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If somebody asked me what the most perfect song in citypop is, “Telephone Number” would be a good candidate. That’s a big claim, so let me explain.
The song comes from Junko Ohashi’s 1984 album “Magical”, a now-classic album that any fan of citypop should own. The record is representative of a pop music transitionary period of ~1979-1984, when record producers and studio musicians took advantage of synthesizers, drum machines, and sequencers while still utilizing arrangement and performance techniques held over from the all-analog late 70’s. In this era, and on “Magical” itself, then state-of-the-art synthesizers like the Roland Juno-60 groove along with real horn sections, string sections, and an incredibly tight drummer. It’s one of my favorite eras in music, and one that for me represents a sort of golden age for studio musicianship and arrangement.
“Telephone Number” itself is wholly representative of all those things. The arrangement is teeming with horn lines, full string sections, and bombastic background vocals, but they all fit together in lock step courtesy of the high level of musicianship provided by its players. And of course, it contains one of the catchiest hooks in citypop, the answer to the “badeya” chorus of “September”, the “Awoo” chorus.
Bass-wise this song is simple, but hard to really get right. It’s tempting to simply go wild with a song with so much spunk, but to do so would upset the fine balance of the song itself. For example, the bassline underlying the chorus of the song actually serves as both an actual bassline and a countermelodic figure played in unison with the horn section. It keeps the energy of the chorus going while Junko Ohashi belts out that famous “awoo”, and gives the song its signature danceability. To mess with that would be a sin, so I tried my damndest to be as close to the recording as possible.
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