Timestamp: 159112800

I like the Roland TR-909. I turned on the power after so long. When I was a student. About 30 years ago. I liked soul and AcidJazz UK. I remembered those days and composed the song.
When I was in high school 1989, I made a sound truck for my friend's dance unit. They were amateurs when it came to music, but they taught me how to do phrase sampling and use sampling machines in club music.
I found a new way to use the sampler I bought for study composing. I recorded from a vinyl record on a cheep sampling synthesizer made in Japan.
Without this experience, I don't think I would have encountered the music games idea I made.

USE SAMPLING DATA:
VOCAL : PRODUCER LOOPS / THE MORNING AFTER
RAP : MONSTER SOUNDS / NEW YORK RAP ACAPELLAS
HIT : SOUL ll SOUL / Club Classics: Vol. 1 'BACK TO LIFE'

Talking Ground Prototype demo

COMPOSE AND ARRANGE / REO NAGUMO
At the age of twenty-two, I had never been to London, but I was deeply into UK soul and Acid Jazz.
My chords and harmonies were clumsy and unrefined, and even though I arranged the tracks on a Mac using MIDI, the synthesizers of the time couldn’t fully realize what I had in mind.

About thirty years ago, around 1995, I managed to restore and bring back to life a set of MIDI data I had created.Had it only existed on floppy disks, it would have long vanished into the ashes of an incinerator.

Now, after reconstructing the original piece as best I could, I was finally able to complete it by adding vocals through SUNO-Ai.


いまから約30年前、1995年ごろに作ったMIDIデータを復元し、再現することができた。
当時はCD-ROMがまだ高価で、なんとかMacintoshからバックアップを取っていた。
もしフロッピーディスクにしか残していなかったら、きっと焼却炉の灰と消えていただろう。だから、涙が出るほど嬉しかった。今の私は、この当時のMIDIデータのように、細かくすべてのパートをアレンジする気力はないし、無情なのは、当時の楽器では再現が難しく、電子音でしかなかった。

当時22歳の私はロンドンに行ったこともなかったが、UKソウルやAcid Jazzを夢中で聴いていた。和音やコード進行は未熟で拙かったし、MacのMIDIデータでアレンジを試みても、当時のシンセサイザーでは表現しきれなかった。

それでも、原曲の雰囲気をできる限り再現し、いまはAIを活用して、パートの差し替え、歌を重ねて形にすることができた。ノイズや曲がおかしくなるので、バンドで近いうちに本物の人間でやりたい
英語の曲に憧れていた私は、その後ゲーム会社で音楽を作る仕事に就き、こうしたスタイルの楽曲に挑戦する機会にも恵まれた。

HONEE B.

This track was originally written for one of the so-called “Japanese divas” popular at the time, but it was never used.
In the 1990s, whether it was Acid Jazz or alternative rock, the mainstream sound was gritty, hazy, and atmospheric—quite the opposite of today.

Watching Professional arrangers at work in the my sound making recording studio, I learned that even on keyboards, playing in a clavinet style could instantly make the groove funkier.
I remember throwing myself into the keys with all my energy.

The melody itself leaned heavily toward traditional Japanese pop, but recently I replaced the vocals and other parts with AI, giving it a fresh new character.
Because the original data was preserved on hard disk, I was able to recover the multitrack parts and faithfully reproduce the arrangement as it was.

Listening back to those old sounds, I can clearly hear what I myself was listening to at the time.

当時流行していた「JAPANESEディーバ」と呼ばれる女性シンガーのために書いたが、採用されずにボツになった曲。
1990年代は、アシッドジャズにしてもオルタナロックにしても、ざらついた音やもわっとした空気感のあるサウンドが主流で、今とは逆だった。
スタジオで僕の曲を編曲してくださった、プロのアレンジャーを見て、キーボードでClavinet奏法を試すと、それだけでグルーヴィーでファンキーになることを学んだ。
夢中で鍵盤を弾いていた記憶がある。

メロディは典型的な歌謡曲のようだったが、いまはAIを用いて声や他のパートを差し替え、当時とは違う響きで蘇らせている。
この頃のデータはハードディスクに残してあったため、楽器ごとのマルチデータを再現でき、当時のアレンジを忠実に蘇らせることができた。
昔の音を聴くと、その時代の自分が何を聴いていたかが鮮明に思い出される。

All the Things

Rainy Days Prototype A

Another run through the iMPC app.  

Mix of samples, iMPC sounds, and copy/paste audio from Korg iMS-20.

On That Vibe (iMPC)

I Know It Hurts (iMPC beat #4) at Virginia  Beach, VA Okay USA

Remake version by Velvetheads of Iruka’s 70′s hit song “Nagori-Yuki” 
This song, released in Xmas, was a key factor for the birth of Velvetheads which kicked off its recording four years ago. It will be released in 2010 Xmas!

Based on R&B and Ambient tune, this is VH’s original, yet gorgeous slow ballad, which will inspire you with the imagination of a pure white snow

日本の70年代の名曲「なごり雪」をVH(VELVETHEADS)がリメイク。VH誕生のきっかけとなったクリスマスレコーディングから4年の時を経て2010年のクリスマスにリリース。
Rnbを基調に、白い雪を想像させるAmbientな要素を取り入れ、VHならではのクールでゴージャスなスローバラードに仕上がっている。

なごり雪 ~ nagori yuki

I am compiling the songs I have created as an artist since my younger days. 
I have retired from work,
and now I spend each day embraced by the light and breeze of the tropics.
Far from the noise of the city, I wake to the scent of the sea and the songs of birds.
Time flows gently here, as if the past and present versions of myself are quietly in conversation.

My main focus is on composing and arranging. 
I began my career as a game sound creator in the early days of the internet, credited under the name djnagureo.
I was also involved in planning games and apps, and even managed to successfully run a facility for children.
Those experiences earned me recognition from many people, and I am deeply grateful for them.

Now, as an artist, I want to create the music I truly desire.
To begin this journey, I started by recreating the kind of music I longed to make in my younger days.

I knew that in order to create the music I truly wanted—freely, without compromise, and untouched by outside influence—I had to achieve complete financial independence.
It took decades of persistence, and now, at 52, I have finally reached that point.
At last, I can devote myself entirely to making music for myself alone, without reliance on anyone.

Throughout my career, I have always delivered professionally in every project.
But to say I was creating 100% for myself would be a lie.
Now, however, I stand determined: every note I write belongs solely to me.

The works I have produced JPOP professionally have been released under a different name.

Please search for Nozomi Yoko.

HONEE B.

Reo Nagumo

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