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
