Ayumi Hamasaki [Duty] (Third Album)

Starting Over
Duty
Vogue
End of the World
Scar
Far Away
Surreal
Audience
Seasons
Teddy Bear
Key ~Eternal Tie Version~
Girlish

The album starts off with the intro Starting Over. This has got to be one of her worst and most uninspired and basically all around lazy intro’s ever. It consists of a plain beat which becomes utter background fodder and Ayu saying, ‘la,la,la’ and ‘na,na,na’ over and over–er… what?

The next track on the album is the adrenaline rush Duty. This is quite possibly in my top ten favorite Ayu songs, seriously. I first heard this song such a while back and instantly fell in love. I mean I didn’t even know it was Ayu singing this, because her vocals were way controlled and quite good for this to be her third album. I mean she went from high-pitched mouse-squeak to an assertive woman about her business. Well, that’s the impression I get whenever I listen to this. This is definitely the stand-out track on the album its such a good and rather underrated song from her.

The next track on the album is the elegant Vogue. I just get such a refined feeling from this song. The arrangement sounds so oriental, but is that even the word? I mean, I’m thinking that the main instrument is a shamisen, but I could be wrong. Its quite a lovely arrangement and does give one the feeling of a flower blooming against the sun. Ayu’s vocal performance was pretty good as well, though she was really singing out of her noise since she sounded so stuffy mostly during the chorus. I didn’t use to like this song, but thanks to repeated listens and a few lives its grown on me and I love it now.

The next track on the album is the hard-hitting End of the World. This is one of those tracks on an album that you never really pay attention to, but when you do you’re left slightly amazed by it. The arrangement is pretty dark and it really caught my attention, because Ayu in the beginning of her career kept it mostly light and poppy. It really gave an apocalyptic feeling and made me think of ‘talkin’ 2 myself’ Ayu’s vocals were a bit unbearable, becoming glaring during the chorus, but I managed to overlook that because she put a lot of effort into it. I mean she had a bit of attitude during the chorus and throughout the track that made her vocals as well as the song pop out at you. I enjoyed this track and like ‘duty’ its a very underrated song from her.

The next track on the album is the mild Scar. This is the type of song that doesn’t particularly jump out at you, but its certainly felt. The arrangement sounds very traditional (I loved the talking sounds in the beginning), I could just picture Ayu in a kimono and some Samurai swinging his sword around. Its dramatic in a quiet way. I didn’t too much care for Ayu’s high-pitched vocal performance, there was just way too much strain and it kind of became exasperating. I still like this song though and I wish she would take advantage of it on her tours, this and ‘duty’.

The next track on the album is the weird Far Away. I always think of ‘free & easy’ when I click on this song, but the difference is obvious ‘free & easy’ is a good song this on the other hand, is not. I’ve tried to like this song, but it just doesn’t make any sense. The arrangement is too weird–interesting, but just weird. I mean I spend more time wondering what the fuck is going on composition wise that I forget the vocal part of the song all together. It’s for good reason however, because Ayu’s vocals are unbearable and boring. This song seems to play for no reason and I’m always left confused and a little frightened once its over.

The next track on the album is the anime-ish Surreal. No, seriously I get such an anime opening vibe from this song. This track is really surprising and to be truthful I’ve never really cared for this song and could probably count the times I’ve listened to it on one hand. Its a pretty good song though with a nice beat that’s all kinds of atmospheric and made me think of the wind blowing across the sea. Ayu’s vocals were high but actually fit right in with the whole flow of the song and it also helped that she seemed to be really into it. It certainly helped me see this track in a more positive and memorable light.

The next track on the album is the up-beat Audience. I’m a fan of Ayu’s more livelier songs, but this track really just goes over my head its so generic. The arrangement is so jovial that its almost sickening and makes me think of confetti falling from the ceiling when someone wins a huge prize. Ayu’s vocals were of course high-pitched and seemed almost whiny in a sense. It was like she was really trying to be cute and it just came off as painful. The only part of this song I liked was the chorus, because its fun. However, it is not enough to save this song.

The next track on the album is the wistful Seasons. When this song first started up I immediately thought of DHT’s ‘listen to your heart’ I really get that flow from this song and it stays. The arrangement is a bit dark, moody and way atmospheric. Its really quite depressing and made me think of standing alone looking up at a dark sky. Ayu’s vocals were straining in this song, most notable during the chorus, but just like with ’surreal’ it fit right in. This is a good song and really does give you the feeling of changing seasons.

