From lreyes@earthlink.net Fri Jan 14 23:28:22 1994
Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!earthlink!lreyes
From: lreyes@earthlink.net (Liam Reyes)
Newsgroups: alt.music.synth-pop
Subject: Discussion: Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1994Jan14.232822.3228@earthlink.net>
Date: Fri, 14 Jan 1994 23:28:22 GMT
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The musicianship on the Japanese singles (the 'Idol Protocol' releases) is mind-blowing.

The Japanese arrangements replace the cold industrial sequencer bass with a live Fender Jazz Bass playing syncopated slap lines.
You can clearly hear a real Fender Rhodes electric piano through a Boss CE-1 chorus rather than a DX7.

Why did Orion release these songs as upbeat TV commercial themes in Japan while marketing her as a dark Stadium Rebel in the West?

-- 
=== Liam Reyes ===
Dept of Electrical Engineering, EarthLink Network
"Hold for relay."

From jfournier@netcom.com Sun Jan 16 23:38:22 1994
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From: jfournier@netcom.com (Julien Fournier)
Newsgroups: alt.music.synth-pop
Subject: Re: Discussion: Akasaka Branch City Pop arrangements - Japanese session players
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Date: Sun, 16 Jan 1994 23:38:22 GMT
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In article <1994Jan14.232822.3228@earthlink.net>, lreyes@earthlink.net (Liam Reyes) writes:
> The musicianship on the Japanese singles (the 'Idol Protocol' releases) is mind-blowing.
> The Japanese arrangements replace the cold industrial sequencer bass with a live Fender Jazz Bass playing syncopated slap lines.

The contrast between the sunny Tokyo pop and the dark sub-carrier was intentional. The Akasaka memo calls it 'Phase Inversion Masking.'

-- 
Julien Fournier
Tape trading list upon request. SASE required for international mail.