Yellow Magic Orchestra: Difference between revisions

Yellow Magic Orchestra discography
Yellow Magic Orchestra discography
Studio albums	9
Live albums	13
Compilation albums	6
Singles	23

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Yellow Magic Orchestra (YMO) is a Japanese electronic music band formed in 1978, consisting of principal members Haruomi Hosono (bass), Yukihiro Takahashi (drums and lead vocals) and Ryuichi Sakamoto (keyboards and vocals);^[1] the group was previously known as the "Yellow Magic Band" in 1977.^[2] They are known for their seminal influence on electronic music, and as pioneers of various electronic genres such as electropop/technopop,^[1]^[3] synthpop,^[4] electro music,^[5] cyberpunk music,^[6] ambient house music,^[1] and electronica.^[3] Their work has had a significant lasting impact across many different music genres, ranging from hip hop,^[3] electronic dance,^[7] techno,^[8]^[9] acid house,^[9] and rave, to ambient music,^[10] pop,^[4]^[10] rock, and melodic music.^[4]

History

Early years and formation (1976-1978)

Prior to the group's formation, Hosono had been involved in the recording of several early electronic music albums, including Inoue Yousui's Ice World (1973)^[11] and Osamu Kitajima's Benzaiten (1974).^[12] Sakamoto first worked with Hosono as a member of his live band in 1976, while 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 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.^[2] The three worked together again for the 1978 electronic album Pacific, which included an early version of the song "Cosmic Surfin".^[13]

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 (reminiscent of Ravi Shankar and Bollywood music), including an early "synth raga" song "Hum Ghar Sajan".^[14] 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.^[15] Hosono, Sakamoto and Takahashi eventually collaborated again to form the Yellow Magic Orchestra later that year.

The band was initially conceived as a one-off studio project by Hosono, the other two members being recruited session musicians—the idea was to produce an album fusing orientalist exotica with modern electronics, as a subversion of Orientalism and exoticization, while exploring similar themes such as Asianness. The album would eventually be called Yellow Magic Orchestra, as a satire of Japan's obsession with black magic at the time.^[3] 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.^[16]

The band's 1978 debut album Yellow Magic Orchestra, with its cutting-edge production, was very popular, and the studio project grew into a fully fledged touring band and career for its three members. Following the release of the debut 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.

National and international success (1978-1983)

"Firecracker"

A sample of "Firecracker" from 1978 album Yellow Magic Orchestra. This song was later combined with the "Computer Game" track into a hit single called "Computer Game". It was later sampled by artists such as Afrika Bambaata and Jennifer Lopez.

Problems playing this file? See media help.

Following an advertising deal with Fuji Cassette, the group sparked a boom in the popularity of electronic pop music, called "Technopop" in Japan,^[17]^[3] where they had an impact similar to that of The Beatles and Merseybeat in 1960s Britain.^[3] For some time, YMO was the most popular band in Japan.^[3] A testament to the influence of YMO on fashion is how many middle-aged Japanese businessmen still have the "Techno cut" haircut, modeled after the group.^{[citation needed]} 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.

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.^[1]^[17]^[18] While their contemporaries in Düsseldorf and Detroit were using synthesizer technology to create bleak dystopian music, YMO set themselves apart by using synthesizer technology to create "joyous and liberating" music, which Sakamoto regards as "a Japanese thing"^[3] and has compared to a bento box.^[19]

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. The album's major single, 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,^[20] and then for Solid State Survivor with lyrics penned by Chris Mosdell. The song was later revised by Michael Jackson, who added new lyrics in the early 1980s.^[21] 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,^[22] and Ryuichi Sakamoto himself in his 1986 solo release Media Bahn Live.

Their second album Solid State Survivor went on to sell over 2 million records worldwide.^[23] 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.^[17] 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.^[24]

They also had similar success abroad, performing to sold-out crowds during tours in the United States and Europe.^[17] The single "Computer Game" had sold 400,000 copies in the United States^[17] and reached #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.^[5]^[25] 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.^[26]^[5] Meanwhile in Japan, YMO remained the best-selling music act there up until 1982.^[27]

Breakup and brief reunion (1984-1993)

The band had stopped working as a group by 1984, after the release of their musical motion picture Propaganda, the three members returning to their solo careers. The group were careful to avoid saying they had "split up", preferring to use the Japanese phrase meaning "spreading out" (散開, sankai), and in fact the trio continued to play on each other's recordings and made guest appearances at live shows. Takahashi, in particular, would play YMO material in his concerts and as "lead singer" was arguably best placed to do so. Meanwhile, Sakamoto would gain international success for his work as a solo artist, actor, and film composer,^[10] winning Grammy, Oscar and Golden Globe awards.^[28]

The trio would eventually release a one-off reunion album, Technodon, and credited it to 'NOT YMO' (YMO crossed out with a calligraphy X) or ~~YMO~~ in 1993. Instead of traditional vocals, about half of it features field audio recordings and samples of authors and scientists reading their work. 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.^[9]

Post-breakup and reformation (1994-present)

The early 2000s saw Hosono & 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 15 June, as part of the Meltdown festival of music curated by Massive Attack and another in Gijon, Spain on the 19th. Although the primary YMO members (Yukihiro Takahashi, Haruomi Hosono, and Ryuichi Sakamoto) are 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 member's 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" is 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.^[29] In May 2010, Keane released a new EP entitled Night Train (EP) which includes a cover of "You've Got to Help Yourself", featuring MC Tigarah.

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)".^[30] 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.^[31] It was announced in February that YMO will perform at the Fuji Rock festival in July and the World Happiness festival 2011 on 7th August.

Legacy

YMO have been described as "the most adventurous and influential electro-techno-dance technicians the world has produced" and that without them, "today's music would still sound like yesterday's music."^[7] They have also been described as the most influential innovators of electronic music alongside their contemporaries Kraftwerk.^[1] YMO were pioneers in their use of synthesizers, samplers, sequencers, drum machines, computers, and digital recording technology,^[1]^[17]^[18] in a time when these technologies were still seen as novelties.^[18] The band is regarded as being "ahead of their time," for anticipating the global trend towards drum machines and sampling,^[32] for having anticipated the "electropop boom" of the 1980s,^[33] their "pro-technological viewpoint," and their use of video game sounds and bleeps (as in 1978's "Computer Game", for example),^[34] which had a particularly big influence on 1980s hip hop.^[35] They were pioneers of computer music, utilizing computer technology (together with synthesizers) for their music as early as their debut album in 1978, to produce a new sound that was not possible until then.^[16] As a result, they were credited at the time for having "ushered in the age of the computer programmer as rock star."^[17] They were also the first band to utilize the Roland TR-808, one of the first and most influential programmable drum machines, as soon as it was released in 1980. In addition to programmability, the TR-808 featured various unique artificial percussion sounds:^[36] a deep bass kick drum,^[37]^[38] "tinny handclap sounds,"^[38] “the ticky snare, the tishy hi-hats (open and closed) and the spacey cowbell.”^[36] YMO fully utilized and demonstrated the TR-808 in their music, paving the way for its mainstream popularity several years later,^[36]^[37] after which it would be used for more hit records than any other drum machine^[39] and continue to be widely used through to the present day.^[36] Generally, the band are highly regarded as pioneers of electronic music, and continue to be remixed and sampled by modern artists.^[1]

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.^[3] In contrast to Kraftwerk's "robot pop"^[40] which was more minimalistic and statuesque, YMO's template for electronic pop was less minimalistic and made more varying use of synthesizer lines, often producing "fun-loving and breezy" music.^[41] The band also expanded the scope of electronic music by drawing from a wider range of influences,^[42] including Japanese electronic music (such as Isao Tomita), European electronic music (such as Kraftwerk),^[43] exotica (such as Martin Denny),^[42] traditional Japanese music, Indian music (such as Ravi Shankar and Bollywood music),^[14] disco,^[1] video game samples (such as Space Invaders),^[3]^[44] American rap,^[45] Western pop and rock (such as The Beatles), and Caribbean ska.^[42] YMO are thus regarded as pioneers of synthpop,^[4] and their success with music technology encouraged many others, with their influence strongly felt in the British electronic scene of the early 1980s in particular,^[23] influencing later synthpop acts such as Ultravox, John Foxx, Gary Numan, and Duran Duran, as well as Todd Rundgren and Eric Clapton.^[3] The emergence of synthpop, which YMO was a pioneer of, is considered to be "perhaps the single most significant event in melodic music since Mersey-beat" and its influence can still be seen in contemporary rock and pop music.^[4] The band also popularized a style of live performance that eschewed human movement in favour of electronics such as rhythm boxes and samplers.^[46] They also influenced the New Romantic movement,^[46] including British band Japan, whose member Steve Jansen in particular was heavily influenced by drummer Takahashi, while another member David Sylvian would later have successful collaborations with Sakamoto.^[47]

