Flying over the bubble era

Chapter 294
The producer of Warner Pioneer was still thinking about the coincidence he mentioned, but Shinichi Iwahashi turned the topic back to what he mentioned just now, "You also said that the times have changed, so, unchanged A rendition of it won't work."

After going around in circles like this, the initiative to speak completely fell into the hands of Iwahashi Shinichi.

It's really a thief. ... The producer who was being led by the nose thought silently in his heart.

Iwahashi Shinichi, who pretended to be ignorant, couldn't feel the producer's thoughts at all, and said: "Since the times have changed, let's re-arrange and produce the old songs with the method of the new era."

When Nanshazhi released "17 Years Old", the music style in Japan was still relatively simple. From the perspective of people in the 80s, the arrangement was also very simple. It makes people feel like "I really miss it~" or "What a place~".

To keep pace with the times, the cover song is the same.

The so-called emphasis on skills is also reflected in this place.

The current Japanese pop music has begun to use a large number of electronic synthesizers, powerful chords and keyboard rhythms in the arrangement, which also constitute a part of the current pop music.

Bubble era - of course, the Japanese regard this as the golden age. In this era, a kind of music called "CITY POP" was born, which combines funk, jazz, AOR and other elements. The characteristic is the artistic conception. Hazy, pop music with a taste of drunkenness, especially suitable for car stereos.

In Tokyo, discotheques have sprung up like mushrooms after rain.

Akemi Ishii defeated Mushuangna Nakamori with a cover dance song "CHA-CHA-CHA" to win the singles chart of the year, and Yoko Ogino became famous by covering European dance music.At this stage, idol songs are more or less starting to include dance music elements.When Shinichi Iwahashi decided to take the band as his goal in the future, the dance music style was also blowing rapidly in the music industry, and the idols who were on their way to decline, relied on this new popularity to renew their lives.

The bigger the bubble, the happier the dance.The more you dance, the more people will be sent to the clouds by the foam.

Electronic synthesizers, which have been used in Japan since the 70s, have become an indispensable magic weapon in recording studios today.

There is a subtle match between the age of luxury and money, which is somewhat unreal, and the dreamlike electronic music.

"Rearranging the song and making it more suitable for the current fashion is tantamount to reborn." Shinichi Iwahashi said.

Not only that, "17 Years Old" in 17 created an era of idols. After 17 years, it was re-produced in the current way. Compared with a simple cover, it has a touch of inheritance and innovation.

Deliberately diverting the topic and pulling it back, it's not just to confuse the people of Warner Pioneer.It is necessary to bring up the coincidence about "17" first, so that it is convenient to explain his plan.

In this coincidental year, to re-release the song in such a way...

"As expected of Iwahashi-san." Warner Pioneer's producer praised.

After the planning meeting is over, and after passing the breath, the next meeting will be attended by the singer Chisato Moritaka and his manager.

Shinichi Iwahashi asked a confirmatory question, "Does Morigaka-san know Nan Saori?"

Moritaka Chisato's answer was as expected, "Yes."

Although Nan Saori has retired for ten years, when she became popular, Moritaka Chisato happened to be a child of six or seven years old.At this age, and in the era of idols, during family gatherings, adults encouraged her to imitate popular idols. She probably did this kind of thing, maybe she even sang "17 Years Old".

Being encouraged to imitate idols to jump up and down for fun, in this era, for little girls, it is similar to "girls want to play with dolls".

"That's it," the foreshadowing of the communication ended, and the executive producer of Warner Pioneer announced to her the production plan for the next single, "About the plan for the next single, I want you to sing "17 Years Old" by Nansa Zhisang .”

Although she was also allowed to attend the meeting, the significance of the notification was greater than the significance of discussing with her.

After hearing this, Chisato Moritaka took a quick glance at Shinichi Iwahashi subconsciously.

She had known for a long time that the new single would continue to be entrusted to GENZO. In this case, it was his idea to decide to cover Nan Saori's "17 Years Old".

After the executive producer announced the matter, Shin Iwahashi then took over and explained to her.

Once there is a sense of trust, it will make people let go of their guards, and Moritaka Chisato is no exception.She listened carefully.

……

Deciding on a cover project is only the first step.

Next, before formally formulating the production plan, we must first communicate and negotiate with Nan Saori's record company.

For a debut singer who wants to cover an old song as the main title of a new single, he must be thoughtful and earnestly obtain the approval of the record company.

Using the copyright system to pay directly to the Music Association for cover songs, that kind of practice is only done by underground musicians and cover albums that can't make it to the stage.

The process of communication and negotiation is usually very smooth, and it is rare for a company to get stuck in such a matter.The copyright of Minami Saori's records is owned by CBS Sony, and CBS Sony will be fully responsible for the copyright management after her retirement. Shinichi Iwahashi has confirmed this in advance.

In addition to seeking the record company's approval, because it involves adaptation, it is still necessary to communicate with the songwriter and original singer of this song and say hello.

Japanese songwriters attach great importance to their own creative affiliation. Even if the original singer is the first to sing, it has happened more than once because the singer changed some of the lyrics in his concert or some TV show. A sentence, but the lyricist came to him and even asked the singer not to sing the song again.

In the end, the only way to resolve it is for the singer to obediently go to Tuxiazuo to ask for forgiveness, otherwise, the song will be permanently sealed at the least, or face a lawsuit at worst.

This kind of strict unspoken industry rules, rather than respecting the achievements of creators, has developed to the point where it is used to show the authority of black clothes behind the scenes.

From this kind of place, it can also be felt that the singers who have no creative ability to rely on the black clothes have always been in the position of being ordered.

In the era of idols, packaged idols need to rely on other people's songs to survive, because in this way, they dare not offend the creators, and even if they receive inappropriate songs, they will hold their noses and accept them.

The few idols who have their own opinions on their careers have the courage to refuse—of course, they also have the confidence to refuse.

For example, Mushuangna Nakamori is one of the idols who dared to refuse the contribution of famous artists.

The rejection is well-founded, and a more suitable song can be selected after the rejection. Only in this way can I have the confidence to refuse.

(End of this chapter)