Namie Amuro – Hero
2. Show Me What You’ve Got
3. Hero – Instrumental-
4. Show Me What You’ve Got -Instrumental-
Hero is the forty-third single by Japanese singer Namie Amuro, released on July 27, 2016. The single debuted at #6 on the charts and has sold 47,157 copies to date. Hero was used as the opening theme to NHK’s broadcast of the 2016 Summer Olympics.
I really like Hero, I think I can even say that I love it and I can imagine this being the Summer Olympics 2016 anthem it was. It’s interesting that it starts off slow and still manages to wow me, but after the first chorus it speeds up with some more drums and violins. Her vocals even appear to be more solid and energetic, less thin than they were on Mint. Talk about your uplifting and inspiring track…
Now a ballad wouldn’t be the best fit on this single, but I also have my doubts about Show Me What You’ve Got. It’s like a cheerleader pop anthem and it doesn’t feel like a lot of production value went into it. It feels a little empty, and it’s so sad especially since Hero is amazing. I’m not into it, but luckily the A-side saved the day.
Namie Amuro – Mint
2. Chit Chat
3. Mint -Instrumental-
4. Chit Chat -Instrumental-
Mint is the forty-second single by Japanese singer Namie Amuro, released on May 18, 2016. The single debuted at #4 on the Oricon Charts and has sold 44,339 copies to date. Mint was used as the theme song for the Kansai Fuji TV drama Boku no Yabai Tsuma.
When I first heard Mint, I was very surprised by its arrangement. It’s not typical, but it kicks ass. It’s kind of a dance rock song and Namie pulled it off nicely, to say the least. Her voice can be quite thin, but somehow she can handle all the action going on. For me, it’s not that hard to think of any reasons why this single was so successful when she released it. Alright, I’ll give you one: that beat ❤
Chit Chat complements Mint very well because it borrows some of the fierce arrangement, yet the song has its very own sound. The previous song is more dance club, this is for a slumber party with the girls (hence the title, I guess). It took me a couple of listens to really start to like this, but now it’s stuck in my head for the rest of the day. That darn catchy synth riff…
Namie Amuro – Red Carpet
1. Red Carpet
2. Black Make Up
3. Red Carpet -Instrumental-
4. Black Make Up -Instrumental-
Red Carpet is the forty-third single by Japanese singer Namie Amuro, released on December 2, 2015. Black Make Up is used for theme of One Piece ~Adventure of Nevlandia~. The single debuted at #2 on the charts and sold 13,130 copies on its first day.
I feel so proud of Namie, Red Carpet sounds amazing from beginning to end! ‘_genic’, the album released earlier this year, was very good, but some of the songs did not stand out. This track does, so she’s going places with this. It’s very rhythmic, combining electric guitars, synths and acoustic guitars, and very catchy. I love the chorus, her vocals are very good and the melodies are very memorable. All in all, I love this!
Black Make Up is like a throwback to Namie’s ‘PLAY’ days (the 2007 album), it’s as playful as some of the tracks on that particular album. It’s faster paced than the A-side track, kinda funky with a lot of nice electric guitars, baselines and percussion. The arrangement is less full than that of Red Carpet, but it’s more fun while Red Carpet was impressive. All I can say is: perfect combination of two tracks on one single!
Namie Amuro – GENIUS 2000
1. Make the Connection Complete
2. LOVE 2000
3. RESPECT the POWER OF LOVE
4. LEAVIN’ for LAS VEGAS
5. SOMETHING ‘BOUT THE KISS
6. I HAVE NEVER SEEN
7. STILL IN LOVE
8. MI CORAZÓN (TE’AMOUR)
9. YOU ARE THE ONE feat. IMAJIN
11. THINGS I COLLECTED
12. NEXT TO YOU
13. ASKING WHY
14. GIVE IT A TRY
15. LOG OFF
♦ ♦ ♦
GENIUS 2000 is the third studio album by Japanese singer Namie Amuro, released on January 26, 2000. The album reached #1 on the weekly Oricon charts and charted for eight weeks. It sold 802,740 copies, becoming the #28 album of 2000.
Wow, dem capital letters. Anyway, let’s start with Make the Connection Complete, the only normal listing. It’s quite a useless intro, it does give a good intro to what the album is supposed to sound like (futuristic because oh wow, the 21st century), but all the computer sounds just bore me.
