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Yellow Magic Orchestra Computer Game
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Contents. Overview , YMO's record company, had installed a 32-track digital recorder in its studio shortly before YMO started recording BGM. Since Hosono was not fond of its overly sharp sound quality, he recorded all the rhythm sections for BGM on a 80-8 analog recorder first and copied them with the 3M machine, resulting in the fuller, much compressed rhythm tracks. Unfortunately, no known working samples of the 3M recorder exist in Japan today, making it quite difficult to play the master tape.
One of the earliest uses of the TR-808 for a live performance was by Yellow Magic Orchestra in 1980 for the song '1000 Knives', an rendition of member 's 'Thousand Knives' (1978). The hand-clap sound was later publicized on this album, being used again on '1000 Knives' and in 'Music Plans', another of Sakamoto's songs. Debuts as YMO's co-lyricist. Was often absent from the BGM recording sessions on account of illness, and he turns in 'Music Plans' as his only new composition for the album, since '1000 Knives' (from his 1978 debut album The Thousand Knives of Ryuichi Sakamoto) and 'Happy End' were new recordings of his earlier materials. Another song, 'Rap Phenomena', was an early attempt at electronic rap. 'Loom' is a re-working of 'The Infinite Space Octave' by YMO computer programmer, and features a slow, upward glissando similar to the, 's. A similar sound was previously used by YMO members and Ryuichi Sakamoto for their 1978 album.
Like most YMO albums, song titles were printed in both Japanese and English, as listed below. '来たるべきもの' more accurately translates to 'What should come'. When released in 1981, the album's reception was positive. Described the recording as 'crystalline' and the performance as 'the twain meet', praising the album for its 'remarkable' blend between 'East and West', its 'catchy tunes', its 'ambitious collection of electronics' and for 'pushing at the frontiers of ', but noted that this affected the album's accessibility. Track listing Side one No. Title Lyrics Music Length 1. 'Ballet' ( バレエ), Takahashi 4:34 2.
'Music Plans' ( 音楽の計画; 'Ongaku no keikaku'), Barakan Sakamoto 4:34 3. 'Rap phenomena' ( ラップ現象; 'RAP genshou'), Barakan Hosono 4:33 4. 'Happy End' ( ハッピー・エンド) Sakamoto 4:33 5. '1000 Knives' ( 千のナイフ; 'Sen no KNIFE') Sakamoto 5:24 Side two No. Title Lyrics Music Length 1. 'Cue' ( キュー) Takahashi, Hosono, Barakan Takahashi, Hosono 4:33 2.
'U.T' ( ユーティー) 4:34 3. 'Camouflage' ( カムフラージュ) Takahashi, Barakan Takahashi 4:34 4. 'Mass' ( マス) Hosono, Barakan Hosono 4:32 5. 'Loom' ( 来たるべきもの; 'Kitaru beki mono') YMO, 5:21 Personnel. '1000 Knives' is an electro cover of 's electronic track 'Thousand Knives' (1978). YMO's 1980 performance of this track was one of the earliest uses of the TR-808 in a live performance.
Yellow Magic Orchestra Music
Problems playing these files? Yellow Magic Orchestra –, Voices on 'U.T',. –, & on 'U.T',.
– Keyboards,. –, Guest musicians. –., Don Nagata & Tomoki Miyadera – Equipment Coordination. –. Tomoko Nunoi (uncredited) – French Narration on 'Ballet' Staff.
& – Executive Producer. Mitsuo Koike – &. Yoshifumi Īo – Recording Engineer. Kazusuke Obi – Coordinator. Plan-New Werk & Tsukuitoshinao – Creative Services.
– References.
Yellow Magic Orchestra Youtube
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Country: Japan Genre: Electronic Style: Synth-pop Members: Haruomi Hosono, Ryuichi Sakamoto, Yukihiro Takahashi YELLOW MAGIC ORCHESTRA (1978) Notes: this was the Japanese release of their first album (1978).
Stands for 'background music,' and one could be mistaken for thinking that this is an album of ambient-sounding tracks. Instead, it's a continuation of 's techno aesthetic, focusing more on 's distorted vocals and similarly liquid synth sounds, which give much of the album a melancholic air. There's also the sense of a group rushing to put out another album (close on the heels of ). One of 's efforts ('1000 Knives') comes from his 1978 solo album, revisited here as a twisted blurp of an instrumental; the other ('Happy End') is all atmosphere and no substance. And 's attempt to understand rap ('Rap Phenomena') is as plodding as it is embarrassing.
However, there are some standout tracks on side two: 'Cue' by and is a very assured ballad, given sufficient frisson by its galloping synth line and strangely programmed drums; 'U.T' is a Kraftwerk-ian instrumental charged with menace and speed; and 'Loom' finally gets to a calm resting place of dripping water, floating electronics, and a -esque atmosphere. If only the first half was a good as the second.
Polaris xc 500. 32mm stanchions make this short-ish fork feel impressively stout on the trail, yet that's reflected in the high-ish weight.
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