One record at a time: 196. Jean MIchel Jarre - Zoolook

I bought the record on the left of this picture over thirty five years ago. Unfortunately the years haven't been kind to the disc so I recently bought another copy in better condition.

When I moved from vinyl to CD I kept my original record because it was the easiest way to hear the original versions of two tracks from the album. 

About a year after "Zoolok" was released, someone decided that the single mixes of the title track and "Zoolookologie" were superior to René Ameline's original efforts. As a result, all subsequent pressings of the CD and cassette would include these remixes. Discogs suggests there were no re-pressings of the UK LP, so until the age of the internet, this first version was the cheapest way of owning the original mixes.

When I first heard this album I was struck by how different it was to "Equinoxe", "Magnetic Fields" and "Rendez-Vous". Part of the folklore of this album is that during his travels around the world, Jarre made field recordings that were subsequently incorporated into the music. In addition French ethnologist, Xavier Bellanger contributed a large number of recordings of speech in various languages that Jarre processed and wove into the fabric of the record. Yet, like many things Jarre does, these claims don't bear much scrutiny. There are a number of vocal samples that are easily identified as belonging to the sample libraries for the Fairlight CMI and the Emu Emulator, and some recordings were of Jarre and the other musicians who contributed to the recording sessions.

The first movement of opening track "Ethnicolor" uses a distinctive reversed vocal sample over a choir and melody played on the "Tut" sample from the EMU Emulator library. This track also significant because it features the only discernable use of a Yamaha DX7 in Jarre's music. Whilst the whole world was plastering their recordings with this FM synthesiser in 1984, Jarre didn't really like it and so a small scattering of tubular bells is all you will hear in his music. After about seven minutes the second movement is ushered in by French horns and various sound effects. Soon the drums of Yogi Horton come crashing through with the distinctive slap bass of Marcus Miller rattling around under the increasingly frenetic samples and synths.

In 1983 Jarre auctioned a solitary copy of an album called "Music For Supermarkets". Rather than waste the material from that record, Jarre decided to recycle some of it here. Second track "Diva" begins as an atmospheric piece in which Laurie Anderson adds various nonsensical words that sound vaguely Gallic. Before long the track moves into a second movement that echoes "Music For Supermarkets Part VII". The principal difference in the version here is that Anderson continues with her gibberish vocals and there is some guitar courtesy of Adrian Belew.

The titicular single begins side B with a nice theme played on the "AAH" sample found in the Fairlight sample library. Various vocal snippets float in and out as the slap bass chugs along. As the lead single for the album I always feel like I should like this track, but it doesn't really excite me as much as it should.

"Wooloomooloo" is based around a looped sample (I seem to remember it is called something like "Tibet" in the Fairlight) that staggers along as Jarre adds a melody and lots of effects. The single "Zoolookologie" is an upbeat and frivolous pop song that was accompanied by a video that was so bad it might actually be good. The tune is pleasant enough and for once the slap bass is restrained sufficiently to not dominate the mix.

Once again Jarre plunders "Music For Super Markets" as "Part V" is reincarnated as "Blah Blah Cafe". Here, Emulator saxophones create funky melodies with quirky vocoder vocals soaring over pitched down drum samples. It's a heady, but effective concoction. The final track "Ethnicolor II" is another slower piece based on a looped sample. There are various effects moving in and out as a meandering melody is played out on cello samples. 

To me this album sounds a bit like Jarre fell in love with the Emulator and decided to build an album around it. By creating some themes, bringing in some new musicians and recycling bits of "Music For Supermarkets" there was just enough to hang these new sounds on. Whilst it was a valiant effort, this record is not one of his best. 3/5

One record at a time: 195. Jean MIchel Jarre - The Essential / Musik Aus Zeit Und Raum

It seems logical to look at these records together as they are essentially the same compilation. Well, I say 'essentially the same' but the fact is they were all released at different times, with different artwork and different content.

"The Essential" was first released in 1983 and presented various tracks from Jarre's first four albums. As you might expect this compilation opens with the main themes "Oxygene Part IV", "Equinoxe Part V", "Oxygene Part II" and "Magnetic Fields Part II". So far, so predictable.

Things do go slightly awry with the selection of  "Orient Express" which is a bit bombastic when held up against the smooth textures of "Oxygene" and "Equinoxe". The inclusion of "Magnetic Fields Part I" is much more understandable but it fades out after a mere three minutes. Side One finishes with an excerpt from "Fishing Junks at Sunset" which clearly illustrates there is diversity in Jarre's music even if it is not always enjoyable.

