Ayumi Hamasaki Discography Rate Pt. III
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He/Him
58
TODAY: 6.55
HIGH: 8 (@RUNAWAY @soratami @ThisIsRogue)
LOW: 5 (@Weslicious @lalaclairi_)
Our first M(A)DE IN JAPAN track falls! This track comes slotted after 'You are the only one' and before 'Mr. Darling'. It's a standard Ayu midtempo on autopilot affair, and it definitely sounds the most out of place in the album to me. The lyrics however are lovely, as she reminds us that we shouldn't let how others perceive us take over priority over ourselves, and that while love isn't forever (this does come from someone who once wrote 'What is forever love', so) the time with loved ones should be cherished in the present.
@otenkiame mentions one of my drawbacks from this track, "This is sweet-sounding track sounds very Ayu. There's definitely an overwhelming sense of happiness and joy coming from Ayu and the music. It's not the kind of track I gravitate to much, but I can appreciate what it is", yeah the sweetness in delivery and production is too much for me. @evilsin gets tricked into the sweet honey, "This might not be as exciting as some other tracks, but it's so warm, inviting and spacious, so I just have to give this a good score".
And @Weslicious simply states, "Unmemorable". Well, she's done this type of track to death, so you're not wrong!
'TODAY' was performed during the 2016 Arena Tour to promote the album, though the only recorded video of it I found is restricted to Youtube Premium users, sad!
TODAY: 6.55
HIGH: 8 (@RUNAWAY @soratami @ThisIsRogue)
LOW: 5 (@Weslicious @lalaclairi_)
Our first M(A)DE IN JAPAN track falls! This track comes slotted after 'You are the only one' and before 'Mr. Darling'. It's a standard Ayu midtempo on autopilot affair, and it definitely sounds the most out of place in the album to me. The lyrics however are lovely, as she reminds us that we shouldn't let how others perceive us take over priority over ourselves, and that while love isn't forever (this does come from someone who once wrote 'What is forever love', so) the time with loved ones should be cherished in the present.
@otenkiame mentions one of my drawbacks from this track, "This is sweet-sounding track sounds very Ayu. There's definitely an overwhelming sense of happiness and joy coming from Ayu and the music. It's not the kind of track I gravitate to much, but I can appreciate what it is", yeah the sweetness in delivery and production is too much for me. @evilsin gets tricked into the sweet honey, "This might not be as exciting as some other tracks, but it's so warm, inviting and spacious, so I just have to give this a good score".
And @Weslicious simply states, "Unmemorable". Well, she's done this type of track to death, so you're not wrong!
'TODAY' was performed during the 2016 Arena Tour to promote the album, though the only recorded video of it I found is restricted to Youtube Premium users, sad!
He/Him
57
Pray: 6.6
HIGH: 8.5 (@RUNAWAY)
LOW: 4 (@Ana Raquel)
The song was first released as a digital single on January 27, 2014, long before the release of its parent album. It was unveiled after the world premiere of anime film Buddha 2 in Paris, for which it was written and recorded. The following is an official statement made by Sync Music Japan, in regards to Ayumi's collaboration for the film:
"Hamasaki sings Siddhartha's pain, sadness, and the unchanging love for the happiness for all, as he continues an unending journey as a seeker after the truth seeking for things yet unknown, and gives magnificence and strength to the movie.
Pray: 6.6
HIGH: 8.5 (@RUNAWAY)
LOW: 4 (@Ana Raquel)
The song was first released as a digital single on January 27, 2014, long before the release of its parent album. It was unveiled after the world premiere of anime film Buddha 2 in Paris, for which it was written and recorded. The following is an official statement made by Sync Music Japan, in regards to Ayumi's collaboration for the film:
"Hamasaki sings Siddhartha's pain, sadness, and the unchanging love for the happiness for all, as he continues an unending journey as a seeker after the truth seeking for things yet unknown, and gives magnificence and strength to the movie.
The image which Osamu Tezuka used 10 years to create trying to convey the story of life and 'Pray' which Ayumi Hamasaki wrote perfectly link together in BUDDHA 2".
