some of my translation is going to be awkward because of my lack of guitar knowledge, but hopefully the gist will come across. i'll continue to add the notes for each song one at a time.

[b][size=117]swanky street[/size][/b]

[b]Yamanaka:[/b] I play with front pick-ups. I use a Line 6 distortion modeler. I can model various vintage distortions, among those I choose to use a tube drive. The amp is my Ampeg. As far as playing method, this song has a lot of tension chords. 9th, maj6, sus4, etc. Since I can't play these accurately, the vocals are difficult to sing. When I was in middle school, I fudged them considerably. As long as it was major or minor, I was like... whatever, it'll be fine (laugh). Because the balance of the tension chords with the main melody is essential, and because it's immersed, please play as accurately as possible. That's all!

[b]Manabe:[/b] Hmm... first, speaking about the equipment side, I believe I recorded the whole thing playing my Duncan Stratocaster. The clean tone quality of the arpeggios is a contrast to the fuzz sound, isn't it. On the clear parts, the strat's tone quality comes out, for the fuzz during the chorus, I use my trademark Big Muff. Incidentally, modulation is added to Yamanaka's backing at the recording console. We don't do that live. As far as playing method, the arpeggio section has a rather irregular rhythm. Play it percussively to match the melody, and during the chorus step on the fuzz and explode... if you do that, you'll bring out this song's ambience I think. The solo has a feeling of being cut-off, I use an auto-scale. Please try to play it emotionally. Also, on the part where you return to the A melody after the solo, on the CD I add an E-BOW to the guitar to extend the sound and send out a vision of the world, but when playing live, I add a delay to the arpeggios to get through that part. The difficulty level is B.

[b]Suzuki:[/b] I control only the general bassline, as for the rest, it somewhat changed. On the CD a soulful phrase is brought out, so you must unleash the ambience in a big way, but it's okay to arrange the rest. The tone quality is quite distorted. I use distortion for most of the song.

[b]Satou:[/b] As for the drums, you probably hear 16 beats, but actually it's 8 beats. I wanted to be like Paul Cook, so please play it with a punk feeling. It's not Paul Mauriat (laughs).

[b][size=117]strange chameleon[/size][/b]

[b]Yamanaka:[/b] I also use the front pick-ups on this song. I think my guitar part is pretty easy. It's difficulty level A. It's okay to sing along with the chords as if it's a folk song. Oh, and there are lots of G open chords, so I have a habit of pushing on the 3rd fret of the 2nd string. When I use the C add9 chord, even though I push on the 3rd fret of the 2nd string, to get from the C add9 to the G, I'm still pushing on the 3rd fret of the 2nd string. If you try to maintain the tension chords, it's difficult to sing.

[b]Manabe:[/b] This song marks the point where the pillows depart from our second (style) period to our third. There aren't really any places where there's chord backing, I'm playing the whole thing as a continuous phrase. For a guitarist, it's a very busy song, so it's a difficulty level B. Because there are no parts where you play fast, if you carefully pick up the sound, I think you will definitely be able to play it. The Blues Driver creates the foundation of the sound. The guitar solo is long for the pillows, but it's not too difficult. When going from high sound to low sounds, the positioning is probably difficult. If you are able to play it with your eyes closed, I think you can really bring out the emotions.

[b]Suzuki:[/b] I usually play with a pick, but when I play this song live, I use my fingers. I think it suits the mood of the song. And, please be conscious of 'bouncing'. I myself didn't understand what bouncing was at the beginning either, but I think in good time, a moment will come when you're like 'oh! that's what it is! this is great!'.

[b]Satou:[/b] I don't think it's fun to copy the drums on this one (laughs). When you are playing it, please play as if John Lennon were singing in front of you. That was Yamanaka's request when he wrote this song. It should probably have an ambience similar to 'Mother'.

[b][size=117]hybrid rainbow[/size][/b]

[b]Yamanaka:[/b] First of all, please watch the Busters on the planet DVD- there's a 'Master Hybrid Rainbow in One week' lecture on it (laughs). Then put that aside, because I'm changing my guitar part. For the basic riff, on the G chord mute the 5th string with your index finger, and let the 3rd, 4th and 6th strings ring. If you can't do this, you won't get the feel of this song... As for the tone quality, I use front pick-ups and a tube driver. And, during the chorus, I push on my BOSS Blues Driver. By the way, on the CD all the strings were recorded separate. There is no time lag on the picking, so the the feel is definitely mysterious.

