Yoshiki Hayashi, drummer and creative mastermind behind Japan's biggest rock band, X Japan, is calm amid the chaos in the VIP Room at L.A.'s Club Nokia, where he is both directing and starring in the video for his band's upcoming single, "Born to Be Free." He floats past a horde of extras dressed in Hot Topic Goth and stops to examine a skyscraping woman in black vinyl leggings, her face pancaked in white foundation. He says, "The corset on the vampire needs to be tighter." No sooner does a P.A. give the corset's three belts a good yank, prompting its wearer to gasp for air, than another one approaches Yoshiki with two pairs of fangs, and offers, "This one's more jagged, this one's a little sexier." The story line calls for the vampire-cum-dominatrix to track down Yoshiki in a crowded nightclub and to sink one of these into his neck. Yoshiki studies the fangs intently. "I'll take the sexy ones," he says.
Since the 1980s, X Japan has sold more than 30 million records and packed out the Tokyo Dome 18 times, comfortably eclipsing Bon Jovi. (And you know Bon Jovi is Big in Japan.) Now, with their first-ever U.S. tour kicking off this month, to be followed by an English-language album due early next year, X Japan's legendary frontman—who endorses a plethora of products, from energy drinks to a credit card bearing his likeness; who even has his very own Hello Kitty doll, the Yoshikitty—is plotting his American rawk offensive. "Born to Be Free," which blends operatic Freddie Mercury-like vocals with the propulsive force of Metallica circa ... And Justice for All, is his opening salvo.
And yet the song still needed tweaking as recently as 4 a.m. this morning, and after 18 hours of shooting at Club Nokia, Yoshiki's lack of sleep is starting to show. Wearing tight black pants, a white wife-beater, and oversized aviators, Yoshiki settles into the director's chair and calls "Action!" The vampire, seething with anger and lust, strides purposefully through the packed club, pushing people out of the way; she's bearing sexy fangs, she's looking for Yoshiki... who, though he isn't supposed to be in this shot, suddenly bounds out of his chair without saying cut, quickly getting the rapt attention of the DP. "The shove at the end needs to be more dramatic and forceful," he says. The shot is restaged. Then, when the song starts up again over the set's sound system, Yoshiki's face looks stricken. "It's the fucking wrong version!" he screams. The sound man looks on helplessly as Yoshiki cues up the right one. "This is it," he says, punctuating his words with a jab at the button.
It seems like everywhere you look on set, there's a rock cliché being used without irony: leather-clad band members; women dancing in elevated cages; cannons shooting off pyrotechnics. Later, while reclining in a makeup chair in his dressing room, Yoshiki acknowledges that X Japan may become critical laughingstocks. "If they want to nail us to the ground, nail us," he says with a shrug. "We were always the black sheep in Japan. No one thought we could go mainstream. But we did. And now we're ready to rock the world."
Yoshiki turns 45 in November, and if he wants to become a worldly rock god, it had better happen soon. "I feel like I'm a time bomb," he says. "Besides, I've always wanted to conquer the U.S. Why not now?"
It probably can't go any worse than his first attempt. In the early nineties, after rising to the top of the charts in their homeland with hit songs like "Stab Me in the Back," "Endless Rain" and "Sadistic Desire," X Japan set their sights on the United States—first by changing their name from "X" (they didn't want to get mixed up with the L.A. punk band), then by signing a multi-million-dollar deal with Atlantic Records and holding an elaborate press conference at the Rainbow Room in Rockefeller Center. But the high-concept album that followed, Art of Life—comprising a single track inspired by Schubert's unfinished Symphony #8—held no appeal for an American teenaged public that had just been punched in the face (and liked it) by Nirvana's Nevermind. Then there was X Japan's wild, androgynous look, which, despite having spawned the popular, equal parts cute and threatening Visual Kei movement (which in turn would help launch the anime craze), only made them seem more out of touch. "None of us spoke the language then," Yoshiki recalls. "It's one thing to cultivate mystery, but it's completely different when you're mysterious only because you can't communicate properly."
