Our Town: Jazz Fusion Funky Pop & Bossa Gayo Track Our Town: Jazz Fusion Funky Pop & Bossa Gayo Tracks From Dong-A Record

One word that could be used to aptly describe Japan's society and culture during the 1980s would be 'bubble economy (??? ??)', which is to say that it was characterized by abnormally inflated asset prices. Japan, which had emerged as a global economic powerhouse through the rapid growth of the 70s, saw an era of unprecedented economic prosperity as it entered the 80s. At this time, the very notion of city life, with it's promise of prosperity amid economic stability, had a sense of allure to it. A growing number of people sought to partake in a culture that was more sophisticated and refined. Likewise, a growing consumer base was purchasing automobiles and car audios. It was amid this atmosphere that new forms of music drawing on western soft rock, AOR, and adult contemporary, and incorporating elements of smooth jazz, contemporary R&B, and funk, rose to prominence. The urban-tinged music created by artists such as Haruomi Hosono (????, formerly of Japanese rock pioneers 'Happy End') and Tatsuro Yamashita (????) came to be known as city pop. The city pop boom, which was buoyed on by the optimism pervading Japanese society during the 80s, faded away along with the collapse of the economic bubble. City pop still went on to influence the 'Shibuya-kei' style, which developed during the 90s around Tokyo's Shibuya district, drawing from French pop, baroque pop, bossa nova, lounge, and house music. The recent resurgence in the popularity of city pop, to the point where it appears to have carved out a central position in digger / listener culture, is a rather intriguing phenomenon. To begin with, the term 'city pop' itself was more of a marketing slogan, pointing to 'music with urban sensibilities' targeted toward consumers aspiring to urban life, rather than a descriptor of some particular music style or genre. Neither was the term widely used during the 80s, the historical peak of the style's popularity. On the contrary, it appears to have been rediscovered and redefined amid the 'new-tro' vogue of the late 2000s, driven by the nostalgia of those who grew up during the 80s. The important elements of 'city pop' have more to do with the sensational and affective descriptors associated with the term itself - such as sophistication, relaxedness, comfort, freshness, dynamism, elegance, radiance, sweetness, as well as the splendor and romanticism associated with the city. The underlying appeal of retro stems from the desire to experience and enjoy things from before one's own time. This is not unconnected to the popularity of 'cool kitschy' subcultural trends like vaporwave or future funk. So, there's nothing surprising about today's youths digging through well or lesser-known Korean gayo records from the early / mid 90s featuring AOR, jazz fusion, or funky styles. Likewise, the artists that are mentioned under the keywords of 'Korean City Pop' - names like the Yoon Soo-il Band or the City Kids, Lee Jae-min, Bom Yeoreum Gaeul Kyeoul, Kim Hyun-chul, Yoon Sang, Jang Pil-soon, Bitgwa Sogeum, Yang Soo-kyung, Nami, and Lee Eun-ha - are not unfamiliar. Though their popularity might have been short-lived at the time, their music featured soft saxophone parts, lively rhythms, delicately-crafted harmonies, and beautiful melodies. These make for a fusion sound that is particularly well-suited for the tastes of today. It is worth appreciating that the 90s, by which time the waves of American AOR and Japan's city pop had faded away, was a golden age for Korean gayo. So, it's quite rewarding and enjoyable to rediscover and listen to tracks that are well worth another spin after all those years.