The flip side opens with a surprising selection, "The Overture". This is a good track but it is basically a rehash of a song we've already heard. The next three numbers are all appropriate choices for an "Essential" compilation, but both "Equinoxe Part IV" and "Magnetic Fields Part IV" are curtailed prematurely. Things go off the rails at the end with a jumble of tracks from "Equinoxe" and the uncomfortable "Magnetic Fields Part V".

For the German speaking market there was another compilation the following year called, "Musik Aus Zeit Und Raum". In my youth I used to see this record available as an import and was fascinated by the sleeve. One day I decided to buy it as I only owned "The Essential" on cassette and the track choices on this record seemed much better. When I got the record home and dropped the needle I was a little surprised to find new versions of "Magnetic Fields Part II", "Equinoxe Part IV" and "Magnetic Fields Part IV". I didn't know it at the time but, for whatever reason, this album features the single mixes of these tracks. It is also worth noting that the version of "Equinoxe Part V" included here is the original 1978 album mix as opposed to the more common second mix. I own the Polydor version of this record (a rare survivor from my youth) and the "Polystar" version and they both feature these different mixes - disappointingly the CD version uses the standard album versions. 

The final compilation is from France and is titled "The Essential 1976 -1986". This later release is pretty much the same as the 1983 version but swaps out "Equinoxe Part I" for the single remix of "Zoolookologie". Whilst this change is a slight improvement over the original, there was a lost opportunity to substitute some of the weaker tracks with more material from "Zoolook". So "Zeit Und Raum" remains the pick of these early compilations and the vinyl with the single mixes is a real bonus. 4/5

One record at a time: 194. Jean MIchel Jarre - The Concerts In China

"The Concerts In China" is a double album that documented (and paid for) Jarre's 1981 concerts in Beijing and Shanghai. 

This record contains live renditions of previously released tracks along with 'over 40 minutes' of new material.

Much like Japan's "Oil On Canvas", there is much debate as to just how 'live' these recordings are. Most artists edit, mix and overdub their live recording to make them sound better, but with this record I get the feeling the post production changes amounted to more than a few minor embellishments. 

There's no doubt that the coda, "Souvenir Of China" is a studio recording as it was written after the tour. Whilst "Orient Express" seems to have been played during some of the concerts, I strongly suspect the version heard on the album wasn't captured in front of a live audience. 

We get some indication of just how much post-production went into these tracks if we compare it to other sources such as the recording of the first Beijing concert that was broadcast by Dutch radio or the VHS of the album. The music on these recordings is unvarnished and comes replete with mistakes and even some different arrangements. Whilst we know the content of the shows evolved during the course of the tour, this doesn't fully account for the obvious gulf between these raw recordings and the finished product.

So there is no doubt there is a considerable amount of studio augmentation going on and this record doesn't reflect exactly what was heard in the concert halls. I guess its down to the individual to decide if that matters or not. As with many things Jarre does, you are supposed to enjoy the spectacle and ignore the details.

I own a copy of the "40th Anniversary Edition" of this album but haven't played it yet. From what I read on Discogs the audio on this version is compressed and the discs may even have issues with skipping, so I will need to investigate that at some stage. With this in mind, we will spin a copy of the original UK pressing from 1982.

The album begins with "The Overture" which is brooding piece that uses the same sequences as "Magnetic Fields Part I" at a much slower tempo. After this great opening we move on to one of the most revered tracks from this album with the stunning "Arpegiator". Yes, the title is unimaginative but the music is a sublime slice of early eighties electronica that deserves to be lauded as one of Jarre's best. The first side closes with a rendition of "Equinoxe IV" which sees Roger Rizzitelli dominate the rest of the band by enthusiastically attacking his Simmons kit.

Side two starts with an arrangement of a traditional Chinese tune "Fisherman's Song at Dusk"  but the sleeve gives the impression it was written by Jarre. At nearly ten minutes in length this can be a test of even the most ardent Jarre fans stamina, but the synthesiser driven sections are entertaining enough. There is a short rendition of "Band in the Rain" from "Equinoxe", which is only significant because it was the first time the piece was given a title. The long meandering introduction to "Equinoxe VII" builds a tension that resolves with the introduction of the songs sequenced bassline and the audience clapping along completely out of time. The ten minutes of this song pass in a blur of melody, Fairlight samples and a merciful respite from the Simmons kit of Rizzitelli.

