Question: For sales, was the album's club song or more traditional track featuring a Japanese sound better selling? Passage 1:It opens with two club-driven tracks: an interlude titled "Bridge to the Sky", and the promotional titular song. "Disco-munication" is the second interlude on the album, blending "sophisticated" electric guitars with electronic music. "Energize" is another electronic track, and is one of the only numbers on the album that include English phases ("Put your hands up together, keep your heads up forever, let me sing forever,"). The fifth track "Sparkle" was noted as a club song with an electronic arrangement, similar to the follow-up song "Rollin'". Both tracks feature autotune and vocoder pro-tools, a first for Hamasaki. The album's sixth track, "Green", shows a departure from the album's earlier electronic style; it focuses more on older traditional Japanese sound, alongside instrumentation of electric guitars and drums. The album's third interlude, "Load of the Shugyo", was described as an "atmospheric" number with heavy rock instruments in its composition. Rock music is then influenced on the following tracks "Identity"—a song that discusses about self-confidence—the single "Rule", and the tune "Love 'n' Hate", which talks about the effects of lust. The album's fourth and final interlude "Pieces of Seven" was noted for its "atmospheric" sounds of an ocean, until the second half of the track diverges into a harder rock style. "Days" is the album's first pop ballad, and is described as a love song. It closes with the ballad "Curtain Call", which features a choir and piano riffs throughout its composition.
 Passage 2:In late August and September 1972, Joseph was presented at the Edinburgh International Festival by the Young Vic Theatre Company, directed by Frank Dunlop. It starred Gary Bond in the title role, Peter Reeves as the narrator, and Gordon Waller as Pharaoh; Alan Doggett was the music director. In October the production played at London's Young Vic Theatre, and in November at the Roundhouse. The production was part of a double bill called Bible One: Two Looks at the Book of Genesis. Part I was Dunlop's reworking of the first six of the medieval Wakefield Mystery Plays, with music by Alan Doggett. Part II was Joseph and the Amazing Technicolor Dreamcoat. The Young Vic Joseph was recorded for an LP released on the RSO label in 1972. This production of Joseph, still a 35-minute musical, was also broadcast in the UK by Granada Television in 1972.
 Passage 3:De León, a native of Trujillo Alto, Puerto Rico, first won a world title when faced with WBC world champion Marvin Camel on November 25, 1980, at the undercard of Sugar Ray Leonard and Roberto Durán's second fight in New Orleans. De León outpointed Camel over 15 rounds. After he knocked out Camel in 8 in a rematch, countryman Ossie Ocasio won the WBA world title, becoming the second pair of Puerto Ricans to share world titles in the same division at the same time, after Alfredo Escalera and Samuel Serrano had achieved the feat in the 1970s at Jr. Lightweight. De León lost his title in a shocking upset to former Gerry Cooney victim S. T. Gordon by a knockout in round 2 at Cleveland in 1982, and won a comeback fight versus former world Heavyweight champion Leon Spinks by a knockout in round six in 1983. After that, he and Gordon boxed a rematch in Las Vegas, and De León dropped Gordon once in the first round and once in the twelfth, en route to a unanimous decision win in a history-making bout: De León had now become the first boxer to win the world Cruiserweight title twice.

Output: 1