From kreyes@demon.co.uk Thu Jun 13 11:40:24 1996
Path: ashpoly!cascade!brgate!saturno!demon!kreyes
From: kreyes@demon.co.uk (Kenji Reyes)
Newsgroups: alt.music.synth-pop
Subject: Question: Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1996Jun13.114024.1510@demon.co.uk>
Date: Thu, 13 Jun 1996 11:40:24 GMT
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Comparing the Western synth-pop arrangements with the Japanese singles released between 1984 and 1988.

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?

-- 
=== Kenji Reyes ===
Dept of Electrical Engineering, Demon Internet Services UK
"In theory there is no difference between theory and practice."

From kfischer@u-tokyo.ac.jp Fri Jun 14 03:14:24 1996
Path: ashpoly!cascade!transat!ukc!fennimore!u-tokyo!kfischer
From: kfischer@u-tokyo.ac.jp (Karen Fischer)
Newsgroups: alt.music.synth-pop
Subject: Re: Question: Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1996Jun14.031424.5773@u-tokyo.ac.jp>
Date: Fri, 14 Jun 1996 03:14:24 GMT
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In article <1996Jun13.114024.1510@demon.co.uk>, kreyes@demon.co.uk (Kenji Reyes) writes:
> Comparing the Western synth-pop arrangements with the Japanese singles released between 1984 and 1988.
> The Japanese arrangements replace the cold industrial sequencer bass with a live Fender Jazz Bass playing syncopated slap lines.

That's the genius of the Akasaka singles. The music is smiling and sunny, but her lyrics are still about carrier waves and locked doors.

-- 
=== Karen Fischer ===
Dept of Electrical Engineering, University of Tokyo Department of Information Science
"Measuring a record you own is listening, not piracy."