"Kanariya" is a song recorded by Japanese recording artist Ayumi Hamasaki for her second studio album, Loveppears. It was released by Avex Trax in Japan and Hong Kong on December 8, 1999, through Avex USA in North America in early 2000; the recording served as Hamasaki's second limited edition single, with limited physical units of 300,000 copies. The track was written by Hamasaki herself, while production was handled by long-time collaborator Max Matsuura. Two versions of "Kanariya" were made available for consumption—a radio edit produced by American disc jockey Jonathan Peters, the album version composed by Yasuhiko Hoshino. Lyrically, the song was written in third person perspective. Upon its release, "Kanariya" received mixed reviews from music critics, with some of them praising the original and radio edit, but criticizing the remixes. Commercially, the single experienced success in Japan, peaking at number one on the Oricon Singles Chart and TBS' Count Down TV chart, it sold just below its 300,000 restricted copies, was certified Gold by the Recording Industry Association of Japan for shipments of 200,000 units.
An accompanying music video for the recording was directed by Wataru Takeishi, with it portraying Hamasaki in a dark laboratory surrounded by keyboards and electronic devices. To promote the single, it appeared on several remix and greatest hits compilation albums released by Hamasaki. "Kanariya" was written by Hamasaki herself, while production was handled by long-time collaborator Max Matsuura. Two versions of "Kanariya" were made available for consumption—a radio edit produced by disc jockey Jonathan Peters, the album version composed by Yasuhiko Hoshino. Peters' remix of the track portrays a dance composition, a genre that influenced Hamasaki's second studio album, Loveppears; the song includes musical elements of house and techno. "Kanariya"'s instrumentation consists of keyboards played by Peters. The track's album version was included as a hidden track with another album entry, "Who...", has been described by members of CD Journal as a pop recording with instrumentation of guitars and a drum kit.
Lyrically, the recording was written in third person perspective, a trait, shared with the rest of the album's tracks. The song was released by Avex Trax in Japan and Hong Kong on December 8, 1999 as a CD single, serving as Hamasaki's second limited edition single with limited physical units of 300,000 copies; the physical format of "Karariya" featured a total of thirteen tracks, of which eleven were remixes and an a cappella of the track incorporating a remix for Hamasaki's tracks "Two of Us" and "From the Letter". While the former appeared on her debut studio album, A Song for ××, the latter was included as a B-side track for her single "Depend on You". On June 12, 2000, "Kanariya" was distributed in North America through Avex USA as a 12" inch vinyl, including three remixes managed by Peters; the single's artwork was photographed by Japanese photographer Toru Kumazawa, featured Hamasaki sitting in a circular pod with rhinestones on her face. The physical version of "Kanariya" failed to include a booklet, which resulted in the cover sleeve being immolated as a picture disc, featuring an emphasised plastic sheet with information on the single.
Upon its release, "Kanariya" received mixed reviews from music critics. A reviewer from Jame World was favourable to the album version of the song, acclaiming the R&B approach and Hamasaki's vocal abilities; when reviewing the CD single, the website stated, "For fans of remixes, it is a great release – however, if you want substantial music with variety and professionalism, you should look elsewhere." A member of CD Journal was positive towards the original and radio edit of the single, but criticized the remixes and labelled the sound "tired". Commercially, the single experienced success in Japan, it debuted at number one on the Oricon Singles Chart, selling 248,070 units in its first week of availability. "Kanariya" lasted six weeks within the top 200, marking one of Hamasaki's lowest-spanning singles on that chart. It opened atop on the Count Down TV chart hosted by Tokyo Broadcasting System, lasting four weeks within the top 100. By the end of 1999, the recording sold over 289,200 units in Japan, but failed to be included on Oricon's Annual Chart for unknown reasons.
