The superb musicianship and Sylvian’s crooning vocals hint that everything might not be so bad.

Japan – “All Tomorrow’s Parties”

“All Tomorrow’s Parties” (1979 – original from 1967)

With this cover of one of the most beautiful Velvet Underground songs, the UK post-punk band Japan managed the rare feat of equalling the excellent original version. And in some way, they may even have surpassed it. 

Gloom and Misery

In the original VU version of “All Tomorrow’s Parties,”  Nico’s glacial delivery made us believe that the protagonist had no hope, no alternatives, and that the poor girl was doomed to long nights and longer days of loneliness, gloom, and misery.

Comfort and Quiet

In Japan’s rendition, however, the superb musicianship and David Sylvian’s crooning vocals hint that everything might not be so bad, and that the girl might have better things to do than go to parties where she may not feel welcome or comfortable.   

This version ends with a long, slow fade-out. It’s as if the girl has turned away from the party, and is now strolling towards a more inviting destination – towards, maybe, a pleasant “quiet life.”   _{(Image source)}

Japan

Japan was a UK new wave band. At first glance, the band may have appeared to be a glam-rock or new romantic group. But even a brief listen to its music will show that Japan was more of a post-punk art-rock band.  

Any Place but Home … and the US

The band’s first 2 albums received minimal attention in its homeland the UK, and virtually none in the US. But in Canada, Japan, and the Netherlands, the band attracted cult followings. In fact, the single “Adolescent Sex”  became a Top-30 hit in the Netherlands.   

In 1979, with their 3rd album, Japan became relatively successful in the UK too, with 9 of its songs making it into the Top 40.  

Best Not Forgotten

The band’s 5th and final album, 1981’s ground-breaking “Tin Drum,”  achieved Silver status within a month of its release, and reached Gold within 4 months. 

30 years later, in 2011, BBC Radio 6 Music belatedly honoured the album with its “Goldie Award,”  as the “Best Album of 1981.”   Much belatedly.   _{(Image source)}

And what costume shall the poor girl wear
To all tomorrows parties?
A hand-me-down dress from who knows where
To all tomorrows parties
Where will she go, what shall she do
When midnight comes around?
She'll turn once more to Sunday's clown
And cry behind the door

And what costume shall the poor girl wear
To all tomorrows parties?
Why silken trimmings of yesterday's gown
To all tomorrows parties?
What shall she do with Thursday's rags
When Monday comes around?
She'll turn once more to Sunday's clown
And cry behind the door

And what costume shall the poor girl wear
To all tomorrows parties?
For Thursday's child is Sunday's clown
For whom none will go mourning
A blackened shroud, a hand-me-down gown
Of rags and silks, a costume
Fit for one who sits and cries
For all tomorrows parties

        The Velvet Underground – “All Tomorrow’s Parties”    
          _{(Right-click to hear on YouTube)}

Lyrics by Lou Reed, courtesy of – AZLyricDB.com
Reference – Wikipedia
Reference – Wikipedia
Reference – Wikipedia

Into your ears … through 5 channels

 The various posts are categorized into 5 channels _{(Right-Click to see details)}
         1 – “Music to Your Ears” (MTYE)
         2 – “Cover Versions”
         3 – “Honor Roll”
         4 – “Documentaries”
         5 – “Mock’n’Roll”

More “Cover Versions – Music to Your Ears” ...

          Previous posts in this series – "Cover Versions 1–20"  

Links to my other series ...

          Lou Reed – "Anthology of Memorable Lyrics, Part 1"
          Lou Reed – "Anthology of Memorable Lyrics, Part 2"

          Great Lyrics, a compilation – “Part One – My Lyrics Posts 3~30”
          Great Lyrics, a compilation – “Part Two – My Lyrics Posts 31~60”  

          Vocab-Ability – "Introduction to Vocab-Ability"  
          Vocab-Ability – "Index"  to all Chapters and Sections  

          Notes from Under the Tatami Mats – "Part One – Notes 1~50"  
          Notes from Under the Tatami Mats – "Part Two – Notes 51~87"