The next track on the album is the heart-wrenching Teddy Bear. Oh, I love this song, this is one of my all time favorite Ayu songs. This song is so heart-aching but so heart-warming at the same time. The lilting and simple piano arrangement is very effective and just fits. Ayu’s vocals are really good in this song and I mean that in the way that she really hit all the right notes and tones and everything was just so felt. I really love when her voice dies off towards the end its nearly heart-breaking. This song use to really make my eyes water, now it just makes me smile sadly.

The second to last track on the album is the airy Key ~Eternal Tie Version~. This song seems a bit short to me. I’ve never actually liked this song to be truthful, but maybe its a good day, because I found this song a lot less tedious this time around. The arrangement is pretty minimal, but it does its part. Ayu’s vocals strained like crazy, but she really put a lot into this song, so I can overlook that. This is a nice track.

The last track on the album is Girlish. This is really one of the most underrated songs of all-time, but I’ve always found that I liked it. The way it starts as if they are in the studio (are they?) and then Ayu laughs and it goes into the song. It just gives off a very intimate and content feel of friendship and for the moment happiness. I thought Ayu’s vocal performance was decent a bit annoying on the, ‘la,la,la’ parts, but otherwise a tolerable performance. I also thought this was a good ending to the album and it always reminds me of her first album closer Present.

-GRADE: A
Rating: *** stars

Ayumi Hamasaki’s third album Duty is a really good album; it took a lot for me to say this. This use to be my least favorite album from Ayu and that was even after I had heard A Song for XX for the first time. If I’m correct this is Ayu’s highest selling album to date and that a few years back really blew my mind, because other than Duty and Teddy Bear this album was as unmemorable as it gets. I also use to hate the fact that it was so short, but thinking about all the interludes on Ayu’s later albums and GUILTY well this has the perfect album length. I enjoyed listening to this album and have come across some new and old favorites with Vogue and Key ~Eternal Tie Ver. standing out the most because who knew I’d ever come to like those songs, especially the latter. Duty was a surprisingly good album and it certainly deserves the 3 million+ records that it sold.

Ayumi Hamasaki [GREEN/Days] (44th Single)

GREEN
Days
To Be (10th Anniversary Version)
LOVE ~destiny~ (10th Anniversary Version)

Ayumi Hamasaki’s 44th single starts off with the first a-side GREEN. Ayu brought it a lot more sincerely with this a-side, than she did with Mirrorcle World. I felt such a connection with her an the genuineness of her voice that had been strangely absent for a while now. The arrangement is a traditional Chinese piece that really compliments the atmosphere of the song and reminds you of long ago times. It gives off a very nostalgic air. Ayu’s vocal performance was really good and it seemed like she really got into the song. The sheer depth of emotion in her tones was very clear. The best part of this song is the chorus and though I hate that thing Ayu has started doing with her voice I enjoyed her ad-libs towards the end as well. I watched the video to this and though a lot people dislike it I thought it was a pretty good video and certainly reflected the song. A forbidden love, maybe in the next life.

The next track on the single is its second a-side Days. I really do love this song, almost as much as I love the a-side. The arrangement is gorgeous and so very festive and winter-y in the saddest of ways. Ayu’s vocal performance in this song was very emotional, I mean she was singing way out of her throat, but I hardly noticed because I too busy trying not to get choked up. I mean this song exudes such loneliness and that loneliness and sadness stems from the fact that you love someone who will never love you back. I adored the video, especially the end when Ayu is crying (quite realistically) and her friends come in whisk her away. It reinserted the fact that men come and go, but real friends are forever.

This is another special single from Ayu so it comes with two re-recorded versions of her old songs, the first one being TO BE (10th Anniversary Version). It took a while for the original song to grow on me and now its one of my favorites. This was a nice re-arranged version of the song, though her voice was pretty high during the chorus and I had to do my best to ignore it. This version sounds a lot more refreshing than the original, if that makes sense.

The last track on the single is the re-recorded version of LOVE ~destiny~ (10th Anniversary Version). Oh, this is definitely one of my favorite oldies from Ayu. I thought she did a good job on this as well, though I felt more of a connection with the original.

