Back when it came out in 1975, the music that Sugar Babe presented with Songs, and even before then with their live performances, was not received all that well by the mainstream and critics back when it came out. The members from Sugar Babe rejected the common aspects of popular Japanese music at the time, embracing a sound that was unconventional for Japanese audiences, more occidental driven music that grabbed influences from all places in order to create a cohesive and layered experience in the form of eleven pop songs that were different from each other, but that shared a tone in common, thanks to both the wonderful and polished production courtesy of Eiichi Otaki, as well as the passionate and upbeat performances from the band, creating a timeless and joyful sound, that would slowly be recognized as one of the landmarks of City Pop and Japanese pop at the time. Critics seemed to be very harsh with it due to them not being familiar with the blend if influences, and the mainstream was used to other style of music, leading to Songs getting almost completely overlooked at the time, having a big presence in the Japanese underground music scene at the time. It wouldn't be years later, until the explosion in popularity of City Pop and the new branch of J-pop, and also the rise of Tatsuro and Taeko of prominent figures in Japanese music, that Songs would be recognized as the place where it all started, gaining respect and popularity years after the break up of Sugar Babe. That is why, years later after its initial release, the album received different special editions showing an even closer look at the things that the album meant for the members involved, with both the 30th and 40th anniversary bundles having a lot of fantastic material for fans to dive into.
30th Anniversary Edition
Released in 2005, Songs (30th Anniversary Edition) would be the first of two special editions released in honor of the album that Sugar Babe crafted back in 1975, presenting a fresh and timeless collection of songs that would inspire an entire generation of musicians, and would also signify the proper start of the musical career of all members involved with the album. This first special edition included an exclusive remastered version of the album by Eiichi Otaki, while still following the spirit of the original product. It doesn't indulge in digital aspects, mainly due to the petition of Yamashita and the other members to keep the original spirit of the album, it simply looks to adapt the master tapes to a CD quality, being something much more polished and clean on certain segments, but seeming to lose some of the initial quality that only vinyl is able to provide. Either way, the album is still as great as ever, very charming and full of life, being preserved in CD form with Otaki recognizing it as one of his favorite projects due to the love that is poured in the preservation of the quality. But the main thing of interest here are the nine bonus tracks that make up for almost forty minutes of highly enjoyable and intriguing material, ranging from exclusive demos, live tracks, alternative versions, and karaoke instrumentals.
The things that certainly stand out within the bonus material are, without a shadow of a doubt, the unpolished demos from Sugar Babe's studio career. It can only be assumed that these were all recorded during the Songs sessions, being that both the focus on tone, production, and performance are in the same spirit as of the tracks that would end up in the album. And perhaps they were recorded after the album was finished, but these were already part of Sugar Babe's live sets (something that would be further confirmed by the 2015 Anniversary Edition). 夏の終わりに, the first one of them, apparently retrieved from an 8 multitrack tape that didn't make it into the final cut of the album, is simply a joy to listen to. A very sweet, mellow, and calm track, following the method of giving each separate instrument a simple rhythm in order to create a cohesive and interesting melody when they are all put together, with the keyboard and guitars having some great and dynamic interactions with one another, while the bass and drums create a base rhythm where everything is built upon. Tatsuro's voice is definitely has one of his best moments of his early career, and the early production found on the rough demo quality doesn't do anything but highlight his passionate performance, as well as his own charming way of emphasizing some of the notes with his particular vocal range, coming out on a very particular tone, that with the help of the background vocal choir manages to carry the main parts of the song on a fantastic way, making it all work really well. Despite it being a demo, it feels more like a B-side or a finished outtake than anything (with the main difference being that the mixing is certainly different to the style of the songs present on the final album, with this having some elements being on a low volume, specially compared to the main vocals and the piano, with the guitars and the vocal choir being too much in the background, but still working for what it is), being one of the most sweet and charming Sugar Babe songs, but that sadly would not appear on any other related project from the members.
Another highlight of the bonus tracks comes right after in the form of an early version of パレード, a song that would later appear on its proper studio version on Niagara Triangle's debut (a project where Tatsuro, Eiichi Otaki, and Ginji Ito would join forces as a musical trio, with an incredible number of guest artists appearing in different tracks, including members of Sugar Babe) in 1976, the year Sugar Babe disbanded. Compared to the final studio release, as well as the other demos in the bonus material, this has certainly a very rough demo/mixing like feeling. One can tell that it is still rough around the edges, with an incomplete feeling regarding the mixing, and all the elements being unbalanced as a whole. But even then, this version stands as something much more enjoyable compared to the one found on Niagara Triangle Vol 1. Its much more lively in the performance, and one can tell that it is a proper song conceived in Sugar Babe more than anything (being that this was part of their live concerts and performed on a very similar way to this demo version). Instrumentally, performance wise, and even resource wise (with the different percussion elements, as well as the background vocals and the tempo of the song), this might as well have been part of the final cut of Songs. These two first demos are enough for fan or either Songs or Tatsuro to get their hands on this edition, since these are two excellent songs that really have a lot to offer in their spirit, but the rest of extra material doesn't stay behind.