LOVE 2000 is more promising, it also introduced Namie’s newly improved vocals! They really went all the way with the arrangement, including everything they could possibly find (kick drums, synths, strings, a harp, subtle autotuning…) to create this energetic song. The middle section was stretched a bit too long, but the rest of the song has a pretty awesome vibe to it.
Despite the aim for a more ‘new century’ sound, RESPECT the POWER OF LOVE sounds like every 90s summer song, but that’s not meant in a negative way. It’s like an improved ‘DON’T WANNA CRY’ with its light chorus and gospel choir in the background. The verses are a bit darker and Namie is straining a bit in the choruses singing in her head voice, but there’s a nice flow to the song and Namie doesn’t drain her own vocals like she used to (definitely improvement here).
Ah, a new track. LEAVIN’ FOR LAS VEGAS has a nice beat to it and I like the groovy guitar riffs in the background. Namie is singing in her lower register and it’s as low as I’ve ever heard her sing. Sometimes it sounds good, other times she’s not hitting it well. As for the song as a whole, it’s actually kind of boring since it’s so repetitive, too bad because the arrangement has potential.
SOMETHING ‘BOUT THE KISS was made in collaboration with Dallas Austin, so this has a more western R&B sound to it, very ‘turn-of-the-century’ and fun. It’s pretty catchy, maybe a little too repetitive after a while but it has something. It’s definitely better than the previous track, I even liked Namie’s rap. The only issue is the English background vocals while Namie herself is singing in Japanese, that was kind of distracting.
I’m still having a hard time identifying the style of I HAVE NEVER SEEN, I don’t know if it’s a ballad or midtempo but there is this constant anticipation of a faster beat. Not very relaxed to listen to. Namie’s vocals have definitely improved for this first A-side of the era, compared to the previous one, but it’s still not quite there yet. Eventually, there’s nothing for me here.
STILL IN LOVE felt a little off because it’s a new track written with the new concept in mind (probably), so it sounds so different. I must say I like Namie’s vocals so much more and she sounds like she does nowadays, much more comfortable. Other than that, it’s not very special and it’s another example of English and Japanese not mixing very well.
I like the Spanish guitar opening the fast paced MI CORAZÓN (TE’AMOUR). The song doesn’t really sound bad overall, it has a nice tempo to it, but the pitch seems a little too high for Namie to sing comfortably without straining and, I hate to say it, it’s not catchy or anything. I do have the feeling this could grow on me in the future because of its Spanish influences.
Years ago I used to listen only to YOU ARE THE ONE feat. IMAJIN, the better version that is (the single version was horrifying). It’s so much better than the single version, the arrangement has improved so much as well. It’s still true that the real stars are the IMAJIN boys with their soulful vocals, Namie still needed some lessons. Yet, compared to other tracks, this was one of the better tracks on the album.
Now we only have 5 new tracks left, of which KISS-AND-RIDE is next. It’s a slow song with a mellow sound to it that I like very well. Namie’s vocals are autotuned, but I don’t even mind because it keeps her voice on track. I got through the whole thing, but only because my phone kept me occupied. This song didn’t because it gets boring too soon, it shouldn’t have because it could’ve been so much more.
Staying in the ballad vibe, THINGS I COLLECTED features an acoustic guitar, strings and soft percussion while Namie sings in her lower register again. I can’t help but think she sounds kind of shaky, just not solid at all, and the song doesn’t grab my attention at all. Maybe because it’s way too slow and dragging?
Can I stop listening to this album yet? NEXT TO YOU doesn’t do anything for me either. It’s also an Austin Dallas production with slightly better English-Japanese mixing, it’s uptempo and it could’ve been catchy, but this just doesn’t appeal to me because of lack of originality.
Maybe ASKING WHY isn’t too bad? At least there’s some variation in the song and there’s something enjoyable about it. Also, Namie’s vocals are better than in other tracks, she’s holder her own more. I still wouldn’t say this is a very good song, it’s just better than some other cr*p on this album.
Bad Engrish opens GIVE IT A TRY. I’m thinking about not giving it a try at all, but oh well, last song. This is just plain ugly, I’m sorry. LOG OFF isn’t interesting either since it only closes the album with a piano tune.
I’m not going to waste much time on this. GENIUS 2000 isn’t my thing at ALL. I’m glad Namie is a better artist and singer now, having more control over her vocals and having more variaty in her music. This album got way more praise than it should have, if you ask me. Nope, not liking this at all.
