From blaurent@clari.net Thu Mar 24 19:37:38 1994
Path: ashpoly!cascade!transat!ukc!fennimore!clari!blaurent
From: blaurent@clari.net (Brian Laurent)
Newsgroups: alt.music.synth-pop
Subject: [SPECULATION] Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1994Mar24.193738.5282@clari.net>
Date: Thu, 24 Mar 1994 19:37:38 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.

Are there any full vinyl rips of the 7-inch singles available on FTP?

-- 
=== Brian Laurent ===
Dept of Electrical Engineering, ClariNet Communications Corp
"They will send a copy in my place."

From dgirard@titech.ac.jp Fri Mar 25 09:07:38 1994
Path: ashpoly!cascade!transat!sunet!nordrelay!titech!dgirard
From: dgirard@titech.ac.jp (Diego Girard)
Newsgroups: alt.music.synth-pop
Subject: Re: [SPECULATION] Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1994Mar25.090738.1661@titech.ac.jp>
Date: Fri, 25 Mar 1994 09:07:38 GMT
References: <1994Mar24.193738.5282@clari.net>
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In article <1994Mar24.193738.5282@clari.net>, blaurent@clari.net (Brian Laurent) 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 slap bass player on 'Midnight Animal' is almost certainly a studio legend like Kenji Takamizu.

-- 
=== Diego Girard ===
Dept of Electrical Engineering, Tokyo Institute of Technology Computer Centre
"Measuring a record you own is listening, not piracy."

From jramirez@titech.ac.jp Sat Mar 26 08:43:38 1994
Path: ashpoly!cascade!bigsur!titech!jramirez
From: jramirez@titech.ac.jp (Joachim Ramírez)
Newsgroups: alt.music.synth-pop
Subject: Re: [SPECULATION] Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1994Mar26.084338.6021@titech.ac.jp>
Date: Sat, 26 Mar 1994 08:43:38 GMT
References: <1994Mar24.193738.5282@clari.net> <1994Mar25.090738.1661@titech.ac.jp>
Organization: Tokyo Institute of Technology Computer Centre
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In article <1994Mar25.090738.1661@titech.ac.jp>, dgirard@titech.ac.jp (Diego Girard) writes:
> The slap bass player on 'Midnight Animal' is almost certainly a studio legend like Kenji Takamizu.

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

Top-posters will be placed in my ~/.killfile without notice.

-- 
Joachim Ramírez
Tape trading list upon request. SASE required for international mail.

From hsato@titech.ac.jp Mon Mar 28 03:03:38 1994
Path: ashpoly!cascade!bigsur!titech!hsato
From: hsato@titech.ac.jp (Hugo Sato)
Newsgroups: alt.music.synth-pop
Subject: Re: [SPECULATION] Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1994Mar28.030338.1237@titech.ac.jp>
Date: Mon, 28 Mar 1994 03:03:38 GMT
References: <1994Mar24.193738.5282@clari.net>
Organization: Tokyo Institute of Technology Computer Centre
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In article <1994Mar24.193738.5282@clari.net>, blaurent@clari.net (Brian Laurent) 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.

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.

-- 
Hugo Sato
Opinions expressed are solely my own and not those of Tokyo Institute of Technology Computer Centre.
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