In the whole vast configuration of things, "....obliVious" was a perfect example of environment shaping a work of art in progress.

This was an album that was lived as it was recorded. Relationships were made (and lost) during the making of this album. Their shadows magically appear (even disappeared) in various parts of various songs.

But let's go back and put this in perspective. 

Really, every OBViOUS album has been different. The first OBViOUS album   recorded from 1996-98 in the new Digital Banana Recording Studio, was a production of songs I'd written mostly in China.

The second album (2OBViOUS!) was more a rock project which filled nearly every moment of 1999.

Our OBViOUS-ly LiVE album was compiled from 1999's performances with a few new studio tracks and released the following year.

Then an even wider artistic direction was taken with the fourth album than we'd ever imagined on "4OBViOUS rEASONS", songs written about life in back in the US were started in Florida, partially recorded in London, England and finished in Tokyo, Japan.

And now "....obliVious", our fifth album, a time capsule of a life of duality in post "September 11" USA, and the "always buzzing, but bedrock of tradition" Tokyo, Japan.

As you can see, OBViOUS albums are usually never written recorded and finished in the same country. 

"....obliVious" was no different. 

Logistical nightmares of flying back and forth between the two countries, recording with two OBViOUS band line-ups at the same time [the "US-OBViOUS" (Brad & Tim) and the "J-OBViOUS" (with Gaku & Takashi) in Japan] and plagued by disasters of the machine and human kind, the "....obliVious" album was released one year behind schedule.

However, shaped by these experiences, The OBViOUS takes off where the first 4 albums left off to produce yet another fresh-sounding enjoyable human experience on "....obliVious".

PART II: Songs ...Life as inspiration

For a writer, inspiration takes many forms ...usually female. 

For me however this album was a 'season of change'. OK, yes, women did play a role in the songs written for this album, but location more than subtly affected the whole presentation and really made this album different. Subtle is a word that I believe is strongly connected with Japanese culture.

When I say this album was lived, I mean there was the background of cultural stimuli, both positive and negitive, including the occasional culture shock and isolation of a new place, but also a hopeful atmosphere of a new beginning as I began the second half of my life in Japan. 

For this album, I would write songs about the life I was living in Tokyo then record well into the night ...over the course of about 2 years.

Occasionally, when listening to rough mixes of "...obliVious".in my portable CD player, I've experience a kind of deja vous when I'd find myself walking in the same locations that the song I was listening to was written about!

The most humorous of these experiences was starting the CD you are now listening to at the beginning of my train commute and 30 some minutes later hearing the Shinjuku station sound effects found on "Kimono in a Subaru" coinciding with my arrival at that very station! An interesting 3-D stereo effect!

So, if you listen carefully enough, you just might be able to imagine the connection that each song has to some place/somewhere/someone. 

At "the-obvious.com" you can find my short notes for each song (in English and Japanese!). I hope you can get a taste of the Tokyo I personally experienced during the making of this album.

Play it and you can almost smell the spring flowers, see the colors of Tokyo's endless neon signs. Taste the tastes of yakitori. Absorb the atmosphere of tatami rooms in old wooden houses. Sense the depth of tradition. Be overwhelmed by Tokyo's busy multi-cultural lifestyle ...and meet some wonderful people.

Art is a reflection of the time and place in which it was created. It is our hope that you will create your own aural cinemas from the pictures that will emerge when listening to these songs on "...obliVious".

Warm regards,

-mr Christopher in Tokyo.
The OBViOUS
July 7, 2004
 

The OBViOUS choose the title "...obliVious" for many reasons. As usual the album title is clever word play and yet resonates the meaning of the group of songs it contains.

"...obliVious" is spelled very similarly to our band name "The OBViOUS", so they are visually connected.

This being our 5th CD, we choose to emphasize the "V" in "...obliVious" as "V" is the Roman numeral for "5" ...which is conveniently placed symmetrically in the center of the word.

Spiritually "...obliVious" had special meaning as the songs contained capsulate the mood and feeling of the time  and place they were written in.

Many obstacles presented themselves in the making of this album. At times it all seemed doomed to fail. There were moments when we all wanted to quit completely. However, a focus persisted that enabled us to preserver. 

At times it meant that all other aspects of life we  had to wait or be completely ignored (some said 'neglected') in order to complete the vision of this album. Thus, the name  "...obliVious" characterized the collective state of mind during the process.

Placed at the end of  "...obliVious" is the Japanese kanji "bu-kyaku" which means 'a place not to notice'.

It was BU KYAKU which is strongly connected to our album cover image: a Japanese countryside landscape, a field of daisies, a red sky, and just to the right of center (both physically & spiritually) a small wooden Japanese cottage.. It is here in this structure where most of the tracks you'll experience were completed.

A little grain of sand along the long beach of oblivion... here's  "...obliVious" by The OBViOUS.
-mr christopher June 2004.

The OBViOUS is:

All guitars & vocals (& drums on 5, 6, 13) - mr christopher with...

The OBViOUS in Japan:
Gaku-Bass on tracks 1-3, 5, 6, 8-11, 13, 16.
TakashiDrums on tracks 1, 2, 6, 8-11, 16.