The 1978 song "Behind the Mask" was an international hit covered by various later artists, including Michael Jackson, who added new lyrics, and Eric Clapton.^[22] The 1979 Solid State Survivor album included several early computerized synth rock songs,^[17]^[48] including a mechanized cover version of "Day Tripper" by The Beatles.^[48] The 1980 song "Multiplies" was an early experiment in electronic ska.^[42] The beats and sounds of electro music were pioneered by the 1980 song "Riot in Lagos" produced by Sakamoto.^[5]^[25] "Rap Phenomena" from BGM (1981) was an early attempt at electronic rap.^[45] 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,^[26]^[5] a hip hop pioneer who credited YMO as an inspiration and once remarked that YMO invented hip hop music (in a half-joking manner).^[3] Afrika Bambaataa's influential song "Planet Rock" was partly inspired by YMO.^[49]^[50] Sakamoto's "Riot in Lagos" was cited by Kurtis Mantronik as a major influence on his early electro hip hop group Mantronix.^[51] "Computer Game / Firecracker" was sampled in a number of other later songs, including 2 Live Crew's "Mega-Mixx II" (1988),^[52] Warp's "Testone" (1990),^[53] Jennifer Lopez's worldwide hit "I'm Real" (2001), and the original unreleased version of Mariah Carey's "Loverboy" (2001).^[54]  

YMO also had an impact on techno music,^[8] including its pioneers Juan Atkins, Kevin Saunderson and Derrick May.^[55] YMO's early music has been described as "proto-techno"^[56]^[57] and they had used the term "techno" for several songs such as "Technopolis" (1979); the song's tribute to Tokyo as an electronic mecca also foreshadowed the concepts that Atkins and Rick Davis would later have with the group Cybotron.^[42] By the 1990s, YMO were also frequently cited as pioneers of ambient house music, resulting in the release of the tribute remix album Yellow Magic Orchestra: Hi-Tech/No Crime in 1993 by leading house and techno musicians at the time such as The Orb.^[58] 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.^[9] The band's use of oriental musical scales and arcade video game bleeps has continued to be an influence on 21st-century electronica acts such as Dizzee Rascal and Kieran Hebden.^[3] In 2006, Senor Coconut paid tribute to the band with his Yellow Fever! album.^[18]

The band has also been very influential in its homeland Japan, where they had become more popular than The Beatles during the late 1970s and 1980s.^[3] The band popularized electronic and computer music across the country, inspiring many future J-pop musicians,^[43] as well as anime music composers. The band also influenced many video game composers and had a major influence on much of the chiptune and video game music produced during the 8-bit and 16-bit eras.^[59] Various cover versions of "Kimi ni Mune Kyun" (1983) have been produced, by artists such as The Human League ("YMO Versus The Human League" in 1993)^[60] and Asako Toki (in 2006).^[52] In 2009, a cover of "Kimi ni Mune Kyun" was used as the ending theme song for the anime series Maria Holic, sung by Asami Sanada, Marina Inoue, and Yū Kobayashi, the voice actresses of the main characters.

Discography

Studio albums and variations

1978 Yellow Magic Orchestra — Japan #17,^[61] US #81^[62]
1979 Solid State Survivor — Japan #1^[61]
1980 ×∞ Multiplies (a.k.a Zoshoku) — Japan #1,^[61] US #177^[63]
1981 BGM — Japan #2^[61]
1981 Technodelic — Japan #4^[61]
1983 Naughty Boys — Japan #1^[61]
1983 Naughty Boys Instrumental — Japan #18^[61]
1983 Service — Japan #5^[61]
1993 Technodon — Japan #2^[61]

Live albums

1980 Public Pressure — Japan #1^[61]
1984 After Service — Japan #2^[61]
1991 Faker Holic (Transatlantic Tour 1979) — Japan #50^[61]
1992 Complete Service (mixed by Brian Eno) — Japan #37^[61]
1993 Technodon Live — Japan #12^[61]
1993 Live At The Budokan 1980 — Japan #87^[61]
1993 Live At Kinokuniya Hall 1978 — Japan #55^[61]
1995 Winter Live 1981
1996 World Tour 1980 — Japan #59^[61]
1997 Live At The Greek Theatre 1979
2008 Euymo — Yellow Magic Orchestra Live in London + Gijon 2008
2008 LONDONYMO - Yellow Magic Orchestra Live in London 15/6 08
2008 Gijonymo — Yellow Magic Orchestra Live in Gijon 19/6 08

Compilation albums

1984 Sealed
1992 Technobible
1992 Kyoretsu Na Rhythm
2000 YMO Go Home! : The Best of Yellow Magic Orchestra, (compiled by Haruomi Hosono)
2001 One More YMO: The Best of YMO Live (compiled by Yukihiro Takahashi)
2003 UC YMO: Ultimate Collection of Yellow Magic Orchestra (compiled by Ryuichi Sakamoto)

Remix albums

1992 Hi-tech/No Crime (Yellow Magic Orchestra Reconstructed) (UK compilation of remixes by British artists)
2000 YMO Remixes Technopolis 2000-00 (Japanese compilation of remixes by Japanese artists)

Original singles

"Firecracker" (1979, US)
"Yellow Magic" (Tong Poo) (1979, UK)
"Technopolis" (1979, Japan) — Japan #9^[64]
"La Femme Chinoise" (1979, UK) (Lyrics: Chris Mosdell)
"Computer Game" (1980, UK, Italy, Spain, US) — UK #17,^[65] US #60^[66]
"Riot in Lagos" (1980, Japan, US, UK, Germany)^[67]^[68]
"Rydeen" (1980, Japan; 1982, UK) — Japan #15^[64]
"Behind the Mask" (1980, UK, US, Italy) (Lyrics: Chris Mosdell)
"Nice Age" (1980, UK, the Netherlands) (Lyrics: Chris Mosdell)
"Tighten Up" (Japanese Gentlemen Stand Up Please) (cover version of Archie Bell & the Drells hit; 1980, US, Japan; 1981, UK) — Japan #43^[64]
"Cue" (1981, Japan)
"Mass" (1981, Japan)
"Taiso" (1982, Australia, Japan)
"Pure Jam" (1982, Spain)
"Kimi ni Mune Kyun" (1983, Japan) — Japan #2^[64]
"Kageki na Shukujo" (1983, Japan) — Japan #15^[64]
"Ishin Denshin (You've Got To Help Yourself)" (1983, Japan) — Japan #23^[64]
"Every Time I Look Around (I Hear The Madmen Call)" (1983, Holland)
Reconstructions EP (1992, UK)
"Pocketful of Rainbows" (1993, Japan) — Japan #13^[64]
"Be A Superman" (1993, Japan) — Japan #76^[64]
"Rescue / Rydeen 79/07" (2007, Japan) — Digital download release: 10 March 2007, CD release: 22 August 2007
"The City of Light / Tokyo Town Pages" (2008, Japan)
"Good Morning, Good Night" (2009, Japan) — by HASYMO

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^ Peter Stenshoel (May 18, 2011). "Peter Stenshoel's Album of the Week: What, Me Worry? by Yukihiro Takahashi". KPCC. Retrieved 2011-06-04.
^ Yellow Magic Orchestra at AllMusic. Retrieved 2011-05-25.
^ Daniel Robson (February 29, 2008). "YMCK takes 'chiptune' revolution major". The Japan Times. Retrieved 2011-06-11.
^ "Yellow Magic Orchestra Versus Human League, The – YMO Versus The Human League". Discogs. Retrieved 2011-05-28.
^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q "Yellow Magic Orchestra (Albums)" (in Japanese). Yamachan Land (Oricon archives). Retrieved 2011-06-01.{{cite web}}: CS1 maint: unrecognized language (link) (Translation)
^ "Yellow Magic Orchestra: Billboard Albums". Allmusic. Retrieved 2011-05-25.
^ Xoo Multiplies at AllMusic. Retrieved 2011-05-31.
^ ^a ^b ^c ^d ^e ^f ^g ^h "Yellow Magic Orchestra (Singles)" (in Japanese). Yamachan Land (Oricon archives). Retrieved 2011-06-01.{{cite web}}: CS1 maint: unrecognized language (link) (Translation)
^ Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 614. ISBN 1-904994-10-5.
^ "Yellow Magic Orchestra: Billboard Singles". Allmusic. Retrieved 2011-05-25.
^ Riuichi Sakamoto – Riot In Lagos at Discogs (list of releases)
^ B-2 Unit at AllMusic

External links

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[discogs_paraiso-2] Harry Hosono And The Yellow Magic Band – Paraiso at Discogs

[guardian_ymo-3] ^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ Lewis, John (4 July 2008). "Back to the future: Yellow Magic Orchestra helped usher in electronica - and they may just have invented hip-hop, too". The Guardian. Retrieved 25 May 2011.

