Customer Reviews

Seasons

5 star:		(6)
4 star:		(0)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

Up to the most recent release "Endless sorrow" on May 16 2001, Hamasaki Ayumi has released 30+ singles since her debut in 1998. The landmark paradigm of the true maxi-singles with often 8+ remixes began circa the "appears" maxi. She was, and still is, the only Japanese artist (that I know of) with this method of release. Remixes, however, are double-edged swords. Suffice it to say, there are some vapid and mindless ones tacked on and used as space-fillers. The artist remixing the song is just as, or at times even more crucial than, the quality of the original. The "SEASONS" maxi-single could've been easily broken by uninspired remixes. However, the opposite happened to be the case.

Of the original versions of the "vogue" "Far away" "SEASONS" trilogy, I found "SEASONS" to be the least catchy, and was rather disappointed that it functioned as the anchor of the trilogy. Usually, after the first listening to one of Hamasaki Ayumi's songs, I would distinctly remember a certain segment and have it stuck in my head for a period of time. That was not the case with "SEASONS"; instead of humming it to myself afterwards, I desperately tried to recall what I had just heard. Despite better judgment, I, as a fanatic fan, purchased the maxi-single simply b/c "I had to."

Upon listening to this single, I was rather taken aback at how powerful this song can be. The remixes on this single fully surfaced the emotional contours of the song that weren't readily apparent in the original. The melody line and lyrics are very straightforward; she just sings it like it is. Nothing fancy, just some candid words. The remixes soar because they add some complexity and texture against the simple vocals.

The single begins by the original version followed by acoustic versions of itself and a previously-released song, "TO BE." The opening tone is thus light and breezy, showcasing the vocals and lyrics, which establish the pretext and the mood. The music becomes dynamic on track 4, which in itself does not stand out but functions as a bridge between the light intro and the heavier mixes to come. Track 4 prepares the listener to switch to a different state of mind. Track 5, brilliantly mixed by Jonathan Peters (if only he did anywhere near this well on "appears" ...<sigh>) establishes full-fledged momentum. The tone of this mix is sprite and optimistic, and peaks the energy of the song about this section of the single. Track 6 functions as another transition element; it keeps the beat-focused style began on tr. 4, but adds a slightly mystical, trancy note on top of it. The melody becomes less of a focus, and the music becomes atmospheric. At this point in the single, the emphasis departs from the melody line and the vocals and onto the music. Track 7 puts a brake on the momentum estbalished thus far by tr. 4, 5, and 6. For some, it may be a harsh mix that is displeasing to the ear, but this track is integral to the diversity of the single, for it represents the disruption of a smooth relationship. After leaving the listener slightly jarred and disoriented, the single smashes down tr. 8, which is arguably the most exhilerating mix of all time. It is done with D-Z's trademark aggressive sturm & drang flair, which is very counterintuitive because one cannot imagine that style being compatible with such a docile song. In my opinion, this is D-Z's best (unlike his dismal remix of "poker face," which severely disappointed me as "poker face" is one of my all-time favorite songs). D-Z's BLUE SUNBEAM mix totally reversed my opinion of "SEASONS" being boring. Track 9 follows such a pinnacle and brings the mood down back down to an earthy level. Tr. 9 is done by DMX, who remixes probably every single one of Hamasaki Ayumi's songs in a similar fashion, but here he does a rather exotic and short mix. His mixes are usually neutral and at times bland, but this one actually has a discernible, tropical tone that follows well to tr. 8 and sets up the conclusion to this single. Tr. 10 is the instrumental version, and functions more or less as a reprise; the last notion of "SEASONS" on this single. The anchor track is HAL's remix of "ever free" that is majestic and ethereal. It is an appropriate conclusion to not only this single but also to the trilogy (the original version of "ever free" is found as the anchor track to the first single of the trilogy -- "vogue."). This track echoes the singer's uncertainty and apprehension of the future. After travelling through the journey of "vogue," "Far away," and "SEASONS," it is an intelligent and thoughtful ending.

Whether or not my interpreted arrangement was intentional, it provided for a listening experience absent from all of her other maxi-singles. The "SEASONS" maxi-single cohesively conveys a story and/or an idea from beginning to end as a successful album does; it's just achieved by repetitions of the same song. I would guess this effect is serendipitous; the singles after this one never quite reproduced the achievement. But I will accept it as such and derive enjoyment out of it regardless.

"Seasons" has to be Hamasaki Ayumi's best single by far (and I've listened to them all up through her latest, "Endless Sorrow.") Everything about this song is great! The tune is pretty, the instrumentals are great...it's got to be my favorite J-Pop song of all time. You won't regret buying this one.

Had you listen to the latest single of Ayumi Hamasaki "Seasons"? If you had you would surely be able to know the different style of Ayumi.The background music of this song was a great enjoy. However, it was really great so far...as there would be more coming.

Ayumi has talent. She writes her own lyrics and sings them with her beautiful voice. If I were You, I'd get this CD.

the song (seasons) is beutiful. especially the lyrics she writes. another great song by ayu.

I consider this song to be one of this artist's best works.

Upon listening to her music, I notice that the instrumentals rather reminiscent of cheap early nineties sythesizers. On top of this dissapointment, her music is rather quite bland, uninspiring and on the whole, not very good to listen to.

I notice all the other reviewers have given her top scores for her music; however, the one most major flaw, in my opinion, would be in the way she sings. Why does it seem like her nose is doing most of the work. Is she singing through her nose? OR HER NOSE?

Not to be pulling people away from this artist and sending them in another direction, but if you want to take a look at Utada Hikaru, I assure you that you won't be dissappointed. Try listening to both artists and then decide which CD you really want as these imports are so expensive.