The OBViOUS in the USA:
Bradley-Bass on tracks 4,7,12,14,15
Tim-Drums on tracks 4,7,12,14,15
 

Guest musicians
Hassy-Backing Vocals on tracks 01, 08, 09.
Hew-clarinet  on track 14.
toMoiZm-melodic noise wah  on track  12

All songs arranged, recorded, & produced by mr christopher at The 
Digital Banana Recording Studios assisted by tomoyuki nishimura 
(tomoizm21) in harajuku, tokyo-japan, warabi city, saitama-japan, & in 
palm bay, florida-usa, assisted by "mr marshall" from spring 2002 to summer 2004. 
 

Assistant producer (Japan): Tomoizm.
Assistant Engineer (USA): Marshall.
Mastering Engineers (Japan): Toshi Yamazaki & mr christopher.
3-D Design & Photography: Steven Brown of NR Designs (Japan/UK)
Cover Design & Photography: mr christopher.
Additional photography: John Lennon Museum, Junko Morita, mr marshall, 
Charles & Elissa Morley, Mitz, T's Color,Tomoizm.
Japanese translations: Hidetoshi Yamanaka /Junko Morita /Steven Brown.

Parts of "Kiriko" were recorded in Hino City (Tokyo) by  taizo nakata in May 2002.

OBViOUS Thanx2: god, m-L, mom, pop, erm, brad, tim, takashi, 
gaku, misa, hew, marshall, yoko fukai, junko-chan & the morita family, 
tomoizm21, taizo nakata & yuka hamane of T's color,  crazy dj tomoaki 
occura, hassy, matsuoka, steven brown of NR Designs, andrew 
"bass-balls" j., murako & tomoko, yuri & takashi, hidetoshi yamanaka, 
toshi yamazaki, pro zack, heidi & mikey, the hong kong medics & julie 
ray, leona, may, yuko, kiriko, miyako, mugiko & ushimi, the john 
lennon museum, katsushika FM, nack5 FM, kofu FM, tokyo FM ...& my 
mitz.

A failed attempt at Zen irony. A tongue-in-cheek, but affectionate jazz guitar arrangement of the two national anthems of the two recording locations for "...obliVious", performed by mr christopher accompanied by a highly trained kabuki theater percussionist... Wait! Scratch that! That's: mr christopher and his highly-trained (and very attractive) personal ski instructor. How's that for Zen simplicity.

Recording started Sept 6 2003 in Warabi City, Saitama-Japan: PERCUSSION: Annonymous GTR/SHAMISEN: MrC
 

iKi DANE, BABY（イキだね、ベイビー！）
(traditional) Arrangement (c) mr christopher 2003

禅の素朴さを表現しようとしたが失敗に終わった。二ヵ所で録音した二つの国歌の、ふざけながらも愛情を込めたジャズ・ギターのアレンジは、ミスター・クリストファーの演奏。高度な訓練を受けた歌舞伎場の打楽器奏者が共演….待った！訂正。ミスター・クリストファーと高度な訓練を受けた（そして非常に魅力的な）個人的なスキー・インストラクターの共演。禅の素朴さっても、こんなもんさ。

Recording started Sept 6 2003 in Warabi City, Saitama-Japan: PERCUSSION: Annonymous GTR/SHAMISEN: MrC

Story: The first verse could have come from the subconscious mind of Mr. Walt Disney regarding his self-imposed cryogenic  slumber. As you can see by the date, this song has been resurrected from it's own lengthy slumber. Written at a time when mrC was stuck in a rut, stuck in a rut, stuck in a ...well, obviously a reoccurring theme in the OBViOUS universe ...thus inspiring this recording.

Recording started Fall 2002 in Warabi City, Saitama-Japan: BASS: Gaku DRUMS: TakashiBGVOX: Hassy VOX/GTRS: MrC
 

SUSPENDED（サスペンディド）
(c) mr christopher Fall 1993

談話：最初の部分はウォルト・ディズニーの自ら進んで行なった超低温休眠についての潜在意識から来たかもしれない。日付でわかるようにこの曲は非常に長い休眠から復活させられた。書かれたのはミスター・クリストファーが溝にはまった時….溝にはまって…はまって…まあとにかく、明らかにOBViOUSの宇宙で再び発生するテーマであり、この録音をする気になったんだ。

Recording started Fall 2002 in Warabi City, Saitama-Japan:。 BASS: Gaku DRUMS: TakashiBGVOX: Hassy VOX/GTRS: MrC 

Story from mr christopher: "Compared to the previous song, things are really starting to look up! This was a joyeous 5-minute song-writing exercise written as a birthday present for a dear friend. Two "Nihonjin" friends assisted me in expressing myself in Japanese. Thanks Mugiko & Ushimi!

