it a perfect track, "GORGEOUS. That piano melody is everything and more to me. I love how dramatic and sad it sounds right off the bat, and can't find any fault with this diamond of a song. I don't know what she did, but she did THAT with this song. And talk about chills with that final «konomama»", oh yeah I forgot to highlight how the sole «like this» of mere resignation is the final blow really.
He/Him
29 (pt. I)
The low contrast that lets you to see the magazine pages this was scanned from is intended. A reputation moment for Ms. Hamasaki!
Sky high: 7.7
HIGH: 9 (@RUNAWAY)
LOW: 6 (@lalaclairi_)
sixxxxxx started out really strong, outliving the first few or lot of eliminations from virtually every other album, but now it's within, coincidentally, six eliminations that we've halved its tracklist. A shame, because I enjoy this hopeful, upbeat summery bop a lot!
Thematically, 'Sky high' revolves around two people who make a deep connection and can make their goals realized, they compliment each other well and Ayu reassures them that there is no fear now. You might think it's sappy, but in translation it sounds poetic and beautifully put:
Faster than the wind, higher than the sky
There are no impossibilities for us now
Because, like the birds flying before our eyes now
I will flap my wings, taking you with me
Translation by @otenkiame
The stuff of dreams! Where have the men who'll say these things to me gone?
@evilsin might merely nod his head along to it if heard at the dentist's waiting room or in the Forever 21 fitting rooms, "A cute take on feel good ditties that are made to lift one's spirits". @Weslicious returns to the backhanded complients, "A bright and breezy ending to a pretty OK EP. Well done babe". It does not sound like a closer to me at all, but then again I don't know if any of the other tracks would make a better one, maybe 'Step by step' and having 'Sayonara' open instead?
And @otenkiame provides a balanced critique, "Title definitely lives up to the name. It has such an uplifting sound to it, especially when we go from verse to hook. It also is honestly perfect as an album ending. It sounds like the closing of a long journey of emotions without treading into cheesy territory". When you out it this way, I can envision 'Sky high' as an anime closer of sorts for the EP. Good catch!
Sadly, it seems this has never been performed live.
The low contrast that lets you to see the magazine pages this was scanned from is intended. A reputation moment for Ms. Hamasaki!
Sky high: 7.7
HIGH: 9 (@RUNAWAY)
LOW: 6 (@lalaclairi_)
sixxxxxx started out really strong, outliving the first few or lot of eliminations from virtually every other album, but now it's within, coincidentally, six eliminations that we've halved its tracklist. A shame, because I enjoy this hopeful, upbeat summery bop a lot!
Thematically, 'Sky high' revolves around two people who make a deep connection and can make their goals realized, they compliment each other well and Ayu reassures them that there is no fear now. You might think it's sappy, but in translation it sounds poetic and beautifully put:
Faster than the wind, higher than the sky
There are no impossibilities for us now
Because, like the birds flying before our eyes now
I will flap my wings, taking you with me
Translation by @otenkiame
The stuff of dreams! Where have the men who'll say these things to me gone?
@evilsin might merely nod his head along to it if heard at the dentist's waiting room or in the Forever 21 fitting rooms, "A cute take on feel good ditties that are made to lift one's spirits". @Weslicious returns to the backhanded complients, "A bright and breezy ending to a pretty OK EP. Well done babe". It does not sound like a closer to me at all, but then again I don't know if any of the other tracks would make a better one, maybe 'Step by step' and having 'Sayonara' open instead?
And @otenkiame provides a balanced critique, "Title definitely lives up to the name. It has such an uplifting sound to it, especially when we go from verse to hook. It also is honestly perfect as an album ending. It sounds like the closing of a long journey of emotions without treading into cheesy territory". When you out it this way, I can envision 'Sky high' as an anime closer of sorts for the EP. Good catch!
Sadly, it seems this has never been performed live.
He/Him
He/Him
TOP 30
Return Road
Wake me up
Song 4 u
Missing
Bye-bye darling
snowy kiss
You & Me
Feel the love
What is forever love
Terminal
NOW & 4EVA
WARNING
NO FUTURE
Last minute
Out of control
The Show Must Go On
Movin' on without you
Step by step
Sayonara
Sorrows
FLOWER
Mad World
Survivor
Summer Love
Many Classic Moments
We are the QUEENS
æternal
W
OTHERS
My Way
Tell All
A ONE and LOVE again are still going strong, with six tracks each.
I cut off 'Sky high' since it was the only song of the three to get no 10s.
Let me reveal the rest of the tie at #29
#SOON
Return Road
Wake me up
Song 4 u
Missing
Bye-bye darling
snowy kiss
You & Me
Feel the love
What is forever love
Terminal
NOW & 4EVA
WARNING
NO FUTURE
Last minute
Out of control
The Show Must Go On
Movin' on without you
Step by step
Sayonara
Sorrows
FLOWER
Mad World
Survivor
Summer Love
Many Classic Moments
We are the QUEENS
æternal
W
OTHERS
My Way
Tell All
A ONE and LOVE again are still going strong, with six tracks each.
