YMO in the studio, early 1980s:
https://www.youtube.com/watch?v=wgkj7-VCmEw
― geeta, Sunday, 17 July 2011 18:16 (twelve years ago) link
I wish so hard for an "official" release of the SF show. I remember hearing a boot of Sketch Show playing "Gradated Gray" and it was one of the most beautiful things I've ever heard. Such an underrated tune.
― frogbs, Tuesday, 26 July 2011 19:36 (twelve years ago) link
YMO as covered by... KEANE??
https://www.youtube.com/watch?v=A59Yps4pQq8
― sweetántangó (clouds), Thursday, 6 December 2012 15:31 (eleven years ago) link
Not the weirdest cover when you consider Clapton did "Behind the Mask."
― Naive Teen Idol, Saturday, 8 December 2012 05:33 (eleven years ago) link
idd
― sweetántangó (clouds), Saturday, 8 December 2012 15:01 (eleven years ago) link
weirdest thing to me has gotta be that "behind the mask" almost made it onto thriller
― original bgm, Saturday, 8 December 2012 20:23 (eleven years ago) link
...which got re-recorded by Phil Collins and sung by Eric Clapton. Point: Clapton's version.
― Naive Teen Idol, Sunday, 9 December 2012 13:09 (eleven years ago) link
anyone seen the ridiculous "Kimi Ni Mune Kyun" video? really cheaply made but it's hilarious. i've never seen such miserable dancers!!
https://www.youtube.com/watch?v=4HTyPPELmY0&feature=player_embedded
― frogbs, Thursday, 17 January 2013 03:39 (eleven years ago) link
ha! that is really endearing.
― original bgm, Thursday, 17 January 2013 20:07 (eleven years ago) link
Yeah I saw that a while ago, one of those clips that sums up exactly why I love a band so much.
― Kitchen Person, Friday, 18 January 2013 05:58 (eleven years ago) link
i love how they apparently didn't even bother to do a second take on any of it, it's just so terribly made (then again, what videos in 1983 weren't?)
― frogbs, Friday, 18 January 2013 14:24 (eleven years ago) link
The Taiso video is pretty funny too.
― MaresNest, Friday, 18 January 2013 16:18 (eleven years ago) link
hahhaa, forgot about this video. even the camera angle is terrible. kind of 3 feet above them, so it feels like you're watching your children doing the worst dance ever
― Z S, Friday, 18 January 2013 16:26 (eleven years ago) link
i guess they were trying to play up the image of being "fun boys"
they should've change their name to fun boy 3
― hypnotiQ tanqueray (clouds), Friday, 18 January 2013 16:37 (eleven years ago) link
possibly a stupid question, but what is the "fun boy" image?
― Z S, Friday, 18 January 2013 16:40 (eleven years ago) link
you know — they are boys, they like to have fun
― hypnotiQ tanqueray (clouds), Friday, 18 January 2013 17:00 (eleven years ago) link
it looks like they are being forced to have fun at gunpoint
― frogbs, Friday, 18 January 2013 17:02 (eleven years ago) link
I prefer YMO as waxy aliens meself.
― MaresNest, Friday, 18 January 2013 17:04 (eleven years ago) link
its really kind of amazing how many radical changes in style these guys went through in the span of only 5 years
― frogbs, Friday, 18 January 2013 17:06 (eleven years ago) link
hahaha, sorry, i didn't know if "fun boys" was a japanese thing in the 80s or something
― Z S, Friday, 18 January 2013 17:06 (eleven years ago) link
mei fun boys
― hypnotiQ tanqueray (clouds), Friday, 18 January 2013 17:12 (eleven years ago) link
https://www.youtube.com/watch?v=z3JulFmtvgM
― original bgm, Friday, 18 January 2013 20:40 (eleven years ago) link
the 'wild ambitions' video from the YMO movie is really awesome. just hosono and a kid, hangin, learnin thangs:https://www.youtube.com/watch?v=HeMVSNTogG8
love the archery part!
cool alt. mix of the song too.
― original bgm, Friday, 18 January 2013 20:42 (eleven years ago) link
awesome - that's definitely my favorite tune on Naughty Boys, an album that I think gets underrated in general.
