Groovy Tour (***1/2) – This is an interesting choice for an opening track because, unlike other albums, Groovy Tour doesn’t offer the sort of explosive bang that you’d expect to kick off the whole thing. It is much more moderately paced, with Teru taking his time getting through the whole song and it definitely doesn’t offer the frenetic delight that Glay is popular for. However, the chorus is very sweet and clear and the song is never sluggish or boring. If anything, they ought to have sped things up a tad. But it still remains an engaging rock piece.
Lovers Change Fighters, Cool (****) – One of my favourite tracks. Lovers Change Fighters, Cool is an absolutely kick ass song that all the rockers would love and all parents would cringe at. The guitars are awesome throughout and the verses have this no-nonsense directness that really gives the song an edge. The chorus has a wild and raw feel that is really in character with what the other bits are trying to achieve. The short rap bit is also pretty entertaining. Hmm… not sure how this song is supposed to convey pacifism but it is one heck of a ride, nevertheless. Newbies who love Mermaid and Acid Head should dig up this lesser known classic.
Beloved (****) – One of Glay’s greatest ballads, this heartwarmer is a soulful and moving track that relies almost entirely on Teru’s powerful and sorrowful performance. I really love the guitars as well, especially the way the backing instruments give this sympathetic backing to the sad aura of the main tune. Hisashi’s lead contributes a great deal towards the sorrowful atmosphere, especially with that magnificently melancholic melody. Any romantics reading this ought to get themselves a copy of this one. It easily rivals any good ballad in any other language that I’ve heard. Also, make sure to catch the video if you can.
Shutter Speeds no Theme (****) – Remember that frenetic delight I mentioned? Well, look no further than track four for that. Jiro’s memorable first contribution as songwriter is furious and energetic to the nth degree. The bass opening is awesome and what follows is a manic, hyperkinetic frenzy that will have you shaking that leg and nodding that head for a full three minutes plus. Jiro the vocalist is also pretty decent, to say the least, and the irreverent way in which he does the opening verse fits perfectly with Teru’s part and the whole mood of the song in general. The addition of the camera shutter sound effect is a very nice touch as well.
Fairy Story (****) – A very 80s sounding pop song that instils plenty of nostalgia, probably due to the fact that I grew up listening to the music of that era. This is the type of tune that you get hooked on to the moment you first hear it and it is well complemented by a brilliant guitar vanguard. Perhaps not something for the rock fans but a godsend for the pop camp. The little backing vocal when Teru sings ‘take me higher’ makes the whole song.
Kanariya (****) – This one misleadingly starts off like the brother of Hit the World Chart! but it quickly turns into a folksy piece, complete with a very dreamy opening verse and guitars. The verses make a very effective build-up to the chorus, which is an absolute beauty. They wisely carry on for a long time at the end with this marvellous piece of music but not in a ‘Tubthumping-overkill’ way. On the whole, an excellent, mellow contrast to the energetic rock songs that populate this album. And speaking of beauty, wait till you hear that great bridge.
Hit the World Chart! (***1/2) – Motto! Motto! Motto! Well, actually, perhaps if they’d delivered instead of repeating it over and over again then maybe this would’ve become one of their greatest songs. As it stands, it is a pretty good (if a bit conventional) rock song that has a pretty fun and easy-to-sing chorus. There is a slight touch of western rock music here… Rob Palmer perhaps? The repetitiveness towards the end is a bit tiresome and one would think that Takuro would have had the imagination to create something more inventive, especially after what he’d done with Acid Head.
Haru wo aisuru hito (****)- What can I say about this? The first Glay song I've ever heard and the best in my opinion. I like to think that this is the real reason why 'Kuchibiru' got to number one. It's not a very complex song and the choruses cycle to follow the four seasons but it's all so beautifully done. From the moment he starts with 'sunshine, moonlight...', you know this'll be a great song and when I first heard it, it just blew me away. The chorus is absolutely wonderful; those three magical piano notes, the guitar that's played like a violin, that incredible tune... I could just go on forever. Interestingly enough, no one I know has ever said that this isn't a good song, even those who generally despise Glay. You know what, this IS my favourite song. Full stop.
a Boy ~Zutto wasurenai~ (***1/2) – A very pleasant and laid-back song that is almost a bit too lethargic. I like how Glay can really walk that line but sometimes, when the line is not so thin, they can occasionally stray a bit into the poorer side. This one reminds me of a walk through a carnival or some sort of festival and all the romantic trappings that come with it. The tune is suitably bland because what you pay attention to most is the guitar-work, which comes off like little bells and chimes. Yet, Teru is still very passionate and his performance makes everything really come to life. Funny choice for a single release… you’d think that Shutter Speeds or Fairy Story would have made for better selling records.
Curtain Call (****) – A ballad that bears a lot of resemblance to Together. I think Curtain Call is the better of the two. I don’t know, I’m just a sucker for acoustic openings complete with piano and traditional-sounding percussion instruments. And it also has a nicer tune. The song really shines when the more conventional rock sound comes in, which is pure vintage Glay. Curtain Call really ought to have been the final song instead of Rhapsody, for reasons aside from the most obvious one. The full blast chorus at the end with all the guitars and the piano is something quite memorable as is what comes afterwards: a quiet and gentle repeat of the opening verse and a short piano solo. This was done in a time when Teru’s voice was largely untampered but that roughness is the reason why ballads like this, Together and Kiseki no hate are so powerful. Anything else would have been too saccharine.
Miyako wasure (***1/2) – Another simple and sweet pop-rock track. The best bits belong to the instruments: love that piano intro and those electric guitar parts that act as bookends to the song. It has a very urban city feel and I always think of the bright lights that come on at night whenever I hear this song, largely due to its peculiar half-romantic/half-mournful tune. The best part in terms of the vocals comes at the end where Teru sings ‘I can’t feel love without you’.
Rhapsody (***) – The most mediocre song in the album. The verses are really cheerful and the opening guitars will make you go ‘awww’ but the chorus feels a bit disjointed. I didn’t really like the way Teru stops singing at certain points as this really disrupts the whole tempo of the song and the tune is a bit uninteresting. But, yet again, his performance and the instruments are able to salvage it and the end result isn’t too bad, just a bit unmemorable. There is still a lot to like about this song and it is best to view it as one of those cute, cheerful throwaway pieces that you tack on just for fun.
Combined Star Score: 45 Average: 3.75
Score: 93.8%