内容（「CDジャーナル」データベースより）
今夏に劇場版の公開も決定し、根強い人気を誇る本作品。今回のリリースはこれまでのシリーズを総決算する6枚組の超ボリュームアルバムである。内容は子供から主婦層にまで幅広い人気を得たテレビ版と、その後を受け、ラジカルに展開したOVA新シリーズ の作品群に使用されたBGMを完璧に収録したもの。ボーナストラックとしてカラオケやテレホンサービスも収録している。

机动警察原声第五集，1989 年剧场版原声

内容（「CDジャーナル」データベースより）
今も根強い人気を誇るパトレイバーの全作品からヴォーカル曲のみを完璧に集めたベスト盤。こうしてまとめて聴くと,各々の作品がバラバラに作られているのではなく,現実を肯定的にとらえようとしている統一したおおらかなテーマが見えてくる。ファンは必携。

The Mobile Police PATLABOR On Television Original Soundtrack

BILLBOARD RECORDSが放つ邦楽カヴァー・シリーズ『YOUR TIME』の第1弾アルバム。1980年代前半のジャパニーズ・ポップスの名曲を、一十三十一のヴォーカルで現代に甦らせた一枚!

細野晴臣（vo,b,g,marimba,p,org,steel-ds,perc,syn,gong,footsteps）
ディープ釜范（vo）
武川雅寛（vln）
佐藤博（syn、p、k）
坂本龍一（sun、p、k）
鈴木茂（g）
徳武弘文（g）
林立夫（ds）
高橋幸宏（ds）
浜口茂外也（perc）
斉藤ノブ（perc）
大貫妙子（cho）
かまやつひろし（cho）
川田知子（vo）
あがた森魚（cho）
東京シャイネス・ボーイズ（cho）

サニーデイ・サービスの曽我部恵一氏も絶賛! 話題となった1st CDEPリリースから約1年、満を持して発表されるファースト・フル・アルバム! 新レーベル、Sailyard Recordsからリリース! AORやシティ・ポップ、ネオアコ、ディスコを通過したメロウ&スムースで清涼感たっぷりのアーバンな仕上がり。即完売し、幻となっていた7インチ収録曲「Phenomenon On My Pillow」やコンピ提供楽曲「Picture Of You」も新規録音し収録。今回のアートワークには、新鋭の漫画家/イラストレーターの石山さやかによる描き下ろし作品を使用。バンドの集大成としても相応しい内容となっている。

「キャンティ」の「川添梶子」宅で撮影されたジャケットも有名な2NDアルバム。映画「魔女の宅急便」のテーマ・ソング A-3.「やさしさに包まれたなら」収録！！
「LIGHT MELLOW 和モノ669」、「JAPANESE CITY POP」掲載盤。
前作に続き「キャラメル・ママ」がバックを手がける、1974年発表の2NDアルバム。ドラム・ブレイク入りの B-1.「あなただけのもの」収録！！まさに「スライ」ミーツ「LITTLE FEAT」な和製セカンド･ライン～ニューオリンズ・ファンク傑作です。他にも、ディスクガイドでも紹介された絶品のメロウ・グルーヴ A-1.「生まれた街で」、A-5.「１２月の雨」、「ユーミン」節の歌詞が素晴らしいA-4.「海を見ていた午後」、説明不要の代表曲 A-3.「やさしさに包まれたなら」など、全曲捨て曲ナシ！！「シュガー・ベイブ」や、「吉田美奈子」の参加も嬉しい名盤です。

本盤は、“シティ・ポップ”と呼ばれる、'70~'80年代を中心とした日本の“都市型ポップス”にスポットライトをあてたコンピレーションです。
当初、このCITY POPシリーズは、2002年発行の『JAPANESE CITY POP』（シンコーミュージック）のCD版を作ろう、ということで企画したものでしたが、選曲を進めていく段階で、ジャケットを飾る鈴木英人氏のイラストともリンクし

Pacific Breeze documents Japan’s blast into the stratosphere. By the 1960s, the nation had achieved a postwar miracle, soaring to become the world’s second largest economy. Thriving tech exports sent The Rising Sun over the moon. Its pocket cassette players, bleeping video games, and gleaming cars boomed worldwide, wooing pleasure points and pumping Japanese pockets full of yen.
Japan’s financial buoyancy also permeated its popular culture, birthing an audio analog called City Pop. This new sound arose in the mid ’70s and ruled through the ’80s, channeling the country’s contemporary psyche. It was sophisticated music mirroring Japan’s punch-drunk prosperity. City Pop epitomized the era, providing a soundtrack for emerging urbanites. An optimistic spirit buzzed through the music in neon-bathed, gauzy tableaus coated with groove-heavy strokes.
Pacific Breeze is an expertly compiled collection of choice cuts that range from silky smooth grooves to innovative techno pop bangers and everything in between. Long-revered by crate diggers and adventurous music heads, this music has never been released outside of Japan until now. Including key artists like Taeko Ohnuki and Minako Yoshida, as well as cult favorites Hitomi Tohyama and Hiroshi Sato, the long-awaited release also features newly commissioned cover painting by Tokyo-based artist Hiroshi Nagai, whose iconic images of resort living have graced the covers of many classic City Pop albums of the 1980s.
Many of the key City Pop players evolved from the Japanese New Music scene of the early ’70s, as heard on Light In The Attic’s acclaimed Even a Tree Can Shed Tears: Japanese Folk & Rock 1969-1973, the first release of the ongoing Japan Archival Series. In fact, you could say City Pop set sail with a champagne smash from Happy End, the freakishly talented subversives who included amongst their ranks Haruomi Hosono and Shigeru Suzuki, both featured on this compilation. As Michael K. Bourdaghs noted in his book, Sayonara Amerika, Sayonara Nippon, this music was, “Deconstructing the line between imitation and authenticity.” Some of the best City Pop teeters in this zone—easy listening with mutant exotica, tilted techno-pop, and steamy boogie bubbling beneath the gloss.