'Pray' appears during the end credits of said movie. It debuted and peaked at #76 on the Japan Hot 100 chart.
@evilsin exhibits signs of memory loss, as well as trauma (and not the para-para dance variety), "Didn't I just listen to this on LOVE again? That Kunio Tago guy has sure created some of Ayu's dullest songs. Wait's this is 6 minutes and 20 seconds? Chill, y'all. Or wake up, y'all, damn". I honestly believe this one is a cut or two above all those ballads we've massacred without rest. But seems like I'm the only one, as @Weslicious states, "This is over 6 minutes but does anything it’s attempting within the first 2", and @otenkiame too, "Another promotional song that left little to no impression on me when it was released. Relistening to it all these years later, I can sort of see why. Again, it's completely inoffensive, but it just doesn't hit me emotionally like her other ballads do. Though it does pick up quite from the bridge onwards".
If she promoted by performing it live, I can't seem to find video of it.
'Pray' appears during the end credits of said movie. It debuted and peaked at #76 on the Japan Hot 100 chart.
@evilsin exhibits signs of memory loss, as well as trauma (and not the para-para dance variety), "Didn't I just listen to this on LOVE again? That Kunio Tago guy has sure created some of Ayu's dullest songs. Wait's this is 6 minutes and 20 seconds? Chill, y'all. Or wake up, y'all, damn". I honestly believe this one is a cut or two above all those ballads we've massacred without rest. But seems like I'm the only one, as @Weslicious states, "This is over 6 minutes but does anything it’s attempting within the first 2", and @otenkiame too, "Another promotional song that left little to no impression on me when it was released. Relistening to it all these years later, I can sort of see why. Again, it's completely inoffensive, but it just doesn't hit me emotionally like her other ballads do. Though it does pick up quite from the bridge onwards".
If she promoted by performing it live, I can't seem to find video of it.
He/Him
56
Winter diary: 6.63
HIGH: 8.5 (@RUNAWAY)
LOW: 4.25 (Yours Truly)
Released as the sole new track on the compilation Winter diary ~A7 Classical~, which dropped on December 23, 2015 and, as the title suggests, contained classical reworks of songs originally from A ONE and sixxxxxx, the latter which has yet to make an appearance in our rate. Lyrically, it reads as a direct call back to the events described in 'Summer diary' (genius titling is genius).
Some of y'all know how it takes a lot for me to like a Christmas-themed song, and this one has def got nothing going on for me to like it. It bores me but I also find it a bit irritating. How about you?
@Weslicious makes me cackle in agreement, 'We’ve still got Spring and Autumn to get a decent diary entry from her". Commenting on songs while listening to and rating them and trying to form coherent thoughts is certainly a task many of us suffer through every rate, right @otenkiame? "A winter song, you don’t say!? Okay, so while I’m like hearing a multitude of j-pop clichés when listening to this, I can’t deny it hits a sweet spot in me. But I actually enjoy the verses more than the cheesy hooks. Whoops. Also, a bit too long for my liking. I kinda start to lose focus when listening".
@evilsin mentions the older sister and helps me lead swiftly into the last part of this write-up, "I always forget about the music video for this one. What a hoot! 'Summer diary' is better".
The video is highkey a mess. Just from the opening sequence were Ayu is dragging a profusely-bleeding Santa Claus through the snow, you get that vibe. She stars alongside her dancer Shuya, as a dangerous, reconciliated couple doing crime and risking it all at a casino. Two scenarios appear: in one, they strike gold and leave the city to celebrate in the North Pole clad in Christmas outfits. But on the other, real outcome, they lose everything, Shuya lashes out (y'know, just like in 'Summer diary') and they end up robbing a jewelry at gunpoint, before dramatically finishing off two police officers that arrive like 30 seconds into the scene??? What.
