Tin Drum

Japan | Format: Audio CD

Product Details

• Audio CD (September 13, 1991)
• Number of Discs: 1
• Label: Blue Plate Caroline
• ASIN: B000000I00
• Also Available in: Audio CD  |  Vinyl  |  MP3 Music
• Average Customer Review: 4.7 out of 5 stars  See all reviews (34 customer reviews)
• Amazon Best Sellers Rank: #281,392 in Music (See Top 100 in Music)

Track Listings

1. The Art Of Parties

2. Talking Drum

3. Ghosts

4. Canton

5. Still Life In Mobile Homes

6. Visions Of China

7. Sons Of Pioneers

8. Cantonese Boy

Editorial Reviews

Audio CD.

Most Helpful Customer Reviews

23 of 24 people found the following review helpful

5.0 out of 5 stars The best of Japan's material. August 9, 2007

By Michael Stack VINE™ VOICE

Format:Audio CD

Tin Drum" was the album where Japan finally hit their stride-- the two strongest forces in the band had found their own voices-- David Sylvian's compositions combined drastically separated influences like Roxy Music, Erik Satie, and Eastern Asian traditional musics to form something wholly other, supported in large part by the unique, rubbery fretless bass playing of Mick Karn. Even at this early point in his career, no one sounded like Karn. And with the departure of Rob Dean, there was little concession for guitar playing-- when its present, its more atmospheric and tasteful-- a radical departure from the N.Y. Dolls glam of their first album, which came out just three years prior.

But taste and atmosphere and arrangements are really the key here-- consider the album's standout-- "Ghosts". Steve Jansen (a master of understatement at the percussion chair) plays a simple marimba line, under which Sylvian and synth man Richard Barbieri play simple hazes. While Sylvian's voice had not yet finished developing, his passionate croon is emotional and effecting. Contrast this piece withe the traditional Chinese sounds of "Canton"-- which could have been written (and for that matter performed) centuries before were it not for the squeaky presence of Karn's bass.

Much of the rest of the album is dancey rhythmically, with Jansen maintaining understated pumped up beats and Karn digging way deep into a groove and producing several stunning bass lines ("Talking Drum", "Still Life in Mobile Homes", "Visions of China"). But to my ears, the other standout on the record is "Sons of Pioneers"-- similar in mood and feel to "Ghosts", cowritten by Karn and Sylvian, this one is driven by a haunting bass line and tribal percussion and again shows the band has mastered this dark mood.... Its really quite a shame they split up after this one-- both Sylvian's "Brilliant Trees" and Karn's "Titles" and Dali's Car project would have benefited greatly from the other contributing.

This reissue was done fully under the control of David Sylvian. Sonically, its flawless-- the Virgin reissues of the Japan/Sylvian catalog could have been recorded yesterday in an all-digital studio. The only other comment I'd make is to say it might be worth digging up the limited edition release which contained a bonus disc-- if you're new to Japan, this one's fine, if you're an old hand with them, you'll probably want the limited edition (but then again, you probably have it).

Overall, "Tin Drum" is really a superb album-- definitely the best the band did in my assessment. This reissue only makes it sound better. Read more ›

29 of 35 people found the following review helpful

4.0 out of 5 stars Stylish Reissues Lacking In Substance November 12, 2003

By Christopher Derer

Format:Audio CD|Amazon Verified Purchase

EMI was unable to really cash in on Japan until David Sylvian's 20-year contract with Virgin Records ran out in 2001. After that impressive milestone came to pass, the label began the process of remastering and repackaging their three Japan albums, the Rain Tree Crow reunion one-off, and Sylvian's solo recordings. For better or for worse, the obsessively controlling Sylvian provided extensive input into the proceedings, the results of which look very impressive upon initial examination. However, as is often the case, the surface belies the substance.

