From schoi@titech.ac.jp Wed Sep 27 06:03:19 1995
Path: ashpoly!cascade!transat!eunet-fi!relcom!kiae!titech!schoi
From: schoi@titech.ac.jp (Sun-mi Choi)
Newsgroups: alt.music.synth-pop
Subject: Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1995Sep27.060319.2222@titech.ac.jp>
Date: Wed, 27 Sep 1995 06:03:19 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.
Yet Nova's vocal tracks were kept identical, creating this bizarre hybrid of dark European synth-pop and sparkling Tokyo idol funk.

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

-- 
=== Sun-mi Choi ===
Dept of Electrical Engineering, Tokyo Institute of Technology Computer Centre
"In theory there is no difference between theory and practice."

From asantos@cern.ch Thu Sep 28 17:39:19 1995
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From: asantos@cern.ch (Andrei Santos)
Newsgroups: alt.music.synth-pop
Subject: Re: Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1995Sep28.173919.6885@cern.ch>
Date: Thu, 28 Sep 1995 17:39:19 GMT
References: <1995Sep27.060319.2222@titech.ac.jp>
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In article <1995Sep27.060319.2222@titech.ac.jp>, schoi@titech.ac.jp (Sun-mi Choi) writes:
> Comparing the Western synth-pop arrangements with the Japanese singles released between 1984 and 1988.

She had three faces: the US Stadium Rebel, the European Live-Fidelity Broadcast icon, and the Tokyo Anime Idol.

-- 
Andrei Santos -- European Laboratory for Particle Physics, Geneva
"We don't sign stars. We build them."

From moliveira@pacbell.net Fri Sep 29 00:04:19 1995
Path: ashpoly!cascade!mxgate!coyoacan!pacbell!moliveira
From: moliveira@pacbell.net (Marisol Oliveira)
Newsgroups: alt.music.synth-pop
Subject: Re: Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1995Sep29.000419.3251@pacbell.net>
Date: Fri, 29 Sep 1995 00:04:19 GMT
References: <1995Sep27.060319.2222@titech.ac.jp>
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In article <1995Sep27.060319.2222@titech.ac.jp>, schoi@titech.ac.jp (Sun-mi Choi) writes:
> Comparing the Western synth-pop arrangements with the Japanese singles released between 1984 and 1988.

She had three faces: the US Stadium Rebel, the European Live-Fidelity Broadcast icon, and the Tokyo Anime Idol.

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

-- 
Marisol Oliveira
Tape trading list upon request. SASE required for international mail.

From ssato@delphi.com Sat Sep 30 22:30:19 1995
Path: ashpoly!cascade!brgate!saturno!delphi!ssato
From: ssato@delphi.com (Sven Sato)
Newsgroups: alt.music.synth-pop
Subject: Re: Akasaka Branch City Pop arrangements - Japanese session players
Message-ID: <1995Sep30.223019.6363@delphi.com>
Date: Sat, 30 Sep 1995 22:30:19 GMT
References: <1995Sep27.060319.2222@titech.ac.jp>
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In article <1995Sep27.060319.2222@titech.ac.jp>, schoi@titech.ac.jp (Sun-mi Choi) writes:
> Comparing the Western synth-pop arrangements with the Japanese singles released between 1984 and 1988.

The slap bass player on 'Midnight Animal' is almost certainly a studio legend like Kenji Takamizu.

-- 
Sven Sato | ssato@delphi.com
PGP Key fingerprint: 0745 3DBD 1D9F EE28
"Keep the channels open."