US pressings also featured a more American-friendly mixing (highlighting a punchier equalization and heavy use of reverb).

[88][89] The "terse videogame-funk" sounds of YMO's "Computer Game" would have a strong influence on the emerging electro and hip hop genres. It utilized a wide variety of electronic music equipment (as well as electric), including the Roland MC-8 Microcomposer, the Korg PS-3100 polyphonic synthesizer, the Korg VC-10 vocoder, the Yamaha Drums and Syn-Drums electronic drum kits, the Moog III-C and Minimoog monosynths, the Polymoog and ARP Odyssey analog synthesizers, the Oberheim Eight-Voice synthesizer, the Fender Rhodes electric piano, and the Fender Jazz Bass.

[42] Among the many artists performing, Kraftwerk closed the July 7th concert, with YMO performing on both days, closing the July 8th concert. [7] It was later included in electro hip hop artist Mantronix's compilation album That's My Beat (2002), which consists of electro music that influenced his early career. by Yukihiro Takahashi", "Yellow Magic Orchestra Versus Human League, The – YMO Versus The Human League", "Mariah 'Ripped Off' Twice on Same Record", "Derrick May on the roots of techno at RBMA Bass Camp Japan 2010", Hi-Tech/No Crime: Yellow Magic Orchestra Reconstructed, "Ikonika interview: Producer and DJ, Ikonika had an incredible 2010", "Camouflage Emphasizes That It Is Its Own Band", "Yellow Magic Orchestra & Friends: The Influence of Japanese Technopop", "Nothin' Like the Reel Thing: Soundtrack & Film Score News", "Popular Computer's Top 5 Japanese Music Artists", EUYMO – Yellow Magic Orchestra Live in London + Gijón 2008, UC YMO: Ultimate Collection of Yellow Magic Orchestra, Tighten Up (Japanese Gentlemen Stand Up Please! Both versions would later be re-issued in 2003 as a double-disc format, with the American version as the first disc. It, A sample of "Firecracker", which was combined with the "Computer Game" track into a hit single called "Computer Game". Besides the electronic equipment, the only acoustic instruments used in the album were a Steinway piano, drum set, and a marimba. Our automated banning policies are not perfect and sometimes too strict, and some IP addresses are banned by accident. ),, Articles with dead external links from August 2018, Articles with permanently dead external links, Articles with unsourced statements from November 2014, Articles with unsourced statements from February 2011, Articles containing Japanese-language text, Articles with unsourced statements from June 2011, Articles needing additional references from February 2011, All articles needing additional references, Articles with failed verification from March 2017, Articles with Japanese-language sources (ja), Wikipedia articles with BIBSYS identifiers, Wikipedia articles with CINII identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, (US version has no skits, includes the songs from Solid State Survivor), This page was last edited on 10 November 2020, at 15:10. [23] The band was initially conceived as a one-off studio project by Hosono, the other two members being recruited session musicians—the idea was to produce an album fusing orientalist exotica with modern electronics, as a subversion of Orientalism and exoticization. It was the earliest known popular music album to use the Roland MC-8 Microcomposer, which was programmed by Hideki Matsutake during recording sessions. The most popular international hit from the album was "Firecracker", which would be released as a single the following year and again as "Computer Game", which became a success in the United States and Europe. Meanwhile, Sakamoto would gain international success for his work as a solo artist, actor, and film composer,[36] winning Grammy, Oscar and Golden Globe awards. [4] "Technopolis" (1979) in particular is considered an "interesting contribution" to the development of Detroit techno and the group Cybotron.

[39] In January 2011, KCRW announced for their World Festival concert series that Yellow Magic Orchestra will perform at the Hollywood Bowl on June 26, 2011.
Hosono invited both to work on his exotica-flavoured album Paraiso, which included electronic songs produced using various electronic equipment. We are hoping to eventually work on a solution for this when we have the resources to do so. [53] Sakamoto has expressed that his "concept when making music is that there is no border between music and noise. Genre: Electronic/Synth Pop.

[30], The 1980 song "Multiplies" was an early experiment in electronic ska. In 2012, Sakamoto helped organize the No Nukes 2012 festival held in the Makuhari Messe hall in Chiba, Japan on July 7 and 8, 2012.