Recording started March 31, 2002 in Harajuku, Tokyo: BASS: Gaku DRUMS: Takashi VOX/GTRS: MrC  Translation help: Hassy & Junko
 

tHiNGS ARE L@@KiNG G@@D（シングス・アー・ルッキング・グッド）
(c) mr christopher March 31st, 2002 - March 9, 2003 

ミスター・クリストファーの談話：前の曲と比べて、物事は本当に上向きになり始めている！これは５分で歌を作る楽しい練習だった。友達への誕生日プレゼント用に書いた。日本語の歌詞は二人の日本人の友人が手伝ってくれた。麦子、牛美、ありがとう！

Recording started March 31, 2002 in Harajuku, Tokyo: BASS: Gaku DRUMS: Takashi VOX/GTRS: MrC  Translation help: Hassy & Junko

From the "KiRiKO" Single (2002) liner notes: Kiriko sonically radiates a very hypnotic mood, quite different from anything The OBViOUS has attempted before. It's a song which marks a most intriguing pop/world beat collaboration between The OBViOUS & two traditional Japanese musicians. It was the first song released from "...@blivi@us" on the 2002 "Kiriko" Maxi CD Single.

Story: The song was originally inspired by mr christopher's meeting with a lovely waitress in a not-so-traditional Japanese restaurant in the Shinagawa district of Tokyo in spring 2002.  mr Christopher was most captivated by the sound of her name which instantly inspired the main melody. 

However, it wasn't until mr christopher's internet introduction with "gagaku" music enthusiast, composer, musician, producer, Taizo Nakata, that the whole concept came together. 

 Taizo Nakata, who works and plays with Japanese traditional instrumental group "T's Color", met only once (April 10, 2002) with mr christopher at the Digital Banana Recording Studio in Harajuku (Tokyo, Japan), where they discussed (through interpreters) the arrangement.  Then, both went to work in their respective studios to create the inspired collaboration you now hear fusing the usual OBViOUS guitar, bass and drums pop instrumentation with a Japanese traditional (specifically "gagaku") instruments. Taizo Nakata performed the Shamisen (a lute), Sho (a reeded pipe) and Biwa (a four-stringed lute).  Other T's Color member, Yuka Hamane, in addition to beautiful backing vocals,  recorded the featured virtuoso koto (13 stringed harp-like flat zither) performance.

 Taizo produced and recorded all the traditional Japanese instrument tracks at his studio in Hino City (Tokyo, Japan), after which everything was mixed by mr christopher back at the Digital Banana Recording Studio.  "I remember what a magic moment it was when I finally heard it all together", said mr c. "It was such an rich colorful sound ...a musical match to such a lovely melodic name as Kiriko."

Recording started April 10, 2002 in Harajuku, Tokyo: BASS: Gaku SHAMiSEN, BiWA, SHO: Taizo NakataBGVOX,  KOTOS: Yuka Hamane VOX/GTRS/DRUMS: MrC
 

kiRiK@（キリコ）
(c) mr christopher March/April 2002

2002年のシングル「キリコ」のライナーノートより：　キリコは音響的に非常に催眠的なムードを照射する。The OBViOUSのこれまでのどんな試みとも違う。The OBViOUSと二人の伝統的な和楽器奏者とによるコラボレーションは最高に魅力的なポップ/ワールド・ビートを生んだ。2002年のマキシ・シングル「キリコ」でアルバム『…Oblivi@us』からリリースされた最初の曲。物語：この曲はそもそもmr christopherが、さほど伝統的ではない和食レストランで出会った可愛らしいウェイトレスに触発されたものだ。何よりも彼女の名前の響きに魅了され、主題となるメロディーが瞬時に思い浮かんだ。しかしながら、実際に全体のコンセプトが形作られたのは、インターネットによって雅楽の信望者で作曲家・演奏家・プロデューサーである中田太三氏を知ってからだった。日本の伝統楽器のグループT’s Colorと共に演奏する中田太三は、2002年４月10日に一度だけmr christopherと原宿のデジタル・バナナ・レコーディング・スタジオで会い、通訳を通じてアレンジを練った。それから我々は各々のスタジオに入り、作業をした。今きみが聞いている融合されたコラボレーション、いつものOBViOUSのギター、ベース、ドラムスによるポップス楽器群、そして日本の伝統音楽（厳密に言えば雅楽）の楽器だ。中田太三は三味線、笙、琵琶を演奏した。T's Colorの他のメンバー、浜根由香は美しいバック・コーラスに加え琴の演奏を録音した。中田太三は日野市にある彼のスタジオで全ての和楽器のトラックをアレンジし、録音した。その後mr christopherがデジタル・バナナ・レコーディング・スタジオで全てをミックスしたのだ。「ついに全部一緒に聞けた時の魔法のような瞬間を覚えてるよ」とmr christopherは言う。「豊かで色彩に富んだ音…キリコという魅力的で音楽的な名前にピッタリだと思った。」

Recording started April 10, 2002 in Harajuku, Tokyo: BASS: Gaku SHAMiSEN, BiWA, SHO: Taizo NakataBGVOX,  KOTOS: Yuka Hamane VOX/GTRS/DRUMS: MrC

Story: Although originally demoed in Harajuku-Tokyo as an acoustic pop song (which sounded strangely like The Eagles "Peaceful Easy Feeling"), a freshly inspired arrangement emerged after Bradley mailed mrC a CD by the American funk/blues band "Two Ton Shoe". Duly inspired, mrC returned to the States to produce this final version with Tim and Brad at their combined funkiest. A rarely heard soulful side to mr christopher's voice is featured in the wild "guitar/vocal" solo. Sadly, technical problems with the recording required the song to be painstakingly pieced back 
together by a very nervous (but not-so "foolish") ProTools sound engineer. 