[scaruffi-4] Piero Scaruffi (2003), "The new wave of pop and synth-pop", A history of rock music 1951-2000, iUniverse, p. 234, ISBN 0595295657, retrieved 2011-05-26

[wire_1996-5] David Toop (1996), "A-Z Of Electro", The Wire, no. 145, retrieved 2011-05-29 {{citation}}: Unknown parameter |month= ignored (help)

[6] Lester, Paul (20 June 2008). "Yellow Magic Orchestra". The Guardian. Retrieved 26 May 2011.

[fidelity_1993-7] "Yellow Magic Orchestra: Hi Tech/No Crime", High fidelity news and record review (1–6), Link House Publications: 93, 1993, retrieved 2011-05-29 {{citation}}: Text "volume 38" ignored (help)

[bogdanov_1996-8] Bogdanov, Vladimir (2001). All music guide to electronica: the definitive guide to electronic music (4th ed.). Backbeat Books. p. 582. ISBN 0879306289. Retrieved 26 May 2011.

[UGO-9] "Ryuichi Sakamoto". UGO Networks. Retrieved 2011-05-27.

[billboard_1996-10] "Q&A With Ryuichi Sakamoto: Pop Pioneer And Producer And Award-Winning Soundtrack Composer", Billboard, vol. 108, no. 35, p. 72, 31 August 1996, ISSN 0006-2510, retrieved 2011-05-29

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[broughton_2007-25] Broughton, Frank (2007). La historia del DJ / The DJ's Story, Volume 2. Ediciones Robinbook. p. 121. ISBN 8496222799. Retrieved 25 May 2011.

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[cbc_808-36] Jason Anderson (November 28, 2008). "Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine". CBC News. Retrieved 2011-05-29.

[hess_2007-37] Mickey Hess (2007), Icons of hip hop: an encyclopedia of the movement, music, and culture, Volume 1, ABC-CLIO, p. 75, ISBN 0313339031, retrieved 2011-05-29

[wired-38] "Happy 808 Day". Wired. August 8, 2008. Retrieved 2011-05-31.

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[41] Bogdanov, Vladimir (2001). All music guide to electronica: the definitive guide to electronic music (4th ed.). Backbeat Books. p. 516. ISBN 0879306289. Retrieved 26 May 2011.

[sicko_brewster-42] Dan Sicko & Bill Brewster (2010), Techno Rebels (2nd ed.), Wayne State University Press, pp. 27–8, ISBN 0814334385, retrieved 2011-05-28

[loubet_couroux-43] Emmanuelle Loubet & Marc Couroux (Winter 2000). "Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere". Computer Music Journal. 24 (4). MIT Press: 19–32. Retrieved 28 May 2011.

[wire_2002-44] "The Wire, Issues 221-226", The Wire, p. 44, 2002, retrieved 2011-05-25

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[takamura_1997-46] Zeshu Takamura (1997), Roots of street style, Graphic-sha Publishing, p. 90, ISBN 4766108957, retrieved 2011-05-01

[47] "The Japanese Connection". Japan: Life in Tokyo. July 1982. Retrieved 2011-04-01.

[boston_1998-48] Jim Sullivan (February 8, 1998), "RYUICHI SAKAMOTO GOES AVANT-CLASSICAL", Boston Globe, p. 8, retrieved 2011-05-27

[perkins_1996-49] William Eric Perkins (1996), Droppin' science: critical essays on rap music and hip hop culture, Temple University Press, p. 12, ISBN 1566393620, retrieved 2011-05-26

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[whosampled-52] "Yellow Magic Orchestra". whosampled.com. Retrieved 2011-05-28.

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[54] "Mariah 'Ripped Off' Twice on Same Record". Fox News. April 4, 2002. Retrieved 2011-05-28.

[55] Reynolds, Simon, Energy Flash: a Journey Through Rave Music and Dance Culture, p. 15, Pan Macmillan, 1998 (ISBN 978-0330350563)

[56] "Keyboard, Volume 19, Issues 7-12". GPI Publications. 1993. Retrieved 2011-06-04.

[57] Peter Stenshoel (May 18, 2011). "Peter Stenshoel's Album of the Week: What, Me Worry? by Yukihiro Takahashi". KPCC. Retrieved 2011-06-04.

[58] Yellow Magic Orchestra at AllMusic. Retrieved 2011-05-25.

[japantimes-59] Daniel Robson (February 29, 2008). "YMCK takes 'chiptune' revolution major". The Japan Times. Retrieved 2011-06-11.

[60] "Yellow Magic Orchestra Versus Human League, The – YMO Versus The Human League". Discogs. Retrieved 2011-05-28.

[oricon_album_archive-61] ^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j ^k ^l ^m ⁿ ^o ^p ^q "Yellow Magic Orchestra (Albums)" (in Japanese). Yamachan Land (Oricon archives). Retrieved 2011-06-01.{{cite web}}: CS1 maint: unrecognized language (link) (Translation)

[allmusic_billboard-62] "Yellow Magic Orchestra: Billboard Albums". Allmusic. Retrieved 2011-05-25.

[63] Xoo Multiplies at AllMusic. Retrieved 2011-05-31.

[oricon_single_archive-64] ^ ^a ^b ^c ^d ^e ^f ^g ^h "Yellow Magic Orchestra (Singles)" (in Japanese). Yamachan Land (Oricon archives). Retrieved 2011-06-01.{{cite web}}: CS1 maint: unrecognized language (link) (Translation)