Winter diary: 6.63
HIGH: 8.5 (@RUNAWAY)
LOW: 4.25 (Yours Truly)
Released as the sole new track on the compilation Winter diary ~A7 Classical~, which dropped on December 23, 2015 and, as the title suggests, contained classical reworks of songs originally from A ONE and sixxxxxx, the latter which has yet to make an appearance in our rate. Lyrically, it reads as a direct call back to the events described in 'Summer diary' (genius titling is genius).
Some of y'all know how it takes a lot for me to like a Christmas-themed song, and this one has def got nothing going on for me to like it. It bores me but I also find it a bit irritating. How about you?
@Weslicious makes me cackle in agreement, 'We’ve still got Spring and Autumn to get a decent diary entry from her". Commenting on songs while listening to and rating them and trying to form coherent thoughts is certainly a task many of us suffer through every rate, right @otenkiame? "A winter song, you don’t say!? Okay, so while I’m like hearing a multitude of j-pop clichés when listening to this, I can’t deny it hits a sweet spot in me. But I actually enjoy the verses more than the cheesy hooks. Whoops. Also, a bit too long for my liking. I kinda start to lose focus when listening".
@evilsin mentions the older sister and helps me lead swiftly into the last part of this write-up, "I always forget about the music video for this one. What a hoot! 'Summer diary' is better".
The video is highkey a mess. Just from the opening sequence were Ayu is dragging a profusely-bleeding Santa Claus through the snow, you get that vibe. She stars alongside her dancer Shuya, as a dangerous, reconciliated couple doing crime and risking it all at a casino. Two scenarios appear: in one, they strike gold and leave the city to celebrate in the North Pole clad in Christmas outfits. But on the other, real outcome, they lose everything, Shuya lashes out (y'know, just like in 'Summer diary') and they end up robbing a jewelry at gunpoint, before dramatically finishing off two police officers that arrive like 30 seconds into the scene??? What.
He/Him
I agree, to an extent. The unmemorable ballads are numerous and thus the quality control for some of these albums is simply not there. But I will defend that the highs are really high, and I feel they're overlooked on her career because of the diminished interest/success of these years for Ayu.
Oh, I totally agree. She has some bangers here, but they get muddled by her recent lack of quality control, unfortunately.
He/Him
Another era makes its debut...
Is it sixxxxxx?
TROUBLE perhaps?
Which one...
55
The way I am: 6.73
HIGH: 8.5 (@evilsin)
LOW: 4 (@lalaclairi_)
First of all, I love this photo (her powerful stance, etc.), but I'm not sure why I picked it for the cover of the song. It doesn't fit the sentiment at all dd.
'The way I am' comes as the closer on the five-track EP TROUBLE. It was produced by Tetsuya Yukumi, who is largely responsible for the music in the one other EP in our rate, sixxxxxx. Lyrically, it's a cathartic and somber letter from Ayumi to both her fans and the world. It's telling when the closing lines of her latest body of work go a little like:
And when you no longer need me, please
Don't pity me
Cast me aside once and for all
Cast me aside once and for all
Translation courtesy of @otenkiame
Our queen has had one hell of a rocky road with Japanese media, with several challenges being faced pretty much forever since the mid 00s. This is something that I want to delve later on, as there is plenty of music here that deals with these painful experiences, expectations and the role of Ayumi Hamasaki as a popstar into the late stages of her trajectory. A lot of material that I want to explore later on. ONTO THE COMMENTS.
@evilsin knows what I'm talking about, "The lyrics, man. She still knows what she's doing. The chrous melody has a very envelopping feel to it, which I love. It makes Ayu roll out all those words so nicely". @Weslicious repeats previous comments made on LOVE again fillers. And @otenkiame himself feels like this belongs in a throwaway Avex girl album, "A pretty run-of-the-mill number, to be honest. The string opening itself felt like it's been done before by her numerous times. Then we get to the rest of the track, which quite honestly personifies every stereotypical j-pop sound out there. The generic sound and lack of any personality just does not tickle my fancy".
In these trying times, lettuce remind that we should NOT go around touching our face like in the EP cover.
Is it sixxxxxx?
TROUBLE perhaps?
Which one...