Almost lost to posterity, here's "F@@Lish":

Recording started January 3, 2003 in Palm Bay, Florida, USA: BASS: Brad DRUMS: Tim VOX/GTRS: MrC 

f@@LiSH（フーリッシュ）
(c) mr christopher February 3rd, 2002 

物語：アコースティックなポップソングとして最初に原宿でデモが録られた（妙な事にイーグルスの『ピースフル・イージー・フィーリング』みたいな感じだった）。にも関わらず、ブラッドレーがmr christopherにアメリカのファンク/ブルース・バンドTwo Ton ShoeのCDを郵便で送って来た後に、新たに触発されたアレンジが現れた。充分な刺激を受け、アメリカに戻ったmr christopherはティム、ブラッドと共にこの作品を一層ファンキーなものにプロデュースし直したのだ。珍しくソウルフルな面が見られるmr christopherの声がワイルドな“ギター/ボーカル”ソロの中で聞ける。残念な事に、録音上の技術的問題から、この作品は、とても神経質な（しかしさほど愚か“foolish”ではない）プロトゥールスのサウンドエンジニアによって、痛々しいながらもようやく一つに接ぎ合わされなければならなかった。

Recording started January 3, 2003 in Palm Bay, Florida, USA: BASS: Brad DRUMS: Tim VOX/GTRS: MrC 

Story: It was this song which broke a nearly 10-month case of writers block which mr christopher had suffered in much of 2001, thus ushering in the slew of new songs written for this CD. This song was also originally recorded during the January 2003 Florida recording sessions with Brad and Tim, but didn't survive the technical disaster that almost took "Foolish". 

Using a video of the original Florida session as a guide, mrC and Gaku re-recorded this atmospheric Bosa Nova ballad. (Bosa Nova being a new genre interest for mr christopher since he discovered "Churrasco" (Brazilian BBQ) ...in, that famous Brazilian city... uh, ...Tokyo.) 

Re-recording started June 12, 2003 in Warabi City, Saitama-Japan: BASS: Gaku VOX/GTRS/DRUMS: MrC 

y@U HANDLED iT S@ BEAUTiFULLY（ユー・ハンドルド・イット・ビューティフリー）
(c) mr christopher November-December 12, 2001

物語：2001年の大半を通して曲が書けずにいたmr christopherの、約10ヶ月に及ぶ苦しみを終わらせたのがこの曲だった。このCDのために書かれた多くの新曲を導いたとも言える。また、元々この曲は2003年1月にフロリダで行われたティム、ブラッドとのセッションで録音されたのだが、「Foolish」が危うくやられかけた例の技術的な災難を生き延びる事が出来なかったのだ。オリジナル・フロリダ・セッションのビデオをガイドに、mr christopherとガクはこのムードのあるボサノバ・バラッドを録音した。（ボサノバはmr christopherにとって新しいジャンルだ。きっかけは彼が発見したチュラスコ、ブラジルのバーベキュー。かの有名なブラジルの都市、トーキョーで。）

Re-recording started June 12, 2003 in Warabi City, Saitama-Japan: BASS: Gaku VOX/GTRS/DRUMS: MrC 
 
 

Story: Back in February 95, after trekking across China and Tibet for 2 months, mrC was recovering in Hong Kong (still a British colony at the time) from a mysterious illness which doctors were unable to diagnose. As the symptoms subsided and appeared non-life-threatening, mrC decided to head back into mainland China where he would continue teaching and writing the music which would be come the first OBViOUS CD 3 years later. He arranged to be taken on an overnight ferry from Hong Kong to Guanzhou where he would catch a plane back to Jinan, China. 

 Somewhere in the middle of the night on that cold ferry, mrC had a melody enter his head which became the chorus you now hear in this song. "I remember making myself repeat it over and over in my head to remember it as I had no tape recorder or paper write it down on. Back in China in March 95, I managed to make a pretty elaborate demo recording." 

 Passed up for inclusion on the 1997 "The OBViOUS I" CD, due to the more "pop direction" of that album... it was nearly forgotten...until now.

Recording started April 25, 2003 in Warabi City, Saitama-Japan: BASS: Gaku VOX/GTRS/DRUMS: MrC

y@U GET L@VE（ユー・ゲット・ラブ）
(c) mr christopher February 26- March, 1995 

物語：1995年２月、中国とチベット横断の旅の後、mr christopherは（当時まだイギリスの統治下にあった）香港で医師も原因を突き止められぬ謎の病から回復しつつあった。症状が治まって生命に危険がないとわかり、mr christopherは中国本土へ向けて引き返した。英語教育と作曲活動を続けるためだった。その楽曲は３年後OBViOUS最初のCDとなった。夜行フェリーで香港から広州へ渡り、そこから中国のジンナンへ飛行機で戻る予定だった。その真夜中のこと、寒いフェリーの中でmr christopherの頭に突然メロディーが入り込んできた。それがこの曲のサビの部分になった。『何度も何度も頭の中で繰り返していたよ、忘れないようにね。録音する機材も書き留める紙も持ってなかったから。95年の３月に中国でかなり念の入ったデモを録音したよ。』　1997年のCD『The OBViOUS I』への収録は見送られた。アルバムをより“ポップな方向”へ向かわせるためだ。今までほとんど忘れ去られていた。

Recording started April 25, 2003 in Warabi City, Saitama-Japan: BASS: Gaku VOX/GTRS/DRUMS: MrC 

A fantasy song of irony, isolation and insecurity, and salvation in one the biggest and busiest train station in  the world, Shinjuku Station, Tokyo. Here's a collection of the random thoughts hatched racing up the station escalator.