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@@ Line 2: / Line 2: @@
 | Name                = Yellow Magic Orchestra
 | Img                 = YMO2008(cropped).jpg
-| Img_capt            = YMO after playing a 2008 concert in London
+| Img_capt            = YMO after playing a [[LONDONYMO – Yellow Magic Orchestra Live in London 15/6 08|2008 concert in London]]
 | Img_size            = 235px
 | Landscape           =
@@ Line 13: / Line 13: @@
 | Instrument          =
 | Voice_type          =
-| Genre               = [[Avant-garde music|Avant-garde]], [[Electronic music|electronic]] ([[Electro music|electro]], [[electropop]], [[electronic rock]], [[techno]]), [[exotica]], [[experimental music|experimental]], [[Pop music|pop]], [[Hip hop music|hip&nbsp;hop]], [[House music|house]], [[New Wave music|new wave]], [[synthpop]]
+| Genre               = [[Avant-garde music|Avant-garde]], [[Electronic music|electronic]] ([[Electro music|electro]], [[Electronic dance music|electronic&nbsp;dance]], [[Electronic rock|electronic&nbsp;rock]], [[electropop]], [[techno]]), [[exotica]], [[experimental music|experimental]], [[Hip hop music|hip&nbsp;hop]], [[House music|house]], [[J-pop|J&#8209;pop]], [[New Wave music|New&nbsp;Wave]], [[synthpop]], [[World music|world]]
 | Occupation          =
-| Years_active        = 1978–1983, 1992-1993,<br>2007–present
+| Years_active        = 1977–1983, 1992–1993,<br>2007–present
 | Label               = [[Alfa Records|Alfa Records (Japan)]]<br />[[A&M Records]]<br />[[Toshiba-EMI]]<br />[[Restless Records]]<br />[[Sony Music Entertainment Japan|Sony Music House (Japan)]]<br />[[Avex Trax|Commmons (Japan)]]
 | Associated_acts     =
@@ Line 23: / Line 23: @@
 | Notable_instruments =
 }}
-'''Yellow Magic Orchestra''' '''(YMO)''' is a [[Japan]]ese [[electronic music]] band formed in 1978, consisting of principal members [[Haruomi Hosono]] (bass), [[Yukihiro Takahashi]] (drums and lead vocals) and [[Ryuichi Sakamoto]] (keyboards and vocals).<ref name="allmusic_ymo">{{cite web|url={{Allmusic|class=artist|id=p5886|pure_url=yes}}|title=Yellow Magic Orchestra profile|publisher=[[Allmusic]]|accessdate=2009-06-03}}</ref> They are known for their seminal influence on electronic music, and as pioneers of various [[List of electronic music genres|electronic genres]] such as [[Electropop|electropop/technopop]],<ref name="allmusic_ymo"/><ref name="guardian_ymo"/> [[synthpop]],<ref name="scaruffi">{{citation|title=A history of rock music 1951-2000|author=Piero Scaruffi|publisher=[[iUniverse]]|year=2003|isbn=0595295657|page=234|url=http://books.google.co.uk/books?id=04KtwVkHNv0C&pg=PA234|accessdate=2011-05-26}}</ref> [[electro music]],<ref name="wire_1996"/> [[cyberpunk]] music,<ref>{{cite web|last=Lester|first=Paul|title=Yellow Magic Orchestra|url=http://www.guardian.co.uk/music/2008/jun/20/culture.electronicmusic|work=[[The Guardian]]|accessdate=26 May 2011|date=20 June 2008}}</ref> [[ambient house]] [[House music|music]],<ref name="allmusic_ymo"/> and [[electronica]].<ref name="guardian_ymo"/> Their work has had a significant lasting impact across many different music genres, ranging from [[Hip hop music|hip hop]],<ref name="guardian_ymo"/> [[Electronic dance music|electronic dance]],<ref name="fidelity_1993"/> [[techno]],<ref name="bogdanov_1996"/><ref name="UGO"/> [[acid house]],<ref name="UGO">{{cite web|title=Ryuichi Sakamoto|publisher=[[UGO Networks]]|url=http://www.ugo.com/channels/music/features/bandsondemand/artist.aspx?artist=ryuichisakamoto&cat=electronica&full=Ryuichi%20Sakamoto|accessdate=2011-05-27}}</ref> and [[Rave music|rave]], to [[ambient music]],<ref name="billboard_1996">{{citation|title=Q&A With Ryuichi Sakamoto: Pop Pioneer And Producer And Award-Winning Soundtrack Composer|work=[[Billboard (magazine)|Billboard]]|date=31 August 1996|volume=108|issue=35|issn=0006-2510|page=72|url=http://books.google.co.uk/books?id=vwcEAAAAMBAJ&pg=PA72|accessdate=2011-05-29}}</ref> mainstream [[Pop music|pop]],<ref name="scaruffi"/><ref name="billboard_1996"/> [[electronic rock]], and general [[melodic music]].<ref name="scaruffi"/>
+'''Yellow Magic Orchestra''' '''(YMO)''' is a [[Japan]]ese [[electronic music]] band formed in 1978, consisting of principal members [[Haruomi Hosono]] (bass), [[Yukihiro Takahashi]] (drums and lead vocals) and [[Ryuichi Sakamoto]] (keyboards and vocals);<ref name="allmusic_ymo">{{cite web|url={{Allmusic|class=artist|id=p5886|pure_url=yes}}|title=Yellow Magic Orchestra profile|publisher=[[Allmusic]]|accessdate=2009-06-03}}</ref> the group was previously known as the "Yellow Magic Band" in 1977.<ref name="discogs_paraiso"/> They are known for their seminal influence on electronic music, and as pioneers of various [[List of electronic music genres|electronic genres]] such as [[Electropop|electropop/technopop]],<ref name="allmusic_ymo"/><ref name="guardian_ymo"/> [[synthpop]],<ref name="scaruffi">{{citation|title=A history of rock music 1951-2000|author=[[Piero Scaruffi]]|publisher=[[iUniverse]]|year=2003|isbn=0595295657|chapter=The new wave of pop and synth-pop|page=234|url=http://books.google.co.uk/books?id=04KtwVkHNv0C&pg=PA234|accessdate=2011-05-26}}</ref> [[electro music]],<ref name="wire_1996"/> [[cyberpunk]] music,<ref>{{cite web|last=Lester|first=Paul|title=Yellow Magic Orchestra|url=http://www.guardian.co.uk/music/2008/jun/20/culture.electronicmusic|work=[[The Guardian]]|accessdate=26 May 2011|date=20 June 2008}}</ref> [[ambient house]] [[House music|music]],<ref name="allmusic_ymo"/> and [[electronica]].<ref name="guardian_ymo"/> Their work has had a significant lasting impact across many different music genres, ranging from [[Hip hop music|hip hop]],<ref name="guardian_ymo"/> [[Electronic dance music|electronic dance]],<ref name="fidelity_1993"/> [[techno]],<ref name="bogdanov_1996"/><ref name="UGO"/> [[acid house]],<ref name="UGO">{{cite web|title=Ryuichi Sakamoto|publisher=[[UGO Networks]]|url=http://www.ugo.com/channels/music/features/bandsondemand/artist.aspx?artist=ryuichisakamoto&cat=electronica&full=Ryuichi%20Sakamoto|accessdate=2011-05-27}}</ref> and [[Rave music|rave]], to [[ambient music]],<ref name="billboard_1996">{{citation|title=Q&A With Ryuichi Sakamoto: Pop Pioneer And Producer And Award-Winning Soundtrack Composer|work=[[Billboard (magazine)|Billboard]]|date=31 August 1996|volume=108|issue=35|issn=0006-2510|page=72|url=http://books.google.co.uk/books?id=vwcEAAAAMBAJ&pg=PA72|accessdate=2011-05-29}}</ref> [[Pop music|pop]],<ref name="scaruffi"/><ref name="billboard_1996"/> [[Rock music|rock]], and [[melodic music]].<ref name="scaruffi"/>
 ==History==
@@ Line 31: / Line 31: @@
 {{see also|Haruomi Hosono|Ryuichi Sakamoto|Yukihiro Takahashi|Yellow Magic Orchestra (album)}}
-Sakamoto first worked with Hosono as a member of his live band in 1976, while 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", followed by electronic material for the anthology collection "Pacific". The three then collaborated to form the Yellow Magic Orchestra.
+Prior to the group's formation, Hosono had been involved in the recording of several early electronic music albums, including [[Inoue Yousui]]'s ''Ice World'' (1973)<ref>{{Discogs release|2509617|井上陽水 – 氷の世界}} ([http://translate.google.co.uk/translate?hl=en&sl=ja&tl=en&u=http://www.discogs.com/%E4%BA%95%E4%B8%8A%E9%99%BD%E6%B0%B4-%E6%B0%B7%E3%81%AE%E4%B8%96%E7%95%8C/release/2509617 Translation])</ref> and [[Osamu Kitajima]]'s ''[[Benzaiten]]'' (1974).<ref>{{Discogs release|1303605|Osamu Kitajima – Benzaiten}}</ref> Sakamoto first worked with Hosono as a member of his live band in 1976, while 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 music|electronic songs]] 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.<ref name="discogs_paraiso">{{Discogs release|1188801|Harry Hosono And The Yellow Magic Band – Paraiso}}</ref> The three worked together again for the 1978 electronic album ''Pacific'', which included an early version of the song "Cosmic Surfin".<ref>{{Discogs release|2561274|Pacific}}</ref>
