This Is the One

Utada

Product Details

• Audio CD (May 12, 2009)
• Number of Discs: 1
• ASIN: B001SMC8Z4
• In-Print Editions: Audio CD  |  MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (42 customer reviews)
• Amazon.com Sales Rank: #119,061 in Music (See Bestsellers in Music)

Editorial Reviews

About the Artist

When I start making a song, for one second I see an amazing view--and in that instant, it cracks and falls to pieces. Then the rest of the process is trying to put the pieces back together. So when it feels familiar, when I see what I saw in that moment the song was conceived, then I know it's done.--Utada

Hikaru Utada is one of the biggest pop stars in the universe. Over the last ten years, her accomplishments in Japan are simply staggering. Her 1999 debut First Love is the country's biggest-selling album of all time, and three of her albums rank among the Top Ten best-sellers. She has had 12 Number One hits, including four songs in Japan's all-time Top 100. 2001's Distance had the largest first-week sales for any album in Japanese music history, selling an astonishing three million copies. In total, the young singer has sold more than 52 million albums.

But unlike most pop starlets around the world, Utada is also a songwriter and producer; indeed, she says that she thinks of herself as a composer more than as a performer. And on This Is The One, her new Island Def Jam album [featuring ten self-penned songs produced by the powerhouse producers Stargate (Ne-Yo, Rihanna, Beyonce) and Tricky (Britney Spears, Madonna, Mariah Carey)] 26-year-old Utada reveals the unique sense of songcraft that is poised to make her a force in the US and European music communities.

"I wanted to make something that's accessible but not cheap--not low-class or stupid, but still appealing to a wide audience," says Utada. "I like to make music that's multi-layered. You might like a song and want to dance, but not really dive into the lyrics and analyze them. And then if you're more bookish and you like words, you might notice the references I make, to Captain Picard or Freddie Mercury or Winona Ryder.

"Both things are just as important to me--to be catchy, so when you hear a song on the radio it sticks out, and also to have that depth."

In conversation, Utada is endlessly surprising, instantly shattering any expectations or stereotypes. The list of heroes and influences that she cites--from the Cocteau Twins to Conan O'Brien, from author Roald Dahl to the Notorious B.I.G.--is unpredictable but extremely telling. "I like smart people," she says. "Not whether you're educated or not, just whether you have that spark, that light in your attic."

Born and raised in Manhattan and educated at Columbia University, Hikaru Utada grew up surrounded by music. Her father, Teruzane Utada, was an accomplished musician and producer, and her mother, Keiko Fuji, was a successful Japanese enka (ballad) singer. Utada spent her youth shuttling between New York City and Tokyo, but her most consistent home was the recording studio. By age 11, she had written and recorded her first song, and by the time she graduated from junior high school, she had been signed by EMI Records; her first album, Precious, was recorded in English, but didn't come out in the US because of business problems at the label; it was subsequently released in Japan.

After moving to Tokyo full-time, she began recording in Japanese, and her debut album in that language, First Love, was an explosive, historic success. Since then, she has had five Number One albums in Japan--most recently, Heart Station in 2008, which was the year's best-selling non-compilation album.

With that level of popularity, it's easy to wonder why Utada is taking the difficult step of starting over as a new artist for a new audience. "It's true that I could have stuck to my throne and taken the easy way," she says, "but I felt that my creativity, my humanity would be endangered by staying in that position. I don't want to just be this crazy artist who lives in la-la land, I want to be in touch with the real world and stay humble. And I like it when something feels scary--I see fear as a guiding light."

Utada did make one earlier foray into the English-language marketplace with the Exodus album n 2004. But even though the singles "Easy Breezy" and "Devil Inside" were hits on the club charts, she views the new album as her true debut. "On that album, I was so insecure," she says. "I was trying too hard, it wasn't natural. But on This Is The One, there's a maturity, a more free-flowing and natural confidence."

In approaching the new album, Utada was very careful about choosing her collaborators and setting their expectations. "With both teams, I wanted them to lay out the basic tracks," she says, "but I told them that I have to write my own songs, with complete control over melody and lyrics."

