Ayumi Hamasaki
A Ballads

Ayumi Hamasaki is a popstar.

There's no arguing here: the fact that at the beginning she was one of the many, too many Japanese j-pop idols who showed her flesh in photobooks where her breasts were covered only by her hair, and who offered cold, almost soulless songs, all plastified in that pop-dancefloor-club-techno chaos, made her seem like a cubist Britney Spears from the East. However, something changes, and she starts to care about quality, beginning with the highly successful "Duty," her third album from 2000, and then continuing into increasingly broad areas not always so conforming to pop. After an almost compulsory best of, due to the incredible success of the Japanese girl, Ayumi starts to showcase her talent in two truly beautiful and heterogeneous albums: "I Am" (2002) and "Rainbow" from the same year. The latter was presented with a strange advertising campaign: inside the CD was a password for accessing a website where fans could download a musical base for free, with which they could decide on lyrics. The best would be chosen for the song.

The result is "Rainbow," the opening track of this compilation released in Japan in 2003: it begins very timidly, with a banal piano chord typical of j-pop, but when the soul of the piece unfolds over the vocal sighs of the girl, everything changes: the rhythm becomes a balance between glitch electronic and rock. Sharp rhythmic base, electric guitar, and an unforgettable chorus for a song that should be considered a masterpiece: highly experimental and intriguing, despite its catchiness, structurally reminiscent of Kate Bush's splendid "Breathing." It is followed by an unsuccessful remix of "Appears" (a lucky single from the popstar's second album, "Loveppears," whose cover stirred much discussion for the image of the barely adult Hamasaki topless), which strips away the original's techno, giving a too sweet flavor to the soul of the album: too much sugar causes diabetes. Even the remix of "Key" is very unstable, but the acoustic version of "You" changes one's mind: it breathes a summer, highly evocative, and arcane air, but also fresh and frivolous, and the piece is so successful that it surpasses the original. Also, "To Be (Remix)" isn't bad, but still too sweet. "Hanabi" turns out to be a dark piece, vaguely Bristolian trip hop, standing at the crossroads between dark and pop, nevertheless almost a masterpiece, not yet like the astonishing "Rainbow," but something close. The following tracks no longer falter and form an overflowing clarity of creativity that follows an incredible crescendo: the trio that awaits us next is, in fact, a demonstration of true talent: "M'Hall Progress" is highly successful, and although not a ballad, it doesn’t risk dance and proves to be very inspired. "Dolls" and "Dearest" are two gems: pearls rich in charm where the sounds are delineated by clear chimes like snowy music boxes. The remix of "Seasons" is a stadium ballad, perfect for swaying with a lighter in hand. Introduced by a childlike music box, "Voyage" unfolds over a melancholic crescendo of piano and, subsequently, Hamasaki's beautiful voice accompanied by violins and almost lyrical choirs. Beautiful, especially when the violins chase each other, forming a breathtaking crescendo. The demo of "A Song For XX" is little more than a jam session, but it very well recalls Cornelius’ "Point" for that acoustic guitar that seems to tickle you and the little woman’s voice that shows she is free of effects, resulting in a domestic and intimate feel. It gives chills. "Who...Across The Universe" reminds of Tori Amos for the piano intro, and from the horizon, English horns and theremin emerge on the voice that now becomes feminine and sensual, but still childish and thus enviable. Tablas, percussion. There's nothing to be done: later supported by orchestra and music box, it’s a beautiful ballad that only becomes pop at the chorus. In the last piece, after a short ambient intro, Ayami sings alone on an electronic keyboard, essential and free of any other elements.

Although Ayumi wanted to create her "Something To Remember" (Madonna's 1995 ballad collection), she reveals an innate personality and has demonstrated she can pursue it without any pressure from producers. Experimental and intriguing, however, "A Ballads" was the true flop of the popstar: if all her other albums have been one success after another, this remained practically unsold, perhaps due to the lack of frivolous and dance rhythms.

Nevertheless, it is an isolated example from the business perspective of Hamasaki, who continues to sell millions of albums (her new album "Guilty" has just been released a couple of months ago). I recommend this album to everyone, especially if it's to be dedicated to the person you love: very tender and full of charm.