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

One record at a time: 187. Japan - Quiet Life

I bought a copy of the remastered red vinyl of this album in 2021. I'm not sure where I ordered the record from but I suspect it would have cost over £20. I was content with this until Amazon started selling the "Deluxe Edition" which included an LP, three CDs and a book for £25 a few weeks later. So now I own both versions.

The title track that begins this album is a pulsating mix of analogue synths and the superlative rhythm section of Steve Jansen and Mick Karn. As David Sylvian begins to croon in his distinctive lilt it's hard to imagine a song that sounds any more eighties. Which is a stupid statement as this album was recorded and released in 1979.

The second track "Fall In Love With Me" is less conventional and is probably a more accurate reflection of the 'true' sound of Japan. As Karn's fretless bass twists and slurs along you can't help but wonder at his genius.

"Despair" is a suitably maudlin number that sees David singing in French alongside an analogue beatbox. The last track on side one is "In Vogue" which has a distinctive electric piano motif and some great bass but little else to recommend it.

Side two opens with "Halloween" which features more of the drums, fretless bass and sax combination that has gone before. As the album progresses the amount of synthesiser recedes and the tracks become less interesting as a result. The cover of "All Tomorrow's Parties" is a suitably dreamy glide but Barbieri's synth work is pushed to the back of the mix. By the time "Alien" and the final track "The Other Side of Love" come around the synths have been replaced by an orchestra and things just peter out. 

I've seen this album described as "synth based" but in reality the synths are just a garnish; a little sprinkling of fairy dust to augment the traditional rock band. Still, there is something about the totality of this album and its palette of sound that is very impressive. 3/5

One record at a time: 186. Janet Jackson - Control

I only really became enamoured with Janet Jackson's early work when a friend played me this album sometime in the mid nineties. Hearing "When I Think of You" blasting from a high powered car stereo seemed to fire my imagination and I became a confirmed fan of this record.

The copy I am playing here is a 180g re-release from 2019. I bought this record from the Universal online store as it wasn't much more than £10.

The opening title sets out the stall for what is to come. By and large these are heavily rhythm driven tracks with a sparse but funky production style. "Control" has a level of honesty that sets it apart from the manufactured pop being released at the time. When Janet tells us she is "now in control" she means it.

"Nasty" is another single that seemed to be defining a whole new genre in 1986. This song has an amazing groove that is all the impressive when you consider Jam and Lewis didn't even need to resort to using a bassline. "What Have You Done For Me Lately" has the winning formula of imaginative lyrics and a strong a club vibe. "You Can Be Mine" sounds less original and is the closest thing to album filler you will find here. However, if you are looking for a prime example of an eighties guitar solo, look no further than this track. It is impossible to find anything more 'eighties'.

"The Pleasure Principle" is the only track not produced by Jam and Lewis and, despite some weak vocals on the first chorus, it retains the same polish as the other efforts. For me the absolute pinnacle of this record is "When I Think Of You" with its amazing Yamaha DX7 BASS 1, Linn LM1 beats and Ensoniq Mirage piano. If you listen to the horns in isolation (also derived from the Mirage) they are actually very basic; but in the context of the song they make a perfect punctuation for Janet's silky vocals.

"He Doesn't Know I'm Alive" pulls on some funk influences but is still a little to generic to impress all that much. I always found ballad "Let's Wait A While" disappointing as its chorus sounds twee and the whole thing just plods along without doing much. Yet, it is worth remembering that songs such as this were covering new ground in the eighties. Girls were finally calling the shots and not only that, they were singing about it. For my money, a much better ballad is the final song "Funny How Time Flies" that has a truly inspired chorus. As for the ending of the song.... 4/5

One record at a time: 185. The Human League - Secrets

I bought this album when it was released in 2001 and I only listened to it a handful of times. In fact, I think I threw out my original CD with a limited edition O-card during a 'clear out' a few years later (don't ask, I'm still not ready to talk about it). I thought this album was a disjointed and inconsistent affair and it didn't warrant my attention.

In recent years I have re-purchased the CD and also acquired the vinyl version released in 2018. I missed the limited edition white vinyl released for Record Store Day the same year, but my copy does have a second disc of additional material not included on the other.

Lead single "All I Ever Wanted" opens the record and is probably the best thing on here. I purchased both CD singles of this when they were released and, despite the disappointing remixes, I was quite impressed.

The second track "Nervous" is an instrumental that only lasts for two minutes and it saps the energy built by the opening track. It might have been better to have maintained the momentum and placed the second single "Love Me Madly?" here instead. 

The next track "Shameless" has a classic Human League sound that is a bit weak in the first chorus but gets beefier as things progress. There's another instrumental titled "122.3 BPM" which is a Kraftwerk inspired ditty that peters out after a minute and a half. There's another typically HL sounding track "Never Give Your Heart" where Susan takes on the lead vocal duties. This is quite a good song that I think I must have overlooked when I first heard this record. "Ran" is nothing more than an instrumental interlude that brings side one to a close.