The subsequent year, "Karariya" was ranked at number 92 behind five other singles released by Hamasaki. It peaked at number 84 on TBS' Annual Chart in 1999. In February 2000, the track was certified Gold by the Recording Industry Association of Japan for shipments of 200,000 units; as of July 2016, "Kanariya" has been listed as the singer's 29th best-selling single based on Oricon Style's database. An accompanying music video for the single was directed by Wataru Takeishi, uses a shorten version of Peters' remix; the visual portrays Hamasaki in a dark laboratory, being surrounded by keyboards, electronic devices and a black bird. Throughout the music video, several people start to wear headphones and follow Hamasaki, with them starting to listen to the song and observing TV monitors of the singer; each person, including Hamasaki, wears black eye shadow on one eye, a code on their hand. Over the clip, the singer is seen singing to the recording in the laboratory, with interspersed scenes portraying her wearing the outfit used for the single's artwork.
The music video was included on several DVD compilations released by Hamasaki, includingA Clips, A Complete Box Set, the digital release of A Clips Complete."Kanariya" has been promoted through compilation albums relea
A CD single is a music single in the form of a compact disc. The standard in the Red Book for the term CD single is an 8cm CD, it now refers to any single recorded onto a CD of any size the CD5, or 5-inch CD single. The format was introduced in the mid-1980s but did not gain its place in the market until the early 1990s. With the rise in digital downloads in the early 2010s, sales of CD singles have decreased. Commercially released CD singles can vary in length from two songs up to six songs like an EP; some contain multiple mixes of one or more songs, in the tradition of 12" vinyl singles, in some cases, they may contain a music video for the single itself as well as a collectible poster. Depending on the nation, there may be limits on the number of songs and total length for sales to count in singles charts. Dire Straits' "Brothers in Arms" is reported to have been the world's first CD single, issued in the UK in two separate singles as a promotional item, one distinguished with a logo for the tour, Live in'85, a second to commemorate the Australian leg of the tour marked Live in'86.
Containing four tracks, it had a limited print run. The first commercially released CD Single was Angeline by John Martyn released on 1 February 1986. CD singles were first made eligible for the UK Singles Chart in 1987, the first number 1 available on the format in that country was "I Wanna Dance with Somebody" by Whitney Houston in May 1987; the Mini CD single CD3 format was created for use for singles in the late 1980s, but met with limited success in the US. The smaller CDs were more successful in Japan and had a resurgence in Europe early this century, marketed as "Pock it" CDs, being small enough to fit in a shirt pocket. By 1989, the CD3 was in decline in the US, it was common in the 1990s for US record companies to release both a two-track CD and a multi-track maxi CD. In the UK, record companies would release two CDs but these consisted of three tracks or more each. During the 1990s, CD single releases became less common in certain countries and were released in smaller editions, as the major record labels feared they were cannibalizing the sales of higher-profit-margin CD albums.
Pressure from record labels made singles charts in some countries become song charts, allowing album cuts to chart based only on airplay, without a single being released. In the US, the Billboard Hot 100 made this change in December 1998, after which few songs were released in the CD single format in the US, but they remained popular in the UK and other countries, where charts were still based on single sales and not radio airplay. At the end of the 1990s, the CD was the biggest-selling single format in the UK, but in the US, the dominant single format was airplay. With the advent of digital music sales, the CD single has been replaced as a distribution format in most countries, most charts now include digital download counts as well as physical single sales. In Australia, the Herald Sun reported the CD single is "set to become extinct". In early July 2009, leading music store JB Hi-Fi ceased stocking CD singles because of declining sales, with copies of the week's No. 1 single selling as few as only 350 copies across all their stores nationwide.
While CD singles no longer maintain their own section of the store, copies are still distributed but placed with the artist's albums. That is predominantly the case for popular Australian artists such as Jessica Mauboy, Kylie Minogue and, most Delta Goodrem, whose then-recent singles were released on CD in limited quantities; the ARIA Singles Chart is now "predominantly compiled from legal downloads", ARIA stopped compiling their physical singles sales chart. "On a Mission" by Gabriella Cilmi was the last CD single to be stocked in Kmart and Big W, who concluded stocking newly released singles. Sanity Entertainment, having resisted the decline for longer than the other major outlets, has ceased selling CD singles. In China and South Korea, CD single releases have been rare since the format was introduced, due of the amount of infringement and illegal file sharing over the internet, most of the time singles have been album cuts chart based only on airplay, but with the advent of digital music the charts have occasionally included digital download counts.
