Japan began playing glam rock, influenced by David Bowie, The New York Dolls and Motown. Japan debuted on record with 1978's Adolescent Sex and subsequently Obscure Alternatives, which both sold well in the nation of Japan, though nowhere else.
Their third album, 1979's Quiet Life, heralded a change in musical style from the earlier largely guitar based music to a more electronic sound, with more emphasis on Barbieri's synthesisers, Sylvian's svelte baritone style of singing, Karn's distinctive fretless bass sound, and Steve Jansen's odd-timbred percussion work.
Their following two albums, Gentlemen Take Polaroids (1980) and Tin Drum (1981) continued to expand their audience as the band refined its new sound and unintentionally became part of the early 1980s New Romantic movement. But Tin Drum would end up being their final album, as personality conflicts drove the band apart. Nevertheless, the album's unconventional single "Ghosts" reached #5 on the UK pop charts, followed by a re-release of "I Second That Emotion" that reached #9.
The band officially split up after a farewell tour in late 1982. The tour was posthumously released as an LP, "Oil on Canvas", in mid-1983.
Most of the original members of the band went on to work on other projects.
Mick Karn and Bauhaus frontman Peter Murphy formed the one-album project called Dali's Car and released the album The Waking Hour in 1984. He has released other solo works over the years.
Steve Jansen and Richard Barbieri released an album in 1987 under the moniker The Dolphin Brothers which garnered a little interest.
By far the most successful is David Sylvian, who has recorded several albums with noted performers. An attempted reunion in 1991 with the Rain Tree Crow project was short lived, producing only one album.
All members have collaborated on the other's solo work; notably the trio JKB (aka Jansen, Barbieri and Karn) have released several records. Jansen has continued to tour with his brother David Sylvian.
Karn died of cancer January 4, 2011.
Quiet Life
Japan Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The going could get rough
Boys, would that ever cross your mind?
Boys, are you contemplating moving out somewhere?
Boys, will you ever find the time?
Here we are stranded
Somehow it seems the same
Boys, now the country's only miles away from here
Boys, do you recognize the signs?
Boys, when these driving hands push against the tracks
Boys, it's too late to wonder why
Here we are stranded
Somehow it seems the same
Beware, here comes the quiet life again
Now as you turn to leave
Never looking back
Will you think of me?
If you ever, could it ever stop?
Oh, oh, ooh , the quiet life
Here we are stranded
Somehow it seems the same
Beware, here comes the quiet life again
The song "Quiet Life" by Japan is an introspective and reflective piece that speaks to the changes that come with the passage of time, and the fear of being left behind. The song creates a sense of anxiety and unease, as evidenced by the opening lyrics, "Boys, now the times are changing, the going could get rough". The use of the word 'boys' is interesting, as it seems to suggest that the song is addressed to young men who are still figuring out their place in the world. The repetition of the word 'boys' throughout the song seems to convey a sense of urgency and pleading.
The lyrics also touch upon the desire to escape from the mundane, as evidenced by the lines, "Boys, are you contemplating moving out somewhere?", and "Boys, now the country's only miles away from here". The idea of running away from one's problems is a common theme in many coming of age stories, and the song seems to be speaking to that universal desire. The repeated references to the 'quiet life' seem to suggest a sense of complacency and resignation, as if the boys in question have given up on the idea of achieving their dreams.
In the end, the song seems to be about the fear of being forgotten or left behind, as evidenced by the final lines, "Now as you turn to leave, never looking back, will you think of me?". The sense of longing and nostalgia is palpable in the song, and it speaks to a larger human experience of trying to find one's place in the world.
Line by Line Meaning
Boys, now the times are changing
The current situation is undergoing a transformative phase
The going could get rough
The future might pose significant challenges
Boys, would that ever cross your mind?
Have you ever thought of the potential consequences?
Boys, are you contemplating moving out somewhere?
Are you considering relocation?
Boys, will you ever find the time?
Do you think you will ever have the opportunity?