― frogbs, Friday, 18 January 2013 22:29 (eleven years ago) link
yeah, agreed on naughty boys and "wild ambitions". but the album does get a little soggy in the middle imo!
― original bgm, Friday, 18 January 2013 22:51 (eleven years ago) link
also, the 30 sec version of "you've got to help yourself" is hilarious
― original bgm, Friday, 18 January 2013 22:52 (eleven years ago) link
it is but i'd love it if the real version were on there. i'm not too fond of Service. that said it doesn't need it...I don't feel it lags at all
― frogbs, Friday, 18 January 2013 23:06 (eleven years ago) link
yeah, service is easily their weakest.
as for naughty boys, they're not bad or anything, but I feel like "ongaku"/"opened my eyes"/"lotus love" are the low points of the album and bookended by better tracks.
― original bgm, Friday, 18 January 2013 23:29 (eleven years ago) link
ongaku! the e-bow!
― hypnotiQ tanqueray (clouds), Friday, 18 January 2013 23:43 (eleven years ago) link
Alright, I'll give you that one!
― original bgm, Saturday, 19 January 2013 06:59 (eleven years ago) link
i like all three of those - "Ongaku" is gorgeous - but I have to say the new version they are doing of that as HASYMO knocks it out of the parkhttps://www.youtube.com/watch?v=zFs880dNtmM
as for "Lotus Love", it's a real oddity, sort of downtempo in a weird way, as though it's about to fall apart at any time. it's also one I really like but I really dig it any time Hosono tries to write a pop song
― frogbs, Saturday, 19 January 2013 17:00 (eleven years ago) link
"ongaku" is def better than I remembered. so, you guys got me there. but I can't say I prefer the HASYMO version. guess I'm just not really a fan of the smooth, glitched-out, old man YMO rearrangements. they always strike me as pleasant enough but not much more than that. I've never heard one I'd listen to over one of the original tracks
still think "opened my eyes" is not so hot (worst track on the album imo) and "lotus love" is decent and would sound cool if it played while I explored some ancient mine in a dragon quest game.
― original bgm, Saturday, 19 January 2013 22:34 (eleven years ago) link
i like the old man YMO stuff! just not so much when they do actual YMO tunes, outside of "Ongaku" and "Gradated Gray". i will say that the Sketch Show/HASYMO era is so much different than what they did in the 80's that it's not really fair to compare them.
― frogbs, Sunday, 20 January 2013 15:55 (eleven years ago) link
https://www.youtube.com/watch?v=5wqshDrNBaU
― MaresNest, Sunday, 16 March 2014 17:13 (ten years ago) link
https://www.youtube.com/watch?v=0laEwhW2vqw
happy end and 1000 knives sound esp. good in 8-bit mode
― mrs. missus (clouds), Thursday, 4 December 2014 05:50 (nine years ago) link
someone on the excellent kayokyoplus blog translated that weird middle section of "U-T":
Hosono: Hello, I'm your host, Haruomi Hosono. Appearing on the show today are Yellow Magic Orchestra's Yukihiro Takahashi and Ryuichi Sakamoto. Welcome gentlemen.Takahashi: Thank you.Sakamoto: Thank you.Hosono: First, I'd like to ask Mr. Takahashi....do you know about U.T.?Takahashi: Well, I know YT, but this is the first time to hear UT.Hosono: Ah, really? Well, then, Mr. Sakamoto, what is the meaning of UT?Sakamoto: Yes, that refers to super global existence.Hosono: Oh, really? By the way, Mr. Takahashi's drumming on this song is amazing, isn't it?Takahashi: Yes. It is amazing.Hosono: Ohhhh....will you listen to this song on the "BGM"album?Takahashi/Sakamoto: ARE YOU KIDDING?
Takahashi: Thank you.
Sakamoto: Thank you.
Hosono: First, I'd like to ask Mr. Takahashi....do you know about U.T.?
Takahashi: Well, I know YT, but this is the first time to hear UT.
Hosono: Ah, really? Well, then, Mr. Sakamoto, what is the meaning of UT?
Sakamoto: Yes, that refers to super global existence.
Hosono: Oh, really? By the way, Mr. Takahashi's drumming on this song is amazing, isn't it?