In Greece and Cyprus, the term "CD single" is used to describe an extended play in which there may be anywhere from three to six different tracks. These releases charted on the Greek Singles Chart with songs released as singles; the original CD single is a music single released on a mini Compact Disc that measures 8 cm in diameter, rather than the standard 12 cm. They are manufactured using the same methods as standard full-size CDs, can be played in most standard audio CD players and CD-ROM disc drives; the format was first released in the United States, United Kingdom, France, West Germany, Hong Kong in 1987 as the replacement for the 7-inch single. While mini CDs have fallen out of popularity among most major record labels, they remain a popular, low cost way for independent musicians and groups to release music. Capable of holding up to 20 minutes of music, most mini CD singles contain at least two tracks, ofte
A music video is a short film that integrates a song with imagery, is produced for promotional or artistic purposes. Modern music videos are made and used as a marketing device intended to promote the sale of music recordings. There are cases where songs are used in tie-in marketing campaigns that allow them to become more than just a song. Tie-ins and merchandising can be used for food or other products. Although the origins of the music video date back to musical short films that first appeared in the 1920s, they again came into prominence in the 1980s when the channel MTV based their format around the medium. Prior to the 1980s, these kinds of videos were described by various terms including "illustrated song", "filmed insert", "promotional film", "promotional clip", "promotional video", "song video", "song clip" or "film clip". Music videos use a wide range of styles and contemporary video-making techniques, including animation, live action and non-narrative approaches such as abstract film.
Some music videos combine different styles with the music, such as animation and live action. Combining these styles and techniques has become more popular because of the variety for the audience. Many music videos interpret images and scenes from the song's lyrics, while others take a more thematic approach. Other music videos may not have any concept, being a filmed version of the song's live concert performance. In 1894, sheet music publishers Edward B. Marks Joe Stern hired electrician George Thomas and various performers to promote sales of their song "The Little Lost Child". Using a magic lantern, Thomas projected a series of still images on a screen simultaneous to live performances; this would become a popular form of entertainment known as the illustrated song, the first step toward music video. In 1926, with the arrival of "talkies" many musical short films were produced. Vitaphone shorts featured many bands and dancers. Animation artist Max Fleischer introduced a series of sing-along short cartoons called Screen Songs, which invited audiences to sing along to popular songs by "following the bouncing ball", similar to a modern karaoke machine.
Early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons. The early animated films by Walt Disney, such as the Silly Symphonies shorts and Fantasia, which featured several interpretations of classical pieces, were built around music; the Warner Bros. cartoons today billed as Looney Tunes and Merrie Melodies, were fashioned around specific songs from upcoming Warner Bros. musical films. Live action musical shorts, featuring such popular performers as Cab Calloway, were distributed to theaters. Blues singer Bessie Smith appeared in a two-reel short film called St. Louis Blues featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period. Soundies and released from 1940 to 1947, were musical films that included short dance sequences, similar to music videos. In the mid-1940s, musician Louis Jordan made short films for his songs, some of which were spliced together into a feature film, Lookout Sister.
These films were, according to music historian Donald Clarke, the "ancestors" of music video. Musical films were another important precursor to music video, several well-known music videos have imitated the style of classic Hollywood musicals from the 1930s to the 1950s. One of the best-known examples is Madonna's 1985 video for "Material Girl", modelled on Jack Cole's staging of "Diamonds Are A Girl's Best Friend" from the film Gentlemen Prefer Blondes. Several of Michael Jackson's videos show the unmistakable influence of the dance sequences in classic Hollywood musicals, including the landmark "Thriller" and the Martin Scorsese-directed "Bad", influenced by the stylised dance "fights" in the film version of West Side Story. According to the Internet Accuracy Project, disc jockey–singer J. P. "The Big Bopper" Richardson was the first to coin the phrase "music video", in 1959. In his autobiography, Tony Bennett claims to have created "...the first music video" when he was filmed walking along the Serpentine in Hyde Park, London in 1956, with the resulting clip being set to his recording of the song "Stranger in Paradise".