55
The way I am: 6.73
HIGH: 8.5 (@evilsin)
LOW: 4 (@lalaclairi_)
First of all, I love this photo (her powerful stance, etc.), but I'm not sure why I picked it for the cover of the song. It doesn't fit the sentiment at all dd.
'The way I am' comes as the closer on the five-track EP TROUBLE. It was produced by Tetsuya Yukumi, who is largely responsible for the music in the one other EP in our rate, sixxxxxx. Lyrically, it's a cathartic and somber letter from Ayumi to both her fans and the world. It's telling when the closing lines of her latest body of work go a little like:
And when you no longer need me, please
Don't pity me
Cast me aside once and for all
Cast me aside once and for all
Translation courtesy of @otenkiame
Our queen has had one hell of a rocky road with Japanese media, with several challenges being faced pretty much forever since the mid 00s. This is something that I want to delve later on, as there is plenty of music here that deals with these painful experiences, expectations and the role of Ayumi Hamasaki as a popstar into the late stages of her trajectory. A lot of material that I want to explore later on. ONTO THE COMMENTS.
@evilsin knows what I'm talking about, "The lyrics, man. She still knows what she's doing. The chrous melody has a very envelopping feel to it, which I love. It makes Ayu roll out all those words so nicely". @Weslicious repeats previous comments made on LOVE again fillers. And @otenkiame himself feels like this belongs in a throwaway Avex girl album, "A pretty run-of-the-mill number, to be honest. The string opening itself felt like it's been done before by her numerous times. Then we get to the rest of the track, which quite honestly personifies every stereotypical j-pop sound out there. The generic sound and lack of any personality just does not tickle my fancy".
In these trying times, lettuce remind that we should NOT go around touching our face like in the EP cover.
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He/Him
We go back to an album that has been allowed to rest for a few eliminations.
It's also the first 10 of the rate
54
the next LOVE: 6.8
HIGH: 10 (@otenkiame)
LOW: 3 (@lalaclairi_)
Long time no see, Party Queen! This album track was produced by Timothy, which is kinda easy to pinpoint isn't it? On the other hand, as with pretty much all the strings in the album, 'the next LOVE' was arranged by Yuta Nakano. It's a sultry, jazz affair with some characteristic aspects of the genre, such as the tempo and melody picking up for some portions of the song just to slow down again later, in an improvisational way.
The lyrics add to the playful atmosphere of the song, as they ironically look back on Ayumi's character being at the glass of mama's boudoir and told she was born a superstar, then immediately after wondering when did the developing negatives mean she'd grown into an adult. She closes off with rhetorical, self-aware questions which are no surprise from the album coming right after her divorce:
That thing which they call love
Just where can I find it?
What does it look like?
How much do I need to pay?
Hey, where did you girls buy it?
Translation by Misa
For me, it has some elements for a great song: Bond-esque strings allure, interesting switch ups in the production, good melodies. But as a full package, it's never been quite there. It doesn't hit the right spots, due partially to the... slightly too slow tempo, and some of the vocals.
@otenkiame thinks Ayu would make a perfect Bond theme artist, "I'm a sucker for old jazzy tunes, and I can't believe Ayu actually had the balls to tackle this genre. Not only that, but she does it well!? Okay, yes, Ayu, definitely feel free to try your hand at more songs like this. God, I love this, I really just do, and don't have anything else to say". Sorry to say this is the first 10 to leave! Dd.
@RUNAWAY, however, is not lenient on it, "This is not what I think anyone wanted from Ayu. This style of music does not suit her at all, and I’ll be glad when I never have to listen to this again". Well I do agree this was only needed to be done once for her discography (but then again we did get 'Eyes, Smoke, Magic' too in a similar but much more diabolical vein... a nightmare). @Weslicious thinks a couple points might have been made, "She's trying something different and I kind of appreciate the effort.". Considering Petty Queen is one of our more commented albums, even @ThisIsRogue joins in, "The build-up is nicely done".
@evilsin shuts down the vocal haters (drag me king!) and stans, "Give me that cabaret feeling that I love, queen. Somehow this works perfectly with her voice".