[b]Manabe:[/b] Sound-wise it's crunchy. On the clear parts, I use the Blues Driver; for the chorus my standard Big Muff. During the chorus, when I push the fuzz pedal the song has more adrenaline. The main riff is difficulty level C. It's difficult. First, if you can't spread your fingers very wide, you won't be able to play it. Even on the A melody part in the middle, there is an arpeggio where you have to wrap around the open string in high position, and in various parts there are phrases where I make use of the guitar's echo. The guitar solo is an octave melody with very fast picking. This also difficulty level C. Because this is my only guitar solo style, please do your best. If you don't practice enough, you'll run out of gas in the middle, so think about your pace.

[b]Yamanaka:[/b] I have some advice on that as well. When you're doing fast picking, pick choice is important. When playing with the Predators, I learned this. It's easy to play with a soft pick. If you're a person who usually uses a hard pick, you should probably go with a medium here. By the way, I usually use a hard pick, and Manabe-kun uses a medium pick.

[b]Suzuki:[/b] Since the guitars and the drums have a big sound during the chorus, please make the bass sound big as well. Only push the distortion pedal during the chorus for this song; let go for the rest.

[b]Satou:[/b] To make the drums sound big, during the A melody strike at about level 6 in power; during the chorus, level 10 is good. If you play at level 10 from the beginning, the rest is difficult. I don't use any effectors for the drums. Watch the DVD for the rest, I explain it perfectly there (laughs).

[b][size=117]LITTLE BUSTERS[/size][/b]

[b]Yamanaka:[/b] As for my guitar part, there's nothing to say. Just play along with the chords, there are no tension chords. Difficulty level A. It's easy to do. Because all the band members have to sing, this isn't a song with complicated stuff.

[b]Manabe:[/b] If you do the chord strokes with a 'live' feeling, you'll be able to recreate this song. My guitar part is difficulty level A. The crunch sound is overdriven so it lasts until the end. In the solo, there is a somewhat difficult phrase where two sounds come out simultaneously, but if you have a sense of the rules of rock 'n' roll, it should be easy to play even live.

[b]Suzuki:[/b] Nothing to say about the bass either. Just give the chorus a try!

[b]Satou:[/b] Same for drums. Just do it like Paul Cook (laughs).

[b]Manabe:[/b] That's not helpful (laughs).

[b]Satou:[/b] The drummer doesn't usually get to sing, so sing with all your heart on this song!

[b][size=117]instant music[/size][/b]

[b]Yamanaka:[/b] On the CD, we did a bunch of tricky things. The strings were recorded individually, and we added a unison guitar to the melody. Basically, it's an irregular tuning, one note lower. If you want to play it like it sounds on the CD, that's a little difficult. When we do it live, Manabe-kun does the main backing, and I share the arpeggio. 'Hybrid rainbow' is like that too, they're songs where power is important I think. Restrain yourself on the A melody, then starting from the riff before the chorus just kick ass. It's not just the effectors, really put your feelings into it.

[b]Manabe:[/b] If you can keep your power steady, you will create the outline of the song. The tone quality is a clean crunch, then a pattern of pushing the fuzz pedal for the chorus. I don't do anything difficult when I do it live, so it's a difficulty level A. The solo is easy too, it's well-suited for playing live.

[b]Yamanaka:[/b] Oh, one more thing. For the arpeggio in the main phrase, when doing it live I add the tube overdrive, and raise the sound with the equalizer. So that the sound of the 4th, 5th and 6th strings comes out clean, I let Manabe-kun choose the settings. They're raised just a little. Please look at the equipment page and check the settings.

[b]Suzuki:[/b] It's a straight rock flavored song, so 'enjoy and kick ass!' is the feeling. By the way, this song is the first session I was in (with the pillows).

[b]Satou:[/b] Hmm, we did a bunch of things when recording, but when doing it live, you've got to have that 'instant feeling' (laughs). Like 'Little Busters', this is an easy song to copy.

[b][size=117]funny bunny[/size][/b]

[b]Yamanaka:[/b] Pick-ups are front, effector is the tube drive. I don't have much to do on this one, either. Difficulty level is A. If you just follow along with the chords it should be fine. This is a song that hinges upon the accompaniment.

[b]Manabe:[/b] As for tone quality, make it a clean crunch the whole way through. There's nothing difficult about my part, but the riff is a little complex. While the open 4th string rings, the 2nd and 3rd strings ring... The difficulty level becomes B at that point. As for the rest, if you make the arpeggio that's entwined with the melody clear, the chord backing on the chorus will be waiting. As far as the guitar solo, on the CD we used a modulation effect. Live, make it a strong distorted sound. This song is well-suited to play live, so definitely give it a try.

[b]Suzuki:[/b] The bass phrase is simple. Well, a good song feels good when you play it.