The clip was sent to UK and US television stations and aired on shows including Dick Clark's American Bandstand. The oldest example of a promotional music video with similarities to more abstract, modern videos seems to be the Czech "Dáme si do bytu" created in 1958 and directed by Ladislav Rychman. In the late 1950s the Scopitone, a visual jukebox, was invented in France and short films were produced by many French artists, such as Serge Gainsbourg, Françoise Hardy, Jacques Dutronc, the Belgian Jacques Brel to accompany their songs, its use spread to other countries, similar machines such as the Cinebox in Italy and Color-Sonic in the USA were patented. In 1961, for the Canadian show Singalong Jubilee, Manny Pittson began pre-recording the music audio, went on-location and taped various visuals with the musicians lip-synching edited the audio and video together. Most music numbers were taped in-studio on stage, the location shoot "videos" were to add variety. In 1964, Kenneth Anger's experimental short film, Scorpio Rising used popular songs instead of dialog.
In 1964, The Moody Blues producer, Alex Murray, wanted to promote his version of "Go Now". The short film clip he produced and directed to promote the single has a striking visual style that predates Queen's similar "Bohemian Rhapsody" vid
Free & Easy (Ayumi Hamasaki song)
"Free & Easy" is a song written by Ayumi Hamasaki and Dai Nagao for Hamasaki's album Rainbow. The song, the first single from Rainbow and Hamasaki's 26th total, was released in Japan on April 24, 2002; the single was released with Hamasaki Republic. With Rainbow, Hamasaki took a creative turn, incorporating English verses to the songs, producing most songs on her own, under the pen-name CREA. "Free & Easy" was written by Hamasaki and produced by CREA along with DAI. In the director notes for Rainbow, Hamasaki explained that the song was inspired by an actual magazine photo shoot with Free & Easy magazine; the lyrics speak of freedom. Hamasaki explained: "In Easy', I wrote what I am feeling at the moment. In other words, I want to be a person who lives by taking responsibility for my own freedom, I want to be a person for whom these words are applicable." The song opens with an eastern flute, Hamasaki sings the verses with a light and airy vocal. As the song progresses, she starts singing with an aggressive tone over a horn accompanied melody.
You can recognize a certain similarity between the title "No Amen" from "The Messenger- Story of Joan of Arc" soundtrack in the beginning. "Free & Easy" – 4:59 "Naturally" "Still Alone" "Free & Easy" – 4:59 The music video features Hamasaki who plays Joan Of Arc. First she is seen in prison and a woman opens her prison door and takes her away. Hamasaki is seen tied up in a red room getting burned, though no fire is apparent. At the end of the video, people holding her corpse are shown. Oricon Sales Chart RIAJ certification: 2× Platinum Free & Easy information at Avex Network. Information at Oricon
A Song Is Born (song)
"A Song Is Born" was a collaboration between Ayumi Hamasaki and Keiko for the Song Nation non-profit project by Avex, created to raise funds to help the victims of the 9/11 attacks on the World Trade Center. The song was composed by Tetsuya Komuro, but unlike the other two single releases of the project, "The Meaning of Peace" and "Lovin' It", the lyrics were written by Ayumi Hamasaki. Hamasaki went on to record a solo version on this song, which appeared on her fourth studio album, I am.... "A Song Is Born" "A Song Is Born" Oricon Sales Chart
A-side and B-side
The terms A-side and B-side refer to the two sides of 78, 45, 331⁄3 rpm phonograph records, or cassettes, whether singles, extended plays, or long-playing records. The A-side featured the recording that the artist, record producer, or the record company intended to receive the initial promotional effort and receive radio airplay to become a "hit" record; the B-side is a secondary recording that has a history of its own: some artists released B-sides that were considered as strong as the A-side and became hits in their own right. Others took the opposite approach: producer Phil Spector was in the habit of filling B-sides with on-the-spot instrumentals that no one would confuse with the A-side. With this practice, Spector was assured that airplay was focused on the side he wanted to be the hit side. Music recordings have moved away from records onto other formats such as CDs and digital downloads, which do not have "sides", but the terms are still used to describe the type of content, with B-side sometimes standing for "bonus" track.
