Vintage Yellow Magic Orchestra Yukihiro Takahashi 1982 Beta Ii Tape Ymo

$712.80 Buy It Now, FREE Shipping, 30-Day Returns, eBay Money Back Guarantee
Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US & many other countries, Item: 176283104193 VINTAGE YELLOW MAGIC ORCHESTRA YUKIHIRO TAKAHASHI 1982 BETA II TAPE YMO. YUKIHIRO TAKAHASHI VERY RARE AND SCARCE 1982 BETA II TAPE FROM YALLOE MAGIC ORCHESTRA I INTL HOME ENTERTAINMENT YUKIHIRO TAKAHASHI NEUROMANTIC "DRIP DRY EYES" "SOMETHING IN THE AIR" 11:52 MINUTES BETA II 4/8/82 Neuromantic is Yukihiro Takahashi's self-produced 1981 album and featured his YMO colleagues Haruomi Hosono and Ryuichi Sakamoto on keyboards, as well as contributions from Tony Mansfield of New Musik and Roxy Music's Phil Manzanera and Andy Mackay.











Neuromantic (Japanese: ニウロマンティック) is Yukihiro Takahashi's self-produced 1981 album and featured his YMO colleagues Haruomi Hosono and Ryuichi Sakamoto on keyboards, as well as contributions from Tony Mansfield of New Musik and Roxy Music's Phil Manzanera and Andy Mackay. The title is a pun on the early 1980s British fashion movement, the New Romantics. Track listing All lyrics are written by Yukihiro Takahashi and Peter Barakan; all music is composed by Takahashi, except where noted. No. Title Lyrics Music Length 1. "Glass" 6:03 2. "Grand Espoir" (大いなる希望 Ōinaru Kibō) Haruomi Hosono, Barakan Hosono 4:38 3. "Connection" 5:05 4. "New (Red) Roses" (神経質な赤いバラ Shinkeishitsuna Akai Bara) instrumental Takahashi, Kenji Omura 3:49 5. "Extra-Ordinary" (非・凡 Hi-Bon) 4:26 6. "Drip Dry Eyes" Chris Mosdell 5:31 7. "Curtains" Ryuichi Sakamoto 3:41 8. "Charge" instrumental 2:34 9. "Something in the Air" (予感 Yokan) 4:51 Personnel Yukihiro Takahashi – vocals, drums, keyboards, mixing Haruomi Hosono – keyboards Ryuichi Sakamoto – keyboards Kenji Omura and Phil Manzanera – guitars Tony Mansfield – keyboards, backing vocals Andy Mackay – saxophones, oboe Hideki Matsutake – computer programming and operation Shoro Kawazoe – executive producer Yukimasa Okumura, Hiromi Kanai, Tomohiro Itami – artwork Mitsuo Koike – engineer Steve Nye – engineer, mixing Ian Little, Renata Blauel, Yoshifumi Ito – assistant engineer Masayoshi Sukita, Sheila Rock – photography Kazusuke Obi – artist relations Hiroshi Kato, Toshi Yajima – recording coordination Lorraine Kinman – stylist Takeshi Fujii – equipment Peter Barakan, Yoichi Ito – management Yukihiro Takahashi (Japanese: 高橋 幸宏, Hepburn: Takahashi Yukihiro, June 6, 1952 – January 11, 2023) was a Japanese musician, singer, record producer, and actor, who was best known internationally as the drummer and lead vocalist of the Yellow Magic Orchestra,[1] and as the former drummer of the Sadistic Mika Band. He was also a member of the group Metafive. Career Takahashi first came to prominence as the drummer of the Sadistic Mika Band in the early 1970s, and became known to western audiences after this band (led by Kazuhiko Katō, formerly of The Folk Crusaders) toured and recorded in the United Kingdom. After the Sadistic Mika Band disbanded, some of the members (including Takahashi) formed another band called The Sadistics, who released several albums. Takahashi recorded his first solo album, Saravah, in 1977. In 1978, Takahashi joined Ryuichi Sakamoto and Haruomi Hosono to form the Yellow Magic Orchestra.[2] Throughout the 1980s, Takahashi also released a large number of solo albums, primarily intended for the Japanese market. Takahashi collaborated extensively with other musicians, including Bill Nelson, Iva Davies of Icehouse,[3] Keiichi Suzuki of the Moonriders (often as a duo dubbed "The Beatniks", although Suzuki essentially functioned as a member of Takahashi's backing band during the Moonriders' brief hiatus) and in particular Steve Jansen. Takahashi has released a single Stay Close and an EP Pulse as a duo with Jansen. Takahashi helped compose the soundtrack to the anime series Nadia: Secret of the Blue Water in 1989, including the song "Families".[4] Takahashi participated in temporary reunions of both the Sadistic Mika Band (missing the lead vocalist Mika who was replaced by Kaela Kimura), and The Yellow Magic Orchestra (YMO). Both of these reunions included tours of Japan, and an album of new material. In the early 2000s, Takahashi became a member of the duo Sketch Show, with Haruomi Hosono. Sketch Show has released two albums, one of which, Loophole, has been released in the UK. Both Takahashi and Hosono have recently reunited with Sakamoto as HASYMO – a combination of Human Audio Sponge and Yellow Magic Orchestra. This collaboration produced a new single "Rescue" in 2007.[5] Takahashi was still actively involved in music and its production, having released the solo album Life Anew on July 17, 2013, as well as anniversary and live albums. His latest work is Saravah, Saravah! (2018), a remastered reboot of his solo debut album which, along with re-recorded vocals, features appearances by Sakamoto, Hosono and other musicians.[6] Personal life Takahashi was born in Tokyo, and began playing music from an early age.[2] He was married to Kiyomi Takahashi.[2] Health and death Takahashi suffered from temporary headaches since the beginning of summer 2020. While Takahashi initially thought that this was a temporary migraine, he finally subjected himself to an MRI scan. It was discovered that the headache was the result of a brain tumor.[7] On August 13, 2020, Takahashi underwent surgery to remove the tumor; he announced that there were no after effects and that he would devote himself to treatment.[8] On October 20, 2020, Takahashi announced through his social media that he had completed his course of treatment following the surgery.[9] On January 11, 2023, Takahashi died in Karuizawa, Nagano, from aspiration pneumonia, a complication of the brain tumor. He was 70.[2][10][11] Discography Solo albums Saravah! (1978) Murdered by the Music (1980) Neuromantic (1981) What, Me Worry? (1982) Tomorrow's Just Another Day (1983) Time and Place (1984) (Live Album) Wild and Moody (1984) Poisson d'Avril (1985) The Brand New Day (1985) (Best of) Once a Fool (1985) Only When I Laugh (1986) La Pensee (1987) – with Yohji Yamamoto Ego (1988) Broadcast from Heaven (1990) A Day in the Next Life (1991) The Adventures of Gaku (1991) Umi Sora Sango no Iitsutae (1992) Life Time Happy Time (1992) Heart of Hurt (1992) (Unplugged best of) Ahiru no Uta ga Kikoete Kuru yo (1993) Mr YT (1994) I'm Not in Love (1995) (Best of) Fate of Gold (1995) Portrait with no Name (1996) A Sigh of Ghost (1997) Pulse:Pulse (with Steve Jansen) (1997) A Ray of Hope (1998) Yukihiro Takahashi Collection – Singles and More 1988–1996 (1998) "Run After You" (1998) (Live Album) The Dearest Fool (1999) "Fool On Earth" (2000) – remixes Blue Moon Blue (2006) Page by Page (2009) Life Anew (2013) Saravah, Saravah! (2018) Grand Espoir (2021) Compilation It's Gonna Work Out ~ Live 82-83 ~ (2022) (Live Album) Singles "C'est si bon"/"La Rosa" (Seven Seas, Japan 1978) "Murdered by the Music"/"Bijin Kiyoshi at the Swimming School" (Seven Seas Japan 1980, Statik UK 1982, Lyrics by Chris Mosdell) "Blue Colour Worker" (with Sandii, Lyrics by Chris Mosdell)/"Mirrormanic" (Seven Seas Japan 1980) "Drip Dry Eyes (single version)"/"Charge" (single version)" (Alfa UK 1981, Lyrics by Chris Mosdell) "Drip Dry Eyes (album version)"/"New Red Roses" (Alfa Spain 1981, Lyrics by Chris Mosdell) "Disposable Love"/"Flashback (single version)" (Alfa UK 1982) "School of Thought"/"Stop in the Name of Love" (Statik, UK 1982, Lyrics by Chris Mosdell) – plus remixed 12 inch version "Are You Receiving Me?"/"And I Love You" (Yen Japan 1982) "Maebure"/"Another Door" (Yen Japan 1983) "Stranger Things Have Happened (single version)"/"Kill The Thermostat" (Pick-Up/Warners Germany 1984) "Stranger Things Have Happened"/"Bounds of Reason"/"Metaphysical Jerks" (with Mick Karn and Bill Nelson) (Cocteau UK 1985) "Poisson D'Avril (single version)"/"Kimi ni Surprise!" (Yen Japan 1985) "Weekend"/? (Pony Canyon 1986) "Stay Close" 12 inch EP with Steve Jansen (Pony Canyon Japan, Rime Records UK 1986) "Look of Love"/? (Toshiba EMI Japan 1988) "Fait Accompli" (promotional single, Japan 1989) – with Steve Jansen "1 percent no Kankei" (Toshiba-EMI 1990) "Stronger Than Iron" (Toshiba-EMI 1991) "Xmas Day in the Next Life" EP of Christmas songs (Toshiba-EMI 1991) "Genki Nara Ureshiine" (Toshiba-EMI 1993) "Seppai No Hohemi" (Toshiba-EMI 1994) "Watermelon" (with Tokyo Ska Paradise Orchestra) (Toshiba-EMI 1995) Filmography A Y.M.O. FILM PROPAGANDA (1984) Tenkoku ni ichiban chikai shima (1984): Katsuki Jirô Shigatsu no sakana (1986): Nemoto Shôhei The Discarnates (1988) Otoko wa sore gaman dekinai (2006) 20th Century Boys 3: Redemption (2009): Billy Norwegian Wood (2010): Gatekeeper Labyrinth of Cinema (2020) Games Ginga no Sannin (1987, Nintendo) Sangokushi: Eiketsu Tenka ni Nozomu (1991, Naxat) Neugier: Umi to Kaze no Kodō (1993, Telenet Japan) FantaStep (1997, Jaleco) T kara Hajimaru Monogatari (1998, Jaleco) - Main Theme Yellow Magic Orchestra (abbreviated to YMO) was a Japanese electronic music band formed in Tokyo in 1978 by Haruomi Hosono (bass, keyboards, vocals), Yukihiro Takahashi (drums, lead vocals, occasional keyboards) and Ryuichi Sakamoto (keyboards, vocals).[4] The group is considered influential and innovative in the field of popular electronic music.[4][5] They were pioneers in their use of synthesizers, samplers, sequencers, drum machines, computers, and digital recording technology,[4][6][7] and effectively anticipated the "electropop boom" of the 1980s.