Favorite songs: LOVE 2000 | RESPECT the POWER OF LOVE | SOMETHING ‘BOUT THE KISS | YOU ARE THE ONE feat. IMAJIN
Namie Amuro – _genic
2. Time Has Come
3. Golden Touch
9. B Who I Want To B (feat. Hatsune Miku)
11. Every Woman
12. Space Invader
14. What I Did For Love (David Guetta feat. Namie Amuro)
♦ ♦ ♦
_genic is the twelfth studio album by Japanese singer Namie Amuro. The album was released on June 10, 2015 in three different versions (CD+Blu-ray, CD+DVD and CD Only).
The album opens with Photogenic, which has this amazing guitar riff in the background that makes it a bit more groovy instantly. Also it seems Namie is gonna stick to English for most of her tracks, and she pulls it off quite well again. Not an explosive opening track or anything but I think the chorus is so catchy I still like it very much!
Time Has Come has a very interesting arrangement! It opens with a synthy EDM-ish introduction before it slows down with a piano tune in the verses. It reminds me of another track I’ve heard sometime before, but I can’t even come up with the artist so w/e. Anyway, English again, executed well, and also another very catchy tune indeed.
Namie’s vocals sound a little off in Golden Touch, probably because of the higher pitch so I’ll just let it pass. Also, this is a very memorable and strong track with a little ‘One Thing’ (by Amerie) vibe going on with the percussion and brass instruments. I think her long time fans (like myself) will definitely like this.
What’s up with all these b-day songs lately?! So I saw the MV for Birthday last month or so and I thought it was pretty much fun. The song itself is very empty if you put your critic cap on, but it’s freaking enjoyable nonetheless. So would I describe this happy slappy dance track as a guilty pleasure? Oh yes.
No song would be better at this point than It, since after the b-day song it opens in a playful way with the rhythmic whistles which I loved. I can’t help myself and it’s impossible for me to sit still to this one, especially because of the nice rhythm and piano tune in the background. Short, but love this.
Scream is a fast paced dance track with a summer vibe to it, though I don’t really know why. It’s probably because of the use of the synths, it just reminds me off all these beach dance tracks. I must say Namie’s vocals are top notch here, she slays the chorus! I don’t even mind the English having gone completely out the window here, small detail.
By now I have added all the previous songs to my fave list (sorry for the SPOILER), and another candidate is Fashionista. It’s a busy song with a lot going on like heavy beats, synths, brass, high pitched vocals in the chorus, oompfh. It’s not quite there for me yet but I bet this will grow that extra 5% on me so that it will belong among the favorites in time.
If someone has a clue of what she’s singing about in Fly, please, sign me in will ya. Still, another uptempo basher that is quite catchy and definitely enjoyable so I’m willing to forgive Namie for her bad English. After a while it already grows on me and I’m starting to like it more and more.
The feature on this track was apparently a surprise. Namie has gone robotic, OMG. Can I just say I feel uncomfortable listening to HATSUNE MIKU’s (Hakuna Matata’s xD excuse me) vocals? It’s silly, its arrangement is lacking and it’s just… bad? Slip-up.
Stranger sounds like a louder and updated version of what Namie did in the past with some songs on ‘Uncontrolled’. I can only think of one place where this song would be suitable on the playlist, and that is in a packed-to-the-roof night club. It’s literally all over the place and you either love it or hate it. Unless you’re me. Then you can neutrally handle it.
Every Woman seems to continue the major streak of EDM songs here but it still easier on the ears than Stranger and I like the playful verses. It’s definitely sassy and I love the addition of the brassy synths, gives it more of an 80s feel while still sounding like a modern song. Interesting composition and I really seem to like it.
I definitely wasn’t expecting Space Invader to sound like this! Among all these fast paced EDM songs there is also room for a smoother one and it’s like a breath of fresh air. Her English is also easier to understand, but sometimes I wish it wasn’t (I’m not gonna mention the ‘rocket in my face‘ lyric since the lyrics have a hidden sexual vibe to them, oh wait, I just did). Nonetheless, LOVE IT.
I already heard the entire song Anything and I saw the MV as a whole a couple of weeks ago, and now I must say this slow song is sooooo welcome. Finally there is some room for guitar music in the arrangement! It just feels a little weird after Space Invader, but oh well, I really like the positive ambience of it. The album would’ve been one big mash-up without this track so this deserves extra credit.
As the closing track there is the bonus What I Did For Love (David Guetta feat. Namie Amuro). Is it just me or has Namie’s English just magically improved for just this one track? Oh dem producers. I heard this track with Emeli Sandé doing the vocals and it didn’t impress me. Does it impress me now? Well, it’s about the same. It just feels like it’s tacked on to the end of the album without a purpose.
