Backstreet's Back Japan Initial Release, Regular Press CD

The earliest release world wide with 3 bonus tracks. One of them is exclusive in Japan versions.

Album Comment:

In May 1996, the Backstreet Boys’ album Backstreet Boys suddenly shot to No. 1 on the German pop charts. Germany, known for its strong support of boy bands, became the overture for the group’s breakthrough. In fact, this success was all the more remarkable because it dethroned Greatest Hits, the final album by their predecessors, Take That. Looking back now, this moment symbolized a generational shift at the top of the global music scene.

Since then, the Backstreet Boys' rise has been nothing short of extraordinary. After exploding in popularity in Europe, they became stars across Asia-Pacific countries like Japan, Hong Kong, South Korea, Australia, and New Zealand—almost as if moving in the opposite direction of the Earth’s rotation. From last year into this one, they even achieved massive popularity in Canada, where Backstreet Boys also reached No. 1. And just recently, they achieved what had long been considered their final frontier: a triumphant return to their home country, the United States. Their U.S. single “Quit Playing Games” debuted at No. 24 on the Billboard Pop Chart on June 28, 1997, and had already climbed to No. 13 in its second week. At this pace, reaching No. 1 doesn’t seem like a dream.

Incidentally, “Quit Playing Games” had already hit No. 1 in several European countries—including Germany, Austria, and Switzerland—by the end of 1996. It also debuted at No. 2 in the UK, making it a milestone as the group’s first No. 1 hit in Europe. During their tours in Canada (March to April) and Europe (June to July), including shows at London’s Wembley Arena and Luxembourg’s Ice Hall, the song was performed during the encore and was one of the audience’s favorites.

Fortunately, I’ve had the chance to witness their live performances at pivotal moments in their career. Most recently, I attended their June 26 show at London’s Wembley Arena. The show featured two opening acts: Solid Harmony, a four-member group considered spiritual "sisters" to the Boys, and Deni Hines, who had debuted earlier in Japan—making for a uniquely London-style lineup that reflects its status as a music capital. The Backstreet Boys’ performance followed the structure of their Canadian tour, mixing familiar dance tracks and ballads. In the a cappella segment, they performed songs by Boyz II Men and Color Me Badd, and in their individual solo spots, they sang covers of artists like the Commodores. These choices, while different from their album material, demonstrated a clear respect for their R&B musical roots and were especially memorable.

A highlight of the show featured Nick on drums and Kevin on piano performing a duet, leading into Kevin’s solo performance of a new song, “10,000 Promises”—a clear sign of what’s to come. Digging deeper, their duet hinted at the Boys’ future evolution—from performers backed by top-tier creators to a group writing and performing their own original material.

When a popular idol group is on the rise, it's often during this period that they release a definitive masterpiece that captures the spirit of the time—both musically and culturally. New Kids on the Block did it with Step by Step, and Take That with Everything Changes. Now, the Backstreet Boys’ second album stands as their own such artistic leap—a masterpiece that reflects their growth as artists.

There has already been plenty of buzz and information circulating about their second album, which had been in production since last year. While there were early reports that they had recorded a track by Babyface (which may indeed have happened), my honest impression is that the final album is quite different from what was originally reported. That said, it goes without saying that the finished product exceeds those early expectations.

Reflecting on my own assumptions, I had expected the second album to be a highly commercial release featuring a glamorous lineup of producers and songwriters. In a way, that prediction was correct. However, after listening to the album, it’s clear that the focus isn’t just on star producers. Instead, the album succeeds by striking a perfect balance between musical experimentation that fits the Boys’ growth and broad commercial appeal. Their vocal and harmony skills have always been top-notch—setting them apart from other boy bands—and this album vividly showcases who they are today.

Each track on the album is strong in its own right, but two key songs stand out: “Everybody” and “All I Have to Give.” “Everybody,” with its triumphant theme reflecting the Boys’ victorious return, was produced by Dennis Pop and Max Martin—the duo (or solo) behind previous hits like “We’ve Got It Goin’ On” and “Quit Playing Games.” These Swedish creators have become indispensable to the Boys’ sound. “Everybody,” a more mature and powerful version of “We’ve Got It Goin’ On,” had already been introduced as the opening number during the Canadian and European tours.

On the other hand, “All I Have to Give” is the work of Full Force—a producer/artist collective making their first appearance with the Boys. Full Force has a track record of hits with Cheryl “Pepsi” Riley, Lisa Lisa & Cult Jam, and Samantha Fox. This song is a superb love ballad that blends '70s folk, rock ballad elements, and R&B sensibilities. It’s a track I hope becomes a single.

“Hey, Mr. DJ” features an Arabic flavor mixed with reggae grooves and funk, offering not only a unique sound but stunning vocals and harmonies that blend perfectly with the beat. Another standout is “Good Girl,” which begins with Nick’s sweet vocals. Its sticky keyboard-driven sound recalls Pigbag’s 1982 club hit Papa’s Got a Brand New Pigbag, enhanced with Middle Eastern emotion—an exciting fusion. From its opening solo to the full group harmonies, the track fully showcases their vocal individuality.

The long-rumored cover of PM Dawn’s “Set Adrift on Memory Bliss” is here as well. The original famously sampled Spandau Ballet’s ballad “True,” and this version masterfully preserves that essence. It’s an intricately crafted track. Around the same time, PM Dawn also produced “If You Stay,” previously featured on the Booty Call soundtrack.

In addition to these distinctive songs, the album includes more traditional love songs like “As Long As You Love Me,” where the group’s human charm shines through. “Like a Child,” another ballad, starts simply and evolves into a dramatic, Queen-style rock ballad—beautifully arranged and executed.

Simply put, this second album is a masterpiece that proves their talent and appeal have fully blossomed after a whirlwind year of live performances, recordings, and visits around the globe. Of course, none of this success would be possible without the Boys’ steady and humble musical efforts before their debut.

July 1, 1997 Yuji Muraoka／YUJIN