[8] They are credited with playing a key role in the development of several electronic genres, including synthpop, J-pop, electro, and techno, while exploring subversive sociopolitical themes throughout their career.[9] The three members were veterans of the music industry before coming together as YMO, and were inspired by eclectic sources, including the electronic music of Isao Tomita and Kraftwerk, Japanese traditional music, arcade games, funk music, and the disco productions of Giorgio Moroder. They released the surprise global hit "Computer Game" in 1978, reaching the UK Top 20 and selling 400,000 copies in the U.S. For their early recordings and performances, the band was often accompanied by programmer Hideki Matsutake.[10] The group released several albums before pausing their activity in 1984. They briefly reunited several times in subsequent decades before Takahashi and Sakamoto's deaths in 2023. History 1976–1978: early years and formation Prior to the group's formation, Sakamoto had been experimenting with electronic music equipment at the Tokyo National University of Fine Arts and Music, which he entered in 1970, including synthesizers such as the Buchla, Moog, and ARP.[11] The group leader Haruomi Hosono had been using an Ace Tone rhythm machine since early in his career in the early 1970s.[12] Following the break-up of his band Happy End in 1972, Hosono became involved in the recording of several early electronic rock records, including Yōsui Inoue's folk pop rock album Kōri no Sekai (1973) and Osamu Kitajima's progressive psychedelic rock album Benzaiten (1974), both of which utilized synthesizers, electric guitars, electric bass, and in the latter, electronic drums, and rhythm machines.[13][14] Also around the same time, the band's future "fourth member" Hideki Matsutake was the assistant for the internationally successful electronic musician Isao Tomita. Much of the methods and techniques developed by both Tomita and Matsutake during the early 1970s would later be employed by Yellow Magic Orchestra.[10][15] Sakamoto first worked with Hosono as a member of his live band in 1976, while Yukihiro Takahashi recruited Sakamoto to produce his debut solo recording in 1977 following the split of the Sadistic Mika Band. Hosono invited both to work on his exotica-flavoured album Paraiso, which included electronic songs produced using various electronic equipment. The band was named "Harry Hosono and the Yellow Magic Band" as a satire of Japan's obsession with black magic at the time,[16] and in late 1977 they began recording Paraiso, which was released in 1978.[17] The three worked together again for the 1978 album Pacific, which included an early version of the song "Cosmic Surfin".[18] Hosono and Sakamoto also worked together alongside Hideki Matsutake in early 1978 for Hosono's experimental "electro-exotica" fusion album Cochin Moon, which fused electronic music with Indian music, including an early "synth raga" song "Hum Ghar Sajan".[19] The same year, Sakamoto released his own solo album, The Thousand Knives of Ryuichi Sakamoto, experimenting with a similar fusion between electronic music and traditional Japanese music in early 1978. Hosono also contributed to one of Sakamoto's songs, "Thousand Knives", in the album.[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.[21][22] While Sakamoto was working on Thousand Knives, Hosono began formulating the idea of an instrumental disco band which could have the potential to reach success in non-Japanese-language territories, and invited Tasuo Hayashi of Tin Pan Alley and Hiroshi Sato of Uncle Buck as participants, but they declined.[22] Hosono, Sakamoto and Takahashi eventually collaborated again to form the Yellow Magic Orchestra and they began recording their self-titled album at a Shibaura studio in July 1978.[23] 1978–1983: National and international success The band's 1978 self-titled album Yellow Magic Orchestra was successful and the studio project grew into a fully fledged touring band and career for its three members. The album featured the use of computer technology (along with synthesizers) which, according to Billboard, allowed the group to create a new sound that was not possible until then.[24] Following the release of the album Yellow Magic Orchestra, a live date at the Roppongi Pit Inn was seen by executives of A&M Records of the USA who were in the process of setting up a partnership deal with Alfa Records. This led to the YMO being offered an international deal, at which point (early 1979) the three members decided the group would be given priority over their solo careers. 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.[citation needed] Following an advertising deal with Fuji Cassette, the group sparked a boom in the popularity of electronic pop music, called "technopop" in Japan,[16][6] where they had an effect similar to that of the Beatles and Merseybeat in 1960s Britain.[16] For some time, YMO was the most popular band in Japan.[16] Successful solo act Akiko Yano (later married to Sakamoto) joined the band for its live performances in the late 1970s and early 1980s, but did not participate in the studio recordings. On the other hand, the YMO trio contributed to her own albums and became part of her live band, during these same years.[citation needed] Legendary English guitarist Bill Nelson, who had disbanded Be-Bop Deluxe and Red Noise to more recently explore Electropop himself, likewise played on YMO's Naughty Boys (1983), its non-vocals variant Naughty Boys Instrumental (1984) and subsequent solo Yukihiro Takahashi projects, before featuring the latter on two of Nelson's own UK based releases. Making abundant use of new synthesizers, samplers, sequencers, drum machines, computers and digital recording technology as it became available, as well as utilizing cyberpunk-ish lyrics sung mostly in English, they extended their popularity and influence beyond Japan.[4][6][7] Their second album Solid State Survivor, released in 1979, was YMO's pinnacle recording in Japan, winning the 1980 Best Album Award in the Japan Record Awards. It featured English lyrics by Chris Mosdell, whose sci-fi themes often depicted a human condition alienated by dystopic futures, much like the emerging cyberpunk movement in fiction at that time. One of the album's major singles, and one of the band's biggest international hits, was "Behind the Mask", which YMO had first produced in 1978 for a Seiko quartz wristwatch commercial,[25] and then for Solid State Survivor with lyrics penned by Chris Mosdell. The song was later revised by Michael Jackson, who added new lyrics and had intended to include it in his album Thriller.[26] Despite the approval of songwriter Sakamoto and lyricist Chris Mosdell, it was eventually removed from the album due to legal issues with YMO's management.[27] Jackson's version was never released until his first posthumous album, Michael, though his additional lyrics were included in later cover versions of the song by Greg Phillinganes, Eric Clapton, and Ryuichi Sakamoto himself in his 1986 solo release Media Bahn Live.[citation needed] Solid State Survivor included several early computerized synth rock songs,[6][28] including a mechanized cover version of "Day Tripper" by the Beatles.[28] Solid State Survivor went on to sell over 2 million records worldwide.[29] By 1980, YMO had become the most popular group in Japan, where they were performing to sold-out crowds. Their first live album Public Pressure set a record in Japan, topping the charts and selling 250,000 copies within two weeks, while their next studio album X∞Multiplies had 200,000 pre-orders before release.[6] The same year, their albums Solid State Survivor and X∞Multiplies held the top two spots on the Oricon charts for seven consecutive weeks, making YMO the only band in Japanese chart history to achieve this feat.[30] The 1980 song "Multiplies" was an early experiment in electronic ska.[31] X∞Multiplies was followed up with the 1981 album BGM. "Rap Phenomena" from the album was an early attempt at electronic rap.[32] They also had similar success abroad, performing to sold-out crowds during tours in the United States and Europe.[6] The single "Computer Game" had sold 400,000 copies in the United States[6] and reached No. 17 in the UK Charts. The group also performed "Firecracker" and "Tighten Up" live on the Soul Train television show. At around the same time, the 1980 song "Riot in Lagos" by YMO member Sakamoto pioneered the beats and sounds of electro music.[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.[3][34] Meanwhile, in Japan, YMO remained the best-selling music act there up until 1982.[35] 1984–1993: breakup and brief reunion The band had paused their group activities by 1984. After the release of their musical motion picture Propaganda, the three members had returned to their solo careers. They were careful to avoid saying they had "split up", preferring to use the Japanese phrase meaning "spreading out" (散開, sankai), and the trio continued to play on each other's recordings and made guest appearances at live shows. Takahashi, in particular, would play the band's material in his concerts. 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.[28] Yellow Magic Orchestra released one-off reunion album, Technodon, and credited it to 'NOT YMO' (YMO crossed out with a calligraphy X) or YMO in 1993.[citation needed] Instead of traditional vocals, about half of it features field audio recordings and samples of authors and scientists reading their work.[citation needed] During their brief reunion in the early 1990s, they continued to experiment with new styles of electronic music, playing an instrumental role in the techno and acid house movements of the era.