The producers also turned out to have very different processes. "With Stargate, it was all data transfer," she says. "I recorded most of the vocals in Tokyo and sent them to Norway or New York. They loved it--they were like `This is the future!" But with Tricky, we actually spent time in the studio together, and that was nice and warm. I'm not much of an extrovert, so it was a good experience to have to communicate and get to know a new person."

Utada singles out the track "Merry Christmas Mr. Lawrence - FYI" (which includes samples from experimental pianist Ryuichi Sakamoto and references to the film Merry Christmas, Mr. Lawrence) as a central moment in determining her final vision of the album. "I recorded the demo in December of 2007," she says, "but it was a difficult song, and I wasn't satisfied with it--I had to try to get to the bottom of it. And then just a few months ago, I suddenly came up with the right lyrics, changed the melody in places, and it made sense.

"When that song crystallized," she continues, "the message of it was very strong and confident, and I felt like it was a good introduction to me, that it fits in with my current story."

In contrast, the breezy "Apple and Cinnamon" came "almost too easily" to Utada. The vocals on the final version are mostly what she recorded as the demo. "I almost don't even feel like I made it," she says. "I didn't get to savor the experience of it." But her own favorite song on the album is the flirty, sophisticated "Me Muero"--"no other song makes me feel the way that one does."

It's been a long journey, full of many miles and many melodies, for Utada to get to this album. But the lessons she's learned ultimately gave her a clear sense of what she was looking for. "I wanted to get back to basics," she says. "Nothing gimmicky, just very straightforward and confident, with a sense of humor. I was so sure of what I was doing, and I just became more of an adult--finally."

Product Description

2009 U.S. album from the Japanese-American singer, songwriter and producer. Includes three bonus tracks, 'Simple and Clean', 'Sanctuary' (Opening) and 'Sanctuary' (Ending). Utada is already one of the world's biggest recording artists and `This Is The One is comprised of 10 self-penned songs recorded with top producers Stargate and Tricky (Britney Spears, Madonna, Mariah Carey). With a number of album and single releases over the last 10 years in Japan, the young star has become one of the most successful and acclaimed Pop singers in Japanese music history with record sales of over 52 million.

Customer Reviews

Most Helpful Customer Reviews

77 of 81 people found the following review helpful:

4.0 out of 5 stars She knows what she's doing. , March 25, 2009

By	Maximill (Maryland, USA) - See all my reviews

This review is from: This Is The One (MP3 Download)

Okay, if you're new to Utada, then know these things before judging her:

1. She was born and lived in New York for twelve years before moving to Japan. She did an English language album when she was thirteen I believe, under the name Cubic U. It was R&B/Pop flavoured, rather mainstream. It never was truly released though and she shortly then went to Japan, where she became a sensation.

2. She is not your average "pop" queen that doesn't interact with the public. She blogs A LOT on her Japanese website, and is often rather revealing, sharing her small quirks, desires, etc. She's actually really a big geek in some ways, having this giant teddy bear that's taken a personality on it's own. She's really funny, quirky and odd and doesn't try to push really any perceived image, she just is herself.

3. She's been in the spotlight since I believe, age fifteen, at twenty-six she's not a newcomer by any means. Her mother was a singer too. It's her life. Don't dismiss everything at face value.

4. She's got a very distinct voice. It is weird, some hate it, others love it. However, once you hear it, it's pretty distinct, you'll never not recognize it.

Okay, as far as this album, yes it's short, and yes, it's mainstream. People who don't like it, you're warranted to not like it, your choice.

Utada tried to break out into the US back in 2004 with "Exodus" a very scattered, experimental album, and while it had good tracks it was somewhat not marketable, as it seemed Island Def Jam didn't know what to do with her. Was it dance? Pop? Electro-rock? It didn't make much of an impact outside of clubs.

Utada's Japanese work meanwhile have been known for their contemplative, poetic lyrics, and I have heard many complain that her at times overtly sexual nature in this album is horrendous and cheapening. I don't think so, she's having fun and being extremely cheeky here, this is a fun album, don't take it seriously by any means. People forget she is funny.