The first sound recordings at the end of the 19th century were made on cylinder records, which had a single round surface capable of holding two minutes of sound. Early shellac disc records records only had recordings on one side of the disc, with a similar capacity. Double-sided recordings, with one selection on each side, were introduced in Europe by Columbia Records in 1908, by 1910 most record labels had adopted the format in both Europe and the United States. There were no record charts until the 1930s, radio stations did not play recorded music until the 1950s. In this time, A-sides and B-sides existed. In June 1948, Columbia Records introduced the modern 331⁄3 rpm long-playing microgroove vinyl record for commercial sales, its rival RCA Victor, responded the next year with the seven-inch 45 rpm vinylite record, which would replace the 78 for single record releases; the term "single" came into popular use with the advent of vinyl records in the early 1950s. At first, most record labels would randomly assign which song would be an A-side and which would be a B-side.
Under this random system, many artists had so-called "double-sided hits", where both songs on a record made one of the national sales charts, or would be featured on jukeboxes in public places. As time wore on, the convention for assigning songs to sides of the record changed. By the early sixties, the song on the A-side was the song that the record company wanted radio stations to play, as 45 rpm single records dominated the market in terms of cash sales, it was not until 1968, for example, that the total production of albums on a unit basis surpassed that of singles in the United Kingdom. In the late 1960s, stereo versions of pop and rock songs began to appear on 45s; the majority of the 45s were played on AM radio stations, which were not equipped for stereo broadcast at the time, so stereo was not a priority. However, the FM rock stations did not like to play monaural content, so the record companies adopted a protocol for DJ versions with the mono version of the song on one side, stereo version of the same song on the other.
By the early 1970s, double-sided hits had become rare. Album sales had increased, B-sides had become the side of the record where non-album, non-radio-friendly, instrumental versions or inferior recordings were placed. In order to further ensure that radio stations played the side that the record companies had chosen, it was common for the promotional copies of a single to have the "plug side" on both sides of the disc. With the decline of 45 rpm vinyl records, after the introduction of cassette and compact disc singles in the late 1980s, the A-side/B-side differentiation became much less meaningful. At first, cassette singles would have one song on each side of the cassette, matching the arrangement of vinyl records, but cassette maxi-singles, containing more than two songs, became more popular. Cassette singles were phased out beginning in the late 1990s, the A-side/B-side dichotomy became extinct, as the remaining dominant medium, the compact disc, lacked an equivalent physical distinction.
However, the term "B-side" is still used to refer to the "bonus" tracks or "coupling" tracks on a CD single. With the advent of downloading music via the Internet, sales of CD singles and other physical media have declined, the term "B-side" is now less used. Songs that were not part of an artist's collection of albums are made available through the same downloadable catalogs as tracks from their albums, are referred to as "unreleased", "bonus", "non-album", "rare", "outtakes" or "exclusive" tracks, the latter in the case of a song being available from a certain provider of music. B-side songs may be released on the same record as a single to provide extra "value for money". There are several types of material released in this way, including a different version, or, in a concept record, a song that does not fit into the story lin
"Love" is a song recorded by Japanese recording artist Ayumi Hamasaki, serving as the second single for her second studio album, Loveppears. It was released by Avex Trax in Japan and Taiwan on April 14, 1999, through Avex Entertainment Inc. worldwide in September 2008. The track was written by Hamasaki herself, while production was handled by long-time collaborator Max Matsuura. Three versions of the recording have been made available—a ballad version arranged by Tsunku, an edited version with vocals by Tsunku, a dance-influenced version included on Loveppears. Upon its release, "Love" received near universal acclaim from music critics, praising her vocal performance, with some highlighting the single as one of Hamasaki's best work. Commercially, the recording experienced success in Japan, reaching number one on the Oricon Singles Chart and TBS' Count Down TV chart, her first song to do so on either charts, it became Hamasaki's first single to sell over 500,000 units, was certified Platinum by the Recording Industry Association of Japan for shipments of 400,000 copies.