[b]Satou:[/b] When you see the score, you'll probably think it's terribly easy, but actually it's super hard. Everyone else keeps saying it's easy, but the drummer's going to go 'dammit!' (laughs). Paul Cook probably couldn't do this one (laughs). Listen to The Clash's Topper Headon's drumming. As for the rest, Ellegarden's version (as recorded on the tribute album "Synchronized Rockers") is more rousing (laughs).

[b][size=117]carnival[/size][/b]

[b]Yamanaka:[/b] This one has been changed a lot. First, the slide back and forth from A to G in the main riff on my part is surprisingly difficult. It's difficult to do while you're singing. Live, I use the rear humbucking. Effector is classic distortion. On the A melody, I use the tube driver, starting from the part where I sing 'Matteta'n da' I push the classic distortion pedal. Difficulty level is about B. This song really brings out the essence of the pillows, so you should definitely play it!

[b]Manabe:[/b] This is probably the song where I first used my Mustang. It's got a very typical Mustang sound. There's no feel of power, so it accommodates the effectors well. Basically there's a pattern of crunch and then fuzz during the chorus; so the phrase is quite involved. During the A melody, there's a sequence with a weird rhythm. The first half of the solo is an octave higher than the latter half. If you can make your body remember it, you can enjoy it, but I think it takes a long time to get to that point. There's also a chorus. Anyway, I've done it many times.

[b]Suzuki:[/b] The bass is really easy. Simple roots are the foundation, so just do straight rock along with the drums. You don't even need to go practice in your room, it's too simple.

[b]Satou:[/b] The drums are pretty simple. It's probably difficult to keep the rhythm, but how on earth you learn to keep the rhythm...? I have no idea (laughs). Anyway, do your best.

[b][size=117]ride on shooting star[/size][/b]

[b]Yamanaka:[/b] I play a return phrase against Manabe-kun's fun main phrase.

[b]Manabe:[/b] When playing it live, please don't make a mistake on the position.

[b]Yamanaka:[/b] Yeah, on the first main riff I perform a jump. If I'm thinking about it too much, I'll slip by a half-tone (laughs). After a show, Manabe-kun will tell me "today you messed up again..." but I don't worry about it. As for my phrase, please be careful about the tone quality of the 4th, 5th and 6th strings. Don't make them too clear, but don't make them too distorted, make a sound that's got a good cut-off. Oh, and for the rest, don't forget the high tension title call from the beginning of the song (laughs).

[b]Manabe:[/b] When you consider playing my riff, there's a more comfortable position to play it. But, to bring out the feeling of the slide, I play in a slightly different position. By chance, I saw a guy play this at an instrument store, but he was doing it wrong (laughs). The notes were right, but he was doing it in a position that was much easier to play. It's not just matching the notes, it's copying the nuances that is important. Please remember the correct position for this song's riff. On the other hand, if you can copy the riff, the rest is easy. As for tone quality, use the familiar pattern of distortion for the riff, and fuzz for the chorus.

[b]Suzuki:[/b] Because there's two places with staccato, it feels like you should do a firm mute. It's important to practice the beginning. The rest is simple. Basically what I do is simple (laughs).

[b]Satou:[/b] It's very rousing and yet you won't get tired, so here's my advice to the drummer. If this was the only kind of song you did, it'd be very comfortable (laughs).

[b][size=117]kono yo no hate made[/size][/b]

[b]Yamanaka: [/b]As the song is in 6/8 time, the guitar is quite distorted. I use Line 6 classic distortion with humbucking pickups. Live, instead of being conscious of the 6/8 time I play more of an eight beat. The straight rock is characteristic of this song. Difficulty level is A, but the part where you go from a B bar chord on the 7th fret to an open E is difficult.

[b]Manabe:[/b] With the powerful distortion sound of the bass, on the chorus it becomes entangled with the fuzz sound. The octave melody becomes entwined. Collectively it's not too difficult, it's difficulty level A. On the solo, for a change, I use a 'wah' effect. While doing fast picking, I open and close the 'wah', so it's difficulty B there.

[b]Suzuki:[/b] I'm playing the bass as usual. The phrase is intertwined in the middle of the eight beat. Well, it's quite ... finger-ish. The tone quality is slightly distorted. As for the rest, play it passionately.

[b]Yamanaka:[/b] Since the guitar is simple, the bass gets to sing.

[b]Suzuki:[/b] Yeah, it's a sort of balance.

[b]Satou:[/b] Do it like you're copying some famous oldies punk song.