I’m very satisfied with this album, and mostly the first half of it. After that, the album is starting to feel like one big mash-up of dance tracks and I think Namie would’ve done good to add some midtempo’s to the album. Anything feels like the odd one out, but that’s just what makes it more welcome if you know what I mean. Finally room to breathe. Still, Namie has done the best she can and I can see myself loving this album even more in the future. Most of the tracks are very enjoyable, sometimes you just have to listen to up to three of them at a time to not get overcome by all the energy. Amazing album, BUT: handle with care! Small detail: her English seems to have deteriorated for this album, but I couldn’t understand her anyway so…
Favorite songs: Photogenic | Time Has Come | Golden Touch | Birthday | It | Scream | Every Woman | Space Invader | Anything
Namie Amuro – TSUKI
2. Neonlight Lipstick
4. TSUKI (Instrumental)
5. Neonlight Lipstick (Instrumental)
6. Ballerina (Instrumental)
TSUKI is the thirty-ninth single by Japanese singer Namie Amuro, released on January 29, 2014. Neonlight Lipstick was used as a KOSE ESPRIQUE CM song, and Ballerina was used both as a GUCCI×Vogue Japan promo song and as a Recochoku CM song.
I’m so excited for this new single, it has definitely been a while since Namie last released a single (March 2013). TSUKI sounds the way the cover looks, and by that I mean that the song has a nice wintery touch to fit the time of year as well. It’s not your typical ballad so I’d dub this a peaceful midtempo song that reminds me of BENI’s music somehow. The arrangement is quite peaceful with a nice harp taking centre stage and Namie herself keeps her vocals controlled yet strong. Love this one!
So the two B-sides were both released previously as digital singles, but since I’m not too fond of the digital single type of releases, this is my first encounter with both tracks. Neonlight Lipstick is a 180 from the A-side with a deep and pumping vibe, so it brings a nice contrast to the single although this is an older song. It’s very edgy and Namie shows some attitude performing this song, not too bad but still I’ll have to prefer the A-side.
The other B-side, Ballerina, is an uptempo song too. It’s badass, but to me it just seems a little empty and sometimes I really don’t get the vibe that’s going on. Namie’s vocals are altered way too much for my liking. I was hoping for something better. I can still get used to this, I suppose, but the first impression isn’t too good.
Namie Amuro – FEEL
3. Can You Feel This Love
4. Big Boys Cry
5. Hands On Me
8. La La La
9. Supernatural Love
10. Let Me Let You Go
12. Stardust In My Eyes
♦ ♦ ♦
FEEL is the eleventh studio album by Japanese singer Namie Amuro, released on July 10, 2013. The song “Big Boys Cry” was used as Kose Esprique commercial song, “Contrail”, was used as theme song for the TBS drama Sora Tobu Kouhou Shitsu, “Can You Feel This Love” was used as theme song for the Mezamashi TV program, starting on April 1st and “Hands On Me” was used as TV commercial theme song for Recochoku.
Wow, Alive definitely lives up to its name because this opening song kicks some serious ass. I’m actually glad to hear that Namie decided to continue to use English songs on her albums, her pronunciation is even better than on ‘Uncontrolled’ last year. This song is a aggressive dance song with a lot of synths and beats and her voice is perfect for songs like this one, it’s so catchy I love it already. It needs some more plays because it’s too short at three and a half minutes.
Rainbow continues the aggressive dance track feel, albeit in a slightly more lighthearted fashion. Somehow the arrangement fits the title and some of the synth effects make me think of Mario Kart’s Rainbow Road, but that’s just me and my weird associations I guess. It’s quite a simple track, but very effective since it makes great use of some dubstep elements every now and then. I love this!
How is it possible that I already know Can You Feel This Love, but I have no idea how I know it… I could already hear the chorus by reading the title words. Anyway, it’s the first bilingual song but still most of the lyrics are in English. It’s poppier than the previous two tracks but it has the same uptempo quality which results in the impossibility to sit still. Namie’s vocals are about on the edge of her vocal range in her normal chest voice, but no problems whatsoever, it’s just a nice song.
Big Boys Cry could easily be the most original song in her entire discography, I totally adore this song and the hot mess it actually is. Even better, I love everything about it. The beat is so uncommon, the flute part is adorable and Namie’s vocals are the absolute best. The song doesn’t have the regular verse-chorus-verse-chorus-bridge-chorus pattern, in fact its just the alterations of verses and choruses, but this is originality at its best.