Today the barriers to translation may not be as great, as social-networking tools have made it easier for bands to communicate directly with their fanbase. (While he professes no interest in Facebook or MySpace, Yoshiki finally opened a Twitter account during the run-up to X Japan's U.S. concert debut at Lollapalooza in early August—and garnered more than 12,000 followers in less than 12 hours.) Another reason for optimism lies in a larger cultural shift, wherein Japanese artists have proved ever-more adept at appropriating bits and pieces of American culture and returning them in new and exciting forms. "We're in an age of mashups, fan sites, bit torrents and YouTube," says Roland Kelts, author of Japanamerica: How Japanese Pop Culture Has Invaded the U.S. "A culture that mastered the art of imitating and copying original ideas is right in tune with the 21st century."
The Gap begets Uniqlo, Disney begets anime. And now the cycle of appropriation is starting to go in the other direction. "Japan has always been a source of great inspiration to me, and X Japan is a big part of that," says My Chemical Romance frontman and award-winning comic book writer Gerard Way. "Because of my love for manga and Japanese animation as a boy, I was able to connect with the music, the emotion, and the visual intent." And that's precisely the recipe that Marc Geiger, the band's booking agent, hopes to duplicate with fanboys across the country. The bet is that X Japan can find greater success than their J-Rock predecessors—Dir En Gray, Boredoms, the Kurt Cobain-endorsed Shonen Knife—by catapulting Yoshiki into becoming an anime superhero with the help of Marvel Comics legend Stan Lee. (The project was slated to be announced at New York Comic Con in early October, but it has since been delayed.) "For any kid under the age of 14," Geiger says, "anime is huge. It makes sense for them to come over now."
Yoshiki and his childhood friend, Toshi, were 17 years old when—covered in blood-spattered makeup with fuck-you attitudes to match—they arrived in Tokyo as self-described "cartoon monsters." But the initial seed of their rebellion—and ultimately of X Japan—was planted seven years earlier when Yoshiki came home from a music lesson to find his father, a kimono-shop owner, dead from suicide. Up to that point, he'd been listening exclusively to classical music. But in the wake of his father's death, Yoshiki's tastes took a sharp, screeching turn toward heavy metal. He wore out the grooves on Kiss' Alive! and was able to convince his mother, who'd been teaching him classical piano since he was 4, to take him to one of their concerts at Tokyo's Budokan arena. "It was shocking to me," he says, "but I loved every minute of it. My mother, however, was a little worried." Soon he'd moved on to Led Zeppelin, then the Sex Pistols, proving that rebellion through rock and roll works pretty much the same in Japan as it does in the States. "I went to a very conservative junior high school, and I started dying my hair," he remembers. "One time a teacher held me down and shaved my head. The next day I came back with a different color."
X Japan's garish looks and rebel ways struck a chord with Japanese youth. Yoshiki and Toshi didn't just trash hotel rooms, but entire hotels. Eventually, various restaurants and bars in Tokyo started posting "No Yoshiki" signs outside. The music propelled them to superstardom, but if you've ever seen "Behind the Music," you already have some idea of what led to their late-nineties flameout. In this version, Toshi leaves the band to join a cult, and the guitarist, Hide, is found hanging from a towel tied to a doorknob. And that's when Yoshiki's career really takes off.
The former rebel morphed into something more palatable—and marketable—releasing several classical solo albums to great acclaim, collaborating with Sir George Martin, and catching the ear of Emperor Akihito, who commissioned Yoshiki to write and perform a song to celebrate the 10th anniversary of his reign. "I knew there would be some controversy, and maybe years ago I wouldn't have done it—but to rebel against the rebellious was appealing," he says. It wasn't long before the endorsements started flowing, but he's adamant that they do little to dilute the Yoshiki brand. "I cut myself onstage, yet I have Hello Kitty. I like the contradiction," he says matter-of-factly. "I don't worry about it. I'm still mysterious. I don't even know who I am anyway."
"I'm very scared of myself," he continues. "Suicide has crossed my mind. I can't sleep and I can't relax. I'm very fragile when I'm alone. But when I leave my house, I feel stronger and nothing can stop me."