[b]Yamanaka:[/b] There really is an oldies song called "Kono yo no hate made". I was very conscious of that when I chose the title. On this song too, please keep the spirit high on the title call.

[b][size=117]babylon verses of angel[/size][/b]

[b]Yamanaka: [/b]On the CD I don't play the guitar. The theme of the album this song was on, 'Thank you, my twilight', was a hi-fi sound. Usually when Manabe-kun and I are playing, there's a pleasant, subtle gap. But this time, we had the same person play because we wanted a snappy sound.

When playing live, there's a subtle change to the sound depending on the song order. Depending on the first and last songs, there are times when the pickups are in front overdrive, or have humbucking distortion. As far as the phrase, singing while playing the riff is pretty hard. I'd say it's difficulty C.

[b]Manabe:[/b] As Yamanaka said, the riff is difficult. Just playing it is pretty easy, but to really get into the groove is difficult, personally. It may sound simple, but the difficulty is C. However, because it's a really cool song, please give it a try. Basically I use distortion with the Mustang. I add a delay to the modulation on the guitar solo, and although I'm revealing the perspective of the CD version, the important part is the riff after all.

[b]Suzuki:[/b] A characteristic of this song is the changing phrase between the guitar riffs. Personally I really love this bass line. Because you slide from the 1st fret to the 5th fret 6 times, it's difficult to copy perfectly. After, on the chorus you go GATUN!! In the middle, you have just the bass, but don't be nervous (laughs).

[b]Satou:[/b] The composition of this song is difficult. The end of the first and second and third chorus are all different. Be very careful.

[b][size=117]terminal heaven's rock[/size][/b]

[b]Yamanaka:[/b] The make-up of the sound is really important on this one. The distortion of the good feeling is essential. If you don't distort it enough, it's too clear. As far as phrasing, I think the intro is difficult. #9th and 9th chords are repeated, but even though that's been decided, the rest is easy. It's got an unusually orthodox rock and roll riff for the pillows. It's like a sus4 chord is involved.

[b]Manabe:[/b] It's a song where you can have your own way with the riff. On the intro and the A melody riff, when you let out the rhythm, because there's basically nothing difficult to play, you can have fun with it I think. I use the fuzz from the beginning to the end, so the pace feels comfortable. Oh, but the guitar solo is a bit difficult. I interpret the phrase with a rock and roll taste. There aren't any fast parts, so you should be okay. It's very well suited to being played live, so by all means do try it!

[b]Suzuki:[/b] Bassists will definitely want to try this one. I played with a normal sound during recording, but playing live it's distorted. Although it's just a big muff for the fuzz, the outline of the sound becomes blurred. For a compressor-like nuance I use a SansAmp. To use the fuzz in a simple way is difficult. For that person's playing, there is a good balance with the amp. Please try it out a few different ways.

[b]Satou:[/b] The intro is definitely difficult. Can we leave it out?

[b]Yamanaka:[/b] (Laughs) But, that's the signature title call.

[b]Satou:[/b] So, you should just practice it.

[b]Yamanaka:[/b] The chorus is really important. If you do it it'll be really fun I think.

[b][size=117]sono mirai wa ima[/size][/b]

[b]Yamanaka:[/b] Although I use downpicking, this song is pretty fast. The augmented G (G+5) before the chorus is pretty hard. I'm still not good at it.

[b]Manabe:[/b] I play with my mustang with the JB pickups. It has a more powerful feel to the sound than my normal Mustang, as it is I can sustain the distortion until the end. The phrase is really difficult, to play it without mistake is difficulty C. With the exception of the chorus, you keep playing the phrase, which is in a difficult position. The tempo is fast too.

As for the guitar solo, because you keep going from below one string to above, it's definitely difficult. When I play it live, I end up playing it quite seriously. That doesn't mean you should forget about the feeling of it.

[b]Suzuki:[/b] I think the tempo is difficult for a band. It's easy to mess up the drums and the bass, be careful of the tendency to rush. I also play the whole thing using downpicking. The phrase starts off in the high position of the 12th fret, so you really have to play with with a lot of energy.

[b]Satou:[/b] The tempo is about 170 BPM. So... give it your best!! Amaze us and play it faster than we can!

[b][size=117]WALKIN' ON THE SPIRAL[/size][/b]

[b]Yamanaka:[/b] The main riff is a little complicated. For 2 chords, you have to mute the 5th string. When you're thinking about playing while singing at the same time, it's difficulty level C I think. Live, I use distortion with the humbucking pickups. It's easy to let the chord get murky, so make sure to be precise. It's not a song that should have a feel that is too clean, and too much distortion during will make it difficult to get the pitch of the vocal parts.