+Hosono and Sakamoto also worked together alongside [[Hideki Matsutake]] in early 1978 for Hosono's experimental "electro-exotica" [[Fusion (music)|fusion]] album ''Cochin Moon'', which fused electronic music with [[Music of India|Indian music]] (reminiscent of [[Ravi Shankar]] and [[Filmi|Bollywood music]]), including an early "synth [[raga]]" song "Hum Ghar Sajan".<ref name="pitchfork">{{cite web|author=Dominique Leone|date=July 19, 2005|title=Hosono & Yokoo: Cochin Moon|publisher=[[Pitchfork Media]]|url=http://pitchfork.com/reviews/albums/4016-cochin-moon/|accessdate=2011-05-26}}</ref> 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 [[Music of Japan|Japanese music]] in early 1978. Hosono also contributed to one of Sakamoto's songs, "Thousand Knives", in the album.<ref>{{Discogs release|325757|Ryuichi Sakamoto – Thousand Knives Of}}</ref> Hosono, Sakamoto and Takahashi eventually collaborated again to form the Yellow Magic Orchestra later that year.
-The band was conceived as a one-off studio project by Hosono, the other two members being recruited session musicians—the idea was to produce an album fusing orientalist [[exotica]] with modern electronics, as a [[subversion]] of [[Orientalism]] and [[exoticization]], while exploring similar themes such as [[Asian people|Asianness]]. The album would eventually be called ''Yellow Magic Orchestra'', as a satire of Japan's obsession with [[black magic]] at the time.<ref name="guardian_ymo"/> The album featured the use of [[computer]] technology (along with [[synthesizer]]s) which, according to ''[[Billboard (magazine)|Billboard]]'', allowed the group to create a new sound that was not possible until then.<ref name="billboard_1979">{{citation|title=Artists and producers strive for inroads overseas|work=[[Billboard (magazine)|Billboard]]|date=26 May 1979|volume=91|issue=20|issn=0006-2510|page=61|url=http://books.google.co.uk/books?id=_iQEAAAAMBAJ&pg=PT61|accessdate=2011-05-29}}</ref>
 {{Listen
@@ Line 43: / Line 43: @@
 }}
+The band was initially conceived as a one-off studio project by Hosono, the other two members being recruited session musicians—the idea was to produce an album fusing orientalist [[exotica]] with modern electronics, as a [[subversion]] of [[Orientalism]] and [[exoticization]], while exploring similar themes such as [[Asian people|Asianness]]. The album would eventually be called ''Yellow Magic Orchestra'', as a satire of Japan's obsession with [[black magic]] at the time.<ref name="guardian_ymo"/> The album featured the use of [[computer]] technology (along with [[synthesizer]]s) which, according to ''[[Billboard (magazine)|Billboard]]'', allowed the group to create a new sound that was not possible until then.<ref name="billboard_1979">{{citation|title=Artists and producers strive for inroads overseas|work=[[Billboard (magazine)|Billboard]]|date=26 May 1979|volume=91|issue=20|issn=0006-2510|page=61|url=http://books.google.co.uk/books?id=_iQEAAAAMBAJ&pg=PT61|accessdate=2011-05-29}}</ref>
-Prior to the group's formation, an early example of a similar "electro-exotica" fusion was ''Cochin Moon'', produced by Hosono alongside future YMO members Sakamoto and [[Hideki Matsutake]]. Released in 1978, the album was an experimental [[Fusion (music)|fusion]] between electronic music and [[Music of India|Indian music]] (reminiscent of [[Ravi Shankar]] and [[Filmi|Bollywood music]]), including an early "synth [[raga]]" song "Hum Ghar Sajan".<ref name="pitchfork">{{cite web|author=Dominique Leone|date=July 19, 2005|title=Hosono & Yokoo: Cochin Moon|publisher=[[Pitchfork Media]]|url=http://pitchfork.com/reviews/albums/4016-cochin-moon/|accessdate=2011-05-26}}</ref> 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 [[Music of Japan|Japanese music]].
 The band's 1978 debut album ''[[Yellow Magic Orchestra (album)|Yellow Magic Orchestra]]'', with its cutting-edge production, was very popular, and the studio project grew into a fully fledged touring band and career for its three members. Following the release of the debut ''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.
 ===National and international success (1978-1983)===
-{{see also|Yellow Magic Orchestra (album)|Solid State Survivor|Public Pressure|X∞Multiplies|BGM (album)|Technodelic|Naughty Boys}}
+{{see also|Yellow Magic Orchestra (album)|Solid State Survivor|Public Pressure|X∞Multiplies|BGM (album)|Technodelic|Naughty Boys|Service (album)}}
 {{Listen
@@ Line 60: / Line 60: @@
 Following an advertising deal with [[Fujifilm|Fuji Cassette]], the group sparked a boom in the popularity of electronic pop music, called "Technopop" in Japan,<ref name="sarasota">{{cite journal|title=Computer rock music gaining fans|journal=[[Sarasota Journal]]|date=August 18, 1980|url=http://news.google.com/newspapers?id=7s4mAAAAIBAJ&sjid=h44EAAAAIBAJ&pg=4481,2128223|accessdate=2011-05-25|page=8}}</ref><ref name="guardian_ymo">{{cite web|last=Lewis|first=John|title=Back to the future: Yellow Magic Orchestra helped usher in electronica - and they may just have invented hip-hop, too|url=http://www.guardian.co.uk/music/2008/jul/04/electronicmusic.filmandmusic11|work=[[The Guardian]]|accessdate=25 May 2011|date=4 July 2008}}</ref> where they had an impact similar to that of [[The Beatles]] and [[Merseybeat]] in 1960s Britain.<ref name="guardian_ymo"/> For some time, YMO was the most popular band in Japan.<ref name="guardian_ymo"/> A testament to the influence of YMO on fashion is how many middle-aged Japanese businessmen still have the "Techno cut" haircut, modeled after the group.{{Citation needed|date=December 2010}} 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.
-Making abundant use of new [[synthesizer]]s, [[Sampler (musical instrument)|samplers]], [[music sequencer|sequencers]], [[drum machine]]s, [[computer]]s 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.<ref name="allmusic_ymo"/><ref name="sarasota"/><ref name="clashmusic">{{cite web|title=Senor Coconut|author=Paul Sullivan|work=clashmusic.com|date=01/09/2007|url=http://www.clashmusic.com/feature/senor-coconut|accessdate=2011-05-29}}</ref> While their contemporaries in [[Düsseldorf]] and [[Detroit]] were using synthesizer technology to create bleak [[dystopia]]n music, YMO set themselves apart by using synthesizer technology to create "joyous and liberating" music, which was "a Japanese thing" according to Sakamoto.<ref name="guardian_ymo"/>
+Making abundant use of new [[synthesizer]]s, [[Sampler (musical instrument)|samplers]], [[music sequencer|sequencers]], [[drum machine]]s, [[computer]]s 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.<ref name="allmusic_ymo"/><ref name="sarasota"/><ref name="clashmusic">{{cite web|title=Senor Coconut|author=Paul Sullivan|work=clashmusic.com|date=01/09/2007|url=http://www.clashmusic.com/feature/senor-coconut|accessdate=2011-05-29}}</ref> While their contemporaries in [[Düsseldorf]] and [[Detroit]] were using synthesizer technology to create bleak [[dystopia]]n music, YMO set themselves apart by using synthesizer technology to create "joyous and liberating" music, which Sakamoto regards as "a Japanese thing"<ref name="guardian_ymo"/> and has compared to a [[bento]] box.<ref name="geeta_disco">{{cite web|author=Geeta Dayal|publisher=The Original Soundtrack|accessdate=2011-06-03|title=‘Studio 84′: Digging into the History of Disco in India|date=August 29, 2010|url=http://www.theoriginalsoundtrack.com/2010/08/studio-84-the-history-of-disco-in-india/}}</ref>
 ''[[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. The album's major single, and one of the band's biggest international hits, was "[[Behind the Mask (song)|Behind the Mask]]", which YMO had first produced in 1978 for a [[Seiko]] [[Quartz clock|quartz]] [[wristwatch]] commercial,<ref name="discogs_ucymo">{{cite web|title=Yellow Magic Orchestra: UC YMO|publisher=[[Discogs]]|url=http://www.discogs.com/Yellow-Magic-Orchestra-UC-YMO/release/1282322|accessdate=2011-05-29}}</ref> and then for ''Solid State Survivor'' with lyrics penned by [[Chris Mosdell]]. The song was later revised by [[Michael Jackson]], who added new lyrics in the early 1980s.<ref>{{cite web|url=http://www.metafilter.com/82928/Behind-the-Mask-Michael-Jacksons-rarest-recording |title=Behind the Mask - Michael Jackson's rarest recording? |publisher=MetaFilter |date= |accessdate=2011-03-27}}</ref> Jackson's version was never released until his first posthumous album, ''[[Michael (album)|Michael]]'', though his additional lyrics were included in later cover versions of the song by [[Greg Phillinganes]], [[Eric Clapton]],<ref name="dailymail_michael"/> and [[Ryuichi Sakamoto]] himself in his 1986 solo release ''Media Bahn Live''.
