From bsuzuki@kiae.su Thu Dec 08 04:58:40 1994
Path: ashpoly!cascade!mxgate!coyoacan!kiae!bsuzuki
From: bsuzuki@kiae.su (Bill Suzuki)
Newsgroups: alt.music.synth-pop
Subject: Discussion: Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1994Dec08.045840.7604@kiae.su>
Date: Thu, 08 Dec 1994 04:58:40 GMT
Organization: Kurchatov Institute of Atomic Energy, Moscow
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The newly discovered Akasaka audio files prove there was a completely separate Japanese studio band.

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

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

-- 
Bill Suzuki
Opinions expressed are solely my own and not those of Kurchatov Institute of Atomic Energy, Moscow.
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From acampbell@stanford.edu Thu Dec 08 13:08:40 1994
Path: ashpoly!bigsur!pacrim!jpgate!kamome!stanford!acampbell
From: acampbell@stanford.edu (Aiko Campbell)
Newsgroups: alt.music.synth-pop
Subject: Re: Discussion: Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1994Dec08.130840.1986@stanford.edu>
Date: Thu, 08 Dec 1994 13:08:40 GMT
References: <1994Dec08.045840.7604@kiae.su>
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In article <1994Dec08.045840.7604@kiae.su>, bsuzuki@kiae.su (Bill Suzuki) writes:
> The newly discovered Akasaka audio files prove there was a completely separate Japanese studio band.

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

-- 
Aiko Campbell
Opinions expressed are solely my own and not those of Stanford University Computer Systems Lab.
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