Akiko Yano and Tadaima



Akiko Yano 1981 tour programme

As a young British music fan way back in the mists of time (1982) following the band JAPAN, I was introduced to the singer Akiko Yano by David Sylvian, who played a couple of her songs during an interview with David Jensen on BBC Radio One. The songs played, one earlier and one current number, were both ballads and only gave a little insight into this intriguing artist, who we were told was linked to YMO but had an established career outside the group. Sylvian was a very early champion of the Japanese music that is now increasingly popular all over the world. Lucky for me I followed the dictats of Chairman Sylvian to the letter at the time so started to investigate this music further. I’m glad I did, as many of the albums I picked up cheaply on vinyl in the 80s and 90s are now hard to find. One of those albums that is now easier to buy, thanks to a reissue by the label Wewantsounds is “Tadaima”.

From JAPAN To Japan

Before I get to that though, I want to continue my reminiscence into the last century. I warn you this will be a recurring theme of these blog pieces.

“Tokyo Mobile Music” LP, 1982

Following the introduction courtesy of Mr. Sylvian, I next found Akiko on the excellent compilation “Tokyo Mobile Music” on one of my regular record shopping excursions to Hanway and Berwick Streets in London. This album, put together by David Claridge and the Mobile Suit Corporation mixed some pretty incredible contemporary Japanese tracks with sound FX recorded in and around Tokyo. These SFX act as bridges between the songs, making the entire collection a piece worth listening to from start to finish. Akiko is represented by two songs – “Canton Boy” and “Rose Garden”. “Canton Boy”, from her 1980 album “Gohan Ga Dekitayo” (“dinner’s ready”) had been a part of the YMO live set in all the shows played in the UK, and so will have been familiar on some level to the people in the same clubbing circles as Claridge, who ran a night called The Great Wall. It’s a driving synth-rock number, with a searing guitar solo from the late Kenji Omura and full backing by YMO.

The second song featured, “Rose Garden”, which I prefer, is one of the many highlights of “Tadaima” (“I’m home now”). “Rose Garden” is an unforgettable recording! Like nothing else really in the wider YMO canon, except possibly some later work by Jun Togawa and Yapoos, it mixes rapid-fire funk guitar, bass and drums with whispered, almost threatening voices, chanting, bouncy bass synth, wild percussion, vocoder interludes sounding like robotic cats, before a chorus straight out of a mysterious ritual – culminating in a synth sequencer and taiko-drum section before we are back into the funk rhythm again. The track leaves you breathless, and sounds best played loud, which I did often and still do.

“From Japan To Japan” LP

My next step into the world of Akiko Yano involved a stroke of luck. Upstairs in the new arrivals section of the Music Exchange in Notting Hill (the shop still there) I found some kind of promotional copy of a compilation called “From Japan To Japan” by Akiko Yano. This album featured the two songs that Sylvian had played on the radio, (“Coloured Water” and “Goodnight”) along with, as the typed sheet included said, other songs sung in English and featuring members of the band JAPAN. I still have this copy of the LP and it is somewhat unusual, most likely a press item as it includes a couple of photos and a brief biography. Maybe there was a plan to release the album way back in ’82 in the UK? Featured on this album were two more songs from “Tadaima”, “I Sing” and “Vet”. The former opened the compilation, and is straight synth-pop in the YMO style, and sure enough the credits said they were playing on it. On “Tadaima” the song appears as one of the final trio of uptempo songs on the album, leading off before the massive hit single “Harusakikobeni” and the aforementioned “Rose Garden”. “Don’t you worry about your bad breath…” sang Akiko and my heart skipped in surprise – it was an insight into her style. Where Sylvian and the YMO had up to that point used pretty abstract lyrics, or just plan weird (I’m looking at you, Hosono-san), this was slice of teenage life. It was slightly cringey but looking back over 30+ years, that must have been the intention, so it works.

“Harusakikobeni” single cover

“Vet” is a fast techno-punk track with pounding drums and screeching guitar sounding like, wait, can it be (so I thought) – yes it’s another JAPAN associate Masami Tsuchiya! Appearing on Side One of “Tadaima” in roughly the same position it does on “From Japan To Japan”, much like “Jewel” by Propaganda on “A Secret Wish” it acts as a palate-cleanser before a more substantial piece.