"The Snake" features some hokey lyrics but, like a lot of these songs, has quite a strong melody. "Ringinglow" is another instrumental but is more substantial at three and a half minutes long. I'm not a big fan of "Liar" as it sounds a little trite and under-produced. Phil's vocal melodies also remind me of another song, but I can't quite place it. 

"Reflections" and "Sin City" are less memorable tracks that seem to just pad out the second side. The last track "You'll Be Sorry" is another good pop song that leaves us on a high. The second disc has a disappointing b-side called "Tranquillity" and some typical millennium era dance mixes that are decidedly annoying.

I think part of the problem with this record is it can be difficult to discern what is going on. The various instrumentals don't really offer much and just serve to confuse things. If we were to discard the instrumentals and revise the running order, we might end up with a more concise album that gives the better songs room to breathe. 3/5

One record at a time: 184. The Human League - Octopus

For some reason Blogger deleted by original version of this post so I am having to rewrite it. This unexpected turn of events has given me the opportunity to re-think how I write about this album.

You see, I like this album and it has some great songs; but I think I am drawn to it as it reminds me of a very specific time in my life.

During the summer of 1995 I played this album as I commuted back and forth to my first 'proper' job. Like a lot of people, my first car was a little dilapidated and it had no in-car entertainment of any kind. In order to hear music I had to use a personal cassette player and some portable speakers. In my memory, the sun was always shining as I swept along empty streets with "Tell Me When" blaring from the passenger seat. Great days.

Yet, when I look back now, I can see that I used to work long hours with horrible people for little money and absolutely no thanks. The car was actually borderline dangerous and, whilst the streets were definitely less crowded back then, the paving stones had also been torn up and thrown at the Police.

In the cold light of day this album seems to lack a little punch. Producer Ian Stanley (I didn't realise it was the Tears for Fears Ian Stanley for a loooong time) seems to have pulled back on the transients and gone for a much more rounded, analogue sound. To this day I prefer the Utah Saints remix of "Tell Me When" to the album version and the Hardfloor remix of "Filling Up With Heaven" wipes the floor with the original. There's clearly some album filler on here too and the last track could never merit its seven minute run time.

When I put my rose tinted spectacles back on, this album can transport me to the warm summer of 1995 when I was young and my future stretched out before me. Some of the songs might be a bit limp, but they are redolent of summer mornings and new beginnings. Which is along winded way of saying my assessment of this album is completely flawed. 5/5

One record at a time: 183. The Human League - Romantic?

I didn't actually own this album until April 2007 when I bought a CD from eBay. Today I also own an original 1990 pressing of the album and the clear version from the "Virgin Years" box set.

The fact that the majority of this album was produced by Mark Brydon of Moloko and Robert Gordon of Warp Records blows my mind. Of course, back in 1990 neither Mark or Robert had achieved the notoriety they have today, but it was still quite a revelation when I read the credits.

Unfortunately this album finds the band at rock bottom. Four years had passed since "Crash" and they now found themselves completely out of step with current trends.

Quite how anachronistic the band were at this time is illustrated by the opening track "Kiss the Future". As Philip begins to channel his inner James Brown he emits various grunts and groans which sound ridiculous. Most of the synth sounds on this track are poor and the melody is just plain bizarre.

Susan takes up vocal duties for "A Doorway?" accompanied by little more than a breakbeat and some Memorymoog organ sounds. Whilst this isn't the worst song ever recorded by The Human League, it hardly makes for an inspiring opening.

The first flash of quality comes with "Heart Like a Wheel" which sees the welcome return of Martin Rushent as producer. I've always liked this song and I even saw the video on television a few times back in the day. Yet, when released as a single it only just broke into the top 30 and signalled the end for the band at Virgin Records.

The long outdated BASS 1 preset from the Yamaha DX7 gets rolled out for "Men Are Dreamers" which also has some backing vocals that are completely off key. "Mister Moon and Mister Sun" has some unmistakable William Orbit touches that make it sound almost contemporary, but the wailing guitar drags it down. 

I'd love to have been in the meeting where the record company identified "Soundtrack to a Generation" as a single because there must have been some strong substances on offer. This song is as naive as they come and some of the lyrics are just agonising. Unfortunate producer Bob Kraushaar clearly decided that if you can't polish a turd, you might as well try to roll it in glitter.

One of the songs that struck me when I first listened to this album was "Rebound" which is quite haunting and benefits from William Orbit's mix skills. It is rumoured that "The Stars Are Going Out" was scheduled to be released as a single but was shelved when it was mauled by music critics. For once the label made the right choice and this remains an album track.

In retrospect, a cover of a Glitter Band song seems very ill advised, but in 1990 "Let's Get Together Again" was merely seen as passé rather than toxic. The songwriting powers of Jo Callis and enigmatic funk composer Jesse Rae combine to provide the final track "Get It Right This Time". Not only is this a good composition but it also benefits from the production chops of Martin Rushent. If only the rest of the album had been executed with the same level of skill. 3/5