The second disc opens with "Orient Express" which is a new composition that features a poppy melody over a disco bassline. Whilst this song is passable, it isn't exactly Jarre at his peak. The sleeve notes mislead us into thinking the next track is "Magnetic Fields Part I" but in reality it is just a sample of pong pong balls - this has always mystified and annoyed me in equal measure. Up next is a version of "Magnetic Fields Part III" which gives way to a lively and entertaining version of "Magnetic Fields Part IV" which the crowd seem to respond to enthusiastically. 

"Laser Harp" would probably have been a more entertaining spectacle when seen live and the rather tuneless piece Jarre generates with his new found toy is nothing to write home about. "Night In Shanghai" is another new track which sees Jarre sampling traditional Chinese instruments and running them through his Fairlight. After about two minutes a sequence starts up and the piece begins to gather some momentum and once it is up and running this is an entertaining piece. On this album "Magnetic Fields Part V" is rechristened "The Last Rhumba" and isn't a track I enjoy much. The finale to the concerts was always a stirring rendition of "Magnetic Fields Part II" which has the most amazing solo by Dominique Perrier. A new studio recording "Souvenir Of China" is tagged onto the end of the album and fits quite well. Personally I'm not too keen on the track as it seems very ponderous and largely devoid of melody, but it doesn't detract too much from what has gone before. 3.5/5

One record at a time: 193. Jean Michel Jarre - Magnetic Fields

I purchased my original vinyl of this record in about 1987 from the record department of a local supermarket. As I approached the till I realised the record had two price stickers with differing amounts. Unfortunately I only had enough money for the lower price and I hoped this is what I would be charged. Inevitably the lady at the till requested the higher amount and I was short to the tune of 11p. As I stood wondering what to do the person behind me in the queue said, "We can't be having that," and handed over the 11p to the shop assistant. I thanked the man profusely but couldn't quite fathom out why he would be so kind. Maybe he was a Jarre fan, maybe he was a music buff or maybe he was just someone spreading a little kindness in the world. Which ever he was, I have always vowed that if I ever come across someone in the same situation, I will help them in turn.

Having foolishly sold my original vinyl in a rush to CD in the early nineties, I now own an original UK pressing from 1981 (with picture inner that was missing from subsequent re-pressings), a mid eighties version that is similar to my original and a remastered version from 2011. There's not a lot to choose between the different pressings so I will pick one at random.

Whilst "Part I" of this album occupies the whole of the first side of the disc, it is actually split into three distinct movements. On the opening theme we hear pulsating synth bass lines, Fairlight choirs and the soaring tones of an Oberheim OB-X. The middle of the song is less rhythmical and sees Jarre scattering various Fairlight derived effects and samples across a meandering melody. In my youth I would always anticipate the sounds of a jet engine moving across the stereo image as it signals the transition into the last movement. This section of "Part I" is definitely my favourite as it has some fantastic sequenced parts along with a strong melodic element. Thanks to the Fairlight there is a much greater diversity in sound on this record and things have definitely moved on from "Oxygene" and "Equinoxe".

On the flip side, "Part II" is the most "pop" element of this album. Weird hybrid hand claps signal a frenetic run through catchy themes that build to a satisfying crescendo: Jarre now has real polysynths and he has the chords to prove it. Whilst the album version of this song is good, it sounds a little flat without the superb solo by Dominique Perrier that first appeared on the album "Concerts In China". It seems M. Jarre concours with this appraisal as this solo has been added to almost all subsequent renditions and re-recordings of the song.

A passing train signals the segue into "Part III" which is based around a looped sample from the Fairlight. To my adolescent ears this sounded like nothing more than album filler, but today I regard it as an interesting diversion that demonstrates Jarre was capable of more that trite little pop tunes. 

The pièce de résistance of this disc is undoubtedly "Part IV". This is one of my favourite Jarre tracks and I consider it a masterpiece of electronic music. I particularly like the melody on this track and the sequencer driven bassline is superb. There are smatterings of vocoder and percussion to add sonic flavouring, whilst various sequences and effects swirl around us.