A “Fancy” hit

So far I’ve heard 3 tracks from “Tadaima” before the album itself – and there was one more to come. “Harusakikobeni” was a huge hit for Akiko in early 1981, following her stint as a member of the YMO live band on a world tour. It was the soundtrack to a make-up commercial and was described by the record company marketing team as “fancy”. An upbeat, cheerful number sung in Japanese, it was such a big hit in Japan that copies somehow made their way over to the UK. According to interviews the single being a bigger hit than expected put pressure on Akiko to get a new album out prior to a planned tour, which itself grew in terms of dates due to an increased fanbase. The band for the tour included Ryuichi Sakamoto and Masami Tsuchiya as the featured guests. Hosono and Takahashi were busy elsewhere – at that time YMO were going through strained times following the fractured and rushed recording of “BGM” – however both contributed to the album “Tadaima”.

All 3 members of YMO had been friends and collaborators of Yano’s for years. The first to work with her, when she was Akiko Suzuki, was Hosono. Both worked on what is now called City Pop material with Taeko Onuki, Manna and Eiichi Ohtaki in the early to mid-70s. Yano also contributed a song to the legendary lost Linda Carerre album that featured all of the City Pop big-hitters (how long before that is given its first release?). Hosono was a major contribitor to Yano’s earliest albums, along with Tomita computer programmer Hideki Matsutake. According to Matsutake, Akiko Yano was the first Japanese pop artist to use sequencers – which she did on her second album, recorded in 1976. Also in 1976 Akiko played in Hosono’s live band at a concert in Yokohama alongside Ryuichi Sakamoto, including the earliest pre-YMO performance of “Firecracker”. This event was filmed for posterity and released commercially in recent years on CD and DVD. Following that, Akiko played alongside Yukihiro Takahashi and Ryuichi Sakamoto in 1977 backing former Sadistic Mika Band guitarist Masayoshi Takanaka on a cover of the theme from Star Wars. There’s even a YouTube clip to prove it. Thank the maker that Hosono made the call to form YMO, whose first album was recorded between stints backing Akiko as members of her live band on two tours of Japan.

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‘Tadaima” cassette, 1981

I first heard “Tadaima” in full on a rented cassette, from the Japan Centre in Brewer St, Soho. In Japan, rental CD shops used to be very common and prior to that they rented out cassettes and vinyl. In the 80s the Japan Centre had a basement which along with a small Izakaya-style cafe had a large number of video tapes and cassettes that you could rent out. Sadly I couldn’t rent the video tapes as at that time I had no access to an NTSC player. However, the cassettes I could use and that’s the way I heard a good number of albums by Japanese acts. The rental fee was only £1 for a week so this was far cheaper than saving up maybe £15 or £20 to buy vinyl at HMV or the Virgin Megastore. Later on Japanese music buying in London got a bit more affordable with the arrival of Tower Records, which priced Japanese stock very cheaply. By that time (1986) I had part-time jobs so could afford trips into London to buy records. One of the first albums I got there was “Tadaima” when it was reissued at budget price by the Midi label. Recently I received the cassette version of “Tadaima” as a gift from Richard Barbieri – a copy of the album he had owned since ’81.

“Tadaima” opens with the title track, which uses samples of telephone rings and keypad beeps as part of the percussion, a very breezy number, employing Sakamoto’s Prophet 5 with some de-tuned programming, making the arrangement very memorable. Vocally the track recalls much of “Gohan Ga Delitayo” by using a children’s choir – never syrupy however (this is not “I Have A Dream” by ABBA). Live, this track was one that had the audience clapping along and joining in the chorus, something that Akiko encouraged.

“Itsuka Ojisamaga” follows, a slower-pace, very typical of Akiko’s style, but with a similar sound to “Tadaima” with slightly de-tuned Prophet 5 for atmosphere. As usual with Akiko the lead instrument is the piano, but here it is treated in various ways, sometimes just at the point where the sound is sustained. It is followed by the aforementioned “Vet” and “Ashkenazy Who?”, which mixes synthpop with a slow Okinawan rhythm – sounding similar to reggae, but different. This time the track uses a number of vocal effects to have a call-and-answer effect. Musically it relates to “Bikkurigation” by Sakamoto but is at a more relaxed tempo. It is a bit of a forgotten gem in Akiko’s discography, one for the synth freaks. “Irainimon”, (I don’t Need It), co-written with Taeko Onuki and Peter Barakan, uses field recordings to present a dreamlike state, melody coming in and out but the performance is almost spoken-word poetry. Side One drifts off.

