11 Songs, 52 Minutes

1:03 ¥250
5:10 ¥250
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3:47 ¥250
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Customer Reviews

5 out of 5

22 Ratings



当時、まだ僕の中ではカセットテープが主流だった。中学に入りたてで音楽にもまだ関心もなかったが、姉が買ってきたこのカセットテープは本当に毎日聴いていた。 『3月の雪』で別れとはこういうものかと大人になった気がしていた。 『ひまわり』で恋は痛さを伴うものなんだと思った。 ここで見つけるまでタイトルも忘れてしまい、聴く機会もなかったが、たまにふと口ずさんでいた。 あの頃より少しは大人になった。改めて全曲聴いて、本当にどれも名曲だと思った。 切なさも痛さもあるがやっぱり恋はいいもんだ。 そんな曲です。 姉ちゃんありがとう。



俺が高校生の時、初めて付き合った女の子がまっきーの大ファンで、このCDを借りて俺も好きになった。 その子と十五年ぶりに再会して、久しぶりにこのCDが聞きたくなり、i Tunesで探したら「うはっ、あるじゃん」  EACH OTHER、三月の雪、この二曲はマジ泣けてきた。

About Noriyuki Makihara

Making his way into the dense J-Pop scene in the early '90s, Noriyuki Makihara quietly bucked the trend of short and trendy artist lifespans, remaining in the scene for close to 20 years. After some major early hits with 1991's "Donnatokimo" and 1992's "Mou Koi Nante Shinai," Makihara began updating his sound to match the contemporary scene (though a fair amount of Casio keyboard-style synthesizers can be heard in the earliest pieces). Bit by bit, Makihara became a contemporary artist, and although his sales lagged for a time (temporarily highlighted by the use of "Ashioto" as the theme for the Nagano Winter Olympics), he returned to the scene in the late '90s with pieces such as "Hungry Spider," taking some cues from American alternative stylings. Continuing to pump out single after single, album after album throughout the first decade of the new century, Makihara may not have differentiated hugely from the rest of the J-Pop world, but earned a place for himself in the pantheon of J-Pop notables through sheer longevity. As of late 2007, Makihara had returned to the Oricon charts with "Kanashimi Nante Nan no Yaku ni mo Tatanai to Omotteita," remaining high in the rankings for months after its release. ~ Adam Greenberg

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