On June 23, 2018, Hosono played his debut UK solo concert at the Barbican Centre in London; Takahashi and Sakamoto joined him on stage to perform "Absolute Ego Dance". The trio were to create their own cover version of Martin Denny's 1959 exotica melody "Firecracker" with modern electronics, as a subversion of the exoticisation and Orientalism of the original tune, along with various original compositions also exploring themes of Asianness, exoticisation and Orientalism from a Japanese perspective. [3][33] The band was particularly popular with the emerging hip hop community, which appreciated the group's electronic sounds, and in the Bronx where "Firecracker" was a success and sampled in the famous Death Mix (1983) by Afrika Bambaataa.

[23], The song was also an influence on early techno, specifically Detroit techno, for which it was included in Carl Craig's compilation album Kings of Techno (2006).

[96] The band significantly affected Japanese pop music, which started becoming increasingly dominated by electronic and computer music due to YMO's influence. ALR-6012; Vinyl LP). The album was first released in Japan in 1978.

Featured peformers: Ryuichi Sakamoto (keyboards, electronics, percussion, aka_text orchestration role_id 1378.aka_text), 細野晴臣 [Haruomi Hosono] (bass, electronics, keyboards, aka_text arrangements role_id 1013.aka_text, producer), 高橋幸宏 [Yukihiro …

[20] The "terse videogame-funk" sounds of "Computer Game" would have a strong influence on the emerging electro and hip hop music genres;[8] the song's use of video game sounds and bleeps has been described as "ahead of their time"[21] and as having a strong influence on 1980s hip hop[22] and pop music. The album was intended to be a one-off project for producer and bass player Haruomi Hosono and the two session musicians he had hired: drummer Yukihiro Takahashi and keyboard player Ryuichi Sakamoto. [4] The group is considered influential and innovative in the field of popular electronic music. Widening their vision of synth-pop to include the darker strains of urban/R&B as well as a few vocals indebted to Roxy Music, 1981's Technodelic proved a high-quality [60] While it was commercially unsuccessful due to its high price,[60] the band were among the few bands at the time to utilize the MC-8, which they described as, along with its music programmer Hideki Matsutake, an "inevitable factor" in both their music production and live performances.

done anything to warrant a ban, this is most likely the case.

The album was first released in Japan in 1978. "[45] Kraftwerk was particularly an influence on Sakamoto, who heard the band in the mid-1970s and later introduced them to his fellow band members. Track list: 1. The album was an early example of synth-pop,[7][1] a genre that the band helped pioneer. [18], The album was an early example of synth-pop,[7][1] a genre that Yellow Magic Orchestra helped pioneer.

[16][50] According to The Vinyl District magazine, they also released the first album to feature mostly samples and loops (1981's Technodelic). [16] The project proved highly popular, culminating in a career for the three musicians; one that would last until 1983, before successful solo careers and reunions over the decades to come.

"Firecracker" was released as a single under the name "Computer Game". Though they aren't exactly melancholy, "Neue Tanz" and "Pure Jam" distinguish themselves through a clever use of synth and effects rather than through the simplistic melodies of previous work.

[10] The group would release several albums before pausing their activity in 1984. The early 2000s saw Hosono and Takahashi reunited in a project called Sketch Show.

The trio were to create their own cover version of Martin Denny's 1959 exotica melody "Firecracker" with modern electronics, as a subversion of the exoticisation and Orientalism of the original tune, along with various original compositions also exploring themes of Asianness, exoticisation and Orientalism from a Japanese perspective. "multiplication") was a mini-album and the third studio album by Yellow Magic Orchestra released in 1980. Barcode and Other Identifiers Rights Society: ASCAP; Other Versions (5 of 7) View All. The band have reunited in 2007 for an advertising campaign for Kirin Lager which lampooned their longevity and charted No.1 on various Japanese digital download charts (including iTunes Store chart) with the song "Rydeen 79/07", released on Sakamoto's new label commmons.

[29] They influenced many early British synthpop acts, including Ultravox, John Foxx, Gary Numan, Duran Duran,[16] Depeche Mode,[4] Camouflage,[4][85] OMD, The Human League,[45] Visage,[86] and Art of Noise,[87] as well as American rock musicians such as Todd Rundgren. Rydeen 7. [13] Its most successful single was "Computer Game / Firecracker", which sold over 400,000 records in the United States[14] and was a top 20 hit in the United Kingdom.[15]. Barcelona performance at Sonar festival and Wild Sketch Show DVDs chronicle these reunions, and include a tongue-in-cheek Japanese text-only history of the group that spans to 2036.
[20] Thousand Knives was also notable for its early use of the microprocessor-based Roland MC-8 Microcomposer music sequencer, with Matsutake as its music programmer for the album.