Akiko toured in Spring 1981, initially planning to promote the “Gohan Ga Dekitayo” album that had been released only 6 months earlier, the hit single and rush-release of “Tadaima” meant that the live dates were centred on both. In the middle of the live show came the piano and vocal medley now known as “Taiyo No Onara” – also in the middle of the “Tadaima” album as the first track of side 2. This 9-minute medley is comprised of several short songs with lyrics written by young fans of Akiko. Music was written by Yano with some contributions from Haruomi Hosono. It is a unique piece, and seems to have been well-received live – although Akiko speaks a lot more than on the studio version. Speaking a lot during concerts is something Yano is known for, she was the same when I saw her play in August 2018 in Tokyo. As her band last year spoke English she did too for much of the show, translating what they said for the audience. Listening to a recoding of the 1981 show, it is evident that Akiko enjoyed the interaction with fans, and as in 2018, responded to shouted comments from the audience with a quick joke or wry comment as appropriate. In ’81 and in ’18 the band just had to wait until Yano was ready to play, and on occasion they were too early! Seeing Akiko Yano live is a great experience, she is a very magnetic performer with good stage presence. Akiko is compared to Joni Mitchell and Kate Bush but live she reminds me more of Elton John – able to rouse the audience from the piano with considerable wit. You can tell that she enjoys playing with a band, coming across as the boss, but with respect and humour. If you have the opportunity to see Akiko Yano play live, take it.

The “Tadaima” tour had a programme, some pages from it are presented below. One item of merchandise was a letter-opener. Something Akiko was known for was fan interaction by mail, and as well as publishing some fan letters in official magazines and in the tour programme she also responded personally. The letter-opener is a miniature LP, with a sharp blade inside, housed in a cute mini LP sleeve – all the size of a mini-CD single.

Overall “Tadaima” is really the perfect introduction to this engaging artist, covering a range of styles that she would revisit on other albums. What makes it special is that it is so varied, representing the influx of musical influences that surrounded Akiko at the time the album was made. She had made a new start in her personal life as well as professional life, had 2 young children and had been on two world tours as a member of Japan’s biggest band. Somehow this work was written and recorded in a matter of weeks, to meet record company demand. The following albums would be recorded in a very different way, allowing more time for writing and production – but there is something special that has been captured here – a time of transition and experimentation.

The new reissue of Tadaima by Wewantsounds uses the same mastering as the recent Japanese pressing, which is excellent. It has superb dynamic range but better bass presence than the original CD release on Japan Records. It is very accurate to the sound of the original vinyl release – exactly what you want from a reissue. In terms of packaging it replicates the Japanese vinyl, but has an alternate obi design. It uses more sturdy paper stock for the insert than the Japanese release, which was very thin indeed. I hope that Wewantsounds will be able to release further Yano albums from this era, particularly “Ai Ga Nakucha Ne” which featured the members of JAPAN as guest musicians. Until then, I’ll enjoy “Tadaima”, and remember the early 80s and my memories of how I got to hear this music fondly.

Paul Rymer 12/1/19

Tadaima LP re-issue by Wewantsounds

Tadaima CD re-issue by Wewantsounds

Japan Nightporter

Here comes the “Quiet Life” again

Japan – “Quiet Life” 1979 – 2021

It’s been a dizzying couple of weeks in the Japan fan universe. First Richard Barbieri released the incredible “Under A Spell”, which charted in the UK far better than its predecessor “Planets + Persona”. I can’t recommend the album highly enough, and plan to publish an in-depth review once quiet life has resumed. Richard’s recent conversation with Markus Reuter over on YouTube is a great watch. Then last week came “Quiet Life”, which re-entered the UK Album chart at No.13, beating it’s previous highest position in 1982 by 40 places. It is currently No.2 in the Vinyl chart.