'the next LOVE' was performed during HOTEL Love Songs Tour, and included in the DVD release of it, found below.
It's also the first 10 of the rate
54
the next LOVE: 6.8
HIGH: 10 (@otenkiame)
LOW: 3 (@lalaclairi_)
Long time no see, Party Queen! This album track was produced by Timothy, which is kinda easy to pinpoint isn't it? On the other hand, as with pretty much all the strings in the album, 'the next LOVE' was arranged by Yuta Nakano. It's a sultry, jazz affair with some characteristic aspects of the genre, such as the tempo and melody picking up for some portions of the song just to slow down again later, in an improvisational way.
The lyrics add to the playful atmosphere of the song, as they ironically look back on Ayumi's character being at the glass of mama's boudoir and told she was born a superstar, then immediately after wondering when did the developing negatives mean she'd grown into an adult. She closes off with rhetorical, self-aware questions which are no surprise from the album coming right after her divorce:
That thing which they call love
Just where can I find it?
What does it look like?
How much do I need to pay?
Hey, where did you girls buy it?
Translation by Misa
For me, it has some elements for a great song: Bond-esque strings allure, interesting switch ups in the production, good melodies. But as a full package, it's never been quite there. It doesn't hit the right spots, due partially to the... slightly too slow tempo, and some of the vocals.
@otenkiame thinks Ayu would make a perfect Bond theme artist, "I'm a sucker for old jazzy tunes, and I can't believe Ayu actually had the balls to tackle this genre. Not only that, but she does it well!? Okay, yes, Ayu, definitely feel free to try your hand at more songs like this. God, I love this, I really just do, and don't have anything else to say". Sorry to say this is the first 10 to leave! Dd.
@RUNAWAY, however, is not lenient on it, "This is not what I think anyone wanted from Ayu. This style of music does not suit her at all, and I’ll be glad when I never have to listen to this again". Well I do agree this was only needed to be done once for her discography (but then again we did get 'Eyes, Smoke, Magic' too in a similar but much more diabolical vein... a nightmare). @Weslicious thinks a couple points might have been made, "She's trying something different and I kind of appreciate the effort.". Considering Petty Queen is one of our more commented albums, even @ThisIsRogue joins in, "The build-up is nicely done".
@evilsin shuts down the vocal haters (drag me king!) and stans, "Give me that cabaret feeling that I love, queen. Somehow this works perfectly with her voice".
'the next LOVE' was performed during HOTEL Love Songs Tour, and included in the DVD release of it, found below.
He/Him
Yeah I wouldn't have objected to that! It's interesting and unique for her
He/Him
53
This is the worst thing I've done CC: @Verandi
You are the only one: 6.83
HIGH: 9 (@evilsin)
LOW: 3 (@Weslicious)
It seems to me that, unsatisfied with the cabaret stuff he produced in Party Queen, Timmy went all the way back to Enya's 1987 debut album for references to work with in M(A)DE IN JAPAN. The opening foggy atmosphere followed by bagpipes is very 'The Sun in the Stream', isn't it?
'You are the only one' is a ballad clocking in at exactly five minutes and arranged by Yuta Nakano, which we can tell by the style of pretty strings he uses throughout his compositions for our queen. From a lyrical standpoint, it might've been written about Tyson Bodkin, y'know her second husband. Who knows.
What @evilsin does know, is that Timmy can deal some hidden cards when he is willing to... allegedly.gif, "What is this!? Another Timothy produced song I stan? Guess I really should seriously start to". Meanwhile, on the opposite side of the rating spectrum, @Weslicious keeps up his crimes against the abloom and shades @evilsin along the way, I think, "A song dedicated to the fan who'll put this on repeat". We are still thousands of people you ungrateful piece of fake fan!
@otenkiame closes this section by being the voice of reason, "Using bagpipes to open this up was a magnificent choice. Definitely got me interested. I can't say the full track did a good job keeping my interest, but it's not bad. Very pretty and full of love on Ayu's part. I just hate that it takes till after the bridge to really pick up. But that final chorus with the "Lalala" bits is great". Yeah, I would've enjoyed a more fleshed-out, full-on Enya moment from Ayu, and really, Timmy is the only one (pun intended) who would be able to get that out of her.