[37] 2002–2023: post-breakup and reformation This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (February 2011) (Learn how and when to remove this template message) The early 2000s saw Hosono and Takahashi reunited in a project called Sketch Show. On a number of occasions Ryuichi Sakamoto has joined in on Sketch Show performances and recording sessions. He later proposed they rename the group Human Audio Sponge when he participates. 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. 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. Recently performing live as Human Audio Sponge; Hosono, Sakamoto, and Takahashi did a live performance together as Yellow Magic Orchestra for the Live Earth, Kyoto, event on July 7, 2007, which raised money and awareness of a "climate in crisis". In August 2007, the band once again reformed, taking the name HASYMO or HAS/YMO, combining the names of Human Audio Sponge and Yellow Magic Orchestra. Their first single under this name, "Rescue", was written for the film Appleseed EX Machina. They released a new two song single titled "The City of Light/Tokyo Town Pages" on August 6, 2008. HASYMO played two live concerts in Europe in the summer of 2008, one at the Royal Festival Hall, London on June 15, as part of the Meltdown festival of music curated by Massive Attack and another in Gijón, Spain, on the 19th. Although the primary YMO members (Yukihiro Takahashi, Haruomi Hosono, and Ryuichi Sakamoto) were effectively known as HASYMO and played both these concerts, these concerts were billed simply as "YMO" but featured only 4 YMO songs in each concert while the rest of the concert featured Sketch Show, HASYMO music and members' solo works. In August 2009, the band played the World Happiness festival in Japan, featuring many Japanese artists. The band closed the night, and confirmed that "Yellow Magic Orchestra" was their official name, dropping the HASYMO title. They opened with a cover of "Hello, Goodbye" and performed old YMO songs along with their newer songs.[38] In August 2010, YMO once again closed their World Happiness festival. They added classic songs from their back catalog into their set list. They also covered "Hello, Goodbye" and "Thank You (Falettinme Be Mice Elf Agin)".[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.[40] Not long after, a concert for June 27, 2011, at The Warfield was added.[41] It was announced in February that YMO would perform at the Fuji Rock festival in July and the World Happiness festival 2011 on August 7. 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.[42] Among the many artists performing, Kraftwerk closed the July 7 concert, with YMO performing on both days, closing the July 8 concert.[43] YMO also headlined their World Happiness festival on August 12, 2012.[44] After these performances, the band once again went quiet; though no formal announcement was made of a hiatus or breakup, the band ultimately did not reconvene for further recordings or headlining concerts. 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", marking the final time that the three would appear together in public. (The band featured in Hosono's second and third "Yellow Magic Show" on Japanese TV, both recorded in 2019; their appearance in the third was in front of a live audience, but Sakamoto appeared via prerecorded video.) 2023: Takahashi and Sakamoto's deaths On January 11, 2023, Takahashi died at the age of 70, following a case of pneumonia. He had undergone surgery to remove a brain tumor in 2020 but continued to have health troubles that interfered with his musical activities in the intervening years.[45][46][47][48] That same year, Sakamoto died on March 28 at the age of 71, following a lengthy battle with cancer; leaving Hosono as the last surviving member of the group. Musical style and development While their contemporaries in Düsseldorf, and later Detroit, were using synthesizer technology to create bleak dystopian music, YMO introduced a more "joyous and liberating" approach to electronic music. According to Sakamoto, they were "tired" of Japanese musicians imitating Western and American music at the time and so they wanted to "make something very original from Japan."[49] Kraftwerk was particularly an influence on Sakamoto, who heard the band in the mid-1970s and later introduced them to his fellow band members.[49] They were impressed with Kraftwerk's "very formalized" style but wanted to avoid imitating their "very German" approach. He described Kraftwerk's music as "theoretical, very focused, simple and minimal and strong".[50] Their alternative template for electronic pop was less minimalistic, made more varying use of synthesizer lines, introduced "fun-loving and breezy" sounds,[51] and placed a strong emphasis on melody[49] in contrast to Kraftwerk's statuesque "robot pop".[52] The band also drew from a wider range of influences than had been employed by Kraftwerk.[31] These influences on YMO included Japanese electronic music (such as Isao Tomita),[53] traditional Japanese music, experimental Chinese music (of the Cultural Revolution era),[49] Indian music (such as Ravi Shankar and Bollywood music),[19] arcade game samples,[16][54] American rap,[32] exotica,[31] Caribbean ska,[31] Giorgio Moroder's disco work,[4] the Beatles, the Beach Boys and their leader Brian Wilson,[55] Van Dyke Parks,[citation needed] classical music,[11] animal sounds,[56] and noise.[57] Sakamoto has expressed that his "concept when making music is that there is no border between music and noise."[57] Sampling Their approach to sampling music was a precursor to the contemporary approach of constructing music by cutting fragments of sounds and looping them using computer technology.[58] Their 1978 hit "Computer Game / Firecracker", for example, sampled Martin Denny's 1959 exotica melody "Firecracker"[16] and arcade game sounds from Space Invaders and Circus.[16][54] According to The Vinyl District magazine, they also released the first album to feature mostly samples and loops (1981's Technodelic).[59] The pace at which the band's music evolved has been acknowledged by critics. According to SF Weekly, YMO's musical timeline has gone from "zany exotica-disco spoofs" and "bleeps and blips" in the 1970s to "sensuous musique concrète perfected" in their 1983 albums Naughty Boys and Service.[49] Technodelic (1981) was produced using the LMD-649, a PCM digital sampler that Toshiba-EMI sound engineer Kenji Murata custom-built for YMO.[60] Soon after Technodelic, the LMD-649 was used by YMO-associated acts such as Chiemi Manabe[61] and Logic System.[62] Instruments YMO were the first band to use the Roland TR-808 Rhythm Composer, which has appeared on more hit records than any other drum machine. The band often utilized a wide variety of state-of-the-art electronic music equipment immediately as they were made available.[22][23] The group leader Haruomi Hosono had already been using an Ace Tone rhythm machine since early in his career in the early 1970s.[12] Yellow Magic Orchestra and Ryuichi Sakamoto's Thousand Knives were one of the earliest popular music albums to utilize the Roland MC-8 Microcomposer, which was programmed by Hideki Matsutake during recording sessions.[21][23] Roland called the MC-8 a "computer music composer" and it was the first stand-alone microprocessor-based music sequencer.[63][64][65] It also introduced features such as a keypad to enter note information and 16 KB of RAM which allowed a maximum sequence length of 5200 notes, a huge step forward from the 8–16 step sequencers of the era.[64] While it was commercially unsuccessful due to its high price,[64] 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.[10] "Behind the Mask" (1979) made use of synthesizers for the melodies and digital gated reverb for the snare drums.[22] They were also the very first band to utilize the Roland TR-808 Rhythm Composer, one of the first and most influential programmable drum machines, as soon as it was released in 1980.[66] While the machine was initially unsuccessful due to its lack of digital sampling that the rival Linn LM-1 offered, the TR-808 featured various unique artificial percussion sounds,[66] including a deep bass kick drum,[67][68] "tinny handclap sounds",[68] "the ticky snare, the tishy hi-hats (open and closed)", and "the spacey cowbell",[66] which YMO utilized and demonstrated in their music, as early as its year of release in 1980, paving the way for the TR-808's mainstream popularity several years later,[66][67] after which it would be used for more hit records than any other drum machine[69] and continue to be widely used through to the present day.[66] At the time, Billboard noted that the use of such computer-based technology in conjunction with synthesizers allowed YMO to create new sounds that were not possible until then.[24] Yellow Magic Orchestra was also the first computer-themed music album, coming before Kraftwerk's Computer World (1981) by several years.[70] As a result of such innovations, YMO were credited at the time for having "ushered in the age of the computer programmer as rock star."[6] Other electronic equipment used by the group included the LMD-649 sampler (see Sampling above),[60] Roland MC-4 Microcomposer sequencer,[22] Pollard Syndrum electronic drums,[23] Roland VP-330 and Korg VC-10 vocoders,[23][22] Yamaha CS-80 and DX7 synthesizers,[71][22] Korg PS-3100 and PS-3300 synthesizers,[23][22] Moog III-C and Polymoog synthesizers, and ARP Odyssey, Oberheim 8 Voice, and E-mu Emulator synthesizers.[22] Electric instruments were also used, the Fender Rhodes piano and Fender Jazz Bass.