A reissue of “Quiet Life” by Japan has been on the cards for over 2 years; indeed it was originally scheduled to be out on the 40th anniversary of its UK release (Jan 2020), but various factors prevented this. That it was going to happen seemed inevitable, due to the last (limited) vinyl release being in demand, and following on from the Virgin era Japan vinyl reissues by Universal. Prior to that the last major release of the album was in 2004, a project I worked on. In 2004 the remit was to come up with a CD package that could be produced to a budget, and that would appeal to existing fans. I was happy with the results – the album was well-mastered by Tony Cousins, and adding in a few bonus tracks and a music video, plus some nice visual elements in the packaging added value. The title was the first in its series to sell out, so was repressed and in print until 2020.

In 2021 we have another beast entirely – the LP on vinyl at an affordable price, a red vinyl limited pressing, plus a box set including the black vinyl, the CD version of the album, and two bonus discs. The set is enhanced with a 24 page large format booklet (the same size as the Japan tour programmes in the UK, but with all-new content) and an LP size gatefold to house the CDs. I was not involved closely with this edition of the release, but was in the loop throughout its development. I played no part in decisions made, but did have the opportunity to input ideas, was able to hear the new master on vinyl and contributed to social media marketing. I was given access to digital files in advance, but bought my own copies of the finished product. I am not being paid to write this blog post. So, this review can be objective, unlike for example if I were to review the 2004 release.

The LP and CD (plus the “Quieter Life” CD in the box) were remastered by Phil Kinrade at Alchemy, and in my view he’s done just as good a job as Tony Cousins did for CD in 2004 (Tony Cousins digital master was used for the Music On Vinyl release as well). Comparing the vinyl to prior pressings, it is less “hot” and needs to be cranked up but when you do, wow, very happy indeed. “Despair”, “In-Vogue” and “The Other Side Of Life” sound the best on vinyl, with great depth and less sibilance than for example the 1980 UK Hansa pressing. Aside from the volume being lower the mastering is closest to the smooth Japanese Victor original, which benefits from a low noise floor (JVC super vinyl most likely responsible). Some buyers of the red vinyl reported a manufacturing fault causing a click at the end of “In-Vogue” but my copy is not affected, and I know that the fans commenting on this in the Nightporter Facebook Group got replacements swiftly.

I used to think that the Hansa UK 1980 pressing was my favourite, and I still think it’s good, but listening in detail this week, and comparing to the Japanese Victor 1979 and new LP, it has more sibilance than both. This might be due to decades of being played! The track I like most on the Hansa is the title track “Quiet Life” – it leaps out much more on the UK LP, has more energy and excitement. The 2021 is perhaps too smooth on that track; the difference I noticed most is that the drums are more subdued than on the 79/80 pressings, which is unfortunate when a signature part of the song is the building drums during the intro and that “slam” as the song kicks off. Where the track “Quiet Life” really shines is on the 12″ single from 1981, or the Old Gold reissue from the late 80s. Overall then, I like the new LP pressing a lot, and the three tracks mentioned earlier have rarely sounded better.

Something debated in the last couple of weeks about is the claim on the hype sticker of the vinyl and box that the LP is “Half Speed Mastered”. Many people on forums have equated this with the Abbey Road series of LPs, or that it might be presented as two 45rpm discs. Neither is correct in this case, and it is a shame that the packaging couldn’t have clarified things for the audience that likes to have these details. The LP version was half speed mastered at Alchemy, based at AIR Studios, not at Abbey Road, hence no Abbey Road branding or certificate. To quote the Alchemy site: “Vinyl mastering but with the turntable, electronics and audio set to half its original speed. Your tracks will benefit from improved groove ‘accuracy’ as the cutting takes twice as long to transcribe the audio. This reduces mechanical stress and results in a smoother, more natural top end.” It does not mean that the LP will be presented as two 45rpm discs – the releases on Universal (“Gentlemen Take Polaroids” and “Tin Drum”) were also half speed mastered but made available on 45rpm (effectively the albums on two 12″ singles, allowing for a hotter cut) and 33rpm. “Quiet Life” is just available as single 33rpm disc. One day it might be nice to get it as two 45rpm discs, where the title track will really shine as it does on 12″ single. Of course any new pressing in the near future may be criticised but I wouldn’t mind at all.