I could only find this bit of the outro performed during the album's corresponding Arena Tour, everything else is geoblocked or premium-restricted.
This is the worst thing I've done CC: @Verandi
You are the only one: 6.83
HIGH: 9 (@evilsin)
LOW: 3 (@Weslicious)
It seems to me that, unsatisfied with the cabaret stuff he produced in Party Queen, Timmy went all the way back to Enya's 1987 debut album for references to work with in M(A)DE IN JAPAN. The opening foggy atmosphere followed by bagpipes is very 'The Sun in the Stream', isn't it?
'You are the only one' is a ballad clocking in at exactly five minutes and arranged by Yuta Nakano, which we can tell by the style of pretty strings he uses throughout his compositions for our queen. From a lyrical standpoint, it might've been written about Tyson Bodkin, y'know her second husband. Who knows.
What @evilsin does know, is that Timmy can deal some hidden cards when he is willing to... allegedly.gif, "What is this!? Another Timothy produced song I stan? Guess I really should seriously start to". Meanwhile, on the opposite side of the rating spectrum, @Weslicious keeps up his crimes against the abloom and shades @evilsin along the way, I think, "A song dedicated to the fan who'll put this on repeat". We are still thousands of people you ungrateful piece of fake fan!
@otenkiame closes this section by being the voice of reason, "Using bagpipes to open this up was a magnificent choice. Definitely got me interested. I can't say the full track did a good job keeping my interest, but it's not bad. Very pretty and full of love on Ayu's part. I just hate that it takes till after the bridge to really pick up. But that final chorus with the "Lalala" bits is great". Yeah, I would've enjoyed a more fleshed-out, full-on Enya moment from Ayu, and really, Timmy is the only one (pun intended) who would be able to get that out of her.
I could only find this bit of the outro performed during the album's corresponding Arena Tour, everything else is geoblocked or premium-restricted.
I'm scared, confused and flattered in equal measure.
He/Him
52
petal: 6.85
HIGH: 8 (@otenkiame @RUNAWAY)
LOW: 6 (@soratami @Weslicious @Ana Raquel)
By far the least divisive song in the entire rate, yet it didn't even crack the top 50, nor a 7+ average. Poor it. I'm sure there was a MY STORY track that got like, no 10s and a lowest score of 6 in Part II but I can't find the receipts right now. God bless its elimination posts got resuscitated, though!
The music was composed by Kunio Tago, so naturally @evilsin can't stand it, "Parts of this are so freaking familiar, but I can't put my finger on it. Has a lot of potential, still ultimately doesn't achieve much", okay a cute comment! @Weslicious is a bit of a broken record by now, "A bit of dull nothingness".
@otenkiame stans a little, "Now this is more interesting in that it offers a dark and mysterious sound for Ayu. So, Ayu being angsty, which is what I love to hear. Love how ominous and dramatic the strings sound, and I get all excited with the final stretch of the song and that guitar solo!", yeah the solo is a very cute bit.
petal: 6.85
HIGH: 8 (@otenkiame @RUNAWAY)
LOW: 6 (@soratami @Weslicious @Ana Raquel)
By far the least divisive song in the entire rate, yet it didn't even crack the top 50, nor a 7+ average. Poor it. I'm sure there was a MY STORY track that got like, no 10s and a lowest score of 6 in Part II but I can't find the receipts right now. God bless its elimination posts got resuscitated, though!
The music was composed by Kunio Tago, so naturally @evilsin can't stand it, "Parts of this are so freaking familiar, but I can't put my finger on it. Has a lot of potential, still ultimately doesn't achieve much", okay a cute comment! @Weslicious is a bit of a broken record by now, "A bit of dull nothingness".
@otenkiame stans a little, "Now this is more interesting in that it offers a dark and mysterious sound for Ayu. So, Ayu being angsty, which is what I love to hear. Love how ominous and dramatic the strings sound, and I get all excited with the final stretch of the song and that guitar solo!", yeah the solo is a very cute bit.
