J.POP remixer

By talking about the long history of Eurobeat, we cannot avoid to mention the tight interaction that this music genre had, and still has, with a bigger share of the music market in Japan: J-pop (Japanese Pop music). By japanese law, domestic music published in Japan must be not less than 75% of the whole music market so it’s quite easy to understand how big CDs sales acheived by japanese domestic artists were.
In the world’s music markets ranking-list Japan is N° 2 as U.S.A. is N° 1

In this scenario Eurobeat is “considered” a product made in Japan, even though it is actually all made in Italy, and it’s also pretty well linked to the youngsters movements since the last 15 years as well as japanese “traditional” music. It’s easier to figure out how and why Avex often wanted Eurobeat and J.Pop to interact with each other without causing any lack of credibility for both of genders. As Eurobeat reached its highest levels in popularity, Avex rightly felt no shame on itself by presenting to the entire J-pop audience lots of Eurobeat-versions of smashing hits by the most famous japanese artists ever like:

Ayumi Hamasaki
Globe
Every little thing
Move
TRF
Dream

To be perfectly in line with the typical japanese business style, we should say that Avex always acted as a big and tight team, being all in one etc etc… on the other hand, we really need to see who’s actually behind Eurobeat. A man who is a pure genius: Max Matsuura.

This guy pushed Eurobeat since 1990 by believing in a shining future full of dance-music and that’s exactly what really happened! At the same time Matsuura started challenging the biggest companies in Japan, like EMI or SONY, by auditioning and producing brand-new young japanese artists.

Those artists are nowdays the most popular in the country and Max Matsuura liked to put all his “creatures” together as he’s always been trustful that Eurobeat and J-pop had many common points.

The most important and trusted Eurobeat-producers were asked for re-mixing that kind of tremendous hits from J-pop market and Bratt Sinclaire was one of them.

Avex’s staff sorted all those famous tunes by genre right before asking producers to go with the re-mixes. “Rock” and “Pop-Rock” ones knocked on Sinclaire’ s door.

Bratt actually felt the great honor for having the chance to handle such materials because he well knew that those songs sold millions of copies. A spicy oddity, to share together with all our readers, is about the re-mix of a smashing succes by Globe called Feel like dance.

Avex’s request for this tune was to remake it and not to re-mix it and so Bratt asked Clara Moroni and Delta’s Hyper-Techno artist The Prophet to perform all song’s vocal parts. In that period of time both Clara and The Prophet were based in the U.S.A. so that Sinclaire put Clara in charge of all vocal recordings to take place in the United States. She did and she also asked her american friend Stef Burns (former guitarrist from Alice Cooper and Huey Lewis and the news) to perform some spicy guitar parts in the track.

The final result for the Eurobeat-version of Feel like dance was:
<<Lead vocals by Clara Moroni, rapping by The prophet, guitars by Stef Burns, arranged and mixed by Bratt Sinclaire