The producer of Warner Pioneer was still thinking about the coincidence he mentioned, but Shinichi Iwahashi turned the topic back to what he just mentioned, "You also said that times have changed, so things remain unchanged.
A cover of that wouldn’t work.”
After going around in a circle like this, the initiative of speaking completely fell into the hands of Shinichi Iwahashi.
What a thief... The producer who was led by him thought silently in his heart.
Shinichi Iwahashi, who pretended not to know anything about it, could not sense the producer's thoughts at all, and said: "Since times have changed, let's re-arrange and produce old songs using new era methods."
When Minami Saori released "17 Years Old", Japan's music style was still relatively simple. From the perspective of people in the 1980s, the arrangement was also very simple. If you really want to put it into perspective, if you put it out intact,
It may make people think like "I really miss it~" or "It's so earthy~".
We need to keep pace with the times, and the same goes for covers.
The so-called need to pay attention to skills is precisely reflected in this place.
The current stage of Japanese pop music has begun to use a large number of electronic synthesizers, power chords and keyboard rhythms in arrangements, which also form part of the current stage of pop music.
The Bubble Era, of course, was regarded by the Japanese as a golden age. During this era, the so-called "citypop" was born, which was a fusion of funk, jazz, aor and other elements. It was characterized by a hazy artistic conception.
It smells like wine and is especially suitable for pop music played on car stereos.
In Tokyo, discos are popping up like mushrooms after a rain.
Ishii Akemi defeated Nakamori Musouna with a cover of the dance song "cha-cha-cha" to win the singles chart of the year, and Oginome Yoko became famous by covering European dance music. At this stage, idol songs are more or less beginning to bring
Dance music elements were introduced. When Shinichi Iwahashi decided to make the band his future goal, the dance music style was also booming in the music industry. The idols who were on the decline relied on this new popularity to renew their lives.
.
The bigger the bubble, the more joyful the dance will be. The more joyful the dance will be, the more people will be lifted up into the clouds by the bubbles.
Electronic synthesizers, which have been used in Japan since the 1970s, have become an indispensable magic weapon in recording studios today.
There is a subtle fit between the unreal era and the dreamlike electronic music.
"Rearranging the music and making it more in line with current trends is tantamount to reinventing the song," said Shinichi Iwahashi.
Not only that, the seventeen-year-old "17 Years Old" created an era of idols. Seventeen years later, it was re-produced in the current way. Compared with a simple cover, it has a hint of inheritance and innovation.
Deliberately changing the subject and then bringing it back was not just to create a fascination for the people at Warner Bros. Pioneer. It was precisely because he had to bring up the coincidence about "17" first that he could explain his plan more easily.
Choosing this coincidental year to re-release this song in this way...
"As expected of Iwahashi-san." Warner Pioneer's producer praised.
After the planning meeting was over and everyone was generally satisfied, Chisato Moritaka, a singer, also attended the next meeting with her manager.
Shinichi Iwahashi asked a confirming question, "Does Moritaka-san know about Minami Saori?"
Chisato Moritaka's answer was as expected, "Yes."
Although Minami Saori has retired for ten years, Chisato Moritaka happened to be a six or seven-year-old child when she became popular. At this age, she was in the age of idols. During family gatherings, she was encouraged by adults to imitate popular idols. This
She probably has done many such things, maybe she even sang "17 Years Old".
Being encouraged to imitate their idols and jump around for fun. In this era, for little girls, it is similar to "girls want to play with dolls".
"That's it," the communication was over. The executive producer of Warner Pioneer announced to her the production plan for the next single. "As for the plan for the next single, I want you to sing "17 Years Old" by Minami Saori-san.
.”
Although she was asked to attend the meeting, the significance of the notification was greater than the significance of discussing with her.
After hearing this, Chisato Moritaka glanced at Iwahashi Shinichi quickly subconsciously.
She had already known that the new single would be entrusted to Genzo. In this case, it was his idea to cover Saori Minami's "17 Years Old".
After the executive producer announced the incident, Shinichi Iwahashi took over and explained it to her.
Trust is something that, once established, will make people let down their guard, and Sentaka Chisato is no exception. She listened carefully.
…
Deciding on a cover project is just the first step.
Next, before formally formulating a production plan, we must first communicate and negotiate with Minami Saori’s record company.
If a singer who has made his official debut wants to cover an old song as the lead of a new single, he must consider it carefully and solemnly obtain the approval of the record company.
Using the copyright system to pay money directly to the Music Association for cover songs is something only underground musicians and cover albums that can’t make it onto the stage do.
The process of communication and negotiation is usually very smooth, and it is rare for a company to get stuck in this kind of matter. All of Minami Saori’s record copyrights are owned by CBS Sony, and CBS Sony will be solely responsible for copyright management after retirement. This is very surprising.
Hashi Shinichi had already confirmed it beforehand.
In addition to seeking permission from the record company, because it involves adaptation, you still need to talk to the songwriter and original singer of the song and say hello.
Japanese songwriters attach great importance to the ownership of their own creations. Even if it is the original singer who sings the song first, it has happened more than once because the singer changed a certain part of the lyrics during his concert or some TV show.
As a result, the lyricist came to visit me and even asked the singer not to sing this song again.
In the end, the only way to resolve the situation was for the singer to come to the house and ask for forgiveness. Otherwise, the song would be permanently sealed at best, or face a lawsuit at worst.
This kind of strict unspoken rules in the industry, rather than respecting the achievements of the creators, has developed to the point where this kind of rules is used to demonstrate the authority of the black people behind the scenes.
From this point of view, we can also feel that singers who have no creative ability and rely on black people are actually always in a position of being ordered.
In the age of idols, packaged idols need to rely on other people's songs to survive. Because of this, they don't dare to offend the creators. Even if they receive unsuitable songs, they will accept them with a pinched nose.
The few idols who have strong opinions on their careers have the courage to say no. Of course, they also need the confidence to say no.
For example, Nakamori Wushuangna is one of the idols who dared to refuse music contributions from famous artists.
The rejection can be justified and you can choose a more suitable song after rejecting. Only in this way can you have the confidence to reject.