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 }}
-Their second album ''Solid State Survivor'' went on to sell over 2 million records worldwide.<ref>{{cite book|title=Encyclopedia of Rock|year=1987|publisher=Macdonald Orbis|url=http://books.google.co.uk/books?id=tgcKAQAAMAAJ|edition=2|accessdate=25 May 2011|page=476}}</ref> 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. They also had success abroad, performing to sold-out crowds during tours in the United States and Europe.<ref name="sarasota"/> The single "Computer Game" had sold 400,000 copies in the United States<ref name="sarasota"/> and reached #17 in the UK Charts. The group also performed "Firecracker" and "[[X∞Multiplies|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]].<ref name="wire_1996">{{citation|title=A-Z Of Electro|work=[[The Wire (magazine)|The Wire]]|issue=145|month=March|year=1996|author=David Toop|url=http://www.thewire.co.uk/articles/210/|accessdate=2011-05-29}}</ref><ref name="broughton_2007">{{cite book|last=Broughton|first=Frank|title=La historia del DJ / The DJ's Story, Volume 2|year=2007|publisher=Ediciones Robinbook|isbn=8496222799|url=http://books.google.co.uk/books?id=1GMxP6mpRdgC&pg=PA121|accessdate=25 May 2011|page=121}}</ref> 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'' by [[Afrika Bambaataa]].<ref name="buckley_2003">{{cite book|last=Buckley|first=Peter|title=The rough guide to rock|year=2003|publisher=[[Rough Guides]]|isbn=1843531054|url=http://books.google.co.uk/books?id=7ctjc6UWCm4C&pg=PT908|accessdate=25 May 2011|page=901}}</ref><ref name="wire_1996"/>
+Their second album ''Solid State Survivor'' went on to sell over 2 million records worldwide.<ref name="Hardy_1987">{{cite book|title=Encyclopedia of Rock|author=Phil Hardy, Dave Laing, Stephen Barnard|year=1987|edition=2nd|publisher=Macdonald Orbis|isbn=0356142744|url=http://books.google.co.uk/books?id=tgcKAQAAMAAJ|edition=2|accessdate=25 May 2011|page=476}}</ref> 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.<ref name="sarasota"/> 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.<ref>{{cite web|title=ポルノが24年ぶりの快挙達成！|publisher=[[Oricon]]|date=August 17, 2004|url=http://www.oricon.co.jp/news/ranking/5122/|accessdate=2011-06-09}} ([http://translate.google.co.uk/translate?hl=en&sl=ja&u=http://www.oricon.co.jp/news/ranking/5122/ Translation])</ref>
+They also had similar success abroad, performing to sold-out crowds during tours in the United States and Europe.<ref name="sarasota"/> The single "Computer Game" had sold 400,000 copies in the United States<ref name="sarasota"/> and reached #17 in the UK Charts. The group also performed "Firecracker" and "[[X∞Multiplies|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]].<ref name="wire_1996">{{citation|title=A-Z Of Electro|work=[[The Wire (magazine)|The Wire]]|issue=145|month=March|year=1996|author=David Toop|url=http://www.thewire.co.uk/articles/210/|accessdate=2011-05-29}}</ref><ref name="broughton_2007">{{cite book|last=Broughton|first=Frank|title=La historia del DJ / The DJ's Story, Volume 2|year=2007|publisher=Ediciones Robinbook|isbn=8496222799|url=http://books.google.co.uk/books?id=1GMxP6mpRdgC&pg=PA121|accessdate=25 May 2011|page=121}}</ref> 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]].<ref name="buckley_2003">{{cite book|last=Buckley|first=Peter|title=The rough guide to rock|year=2003|publisher=[[Rough Guides]]|isbn=1843531054|url=http://books.google.co.uk/books?id=7ctjc6UWCm4C&pg=PT908|accessdate=25 May 2011|page=901}}</ref><ref name="wire_1996"/> Meanwhile in Japan, YMO remained the best-selling music act there up until 1982.<ref>{{citation|title=Pioneering Production Economy in the '80s|work=[[Billboard (magazine)|Billboard]]|date=29 May 1982|volume=94|issue=21|issn=0006-2510|page=41|url=http://books.google.co.uk/books?id=byQEAAAAMBAJ&pg=PT41|accessdate=2011-05-31}}</ref>
 ===Breakup and brief reunion (1984-1993)===
-{{see also|Service (album)|After Service|Faker Holic|Technodon}}
+{{see also|After Service|Faker Holic|Technodon}}
-The band had stopped working as a group by 1984, after the release of their motion picture ''Propaganda'', the three members returning to their solo careers. The group were careful to avoid saying they had "split up", preferring to use the Japanese phrase meaning {{Nihongo|"spreading out"|散開|sankai}}, and in fact the trio continued to play on each other's recordings and made guest appearances at live shows. Takahashi, in particular, would play YMO material in his concerts and as "lead singer" was arguably best placed to do so. Meanwhile, Sakamoto would later gain international success for his work as a solo artist, actor, and [[film composer]],<ref name="billboard_1996"/> winning [[Grammy Award|Grammy]], [[Academy Award|Oscar]] and [[Golden Globe Award|Golden Globe]] awards.<ref>{{citation|title=RYUICHI SAKAMOTO GOES AVANT-CLASSICAL|work=[[Boston Globe]]|author=Jim Sullivan|date=February 8, 1998|page=8|url=http://pqasb.pqarchiver.com/boston/access/26130789.html?FMT=ABS&FMTS=ABS:FT&type=current&date=Feb+08%2C+1998&author=Jim+Sullivan%2C+Globe+Staff&pub=Boston+Globe&desc=RYUICHI+SAKAMOTO+GOES+AVANT-CLASSICAL|accessdate=2011-05-27}}</ref>
+The band had stopped working as a group by 1984, after the release of their [[Musical film|musical]] motion picture ''Propaganda'', the three members returning to their solo careers. The group were careful to avoid saying they had "split up", preferring to use the Japanese phrase meaning {{Nihongo|"spreading out"|散開|sankai}}, and in fact the trio continued to play on each other's recordings and made guest appearances at live shows. Takahashi, in particular, would play YMO material in his concerts and as "lead singer" was arguably best placed to do so. Meanwhile, Sakamoto would gain international success for his work as a solo artist, actor, and [[film composer]],<ref name="billboard_1996"/> winning [[Grammy Award|Grammy]], [[Academy Award|Oscar]] and [[Golden Globe Award|Golden Globe]] awards.<ref>{{citation|title=RYUICHI SAKAMOTO GOES AVANT-CLASSICAL|work=[[Boston Globe]]|author=Jim Sullivan|date=February 8, 1998|page=8|url=http://pqasb.pqarchiver.com/boston/access/26130789.html?FMT=ABS&FMTS=ABS:FT&type=current&date=Feb+08%2C+1998&author=Jim+Sullivan%2C+Globe+Staff&pub=Boston+Globe&desc=RYUICHI+SAKAMOTO+GOES+AVANT-CLASSICAL|accessdate=2011-05-27}}</ref>
 The trio would eventually release a one-off reunion album, ''[[Technodon]]'', and credited it to 'NOT YMO' (YMO crossed out with a calligraphy X) or <strike>YMO</strike> in 1993. Instead of traditional vocals, about half of it features field audio recordings and samples of authors and scientists reading their work. 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.<ref name="UGO"/>
 ===Post-breakup and reformation (1994-present)===
-{{see also|Sketch Show (band)|LONDONYMO - Yellow Magic Orchestra Live in London 15/6 08}}
+{{see also|Sketch Show (band)|Rescue / Rydeen 79/07|The City of Light / Tokyo Town Pages|LONDONYMO - Yellow Magic Orchestra Live in London 15/6 08}}
 The early 2000s saw Hosono & Takahashi reunited in a project called [[Sketch Show (band)|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.
@@ Line 97: / Line 99: @@
 [[Image:Roland TR-808 drum machine.jpg|thumb|right|250px|In 1980, Yellow Magic Orchestra was the first band to utilize the [[Roland TR-808|Roland TR-808 Rhythm Composer]], one of the first programmable [[drum machine]]s, which since the mid-1980s has been used in more hit records than any other drum machine.]]