-GRADE: A
Rating: *** stars

Ayumi Hamasaki’s 44th double a-side single GREEN/Days was a step up from her previous single Mirrorcle World, indefinitely. GREEN was a lot more epic than ‘mirrorcle world’ in my opinion and the nod to the Chinese was certainly an added and appreciated bonus, because the traditional Chinese music brought a lot of personality and flare to the song. Days was a lovely and rather depressing winter ballad and I thought the two re-recorded versions of her old LOVEppears songs: TO BE and LOVE ~destiny~ were a whole lot better this time around, though the originals still sound better. I have high hopes for Ayumi’s next studio album, I really do.

Ayumi Hamasaki [A Song for ××] (First Album)

Prologue
A Song for XX
Hana
FRIEND
FRIEND II
poker face
Wishing
YOU
As if…
POWDER SNOW
Trust
Depend on you
SIGNAL
from your letter
For My Dear…
Present

The album starts off with the intro Prologue. A rather nice but underwhelming tune.

The first full length track on the album is the the song that should have been a single A Song for ××. This is definitely a classic song, packed with a lot of meaning. The arrangement is very basic and tinkle melody like, but it does offer a lot of mood and atmosphere. Ayu’s vocals weren’t bad in this, I actually enjoyed how she sung this. Its a very engaging song, that really captures your attention. Her voice does get squeaky towards the end, but its all so endearing I didn’t even care.

The next track is the super generic Hana. I use to really like this song way back when I first listened to this album. I thought it had a nice fun bounce to it, though a serious undertone and always found myself enjoying it and singing along to it. Now, I really dislike this song and I personally think its one of her most annoying songs ever. The arrangement is just mad basic and generic, its really quite laughable. Ayu’s vocal performance was squeaksville, though I must admit it wasn’t as bad as it could have been. This song is one of those songs that you want to like (because it is a pretty decent song), but you know that if you listen to it long enough you’ll be left with a splitting head ache once the song is through.

The next track is the nostalgic FRIEND. I have always loved this song, I’ve always thought it was charming in such a sad way. The beat is way generic, but it does do its part. Ayu’s vocals are very high and squeaky, but for some reason in this song I find her vocals rather endearing. The line I like most in this song is the: ‘in this whole world, there’s only one of you’ that line alone is why I love this song so much, and because it makes me think of a friend you haven’t seen in a long time, but you still know in your heart that that person will always be your most treasured person.

The next track on the album is another version of the previous track FRIEND II. I really didn’t like this song when I first heard this album, I thought, what was the point of a part two when the original is already good? This song has grown on me a bit. FRIEND is a light pop, as where this one is more a hard pop, since the arrangement is a lot more aggressive. Ayu’s voice is still high and squeaky, but as where it was rather somber in the last track, its pretty light and cute in this one.

The next track on the album is Ayu’s first single poker face. This is definitely a classic, as this is Ayumi’s first ever single. This is a song that just like FRIEND I wish Ayu had taken advantage of and sung more live or during her tours. I keep thinking she’s going to surprise us all and sing this song. The beat is generic, but it makes you think of a news broadcast, so I guess that explains all the TV’s in the video. Ayu’s voice was pretty decent, and this is always a fun song to sing along too, even if it does come across as a little sad.

The next track on the album is the down-tempo Wishing. I have never really liked this song, and I’m such a fan of Ayu ballads its not even funny. The arrangement is pretty decent, very somber and atmospheric in a generic way. Ayu’s vocals are really painful in this, I just imagine my head splitting open every time I hear this especially when she reaches the end of the chorus. This song just comes across as so wangsty and impossible to me. Its not a bad song, I just don’t like it.

The next track is the down-tempo YOU. Definite classic and top ten in Ayu best ballads collection. I really like the arrangement even if it isn’t all that special. It sounds like an electric guitar, and if so, that’s pretty interesting for a song meant as a ballad. Ayu’s vocals were pretty high, but I thought she really sung this song well. I really always enjoy singing this song, especially the chorus which is the highlight. This is a track that never gets old.

The next track is the somewhat up-tempo As if…. This is a song that I always end up flip flopping with. One minute I like it, the next I hate it. I hate it. Its not a bad song, but its just really annoying. The arrangement is very distracting, generic and bland and Ayu’s vocals are sheer torture.

This next track is another one in which I have a love hate relationship with. POWDER SNOW is another customary Ayu ballad, and its not a bad one at that. I liked the arrangement even it was generic, it did manage to set a certain type of sorrowful atmosphere. What keeps me from liking this song the way I want too is Ayu’s vocals, they are just so very high and strained, to the point that listening to this song towards the end just becomes unbearable. If she was to re-record this, I would probably change my mind, but as it stands, I can’t listen to this song.