The way I see it, "This is The One" is an experiment in "popular" styles, proving that "Okay you wanted something more mainstream, I'll give you mainstream!" She is not out to revolutionize American music, but perhaps show that's she capable and knows her R&B roots. While it's not exactly satire or commentary I think it skids it, it covers bases on what music makes America tick. Her goal was bubblegum, not the genre per se (save that for Disney brats), but stuff that would stick in people's heads whether or not they liked it and it thus be. Big thing that I think shows her "experiment" in mass media is an experiment and NOT serious "sexification" of her image is that Utada has never been much of a dancer, actually I don't think she's ever really danced for a live audience much so these dance songs, you'd think there would be a pop tart starlet and her back-up dancers, I haven't seen any, and her music video for "Come Back To Me" is very tasteful. Just food for thought.

Japan has a very strict but very hypocritical view of sexuality, condoning and fetishizing it on the flipside. Utada became a star as a teen and there she seems to be stuck in an asexual image as a result. She has stated that she feels far more open when writing in English, so thus, perhaps a bit more of her "wild" side can be seen here in her English lyrics where s she would keep hush-hush about in Japan.

The lyrics could also be a product of her humor and ability to tell stories. She wrote about a hooker on the track "Hotel Lobby", from Exodus, and I don't think Utada has ever been a hooker before so, there's proof that not all of her songs are autobiographical. Take it with a grain of salt, her goal was to "break into America from the inside out" and I think this will do just that.

Album breakdown:

1. Come back to Me: 1st single, very mainstream, marketable and currently helping Utada claw up the charts, something out of nowhere. Well crafted, and has the distinct "Utada" touch of unusualness by slipping in a photoshop reference. She also features piano and electric guitar that people may recognize perhaps from her past works. Surprisingly Mariah Carey-like. Covers that type of territory

2. Me Muerto: Proof that her experiments in style are not extinguished. She's never done a latin, bossa nova sound before and this is remarkably polished and her voice is very very strong at this range. Could hear this on the radio but not necessarily on the same stations as 'Come Back To Me', also interesting content-wise, touching on depression.

3. Merry Christmas Mr. Lawrence- FYI: This is the most "Utada" track on the album, it's laced with the original song Merry Christmas Mr. Lawrence by Sakamoto Ryuichi and also features lyrics that both touches on a movie with David Bowie of the same name and Buddhist chants. She also namedrops Captain Piccard, if any more evidence of her being a geek, then I don't know what else could prove it. Production here is slick, it's Asian, but also very American and also could be another successful single.

4. "Apple And Cinnamon" - Really smooth r&b/pop song. Distinctly Utada in her simile use and ambient background, otherwise it's a really simple, quieter song. A lot of girls are going to like this song or be able to relate to the lyrics here. There's a universality of loss and innocence. I must note she divorced from her husband I believe in 2007, so what she's expressing here might actually be true feelings. It's interesting to note that she says "simple and innocent" because either the lyrics almost suggest her English remix of "Hikari" made for the first Kingdom Hearts video game, "Simple and Clean" (She also sings the English version of the Kingdom Hearts II theme song, Sanctuary) but instead uses "innocent", which is pretty much analogous to being clean, so I figure it's almost a wink to that song, (which was made in 2003, the year she was married either that or 2002)with an air of melancholy.


5. Taking My Money Back: Reminds me of early 2000's R&B like Usher and early Destiny Child, even though I'm not a modern R&B listener, I remember all my friends listening to stuff like this. The lyrics are decent, not the best, but they have a bit of snark and the content is again, relatible for a lot of girls out there. She adds electric guitar at the end that makes it more "Utada" again.

6. This One (Crying Like A Child): Perhaps some of the best lyrics on the album, and quirky in the Utada way, mentioning blackberries, and Freddie Mercury (one of her favorite artists). Again, there is electric guitar in this, which lends that Utada "otherworldliness" to the background of a rather basic R&B ballad. I'm kind of reminded of Rhianna here, I'm not great with comparing other R&B/Pop people, regardless it's a great song, perhaps on the best on the disk.