Here we are stranded
We find ourselves stuck and helpless
Somehow it seems the same
This recurring situation feels familiar
Beware, here comes the quiet life again
Be careful, the mundane routine is about to set in again
Boys, now the country's only miles away from here
The destination is within close proximity
Boys, do you recognize the signs?
Are you aware of the indications?
Boys, when these driving hands push against the tracks
When adversities arise
Boys, it's too late to wonder why
Asking the reason now will not change anything
Now as you turn to leave
As you depart
Never looking back
Without turning away
Will you think of me?
Will I occupy your thoughts?
If you ever, could it ever stop?
If this ever happens, can it be reversed?
Oh, oh, ooh , the quiet life
The unremarkable routine
Lyrics © MUSIC SALES CORPORATION
Written by: DAVID SYLVIAN
Lyrics Licensed & Provided by LyricFind
@DpHsHd
Japan were the real deal. They had everything - the songs, the sounds, the arrangements, the musicianship, and style that launched dozens of imitators.
Sadly, the imitators had more success than Japan, but that’s probably because these songs made a few more listening demands than Duran or Spandau. There is jazz here, there is prog, there is funk and ambient electronica, there is dance, there is Roxy, Bowie, Eno, and Fripp, all in a beautifully wrapped aural presentation box that still sounds gorgeous and fresh some forty years on. Truly unique.
Everything from Quiet Life to Tin Drum is worth your time - the earlier glam recordings are almost from a different band (almost, but not entirely unconnected).
But don’t miss out on what the band members did after Japan folded. There are numerous collaborations. There is the Japan-that-was-not in Rain Tree Crow. There’s David Sylvian’s solo career, which scales some extraordinary musical heights. There’s Mick Karn’s rubbery fretless bass playing - solo and with others, including with Bauhaus’ Pete Murphy for the short-lived Dali’s Car. There are the Jansen/Barbieri albums.
If you’re just discovering Japan or you’ve not followed the later music made by its members, you have a beautiful and stimulating journey ahead, should you choose to explore.
I hope it’s clear that I love this band as much today as I did when I discovered them in 1980. They’re worth your time and attention. The coolest and most musically gifted band no one ever talks about.
@stephenmccartney1606
If you're listening to this song right now your brain is functioning well and you enjoy life. Congratulations!
@SAHB
Sorry who am i ?
@tizianamarino2022
Thank you
@ursulaschlapbach311
Yes!
@nickyweather8311
You're wrong
@ursulaschlapbach311
Yes of course!
@DpHsHd
Japan were the real deal. They had everything - the songs, the sounds, the arrangements, the musicianship, and style that launched dozens of imitators.
Sadly, the imitators had more success than Japan, but that’s probably because these songs made a few more listening demands than Duran or Spandau. There is jazz here, there is prog, there is funk and ambient electronica, there is dance, there is Roxy, Bowie, Eno, and Fripp, all in a beautifully wrapped aural presentation box that still sounds gorgeous and fresh some forty years on. Truly unique.
Everything from Quiet Life to Tin Drum is worth your time - the earlier glam recordings are almost from a different band (almost, but not entirely unconnected).
But don’t miss out on what the band members did after Japan folded. There are numerous collaborations. There is the Japan-that-was-not in Rain Tree Crow. There’s David Sylvian’s solo career, which scales some extraordinary musical heights. There’s Mick Karn’s rubbery fretless bass playing - solo and with others, including with Bauhaus’ Pete Murphy for the short-lived Dali’s Car. There are the Jansen/Barbieri albums.
If you’re just discovering Japan or you’ve not followed the later music made by its members, you have a beautiful and stimulating journey ahead, should you choose to explore.
I hope it’s clear that I love this band as much today as I did when I discovered them in 1980. They’re worth your time and attention. The coolest and most musically gifted band no one ever talks about.
@bigblungus1043
Thanks for giving all the info
@richardellis1141
Right on brother. Great piece about the coolest band of the time. I like the Mick Karn's "rubbery bass' description. Perfect. Split up too soon but I think they'd been together for about ten years by then. Anyway, top piece mate.
@fern
Thanks for sharing Peter, and I will most definitely listen to their catalogue