Due to the single's success, it re-entered both charts. An accompanying music video was directed by Wataru Takeishi, featured Hamasaki in a large skyscraper while singing to the song in different areas. In order to promote the single, it appeared on several remix and greatest hits compilation albums, live concert torus conducted by Hamasaki, it was used as the theme song for Japanese television show SemiDouble. To date, the recording remains one of her highest-selling singles according to Oricon Style. Three versions of the recording have been made available for purchase. "Love" served as Hamasaki's second single for her album Loveppears but did not appear on the album for unknown reasons. Written by the singer, the production process was handled by Max Matsuura whilst it was composed by Japanese musician and businessman Tsunku, who worked as the producer for Japanese group Morning Musume and vocalist of Sharan Q at that time; the composition was arranged by Shingo Kobayashi and Yasuaki Maejima, mixed by Atsushi Hattori.
The second version, "Love", portrayed a duet with Tsunki and featured songwriting credits by him during the English chorus. Being arranged by Takao Konishi and mixed by Koji Uchikado, the track appeared as an A-side single in Japan and Taiwan during its April 1999 release; the final counterpart of the recording was titled "Love", was composed by Tsunki, but arranged by Naoto Suzuki and programmed by Takahiro Iida. "Love" was added to the track list of Loveppears, is musically a dance song, a genre that influences the album. According to the demo sheet music published at Ultimate Guitar Archive, the recording is set in time signature of common time with a tempo of 89 beats per minute. Lyrically, each song was written in third person perspective, a trait, shared with the rest of the tracks on Loveppears; the lyrical content of the songs delves on a lonely woman. "Love" was released by Avex Trax in Japan and Taiwan on April 14, 1999, through Avex Entertainment Inc. worldwide in September 2008. The mini CD format featured a total of four tracks, with the first two being original recordings accompanied instrumentals.
Subsequently, on February 28, 2001, Avex Trax distributed a CD single including the four tracks from the mini CD, plus two remixes of Hamasaki's single "Kanariya" and one remix of a previous album track, "From Your Letter". The artwork of the CD and digital format was shot by Toru Kumazawa, featured an image of Hamasaki hugging an unidentified male. Upon its release, "Love" received widespread acclaim from music critics. A reviewer at Amazon was positive towards the songwriting, praised Hamasaki's "painful" and "love" performance. In 2015, Japanese website Goo.ne.jp hosted a 24-hour only poll for audiences in Japan to vote for their favorite single released by Hamasaki. Commercially, "Love" experienced success in Japan, it debuted inside the top ten on the Oricon Singles Chart, selling 70,540 in its first week of availability. The recording went to number one, becoming Hamasaki's first number one single on that chart, it lasted 26 weeks. Charting together as "Love"/"Love", both tracks debuted at number one on the Count Down TV chart hosted by Tokyo Broadcasting System, having become her first number one there as well, spent 26 weeks within the top 100.
By the end of 1999, "Love" sold over 650,790 units in Japan, thus being ranked at number 30 on Oricon's Annual 1999 chart behind two fellow releases of the singer, "Boys & Girls" and her extended play A. Likewise, it charted at number 28 on TBS' Annual Chart. In July 1999, the single was certified Platinum by the Recording Industry Association of Japan for shipments of 400,000 units; as of July 2016, "Love" marks the singer's 12th highest-selling song based on Oricon Style's database. Following the CD single release, "Love" charted at number 20 on the Oricon Singles Chart, the highest result from her re-released maxi CDs, it lasted four weeks within the top 100, sold 39,080 units. Additionally, the song reached number 100 on TBS Count Down TV chart on May 14, 2001, her lowest entry to date. An accompanying music video for the single was directed by Wataru Takeishi, it opens with Hamasaki watching her previous music videos on several television screens. Sitting in a small room, she exits it and finds a large number