Takahashi: Yes. It is amazing.
Hosono: Ohhhh....will you listen to this song on the "BGM"album?
Takahashi/Sakamoto: ARE YOU KIDDING?
― frogbs, Wednesday, 20 January 2016 23:17 (eight years ago) link
one weird fact about this album is that 8 of the 10 tracks are between 4:30-4:40 in length!! and the other two are 5:21 and 5:23 in length. very bizarre consistent total length, despite the tracks being anything but formulaic.
4:35 ballet 4:34 music plans4:33 rap phenomena4:33 happy end5:23 1000 knives4:33 cue4:34 U T4:35 camouflage4:32 mass5:21 loom
(track times via spotify)
both sides begin with 4-minute tracks and conclude with a 5-minute track.
anyway, weird.
― Karl Malone, Monday, 16 July 2018 19:39 (five years ago) link
and really, i'm sure all of those track lengths could be a second or two off in either direction. were they trying to make them all 4'33?
*television voice*next week, on YMO mysteries
― Karl Malone, Monday, 16 July 2018 19:44 (five years ago) link
well spotted!
― Paul, Tuesday, 17 July 2018 02:50 (five years ago) link
yea I noticed that too. pretty cool since a lot of those tunes have pretty rigid structures. feel like this album could really use a 33 1/3 book, it feels like there are so many stories behind it
― frogbs, Tuesday, 17 July 2018 22:00 (five years ago) link
33 1/3 have started a Japan series and there's a YMO one on the way, not stated which rekkid yet though.
https://www.bloomsbury.com/us/series/33-13-japan/
― MaresNest, Wednesday, 18 July 2018 19:49 (five years ago) link
_9. Mass - Great sequencer sounds like Tangerine Dream from around the same time and the melodic line sounds an 80s retro-futurist version of the national anthem of some dictatorial country._yeah, totally. it sounds like they're almost quoting the imperial death march at points. such a great, weird song.
― Naive Teen Idol, Tuesday, 20 November 2018 14:41 (five years ago) link
Posted these on the Hosono thread, but a couple of YMO performances from the Hosono TV special that broadcast in Japan on 2nd January have appeared on Youtube. Includes Gen Hoshino guesting on Firecracker!
https://www.youtube.com/watch?v=U_EnF3xN3CAhttps://www.youtube.com/watch?v=Qpf0uehEJlM
― bamboohouses, Wednesday, 16 January 2019 17:35 (five years ago) link
awesome thanks!
― clouds, Thursday, 17 January 2019 17:45 (five years ago) link
Wow, excellent catch on 4'33! Surely it's a John Cage reference! B.ack G.round M.usic !
― 3×5, Friday, 19 July 2019 14:50 (four years ago) link
listening to this with a little 420 and holy hell does it sound weird. all those freaky vocal effects and strange lyrics about metaphysics. the massive amounts of reverb. all those sad, mangled melodies. the really uh...random sense of rhythm on a few tracks. even "Cue", a song I've heard performed a dozen times by a variety of artists, sounds particularly paranoid and disturbed here. I love this album but it's also sort of a nightmare isn't it?
― frogbs, Sunday, 4 August 2019 04:42 (four years ago) link
Agreed. I recently started getting into YMO and find this a peculiarly compelling album in that I've played it more than any other this year despite not really falling in love with it. "Cue" sounds like the fading human element working to reconcile himself to life as grinding machine repetition, as if reminding himself that this was, after all, his aspiration.
― eatandoph (Neue Jesse Schule), Sunday, 4 August 2019 19:01 (four years ago) link
BGM is really very unique. All the detuned sounds and strange arrangements -- I've rarely heard anything like it.
Yasuaki Shimizu was friends with Ryuichi Sakamoto, and apparently took a lot of notes. Lots of innovative, post-BGM production on stuff he did with Yumi Murata, Jimmy Murakawa or Kazumi Band.
I've also been listening to Shinobu Narita, who had two bands: 4-D and Urban Dance (1, 2). His stuff also blends catch pop melodies with these chromatic, detuned sounds and slightly dissonant accompaniment in places.