-YMO have been described as "the most adventurous and influential [[Electronic dance music|electro-techno-dance]] technicians the world has produced" and that without them, "today's music would still sound like yesterday's music."<ref name="fidelity_1993">{{citation|title=Yellow Magic Orchestra: Hi Tech/No Crime|journal=High fidelity news and record review|volume 38|issue=1-6|publisher=Link House Publications|year=1993|page=93|url=http://books.google.co.uk/books?id=-zg9AQAAIAAJ|accessdate=2011-05-29}}</ref> They have also been described as the most influential innovators of electronic music alongside their contemporaries [[Kraftwerk]].<ref name="allmusic_ymo"/> YMO were pioneers in their use of [[synthesizer]]s, [[Sampler (musical instrument)|samplers]], [[music sequencer|sequencers]], [[drum machine]]s, [[computer]]s, and [[Digital audio|digital recording]] technology,<ref name="allmusic_ymo"/><ref name="sarasota"/><ref name="clashmusic"/> in a time when these technologies were still seen as novelties.<ref name="clashmusic"/> For example, YMO were pioneers of [[computer music]], utilizing computer technology (together with synthesizers) for their music as early as their debut album in 1978, to produce a new sound that was not possible until then.<ref name="billboard_1979"/> As a result, they were credited at the time for having "ushered in the age of the computer [[programmer]] as [[rock star]]."<ref name="sarasota"/> They were also the first band to utilize the [[Roland TR-808]], one of the first and most influential programmable drum machines, as soon as it was released in 1980. In addition to programmability, the TR-808 featured various unique artificial [[percussion]] sounds:<ref name="cbc_808">{{cite web|title=Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine|date=November 28, 2008|author=Jason Anderson|publisher=[[CBC News]]|url=http://www.cbc.ca/news/arts/music/story/2008/11/27/f-history-of-the-808.html|accessdate=2011-05-29}}</ref> a [[Bass drum|deep bass kick drum]],<ref name="hess_2007">{{citation|title=Icons of hip hop: an encyclopedia of the movement, music, and culture, Volume 1|author=Mickey Hess|publisher=[[ABC-CLIO]]|year=2007|isbn=0313339031|page=75|url=http://books.google.co.uk/books?id=LldOLnIQ66cC&pg=PA75|accessdate=2011-05-29}}</ref><ref name="wired">{{cite web|title=Happy 808 Day|date=August 8, 2008|work=[[Wired (magazine)|Wired]]|url=http://www.wired.com/geekdad/2008/08/happy-808-day/|accessdate=2011-05-31}}</ref> "tinny [[Clapping|handclap]] sounds,"<ref name="wired"/> “the ticky [[Snare drum|snare]], the tishy [[hi-hat]]s (open and closed) and the spacey [[Cowbell (instrument)|cowbell]].”<ref name="cbc_808"/> YMO fully utilized and demonstrated the TR-808 in their music, paving the way for its mainstream popularity several years later,<ref name="cbc_808"/><ref name="hess_2007"/> after which it would be used for more hit records than any other drum machine<ref>{{citation|title=A Beginner's Guide to Digital Video|author=Peter Wells|publisher=AVA Books|year=2004|isbn=2884790373|page=18|url=http://books.google.co.uk/books?id=stvOCfhc_igC&pg=PA18|accessdate=2011-05-20}}</ref> and continue to be widely used through to the present day.<ref name="cbc_808"/> Generally, the band are highly regarded as pioneers of electronic music, and continue to be remixed and sampled by modern artists.<ref name="allmusic_ymo"/>
+YMO have been described as "the most adventurous and influential [[Electronic dance music|electro-techno-dance]] technicians the world has produced" and that without them, "today's music would still sound like yesterday's music."<ref name="fidelity_1993">{{citation|title=Yellow Magic Orchestra: Hi Tech/No Crime|journal=High fidelity news and record review|volume 38|issue=1-6|publisher=Link House Publications|year=1993|page=93|url=http://books.google.co.uk/books?id=-zg9AQAAIAAJ|accessdate=2011-05-29}}</ref> They have also been described as the most influential innovators of electronic music alongside their contemporaries [[Kraftwerk]].<ref name="allmusic_ymo"/> YMO were pioneers in their use of [[synthesizer]]s, [[Sampler (musical instrument)|samplers]], [[music sequencer|sequencers]], [[drum machine]]s, [[computer]]s, and [[Digital audio|digital recording]] technology,<ref name="allmusic_ymo"/><ref name="sarasota"/><ref name="clashmusic"/> in a time when these technologies were still seen as novelties.<ref name="clashmusic"/> The band is regarded as being "ahead of their time," for anticipating the global trend towards drum machines and [[Sampling (music)|sampling]],<ref>{{cite book|title=Tokyo city guide|author=Mayumi Yoshida Barakan & Judith Connor Greer|publisher=Tuttle Publishing|year=1996|isbn=0804819645|page=144|url=http://books.google.co.uk/books?id=vJbd43uxLiMC&pg=PA144|accessdate=2011-06-06}}</ref> for having anticipated the "[[electropop]] boom" of the 1980s,<ref>{{cite web|title=Sakamoto hears music's sounds, not its styles|work=[[The Baltimore Sun]]|author=J.D. Considine|date=March 23, 2000|url=http://pqasb.pqarchiver.com/baltsun/access/51630773.html?dids=51630773:51630773&FMT=ABS&FMTS=ABS:FT&type=current&date=Mar+23%2C+2000&author=J.D.+Considine&pub=The+Sun&desc=Sakamoto+hears+music's+sounds%2C+not+its+styles%3B+Performance%3A+The+popular+Japanese+pianist+is+moving+toward+acoustic+music+because+he+is+not+sure+he+can+rely+on+electricity.&pqatl=google|accessdate=2011-06-09}}</ref> their "pro-technological viewpoint," and their use of [[Video game music|video game sounds]] and [[Beep (sound)|bleeps]] (as in 1978's "[[Yellow Magic Orchestra (album)|Computer Game]]", for example),<ref>{{cite book|title=Incredibly Strange Music, Volume 15|author=V. Vale & Andrea Juno|publisher=[[RE/Search|RE/Search Publications]]|year=1994|isbn=0940642212|page=89|url=http://books.google.co.uk/books?id=A4g7AQAAIAAJ|accessdate=2011-06-06}}</ref> which had a particularly big influence on 1980s [[hip hop]].<ref>{{cite book|title=Rap attack 3: African rap to global hip hop, Issue 3|author=David Toop|edition=3rd|publisher=[[Serpent's Tail]]|year=2000|isbn=1852426276|page=129|url=http://books.google.co.uk/books?id=xnruAAAAMAAJ|accessdate=2011-06-06}}</ref> They were pioneers of [[computer music]], utilizing computer technology (together with synthesizers) for their music as early as their debut album in 1978, to produce a new sound that was not possible until then.<ref name="billboard_1979"/> As a result, they were credited at the time for having "ushered in the age of the computer [[programmer]] as [[rock star]]."<ref name="sarasota"/> They were also the first band to utilize the [[Roland TR-808]], one of the first and most influential programmable drum machines, as soon as it was released in 1980. In addition to programmability, the TR-808 featured various unique artificial [[percussion]] sounds:<ref name="cbc_808">{{cite web|title=Slaves to the rhythm: Kanye West is the latest to pay tribute to a classic drum machine|date=November 28, 2008|author=Jason Anderson|publisher=[[CBC News]]|url=http://www.cbc.ca/news/arts/music/story/2008/11/27/f-history-of-the-808.html|accessdate=2011-05-29}}</ref> a [[Bass drum|deep bass kick drum]],<ref name="hess_2007">{{citation|title=Icons of hip hop: an encyclopedia of the movement, music, and culture, Volume 1|author=Mickey Hess|publisher=[[ABC-CLIO]]|year=2007|isbn=0313339031|page=75|url=http://books.google.co.uk/books?id=LldOLnIQ66cC&pg=PA75|accessdate=2011-05-29}}</ref><ref name="wired">{{cite web|title=Happy 808 Day|date=August 8, 2008|work=[[Wired (magazine)|Wired]]|url=http://www.wired.com/geekdad/2008/08/happy-808-day/|accessdate=2011-05-31}}</ref> "tinny [[Clapping|handclap]] sounds,"<ref name="wired"/> “the ticky [[Snare drum|snare]], the tishy [[hi-hat]]s (open and closed) and the spacey [[Cowbell (instrument)|cowbell]].”<ref name="cbc_808"/> YMO fully utilized and demonstrated the TR-808 in their music, paving the way for its mainstream popularity several years later,<ref name="cbc_808"/><ref name="hess_2007"/> after which it would be used for more hit records than any other drum machine<ref>{{citation|title=A Beginner's Guide to Digital Video|author=Peter Wells|publisher=AVA Books|year=2004|isbn=2884790373|page=18|url=http://books.google.co.uk/books?id=stvOCfhc_igC&pg=PA18|accessdate=2011-05-20}}</ref> and continue to be widely used through to the present day.<ref name="cbc_808"/> Generally, the band are highly regarded as pioneers of electronic music, and continue to be remixed and sampled by modern artists.<ref name="allmusic_ymo"/>
