Rock'n'Roll Circus (Jacket B)(Taiwan Version)

Recorded at London's famed Metropolis studios which notable rockers such as Bon Jovi and Queen have used before, the album kicks off with an introduction called THE introduction. It sets a dark, yet empowering mood with its orchestral, electronic bass line and leads the way to the explosive Microphone. Certainly the hardest-sounding track of the record, it begins with frantic organ playing before coming in with a full band sound. Although powerful, it is also confusing as it continuously alternates between loud and soft throughout the whole track.

If the multi-talented songstress really wants to find success with rock music, she should continue what she does in count down (Track 3) and Last Link (Track 6). Both tracks begin softly and slowly build up to the louder choruses, dizzying guitars, slamming drums. Although they don't pack a punch as hard as Microphone, these two tracks are edgy enough without overdoing the intense rock sound.

In between the two rock tracks are two soft ballads, Sunset ~LOVE is ALL~ followed by BALLAD. Hamasaki definitely knows how to do ballads and the unimaginatively-named BALLAD is among her best. The use of the Chinese instruments gives it a grand and epic sound which goes well with her dramatic singing on the track. Sunset is the slowed version of Sunrise ~LOVE is ALL~ (Track 12). It's a basic ballad with some piano and strings arrangement while Sunrise has more electronic elements to pick up the pace of the song. Which is better depends on whether you prefer the slow love song or the get-up, get-moving type of song, but neither really stand out.

In the middle of the album, there are two completely different sounding interludes with the exotic Don’t look back (Track 8) sandwiched in between. While Don't look back provides an element of uniqueness to the album with its Arabian-influenced electronic sound, I'm not sure about the decision to place the two interludes so close to one another. Maybe she wants to signify a departure from the "rock tent" of her circus with the gothic Montage, and announce the entrance to the "dance tent" with the blood-pumping Jump!, but I found both tracks unnecessary.

The next two techno tracks that come after the second interlude are hit or miss; they're not great but they're not dreadful either. While Lady Dynamite is catchy, it's also messy and unclear on whether it wants to be a rock song or a techno one. Sexy Little things is a real fun song but can be annoying at times with the quirky sounds that are heard throughout the track.

The album ends with three pop-rock ballad hybrids. On a quick listen, you might not know where one ends and the other begins as all three have the same soft opening and the gradual buildup. Only Red Line ~for TA~ (Track 15) stands out as Hamasaki ends the track and album by singing the chorus a cappella, showing the deep meaning of the song.

All in all, Rock'n'Roll Circus is an above average release from the Japanese diva. However, if you're expecting a genuine rock album, then you'll be disappointed. The number of actual rock tracks can be counted on one hand as the tracks take a 5-track dance detour before making its way back towards pop/rock sounds. Although the personal subjects and raw emotions she places in her lyrics are deep and dark, they aren't supplemented with the right music to make them into true rock songs.

by Leon Lee