He/Him
Our final cut before reaching top 50
51
Mr. Darling: 6.88
HIGH: 8.5 (@RUNAWAY)
LOW: 5 (@Ana Raquel)
Whoo a trippy Technicolor moment from me huh... The music was composed by Tetsuya Yukumi, while Tasuku, who's behind some of her classics like 'July 1st' while also being iconically present in every single task-related interlude in Ayu's albums, is the arranger of the track. Musically, it's a midtempo built upon gentle acoustic guitar melodies, drums and some breaks that feature electric guitars, notably in the bridge. 'Mr. Darling' deals with Ayu stating all her weaknesses are unimportant once she's by her lover's side. We even get a little bit of a cute 'TODAY' reference in the following couple lines:
You talk about tomorrow and the day after
But I always want to make today glisten the most
Translation courtesy of @otenkiame
As for me, I always want to like this breezy, almost summery number more than I did but honestly the way she delivers "ZUTTO/MOTTO SOBA NI ITEEEE" so... gracelessly ruins the illusion for me (and it doesn't help how it is repeated two dozen times) in what might have otherwise been an okay album track.
Once again, @otenkiame is THE voice of truth, reason and justice, but we been knew, "I enjoy the use of acoustic guitar in this track. I'm usually always up for some acoustic guitar. It's quite a sweet track, reminding me a lot of another track of hers. I can dig this for the most part. Sometimes her voice irritates me with the 'soba ni ite' parts, though", thank you doll. Now that I'm re-reading @evilsin's commentary, I'm suddenly reminded of 'HONEY', "This is borderline saccharine, especially with her amping it up with the cute voice, but I still bop. There is also some melancholy in that guitar that I really dig", I recall our previous incompetent host called her Ayuminnie Hamousaki in her delivery there. I cackled.
@Weslicious continues his shenanigans as the fandom's resident Obsessed Made in Japan Hater, "An attempt to inject some life into the album. It’s OK, but nothing I’ll return to". Incorrect.
51
Mr. Darling: 6.88
HIGH: 8.5 (@RUNAWAY)
LOW: 5 (@Ana Raquel)
Whoo a trippy Technicolor moment from me huh... The music was composed by Tetsuya Yukumi, while Tasuku, who's behind some of her classics like 'July 1st' while also being iconically present in every single task-related interlude in Ayu's albums, is the arranger of the track. Musically, it's a midtempo built upon gentle acoustic guitar melodies, drums and some breaks that feature electric guitars, notably in the bridge. 'Mr. Darling' deals with Ayu stating all her weaknesses are unimportant once she's by her lover's side. We even get a little bit of a cute 'TODAY' reference in the following couple lines:
You talk about tomorrow and the day after
But I always want to make today glisten the most
Translation courtesy of @otenkiame
As for me, I always want to like this breezy, almost summery number more than I did but honestly the way she delivers "ZUTTO/MOTTO SOBA NI ITEEEE" so... gracelessly ruins the illusion for me (and it doesn't help how it is repeated two dozen times) in what might have otherwise been an okay album track.
Once again, @otenkiame is THE voice of truth, reason and justice, but we been knew, "I enjoy the use of acoustic guitar in this track. I'm usually always up for some acoustic guitar. It's quite a sweet track, reminding me a lot of another track of hers. I can dig this for the most part. Sometimes her voice irritates me with the 'soba ni ite' parts, though", thank you doll. Now that I'm re-reading @evilsin's commentary, I'm suddenly reminded of 'HONEY', "This is borderline saccharine, especially with her amping it up with the cute voice, but I still bop. There is also some melancholy in that guitar that I really dig", I recall our previous incompetent host called her Ayuminnie Hamousaki in her delivery there. I cackled.
@Weslicious continues his shenanigans as the fandom's resident Obsessed Made in Japan Hater, "An attempt to inject some life into the album. It’s OK, but nothing I’ll return to". Incorrect.