The final piece on this album is a strange rhumba that sounds like it was played on a home organ. In my youth, this is the track people would point to if they wanted to deride my musical preferences. I can see Jarre was trying to create a companion piece to "Band In The Rain" from "Equinoxe" but this is overindulgent nonsense that spoils the end of an otherwise impressive album. 4/5

One record at a time: 192. Jean Michel Jarre - Equinoxe

"Equinoxe" is Jean Michel Jarre's fourth album and I own a UK pressing from the mid-eighties, a double pack that includes "Oxygene" and a repressing from 2011. Some people seem to like the 2011 version but my copy sounds dull and lifeless. So, for this review I will play the reliable eighties version.

I first started to buy Jean Michel Jarre's records around 1987. By the time I bought the cassette of "Equinoxe" I was familiar with "Zoolook", "Rendez-Vous" and "Magnetic Fields" but much of his earlier work was a mystery to me. When I first heard "Equinoxe Part I" oozing from my bright red Ferguson Escort 3T46 personal cassette player, I was a little surprised. 

Jarre starts this album with slower, atmospheric pieces that don't necessarily jump out and grab the listener. If you're looking for pop tunes and an easy ride then the first three tracks on this album may not be for you. The usual sounds of the Eminent strings are now augmented by horns from a Yamaha CS-60 and the Oberheim "Polyphonic Synthesiser". As the bass drum and sequencers of "Part 4" kick in, the mood shifts a little. Whilst this track retains the darker sounding textures, it introduces a strong melody and develops its themes into a seven minute extravaganza of VC3 effects, Mellotron choirs and a whistling ARP 2600.

Side two opens with "Part V" which is probably the best know piece from this record. There is a pleasing melody and some impressive production touches that will fulfil the casual listener. I think my over familiarity with this song means it loses some of its magic, but I still enjoy it. There are actually two mixes of this song dependent on which pressing of the album you have. The original 1978 album features a mix that was replaced on later pressings and all compact discs. You can tell the two versions apart by listening for the güiro percussion sound which is present from the start on the original but fades in after a couple of bars on the remix. I also think the VC3 type sound effects are much more prominent on the newer version. Personally I prefer the original, but the differences are relatively minor.

The sequencer driven "Part VI" is a neat diversion before the most impressive piece on the record which is predictably titled "Part VII". An ARP 2600 bassline kicks things off before the familiar Eminent strings creep in to weave an intriguing melody. As the music slowly builds new themes are woven into the fabric of the song and it develops into something almost uplifting. After five minutes or so we taken into a coda which brings us slowly back to earth in a shower of shimmering VC3 generated sound effects. As the rain starts to fall we hear a "Band in the rain" before "Part VIII" resurrects the theme from "Part V". 

In my youth I liked this album a lot more than I do today. Whilst I still regard these compositions very highly, I can't get past the fact that a large part of the first side is too languid and the ending is something of a disappointment. Today I can hear how much Jarre had moved his sound on from "Oxygene" with vocoders and sequencers, but it remains too reliant on the familiar Eminent strings and constant VC3 effects. The real revolution in Jarre's sound was to be brought about by digital technology. 4/5

POST SCRIPT: Having written about the two different mixes of "Part V", I realised I didn't own a copy of the original pressing of the album with the first mix. I do own the mix on on various other discs, but something compelled me to buy an original. The earlier pressing are easy to spot as the have red labels and a picture of Jarre's face emerging from the shadows on the rear sleeve.

In the end I won an auction that also contained an early copy of "Oxygene" which was still partially contained in its original cellophane wrapper (a sure sign a record has been looked after).  As I expected, there isn't a scratch on these records but they were very, very dirty. Once I had put them through my cleaning machine they looked and sounded great; but the cleaning solution seemed to turn a murky grey colour that I have never seen before.

One record at a time: 191. Jean Michel Jarre - Oxygène

In the seventies, foreign countries seemed remote and completely alien to me. Most of the people I knew led introverted and parochial lives that rejected anything 'foreign'. The idea of eating exotic foods like croissants, olives or even wholemeal bread would have made half of England collapse into their fish and chips fifty years ago.

As a result of this narrow minded attitude, every single person in my childhood pronounced the title of this album as "Oxy-jean". It wasn't until around 1985 that a French teacher corrected me and I finally began to pronounce the title correctly. 

I am still surprised this album was so popular in a country that couldn't even pronounce a simple word like "Oxygène". And yet, this record reached number two in the UK charts in 1977 and the single release of "Part IV" also penetrated the top five.