The next track is the dance club-esque Trust. This song really sounds like a song you’d find on every Euro-remix album. It has such a techno pop thing going for it that it really blows my mind. The arrangement was generic and didn’t sound any different from the other up-tempo, guitar based arrangements on here. I did in a sense like Ayu’s vocals, but not entirely, that highness to her tone and the squeak really dumb-s down the enjoyment value. This is still a pretty good song, definitely a classic and its pretty catchy. I like it.

The next track is the up-tempo Depend on you. This is definitely one of those songs that Ayu takes advantage of. The arrangement is pretty OK, though nothing I haven’t heard already. I did still like the guitar solo. Ayu’s vocals were same-same, but they were really endearing in this and brought a charm to this song, that makes it very appealing and in a sense inspiring.

The next track on the album is the up-tempo SIGNAL. This song has a pretty techno-ish, gay club vibe to it. I thought the arrangement was a bit lively, but it was rather dull and went nowhere, and was as bland and generic as they come. Ayu’s vocal performance was the same high squeaky affair, and though she put forth a bit of energy this song just went clear over my head. Forgettable and annoying.

The next track on the album is the torturous from your letter. Nothing, absolutely nothing about this song stands out other than the fact that Ayu’s voice squeaks so much its a torture equivalent to SAW. I just dislike this song, because it is so terribly bland and irritating. I wonder why Ayu even bothered recording this song let alone putting it on her album. It just fails.

The second to last track on the album is the mellow For My Dear…. This is a hard song not to like, even if its just as bearable vocal wise as all the other songs. Ayu showed a lot of personality in this song, and gave it a lot of depth and emotion, making you connect instead of listening to it with an indifferent ear. I always think of this as a better version of from your letter.

The last song on the album is the under appreciated Present. I’ve always held a fondness for this song, because I really like the whole approach to it and how Ayu is thanking everyone for allowing her voice to reach them. The arrangement is pretty basic and generic, but I do think it did its part. It was decent. Ayu’s vocals were nice, and she brought a charm to this song that I really admired, because it gave off such a sincerity and genuineness. I adored the way the song went out with the guitar solo. This is a nice song, and would be a great concert closure, if it wasn’t such a forgotten tune.

-GRADE: C
Rating: *1/2 stars

Ayumi Hamasaki’s first album A Song for ×× is a bad album. I have a ton of problems with this album, one being that all the arrangements are generic and baseless. The whole approach to them was very lazy and half-assed. Its like these songs are more suited for Dance Dance Revolution or Euro-mix albums or something. Ayu’s vocals were at there worst, I mean her voice was very childish and unsure, and then high and squeaky and it would just fluctuate. I mean in songs like poker face or YOU you hardly notice, because the songs are so enjoyable, but then you get to songs like Wishing and from your letter and its just sheer torture, rape on the ears. I did like this album when I first heard it, I mean this was pre-Diva Ayu and it was like a breath of fresh air. Once my delight was over however I realized quickly how awful this album really was, and I hardly listen to it now, because I just can’t bare it. However, no matter how bad it is, it is still a classic album and one that should not be forgotten as it was the Ayumi before she blew up and became who she is today. I mean when I listen to Marionette its really hard to fathom that she was singing in such a high, squeaky tone in A Song for XX its all so crazy. Its lovely to see how much she has grown in matured, becoming more confident in herself as an artist in as a woman. I feel Ayu still has so much to say, even ten years later and I really hope she continues doing her thing well into old age.

Ayumi Hamasaki [Mirrorcle World] (43rd Single)

Mirrorcle World
Life
YOU (10th Anniversary version)
Depend on you (10th Anniversary version)

Ayumi Hamasaki’s 42nd single starts off with the kick-ass Mirrorcle World. The first time I heard this song, I was watching the video. Needless to say the video nearly ruined the song for me. Ayu decided to take her greatest intro ever Mirror and stretch it into a full song, and I must say she did it justice. It starts off on such a majestic and epic note, and honestly if I hadn’t already heard this song and knew what to expect I really wouldn’t have expected it to go the way it went. The arrangement is gorgeous, so many instruments at work giving it such a feel of grandiose! Ayu’s vocals are quite good. You would not really think her vocals were so squeaky, she really pulled off the right tones to give this song a lot of emotion and edge. I wasn’t too enthused with this song when it first came out, I’m still not. But I do know good music when I hear it, and this is definitely one of the best and most creative songs in her entire discography.

