Yellow Magic Orchestra

Source: Wikipedia, the free encyclopedia.
For their self-titled album, see Yellow Magic Orchestra (album).

Yellow Magic Orchestra
Toshiba-EMI
  • Restless Records
  • Sony Music House (Japan)
  • Epic Records
  • Commmons (Japan)
    • Past members
    Websiteymo.org

    Yellow Magic Orchestra (abbreviated to YMO) was a Japanese

    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

    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

    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 Huckleback 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

    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

    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.

    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

    Golden Globe awards.[28]

    Yellow Magic Orchestra released a 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

    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 "

    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

    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.

    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

    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]

    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

    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

    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

    Electric instruments were also used, the Fender Rhodes piano and Fender Jazz Bass.[23]

    Legacy

    The band has been described as "the original

    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 "

    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

    Yellow Fever! album.[7]

    Electronic music

    YMO were pioneers of

    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

    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

    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

    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

    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

    Notes

    1. ^ Original international versions replace skits with tracks from Yellow Magic Orchestra and Solid State Survivor, depending on the region.[106]

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    External links

    Retrieved from "https://en.wikipedia.org/w/index.php?title=Yellow_Magic_Orchestra&oldid=1212828690"