I know ILX prefers 80s YMO to late 70s, so I hope you guys like these recommendations.
― 3×5, Monday, 5 August 2019 20:36 (four years ago) link
Whoops, I linked to Urban Dance when I meant to link to Shinobu.
― 3×5, Monday, 5 August 2019 20:39 (four years ago) link
you know what stresses me out? trying to figure out which ymo thread to bump. especially for today's situation, when i want to talk about technodelic, which is not BGM (which is not the greatest electronic pop album ever, although it's fantastic).
i came home to find 3 records that i recently ordered from discogs, all initial pressings with the obi and original liner notes, in fantastic shape:
takahashi - what me, worry?takahashi - neuromantic (a contender for greatest electronic pop album ever. my old copy was scratchy and skipped in multiple spots during 'drip dry eyes', which is just unacceptable)
and of course, ymo's Technodelic. i only have three things to share, all of which you may already know:
1) according to wikipedia.org, "[Technodelic] is considered the first released album to feature mostly samples and loops, influencing the heavy use of sampling and looping in popular music." i didn't know that! that led me to
2) an interesting red bull music academy overview of YMO gear from a few years back, which talks a little bit about how ymo began to move from synthesizers to computers, digital sequencers, and samplers. there are also some interesting (and unsourced) tidbits about the influence of kraftwerk and devo in their early years. an excerpt:
The centerpiece of early YMO sets was a giant modular synthesizer, the Moog III-C; affectionately known to people in the scene back then as the “dresser.” It was the personal possession of the “fourth member” of YMO, engineer and programmer while on tour, Hideki Matsutake. He began his career as an assistant to Isao Tomita, and became a programmer at the dawning of electronic music in Japan. Matsutake synthesized music for TV commercials as well as doing electronic cover albums of the Beatles and various oldies before linking with the band. The first time Matsutake was called on was for the second recording session of the debut single, “Firecracker” (later included in the album Yellow Magic Orchestra). The first recording session, which Matsutake was not a part of, was said to have been done without the use of a computer but instead with an Arp Solina in a fusion style.YMO didn’t think to use a computer in the beginning because Haruomi Hosono, Yukihiro Takahashi, and Ryuichi Sakamoto were all highly skilled players. In 1977, when Hosono had begun to formulate the idea for a new disco instrumental group, he first approached Tatsuo Hayashi of Tin Pan Alley and Hiroshi Sato of Huckle Buck, players active in the fusion genre at the time. However, when these invitations were turned down, Hosono called on two players who were still relatively unknown, Yukihiro Takahashi and Ryuichi Sakamoto. In an era when the majority of drummers refused to play while keeping time to the clicks from a rhythm box, Takahashi’s boundless curiosity enabled him to session with enthusiasm. Sakamoto, meanwhile, was an arranger who had finished graduate school at Tokyo University of the Arts, and was in the process of recording a solo project, A Thousand Knives, which was being created on the then brand new Roland MC-8.The Roland MC-8 was the world’s first ten key input digital sequencer. It was an invention of a bygone era which quantified note information (a quarter note = 48) and inputs were punched in via a calculator type keypad. The reason why Sakamoto had no qualms about computer recordings was that he studied and experimented with the works of Iannis Xenakis, among others, while at university. Sakamoto probably was the only session musician that Hosono knew who had a thorough knowledge of computers at the time that was able to apply that knowledge to popular music.The spark which led to Hosono’s use of a computer during the second recording of “Firecracker” was his discovery of Kraftwerk. Hosono was drawn to the German group’s method of recreating a perfected groove, expressed through a machine, which eliminated the subtle variations in timing that occurs when an instrument is performed by a human being. Matsutake was incorporated as a programmer due to his involvement in Sakamoto’s solo project. The swingy funk element present throughout their first album Yellow Magic Orchestra was expressed by programming through subtle variations of the input (if a quarter note = “48” they used inputs such as “45” and “47” to produce swing).One reason Hosono wanted to create an instrumental group was that it got around the language barrier. He saw Kraftwerk and Giorgio Moroder’s ability to use computer created music to overcome the handicaps that prevented most foreign acts from being able to make it in America. Luck was also on their side, as shortly after their debut they received a call from A&M Records about releasing their record in the United States. As YMO gained traction, they were struck anew by the music of Devo, a post-punk group from Ohio. YMO quickly emulated Devo’s mutant-like sounds and synth overlays, abandoning their original philosophy of hermetically sealed computer compositions. This change in direction became YMO’s second album, Solid State Survivor.