For the last twelve years, Yoshiki has lived in Encino—the pinnacle of L.A. suburbia—on the street where Michael Jackson once resided. When he's in Japan, he has a 24-hour bodyguard detail, but here he's remarkably lax about security. He moved to L.A. to escape the incessant hounding. "I enjoy going to the grocery store and buying ice cream," he tells me while relaxing on a hotel-room couch the day after the video shoot. Dressed in a white linen shirt with black pants and winklepicker boots, his wavy hair tickling his shoulders, Yoshiki's still working the androgynous angle pretty hard. Yet if he's incredibly thin, almost to the point of being frail, it isn't entirely a matter of style: Yoshiki suffers from chronic tendonitis, and last July he had to have major neck surgery to relieve bulging discs—the result of too much head banging. Afterwards he spent two weeks in the hospital undergoing a battery of tests, and his doctor warned him that his neck "may only hold out for two years. He told me not to play the drums. Fuck that. I may become paralyzed—so what?" Yoshiki has always been the screaming, stick-twirling sort who likes to bash out his demons on the kit—but these days he has to gut out shows in a neck brace.
Yoshiki spends most of his time either at home in the company of the 20 people he employs, or in the studio he bought in 1993—the one where Metallica recorded their eponymous album, popularly known as Black Album. (Metallica producer Bob Rock had the space booked for his next project, but Yoshiki dropped a few million, renamed it Extasy Recording Studio, and kicked Rock out.) He says when he drinks, he drinks, though he's careful not to make a public display of it like he did during the glory years. Now he ventures out only once a week for business dinners at, say, Matsuhisa, before unwinding at clubs like Bar Sinister, a Hollywood Goth nightspot, with one of his four assistants. "One of us is always with him," says primary assistant Lauren, a skinny doe-eyed beauty dressed in short shorts and black thigh-high socks. "He doesn't talk to too many people." He used to have a girlfriend, Julia Voth, an up-and-coming Canadian model/actress, but he broke up with her in June after six years together. "I was too busy," he says without emotion, waving his hand dismissively like a petulant teenager. "I mean, I want to get married. I think. I guess. I don't know."
"When he says he doesn't have any good friends, I honestly believe him," says Phil Quartararo, Yoshiki and X Japan's manager, who, as then president of Warner Bros. Records, signed Yoshiki to a solo deal in 2000. "He lives for the mystery and cultivating that myth." Yoshiki might like to walk the aisles of Ralph's in anonymity, but when the ego needs a shot, he likes to make an appearance where he's sure to get recognized, including the occasional movie premiere. (This is It, most recently). But when X Japan goes out on the road, will Yoshiki be able to keep the adoration at arms length? (Will he even want to?) Either way, the prospect of widespread success in the U.S. remains an iffy proposition. Anime might have a massive following among 12 year-olds and the downtown hipster class, but that doesn't necessarily translate into fondness for an unironic brand of bombastic arena rock that can sometimes sound about 20 years behind the curve. For every Rush (Canada) and Phoenix (France) there are hundreds of Tragically Hips and Noir Désirs—bands you've never heard of for a reason.
Yoshiki is well aware of the obstacles that face any foreign rock outfit trying to make it in rock's birthplace. Still, X Japan's 50-minute, five-song blast at Lollapalooza was lauded as one of the weekend highlights by both fans and critics, and Yoshiki plans to keep that momentum going. "We played heavy songs—I didn't want to lose people with the ballads," he tells me on the phone a couple weeks later, following two enormous stadium shows outside of Tokyo. "I know what I'm doing. And now, after Lollapalooza, I want success in the U.S. more than I ever did. It's a long, winding road. But we're going to run, not walk."
Written by JORDAN BRANDES Tuesday, 14 September 2010
Every so often you get lucky enough to witness history. This year's Lollapalooza set the stage for a lot of comeback痴 and, in the case of X Japan, a new beginning. X Japan, Asia痴 most popular rock band, made their U.S. debut during the final day of the weekend long music festival. Founded in 1982 by Toshimitsu 典oshi・Deyama and Yoshiki Hayashi the band has been on the road to superstardom since they first hit the airwaves 28 years ago. A little bit metal, a little bit classic rock and a little bit just plain classical the genre bending band has been conquering the ears of people all over the world for over two decades.
And yet they have never toured America. Not until now that is. Their performance mid-day Sunday at Lollapalooza attracted not just the long time superfans but those that were hearing the band for the first time. The result was surprising. Not only did the band make a successful debut to an American audience they also created a very stable fan base in the process.
After the show Lumino was lucky enough to sit down with Yoshiki, the drummer and pianist for X Japan.
This is your first tour in America. What do you think of America and what do you think of Chicago?
Chicago rocks!
How long have you guys been in town?
We just arrived yesterday. Or, maybe it was last night. No it was yesterday. We haven稚 had time to look around but we love it here.