I cut off 'Sky high' since it was the only song of the three to get no 10s.
Let me reveal the rest of the tie at #29
#SOON
He/Him
29 (pt. II)
You & Me: 7.7
HIGH: 10 (@Ana Raquel)
LOW: 5 (@lalaclairi_)
The song first appeared as a promo single for the A SUMMER BEST compilation, both which were released on August 8, 2012 just in time for the season. 'You & Me', written by legend Komuro and arranged by Tasuku, went on to become a gold-certified hit, having reached #33 on the Japan Hot 100.
The song is a dance banger with your typical buildup and a rather... anticlimactic "drop" that has Ayumi listing the days of the weekend and the time of the day in relation to the good good beach sex and flirting going on. I recognize though, that the song picks up the quality by a lot after the second chorus, were we get a key change in the verses, and a more energetic performance. 'You & Me' closes as it started, with a simple piano melody.
I like the song quite a bit, mainly the latter half of it, but I think that just squeezing into the, ahem, top 31 is its best spot. Not sure those of y'all who are here for a basic bop agree, though. Right @Weslicious? "Trash stans trash!", well at least your nine points come from a place of self-awareness, love that for you. @otenkiame is a fair «basic squad» representative, "I've heard a lot of opinions about this song. Personally, I can totally see the negative aspects, but I do enjoy this mainly for its bop qualities. That's me and my basic taste levels speaking. So yeah, give me a dance beat and nice build-up and I'm generally going to like it to some extent".
@evilsin wonders about its fate amongst our pool of voters, and also finds a sister to 'Connected' in the song, "Is this a contender for the last place? I don't know, though the cheese is real once the chorus hits with that eurobeat sound. That truck scene in the PV is still the unintentionally silliest and funniest bits of her career. THE ACTING!". Speaking of which, the PV is basically the same stuff we later see in 'Summer diary', but this one is way messier because there's actual and repeated physical and emotional abuse against our dear protagonist. Like, I get why the truck GIF is a bit of a hit reaction image for the Ayunties (Ayu hunties) but in context the physical abuse makes me uncomfortable. Rewatch a little down below if you wanna, folks.
'You & Me' has been extensively performed since release, including four editions of the annual a-nation, during the HOTEL Love Songs + Feel the love Premium Showcase tours, and two of her Live Countdowns on New Year's Eve. Watch a performance from the Feel the love Showcase below.
You & Me: 7.7
HIGH: 10 (@Ana Raquel)
LOW: 5 (@lalaclairi_)
The song first appeared as a promo single for the A SUMMER BEST compilation, both which were released on August 8, 2012 just in time for the season. 'You & Me', written by legend Komuro and arranged by Tasuku, went on to become a gold-certified hit, having reached #33 on the Japan Hot 100.
The song is a dance banger with your typical buildup and a rather... anticlimactic "drop" that has Ayumi listing the days of the weekend and the time of the day in relation to the good good beach sex and flirting going on. I recognize though, that the song picks up the quality by a lot after the second chorus, were we get a key change in the verses, and a more energetic performance. 'You & Me' closes as it started, with a simple piano melody.
I like the song quite a bit, mainly the latter half of it, but I think that just squeezing into the, ahem, top 31 is its best spot. Not sure those of y'all who are here for a basic bop agree, though. Right @Weslicious? "Trash stans trash!", well at least your nine points come from a place of self-awareness, love that for you. @otenkiame is a fair «basic squad» representative, "I've heard a lot of opinions about this song. Personally, I can totally see the negative aspects, but I do enjoy this mainly for its bop qualities. That's me and my basic taste levels speaking. So yeah, give me a dance beat and nice build-up and I'm generally going to like it to some extent".
@evilsin wonders about its fate amongst our pool of voters, and also finds a sister to 'Connected' in the song, "Is this a contender for the last place? I don't know, though the cheese is real once the chorus hits with that eurobeat sound. That truck scene in the PV is still the unintentionally silliest and funniest bits of her career. THE ACTING!". Speaking of which, the PV is basically the same stuff we later see in 'Summer diary', but this one is way messier because there's actual and repeated physical and emotional abuse against our dear protagonist. Like, I get why the truck GIF is a bit of a hit reaction image for the Ayunties (Ayu hunties) but in context the physical abuse makes me uncomfortable. Rewatch a little down below if you wanna, folks.
'You & Me' has been extensively performed since release, including four editions of the annual a-nation, during the HOTEL Love Songs + Feel the love Premium Showcase tours, and two of her Live Countdowns on New Year's Eve. Watch a performance from the Feel the love Showcase below.
How dare you to even insinuate something of the sort, heathen.