The next track is the b-side Life. I’ve grown rather fond of this song, I really have. Its quite lovely and charming. I don’t really agree with the negative reviews it has gotten, honestly. Its not as epic as the a-side, and I think that alone is why a shadow has been cast over this song and it has become so forgettable. What a shame, it really is a good song. The arrangement is so airy and fresh. I really love how it makes you feel free after feeling trapped for so long. I thought Ayu’s vocal performance was really top-notch, she gave this song such personality. Her tone is so very sad to me, and it gives this song the whole effect of a deep wistfulness. At the same time though, its the type of performance that will make you give way to a smile, without really meaning too, though you would have tears in your eyes. I love this song and wouldn’t mind hearing it on her next studio album.

This is a special little single as its in honor of Ayu’s 10th anniversary in the music business, so she released this single in two different versions: the YOU version and the Depend on you version. The 10th anniversary version of YOU is really just awful. Its like she took all the meaning out of the original and turned it into some sort of up-tempo rock version of trash. YOU is one of my all-time favorite Ayu songs, so I was really disappointed with how this version, ten years later mind you, sounded worse. It really just defies all meaning on how a newer version of an old hit song can come across as the worst of the two and its your song!

Depend on you is a lot better. It has a bit of a rock element, but it wasn’t as grating or as out of place as the one in YOU was. Ayu’s vocal performance is a bit strained but its also a lot better. I’m guessing Ayu took this 10th anniversary re-recording a lot more serious than she did the one for YOU. Strange, I always thought she was rather fond of that song…

-GRADE: A-
Rating: **1/2 stars

Ayumi Hamasaki’s 42nd single Mirrorcle World was really good, and I actually find myself enjoying it more this time around than I did when I first listened to this. The a-side Mirrorcle World is made of epic win even if the title is difficult to say. I love Life I don’t care what anyone says, that’s a good song. YOU is forgettable and Depend on you is pretty OK. I’m really anticipating Days/GREEN now.

Ayumi Hamasaki (Miss)Understood) [Seventh Album]

Bold & Delicious
STEP you
Ladies Night
is this LOVE?
(miss)understood
alterna
In The Corner
tasking
criminal
Pride
Will
HEAVEN
Are You Wake Up?
fairyland
Beautiful Day
rainy day

The album kicks off with the infamous Bold & Delicious. Perhaps thee most hated Ayu song to ever exist (this and LOVE ~since 1999~ which is HORRID). I am one of those Ayu fans who absolutely hate this song! I really do. It’s fun, I can give it that, and I’m sure it’s quite the crowd-pumping joint live, but as a song, it sucks. It’s so annoying and it just seems to go on FOREVER. While I was listening to it for this review, I was just wishing it would end already…mostly because I found myself singing along to the chorus. ‘Bold & Delicious!!!!’

After the hilariously bad Bold & Delicious Ayu keeps the up-tempo tracks coming with the edgy and very catchy STEP you. I just love this song, because it’s so much fun. The arrangement is hard hitting and infectious, Ayu’s vocals are great and really take control, and it’s a fun up-beat song to sing along too.

Ladies Night is perhaps one of Ayu’s most underrated and under appreciated songs. It’s so brilliant. I just love how out there and experimental it is. I adore how Ayu speed-talks the verses, because she sounds like a robot and it’s so cool. I love the chorus, it’s too infectious, and the arrangement is just kick-ass. Great song.

Ayu doesn’t give us the opportunity to slow down. The next track is this LOVE? is one of Ayu’s best songs in her entire discography. I’m a fan of rock-Ayu, more than I am of pop-Ayu. Her rock songs just seem to have more emotion and depth in them, and seems to reflect the real her as opposed to say a song like vogue. is this LOVE? is great because it sounds so angry, so raw, so in your face; I love that.

The next track is the self-titled (miss)understood. With this song I can understand why it’s really underrated, and not really liked amongst most Ayu fans, because there’s nothing about it that really sticks out, or grabs your attention. In some cases it can even be called a filler track, because the beat is basic and Ayu doesn’t really bring anything interesting or new to the vocal arrangement. I have a soft spot for this song though, because it isn’t bad, it has a quiet strength about it that I admire, and it’s a good listen.

alterna the next track is very reminiscent of Game and Ourselves two quirky, experimental, cyborg-esque, dark, edgy songs by Ayu I really love. alterna is no exception. I heard a while back that this song was made to reflect how Ayu was feeling like a puppet concerning her career or her image, and how this song was like a rebellion against that notion. Who knows? But I certainly get that vibe when listening to this song and watching the video.