Hands On Me brings back the kickass dance track attitude after the variation that Big Boys Cry brought along, I love the synth hooks in this song because it gives a whole new dimension to yet another uptempo track on the album (which is great so that no songs sound alike), and they make up most of the song anyway. Less vocals, more music, this is some original shiz Namie (not that I hate your voice ofcourse haha).
Speaking of Namie’s voice, there’s something strange going on in Heaven‘s choruses. She’s straining a bit, she doesn’t sound very comfortable singing that part of the song. Thank god she made up for it in the choruses with her semi-raps, which she can do really well. Eventually, this song turned out pretty well and I’m sure I can get over those choruses and love the track even more.
It’s taking me some time to get used to a Japanese song here, since Poison is a bilingual song that leans more towards Japanese this time. A lot of vocoding going on here, effects all over and synth loops all around. It’s fierce alright, I don’t think there’s much more to say than that since I’m already faving this album like a crazy person and this song isn’t gonna change that. Awesome track.
The shortest song on the album (and an English one again), La La La caught my attention from the very first note. It’s another track that has its fair share of synths and beats, but it’s lighter than some of the other tracks. This song is the definition of both ‘catchy’ and ‘fabulous’, and I think I already found my favorite song on the album (although it could just be my mood now since I like the lyrics a bit too much).
Supernatural Love leaves the breezy lightheartedness behind and just decides to spice things up like crazy. Namie’s vocals have such attitude, those vocoder effects make it even more effective. Everything about this song is perfect, and I can imagine that this is going to be Japan’s new clubbing song.
What, a ballad? Let Me Let You Go is such a change, after nine big uptempo dance tracks we’re getting an emotional break-up ballad. Namie is singing in a low voice, sometimes letting the Engrish overrule the good English but the effect is still there. The arrangement is very simple with just a piano melody and some strings, and sometimes Namie is accompanied by a group of background singers who add to the overall emotional feel of the song. Very simple, but a welcome change.
Contrail is fully in Japanese, and no wonder since it’s the theme song for Soratobu Kouhou Shitsu. It’s not a ballad, but still it’s a nice transition from the quiet ambience of Let Me Let You Go, theres no big shock involved. Even though there’s nothing wrong with the song as an individual track, it kinda loses its impact after a lot of kickass songs that were more of a wakeup call than this one. Nonetheless, not bad.
The last song on the album, Stardust In My Eyes, almost had me thinking it was going to be a ballad, but then a fast beat with some light high-pitched synths fill up the background. It was very unexpected so that raised the expectations quickly. Ofcourse the song lived up to the expectations, being original after all because Namie showed off some amazing vocals here and the dance ambience of the song is accompanied by some melodic strings in some parts of the song. Great way to end the album.
I had no idea Namie was going to head in this direction with FEEL, this album is so filled with amazingly catchy uptempo tracks. I’m no dance lover, but Namie almost made me a diehard fan. The genre fits her so well, so no more ‘Queen of Hip-Pop’ but ‘Queen of Dance-Pop’ if you please. There are some songs on this album that get really close to perfection, so I’m just sitting here with a huge jawdrop. I wasn’t expecting that this album would be so good, so I wasn’t fully excited. I’M GONNA TAKE THAT BACK OKAY.
In the meantime, La La La has become my absolute favorite with more plays than any other track on the album ❤
Favorite tracks: Alive | Rainbow | Can You Feel This Love | Big Boys Cry | Hands On Me | La La La | Let Me Let You Go | Stardust In My Eyes
Namie Amuro – Big Boys Cry / Beautiful
1. Big Boys Cry
3. Big Boys Cry (Instrumental)
4. Beautiful (Instrumental)
Big Boys Cry / Beautiful is the thirty-eighth single by Japanese singer Namie Amuro, released on March 6, 2013. Both songs were used as KOSE ESPRIQUE commercial songs.
After falling in love with Namie’s latest album ‘Uncontrolled’ I have been waiting for some new material, and couldn’t have imagined she would give something like Big Boys Cry. The song is like a funny hot mess, it has a certain attitude in its own way, but what makes it so original and memorable is the little flute part that keeps playing throughout the song. I wonder what others will think of this song, but I think it will work once people acknowledge how original this song is in her discography. Loved Namie’s vocals here too.