[b]Manabe:[/b] This is a song where you can really feel the interesting contrast between the two guitars. My part is simple, but on the 2nd A melody the phrase enters, so it's not a song where it's just about copying. I use distortion with my JB mustang.

[b]Suzuki:[/b] It's a showy and fun song, so if you play it too stoically it's boring. I think you should play it boldly. It's good to arrange it in your own way and mix in a playful spirit.

[b]Satou:[/b] Although I often use the floor tom on pillows' songs, this song is pretty much that. I think it's a song where the pillows' characteristics really come out. Why the floor tom... because Yamanaka likes it!

[b]Yamanaka: [/b]I love it!

[b][size=117]the third eye[/size][/b]

[b]Yamanaka:[/b] I also use distortion with the humbucking here. The vocals and guitar are difficulty C. There is a phrase in the interlude where there is a harmony with Manabe, and at the end of the solo I play for four bars, so I hit the equalizer so that the sound will come out. The chorus has a sus4 open chord, it's a thing that will flow with the melody, so please firmly stop it. From the start of the interlude is a little complex. For the Gmaj7 position and a Dadd9->Dmaj7(9), the A sound on the sixth string is suppressed, please play it faithfully. If you do not, the song won't turn out right.

[b]Manabe:[/b] I use the Jagmaster on this song. The foundation is the humbucking. The phrase that keeps repeating is simple enough that someone who's been playing guitar for less than a year can play it. However, because I think it's super cool, definitely give it a try. The big hurdle is the the chords in the chorus, the Gmaj7 that becomes a high position. If you can keep it under control even there, then you'll quickly be able to do this song live. The guitar solo probably sounds like it is difficult, but it's actually simple. The pace isn't frantic, so it's a song I recommend to copy.

[b]Suzuki:[/b] The bass is also simple. Do it with a stoic 'THE BASS' feeling, and it will harmonize beautifully.

[b]Satou:[/b] The drums should be stoic too. For the final chorus, there's a part that goes 'kutte kutte ku' (syncopation), make it like a 'kutte' like you're becoming a bulimic (laughs).

[b][size=117]MY FOOT[/size][/b]

[b]Yamanaka:[/b] I use a single front pick-up. For effects, I use the overdrive. This one is also difficulty level C. For the intro, first the drums come in, then the bass, and finally my arpeggio comes in, which is abruptly difficult. The positioning is also difficult. A little muting is essential. And the pace is frantic... Also, the guitar solo has twin lead guitars. On the solo, don't use distortion, use the equalizer to increase the sound volume.

[b]Manabe:[/b] My part is very frantic, it's at the top of difficulty C. The arpeggio in the intro is difficult, and there are quite a lot of tone changes as well. The guitar solo isn't as difficult. While the two guitars join and separate, the solo is synchronous. By copying, I think you'll come to understand what's fun about it.

[b]Suzuki:[/b] I hit the fuzz on the bass. There are a lot of fills, so as a bassist this is a song where you have to listen fully to the hook.

[b]Satou:[/b] The drums are the usual. Do it like Paul Cook (laughs).

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[size=117][b]General Consensus[/b][/size]

[b]Yamanaka:[/b] For the maj7 and the maj7(9) chords, be careful to only play them as tension chords. Those chords are entwined with the vocal melody. It's a characteristic of my melodies. It's something that's different from a typical Japanese pop song. In the future, if you'd like to compose your own songs, and were thinking of making your songs sound pillows-like, that's something you could hide in the song.

[b]Manabe:[/b] In the field of rock, I have a theory that how interesting guitar is to you is how involved you are. By just copying you'll come to understand things like, 'Why does the phrase come in during this chord progression?' The parts where you hear "PA!' are simple, but actually whether or not it is interesting is up to you individually. It seems simple, but when it's with two people it's a sudden change. That kind of feeling (laughs).

[b]Suzuki:[/b] I think the core of the pillows is the fun of the twin guitars. As a bassist, you shouldn't get in the way of the guitars, if you get in the way in the parts where it seems like you should, I think you'll enjoy the parts you play. I don't think there is another band like this. Also, play with a pick. You should use a wristband too. If you don't have a wristband, sweat will get stuck to you.

[b]Satou:[/b] Since this is the first time we've released a score, please enjoy. Although unfortunately it's not easy to teach the taste of the secret formula, we wrote the secret formula in the score... Finally, we'll unveil it... no, if you listen you'll understand (laughs). Well, if you're going to make a cover band, and don't have two guitars, I don't know what you're gonna do!

[b]Manabe:[/b] Finally there is the title call. The vocalist should put a lot of spirit into it!