including the band's native UK, Hansa chose to promote the album with the standalone single "I Second That Emotion" with "Quiet Life" as the B-side. Neither single was commercially successful. Eighteen months later, in line with the band's increasing popularity and media profile, Hansa released "Quiet Life" as an A-side single in the UK and Ireland in August 1981 (with the instrumental "A Foreign Place" as the B-side). The single reached No. 19 on the UK Singles Chart, becoming Japan's first UK Top 20 hit. "All Tomorrow's Parties" was remixed by Steve Nye and issued as a single by Hansa in February 1983, two months after Japan had permanently disbanded, and three years after the original album release. It peaked at No. 38 in the UK. Re-issues The album was re-issued in 2001 and 2004 on CD with bonus tracks, with the rights ending up with BMG Rights Management over the following decade. In 2021 BMG re-issued the album in a number of formats including a boxset (featuring three CDs with a 180g half-speed mastered vinyl), a couple of vinyl editions and a CD release. Some versions of the 2021 re-issue include Live at the Budokan 27/03/1980. This is audience bootleg recording of the full Budokan show, made on a portable cassette machine. Four tracks from this concert had originally been released in some territories by Hansa in 1980, as the Live in Japan EP. Unlike the bootleg quality of the full show, the EP was produced from professional multitrack recordings made by the band's producer John Punter (who accompanied them on the tour, mixing their live sound). Critical reception Some contemporary critics dismissed Japan as Roxy Music imitators. "Although [Japan] may seem full-steam ahead, seamlessly 'European' to you," NMEs Ian Penman wrote, "it all seems slyly Roxy Stranded to us ancients. Ferry's smoky closure accentuated and crowded into one watery fiction." The album nonetheless received positive reviews from other critics such as Melody Makers Steve Gett and Sounds editor Geoff Barton, garnering the band some of their first real support from the British music press. In his retrospective review of the album, AllMusic critic Keith Farley wrote: "Quiet Life is the album that transformed Japan from past-tense glam rockers into futuristic synth popsters, though they'd been leaning in that direction for a while. It's also a solid proto-New Romantic synthesizer record". Trouser Press viewed the selection of John Punter