I like the new CD master a lot, and see it as one of the best you can get in the format. It is a tad more compressed than the 2004, or another favourite, a 1995 Japanese BMG pressing. Both of those have a lot of depth without compromising on dynamic range. One nerdy thing that the new CD master gets perfect is the transition from “All Tomorrow’s Parties” to “Alien”. On the original vinyl and cassette the sequencer of “All Tomorrow’s Parties” does not completely fade out, with no silence before “Alien”. This was replicated in the early live 1980 shows, with “Alien” actually having the sequencer at the start of the song. I have no hesitation therefore in recommending the new CD version, which comes packaged like a replica of the vinyl gatefold if purchased separate to the box set.

The second disc in the box set “A Quieter Life” compiles most of the single mixes, extended versions and b-sides related to the album, as well as the “Live In Japan” EP, previously available as a bonus with the 2004 “Obscure Alternatives”. Back then, it was the original intention to include the EP tracks with “Quiet Life”, but “Obscure Alternatives” had no non-album b-sides, so they were shifted onto that release. It made some sense, as three tracks on the EP are updates of songs from that album. Of the single mixes, a particular highlight for me is the inclusion of the Japanese 7″ version of “Quiet Life”, never on CD before. Its only prior album appearances were on the Japan “Singles” vinyl from 1981, and the very obscure cassette version*. Out of the other tracks I think I would have picked the UK 1981 7″ edit of “Quiet Life” in place of the 1980 German edit, which is a fade of the album mix. That is a very minor point as the track is easy to find on various artists compilation CDs as well as earlier Japan releases. The German edit was the one selected by the band, with the 1981 regarded by Mick Karn as a rejected experiment at the time. Great to have the other single versions sounding better than the 1996 Japanese “Singles” CD set. The bonus disc available from the official store Townsend includes 7 more versions of “Life In Tokyo” that are not in the box. The different cuts of “Life In Tokyo” are covered very well in a new article on the excellent blog site Version Crazy.

One thing considered in 2004 was whether to include more live material, but BMG at the time were unable to find anything of master quality. An approach was made to NHK to get the “Let’s Go Young” performances but they were not available. It looks like in 2021 things were no better, so we get the screamtastic Budokan 1980 CD in the box set. The packaging gets the date wrong; the show is from 16th March 1980 not the 27th when they played Ibaraki. No matter, it is a thrilling performance, if not of master quality. I’d rather have it than not, and the sound is a slight improvement on what’s out on the internet already. I do have a better tape in some respects – the intro of “Despair” is in full for example – and the sound is better balanced, but it is ruined by a constant interference-type sound in the left channel. It is the kind of constant high-pitched interference that you used to get on a badly-tuned radio. I’d rather listen to the new CD than that tape. Some fans, and some members of the band to be fair, have criticised the live CD being included in the box. On balance I’m glad it’s there, but the marketing of the set could have been a bit more upfront to avoid some disappointed customers. People on Facebook were aware early on it wasn’t going to be perfect, but a lot of others were not. There have been some pretty dramatic comments made about the disc, but I had a lot of fun listening to it loud with some vino – I may have even joined in with the screaming.

I’ll briefly cover packaging and the booklet in the box set and the vinyl/CD insert. Both have the same essay by Anthony Reynolds, but the box only has the foreword by producer John Punter. The essay is well-researched, not just an out-take from the book “A Foreign Place”, and is a welcome addition to all formats. The box set also includes an impressive array of band photographs taken in 1979 and 1980. One name mentioned in the booklet is Stephen Holden – to read more about the book covering his experience as a fan in the early days of the band look here. The only things I’d also liked to have seen somewhere in the box set are the more nerdy things – recording data, a list of instruments and equipment, the names of the people in the orchestra perhaps, and the lyrics to the songs. The inner sleeves of the vinyl editions have a lot of empty space that could have included those. To date only the Japanese vinyl and the expensive Music On Vinyl set has included the song lyrics. The latter has them as it includes a reproduction of the Japanese vinyl insert. Overall though, I like the booklet, and the packaging of the box itself. Rob Dean pointed out that the front of the box was intended to be the picture of the band, hence where the opening is. However, the way the box is being retailed a sheet with the track listing is covering up the photo, and the hype sticker is on the wrong side.

When it comes to the vinyl, I love the sleeve. It has been totally re-done, the spot varnished Japan logo adds a touch of quality, and the photos and text are clearer and better positioned compared to the original LP sleeve.