It stands to reason that an album that has sold a large number of copies will have resulted in a correspondingly large number of formats, pressings and re-issues. Discogs lists 409 different versions of "Oxygene" with contemporary releases "Albedo 0.39" by Vangelis clocking up a mere 93 entries and big hits like "A New World Record" by ELO generating 236 versions. There are also another 30 versions of the "New Master Recording" of "Oxygene" which contains the same music but from an entirely different master. Definitely a new master and not the the original. Completely different.*cough*

Unfortunately I sold all of the Jarre vinyl I collected in my youth around 1990, so here I will be playing a remastered version from 2015. I also own copies of the record from the "Oxygene Trilogy" box set and a gatefold where it is coupled with "Equinoxe".

"Part I" begins with Jarre's signature sound of Eminent 310 strings through a Small Stone phaser and a Revox delay. Those tuning in expecting the Mini-pops beats and catchy melody of "Part IV" must have had quite a shock at being confronted with this dreamlike journey through the stars. The cornerstone of  "Part II" is the staccato synth melody which is augmented by pulsating VCS 3 sound effects and the Korg Mini-Pops drum machine. Whilst I have always like this song I don't regard it amongst the elite of Jarre's material as others do. The first side of the record finishes with the more aggressive sounding "Part III" in which a kick drum plods away before giving way to bird song.

I think almost everyone will be familiar with "Oxygene IV" so I won't go into it here. This is one of those songs that I've heard so many times it seems to just wash over me. Don't get me wrong, it is still think it is a genius idea, but extreme familiarity has brought a mild disinterest. Strangely "Part V" is actually split into two parts which both roll in at around five minutes in length. The shimmering Farfisa organ of the first section gives way to contrasting rhythmical sequences and a pulsating bassline. Things slow down for the final piece "Part VI" which brings back the Korg Mini-Pops and VC3 sound effects for one last hurrah. This might be the album that made Jarre a household name, but it is far from my favourite album he has released. 4/5

One record at a time: 190. Japan - Oil On Canvas

With this record we reach the last that I own by Japan and the end of the first row of shelves in my storage unit. I bought this double LP almost 2 years ago whilst visiting Hull and it's not in the best shape.

Released six months after the band had split up in 1983, this is Japan's highest charting album. "Oil On Canvas" is a bit confusing as, whilst it purports to be a 'live' album, it actually includes a variety of studio recordings. There is also some debate as to just how 'live' the rest of this album really is. Most bands admit to overdubbing live recordings to correct small mistakes, but if the internet is to believed then just about everything on this record was re-recorded in the studio.

The title track that begins the album is a studio recording that is effectively a solo piece by Sylivian. Whilst the music is competent, it isn't remarkable and I fail to see what value it brings. "Sons of Pioneers" is the first 'live' recording of the album and it benefits from being a bit shorter than the original version. There's not a lot you can do to ruin a songs as good as "Gentlemen Take Periods" so this sounds pretty good. Were evidence needed that the band used backing tapes then it would be provided by "Swing". The pre-recorded CR-78 drum machine and saxophones play away as the band mould themselves around it quite successfully. 

The flip side of the first disc starts with "Cantonese Boy" which sounds so precise it's almost mechanical (in a good way you understand). "Visions of China" and "Ghosts" sound good, but they don't really deviate from the album versions. At this point I can't help but feel there isn't any innovation or further exploration of these songs.

The first sign of invention comes with a new studio recording of "Nightporter" on the second disc. This mix is much more synth driven and has a few additional effects but nothing too extreme. I am choosing to pass over "Still Live In Mobile Homes" as I really don't like it. The two tracks to feature the same synth patch "Methods of Dance" and "Quiet Life" come next and, as you might expect by now, they are almost carbon copies of the album versions. Instrumental "Canton" sounds a little ropey on this version and Mick is clearly struggling to reproduce the distinctive bass motif in a live context. Another short instrumental "Temple of Dawn" rounds things out. This album is a confused mess and it really doesn't offer anything above the studio recordings. 2/5

One record at a time: 189. Japan - Tin Drum

I bought this second hand copy of "Tin Drum" from eBay in 2014 and it is in pretty good condition. 

Of all Japan's back catalogue, I bought this album first as it featured the single "Ghosts". I originally heard this track on a compilation called "New Romantic Classics" in 1992. Whilst hardly any of the artists featured on the compilation actually belong to the New Romantic movement, it did have some great songs and sparked my interest in Japan.

