Now we can see where Duran Duran got their….everything. One word describes this New Romantic group in this period, elegant. They were joined here by the great Ryuichi Sakamoto at London’s great Hammersmith Odeon, where the final Ziggy show was a decade earlier.

Their earlier records and look would definitely be consider glam rock.

Japan was a British band that emerged in the late 1970s as part of the new wave movement, but soon developed their own distinctive style that combined elements of art rock, synth-pop, post-punk, and oriental music. Led by the charismatic and enigmatic singer David Sylvian, the band consisted of Mick Karn on bass and saxophone, Steve Jansen on drums, Richard Barbieri on keyboards, and Rob Dean on guitar until his departure in 1981. Japan’s music was characterized by sophisticated arrangements, atmospheric textures, intricate rhythms, and expressive vocals.

Oil on Canvas is the first, last and only full-length live album by Japan, released in June 1983, six months after the band had broken up. It was recorded at the Hammersmith Odeon in London in November 1982, during their final tour. The album features songs from their previous four studio albums: Quiet Life (1979), Gentlemen Take Polaroids (1980), Tin Drum (1981), and the compilation Assemblage (1981). The album also includes three new instrumental tracks: “Oil on Canvas”, “Voices Raised in Welcome, Hands Held in Prayer”, and “Temple of Dawn”, composed by Sylvian, Sylvian/Jansen, and Barbieri respectively.

Oil on Canvas is not a typical live album, as it does not capture the raw energy and spontaneity of a concert performance. Instead, it showcases the band’s musical artistry and refinement, as they recreate their studio sound with precision and elegance. The album also features some overdubs and edits to enhance the quality and coherence of the recording. The band is joined by Japanese musician Masami Tsuchiya on guitar and additional keyboards, who adds some oriental flair to the songs.

The album consists of 15 tracks, each with a different mood and tone. The opening track, “Oil on Canvas”, is a short ambient piece that sets the stage for the album. The second track, “Sons of Pioneers”, is a slow and hypnotic song that features Sylvian’s deep voice and Karn’s fretless bass. The third track, “Gentlemen Take Polaroids”, is a catchy and upbeat song that showcases Barbieri’s synth work and Jansen’s drumming. The fourth track, “Swing”, is a funky and groovy song that highlights Tsuchiya’s guitar playing and Karn’s saxophone solo. The fifth track, “Cantonese Boy”, is a poppy and cheerful song that pays tribute to the band’s Asian influences. The sixth track, “Visions of China”, is a dramatic and intense song that combines martial drums, oriental melodies, and Sylvian’s passionate vocals. The seventh track, “Ghosts”, is a haunting and minimalist song that features only Sylvian’s voice and Barbieri’s synth pads. The eighth track, “Voices Raised in Welcome, Hands Held in Prayer”, is a meditative instrumental piece that creates a serene atmosphere. The ninth track, “Nightporter”, is a melancholic and romantic ballad that showcases Sylvian’s crooning and Evans’ piano playing. The tenth track, “Still Life in Mobile Homes”, is a complex and rhythmic song that displays the band’s technical skills and creativity. The eleventh track, “Methods of Dance”, is a lively and danceable song that mixes electronic beats, acoustic guitars, and saxophones. The twelfth track, “Quiet Life”, is a classic new wave song that features Dean’s guitar riffs and Sylvian’s falsetto. The thirteenth track, “The Art of Parties”, is a dynamic and energetic song that blends rock guitars, synth basses, and percussion. The fourteenth track, “Canton”, is an epic instrumental piece that explores various oriental themes and motifs. The fifteenth and final track, “Temple of Dawn”, is a short ambient piece that closes the album with a sense of mystery.