[23] Legacy The band has been described as "the original cyberpunks"[72] and their early work has been described as "proto-techno" music.[73][74] By the 1990s, YMO were also frequently cited as pioneers of ambient house music.[4] YMO also popularized a style of live performance that eschewed human movement in favour of electronics such as rhythm boxes and samplers.[75] They also influenced the New Romantic movement,[75][failed verification] including British bands Duran Duran[16] and Japan, whose member Steve Jansen was influenced by drummer Takahashi,[76] while lead member David Sylvian was influenced by Sakamoto, who would later collaborate with Sylvian.[76] Various cover versions of "Kimi ni Mune Kyun" (1983) have also been produced by other artists,[77] including The Human League in 1993 ("YMO Versus The Human League")[78] and Asako Toki in 2006.[77] In 2009, a cover of "Kimi ni Mune Kyun" was used as the ending theme song for the anime adaptation of Maria Holic, sung by Asami Sanada, Marina Inoue, and Yū Kobayashi, the voice actresses of the main characters. In 2015, in the anime Sound! Euphonium, episode 5, the song "Rydeen" is played by Kitauji highschool's orchestra. The popular anime series Dragon Ball Z also paid homage to the band with the song "Solid State Scouter" as the theme song of the 1990 TV special Dragon Ball Z: Bardock – The Father of Goku. In HMV Japan's list of top 100 Japanese musicians of all time, YMO were voted second place, behind only Southern All Stars, a pop-rock band who remain largely unknown outside Japan.[79] In 2006, Senor Coconut paid tribute to the band with his Yellow Fever! album.[7] Electronic music YMO were pioneers of synthpop, a genre which emerged at the start of the 1980s. In 1993, Johnny Black of Hi-Fi News, in a review for the record Hi-Tech/No Crime, described YMO as "the most adventurous and influential electro-techno-dance technicians the world has produced" and further argued that "without them (and Kraftwerk) today's music would still sound like yesterday's music."[5] In 2001, Jason Ankeny of the Allmusic Guide to Electronica described YMO as "a seminal influence on contemporary electronic music – hugely popular both at home and abroad" and placed them "second only to Kraftwerk as innovators of today's electronic culture."[80] YMO are considered pioneers in the field of popular electronic music, and continue to be remixed or sampled by modern artists,[4] including experimental artist Yamantaka Eye, electronica group LFO, jungle band 4hero, electrolatino artist Senor Coconut, ambient house pioneers The Orb and 808 State,[11] electronic music groups Orbital[27] and The Human League,[78] hip hop pioneer Afrika Bambaataa,[3] and mainstream pop musicians such as Michael Jackson, Quincy Jones, Greg Phillinganes,[27] Eric Clapton, Mariah Carey, and Jennifer Lopez.[81] YMO also influenced techno music,[82] including its pioneers Juan Atkins, Kevin Saunderson, and Derrick May,[83] who cited YMO as an important influence on their work alongside Kraftwerk.[84] YMO continued to influence later techno musicians such as Surgeon, μ-Ziq, and Cosmic Baby.[4] "Technopolis" (1979) in particular is considered an "interesting contribution" to the development of Detroit techno and the group Cybotron.[31] "Computer Game" (1978) also influenced Sheffield's bleep techno music; the Warp record, Sweet Exorcist's "Testone" (1990), defined Sheffield's techno sound by making playful use of sampled sounds from "Computer Game" along with dialogues from the film Close Encounters of the Third Kind (1977).[85] "Computer Game" (1978) was later included in Carl Craig's compilation album Kings of Techno (2006).[86] In the 1990s, YMO influenced ambient house pioneers such as The Orb and 808 State,[11] as well as Ultramarine and other ambient/house artists.[4] This resulted in the release of the tribute remix album Yellow Magic Orchestra: Hi-Tech/No Crime in 1993,[4] by leading ambient, house and techno musicians at the time, including The Orb, 808 State, and Orbital.[87] The music YMO produced during their comeback in the early 1990s also played an instrumental role in the techno and acid house movements towards the end of the 20th century.[37] The band's use of oriental musical scales and video game sounds has continued to be an influence on 21st-century electronica acts such as Dizzee Rascal, Kieran Hebden,[16] and Ikonika.[88] YMO's success with music technology encouraged many others, with their influence strongly felt in the British electronic scene of the early 1980s in particular.[29] They influenced many early British synthpop acts, including Ultravox, John Foxx, Gary Numan, Duran Duran,[16] Depeche Mode,[4][failed verification] Camouflage,[4][89] OMD, The Human League,[49] Visage,[90] and Art of Noise,[91] as well as American rock musicians such as Todd Rundgren.[16] "Technopolis", a tribute to Tokyo as an electronic mecca that used the term "techno" in its title, foreshadowed concepts that Juan Atkins and Rick Davis would later have with Cybotron.[31] Hip hop The band was popular with the emerging hip hop community, which appreciated the group's new electronic sounds, and in the Bronx where Firecracker was a success and sampled in the famous Death Mix by Afrika Bambaataa.[3][34] Afrika Bambaataa's influential song "Planet Rock" was partly inspired by YMO.[92][93] The "terse videogame-funk" sounds of YMO's "Computer Game" would have a strong influence on the emerging electro and hip hop genres.[11] Sakamoto's "Riot in Lagos" was cited by Kurtis Mantronik as a major influence on his early electro hip hop group Mantronix;[94] he included both "Computer Game" and "Riot in Lagos" in his compilation album That's My Beat (2002) which consists of the songs that influenced his early career.[95] The song was also later included in Playgroup's compilation album Kings of Electro (2007), alongside later electro classics such as Hashim's "Al-Nafyish" (1983).[96] The 1980 release of "Riot in Lagos" was also listed by The Guardian in 2011 as one of the 50 key events in the history of dance music.[97] YMO's use of video game sounds and bleeps also had a particularly big influence on 1980s hip hop[98] and pop music.[49] Beyond electro acts, "Computer Game / Firecracker" was also sampled by a number of other later artists, including 2 Live Crew's "Mega-Mixx II" (1987),[77] De La Soul's "Funky Towel" (for the 1996 film Joe's Apartment),[99] Jennifer Lopez's "I'm Real" (2001), and the original unreleased version of Mariah Carey's "Loverboy" (2001).[81] Japan The band has also been very influential in its homeland Japan, where they had become the most popular group during the late 1970s and 1980s.[16] Their albums Solid State Survivor and X∞Multiplies held the top two spots on the Oricon charts for seven consecutive weeks in 1980, making YMO the only band in Japanese chart history to achieve this feat.[30] Young fans of their music during this period became known as the "YMO Generation" (YMO世代, YMO Sedai).[100] The band significantly affected Japanese pop music, which started becoming increasingly dominated by electronic and computer music due to YMO's influence.[53] YMO were one of the most important acts in Japan's "New Music" movement and paved the way for the emergence of contemporary J-pop in the 1980s.[101] They also inspired early ambient techno artists such as Tetsu Inoue,[102] and the classical music composer Joe Hisaishi.[103] The manga author Akira Toriyama, creator of Dragon Ball and Dr. Slump, cited Yellow Magic Orchestra as his favorite music band in a 1980 interview.[104] Video games YMO also influenced many video game composers and significantly affected the sounds used in much of the chiptune and video game music produced during the 8-bit and 16-bit eras.[70] In 1994, four video game composers employed at Namco formed a parody band called Oriental Magnetic Yellow (OMY), producing parody cover versions of various YMO records, consisting of Shinji Hosoe as Haruomi Hosonoe, Nobuyoshi Sano as Ryuichi Sanomoto, Takayuki Aihara as Takayukihiro Aihara, and Hiroto Sasaki as Hideki Sasatake.[105] Discography Main article: Yellow Magic Orchestra discography Yellow Magic Orchestra (1978) Solid State Survivor (1979) ×∞ Multiplies (also known as Zoshoku, 1980)[n 1] BGM (1981) Technodelic (1981) Naughty Boys (1983) Service (1983) Technodon (credited to YMO, 1993) Notes  Original international versions replace skits with tracks from Yellow Magic Orchestra and Solid State Survivor, depending on the region.[106] Haruomi Hosono (細野 晴臣, Hosono Haruomi, born July 9, 1947), sometimes credited as Harry Hosono, is a Japanese musician, singer, songwriter and record producer. He is considered to be one of the most influential musicians in Japanese pop music history, credited with shaping the sound of Japanese pop for decades as well as pop music outside of Japan. He also inspired genres such as city pop and Shibuya-kei,[1] and as leader of Yellow Magic Orchestra, contributed to the development and pioneering of numerous electronic genres.[2] The grandson of Titanic survivor Masabumi Hosono, Haruomi began his career with the psychedelic rock band Apryl Fool, before achieving recognition both nationally and internationally, as a founding member of the bands Happy End and Yellow Magic Orchestra.[1][3] Hosono has also released many solo albums covering a variety of styles, including film soundtracks and a variety of electronic ambient albums. As well as recording his own music, Hosono has done considerable production work for other artists such as Miharu Koshi, Sheena and the Roketts, Sandii & the Sunsetz, Chisato Moritaka and Seiko Matsuda. In 2003, Hosono was ranked by HMV Japan at number 44 on their list of the top 100 Japanese pop acts of all time.