The demo version of SHOW is more in line with the final release, with the main and most notable differences being the vocal production and the overall mixing. But besides that, it is still the same great track that appeared as a great opener. Hearing the vocals on their natural state, with Tatsuro slowly figuring out how to focus on the song is certainly something special, with the instrumentals being really great, and Taeko's background vocals being much more noticeable and charming. 指切り is another track that would be a common part of their live shows (with some great performances, but sadly with most of the recordings available being in poor quality), and appearing on its only studio incarnation here. It happens the same as with the previous tracks. It might as well be a B-side or an outtake, but the production is still somewhat different to the style present on Songs. Comparing it to the available live recordings available, it certainly shows a lot of the effects that stand out in this becoming a very peculiar and unique track in the Sugar Babe catalog, with some performance choices and a very particular way to structure the tempo and the overall build up of the song. Still, a really good treat for fans of the band, and a sad fact knowing that it wouldn't be properly released in any official full project.
Following the demos, there are two live performances, both the early period of the band, before the recording of Songs, in 1974. These recordings have some incredibly clean quality, and it only makes one wonder what would have been if some full concerts would have been released in full polished live album style. Starting with 想い, a melancholic early track from the band, again not to appear on any other project from the band, being a cover from Yoshiro Nagato and Yasuyu Komiya, but having a rather sweet and calm execution, with Tatsuro's voice having the nice execution as ever, giving a good look at the way the vocals would evolve in the following months. The second live recording is from いつも通り, one of Taeko's tracks that appeared on Songs. The composition, instrumental arrangement, structure, and vocal performance is almost a carbon copy of what would appear on the album, with little to no differences outside of the sound quality. A sweet song that certainly stands out as a joy to anyone's ears. After that, two different mixes of ためいきばかり and Sugar take the spotlight, with them having little differences with the final versions found on the album (with Muramatsu's track having a less balanced mix due to the volume and production on the guitars, and Sugar being much less focused execution, something much more, well, "wild", without the balance and polish that the final version would have; still being really charming, but 50 seconds shorter and without the final impact that the final version would present). And finally, an instrumental karaoke version of Down Town closes up the bonus material on a very nice way, letting people appreciate in full detail the structure and arrangement of the instrumentals, carrying the spirit of the final version.
The 30th anniversary edition of Songs is a treat for anyone who fell in love with the original album. A bigger, closer, and more personal look at the potential and energy that the band provided, with tracks that might as well have been final releases on any Sugar Babe related project. The demos give great pop masterpieces, bundles of joy that explode in charisma and creativity, but they also give a comprehensible look at what would come in the future projects from the members involved in the band. The live tracks show the dedication that the band showed from their very first performances. And the alternative mixes show the careful attitude that was at hand when deciding how to structure the final cuts that would become part of their album (eventually being complemented by the 40th anniversary bonus tracks). The demos alone are worth the listen. It is just so enjoyable to dive into, and I couldn't recommend it more.
Overall Rating: 9/10
Favorite Track: 夏の終わりに (Demo) / パレード (Demo)
40th Anniversary Edition
The 40th Anniversary Edition is a very particular one. It was a big release, with 2 CD's containing a bundle of previously unreleased material from the band. Instead of being released by Eiichi Otaki's label, Niagara, it was released under the supervision of Tatsuro Yamashita on Warner Music Japan, mainly due to the fact that Otaki sadly passed away two years prior, in 2013. Yamashita supervised both the new remastered version of the album and the remix made for this special edition, mainly because he positioned himself in the Otaki mindset. Back in 2005, Yamashita and the rest of members were somewhat opposed to the idea of a digital remaster or remix or the album, considering that the original sound and quality could be improved without the need to implement those techniques. 10 years later, Yamashita admitted that times are changing, and that even if he prefers the old school methods, it was better for the preservation of the music to indulge in the new techniques that allowed a much higher digital quality. The remix version was the initial digital remaster that Otaki proposed in 1999 and 2005 to the band, but further improved by Tatsuro, making it a double CD release, and using the opportunity to include a good quantity of bonus materials for fans to enjoy. Both remaster and remix have their own particular improvements (most notably balancing even more the guitars and improving the delay transitions from one track to the next), and it is great to listen to the classic album on its full digital splendor. As for the bonus tracks, since it was more than 2 CD's worth of space, they filled each one with it's particular qualities, including live recordings from various points in the band's career, as well as new instrumental karaoke cuts of the songs, making up for over an hour of highly enjoyable bonus material.