He/Him
You & Me...
You & Me...
We can feel the love tonight
29 (pt. III)
Feel the love: 7.7
HIGH: 10 (@Ana Raquel)
LOW: 6 (@Weslicious @Cutlery)
@otenkiame, "Some parapara dance stuff that I found kinda cringe-worthy on release, but have warmed up to a bit. It's at least worthy of being called a bop, and is fun to boot. I mean, I'm always a sucker for some dance beats like this".
@Weslicious, "Feel the strain". Correct assessment.
@evilsin, "This is basic, yes, but this is a basic bop as well. I can't help but love how that instrumental bit of the chorus crescendoes. Send chills down my spine, Tetsuya! The music video for this was also very cute, apart from the ending".
A Body-shaming is born.
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He/Him
28
W: 7.72
HIGH: 10 (@Ana Raquel)
LOW: 6 (@Weslicious
Gotta love how she likes her one-letter titles, other examples being 'M', 'H', 'L', 'A'... This occasion we have 'W', which is interestingly the first letter of 4/5 song titles in TROUBLE. The song was composed by Kazuhiro Hara (who was behind smash singles 'Born To Be…', 'STEP you', 'glitter' and 'Sparkle' as well as a number of tracks in this rate we've yet to see) and arranged by Tasuku.
Sonically, it starts out with anthemic, marching band drums that lead to an energetic, electric guitar-led rock track that incorporates piano and keyboards. In the lyrics department, the song's title might come from the fact "WOW WOW WOOOOW" is repeated throughout the track, or that it's the first letter to spell «woman». It's daring, and can be interpeted as Ayu being teasy about expectations in the form of one-sided, condescending conversation with some man ("I'm just letting you make me feel good, you know? / It's your own fault for taking it seriously, you know?"). Queen of subversion.
For me, I think it's a p neat song, though I wish it was even more explosive at parts to give it an extra oomph. Maybe it's that her songs tend to be well over the four and a half minute mark, but this feels quite short for me, and thus amping up the sound would've made it a big quick burst of energy. Happy to see it make it this far!
@otenkiame just gets me, "There's that fierce word that pretty much sums this track up. It immediately grabs attention with its marching drum opening, and then kicks off into an aggressive pop/rock number with great guitar riffs! And unlike another track, the 'lalala' bits aren't at all annoying. A gem on an album that was otherwise not my cup of tea!", ok not the part of being mixed on TROUBLE as a whole. But stan 'W'! @evilsin recalls a Secret deep cut, and echoes my sentiment about the length, "This one reminds me of '1 LOVE' the most for some reason. This feel way to short even at 3:26 mark and although it has some more feeling of reusing your own assets, it's a ballsy track about being a woman, so I'm not that bothered by it". I do hear th resemblance, but I find that track to be a little on the boring side.
W: 7.72
HIGH: 10 (@Ana Raquel)
LOW: 6 (@Weslicious
Gotta love how she likes her one-letter titles, other examples being 'M', 'H', 'L', 'A'... This occasion we have 'W', which is interestingly the first letter of 4/5 song titles in TROUBLE. The song was composed by Kazuhiro Hara (who was behind smash singles 'Born To Be…', 'STEP you', 'glitter' and 'Sparkle' as well as a number of tracks in this rate we've yet to see) and arranged by Tasuku.
Sonically, it starts out with anthemic, marching band drums that lead to an energetic, electric guitar-led rock track that incorporates piano and keyboards. In the lyrics department, the song's title might come from the fact "WOW WOW WOOOOW" is repeated throughout the track, or that it's the first letter to spell «woman». It's daring, and can be interpeted as Ayu being teasy about expectations in the form of one-sided, condescending conversation with some man ("I'm just letting you make me feel good, you know? / It's your own fault for taking it seriously, you know?"). Queen of subversion.
For me, I think it's a p neat song, though I wish it was even more explosive at parts to give it an extra oomph. Maybe it's that her songs tend to be well over the four and a half minute mark, but this feels quite short for me, and thus amping up the sound would've made it a big quick burst of energy. Happy to see it make it this far!
@otenkiame just gets me, "There's that fierce word that pretty much sums this track up. It immediately grabs attention with its marching drum opening, and then kicks off into an aggressive pop/rock number with great guitar riffs! And unlike another track, the 'lalala' bits aren't at all annoying. A gem on an album that was otherwise not my cup of tea!", ok not the part of being mixed on TROUBLE as a whole. But stan 'W'! @evilsin recalls a Secret deep cut, and echoes my sentiment about the length, "This one reminds me of '1 LOVE' the most for some reason. This feel way to short even at 3:26 mark and although it has some more feeling of reusing your own assets, it's a ballsy track about being a woman, so I'm not that bothered by it". I do hear th resemblance, but I find that track to be a little on the boring side.
Well, to me the former is a 7 and a latter is an 8, so...
