Japanese City Pop

Universally known as the King of the Mambo, Pérez Prado was the single most important musician involved in the hugely popular Latin dance craze. Whether he actually created the rhythm is somewhat disputed, but it's abundantly clear that Prado developed it into a bright, swinging style with massive appeal for dancers of all backgrounds and classes. Prado's mambo was filled with piercing high-register trumpets, undulating saxophone counterpoint, atmospheric organ (later on), and harmonic ideas borrowed from jazz. While his tight percussion arrangements allowed for little improvisation, they were dense and sharply focused, keeping the underlying syncopations easy for dancers to follow. Prado played the piano, but was often more in his element as the focal point of the audience's excitement; he leaped, kicked, danced, shouted, grunted, and exhorted his musicians with a dynamic stage presence that put many more sedate conductors and bandleaders to shame. With this blueprint, Prado brought mambo all the way into the pop mainstream, inspiring countless imitators and scoring two number one singles on the pop charts (albeit in a smoother vein than the fare that first made his name) as the fad snowballed. He was a star throughout most of the Western Hemisphere during the '50s, and even after his popularity waned in the United States, he remained a widely respected figure in many Latin countries, especially his adopted home of Mexico.

At mule musiq, we’ve focused on shining light on the many aspects of what electronic music can be, putting out house, techno and ambient releases on our main label, while releasing alternative-leaning dance music through our endless flight imprint. But with the launch of our new label, studio mule, we are stepping away from electronic club music for a bit. The label will not be tied to a specific genre, as we will instead focus on releasing any kind of music that we feel is a little bit different and interesting, but somehow make sense in this day and age. For our first batch of releases, we will be focusing on Japanese music.

They may have been released later than the first European Abba CDs but the group’s earliest Japanese CD releases are much rarer and more sought after than even the coveted West German redface Polydor CDs. The six titles released by Abba’s then Japanese licencee, Discomate, in early 1984 [The Visitors and Super Trouper have 1983 copyright dates] remained in circulation for a relatively brief period of time before being supplanted by Polydor’s P33P series three years later. By this time, Discomate had either lost its Abba licence or gone bust, depending on what version of events you believe. In any case, the CDs seem to have sold relatively poorly and are rarely seen for sale within the collector’s market – when they do, they generally fetch astronomical amounts by the standards of Abba CDs.