Recording started January 5, 2002 in Palm Bay, Florida, USA: BASS: Brad DRUMS: Tim VOX/GTRS/SHAMISEN: MrC
 
 

kiM@N@ iN A SUBARU（キモノ・イン・ア・スバル）
(c) mr christopher Music written January/February 2001 Lyrics finished may 2003

皮肉、孤独そして不安についての幻想の歌。そして世界一大きく人の多い鉄道駅の一つである東京・新宿駅での救済。駅のエスカレーターを競うように昇るなかで生まれた様々な思いの集大成だ。

Recording started January 5, 2002 in Palm Bay, Florida, USA: BASS: Brad DRUMS: Tim VOX/GTRS/SHAMISEN: MrC

Story from mr christopher: "I instantly fell in love with this song after hearing it performed by David Lee Roth during a series of radio shows streamed over the internet in spring 2002.  Not being on an album, I emailed the DLR Band drummer, Ray Luzier, who informed me that it wasn't a DLR original." It turns out that "When its Love Time" was an old blues tune written by Sonny Terry (1911-1986) and Brownie McGhee (1915-1996). 

 "The OBViOUS immediately planned to recording "Love Time", keeping close to the DLR vocal interpretation, (including his occasionally improvised lyrics), beefing it up a bit musically and pushing the madness a bit further. For Japanese fans, there's a bit of "Nihongo word play" and even a tongue-in-cheek, apocalyptic Japanese pick-up line!?! Lots of fun all around! By the enthusiastic vocal, you'd have almost suspected someone was "in love" (strangely, that wasn't the case ...this time.) Somebody hit me!"

Recording started September 20, 2002 in Warabi City, Saitama-Japan: BASS: Gaku DRUMS: TakashiBGVOX: Hassy "ROKUBUTE" CHORUS: Junko, Hassy, Mitz-chan, MrC, Tomoizm Special "Nihongo help" thanks : Steven B & his pink notebook. VOX/GTRS/HORN ARRANGEMENT: MrC
 

wHEN iT'S L@VE TiME（ホェン・イッツ・ラブ・タイム）
(c) Terry/McGhee

mr christopherの談話：『この曲は、2002年の春にインターネット配信されたデイブ・リー・ロスのラジオ公演で演奏されたのを聞いて瞬時に大好きになった。アルバムに収録されてなかったのでデイブ・リー・ロスのバンドのドラマー、Ray Luzierにメールすると、これはデイブ・リー・ロスの書いた作品ではないと教えられた。』結局それはSonny Terry (1911-1986)とBrownie McGhee (1915-1996)によって書かれた『When its Love Time』という古いブルースだった。『The OBViOUSは直ちに"Love Time"を録音することに決めたよ、デイブ・リー・ロスのボーカルの解釈に近いままで。彼が時々即興で変えた歌詞も含めてね。音楽的に少し肉付けをして、狂気を更にいっちゃった感じにした。日本人の聴衆のために日本語の言葉遊びも入れてみた。ふざけた、予言的な日本語のセリフもね！楽しかったよ。熱狂的なボーカルを聞いて、誰かが“愛し合ってる”最中のように聞こえたかもね。奇妙な事に、そうじゃなかった...今回はね。あ゛〜、誰か僕を殴ってくれ！』

Recording started September 20, 2002 in Warabi City, Saitama-Japan: BASS: Gaku DRUMS: TakashiBGVOX: Hassy "ROKUBUTE" CHORUS: Junko, Hassy, Mitz-chan, MrC, Tomoizm Special "Nihongo help" thanks : Steven B & his pink notebook. VOX/GTRS/HORN ARRANGEMENT: MrC

Story: First this little pop-punk tune was first called "Oh Please!". Then it was "Hair Spray." Then finally back to "Oh Please!". mrC: "Me indecisive? I'm not so sure about that! I do recall it was written about those moody, temperamental, manipulative women whom men occasionally find themselves attached to ...uh, ...so I've heard."