“Quiet Life” has not always been treated so well over the years. Several editions failed to credit John Punter as the producer, notably the US Caroline CD (the one with the red border in the gallery). The Hong Kong LP included “Life In Tokyo” as an extra track, without saying so on the sleeve. The rare Canadian 8-track changes the track order completely. Many editions on LP and CD only show Sylvian, or only Sylvian and Karn. The 1981 UK reissue LP on Hansa fails to include any credits at all – thankfully these were reinstated a year later when the album came out again on Fame/EMI – the first version I bought in 1982 in Boots. Lest we forget, for a while Boots was the cheapest place to buy records, often undercutting other stores by a grand 25p. Completely lost the thread now, back to nostalgia again, but “Quiet Life” this week has been all about that, and it’s been a blast.

[*Update – rather oddly it turns out the Japanese 7″ version of “Quiet Life” in the box set CD2 is different to the actual 7″ (VIP-2797) and the version on “The Singles” (VIP-4106). That has the full intro to the song and edits in two different places. The one in this box set has a shorter intro and lacks one of the later edits, so they are the same length. I checked my files and this version has been with me since 2002 when I was working on the 2004 Quiet Life. Comparing the waveforms it’s what’s on this box. So there you go, this box actually has another unreleased track]

“Adolescent Alternatives: Road Trips with Japan 1978 – 1980” by Stephen Holden with Anthony Reynolds

93320671_10222898399667669_5015887061396226048_nThe fan interest surrounding the pop group Japan has always been a bit unusual, and unwavering since they split up in 1982. The vast majority of people who got into the band did so either shortly before (as in my case) or after they split up. Collecting Japan’s music has always been a finite exercise – they only recorded five albums and released one compilation during the lifetime of the group – as well as the posthumous “live” album “Oil On Canvas”. Aside from collecting singles for the few non-album b-sides that was your lot. In the whole discography however there is very little filler, and literally no “deep cuts” with the exception perhaps of “Some Kind Of Fool” that eventually came out in 2001, with a vocal overdub, on David Sylvian’s “Everything And Nothing”.

86488517_10222229302540659_3859839645231611904_nSo why the enduring interest? Perhaps it is because the group’s work and images exist in a time-capsule of 1978 to 1982. Initally sustained by fanzines (Bamboo being the principal one), interest in the group was nurtured in the early days of the internet by the formation of email disciussion groups and then from 1996 with the advent of websites dedicated to sharing the story of the group. I started one site that has endured, Assemblage, later renamed as Nightporter. To my shame I have not updated it recently, but intend to this year as I am re-learning web coding so that the site can operate properly in the 21st century! It is from the Nightporter site that Stephen Holden found his way to the two largest facebook groups, the Nightporter website group and Japan (Sylvian/Karn/Jansen/Barbieri/Dean) which is run by friends of mine. We try to make the groups different and largely succeed. Social media has also enabled direct interaction between fans and the former members of Japan, who are often on hand to help answer questions, dispel myths and share anecdotes. The late Mick Karn was also involved in social media, although not always directly, and I like to think he would have enjoyed the interaction.

(You may point out that I have forgotten the “Rain Tree Crow” album – I haven’t – I regard that as separate and a meeting of the four existing members on something new. The solo work of all five former members of Japan helped keep fandom engaged, especially through the Medium label after Sylvian was effectively on hiatus while raising his daughters).

So now it’s 2020 and crazy as it sounds there have now been more *books* released in the last decade than Japan ever recorded albums or released compilations. First out of the gate was Mick Karn himself with “Japan And Self-Existence”, published a year or so before he discovered he was ill with cancer. In the book Mick shares anecdotes and pictures from throughout his life, and is extremely open and honest. In typical Mick fashion the book is non-chronological, and as he says himself omits several aspects of his work, such as the collaborations with the late Masahide Sakuma. It’s sad that he did not live longer to give us a second volume, or perhaps cover additional parts of his life through blogging.