The next track is the oddly titled In The Corner. This is another song that isn’t really liked by Ayu fans, because it plays like album fodder. I would have disagreed at one point, but now, I would have to say they are right. There is nothing interesting about this song, and it seems to come and go. Ayu’s vocal’s seem lazy and uninspired to me, and the arrangement is basic and distracting.

Ayu is infamous for her interludes (and she has plenty of them) tasking is pretty OK, but forgettable.

After the unimpressive interlude we go into a song that just seems so misplaced to me, criminal. It just doesn’t feel like an Ayu song to me and I don’t know why. I mean she’s done edgy-dark songs like this before, and recently with kiss o’ kill and Marionette, but criminal though a good song, just doesn’t sit right with me. I wonder if it would have meshed better placed on Secret? I still like this song though, it has that depressing, angst vibe going for it that I seem to enjoy so much lately.

The next track is down-tempo, and not a very good one at that. I’m still wondering why Ayu released this as a single? Pride just falls flat in every possible sense of the word. And though Kuu took the cake with MOON as her worst single, Bold & Delicious/Pride is Ayu’s. The whole set-up made you feel like this was going to be some sort of majestic ballad in the veins of Voyage, but all it does is bore.

Ayu keeps the down-tempo tracks coming with Will, a song that is in my opinion different from any song Ayu has ever done before or now, because she mixes element’s of enka giving Will it’s own unique style. A lot of Ayu fans dislike this song, and it’s actually one of her least favorite tracks among her fans, and I can understand: it’s weird, it’s diffrent, it’s repetitive and it’s after awhile–boring. But it’s something NEW. I’ve always held a soft spot for this song, just like I do with (miss)understood. It’s just not appreciated enough in my opinion.

The next track is one of my favorite Ayu ballads, HEAVEN. It’s really an incredibly poignant song, with such an important message. I always think of my friend when I hear this song, and I know that I will never say good-bye, because he will always live in my heart and I’ll see him again someday. Ayu’s vocals are lovely, and the arrangement is very warm and heartfelt.

What kind of Ayu album would this be if we didn’t get another interlude? This time Ayu presents us with the rock-oriented Are You Wake Up?, which is a lot more interesting than tasking and it definitely succeeded in waking me up. One of her more creative interludes.

I’ve never been a fan of fairyland, I don’t really care for it. I understand that this is one of Ayu’s most expensive videos, and that the song isn’t really all that bad, but at the same time it’s rather weak. It’s a really depressing song to me, I know in a sense it’s meant to be depressing, but this song just oozes it, despite it’s happy nature and the fact that it’s a summer song. Ayu has done this before and better. In my opinion BLUE BIRD will always be superior to this. NOTE: I was a little hard on this song, I admit. Its not a bad song, its just a really depressing one.

The second to last song on the album is one of my favorite Ayu songs, top twenty actually. Beautiful Day is a fun little song by Ayu that I absolutely adore, and I’m probably one of the few people that do. But every time I hear this song I get so nostalgic in happy, because it’s so carefree and I like that. It’s like a whole different take on Greatful Days, and one that exceeds it.

The last track on the album is the down-tempo rainy day, a song that I have always liked, but at the same time still find terribly underwhelming. It’s appropriately titled, because it is good for a rainy day or when you just want to wind down.

-GRADE: B
Rating: ** stars

I have a love/hate relationship with (miss)understood. I at one point declared it her worst album to date, but of course that crown goes to A Song For XX/GUILTY. I don’t understand why Ayumi thought it necessary to use beats from Sweetbox who composes nothing but average or below songs. I still believe that if Ayumi had went in the studio with her own beats this album could have been better than it was. (miss)understood is not a bad album, it’s actually one of her best, but it just fails in so many ways. The songs though very experimental and creative, are sadly forgettable and with the exception of Will, we’ve heard it all before. My Story was the first album of Ayumi to go in an entirely different and new direction, and it in my opinion did it better, which is why My Story is much more memorable. I commend Ayumi for trying something new, but at the same time I wish she would have tried MORE, and (miss)understood, though a good album, wouldn’t have been such a disappointment.