Recording started October 18, 2002 in Warabi, Saitama, Japan: BASS: Gaku DRUMS: Takashi  "bad, bad, Shibuya girl"VOX: Hassy VOX/GTRS: MrC
 
 

@H PLEASE!（オー、プリーズ！）
(c) mr christopher September-November, 2002 Final title decided February 11, May 30, 2003 

物語：このポップ/パンク・チューンは最初『Oh Please!』と呼ばれていた。次に『ヘア・スプレイ』になり、最終的に『Oh Please!』に戻った。『優柔不断、僕が？そうは思わないけどなー。ただ、覚えているのは、この曲はある種の女性達―気紛れで、移り気で、人を操る力を持って、男たちがふと気付くと虜になってるような―そんな女性についての歌―らしいよ、聞いたところによると。』

Recording started October 18, 2002 in Warabi, Saitama, Japan: BASS: Gaku DRUMS: Takashi  "bad, bad, Shibuya girl"VOX: Hassy VOX/GTRS: MrC

Story from mr Christopher:  "This song happened to write it's self during a 15-minute walk though a high-rise apartment district from Shibuya back to my apartment in Harajuku, after being ignored by a love interest at a party (this time a lovely hotel receptionist ...but that's another story and another song). While walking, I distracted and amused myself  with this song idea of someone falling in love with a person they see while looking down from one of these high-rise apartment balconies. Kind of like the Rapunzel fairy tale in reverse. I now have the solace that the evening's original frustration was destined to be the inspiration for The OBViOUS' biggest selling single yet!" ;-)

Recording started October 25, 2002 in Harajuku, Tokyo - Japan: BASS: Gaku DRUMS: Takashi
VOX/GTRS/ORCHESTRA SAMPLERS: MrC
 

fR@M MY BALC@NY（フロム・マイ・バルコニー）
(c) mr christopher January 30, 2002 -11:45PM 

mr christopherの談話：『この曲は、あるパーティーである人に異性として無視されたあと（その時は可愛いホテル受付の女性だったが、これは余談だしまた別の曲だ）、渋谷の高層マンション街から原宿のアパートに歩いて帰る途中に、自然に出来上がったものだ。歩いてる途中で気晴らしに、ある人物が高層マンションのバルコニーから見下ろして見つけた相手と恋に落ちるというアイディアを思いついて気に入ってしまった。ある意味ラプンツェルのおとぎ話を逆にしたようだ。今となっては、あの晩のそもそもの苛立ちが、The OBViOUSのこれまで出最高に売れたシングル曲を生むキッカケとなったという慰めがあるけどね。』

Recording started October 25, 2002 in Harajuku, Tokyo - Japan: BASS: Gaku DRUMS: Takashi
VOX/GTRS/ORCHESTRA SAMPLERS: MrC 

Story from mr christopher:  "After setting up a 20 year reunion with my high school rock band ("The Amoebas") for January 2003, I was inspired to re-record a funk version of my favorite DOORS song which we used to cover way back when. "

 "I usually find I like songs written by guitarists and this was another great song written by a great guitarist from a great band. Interestingly enough, I don't think Takashi or Gaku (both in their early 20s!) knew The DOORS or the song we were recording at the time."

Recording started October 4, 2002 in Warabi City, Saitama-Japan: BASS: BASS: Gaku DRUMS: Takashi VOX/GTRS: MrC
 

LiGHT MY FiRE（ハートに火をつけて）
(c) Robby Krieger 1967

mr christopherの談話：『2003年1月、高校時代のバンド(ジ・アメーバズ)の20年振りの再結成の用意を終えた後、当事カバーしていたドアーズのお気に入りの曲をファンク・バージョンで録音してみようと思ったんだ。ギタリストの作った曲を気に入る事が多いんだけど、これもまた偉大なバンドの偉大なギタリストの作品だ。面白い事に、タカシもガクも（二人とも20代前半なんだ！）これを録音していた時はドアーズもこの曲も知らなかったんだよ。』

Recording started October 4, 2002 in Warabi City, Saitama-Japan: BASS: BASS: Gaku DRUMS: Takashi VOX/GTRS: MrC 

Based on lyrics by Tim Meins written 12/31/01 3:09 am called "MiND BOXER"

Story from mr christopher: "During the OBViOUS recording sessions in January 2002 (for "When I'm 64" , "Kimono In A Subaru", and "Another Day, Another Dollar") the band broke into this Police-ish groove a few times in between takes. I secretly made sure assistant engineer Marshall kept tape rolling." 

During the sessions, Tim emailed me to offer me some new words he had just written as potential lyrics. I filed his rhythmic poem (called "Mind Boxer") before flying back to Tokyo. Both the instrumental track and his lyrics were temporarily forgotten. 

About a year later, I discovered the tracks and did some digital editing and compiled a complete track from the various instrumental takes. Again, forgot about it. 

Sometime in Spring of 2002 I wrote a repetitive trance thing called "I Don't Know What To Do". Seeing as I didn't know what to do, I forgot about it. Finally in 2003, all parts surfaced, morphed together and became "Mind Boxer" the song! What does it mean? I have no idea.