7. Automatic Part II: Really campy this one, she's reintroducing herself to American audiences, though her lyrics are kinda overly quirky. The hook " When I like it, I don't hide it" however is really appealing, kinda sounds Beyoncesque, which is really weird, otherwise it has a nice 90's vibe to it, with Utada screaming out "YEAH" in the background. It's really choppy, I can see mixers and DJ's liking this song and chopping it. Not the best lyrics, but has a lot of potential for club remixes, as I said.

8. Dirty Desire: Yes, she said it, " I Love you Long Time", she's Asian, she's allowed to be funny as she breaks that stereotype entirely. Content wise, this song has been sending people in bunches since it's kinda raunchy, but the vocals are purely Utada. Good for the clubs but older Utada fans may not approve...

9. Poppin: This people have weird reactions to, it's out there, with a really quirky espionage, kinda jazzy 1940's feel to it. Think Christina Agulera in her Back to Basic's era, whom she seems to channel here at certain parts. Lyrically she's kinda campy here and there (no panties on)but it's also a girl anthem. She breaks out into a spoken part that sounds like a line outta a movie followed by Aguleraisms. I like this song a lot personally, others might not like it, but I think it's rather well crafted.

10. On and On: Club song in the vein of Lady Gaga, and features some vocals that bring to mind Gwen Stefani's yodeling. All about being unapologetic and having fun. Name drops gay people, straight people, it's just a club song. Mixers would have fun with this one.


So in short, this is not really the "Hikki" people know, but I feel this girl has always been there, I also feel each track was crafted to appeal to some certain demographic, that way whatever single she puts out, she could win a following and thus garter fans from the inside out.

Dont overtly dismiss it right away, I hated the samples I heard of the songs, being surprised by their sound, but after hearing complete songs, they are far better than samples can make them out to be. A good, cohesive effort in my opinion. Not the best, but certainly commerical, dancible and well, it might just " The One" to get her known in her own country of birth.

12 of 12 people found the following review helpful:

5.0 out of 5 stars Buy This!, March 30, 2009

By	C. Benson Guthrie "-" (nyc) - See all my reviews (REAL NAME)

This review is from: This Is The One (MP3 Download)

This album is not what I had hoped it would be. It's much, much better. I love it. I can't remember an album I've been so taken with from the first listen ( & I'm an old guy).

I don't have a favorite track/song; choosing one would be like picking your favorite child. The music is really fine. I like the lyrics, they're really fine as well. Attention prudes: they're "mature". I'm a DOM, so maybe that's a reason I enjoy hearing this mature young woman speak her thoughts and feelings so openly.

Ms. Utada's voice displays it's full range from golden lows to sparkling silver in the higher range. You can hear her heart in her voice which is one of the things I've enjoyed most in her Japanese releases.

I love this album. I think I said that already.

11 of 12 people found the following review helpful:

5.0 out of 5 stars She composes, writes lyrics, arranges, and sings all of the songs, March 26, 2009

By	David King "Music Fan" - See all my reviews

This review is from: This Is The One (MP3 Download)

This is her second English album after Exodus from Island Def Jam. Utada is kinda a female version of Beck or Prince who does everything to create music by himself from scratch and sing his own songs (She is more a composer than a performer, although she is a great singer). If you listen to all her five Japanese albums and two English albums, you can tell how she is talented to create music and how she is versatile.
This is a great Pop album. This time around she worked with producers "Stargate" and "Tricky" Stewart (She wrote all the songs, though). "This is the one" has a wide variety of music (Few ballads, R&B, latin-feel song, funky song, etc). You can really enjoy the album and you want to listen to it many times.
It reminds you of the good days in 80's and 90's in a good way with a modern twist (not like cheap and mass-produced dance music nowadays and you don't listen to it a few months later). My favorite song is "Merry Christmas, Mr. Lawrence-FYI" which is sampled from the same titled movie theme song.