Others landed with then-emerging J-pop stars such as Namie Amuro or the male group V6 or became part of the soundtrack to the drift-centric anime series Initial D, where scenes of cars pulling off pinpoint turns were soundtrack by Rodger’s thumping Eurobeat. Many of those songs ended up on Super Eurobeat releases, either performed by Dave Rodgers or one of the dozens of artists he produced and wrote for. I was very focused and busy,” Rodgers says. “My company was producing about 18 to 24 songs a month. By the end of the decade, it had even inspired its own type of dancing, referred to as para para, revolving around hand movements. Compilations like major label Avex’s still-ongoing Super Eurobeat series delivered fresh tunes monthly, while Japanese stars rode the sound to the top of the charts. First coming to popularity in Japan in the 1980s thanks to club-driven interest in dance genres such as Hi-NRG and Italo Disco, Eurobeat became a phenomenon. “The excitement was very high, and I don’t think I understood exactly what was happening in that period.”Įurobeat was the backbone of J-pop in the 1990s. “From 1985 to 2002, my music was everywhere -on the streets, in music stores, at Tokyo Disneyland,” says the 60-year-old Rodgers. Italian artist and producer Dave Rodgers, born Giancarlo Pasquini, shaped many of those dance hits, becoming omnipresent in the country. While the previous decade’s economic bubble had popped, people could still find revelry in songs with high energy beats and delirious synth melodies, whether they be on CD singles or blaring out of a Tokyo megaclub’s soundsystem. Japan’s pop music industry hit a peak in the 1990s, recording huge sales figures and attracting attention from neighboring Asian nations.
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