Starting things off in the first CD, there are three bonus tracks recorded in the same concert in 1976, before their dissolution a couple of months after, in April 1st. The main issue with these tracks mostly relies on the volume of the keyboard, being too much in the background, but still providing for some great recordings. The first of these songs is the live recording of Parade (or パレード, which appeared on Niagara Triangle's debut in 1976, but that had also been shown to have been conceived during the Songs sessions, having a demo included in the 30th anniversary release), being very much in line with what was presented in the demo version, and showing that it was part of their usual sets for their live performances. The sound quality is clean, and it certainly is a joy to hear a clean source for one of these shows. Another track that never made it to a proper final studio release, but that ended up being part of their live performances, is こぬか雨. It follows in line with the previous track, and the quality certainly helps the execution of all the elements to be appreciated on a great way, specially with the interaction between Taeko and Tatsuro onstage (with the song making an appearance in Tatsuro's live release, Joy 1.5, in 1994). Finally, 雨は手のひらにいっぱい comes in as the last of these three tracks, being a nice and highly enjoyable rendition of the studio version.
After this point, the main issues with the rest of live material comes up to light. The following four tracks on this first CD come from a live performance where Eiichi joined the band onstage for these songs, and it comes from a cassette source. The main highlight here are Yamashita's parts, and it is very easy to tell why, with his precise, charming, and passionate performance. The sound source is far from being the best, and it certainly falls in line with "bootleg quality", just somewhat polished so it doesn't have a lot of deterioration, crowd noise, or white noise coming between the tapes. It's still audible, but certainly a sudden and abrupt change in quality, specially compared to the previous polished live recordings. The first of these tracks is Windy Lady, a track that would appear on Tatsuro's debut, Circus Town, that same year (proving that Sugar Babe would be the place where most ideas for band members would come to be, just to then flourish on other projects). The rendition is very nice, with some fantastic guitar playing from both guitarists involved. The rest of the instruments, most notably the keyboard, give some subtle layers to the song, and it certainly is a shame that these couldn't be further appreciated due to the sound quality.
Down Town follows right after, and it certainly stands as a great rendition of the track, but once again the cassette quality drags down the experience. 愛は幻 (another track that would appear on a solo project, this time on Taeko's solo debut, Grey Skies), a sweet and upbeat ballad from Taeko changes the mood, but keeps the energetic performances, and stands out due to Onuki's vocal performance and the dynamic song structure that complements it. Finally, another track from the album, 今日はなんだか, comes to close the first side, being a very energetic rendition of the track, with Yamashita's vocals taking up the spotlight once again, showing his engaging and charismatic range. Sadly, the sound quality does drag the experience down, with a lot of elements getting lost due to it, such as Eiichi's performance, but it is still something highly enjoyable and remarkable. And despite the quality, it is still nice to know that these recordings exist.
Opening the second CD's bonus material is an alternative discarded version of 今日はなんだか, this time being piano driven more than anything. It is very similar to the final version, but the piano takes up a lot of presence on the mix, and it has a different feeling to the version present on Songs (with the other one being much more balanced overall, and working a lot better compared to this one). Following that, a different live version of Down Town, this time recorded in 1974, comes in, with an ever more deteriorated sound quality compared to the one on the first cd. It really shows that early on they were shaping up their music with their energetic and charming attitude, interacting with the audience and offering a great rendition of the track, but the poor audio quality certainly takes a lot away from the experience (with the backup vocals, keyboard, and some elements not being too clear on the mix, getting almost faded in the background). Same thing, but on a different aspect, happens with the 1975 recording of 風の世界. The performance is very good, but the sound quality is very poor. It is not that the tape is deteriorated or has noise covering the performances, but the audio source is definitely something odd. The entire band is in the background, with some elements straight up getting lost in the recording, and it is another abrupt change even to what came in the previous track. And finally, the instrumental karaoke versions of five tracks from songs come in place. These are in different spirit than the karaoke version of the 2005 anniversary edition, since these are taken from the 2015 Yamashita remix of the album. The sound quality is pristine, and all instrument can be fully appreciated and enjoyed. Definitely a wonderful addition to the special edition, and the highlights of the bonus material.
The 40th Anniversary Edition for Songs is certainly an odd one regarding the bonus material that was chosen to be included on the release. The live songs are great regarding the performances, but the audio sources range from clean and polished at first, to some poor bootleg quality tracks. Still, it is nice to have them as a document of a band that would mean a lot to the future of the artists. Perhaps the band had plans for a second album (all the demos and side material prove this, offering a lot of great tracks that didn't end up anywhere official under the Sugar Babe name), but all those ideas would spiral into other big projects that would kick off long and flourishing careers. Niagara Triangle, Circus Town, Grey Skies, all these solo and side projects had their roots in Sugar Babe, and the members of the band would still collaborate with each other years after the dissolution of the group. Without Sugar Babe, a lot of great music wouldn't have been released to the public, and if one thing is done right with the live bonuses found here, is the fact that this natural progression can be easily appreciated on a good way.
The main purpose of the release was to "allow Songs to be at the reach of the new generations", and it is something truly wonderful that got executed on a beautiful way. It is still Songs, the great and fantastic album that shows life from beginning to end, and even if the bonus material isn't really the best, it still is a delight to go through.
Overall Rating: 8.5/10
Favorite Track: パレード(Live) / All Karaoke tracks
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