The next few books came out in quite a flurry – the two biographies of Japan by Anthony Reynolds (“A Foreign Place”, “Cries And Whispers”), both featuring contributions from group members aside from David Sylvian. Music Life in Japan put together a hardback collection of their articles published on the group. David Sylvian published a collection of his lyrics and poems, and later supported Yuka Fujii to release “Like Planets”, a book of photography covering the later Japan and early solo years. Further volumes of Yuka’s photography are mooted. Finally, starting with blogging, Steve Jansen was encouraged by a healthy fan response and the support of Yukihiro Takahashi to publish the book “Through A Quiet Window”. This is really a visual companion to the biographies, saying so much with few words, really a glimpse into the lives of the band members on the road, in the studio, and working on their visual imagery. In 2019 Steve published an updated version of the book in collaboration with The Flood Gallery.

So, to my mind, only one thing was missing – which ironically is the main thing we had between 1983 and the early 2010s – the sharing of fan experiences, feelings and thoughts about the group and their music.


It was a revelation to me when thanks to the Nightporter site and FB, we started to see new photos and stories being shared by Stephen Holden, of his and friends travels to see Japan as early as Spring 1978. Stephen was sharing so much, as were others new to the groups, that there was a risk that some of this gold could be lost somewhat amid the numerous other discusson points, YouTube clips and pictures. So I was delighted when I found out that Stephen with the help of others planned to pull all of his memories together into a book, with relevant accompanying visuals.


“Adolescent Alternatives” focuses in on the early years of the band, and allows us to witness the exremely pivotal period from 1979 to 1980 when the group reinvented themselves and achieved greater success. The book really does celebrate the early years up to “Quiet Life”, explaining well the appeal of the group’s early material, and expressing the drive and ambition that they shared on stage. Stephen’s story is an engaging one, and will resonate with many readers who have ever followed a band that they enjoy seeing play live. It is also revealing about the band and the changes surrounding them. There is one particular incident which is a good representation of the change. Stephen and friends had got used to being able to meet the band after shows, and were treated sociably. However by 1980 Stephen had a door slammed in his face by David Sylvian. From Sylvian’s perspective this was probably understandable – he wasn’t expecting a fan to be there, and following the tours of Japan (the country) was maybe over any desire for fan interation that wasn’t organised. From Stephen’s perspective, at a time when the group were still not selling out venues in the UK, it may have seemed shocking.

I rushed ahead a bit – the main selling point of this book for me is the descriptions of early live shows, and of meetings with the band when they were first interacting with people who were genuinely enjoying their music. As a huge bonus you get to read the early fan club letters, often including titbits of information on plans that never came to be, offering a glimpse into a potential alternative direction. For me, 1979 is a particularly fascinating period, where the band changed as a consequence of recording “Life In Tokyo” with Giorgio Moroder. The band also changed their look, from post-punk mixed with glam outfits to a more sophisticated image, that better fitted the music. It’s quite surprising to note that the “Quiet Life” album sleeve was shot in the Spring of 1979, as revealed in the fan club correspondence.


Another aspect of the book that makes it a must-buy in my opinion are the photographs, many of which have never been published before, and images of other items from the time that I don’t want to spoil. If you love poring over images of the band this book certainly does not disappoint.

The paperback book is in a square format, 142 pages, with colour photos throughout. In addition to the main text by Stephen there is a foreword from former Japan lead guitarist Rob Dean, as well as additional articles by Anthony Reynolds and Nick Huckle, who worked for the band. Overall, as it also includes the fan club material, ticket stubs and many images this book is extremely good value. It also offers something unique in the growing catalogue of books covering the work and lives of the group.

“Adolescent Alternatives” can be ordered directly from the author Stephen Holden.

PayPal (friends and family) srholden01@hotmail.com

Price: £27.50 plus UK£5.00 postage within the UK, UK£12.00 postage to Europe, UK£16.00 to the rest of the world. All packages sent tracked and insured. Any enquiries please email Stephen 


Nightporter on patrol.

A blog exploring beyond the music of the group JAPAN

Richard Barbieri and Akiko Yano

Thanks for joining me! I’ve started this blog away from the Japan Nightporter site and facebook as a way to share stories and images relating to my musical journey, which really began when I got into the music of the 80s band JAPAN. The group were very open about the music they liked themselves, and in particular did more than any PR person or writer to promote interest in Japanese music.

Since the early 80s I have discovered so much amazing music, and this blog is a way to express my enjoyment, share links to interesting clips and as is the case with my first post, share my personal history with the Akiko Yano album “Tadaima”, recently made available for the first time outside Japan by Wewantsounds.