[Glathannus]

Okay, now that I've finally listened to the song (as well as the rest of the album), I have to say that I actually like the "la-la-la-la, la-la-la-la" going on. It's catchy. As for the rest of the singing, the English sounds almost as awkward as I expected, but Shiina Ringo might be improving.

crazy on earth is a better track than the DEATH JAZZ version of Karisome Otome, but it's debatable whether or not crazy on earth is better than Mayakashi Yasaotoko. For what crazy on earth lacks in technicality, it makes up for in catchiness. crazy on earth has a little more replay value, even if it could be argued that Mayakashi Yasaotoko is a more complex composition or has better instrumentals or better overall production values.

So far, the other main highlights on this album are QUARTZ AND CHRONOMETER, plus AFTER THE PARTY has the best saxophone solo I've heard since Mars (12th track on PLANET PIMP). Before that, it was LAST LONG (the 12th track on Pimp of The year). Why are these all 12th tracks anyway? Somehow I doubt it's a coincidence.

I mean, sure, there's STORM (3rd track on PLANET PIMP), but that's a track for horn solos in general - it's not a track you remember specifically for what the saxophone did. Or there's WORLDWIDE (3rd track on Pimp of The Year) with the most upfront saxophone-playing of any SOIL&"PIMP"SESSIONS track ever - but you wouldn't place it in the same league as the recent 12th tracks and proclaim that WORLDWIDE has some of the best saxophone playing. WORLDWIDE simply has the most saxophone playing. AFTER THE PARTY is a track that people will want to replay because the saxophone-playing in it is good. Sure, there's good trumpeting in it too, but that's not what people are going to remember the most about this track - just like with Mars.

If there is such a thing as a SOIL&"PIMP"SESSIONS track you would remember for the trumpet more than for the saxophone, it's not in this album. There's also hardly any tracks you would remember specifically for the piano either, compared to oh, say.. the oldest SOIL&"PIMP"SESSIONS releases. Maybe Josei got that out of his system with J.A.M . In this album, usually the saxophone is stepping up at least as much as the piano in any given track, maybe as a counterbalance. All I'm saying is, it would've been nice to have at least one piano-driven track where horns are treated more like accessories. Satsuriku to Heiwa is the closest thing this album has to a piano-driven track, except it is keyboard-driven instead, and only somewhat.

*listens to crazy in shibuya for the first time*
Why did they have to make this into an iTunes exclusive? I might have to start searching for a watermarked CD and set aside $100+ for it, if I don't want to wait 2.5 years (or the rest of my life) for this song to finally reach retail.