Recording started January 5, 2002 in Palm Bay, Florida, USA: BASS: Brad DRUMS: Tim Melodic noise wah: toMoiZm VOX/GTRS: 
MrC 
 

miND B@XER（マインド・ボクサー）
Music (c) mr christopher 2002 Lyrics (c) mr christopher/Tim Meins 2002

mr christopherの談話：『2002年１月のOBViOUSのレコーディング・セッションの間に（この時"When I'm 64" , "Kimono In A Subaru", そして"Another Day, Another Dollar"を録音した）、バンドは録音作業の合間に何度もこのポリスっぽいグルーブに突入した。僕は密かに、アシスタント・エンジニアのマーシャルにテープを回し続けてもらった。セッションの合間にティムは歌詞に使えるかもしれないといって、書いたばかりものをメールしてくれた。東京に戻る前に僕は彼のリズムに満ちた歌詞（Mind Boxerという題名だった）をファイルしておいた。そしてその演奏トラックも彼の歌詞も、一時的に忘れ去られていた。約１年後その録音を見つけ、デジタル編集して様々な楽器のテイクを一つのトラックにまとめたんだ。そして、そう、再び忘れる事になった。2002年の春頃、延々と繰り返すトランス的な「I Don't Know What To Do（どうしていいかわからない）」を書き、どうしていいかわからなかったので、忘れる事にした。2003年になって遂に、全ての部品が浮かび上がり、合体して姿を変え、この「Mind Boxer」という歌になったんだ。だからそれがどういう意味かって？全くわからん。』

Recording started January 5, 2002 in Palm Bay, Florida, USA: BASS: Brad DRUMS: Tim VOX/GTRS: MrC

Story: Ironically written in an empty classroom , this song was lyrically inspired by preparations for a trip to Kyoto, a Japanese garden seen in a photo book, and a Japan Airlines flight attendant. It's about the space around and between us, and any room that you're within.

Recording started Feburary 19,  2003 in Warabi, Saitama, Japan: BASS: Gaku VOX/GTRS/DRUMS: MrC 
 

aNY R@@M THAT Y@U'RE WiTHiN（アニー・ルーム・ウィズイン：君が居るどんな部屋でも）
(c) mr christopher February 9, 2003

物語：皮肉なことに、空っぽの教室で書かれた曲。京都旅行の準備中に、写真集に載っていた日本庭園、日本航空のスチュワーデスに刺激されて書いた。我々の周りそして間の空間について、また、自分のいる部屋（空間）についての曲だ。

Recording started Feburary 19,  2003 in Warabi, Saitama, Japan: BASS: Gaku VOX/GTRS/DRUMS: MrC

Story from mr christopher: "A gift to my father (also a Beatles fan) for his 64th birthday. A straight reading precedes an obviously "OBViOUS-ized" funk interpretation which initially proved challenging for Tim and I  during the 'basic track' sessions in Florida. Fortunately Bradley pulled us all through. Hew, an Irish clarinetist, miraculously appeared on cue a few months later in Tokyo for the finishing touches before arriving on time in my father's in-box as a birthday 
mp3."

Recording started January 9, 2002 in Palm Bay, Florida, USA: BASS: Brad DRUMS: Tim CLARiNET: Hew
VOX/GTRS: MrC

wHEN i'M SiXTY-F@UR（ホェン・アイム・シクスティー・フォー）
(c) Lennon/McCartney 1967

mr christopherの談話：『僕の父（同じくビートルズ・ファン）の64歳の誕生日プレゼント。明らかに"OBViOUS化”されたファンク・バージョンのベーシックトラックのフロリダ録音セッションは、初めティムと僕にとって大いなる挑戦だった。幸いブラッドリーが僕らみんなを引っ張って行った。数ヵ月後の東京で、アイルランド人のクラリネット奏者ヒューが、超人的なタイミングで現れて、最後の仕上げをした。やっと父のイン・ボックスに誕生日プレゼントのMP3を送った時にはぎりぎりだった。』

Recording started January 9, 2002 in Palm Bay, Florida, USA: BASS: Brad DRUMS: Tim CLARiNET: Hew 
VOX/GTRS: MrC

Story from mr christopher: "This was written my first month living in Japan and stored in my head until first recorded 11 months later in Florida. This is quite a bitter song (partially attributed to jet lag, alluded to by it's jagged time changes) about being forced to live a way you didn't choose. It's about office politics, pressure, divorce, bureaucracy, isolation, addiction, tedious routine, and fatigue in the big city. It's about the world becoming all the things you always said would never be once you grew up." 

"Not being one to dwell (at least for very long) in all the negativity, love is portrayed as the light at the end of the tunnel that pulls you through and somehow gives life meaning. As Jeff Bridges said in the movie 'Fearless', 'Follow me to the light!'"

Recording started January 5, 2002 in Palm Bay, Florida, USA: BASS: Brad DRUMS: Tim VOX/GTRS: MrC
 
 

aN@THER DAY, AN@THER D@LLAR（アナザー・デイ・アナザー・ドラー）
(c) mr christopher Music written January/February 2001 - Lyrics finalized May 2003 

mr christopherの談話：『日本に住んで最初の月に書いて、11ヵ月後フロリダで初めて録音するまで頭の中にとってあった。自分の選んだんじゃない形で生きるのを強いられたことについての苦々しい歌だ。特に時差ぼけに起因のせいで時間の変化がめちゃくちゃだった。オフィス・ポリティクス（職場の人間関係）、プレッシャー、絶縁、官僚主義、孤独、中毒、退屈な日課、そして大都会での疲労。自分が大人になる時には絶対こうはならないといつも言ってたものに、世界がなってゆくことについて。あらゆる否定的なものの中に住む（少なくとも非常に長い間）者になるのではなく、愛が、トンネルの端に待つ光として描かれ、導き、人生を意味あるものにする。映画「フィアレス」でジェフ・ブリッジズが、「僕について、光の方へおいで！」と言ったように。』

Recording started January 5, 2002 in Palm Bay, Florida, USA: BASS: Brad DRUMS: Tim VOX/GTRS: MrC 

Story from mr christopher: "A Jeff Beck inspired stream of consciousness instrumental jam that brings to mind a long drive with a friend and the slow crescendo-ing but random conversations that usually ensue. The closer you get to your destination the more excited you both become. Naturally your anticipation leads you to drive more aggressively until your destination is closer than you expected: just around the corner."

