Goin' On Japan CD

Commentary:

Backstreet Boys first visited Japan in October for promotional activities, appearing across a wide range of media. One memorable highlight was their press showcase performance at Velfarre on October 29th. Beyond their idol appeal, their professional-level singing and choreography left a strong impression on industry insiders in attendance.

This Asia tour followed a demanding schedule, moving across multiple regions before arriving in Japan from Australia. During this time, Brian came down with a cold, and Kevin even had to undergo wisdom tooth extraction. Despite these setbacks, once they stepped on stage, they performed with full energy—truly a testament to their professionalism.

By the end of November, reports showed that the Boys had already reached No.1 on charts in Taiwan and the Philippines, while also entering the Top 10 across multiple charts in Hong Kong, including HMV rankings. In Japan, their album sales were steadily climbing toward the initial target of 100,000 copies. Across Asia—including Japan, Hong Kong, Taiwan, Indonesia, Korea, Malaysia, the Philippines, Singapore, and Thailand—their total sales had already reached approximately 550,000 copies. Following their success in Europe, it’s fair to say they were rapidly conquering the Asian market as well.

Meanwhile, in Europe—where their popularity was already well established—the frenzy surrounding them was often compared to a modern-day Beatlemania. Their new single Quit Playing Games (With My Heart) achieved remarkable success, including four consecutive weeks at No.1 in Germany, two weeks at No.1 in Australia, and two weeks at No.1 in Switzerland, along with strong chart performances across multiple territories.

At this point, Backstreet Boys were steadily expanding their reach across Europe, Australia, Asia, and Canada—almost moving against the rotation of the Earth. Starting in 1997, they were also set to officially enter the U.S. market, followed by South America. Given their momentum, it seemed inevitable that they would achieve similar success in those regions.

I personally had the opportunity to interview them for the second time—this time in Tokyo, following a previous interview in Poland. Kevin had just undergone dental surgery and still looked a bit uncomfortable, while Brian was recovering from his cold, which was unfortunate. But once the interview began, they were as engaging as ever, offering thoughtful and interesting insights—it turned out to be a very meaningful experience.

Since early 1996, they had been continuously promoting in Europe with activities comparable to their Asia promo tour. After visiting Japan, they only had a brief break in the U.S. before heading back to the UK to continue their schedule. Even just hearing about it made their intense workload clear.

Despite the immense pressure that comes with success, the group’s strong bond—like that of brothers—seems to keep them grounded. Kevin even showed the others where his tooth had been removed, and Nick playfully acted like the youngest sibling, getting teased by the rest. Their dynamic felt genuine and joyful. From this interview, I truly felt confident that they wouldn’t follow the path of groups like Take That and suddenly disband—at least not anytime soon.

Now, let’s talk about this release.

This EP compiles alternate versions, remixes, and previously unreleased tracks from their European singles. Even for fans who already own the debut album, this six-track selection offers something fresh and worthwhile. It presents a different side of the group’s music, making it a great companion piece to the album. For reference, the maxi singles mentioned here are based on their European releases.

1. We’ve Got It Goin’ On (Radio Edit)
This is their debut single in Europe and the United States. The group worked with Swedish producers Denniz Pop and Max Martin—who were gaining recognition through their work with Ace of Base. This funk-pop track helped define one of Backstreet Boys’ signature dance styles. The song achieved gold status in Germany and reached the Top 10 across Europe. It was later reissued in the UK, where it also made a successful return to the charts.

2. We’ve Got It Goin’ On (House Mix)
Also featured on the maxi single, this remix was handled by Hula, transforming the original hip-hop-influenced track into a faster-paced house version. It’s a great example of how the song adapts to a club-oriented sound.

3. Get Down (Club Mix)
This track represents their debut single in Japan. The version included here is a rare mix not featured on the Japanese maxi single. Originally appearing on the European We’ve Got It Goin’ On release, it showcases an exotic, groove-driven European house style.

4. Tell Me That I’m Dreaming
A rare track not included on the debut album. While built on a hip-hop beat, it carries a nostalgic feel reminiscent of 60s and 70s pop. It reflects the influence of groups like New Edition, whom the Boys admired. Nick’s youthful vocals add a charming, slightly innocent quality. While perhaps not as polished as the album tracks, it remains an interesting and unique addition.

5. I’ll Never Break Your Heart (Radio Edit)
Released as their second single in Europe, this ballad became a major hit, reaching No.2 in Switzerland and the Top 10 in several other countries. With strong vocal harmonies, it stands out as a classic love song. Originally written by Eugene Wilde, the track was produced by Timmy Allen. This radio edit is about 24 seconds shorter than the album version.

6. Roll With It
Produced by Veit Renn and remixed by Mister Lee, this track features an impressive production team. It also appeared on the debut album and was included in the UK maxi single for I’ll Never Break Your Heart. Its polished production and groove make it a standout closing track.

12/2/1996
YUJIN