The following is an approximate translation of the liner notes included in Matsumoto Eiko's debut album, From the First Touch, written by the artist herself. In it, she gives a few insights into the creation of the 11 songs that make up the album.

1. Tenshi ga Ita Asa (The Morning the Angels Were Here)

The melody for this song was so wonderful that it was almost chosen to be my debut song. Because it conveyed an image of morning when I first heard it, and the lyrics were so close to that impression, I could sing it naturally.

2. Sunshine So Bright

This was the first song I recieved from my producer, Douglas Carr. No matter how I tried, I couldn't put words to it, so I co-wrote the lyrics with Tadano-san. When I wrote this was about the time that I had just moved to Tokyo, and was the first time I had to commute to school by train, so I was surprised by the number of tired people riding in the afternoon. So, I wanted to create a song that would tell such people "Let's cheer up." Of course, it's become a song that also comforts myself.

3. Namida no Chikara (The Power of Tears)

My debut song, which I feel I should remember. I've heard it countless times and sometimes wondered whether I would get tired of it while singing it. However, no matter how many times I hear it, it's a joyful song that can put me in a happy mood. So I think that it would be really nice if I could always be singing it, even ten years from now.

4. Solo

The content of the lyrics might just be very close to the real me. The melody is terribly simple, but is one that makes one want to express an optimistic light in the song. I also think that it would be nice if it remained inside of me as a theme song forever.

5. Get Over Again

This album song was recorded almost completely in Sweden with Douglas 1 year earlier. At the time, the urge to be able to do everything I could was strong, and I even did many different experimentations. For me, it was like "Trial #1," and it was in this song that I most wanted to kindle my urge to release a high-tone voice. I think that the content of the lyrics and the feel of my voice match each other.

6. Sora wo Miagete ~Sha la la~ (Looking Up at the Sky ~Sha la la~)

While we were in the middle of recording, news arrived that Douglas' friend had passed away. Wanting to cheer him up, I wrote the lyrics by myself. The skies of Sweden are incredibly high and clear, and if I looked up, Douglas' dead friend would smile down at me. That was the image I had. The reason I didn't make it a depressing song is that I wanted to comfort Douglas and sing wholeheartedly. Even he was very pleased with the "Sha la la" portion.

7. Squall

This is a creation of Mr. Fukuyama Masaharu, and went on to become an insert song for the television drama, "Perfect Love." Though it is very simple to sing, because I felt that there would be a lot of people who equate Squall with "Matsumoto Eiko," I wanted to put a little bit of myself into it. So I asked Mr. Fukuyama to let me try and improvise. Though improvisation also includes vocabulary, there was a time previous that that wasn't enough and there was a limit to what I could do. However, this time I wanted to do it by instinct and thus, while putting pressure on myself, I accomplished it.

8. Think It Over

It's such a simple song to sing that I feel like singing it with everyone at a concert. I love the (instrumental) arrangement, and think it's a wonderful song as a whole. Because it turned out alright in spite of its relatively country-style, it's a song that made me really wonder if, unexpectedly, this kind of song matches my style.

9. Sleepin' Angel

Because it's a naive song similar to Squall, it's a song that the little girl in me could uniquely express. Though only when I'm in a super lovey-lovey mood. (laughs) Because this song is super happy, I sang it with a silly smile on my face.

10. Koi to Kusuriyubi (Romance and My Ring Finger)

Because a song about cheating on your partner can be challenging to a 19-year old, this is "Trial #2." (laughs) In terms of voice quality, it felt a little beyond my reach. Because it was the song we started recording from, you might say that my nervousness was combined well with my excitement. Now, everytime I sing this song, put my feelings into it and for some reason wind up crying.

11. Wild Cherry

This was written at about the same time as Sora wo Miagete ~Sha la la~, the time when Douglas' friend passed away. Though I was worrying over whether I should sing fancily, or if it would be alright even if I don't sing clearly, I wound up just singing how I was feeling. Here is where you'll find a Matsumoto Eiko who is relaxed and seems as if she is talking casually to you. Because I want this to be tied in with the songs that I sing from now on, I decided to put this song in last.