[4] Biography Further information: Masabumi Hosono, Happy End (band), and Yellow Magic Orchestra This section of a biography of a living person needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. Find sources: "Haruomi Hosono" – news · newspapers · books · scholar · JSTOR (February 2020) (Learn how and when to remove this template message) Hosono is the grandson of Masabumi Hosono, the only Japanese passenger and survivor of the sinking of RMS Titanic. Hosono first came to attention in Japan as the bass player of the psychedelic rock band Apryl Fool, alongside drummer Takashi Matsumoto, who released the album The Apryl Fool in 1969. Hosono and Matsumoto then formed the influential folk rock group Happy End with Eiichi Ohtaki and Shigeru Suzuki.[5] One of the songs he composed for Happy End, "Kaze wo Atsumete" (1971), later appeared in the American film Lost in Translation and on its soundtrack in 2003.[6] After Happy End disbanded around 1974, Hosono worked with Suzuki and a loose association of artists making "exotica"-style music under the title Tin Pan Alley. His involvement in electronic music also dates back to the early 1970s, when he performed the electric bass for Inoue Yousui's folk pop rock album Ice World (1973) and Osamu Kitajima's progressive/psychedelic rock album Benzaiten (1974), both of which were electronic rock records utilizing synthesizers, electric guitars, and in the latter, electronic drums and rhythm machines.[7][8] In 1977, Hosono invited Ryuichi Sakamoto and Yukihiro Takahashi to work on his exotica-flavoured album Paraiso, which included electronic music produced using the Yamaha CS-80 polyphonic synthesizer and ARP Odyssey synthesizer. The band was named "Harry Hosono and the Yellow Magic Band" and, having been recorded in late 1977, Paraiso was released in early 1978.[9] The three worked together again for the 1978 electronic album Pacific, which included an early version of the song "Cosmic Surfin'".[10] In 1978, he released an innovative electronic soundtrack for a fictional Bollywood film, Cochin Moon, together with artist Tadanori Yokoo and future YMO band members Ryuichi Sakamoto and Hideki Matsutake. Inspired by a trip to India and "the exotic, luxurious, and seemingly wonder-filled scenarios played out in Indian cinemas", it was an experimental "electro-exotica" album fusing exotic Indian music (reminiscent of Ravi Shankar and Bollywood music) with electronic music, including an early "synth raga" song entitled "Hum Ghar Sajan" (from a Guru Granth Sahib phrase).[11] The same year, he contributed to Sakamoto's song "1000 Knives" for his solo album, Thousand Knives, which experimented with fusing electronic music with traditional Japanese music in early 1978.[12] He was one of the first producers to recognize the appeal of video game sounds and music. YMO's self-titled debut in 1978 contained substantial video game sounds and after YMO disbanded an early project was an album simply titled Video Game Music containing mixed and edited Namco arcade game music and sounds. Video Game Music was released in 1984 as an early example of a chiptune record[13] and the first video game music album.[14] That same year, he also produced the theme song for Hayao Miyazaki's popular anime film Nausicaä of the Valley of the Wind, "Kaze no Tani no Naushika", with vocals by actress-singer Narumi Yasuda.[15] In the late 80s and early 90s, the influence of world music on his music deepened, and he worked with international singers and musicians such as Amina Annabi. He has produced a number of short-term band projects as a band member. His first post-YMO band was Friends of Earth. As with most of his projects he combines musical styles he's interested in. F.O.E. seemed to be a combination of funk and techno, and included a collaboration with James Brown and Maceo Parker for a remake of the song "Sex Machine". Another notable band project was 1995's Love, Peace & Trance. Members were Mimori Yusa ("Love"), Miyako Koda ("Peace"), Haruomi Hosono ("&") and Mishio Ogawa ("Trance"). In the 1990s he started the Daisyworld label to release a wide range of experimental artists from Japan and the rest of the world. Hosono collaborated on many of the releases, such as World Standard, a trip into Americana; HAT, a supergroup (the acronym stands for Hosono, Atom Heart, Tetsu Inoue), and "Quiet Logic", by Mixmaster Morris and Jonah Sharp. The Orb also paid tribute with a series of remixes including the notorious "Hope You Choke on Your Whalemeat" remix of "Nanga Def".[16] Hosono performing with YMO in 2008. In 2002 Haruomi formed the duo Sketch Show with his YMO bandmate Yukihiro Takahashi. They have released two albums, one of which, Loophole, has received a UK release. When the third former YMO member, Ryuichi Sakamoto deepened his involvement it was decided to bill those collaborations as Human Audio Sponge. In the spring of 2007, his fellow YMO members and other artist paid tribute to Haruomi with a 2-disc album titled Tribute to Haruomi. That same year, the animated film Appleseed Ex Machina was released featuring a soundtrack performed and supervised by Hosono. In September 2010 he performed at the De La Fantasia festival and played songs from his upcoming album. In February 2011 it was announced that his new album, entitled HoSoNoVa, was to be released on April 20. He also performed a special concert to celebrate its release. In May 2018, Light in the Attic Records announced a CD and vinyl reissue of five of Hosono's albums—Hosono House, Cochin Moon, Paraiso, Philharmony and omni Sight Seeing—for release in August and September 2018. The former four albums had never been released outside of Japan previously. Coinciding was the announcement that Hosono would play his first UK concerts as a solo artist in June; the shows were scheduled as part of Sakamoto's MODE festival happening throughout England in June and July. The June 23 concert at the Barbican Centre in London featured an appearance by his YMO bandmates, with whom he performed his Solid State Survivor composition "Absolute Ego Dance". 2019 marked Hosono's 50th anniversary in the music industry. On March 6, he released Hochono House, a mostly electronic remake of his solo debut Hosono House that reversed the track listing. That spring, he performed his first solo shows in the U.S. This run included two sold-out shows at the Gramercy Theatre in New York City and a concert at the Mayan Theater in Los Angeles. The second New York show saw an appearance by current NYC resident Akiko Yano, who collaborated with Hosono in Tin Pan Alley, as a live support member of YMO, and as a solo artist; she sang Hosono's "Ai Ai Gasa", which she covered on her 1977 album Iroha Ni Konpeitou. In LA, Canadian indie rock musician Mac DeMarco—whose vocal admiration of Hosono has spread to a portion of his own fanbase—appeared during the show to perform "Honey Moon" as a duet with Hosono; Light in the Attic had recently released a cover of the song on a 7" single record, backed with the original version. In the autumn of 2019, an exhibition on Hosono's career—"Hosono Sightseeing"—was on display in Tokyo Sky View at the Roppongi Hills Mori Tower; along with other memorabilia, this featured many of the instruments associated with Hosono, such as the Roland TR-808, E-mu Emulator, and Prophet-5. A documentary film, No Smoking, was also released, including footage from the U.S. and UK shows; appearances include Sakamoto, Takahashi, Demarco, longtime friend Van Dyke Parks, and protégé Gen Hoshino. Bands and collaborations Apryl Fool Happy End Tin Pan Alley Yellow Magic Orchestra Friends of Earth (F.O.E) (with Eiki Nonaka) HIS (with Kiyoshirō Imawano and Fuyumi Sakamoto) Testpattern (with Yukihiro Takahashi, Fumio Ichimura, and Masao Hiruma) Love, Peace & Trance (Mimori Yusa, Miyako Koda and Mishio Ogawa) Swing Slow (with Miharu Koshi) HAT (with Atom Heart and Tetsu Inoue) Harry & Mac (with Makoto Kubota) Tin Pan (with Tatsuo Hayashi and Shigeru Suzuki) Sketch Show (with Yukihiro Takahashi) HASYMO (previously Human Audio Sponge) (Sketch Show and Ryuichi Sakamoto, with Keigo Oyamada, Hiroshi Takano, Christian Fennesz, Tomohiko Gondō and Ren Takada as live support) Discography Albums Hosono House (1973) Tropical Dandy (1975, as Haruomi "Hosono") Bon Voyage co. (泰安洋行, Taian Yōkō) (1976, as Harry "The Crown" Hosono) Paraiso (はらいそ, Haraiso) (1978, by "Harry Hosono and The Yellow Magic Band") Cochin Moon (コチンの月, Kochin no Tsuki) (1978, by "Hosono & Yokoo") Philharmony (1982) Hana ni Mizu (花に水) (1984, cassette book) Making of Non-Standard Music/Making of Monad Music (1984) S-F-X (1984, by "Haruomi Hosono with Friends of Earth") Mercuric Dance (1985) Endless Talking (1985) Omni Sight Seeing (1989) Medicine Compilation (1993) Mental Sports Mixes (1993) Good Sport (1995) Naga (1995) N.D.E. ("Near Death Experience") (1995) Interpieces Organization (1996, by Haruomi Hosono & Bill Laswell) Road to Louisiana (ルイジアナ珍道中, Ruijiana Chindōchū) (1999, with Makoto Kubota as "Harry & Mac") Flying Saucer 1947 (2007, by "Harry Hosono & The World Shyness") HoSoNoVa (2011) Heavenly Music (2013) Vu Ja De (2017) Hochono House (2019) Hosono Haruomi Live in US 2019 (2021) Soundtrack albums Video Game Music (1984, songs from Namco games arranged and produced by Hosono) Nausicaä of the Valley of the Wind (風の谷のナウシカ, Kaze no Tani no Naushika) (1984, anime soundtrack, only produced theme song sung by Narumi Yasuda)[15] Coincidental Music (1985, compilation of assorted