What did you think of playing for an American audience?
I had a great time it was amazing! I was so excited to finally be playing in America. We were all excited.
What was your favorite part of the set?
Everything kept building and building and we all felt it. That痴 how I like it. You could see the excitement in the audience near the end. That was my favorite.
If you weren稚 the lucky ones to be in Chicago that day never fear, the band is finally starting a full fledge tour of the states starting at the end of the month. Click the link to find a city near you ・ www.xjapan.de/main.htm
If KISS were to raise a child with David Bowie, teach it to use an electric guitar, then send it to Japan to do whatever it wanted, the result would be “Visual Kei.” A sub-genre of Japanese rock, Visual Kei can be roughly described as a cross between glam rock and electro-pop with strong roots in speed metal and punk. While popular in Japan in the 1980s and early 1990s, Visual Kei didn’t see its big break until the early 2000s, when it quickly gained a large, dedicated following both in Japan and overseas.
The boom has prompted several neo-Visual Kei musicians – such as Miyavi, Dir en Grey and D’espairsRay – to tour within the U.S., with sets that have met the artists with warm, enthusiastic crowds. Among the many newcomers is the “Founding Fathers of Visual Kei,” a band otherwise known as X Japan, who will be performing at the Fox Theatre in Oakland on Sep. 28.
“The fact that X Japan chose a venue in Oakland to perform makes me respect them even more,” said Mills College student Malena Du Bois when she heard about the upcoming concert. “Most groups of their success skip over Oakland for San Francisco without even a second glance.”
X Japan was founded in Chiba, Japan by childhood friends Yoshiki Hayashi and Toshimitsu “Toshi” Deyama in 1982. It began as a high school garage band named NOISE. They chose the name “X” as a placeholder until they could think of a better name, and then they decided on “X Japan” in 1992. That same year, X Japan reached its final line-up: Toshi on vocals, hide on lead guitar, Pata on rhythm guitar, Heath on bass and Yoshiki on drums and piano.
Due to the radical nature of their image, lyrics and musical style, no label would take them past their first single “I’ll Kill You” (1985).
So in the tradition of Joan Jett and the Blackhearts, X founded its own label: EXTASY Records. Through EXTASY, it produced its second single “Orgasm” (1986) and its first album Vanishing Vision (1988).
From that point forward, X’s rare combination of piano ballads and speed metal played almost constantly on the radio. Its 1994 album Art of Life just a single track stretching 30 minutes, a veritable rock symphony.
Despite its popularity, X Japan disbanded in 1997, citing artistic differences. During the interim, the members mostly focused on solo work, but Yoshiki once mentioned discussing a revival with hide sometime in the year 2000. However, these plans were tragically circumvented by hide’s death on May 2, 1998.
Nine years later, in 2007, X Japan shocked thousands by announcing its reunion to create the end theme for Saw IV. The song “I.V.” was an instant hit on iTunes, topping the charts worldwide. The bands comeback sparked the interest of not only devoted fans, but of curious listeners overseas – especially online. Katrin X Japan began as an American and a German’s fan site in 2000 and has since had over 958,000 hits. Similarly, fan site Xplosion-Online attracts fans from so many backgrounds that it’s available in seven different languages. Social networking sites such as Facebook, Twitter and Myspace feature over 117,000 fans, 35,800 followers and 4,800,000 profile views respectively.
The bands first U.S. performance was on the main stage at Lollapalooza 2010. X Japan’s concert in Oakland will be the second stop of the North American leg of its World Tour, a surprising choice for a band with so much success and only one U.S. concert preceding it.
“They’ve sold out huge auditoriums around the world, and having them come to Downtown Oakland is like having a younger, finer Parliament Funkadelic with bigger hair and even more neon color schemes setting up their equipment in my backyard!” Du Bois said.
But for U.S. fans like Du Bois, the band is simply fulfilling a promise Toshi once gave. “As you are always here for us, X will always be there for you, so never give up on your dreams.” X is here for its U.S. fans, even the ones in the often-overlooked city of Oakland.
