Minami usually relies on two themes when he writes his songs: manly emotions and life in the big city. I would say his 17th single falls firmly into the latter category. When it comes to City Pop, the image is often of a cool nocturnal Tokyo while someone is knocking back a few drinks in a Western bar. "Video City" is City Pop through Disney glasses. You're still in Tokyo but you're not in Aoyama or Roppongi; most likely you're in Akihabara and knocking back a Makudonarudo strawberry milkshake. Right from that tinkly synthesizer, Minami's slightly Speedy Gonzalez delivery and funky horns, what you get is a musically fun tour of Tokyo's modern, neon-drenched areas.
I've been a fan of Japanese popular music for 40 years, and have managed to collect a lot of material during that time. So I decided I wanted to talk about Showa Era music with like-minded fans. My particular era is the 70s and 80s (thus the "kayo kyoku"). The plus part includes a number of songs and artists from the last 30 years and also the early kayo. So, let's talk about New Music, aidoru, City Pop and enka.
Credits
I would like to give credit where credit is due. Videos are from YouTube and other sources such as NicoNico while Oricon rankings and other information are translated from the Japanese Wikipedia unless noted.
Wednesday, August 29, 2012
Yoshitaka Minami -- Video City
Minami usually relies on two themes when he writes his songs: manly emotions and life in the big city. I would say his 17th single falls firmly into the latter category. When it comes to City Pop, the image is often of a cool nocturnal Tokyo while someone is knocking back a few drinks in a Western bar. "Video City" is City Pop through Disney glasses. You're still in Tokyo but you're not in Aoyama or Roppongi; most likely you're in Akihabara and knocking back a Makudonarudo strawberry milkshake. Right from that tinkly synthesizer, Minami's slightly Speedy Gonzalez delivery and funky horns, what you get is a musically fun tour of Tokyo's modern, neon-drenched areas.
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