Ofcourse the B-side, Beautiful, has to be a ballad. A bit in the style of ‘Uncontrolled’, but then all mixed into one song: this is a bilingual song in all the sense of the word. Some lines in Japanese, others in English, so I can understand just half of the song and it’s kinda distracting, but the fact that the song itsself is a heartfelt piano ballad and that the English lyrics are very pretty make up for that fact. It gives me the feeling that I’m not missing out on anything here. It balances this single perfectly and vocally, it’s again perfectly executed. Namie gets better and better with every release.
Namie Amuro – LOVE 2000
1. LOVE 2000 (STRAIGHT RUN)
2. LOVE 2000 (SYSTEM BREAKDOWN REMIX)
3. ASKING WHY
4. LOVE 2000 (INSTRUMENTAL)
5. ASKING WHY (INSTRUMENTAL)
LOVE 2000 is the fourteenth single by Japanese singer Namie Amuro, released on January 1, 2000. LOVE 2000 was used as the KOSÉ Cosmetics’ VISÉE CM song. This single reached #4 on the weekly Oricon charts and charted for six weeks, selling 228,120 copies.
LOVE 2000 (STRAIGHT RUN) is a very energetic song, unlike anything Namie has released before and I’m so relieved it’s already so much more promising than the previous two singles she released. They totally let loose with the arrangement, including everything from a heavy kick drum, synths, strings and even a harp to vocoder effects on Namie’s vocals. The background vocals give the track a little extra punch as well, adding to the ‘futuristic concept’ they were probably aiming for with this single. The middle section of the song was stretched for a bit too long, but the fact that there’s so much energy here makes up for that.
Okay, this is what I call futuristic. LOVE 2000 (SYSTEM BREAKDOWN REMIX) features some of the original melodies, but they put a good dance beat under it and added some more computer sounds and some sound effects that remind me of spaceships and such. All of these facts contribute to making this remix far more enjoyable than remixes on previous singles, this one finally has a good concept and some variation (although it’s 7 minutes in length).
The second single in the era to have a B-side, and I was attracted to ASKING WHY from the start. Not in the way that it’s such an amazing song or anything, it’s an alright song to be honest, but it definitely has its moments and it’s sooo much better than the single version of YOU ARE THE ONE featuring IMAJIN on the previous single. It just balances the single and has a fresher pop sound to it compared to the energetic futuristic stuff. Right after the second verse, the song really takes off and it becomes a little bit more than I initially thought it would be.
Namie Amuro – SOMETHING ‘BOUT THE KISS
1. SOMETHING ‘BOUT THE KISS
2. YOU ARE THE ONE featuring IMAJIN
3. SOMETHING ‘BOUT THE KISS (THE ALL OUT MIX)
SOMETHING ‘BOUT THE KISS is the thirteenth single by Japanese singer Namie Amuro, released on September 1, 1999. The title track was used as the KOSÉ Cosmetics’ VISÉE CM song. This single was released in three versions; a 12cm CD version, an 8cm CD version, and a remix 12 inch vinyl version. The 12cm version reached #3 on the Oricon charts, charted for eight weeks and sold 253,500 copies. The 8cm version reached #7, charted for eight weeks and sold 110,600 copies. The 12cm version was the #87 single of 1999.
So this is what happens when Dallas Austin gets his hands on a Namie song. SOMETHING ‘BOUT THE KISS is like typical late 90s/early 2000s western R&B music and a much better try at it than ‘toi et moi’ was (please let me forget about that). Namie apparently puts everything she got into her performance, but there are too many errors around her. Like.. English background vocals while Namie is singing Japanese lyrics? And although the concept of the arrangement is nice initially, there isn’t much variation in the song so that’s a bit of a pity too. Still this song isn’t a disaster, it’s just not the best song around.
Oh em ef gee. What happened YOU ARE THE ONE featuring IMAJIN ??!! IMAJIN isn’t bad, but Namie screwed up her vocals completely. I prefer the album version over this one anytime, they should just burn this together with ‘toi et moi’, it’s a mess with crappy and off vocals. TAKE THIS AWAY FROM ME.
SOMETHING ‘BOUT THE KISS (THE ALL OUT MIX) is indeed ‘all out’ with the R&B/Hiphop stuff, but it just doesn’t fit. What also doesn’t fit is the fact that these American males just keep shouting things like ‘pump it up‘ and ‘I need everyone on the dancefloor‘. Believe me buddy, you’re not gonna accomplish that with this mix.