Masami and I first worked together as members of the Yukihiro Takahashi band in summer ’82. It was after this that he was invited to play with JAPAN on our final tour. We sometimes connect through various events/friends but not for some time now.
Appreciating the rich, vivid colours of Polaroid film as well as its longevity.
From the summer of 1982 Takahashi tour of Japan (colourful times).
- during rehearsals with Hosono & Tsuchiya
- backstage dining with Takahashi
- evening bar with Takahashi, Sandii & Mokoto
- recording session for Akiko Yano (tv show theme song) with Sakamoto producing
I’ve had an interest in playing piano since I was in secondary school but it wasn’t until the mid eighties that I bought one for myself. As regards Simmons drums, I only used them on the 1981 tour and not afterwards. They were extremely limited sonically as well as in terms of expressive performance. The Octobans remained until the demise of JAPAN as they formed a part of the rhythm tracks in songs such as ‘The Art Of Parties’ and ‘Cantonese Boy’. I’ve not used them since. I believe one of them currently functions as an umbrella stand in my parent’s porch.
Trick photo (uncredited)… shoot the piano player!
I like trainspotter questions 🙂 In general the rhythm part would lead Mick to syncopate his notation to fall on certain beats and we would then work closely on arranging various changes and details. In other examples, (such as ‘Sons Of Pioneers’) Mick had written the bass part without a drum pattern and I had to find something suitable. ‘Still Life In Mobile Homes’ is particularly rigid between the bass and drums and this was inspired by technology that was emerging at the time whereby computerised rhythm sections were locked in sync. The bass drum on the ‘Tin Drum’ recording was programmed on a Linn drum machine. The ‘Oil On Canvas’ live version was performed.
Photos by Justin Thomas at Nomis Rehearsal Studios, West London.
The Budokan is pretty massive so the sound was quite uncontrollable and when you factor in the screams it wasn’t easy. It felt as though we were constantly on the verge of losing it musically but thankfully we were well-rehearsed and just about managed to hold it together. It seemed easier the second night because we knew what we were up against. I seem to remember tv cameras upon our arrival as we exited the plane into the terminal and this was all rather a lot to take in for a band that had only played to an audience of a few hundred and been shunned by the media en mass back home.
I probably did buy a souvenir as UDO felt obliged to send us off to the Ginza tax free arcade, which was like a treasure cove under the railway arches.
I think it was 42, never got anywhere near it ever again…
O’Sullivan of course, followed by Selby.
Yes, the Canon A1. A great camera, fully manual or fully automatic too, which meant anyone could pick it up and take a shot. We did like to experiment in all kinds of ways.