First off, studio engineer Tony Cousins has managed the impossible in producing a warm, organic sound from these discs, a remarkable achievement considering the longterm complaint by audiophiles that compact discs lack such an aesthetic quality. These CDs come as close to replicating the output of virgin vinyl (no pun intended) as I've ever heard, without the usual associated aural anomalies. However, my argument is not with the music - these albums are all truly brilliant in their own right and the remastered sound quality is superb. And Japan is certainly worthy of having their material revisited and properly reissued. However I must question many of the decisions made regarding content, organization, and design. A common gripe that I have with all the releases is the digipack packaging. While more visually appealing than the standard jewelcase, digipacks are more delicate in nature and of greater susceptibility to damage during both distribution and handling. If a jewelcase is broken, it's easily replaced - the same cannot be said of digipack components. Here are other, album-specific complaints:

GENTLEMEN TAKE POLAROIDS: The alternate cover photo is a splendid variation, but the original should have been incorporated as well.... The inclusion of the lyrics to "Nightporter" appears random and arbitrary - why not reproduce all the song lyrics?

TIN DRUM: The special packaging is superfluous - a cardboard slipcase would have achieved the same effect. The second disc is wasteful, as this material could have easily been included on the main album. The pictorial booklet is certainly well compiled, but I think most fans are beyond the 'image worship' phase by now.

OIL ON CANVAS: There was no need to divide the content between two discs, as it obviously fits comfortably on one CD. However, EMI can charge more for a 2-disc set, thus explaining that decision. Washing the color out of the cover painting is an odd alteration that reduces its appeal.

In summation, far too much effort was channeled into the overly precious packaging when greater emphasis should have been given to the musical content. There are several tracks currently unavailable on CD that could have easily been included on these releases, including "Gentlemen Take Polaroids" (single edit), "Burning Bridges" (original mix), "Some Kind Of Fool" (original recording), "Visions Of China" (extended mix), "Nightporter" (single edit), "Ain't That Peculiar" (alternate mix), and "Canton" (live single version). Accompanying booklets with complete discographies, single cover art, song lyrics, interviews, biographies, etc. would have been greatly appreciated by fans. Sadly, it is a rare occasion when an artist's followers are consulted for projects of this nature, which shows extremely poor foresight given that the fans are the direct product consumers.

EMI has executed other back catalog reissue campaigns with exceptional results, including those for Ultravox, Human League, O.M.D., and Culture Club. In comparison, I find the new Japan and David Sylvian re-releases to be disappointing. Perhaps I might have been more forgiving had I not purchased all of these albums several times previously in various formats, a factor with which many collectors can empathize. EMI could have acknowledged this by offering these releases with mid-line prices similar to the above mentioned artists' CD reissues. Alas, corporate greed wins again. Read more ›

12 of 13 people found the following review helpful

5.0 out of 5 stars Ghostdancing May 6, 2000

By Michael Nurse

Format:Audio CD

On hearing Mr Sylvians latest album, that wonderful but flawed master piece Dead Bees on a Cake, I had to trawl back thru my Japan catalogue. I needed to gorge myself on some luscious music for dessert. So, he has moved on, but oh what wonderful music he was making way back then. Tin Drum was a commercial success and richly deserved although one can argue that Gentlemen Take Polaroids had stronger songs. It is such an exotic album containing a melange of soul/techno/electric/asian influences. Ever present is the moody sensual voice of Sylvian but perhaps just as importantly, the wonderful bass and drumming of the highly underated Mick Karn and Steve Jensen. Standout on the album is the heavy use of pre-recorded sounds, samples and specially programmed synthesisers. From the glorious Visions of China, the eerie Ghosts to the rythmic tableau of Talking Drum this is an album to be savoured. Way ahead of its time like everything Sylvian was doing in the 70's and 80's, its a testament of the creative genuis and bravery that pushed them to test the limits of their unique genre by producing a record that is at the same time style setting, while retaining its artistic integrity. These boys were more serious about their music than adulation although they were among the best looking bands on the planet at the time. Sylvian would go on to great things in his solo career with Brilliant Trees and Secrets of the Beehive but unfortunetly this wonderful piece was the full stop for Japan. The album was a clear progression from their earlier work, containing a unique style of song construction and arrangement. Sylvian abandoned this musical style when he broke up Japan, did not resume it with his solo career and never attempted to re-create it with the dismal reformation album Rain Tree Crow.... The absence of Jensen and Karn obviously the missing link on his solo records. If you like this you must also get Oil on Canvas as it is a worthy companion piece from that era. Still, years later, Japan remain one of those wonderful unique groups that remain unclassifiable. Pity they were mistaken for all the other 80's new romantic hairstyle bands. This bunch were sitting for their masters while the rest were still playing in the sand pit at kindergarten. Read more ›