I really need more Japanese music in my collection. The two pieces I have – this and Tomoyasu Hotei’s Battle Without Honor Or Humanity (from the soundtrack to Kill Bill Vol. 1) – kick arse and leave me wanting more. I don’t know if it’s all as good as this; Yoko Ono’s oeuvre makes me think not, but I’d like to find out for myself.
Merry Christmas Mr. Lawrence is perhaps my favourite David Bowie film; or at least my favourite where he has a substantial role. I’ve visited one of the locations in the film too. There’s a scene where he’s been reprimanded by a Japanese officer sat at a desk, near the front end of the film I think. It was filmed in Auckland’s Winter Gardens – I guess because of its vaguely Asian architecture – a place we visit every now and then to look at exotic plants and flowers.
One of the things I like about ‘80s film soundtracks is their use of synths and keyboards – as long as they’re used well. Where ‘50s, ‘60s and ‘70s soundtracks were mainly restricted to strings and brass, synths and keyboards really came to the fore in the late ‘70 and throughout the 1980s. Vangelis is the obvious thought here, but there are many others – David Dundas and Rick Wentworth’s score for Withnail & I and John Carpenter’s Escape From New York are a couple of specific examples, but anything touched by Tangerine Dream, Georgio Moroder or Harold Faltermeyer is a sure fire bet.
Of course synths can be bad. In the wrong hands, they can be terrible. There does seem to be a clear correlation between the quality of music dipping in the 1980s, and the proliferation of synths and keyboards. Any true musician knows how they can be used a crutch for somebody who isn’t necessarily musically skilled, and the ‘80s pop charts were full of such ‘artists’. Take a singer and a keyboard player, apply a thin layer of talent, a thick slice of cheese, and apply a liberal helping of Stock, Aitken and Waterman.
Hit: Merry Christmas Mr. Lawrence
Hidden Gem: Forbidden Colours