Thousands of devoted fans gather for one of X Japan’s concerts in Hong Kong. Lights flash in the shape of an “X,” the rock band’s symbol. (Courtesy of Creative Commons)
ブームはいくつかのネオヴィジュアル系ミュージシャン、Miyavi, Dir en GreyやD’espairsRayが熱狂的ファンとUSツアーをすることによって促進された。 たくさんのニューカマーの中で「ヴィジュアル系創設の父」であるXJAPANはオークランドFOXシアターで10月28日にライブをする。
「XJAPANが会場にオークランドを選んだことでよりいっそう彼らを尊敬するようになったよ」 ミルズ大学の学生Malena Du Boisはコンサートがあると聞いた「他のバンドはオークランドなんか目もくれずにサンフランシスコに行ってしまうからね」
9年後の2007年、XJAPANはSaw4の曲を作るために再結成することを発表しファンを驚かせた。 I.VはすぐにiTuneでヒットし世界中のチャートに入った。バンドのカムバックは熱心なファンだけでなく世界中の好奇心の強いリスナーもまた震撼させた、とくにネット上で。 Katrin X Japanはアメリカ、ドイツのXファンサイトとして2000年に始めこれまでに95,8万アクセスがあった。 同じようにXplosion-Onlineは7つもの言語が利用出来ることで多くのファンを集めた。 Facebook, TwitterやMyspace のようなSNSは17,000人のファンと 35,800のフォロワーと4,800,000アクセスをそれぞれ達成している。
"Who are these guys, anyway?" a photographer standing next to me asks, firing his camera like a machine gun. In front of us, assembled on a small platform, is a five-piece band, glammed-out with feathered hair, studded collars, ornate crosses and skulls, and cloaks of faux fur.
I could tell this guy that he's looking at Japan's biggest rock band. I could explain how the show they are minutes away from playing is probably the most significant show ever played by a Japanese rock band. I could mention that only three years ago, even their most diehard fans wouldn't have dreamed of this performance. There isn't time, though. It's Sunday afternoon in Chicago's Grant Park and thousands of Lollapalooza 2010 attendees are clamoring for X Japan.
We rush to the main stage and arrive just ahead of the band. Thousands of fans press against the security barricade and squeal every time they catch a glimpse of one of the members. When all five take the stage, the crowd's roar is deafening. Many of these fans know the X Japan story. They're aware that despite the band's breakup 12 years ago and suicide of its former lead guitarist, X Japan has fought back to play its first show on U.S. soil. They're aware that they're watching a watershed moment.
A harpsichord melody introduces the opener, "Rusty Nail." A crashing cymbal ends the intro, awakening twin-guitar speed metal. Then, just as quickly, the vocalist switches from screeching rock to tearful ballad and the song freefalls into a quiet piano interlude. This blend of driving metal and raw, emotional pop — often within the same song — is what earned X Japan its status as Japan's biggest rock band. It's also won an intensely devoted worldwide legion of fans — fans willing to make necessary sacrifices to witness the band's hour-long set in Chicago.
Who knows? It also might be what wins X Japan mainstream status in the States.
The band is going after America with everything it's got, following up the Lollapalooza gig with a North American tour and a new album — the band's first in 12 years — with lyrics almost entirely in English.
And it may represent the best chance a Japanese act has ever had to make it in the United States.
But will it be enough?
Breaking into the American mainstream is a battle that Japanese bands have been losing for decades. In 1980, Yellow Magic Orchestra appeared in a segment of Soul Train that ended with host Don Cornelius telling the audience that, though the band members had just introduced themselves, he couldn't repeat one of their names if you paid him "a million dollars." That was the same year Yellow Magic Orchestra's Solid State Survivor won the Japan Recording Award for best album.
Shonen Knife, a trio of pop-punk princesses who sing sugar-coated songs about banana chips and giant kitties, played Lollapalooza in 1994 and even opened for Nirvana on the Nevermind UK tour. Shonen Knife continues to tour the States and release English-language albums, but after two decades, they have little more than cult following.
Arguably the most successful Japanese band in the States is Dir en Grey, whose album Uroboros peaked at 114 on Billboard. The same record made it to number 4 on Japan's charts. Polysics? Loudness? The list goes on, each act generating smoking embers of success that never quite catch fire.
Then again, none of those bands had the hype that X Japan and the band's leader, Yoshiki, have enjoyed in the weeks leading up to and following their Lollapalooza performance.
