Oil on Canvas is a live album by the British band Japan, released in 1983 by Virgin Records. Although it is a live recording of their established material, the album also contains three new studio tracks ("Oil on Canvas", "Voices Raised in Welcome, Hands Held in Prayer" and "Temple of Dawn"), recorded separately by Sylvian, Sylvian/Jansen and Barbieri respectively. (The name of Barbieri's track is taken from the novel The Temple of Dawn by the acclaimed Japanese novelist Yukio Mishima.)
Although the album was released some months following the band's much publicised split in late 1982, it was ironically Japan's highest charting album in the UK (where it reached #5). The album was certified "Gold" by the BPI in 1988 for 100,000 copies sold.
The live tracks on the double-album were taken from Japan's performances in November 1982, during their final live concert tour. Since guitarist Rob Dean had left the band two years previously, Japanese session musician Masami Tsuchiya was added to the line up to play guitar and additional keyboards. The band also used backing tracks to supply additional instrumental parts (for example, in contrast to some previous tours where a guest saxophonist was recruited, many of Karn's saxophone lines were played from tape).
A video version of Oil On Canvas was also available from Virgin Records. This was re-released on DVD in 2006 as "The Very Best of Japan", which also features many of the band's promotional videos.
Eight years after the release of Oil on Canvas the four members of Japan, David Sylvian, Steve Jansen, Mick Karn and Richard Barbieri, reunited for another studio album - but then under the group moniker Rain Tree Crow.
Read more about Oil On Canvas: Track Listing, Singles, Personnel
Famous quotes containing the words oil on, oil and/or canvas:
“His education lay like a film of white oil on the black lake of his barbarian consciousness. For this reason, the things he said were hardly interesting at all. Only what he was.”
—D.H. (David Herbert)
“I became increasingly anarchistic. I began to find people of my own class vicious, people in clean collars uninteresting. I even accepted smells, personal as well as official. Everyone who came to the studio smelled either of machine oil or herring.”
—Margaret Anderson (1886–1973)
“Writing is not like painting where you add. It is not what you put on the canvas that the reader sees. Writing is more like a sculpture where you remove, you eliminate in order to make the work visible. Even those pages you remove somehow remain.”
—Elie Wiesel (b. 1928)