background music/soundtrack commissions) Night on the Galactic Railroad (銀河鉄道の夜, Ginga Tetsudō no Yoru) (1985, movie soundtrack) Paradise View (1985, movie soundtrack) The Tale of Genji (源氏物語, Genji Monogatari) (1987, movie soundtrack) Why Dogs Don't Talk Anymore (だから犬はほえる, Dakara Inu wa Hoeru) (1996, background music for and included with the Taro Manabe picture book of the same name) La Maison de Himiko (2005, movie soundtrack) Ex Machina Original Soundtrack/Original Soundtrack Complete Edition (2007, soundtrack supervention, composition of some tracks) Shoplifters (2018) Original Soundtrack Compilation albums Hosono Box 1969–2000 (2000, Daisyworld) Harry Hosono Crown Years 1974–1977 (2007) Music for Films 2020-2021 (2021) Tribute albums Tribute to Haruomi Hosono (2007, Commmons) Featuring: Van Dyke Parks, Ryuichi Sakamoto, Takako Minekawa, Miharu Koshi, Little Creatures, Tokyo Ska Paradise Orchestra, Hiroshi Takano, Towa Tei, Akiko Yano, Rei Harakami, Yukihiro Takahashi, Cornelius, Jim O'Rourke, Kahimi Karie Strange Song Book – Tribute to Haruomi Hosono 2 (2008, Commmons) Featuring: Señor Coconut, Van Dyke Parks, Dr. John, Sheena & The Rokkets, Buffalo Daughter, Thurston Moore, Miu Sakamoto, Ryuichi Sakamoto, Fennesz Contributions CBS/Sony Sound Image Series: Pacific (with Shigeru Suzuki and Tatsuro Yamashita) (tracks 1, 4 and 8 composed and performed by Hosono) (1978) The Aegean Sea (with Masataka Matsutoya and Takahiko Ishikawa) (tracks 3 and 4 composed and performed by Hosono) (1979) Vol. 1 – Island Music (with Suzuki, Yamashita, Matsutoya, Ishikawa and Ryuichi Sakamoto) (tracks 1, 7, 9 and 10 composed and performed by Hosono) (1983) Vol. 2 – Off Shore (Suzuki, Yamashita, Matsutoya, Sakamoto, Masaki Matsubara and Kazumasa Akiyama) (tracks 1 and 2 composed and performed by Hosono) (1983) 3D Museum (1993) Melon Brains (1994) Goku (1995) Love, Peace & Trance (1995) Lattice (2000) Composition work Imokin Trio (イモ欽トリオ): High School Lullaby (ハイスクールララバイ) (1981) Teardrop Tanteidan (ティアドロップ探偵団) (1982) Miki Fujimura: 仏蘭西映画 夢・恋・人 (1983) 妖星傅 春 Mon Amour Yoshie Kashiwabara: Shiawase Ondo (しあわせ音頭) (1982) Starbow: Heartbreak Taiyōzoku (ハートブレイク太陽族) (1982) Kumiko Yamashita: 赤道小町ドキッ (1982) Teenage Eagles (1983) Kawakamisan to Nagashimasan: きたかチョーさんまってたドン (1983) Miki Matsubara: Paradise Beach (Sophie's Theme) (パラダイス ビーチ(ソフィーのテーマ), Paradaisu Biichi (Sofii no Teema)) (1983) Seiko Matsuda: Tegoku no Kiss/Wagamama na Kataomoi (天国のキッス/わがままな片想い) (1983) Glass no Ringo (ガラスの林檎) (1983) Pink no Mozart (ピンクのモーツァルト) (1984) Shin'ichi Mori: New York Monogatari (紐育物語) (1983) Whiskey Iro no Machi de (ウイスキー色の街で) Akina Nakamori: Kinku (禁区) (1983) Apogee & Perigee (Jun Togawa, Yuji Miyake and other artists): Getsusekai Ryokou (月世界旅行) (1984, Alfa) Shinkuu Kiss (真空キッス) (1984, Alfa) Jun Togawa: 玉姫様 (1984) Narumi Yasuda: Kaze no Tani no Nausicaä (風の谷のナウシカ, Kaze no Tani no Naushika, Nausicaä of the Valley of the Wind) (image song for the film) (1984) "NHK News Today" opening theme (1988, NHK TV) Chisato Moritaka: Miracle Light (ミラクルライト) (1997, zetima) Kotoshi no Natsu wa More Better (今年の夏はモアベター, This Summer Will Be More Better) – Writing, Performance, Production (1998, zetima) Chappie: Tanabata no Yoru, Kimi ni Aitai (七夕の夜、君に逢いたい) (1999) Kuniko Yamada: Tetsugaku Shiyō (哲学しよう) Masatō Ibu: Datte, Hormone Love (だって、ホルモンラブ) Filmography Music Evening Primrose (1974) Summer Secret (1982) Night on the Galactic Railroad (1985) Paradise View (1985) A Promise (1986) Jazz Daimyō (1986) Murasaki SHikubu-Genji Monogatari (1987) Hoshi wo Tsugumono (1990) Southern Winds (1993) On the Way (2000) House of Himiko (2005) Appleseed Ex Machina (2007, Music supervising director) Shoplifters (2018)[17] Acting Izakaya Chōji (1983) A Y.M.O. Film Propaganda (1984) Paradise view (1985) Shigatsu no Sakana (1985) Binetsu Shōnen (1987) Norwegian Wood (2010): Record Shop Manager Isle of Dogs (2018): Scrap (Japanese dub)[18] They Say Nothing Stays the Same (2019) Bullets, Bones and Blocked Noses (2021, TV miniseries): Barber[19] Documentary appearance No Smoking (2019)[20] Related books Soichiro Suzuki (2015). Hosono Haruomi Rokuonjustu: Bokura wa Koushite Oto wo Tsukuttekita. DU BOOKS. ISBN 978-4-907583-69-9. Sadistic Mika Band (サディスティック・ミカ・バンド) was a Japanese rock band formed in 1972. Its name is a parody of the late 60s band Plastic Ono Band.[1] Produced by Masatoshi Hashiba on Toshiba-EMI Records (now EMI Music Japan), the band was led by guitarist Kazuhiko Katō and singer Mika Fukui [ja], who were a married couple at the time. The word "sadistic" is reported to be inspired by Mika's sadistic way of using knives in the kitchen (and their sense of humour). In 2003, HMV Japan ranked the band at No. 94 on their list of the "Top 100 Japanese Pops Artists".[2] In September 2007, Rolling Stone Japan rated their 1974 album Black Ship at No. 9 on its list of the "100 Greatest Japanese Rock Albums of All Time".[3] History Kazuhiko Katō moved to Kensington, London in 1972 and, impressed by the burgeoning glam rock scene led by T. Rex and David Bowie, he set about forming a new group in Japan to emulate the style.[1] The original lineup of the band included Katō, Mika, drummer Hiro Tsunoda and lead guitarist Masayoshi Takanaka. This lineup recorded the single "Cycling Boogie" on June 21 1972,[4] released on Doughnut Records,[5] Japan's first private label that was founded by Katō.[6] Subsequently Tsunoda left the band, to be replaced by Yukihiro Takahashi, and bassist Ray Ohara joined the band. This lineup completed the band's self-titled debut album, which was released on the Harvest label in the United Kingdom. Katō passed the album to Malcolm McLaren who at the time had a shop with Vivienne Westwood, and McLaren passed it on to Bryan Ferry, whose band Roxy Music Sadistic Mika Band would later support on the European leg of their 1975-76 Siren Tour.[1] Their second album Kurofune (黒船, Black Ship(s)) was recorded in England, produced by Chris Thomas. Thomas also introduced Mika to Badfinger while he produced their 1974 LP Wish You Were Here. Her vocals can be heard on the track "Know One Knows" (translating Pete Ham's lyrics to Japanese). Keyboardist Yu Imai, who had worked as a supporting musician on the first album was promoted to full member status. The album sold well in Japan. In the UK; however, the album sold poorly but received high praise from critics. Ohara left the band, and was replaced by Tsugutoshi Gotō. Chris Thomas also produced their third album Hot! Menu. The album, which featured tracks such as "Mada Mada Samba", is now quite rare although it was featured on BBC Radio 3's Sounds Interesting. The band played live on BBC TV's Old Grey Whistle Test in October 1975, performing two tracks: "Time to Noodle" and "Suki Suki Suki". When they appeared, a stagehand arranged for the name of the programme (usually shown hung from the back wall) to be spelt as The Old Gley Whistle Test as a nod to the Japanese pronunciation of the letters L and R.[7] The band also made an appearance on BBC TV's Pebble Mill at One and were interviewed by Jan Leeming. Photographs from this appearance were published in the book S/M/B/2 (2006, Shinko Music) by Masayoshi Sukita, who was a close friend of the band. The band played live in the United Kingdom supporting Roxy Music including a show at Wembley Stadium. It was the first ever UK tour by a Japanese rock band.[1] Recordings from these concerts were released as their Live in London album. After this album was released, Kazuhiko Katō and Mika divorced, and both left the band. Mika later married Chris Thomas and moved to the UK, where she worked as a food researcher. The Sadistics The remaining members – Takahashi, Takanaka, Imai, and Gotō – continued for several years as The Sadistics. They released two studio albums and two live albums before the band eventually petered out in 1979 as the members became busy with their solo careers and other projects, such as the Yellow Magic Orchestra and Imitation. All members continued to work with Kazuhiko Katō on his solo albums in the 1970s and '80s. Post-disbandment Kazuhiko Katō became a radio show presenter and a television personality in Japan. He had a successful solo career after the Sadistic Mika Band broke up; pursuing a ska direction before acquiring interest in European experimental music. Most of his solo work employed the talents of the other former Sadistic Mika Band members and other notable guest artists such as Ryuichi Sakamoto, Haruomi Hosono and Akiko Yano. He released two acoustic albums with Kōnosuke Sakazaki of The Alfee under the name Kazukoh in 2007 (Golden Hits) and 2009 (Happy End),[8] and found time to form a new band called Vitamin-Q in 2008, releasing one album (VITAMIN-Q feat ANZA).[9] Katō committed suicide by hanging on October 17, 2009 in the Kitasaku District of Karuizawa in Nagano Prefecture, Japan.