I am aware this album is revered and lauded by many as the artistic peak of the band; but I'm not too keen on it. For my money "Gentlemen Take Polaroids" is a far superior piece of work and has aged much better than this album.

The opening track "The Art of Parties" relies on syncopated rhythms interspersed with wailing guitars and oriental sounding synth patches. Sylvian delivers his distinctive vocal, but the instrumentation is messy and nothing gels. Second track "Talking Drum" repeats the formula and fails to spark in the same way. 

The afore mentioned "Ghosts" is a tense affair powered by a sparse arrangement that leaves the listener to fill in the blanks. Whilst I really like this song, it seems unfathomable that it reached number 5 in the chart when it was released as a single. This song doesn't strike me as radio friendly but then 'synth music' was burgeoning in 1981 so maybe it did get some airtime. "Canton" is an instrumental that harnesses Mick Karn's superlative skills on fretless bass but it uses far too many cliched oriental synth sounds for my taste.

I hate "Still Life In Mobile Homes"; it is irritating beyond belief. I can't bring myself to say any more about it. "Visions of China" sounds bit twee in the context of this album but it is a good song nonetheless. Whilst the penultimate song "Sons of Pioneers" elevates Mick's bass and the cliched synth noises are toned down a bit, it doesn't really have a melody. "Cantonese Boy" is brilliantly produced but doesn't do enough to draw me in. 2/5

One record at a time: 188. Japan - Gentlemen Take Polaroids

Whilst I like this album, I don't like this particular version of it. Abbey Road half-speed remasters are sold as some kind of audiophile pressing that provide a superior listening experience. Yet every Abbey Road half-speed master I have heard has sounded AWFUL. I hate them.

This 2018 2-disc edition of "Gentlemen Take Polaroids" is so bad that the retailer had to send me a second copy of the first disc because tracks such as "Burning Bridges" has rotation noise on the intro, lots of loud clicks and terrible distortion throughout. When the sibilance dies down you can hear a song creeping out here and there, but its a pretty depressing experience (I may have exaggerated a little here but you get the idea. I wasn't too impressed by this rather expensive record).

So it is with a heavy heart that I drop the needle and listen to the title track. Whilst the first song is over seven minutes long, the time flies as layers of David's vocals and dreamy synth riffs wash over you. This song is one of the best the band recorded and I really enjoy it.

Another favourite is "Swing" which uses a Roland CR-78 alongside Steve's amazing drumming and Mick's splendid fretless bass. There's something about the melody and syncopation on this track that make it both beguiling to listen to and a testament to the musicianship of the band.

On the b-side of the first disc we hear the semi-instrumental "Burning Bridges" emerge from the cacophony of rotation noise, clicks and over saturation provided by this vinyl. I wouldn't mind the distraction of the additional noise if I enjoyed the music, but this track leaves me a little cold. "My New Career" rounds out the second disc with its quirky chorus and intricate synth work (all bathed in a light but annoying level of distortion thanks to the bad pressing).

"Methods of Dance" begins the second disc with the same synth sound that underpins the song "Quiet Life". Reusing such a distinctive sound is a curious choice but there is plenty of original ideas in this song to justify its existence (if not its seven minutes length). There's a cover of Marvin Gaye's "Aint That Peculiar" which definitely uses the same lyrics as the original, but there the similarity ends. I love Mick's bass here and to give this much maligned pressing due, this song sounds pretty good.

The triple meter "Nightporter" is a simple but mesmerising composition that demonstrates how good David Sylvian is as a songwriter. Despite its undeniable quality, this track feels a little laboured and drawn out. I get the feeling they were aiming to occupy a specific length of time rather than achieve an artistic goal here. The album finishes with the excellent "Taking Islands In Africa" which is a collaboration with Ryuichi Sakamoto. As you might expect the synth work on this track is imaginative and exquisitely realised.

As I mentioned on the review of "Quiet Life", the sound of a Japan record is very distinctive. There's no doubt the defining sonic characteristic of the band was the combination of Mick's fretless bass, Steve's drumming and David's vocals. On this record the synthesizers and keyboard work of Richard Barbieri and Ryuichi Sakamoto are allowed room to breathe and add a final sheen that was missing from earlier albums. There's hardly any guitar on this record and it sounds all the better for it. 4/5