飯島真理，茨城縣土浦市出生的音樂家、聲優、女演員

Japan in the Eighties: a time when economic growth was at an average of four percent, GNP was the second largest in the world and unemployment was low. The country began to shift away from manufacturing and towards a more information and computer-based system, led by highly sophisticated technological advances. Even away from financial concerns, the decade also saw the establishment of Studio Ghibli and the popularisation of the likes of Super Mario Bros. and Donkey Kong, helping to take Japanese culture transatlantic.
During this time, many young men and women moved to bigger cities in search of wealth and fortune, finding affluent neon-lit wonderlands where prosperity helped give birth to flashy restaurants and opulent discos. There, a new sound was born, influenced by American R&B and boogie funk: 'City Pop'. As its name suggests, it was a sound designed to be heard in bustling urban environments, something that the opening notes of Culture of Soul’s new compilation takes to heart. For a few fleeting seconds, Hitomi Tohyama’s ‘Exotic Yokogao’ transports the listener directly into those boom times with the lively buzz of chatter and the chink of glasses, as if toasting the success of the decade.
This is Tokyo Nights: Female J-Pop Boogie Funk: 1981-1988, a 12-track collection of some of the best and brightest examples of City Pop, all by female artists. Compiled by Eli Cohen of Alliance Upholstery and Deano Sounds of Cultures of Soul, the selection showcases some of the more unique aspects of the genre. For any listeners expecting a Japanese version of the type of boogie-funk and disco that tore through Studio 54 in the late 1970s, you may be in for a bit of a surprise. Yes, the strong rhythmic grooves and buoyant basslines of the likes of Chic and Parliament-Funkadelic are present here. It comes on strong on the likes of Aru Takamura’s ‘I’m In Love’, which adopts an almost laid-back, understated vocal style that makes it somewhat reminiscent of Diana Ross’s ‘Upside Down’, ‘Wanna Kiss’, also by Hitomi Tohyama, which features a prominent bassline directly taken from Chic’s ‘Good Times’, and Junko Ohashi’s ‘Dancin’, with its vintage chorus of “I’ve got dancin’ in my feet.”
Even on ‘Dancin’ though, there’s more than simply a re-tread of American sounds going on; it opens with an explosion of cosmic, swirling synths and its beats are reminiscent of early house music. Indeed, as Japan itself was becoming more technologically advanced, its music wasn’t about to get left behind. Instead, producers such as Tatsuro Yamashita and Haruomi Hosono were quick to adopt the latest, state of the art equipment, from synthesisers such as the Yamaha DX7 and Moog Polymoog to drum machines such as the Linndrum, with digital reverb being applied liberally.
As the collection’s title may suggest then, what results is a fusion of styles that keeps disco, funk and soul as its foundation, but layers on elements from a variety of other genres. There’s a familiarity to be heard in the underlying grooves, but the City Pop on display here reaches far beyond, giving an almost cinematic, all-encompassing breadth to its sound. Unsurprisingly, it’s J-Pop and power pop that comes to the fore the most in the majority of the compositions, not least in Mizuki Koyama’s ‘Kareniwa-Kanawanai’, possibly the most strident and striking example of City Pop fusion on the collection. An explosion of pounding drum machines accompanies Koyama’s emotional vocal melodies, only for that to be superseded by high-energy electronic brass and a shimmering hook so irrepressible that it’d feel as much at home on the charts as it would the dancefloor.
Not every track here is an instant floor-filler, particularly towards the back of the collection. This doesn’t make these tracks any less memorable though. They evoke the feeling of wandering through the streets in the early hours after a night out, taking in the surroundings in a more contemplative manner. Kikuchi Momoko’s ‘Mystical Composer’ kicks off this more meditative, languid vibe, with Yumi Seino’s ‘Sky Restaurant’ pushing the malleable nature of City Pop to its outer limits. Its mid-tempo pace, stately vocals and squalling, propulsive stadium rock riffs stand far apart from some of the rapid-fire percussion and feet-moving bombast that comes before it.
‘Sky Restaurant’ provides an apt way to close a record that revels in the music that accompanied one of Japan’s most prosperous times. It’s sonically grand, but even its title evokes the sense that in the 1980s it seemed like the sky really was the country’s limit. In 1992 though, the Bubble economy in Japan finally burst. The “Lost Decade” brought recession and economic stagnation, with wages falling on average, financial institutions being bailed out by the government and a number of failing firms becoming unsustainable. For a decade though, it seemed like Japan was on top of the world. Tokyo Nights is the ultimate feel-good record to celebrate those feel-good times.