It's the day before X Japan's U.S. debut and Yoshiki is in a suite at the Ritz-Carlton, doing phone interviews and filming segments for an ABC World News piece. A couple of hours earlier, what was intended to be a panning shot of Yoshiki talking to a TV reporter while strolling down a Chicago sidewalk erupted into a frenzy as screaming X Japan fans mobbed him with cardboard signs and autograph requests. Yoshiki also appeared in the Los Angeles Times, the Chicago Tribune, the Chicago Sun-Times, and other outlets that fawned over the band's accomplishments, which include 30 million albums sold worldwide and 18 sold-out shows at the 55,000-seat Tokyo Dome. Time Out Chicago claimed that "the only act threatening to out-spectacle Lady Gaga [at Lollapalooza] is hair-metal über-group X Japan."
Outshining the queen of American pop? Hey, who knows?
"We were going to debut in America before the breakup," Yoshiki says with a faint Japanese accent. "But I dunno if we were ready at that time."
The idea of putting their Japanese superstar status on hold to "start over" in the States did not appeal to some of the band members, he says without naming names. A growing rift between him and X Japan vocalist Toshi ultimately caused the band to split after a sold-out 1997 New Year's Eve show — called "The Last Live" — at the Tokyo Dome. Five months later, the suicide of former lead guitarist Hideto "Hide" Matsumoto seemingly destroyed any hope for a reunion.
"When we broke up, I thought everything was over. Then, especially right after we broke up, Hide died, so, I didn't even think twice that we can reunite."
Solo careers by X Japan's surviving members followed. Toshi started a band. Yoshiki furthered his musical pedigree by composing Japan's best-selling classical album, Eternal Melody, with Beatles producer George Martin and teaming up with fellow Japanese rock stars Gackt, Miyavi, and Sugizo (who would later become X Japan's new guitarist) in the super-group S.K.I.N.
But X Japan wasn't over.
"Toshi, the vocalist, and I . . . We didn't talk for seven or eight years after the breakup," Yoshiki says. "But then we started talking. The beginning was just fixing our friendship first, then Toshi said, 'You know we have fans all over the world now.'"
For years, Japanophiles and anime fans have been trading J-rock albums at conventions and online. Some fans are music pirates who stumbled upon the band on Napster. At least that's my story. More than a decade ago, I was attempting to "acquire" a soundtrack for an anime flick called X/1999 when I downloaded the song "X" — in all its speed-metal glory — by mistake. I had to have more. I battled eBay bidders for imported copies of Art of Life; I watched Region 2 DVDs of live performances on a Japanese PlayStation 2, and I plunked down more than I could afford to get to Lollapalooza.
I wasn't alone.
In January, more than 8,000 screaming, banner-waving American fans descended on Hollywood Boulevard to witness X Japan lip-synch shots for four upcoming music videos filmed on the rooftop of Hollywood's Kodak Theatre.
The mayhem was no different at Lollapalooza 2010. Countless posters were held aloft and thousands of X Japan T-shirts covered sweat-drenched American and Japanese fans who'd waited hours in the hot August sun just to get the best view of X Japan's show. From the band's first note to its last, the fans screamed the lyrics in unison.
"When I told [my friends] I was coming to Lollapalooza and X Japan was here, they shat their pants," says Paul, a fan from Seattle. Paul was with Raquel, who journeyed from Portugal, and Lisa from California, who sported an X Japan tattoo. These X acolytes had waited years to see the band play. Now that they have, they believe mainstream American success is inevitable — even if X Japan doesn't get radio play.
"Good metal never gets on the radio," Paul says. "Fuck the radio. We have the Internet. This shit is going to spread like crazy."
In the days following the Lollapalooza show, X Japan continued to receive press. On August 9, Time Out Chicago thanked Perry Farrell for including X Japan in this year's Lollapalooza. "Thank you most of all for X Japan. Engineering the first stateside import of Japan's (mostly) quadragenarian metal monsters was the coup of the festival, and as expected, faces were in fact melted," wrote Doyle Armbrust. On August 10, ABC aired the segment it shot in Chicago. Then, on August 16, X Japan announced their North American tour dates.
The story of whether or not X Japan will be able to rebuild their Japanese superstardom on American shores will play out at those shows, in those venues. All we can do is wait.
～新SE～ 01.Jade 02.Rusty Nail 03.PATA & SUGIZO Guitar solo - Love Replica 04.～アコギタイム～Say Anything（TOSHI PATA HEATH SUGIZO） 05.YOSHIKI Piano solo - Tears 06.紅 07.Born To Be Free