[10] Drummer Yukihiro Takahashi went on to become part of the synthpop trio Yellow Magic Orchestra (YMO), in which he provided the majority of lead vocals. In the early 2000s, he formed the duo Sketch Show with his ex-YMO bandmate Haruomi Hosono; with Ryuichi Sakamoto becoming regularly involved, the YMO name was later resurrected. In 2014, Takahashi formed the supergroup Metafive, which continues to the present. He has also acted in a number of films and TV shows, usually in comedic roles. Ray Ohara was a regular member of Takahashi's band in the 1980s and 1990s. Mika released a self-produced album in 1994, where she wrote all songs and lyrics. Tsugutoshi Gotō has released a large number of albums both solo, and as a member of various bands. Yu Imai went on to form the group Imitation and collaborated with members of Sandii & the Sunsetz and Talking Heads. He was also the chief musical collaborator with lyricist Chris Mosdell on three of his solo albums, Equasian (also with Kazuhiko Katō), The Oracles of Distraction, and Fingerprints of the Gods – the latter being the sonic setting of the Graham Hancock book of the same title. Masayoshi Takanaka went on to become one of the most famous guitarists in Japan. He has been releasing studio albums and touring to this day. Reunions The band has reunited three times. Each time Kazuhiko Katō, Yukihiro Takahashi and Masayoshi Takanaka have formed the core of the band, with a different female lead vocalist and supporting musicians. In 1985, the band reunited as the Sadistic Yuming Band. Tsugutoshi Gotō returned on bass. In addition, Ryuichi Sakamoto played keyboards and Yumi Matsutoya, AKA Yuming, sang the female lead vocals. In 1989, the band reunited as the Sadistic Mica Band with Ray Ohara on bass instead of Gotō, and Karen Kirishima on vocals. Appare, an album featuring new material, was released, as well as the accompanying live album Seiten. In 2006, the band reunited and became the Sadistic Mikaela Band,[1] with 22-year-old pop singer Kaela Kimura on lead vocals. The lineup released the album Narkissos, featuring a track by renowned English lyricist Chris Mosdell, which sold 92,568 copies and ranked number 147 in the yearly best selling chart. The group also completed a national tour culminating in a show at NHK Hall in Shibuya, Tokyo.[1] In 2007, the band released a 3-disc live retrospective including material from 1975 and 2006, plus video clips. Notes  as The Sadistics  as the Sadistic Yuming Band  as the Sadistic Mica Band  as the Sadistic Mikaela Band Metafive was a Japanese band that consisted of Yukihiro Takahashi, Keigo Oyamada, Yoshinori Sunahara, Towa Tei, Tomohiko Gondo, and Leo Imai.[1] History Yukihiro Takahashi originally assembled Keigo Oyamada, Yoshinori Sunahara, Towa Tei, Tomohiko Gondo, and Leo Imai to serve as the backing band on his 2014 concert tour, for which they were billed as Yukihiro Takahashi & Metafive.[2] In 2015, the band changed their name to Metafive.[3] Takahashi has said that the name Yukihiro Takahashi & Metafive was a flippant reference to the band Hiroshi Uchiyamada & Cool Five.[4] The band played live at the 2014, 2015, and 2016 World Happiness Festivals, with British drummer Steve Jansen performing with the band in 2016.[5] Metafive's recordings charted in Japan, with their first studio album Meta (2016) reaching number 13 in the Oricon Albums Chart,[6] and their EP Metahalf (2016) reached number 12 in the same chart.[7] 4 years after their debut album release, on July 24, 2020, Metafive released a single available for streaming and download, entitled "Kankyo to Shinri / Environmental". On May 17, 2021, Metafive announced that their second studio album METAATEM would be released on 11 August 2021.[8] However, after controversy arose surrounding Oyamada's past history of bullying (resulting in his resignation from the 2020 Summer Olympics opening ceremony committee), the band cancelled the "METALIVE 2021" concert event that they had scheduled for 26 July 2021 at KT Zepp Yokohama, which would have been their first live performance in over 4 years. The band then announced on 28 July 2021—just two weeks before the scheduled release date for METAATEM—that the album release had been cancelled.[9] Metafive performed at Fuji Rock Festival '21 on 20 August 2021 with an alternate lineup consisting of Imai and Sunahara backed by "support" musicians Seiichi Nagai of Sōtaisei Riron and Kenichi Shirane of Great 3 and Imai's solo backing band. Metafive revealed on November 4 that they would stream a pre-recorded concert video entitled "METALIVE 2021" on November 20, and that people who purchase tickets to watch this stream would receive a CD or vinyl copy of the cancelled METAATEM album in the mail. The streamed concert video footage was recorded on July 26 at KT Zepp Yokohama with no live audience and a lineup consisting of Oyamada, Sunahara, Tei, Gondo, Imai, and Shirane (Takahashi announced on August 5 that he was taking a break from all musical activities to recover from brain surgery that he had undergone in the previous year).[10] Customers who purchased tickets for the "METALIVE 2021" video stream received copies of the METAATEM album at the end of 2021. As the album was released exclusively to ticket-holders for the "METALIVE 2021" stream, copies were sold for high prices on secondhand marketplace websites such as Mercari and Yahoo! Auctions due to their scarcity. It was announced that the Fuji Rock Festival '21 lineup of Metafive (Imai, Sunahara, Nagai and Shirane) would perform again at the OTODAMA'22 music festival in May 2022 under the name "METAATEM". The lineup subsequently revealed that they had changed their name to "TESTSET" and would continue to perform live under this name, beginning with a concert at Ebisu Liquidroom on April 14 with THE SPELLBOUND. At this concert, TESTSET performed a new song entitled "Carrion". On 19 July 2022, Metafive announced that the METAATEM album would finally receive a wide release on September 14. However, the same announcement also referred to METAATEM as the band's "last album", confirming that they had broken up in the previous year.[11] On 12 August 2022, TESTSET released their debut EP EP1 TSTST with no prior announcement. Takahashi died in January 2023 at the age of 70, following a case of pneumonia resulting from the preexisting health issues that kept him away from activities with Metafive.[12][13][14][15] Members Yukihiro Takahashi (of Yellow Magic Orchestra) Keigo Oyamada (a.k.a. Cornelius) Yoshinori Sunahara (formerly of Denki Groove) Towa Tei (formerly of Deee-Lite) Tomohiko Gondo Leo Imai Discography Studio albums Meta (2016) Metaatem (2021) Live albums Techno Recital as Yukihiro Takahashi & Metafive (2014) Metalive (2016) EPs Metahalf (2016) Singles "Split Spirit" as Yukihiro Takahashi & Metafive (2014) "Environmental" (2020) "The Paramedics" (2021) Yellow Magic Orchestra legend Yukihiro Takahashi has revealed he underwent surgery to remove a brain tumour earlier this month. Via a written note on his website, the Japanese artist — who rose to fame playing alongside Ryuichi Sakamoto and Haruomi Hosono in YMO — made the reveal to fans earlier today, explaining that he had surgery on August 13. Currently, Takahashi is still in hospital recovering. However, he called the operation a success, stating, "The progress is going well." Apparently, Takahashi had been suffering from intermittent headaches since early this summer. While the musician initially thought these were due to migraines onset by the changing seasons, he eventually had an MRI when his symptoms failed to improve, revealing the headaches were the result of a brain tumour. Describing the moment when he learned of his diagnoses, Takahashi stated it was "a long day when he could not catch reality and was unable to speak in despair." With Takahashi now labelling the operation a success, the artist said he's found a new peace of mind and will now concentrate of his treatment. In his message, he also took time to thank the medical staff overseeing his treatment. "I want to try to stand before you as soon as possible," Takahashi said in his message to fans. You can read Takahashi's untranslated message below. While Takahashi will now be taking some time off, he just recently released the new single "Environmental" with the supergroup METAFIVE, which also consists of Towa Tei, Keigo Oyamada (a.k.a. Cornelius), Yoshinori Sunahara, Tomohiko Gondo and Leo Imai. You can hear "Environmental" below, where you can also watch the song's video. Last year, Takahashi's solo debut Saravah! was celebrated in North America with a vinyl reissue on We Want Sounds. Remembering Yellow Magic Orchestra’s Yukihiro Takahashi, in his own words In the wake of his passing earlier this week, we look back on the YMO drummer and synth-pop pioneer’s life and work Earlier this week, Yukihiro Takahashi – a founding member of the pioneering Japanese electronic music group Yellow Magic Orchestra, who led a vibrant musical career that spanned over 50 years – died in Japan at the age of 70. The news came after his recovery from surgery to remove a brain tumour in 2020 was beset by complications, with news reports in Japan suggesting that he had been battling pneumonia at the start of this year. “I wanted to combine elements from new and old music from abroad as well as from Japan and create something unique.”  – Yukihiro Takahashi, 2020. Takahashi became a professional musician while he was still in high school, briefly performing in the folk-rock group Garo before joining Sadistic Mika Band as a drummer in 1973. The glam and prog-rock band, whose name riffed on Yoko Ono’s Plastic Ono Band, formed after Folk Crusaders member Kazuhiko Katō witnessed the rise of T. Rex and David Bowie in London.  After legendary Sex Pistols manager Malcolm McLaren shared a copy of the band’s debut album with Bryan Ferry, the band were invited to support Roxy Music on tour in 1975. The tour, which included a date at London’s Wembley Stadium, was reportedly the first in the UK by a Japanese rock band. They were regularly played on the radio by tastemaker DJ John Peel thereafter, and performed on the popular UK TV show The Old Grey Whistle Test that same year. “I had become friends with Ryuichi Sakamoto and other musicians around [1978], which felt like destiny.” – Yukihiro Takahashi, 2020. Following the break-up of Sadistic Mika Band in the late 70s, Takahashi released his first solo album Saravah! in 1978 – a rich, genre-fluid classic that mixed disco, bossa nova and French exotica. The album’s cover image, which pictures a tuxedo-wearing Takahashi leaning against a fountain, was notably shot by Masayoshi Sukita, best known for his collaborations with David Bowie, including the iconic cover image for Heroes. The music was completed with the help of musicians such as Ryuichi Sakamoto and Haruomi Hosono, Takahashi’s new bandmates with the group Yellow Magic Orchestra.  