When the artist meeting at Augusta Camp 2010 was about to end, Yora Yamazaki said, "Thank you so much for all the projects that cover my songs this time..." Yamazaki, who usually makes jokes and makes an inaccessible aura, seems to be particularly touched by his exceptional attitude. Shintaro Tokita was one of them, and until then he seemed to take some kind of song on the piano as an instrumental instrument. ," It was recorded by an orchestra of 60 people including strings, woodwinds, brass and percussion instruments. Of course, all arrangements are by Tokita. Although I didn't shake the tact, I built the sound in all directions. "I made it with the intention of the tribute's no respect, so please make it the first song," he said.

It may be unusual for a song selection to be so promptly decided that "this is the only one!" Hata, who is a direct member of Yamazaki, is not the one who plays the expression "playing narration", but it is a reggae air range. Because it is a direct line, it may be that the reggae-oriented movement of recent Yamazaki works such as "HOBO Walking" was applied to this song, which is an old work in the Yamazaki repertoire, with the respect of Hata. At first glance, the arrangement is cheerful, but due to the sentimental nature of the song and the profound voice of Hata's singing voice, the new "swallow" will deliver an important feeling to people living far away.

This collaboration has never been realized when Mr. Tokita said, "A devil's e-mail from Mr. Suga" was sent to play the piano. Suga, who was already a member of Augusta when the original single was released, said, "I hated it at the time." After that, there was an episode in which, while listening to this song that came out from the radio while driving on a highway, I was shocked that I couldn't understand it. A song based on the long history of Yamazaki = Suga. In the first place, Yamazaki's songs have a unique singing style, and the words often start from the back of the beat, and the rhythm of the melody changes calmly depending on the words. Although this song is no exception, Suga respects the melody and follows it, but it is also a singing song with Suga's unique singing all over the place.

Ohashi's "Mr. Yama's video, which I watched until it's worn out," is "One Knight Stand on films" in 2000. On the way back, when Sukima Switch first appeared at Augusta Camp, Ohashi showed the Yamazaki repertoire one after another, saying "I can play all of Mr. Yama's songs!" I was more overwhelmed. Takuya Ohashi, who claims to be “the best Yamazaki fan in Japan,” was in trouble and finally chose this song. Takuya Ohashi recording with "Drank Monkeys", which is indispensable for solo activity. It's a relatively recent song, but Ohashi dare to finish it in the soft rock taste of the 70's. At the launch of Augusta Camp 2010, Ohashi said to Yamazaki at the seat of the sake, "I want to get closer to Mr. Yama, so I will stop being a Yamazaki fan today so I can stand in the same place!" with a big smile. It was impressive.

"Mecha Sexy Penguin", which was changed from the original rock taste by Kyoko, the only "office senior" for Yamazaki. When Yamazaki played this song live, Penguin's costume made a small contribution due to entertainment, but once there was a chance that Kyoko appeared in the costume as a surprise. Yamazaki thinks he has a regular manager inside, so he makes a plunge and sticks. As a result, Kyoko comes out of the costume, and Yamazaki is afraid to bow down too much. As a back band before his debut, Yamazaki has been taking care of him for nearly 20 years as a junior, and while he is full of sibling love by "sister", he can enjoy the undulating whisper voice unique to Kyoko.

The Takehara pistol is very rare to sing the cover, including in the No Fox and Zen era, but he plays this song at "Migishima MUSIC CONVENTION" at Miyakojima, where he participates every year with Yamazaki. This performance was highly praised, and when I called for participation in this album by all means, I received the approval and it was recorded as friendship participation. Originally the original chorus is entirely in English, but Takehara's "free translation", or in a word of spear, a completely new lyrics by "super translation" is added. It's a phrase full of Takehara clauses, but the resulting words should be expressed as a feat without any deviation from the original, and it seems to be an issue and an answer to "covering".

Although it has surfaced a little since the production of the former Chitose "Soft Cycle" last year, it is originally an unofficial unit "Masashi Sada". A take by COIL's Okamoto definition that can be said to be Yamazaki's companion in 2010 when somehow acting with someone. In fact, Okamoto has been praising this song since 1997 when the single was announced. It seems that he has been identified as "I wasn't Yamachan, I actually wrote it." Arranged this year is "I'm addicted" bossa nova, but it's here too. Although the original advocates the avant-garde with the dread of dissonance and strings, the Okamoto version is also a traditional bossa nova method, but this is more than heresy.

In Yamazaki's repertoire, there is a group of people who call themselves “high altitude systems”. "Unnamed bird", "Soft moon", "untitled" and "Menuet" are typical examples. It features a mellow minor melody and a stateless line, but in reality this element is common with Amami folk songs, the roots of the original Chitose. It will inevitably match. Before his debut, I asked Yamazaki to play the guitar of "Unnamed Bird" at his request, and when I followed Yamazaki to New York, I thought that this new song "Soft Moon" would "fit this song Mochitose" There is an anecdote that started singing. Ten years have passed since then, and it finally became a singing song by Kuchitose. The completely new approach by Takayuki Hattori, who has repeatedly played Yamazaki's original strings arrangement on the "WITH STRINGS" tour, is wonderful.

Initially, Nagasawa was wondering whether to select this song or "lighted by the moonlight". The tunes are two contrasting songs, but the lyrics world may have parts that are in sync with Nagasawa's worldview. As a result, did you choose this song because you had foreseen that the wind that produced that wonderful effect on the day of Yumenoshima Park, the venue of Augusta Camp 2? The arrangement, especially the guitar approach, seems to respect Yamazaki's original taste. However, with Nagasawa's singing, the same scenery is transformed into something completely different, drawn by another painter. Each listener will be able to enjoy the difference between Yamazaki's original, Nagasawa's take, and the image of the fairy character imaged.

COIL's Yosuke Sato, who is currently working mainly as a producer/engineer, is also a special participant as a friend. All the staff were excited and cheered at Augusta's company, listening to the sound source that said, "If you can do it as you please...". "Really really cool" Digirock Gumbata is now ready. Directing, singing, playing, recording and mixing are all done by one person. It's the loudest song in the album, but if you listen carefully, you'll see that it has a very detailed mechanism. The place where Sato's singing with a high key surpasses the noisy orchestra and appears in front is the listening place.

At the meeting with the crowd, it became a hot topic for the Yamazaki tribute music selection. The staff casually said, "Isn't it better to have one more?", on the contrary, with a strange expression, Sakai said "Oh yeah, it's great if I can sing... but I can't do that?" In one's head, one more that Sakai played on the piano was playing at a loud volume. It's a moment when everyone was convinced that it would be a great work. "...No, it's not impossible." "I'm sure it'll be much better." The story ran through the Augusta company with excitement that day. One day, a few days before I decided to make a decision, one day I heard from Sakai, "That song is too heavy for me. I'm so mad that I want to go on another song." Eventually, I pushed my back to Yamazaki himself and finally recorded. I decided to do it once, but I decided to do my best. It goes without saying that the takes thus recorded were more wonderful than expected. It may be impossible to exceed Yamazaki in the performance of this song. I knew that it was "impossible" because it was known more than anyone else, and I think it was "problematic". I can't exceed it. However, it is certain that it is a take that is definitely climbing to the top at a completely different point. And even this song was added to the set list of this album, and the one who was most pleased was Masayoshi Yamazaki himself. In that sense, it must be the best tribute.