This track was recorded live on November 29, 2002 in Warabi, Saitama, Japan during the J-OBViOUS' rehearsals for their Japan debut at the John Lennon Museum set for the following week at the Saitama Super Arena on December 6, 2002. 

This album holds an 5:45 second edit from the original 8:30 minute jam. It was common practice for the band to warm up with an improvised jam before practicing and MrC was always keen to capture whatever spontaneous magic took place. This jam proved unique with it's talking guitar and dynamic arrangement. Although a bit loose, it's a quite interesting excursion.

One noteworthy fact: The motorbike sound was recorded on a spur of the moment decision by mr christopher after the Pizza-La delivery man showed up with some more "fuel" for the mixing session. "I think the delivery man was pretty surprised to be met at the door by a rather large "geijing" with an equally intimidating condenser microphone pulling a long cord, following him out on to the street! No wonder he drove away so quickly."

Recorded completely live on November 29, 2002 in Warabi, Saitama, Japan: BASS: Gaku DRUMS: Takashi  MOTOR SCOOTER SAMPLES: The Pizza-La delivery man GTRS: MrC

dRiViN' & TALKiN'（ドライビン & トーキン）
(c) mr christopher  November 29, 2002

mr christopherの談話：『ジェフ・ベックに触発された、意識の流れのようなインストルメンタル・ジャム。友人とドライブに出かけた時の、ゆっくりと大きくなってゆく、しかし不規則な会話、そんな感覚を呼び起こす曲。目的地に近付くほど二人とも一層興奮する。期待に引っ張られて自然と運転も荒くなり、目的地が思ってたより近くて驚くんだ。そこの角を曲がったところだったってね。この曲は2002年11月29日、埼玉県の蕨でライブ録音された。日本版OBViOUSの、翌週の12月6日に控えたジョン・レノン・ミュージアム（埼玉スーパー・アリーナ）でのデビューに向けたリハのセッションからのテイクだ。このアルバムに収録したのは、8分30秒あったオリジナルのジャムから編集された5分45秒のもの。練習前に即興のジャム・セッションでウォームアップをするのはいつものことで、自然発生した魔法の瞬間を捕らえることを僕は常に狙っていた。喋るようなギターとダイナミックなアレンジのこのセッションは非常にユニークだ。ややぞんざいな感じだが、なかなか興味深い小旅行だね。

記録に値する事実が一つある：ミキシング作業の休憩中に燃料補給のために呼んだピザーラの宅配が到着した時、僕は咄嗟に判断した。宅配の男性はやや大柄の外人がドアに出てきて驚いただろうね。しかも長いコードの付いたコンデンサー・マイクロフォンで道まで追いかけて行って脅かしたんだから。彼があれほど早く走り去ったのも無理はない。

Recorded completely live on November 29, 2002 in Warabi, Saitama, Japan: BASS: Gaku DRUMS: Takashi  MOTOR SCOOTER SAMPLES: The Pizza-La delivery man GTRS: MrC

"It's nights like this that drive men like me to women like you for nights like this." -Bob Hope (1903-2003)

Story: A wet midnight Spring walk though Tokyo's Yoyogi Park and Togo Shrine yielded this atmospheric closing song, the last song written for the "@blivi@us" album.. The title describes what one couple experienced when gazing at the glowing white clouded-in Tokyo night sky, illuminated by the city lights as seen though the spires of leafless towering pines of the park. Simply breath-taking. 

Mr C recalled, "I attempted to capture the mixed eeriness and romanticism of that spring night ...and it's white painted sky."

Recording started May 17, 2003 in Warabi, Saitama, Japan: VOX/GTRS: MrC
 
 

wHiTE PAiNTED SKY（ホワイト・ペインテッド・スカイ）
(c) mr christopher March 24, 2003

"It's nights like this that drive men like me to women like you for nights like this." -Bob Hope (1903-2003)

『僕みたいな男に、君の様な女性とこんな夜をともにしたいと思わせるのは、こんな夜なんだ』―ボブ・ホープ（1903-2003）

物語：ぐずついた空模様の春の真夜中、東京代々木公園から東郷神社への散歩はこのアルバム最後を締めくくる雰囲気のある曲をもたらした。タイトルが表すのはあるカップルが見つめた雲が白く輝く東京の夜の空。街の明かりに彩られ、そびえ立つ葉の落ちた松の木の間から見える―全く、息を呑む光景だった。mr christopherは記憶を辿る。『僕はあの春の夜の不気味な静けさとロマンティシズムの混ざり合ったものを捉えようとしたんだ。そしてあの白く塗られた空をね。』

Recording started May 17, 2003 in Warabi, Saitama, Japan: VOX/GTRS: MrC