The unexpected overseas success of Yellow Magic Orchestra’s 1978 singles “Computer Game” and “Firecracker” (the latter reached the Top 20 in the UK) soon catapulted the trio towards global recognition. The band, whose innovative, intricate and deeply melodic electronic music was often compared to that of Kraftwerk, incorporated synthesisers, samples, drum machines and computers in a manner rarely witnessed before in Japan. They’d later become one of the most globally-successful Japanese bands of all time, inspiring countless emerging genres, including hip-hop, house, techno and video game music. “We’re doing what we want to do,” Takahashi said of the band’s radical, forward-thinking music in an interview broadcast on The Tube in 1985. “If we started considering our listeners, we’d have to compromise. There’s no point in doing it at all if you have to compromise.” In Yellow Magic Orchestra, Takahashi was identifiable for his metronomic drumming, idiosyncratic vocals, and eclectic, Mao-inspired fashion sense (all of which would become cornerstones of the band’s collective appeal) across seven initial albums before their disbandment in 1984. He would also pen several of the band’s most popular pieces. Among the most notable was “La femme chinoise”, from the band’s 1978 debut, the proto-techno piece “Pure Jam”, from 1981’s Technodelic, and the effervescent “Rydeen”, from 1979’s Solid State Survivor – considered by many to be the band’s quintessential track. If Hosono was “the ideas man” and Sakamoto “the professor”, then Takahashi was something else entirely: “I was the populariser, the communicator” he told The Guardian in 2008. All the while, Takahashi’s continued to release albums like Murdered by the Music (1980) and Neuromantic (1981), as his solo career flourished in the 80s. The latter included melancholy highlight “Drip Dry Eyes”, which, like the wider album, featured both his Yellow Magic Orchestra bandmates and former tourmates Phil Manzanera and Andy Mackay, the guitarist and saxophonist of Roxy Music. Collaborations with artists such as Be-Bop Deluxe bandleader Bill Nelson, Iva Davies of Icehouse, and Steve Jansen of Japan followed, in a solo career that eventually surpassed 20 albums. Takahashi would simultaneously contribute soundtracks for video games (Nintendo’s Ginga no Sannin, 1987) anime shows (Nadia: Secret of Blue Water, 1990) and films (Appleseed: Ex Machina, 2007), while also forming groups such as The Beatniks, pupa, and METAFIVE – the latter of whom released their final album in 2022. Takahashi also enjoyed a modest career on screen, first appearing as a prison guard in the obscure 1983 sci-fi parody It’s All Right, My Friend, directed by Audition writer Ryû Murakami. He’d also play a gatekeeper in Tran Anh Hung’s 2010 adaption of Haruki Murakami’s international bestseller Norwegian Wood. His most notable film work, though, would come via the films of director Nobuhiko Obayashi – best known for his 1978 psychedelic horror cult classic House.  Takahashi appeared in the enchanting The Island Closest to Heaven in 1984, and made a minor appearance in the director’s 1988 horror fantasy The Discarnates. But it was his leading role in 1986 light comedy Poisson d’Avril – a film for which he also composed a whimsical and romantic score – that is perhaps his most prominent. He would reunite with Obayashi in 2019, for what would be both the director and the musician’s final film: the surreal and critically-acclaimed historical fantasy epic Labyrinth of Cinema. Takahashi’s final public appearance in the UK was in July 2018, when fans at a Haruomi Hosono solo show at the Barbican in London witnessed the reunion of Yellow Magic Orchestra for a single song: “Absolute Ego Dance”. The performance, which opened with a series of bustling Takahashi drum fills, marked the final time the three musicians appeared together in public. ellow Magic Orchestra Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi are the founding members of Yellow Magic Orchestra (YMO), the legendary group whose innovations included the integration of exotic sounds and techno elements in their so-called “computer music.” YMO has been one of the central figures in the techno/new wave movement starting in the late 70s, along with Kraftwerk and DEVO, and have influenced countless techno/ hiphop/pop/rock musicians throughout the world. Furthermore, YMO is said to be the first to use electronic instruments such as the Vocoder VP-330, and the first to release an album that heavily used samples and loops. Influenced by folk, Haruomi Hosono has been one of the pioneers of the rock/pop music scene in Japan, impacting many artists and garnering considerable respect in the electronic music field. Ryuichi Sakamoto, the Oscar winning composer/musician, has gained an international reputation exploring and innovating the realm between music and noise. Yukihiro Takahashi has been known not only as a producer of Japanese rock/pop music, but also for his activities (accomplishments) as a fashion designer and writer. In 1983, YMO announced they would sankai, or “fan-out,” and didn’t reunite until 1993 with performances which drew 100,000 people to the show in Tokyo and included The Orb as their opening act. During the period of 1993 - 2002 the group members continued to focus on their solo careers: Hosono founded his label daisyworld discs, while Takahashi and Sakamoto concentrated on their solo works. The unit did not reunite until Hosono and Takahashi formed Sketch Show and invited Sakamoto to contribute on tracks on their releases Audio Sponge and Loophole. Sakamoto joined Sketch Show for the Sonar Festival in 2004 for a performance under the name Human Audio Sponge (or HAS). The name was inspired by the writings of UK-based writer, musician, and curator David Toop, which would be used whenever Sakamoto joined a Sketch Show performance. The band considered HAS to be a completely separate entity from YMO and embodied this idea in their performance style, shying away from live instruments. Human Audio Sponge was a name that reflected the musical direction of the three members at the time, absorbing various musical elements and converting these ideas in their original way to create a totally new sound. Recently the group has performed under the name HASYMO. More than just a melding of their previous incarnations as Human Audio Sponge (HAS) and Yellow Magic Orchestra (YMO), HASYMO has developed a new sound that transcends the two groups. One recent contribution is the new track Rescue for the film Appleseed: Ex Machina. The original three members performed as Yellow Magic Orchestra from Live Earth’s Kyoto stage on 7/7/07. The concert was hailed by Rolling Stone as the worldwide festival’s best reunion performance. In 2008, the band performed in London at the Meltdown Festival hosted by Massive Attack and a concert in Spain directly followed. The group introduced two new songs: The City of Light and Tokyo Town Pages, and was accompanied by Christian Fennesz on guitar and laptop along with regular supporting members. From this point on, the band’s official title would be Yellow Magic Orchestra once again. Equipped with regular supporting members including Keigo Oyamada (Guitar) from Cornelius, Ren Takada (Pedal Steel/Electronics) and Tomohiko Gondo (HD Operation/ Euphonium), Yellow Magic Orchestra played the Japanese Summer Festival World Happiness 2008,2009 and 2010. Fans were taken aback by rare performances of classic YMO pieces such as Thousand Knives, Firecracker and Behind The Mask. On June 26th 2011 the group will be performing at the renowned Hollywood Bowl in Los Angeles, bringing their live show to the states for the first time in over 30 years. As headliner for the Hollywood Bowl’s “Big In Japan” event the group will be reworking many of their classics to be performed with a focus on live instruments. This will showcase the breadth of the individual artist talents as well as the group as a whole and will include supporting members Keigo Oyamada, and Christian Fennesz. Following this performance the group will be playing the very next day at the Warfield theatre in San Francisco on June 27th. Both U.S.A. performances will coincide with a new “Best of” compilation from Sony titled; YMO, which will be released mid-June. The compilation features handpicked songs from the band members themselves, spanning the entire YMO catalogue. The songs have been re-mastered and the compilation’s aim is to introduce YMO’s music to a younger generation, as well as please the long time fans with a fresh take on the band’s extensive repertoire.
  • Condition: Very Good
  • Artist: YUKIHIRO TAKAHASHI
  • Format: BETA
  • Release Year: 1982
  • Release Title: NEUROMANTIC

PicClick Insights - Vintage Yellow Magic Orchestra Yukihiro Takahashi 1982 Beta Ii Tape Ymo PicClick Exclusive

  •  Popularity - 0 watchers, 0.0 new watchers per day, 16 days for sale on eBay. 0 sold, 1 available.
  •  Best Price -
  •  Seller - 808+ items sold. 0% negative feedback. Great seller with very good positive feedback and over 50 ratings.

People Also Loved PicClick Exclusive