YMO didn’t think to use a computer in the beginning because Haruomi Hosono, Yukihiro Takahashi, and Ryuichi Sakamoto were all highly skilled players. In 1977, when Hosono had begun to formulate the idea for a new disco instrumental group, he first approached Tatsuo Hayashi of Tin Pan Alley and Hiroshi Sato of Huckle Buck, players active in the fusion genre at the time. However, when these invitations were turned down, Hosono called on two players who were still relatively unknown, Yukihiro Takahashi and Ryuichi Sakamoto. In an era when the majority of drummers refused to play while keeping time to the clicks from a rhythm box, Takahashi’s boundless curiosity enabled him to session with enthusiasm. Sakamoto, meanwhile, was an arranger who had finished graduate school at Tokyo University of the Arts, and was in the process of recording a solo project, A Thousand Knives, which was being created on the then brand new Roland MC-8.
The Roland MC-8 was the world’s first ten key input digital sequencer. It was an invention of a bygone era which quantified note information (a quarter note = 48) and inputs were punched in via a calculator type keypad. The reason why Sakamoto had no qualms about computer recordings was that he studied and experimented with the works of Iannis Xenakis, among others, while at university. Sakamoto probably was the only session musician that Hosono knew who had a thorough knowledge of computers at the time that was able to apply that knowledge to popular music.
The spark which led to Hosono’s use of a computer during the second recording of “Firecracker” was his discovery of Kraftwerk. Hosono was drawn to the German group’s method of recreating a perfected groove, expressed through a machine, which eliminated the subtle variations in timing that occurs when an instrument is performed by a human being. Matsutake was incorporated as a programmer due to his involvement in Sakamoto’s solo project. The swingy funk element present throughout their first album Yellow Magic Orchestra was expressed by programming through subtle variations of the input (if a quarter note = “48” they used inputs such as “45” and “47” to produce swing).
One reason Hosono wanted to create an instrumental group was that it got around the language barrier. He saw Kraftwerk and Giorgio Moroder’s ability to use computer created music to overcome the handicaps that prevented most foreign acts from being able to make it in America. Luck was also on their side, as shortly after their debut they received a call from A&M Records about releasing their record in the United States. As YMO gained traction, they were struck anew by the music of Devo, a post-punk group from Ohio. YMO quickly emulated Devo’s mutant-like sounds and synth overlays, abandoning their original philosophy of hermetically sealed computer compositions. This change in direction became YMO’s second album, Solid State Survivor.
3) the original issue of Technodelic is GORGEOUS. it's not this, which is the one that i most often see:
https://i.imgur.com/jr8yYRN.jpg
instead, it turns out the original cover is:
https://i.imgur.com/Kol8q52.jpg
i hear you saying "yes, i know that. i know everything about technodelic. in fact i was the audio engineer on that album and also contributed important ideas to the art direction on th-"
but did you know there's also an amazing foldout booklet, roughly 8"x11", that's included inside? i found one place on the internet that had some scans:
https://i.imgur.com/g3jsttf.png
https://i.imgur.com/TP2Dyvk.png
https://i.imgur.com/6tCoKDI.png
https://i.imgur.com/HpgVtRU.png
i especially love that last image. that is my dream desk for work. notice that in this dream work situation, i use a large box with a giant dial on it instead of a computer.
4) i lied, here is a fourth thing. this is also something you all already know, but the original pressing of Neuromantic ALSO has a really cool foldout liner notes. this came out the same year as technodelic (1981):
https://i.imgur.com/nQfgFjx.jpg
https://i.imgur.com/qXW1jHm.jpg
https://i.imgur.com/TJ4q2mj.jpg
https://i.imgur.com/AhJri3z.jpg
i am having a very good ymo-tangential day, and i hope you are too
― But guess what? Nobody gives a toot!😂 (Karl Malone), Saturday, 28 December 2019 21:01 (four years ago) link