-While their contemporaries in [[Düsseldorf]], and later [[Detroit]], were using synthesizer technology to create bleak [[dystopia]]n music, YMO introduced a more "joyous and liberating" approach to electronic music.<ref name="guardian_ymo"/> In contrast to Kraftwerk's "robot pop"<ref>{{allmusic|id=p4706|label=Kraftwerk}}</ref> which was more [[Minimalism|minimalistic]] and statuesque, YMO's template for electronic pop was less minimalistic and made more varying use of synthesizer lines, often producing "fun-loving and breezy" music.<ref>{{cite book|last=Bogdanov|first=Vladimir|title=All music guide to electronica: the definitive guide to electronic music|year=2001|publisher=[[Hal Leonard Corporation|Backbeat Books]]|isbn=0879306289|url=http://books.google.co.uk/books?id=GJNXLSBlL7IC&pg=PT516|edition=4th|accessdate=26 May 2011|page=516}}</ref> The band also expanded the scope of electronic music by drawing from a wider range of influences,<ref name="sicko_brewster">{{citation|title=Techno Rebels|author=Dan Sicko & Bill Brewster|edition=2nd|publisher=[[Wayne State University Press]]|year=2010|isbn=0814334385|pages=27-8|url=http://books.google.co.uk/books?id=h6TNjUt-QrkC&pg=PA27|accessdate=2011-05-28}}</ref> including Japanese electronic music (such as [[Isao Tomita]]), European electronic music (such as Kraftwerk),<ref name="loubet_couroux">{{cite journal|title=Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere|journal=[[Computer Music Journal]]|date=Winter 2000|volume=24|issue=4|pages=19-32|url=http://www.jstor.org/stable/3681552|accessdate=28 May 2011|author=Emmanuelle Loubet & Marc Couroux|publisher=[[MIT Press]]}}</ref> [[exotica]] (such as [[Martin Denny]]),<ref name="sicko_brewster"/> traditional [[Music of Japan|Japanese music]], [[Music of India|Indian music]] (such as [[Ravi Shankar]] and [[Filmi|Bollywood music]]),<ref name="pitchfork"/> [[disco]],<ref name="allmusic_ymo"/> [[Video game music|video game sound]] [[Sampling (music)|samples]] (such as ''[[Space Invaders]]''),<ref name="guardian_ymo"/><ref name="wire_2002">{{citation|title=The Wire, Issues 221-226|work=[[The Wire (magazine)|The Wire]]|year=2002|page=44|url=http://books.google.co.uk/books?id=qyFMAAAAYAAJ|accessdate=2011-05-25}}</ref> American [[Rapping|rap]],<ref name="allmusic_bgm"/> Western pop and rock (such as The Beatles), and [[List of Caribbean music genres|Caribbean]] ska.<ref name="sicko_brewster"/>  YMO are thus regarded as pioneers of [[synthpop]],<ref name="scaruffi"/> having influenced later synthpop acts such as [[Ultravox]], [[John Foxx]], [[Gary Numan]], and [[Duran Duran]], as well as [[Todd Rundgren]] and Eric Clapton.<ref name="guardian_ymo"/> The emergence of synthpop, which YMO was a pioneer of, is considered to be "perhaps the single most significant event in [[melodic music]] since [[Beat music|Mersey-beat]]" and its influence can still be seen in contemporary [[Rock music|rock]] and [[pop music]].<ref name="scaruffi"/>
+While their contemporaries in [[Düsseldorf]], and later [[Detroit]], were using synthesizer technology to create bleak [[dystopia]]n music, YMO introduced a more "joyous and liberating" approach to electronic music.<ref name="guardian_ymo"/> In contrast to Kraftwerk's "robot pop"<ref>{{allmusic|id=p4706|label=Kraftwerk}}</ref> which was more [[Minimalism|minimalistic]] and statuesque, YMO's template for electronic pop was less minimalistic and made more varying use of synthesizer lines, often producing "fun-loving and breezy" music.<ref>{{cite book|last=Bogdanov|first=Vladimir|title=All music guide to electronica: the definitive guide to electronic music|year=2001|publisher=[[Hal Leonard Corporation|Backbeat Books]]|isbn=0879306289|url=http://books.google.co.uk/books?id=GJNXLSBlL7IC&pg=PT516|edition=4th|accessdate=26 May 2011|page=516}}</ref> The band also expanded the scope of electronic music by drawing from a wider range of influences,<ref name="sicko_brewster">{{citation|title=Techno Rebels|author=Dan Sicko & Bill Brewster|edition=2nd|publisher=[[Wayne State University Press]]|year=2010|isbn=0814334385|pages=27-8|url=http://books.google.co.uk/books?id=h6TNjUt-QrkC&pg=PA27|accessdate=2011-05-28}}</ref> including [[Electronic music#Japanese electronic music|Japanese electronic music]] (such as [[Isao Tomita]]), European electronic music (such as Kraftwerk),<ref name="loubet_couroux">{{cite journal|title=Laptop Performers, Compact Disc Designers, and No-Beat Techno Artists in Japan: Music from Nowhere|journal=[[Computer Music Journal]]|date=Winter 2000|volume=24|issue=4|pages=19-32|url=http://www.jstor.org/stable/3681552|accessdate=28 May 2011|author=Emmanuelle Loubet & Marc Couroux|publisher=[[MIT Press]]}}</ref> [[exotica]] (such as [[Martin Denny]]),<ref name="sicko_brewster"/> traditional [[Music of Japan|Japanese music]], [[Music of India|Indian music]] (such as [[Ravi Shankar]] and [[Filmi|Bollywood music]]),<ref name="pitchfork"/> [[disco]],<ref name="allmusic_ymo"/> [[video game]] samples (such as ''[[Space Invaders]]''),<ref name="guardian_ymo"/><ref name="wire_2002">{{citation|title=The Wire, Issues 221-226|work=[[The Wire (magazine)|The Wire]]|year=2002|page=44|url=http://books.google.co.uk/books?id=qyFMAAAAYAAJ|accessdate=2011-05-25}}</ref> American [[Rapping|rap]],<ref name="allmusic_bgm"/> Western pop and rock (such as The Beatles), and [[List of Caribbean music genres|Caribbean]] ska.<ref name="sicko_brewster"/>  YMO are thus regarded as pioneers of [[synthpop]],<ref name="scaruffi"/> and their success with music technology encouraged many others, with their influence strongly felt in the British electronic scene of the early 1980s in particular,<ref name="Hardy_1987"/> influencing later synthpop acts such as [[Ultravox]], [[John Foxx]], [[Gary Numan]], and [[Duran Duran]], as well as [[Todd Rundgren]] and Eric Clapton.<ref name="guardian_ymo"/> The emergence of synthpop, which YMO was a pioneer of, is considered to be "perhaps the single most significant event in [[melodic music]] since [[Beat music|Mersey-beat]]" and its influence can still be seen in contemporary [[Rock music|rock]] and [[pop music]].<ref name="scaruffi"/> The band also popularized a style of live performance that eschewed human movement in favour of electronics such as [[Drum machine|rhythm boxes]] and samplers.<ref name="takamura_1997">{{citation|title=Roots of street style|author=Zeshu Takamura|publisher=Graphic-sha Publishing|year=1997|isbn=4766108957|page=90|url=http://books.google.co.uk/books?id=nW21AAAAIAAJ|accessdate=2011-05-01}}</ref> They also influenced the [[New Romanticism|New Romantic]] movement,<ref name="takamura_1997"/> including British band [[Japan (band)|Japan]], whose member [[Steve Jansen]] in particular was heavily influenced by drummer Takahashi, while another member [[David Sylvian]] would later have successful collaborations with Sakamoto.<ref>{{cite web|title=The Japanese Connection|date=July 1982|publisher=Japan: Life in Tokyo|url=http://www.lifeintokyo.net/articles_fl_japaneseconnection.html|accessdate=2011-04-01}}</ref>
 {{Listen
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 }}
-The 1978 song "[[Behind the Mask (song)|Behind the Mask]]" was an international hit [[Cover song|covered]] by various later artists, including [[Michael Jackson]], who added new lyrics, and [[Eric Clapton]].<ref name="dailymail_michael">{{cite web|title=It's not Bad, but not good either! A track-by-track review of the 'new' Michael Jackson album|work=[[Daily Mail]]|author=Adrian Thrills|date=9 December 2010|url=http://www.dailymail.co.uk/tvshowbiz/reviews/article-1337281/Its-Bad-good-A-track-track-review-new-Michael-Jackson-album.html|accessdate=2011-05-30}}</ref> The 1979 ''[[Solid State Survivor]]'' album included several early computerized [[Electronic rock|synth rock]] songs,<ref name="sarasota"/><ref name="boston_1998">{{citation|title=RYUICHI SAKAMOTO GOES AVANT-CLASSICAL|work=[[Boston Globe]]|author=Jim Sullivan|date=February 8, 1998|page=8|url=http://pqasb.pqarchiver.com/boston/access/26130789.html?FMT=ABS&FMTS=ABS:FT&type=current&date=Feb+08%2C+1998&author=Jim+Sullivan%2C+Globe+Staff&pub=Boston+Globe&desc=RYUICHI+SAKAMOTO+GOES+AVANT-CLASSICAL|accessdate=2011-05-27}}</ref> including a mechanized [[Cover song|cover version]] of "[[Day Tripper]]" by [[The Beatles]].<ref name="boston_1998"/> The 1980 song "[[x∞Multiplies|Multiplies]]" was an early experiment in electronic [[ska]].<ref name="sicko_brewster"/> The beats and sounds of [[electro music]] were pioneered by "Riot in Lagos" in 1980.<ref name="wire_1996"/><ref name="broughton_2007">{{cite book|last=Broughton|first=Frank|title=La historia del DJ / The DJ's Story, Volume 2|year=2007|publisher=Ediciones Robinbook|isbn=8496222799|url=http://books.google.co.uk/books?id=1GMxP6mpRdgC&pg=PA121|accessdate=25 May 2011|page=121}}</ref> "Rap Phenomena" from ''[[BGM (album)|BGM]]'' (1981) was an early attempt at [[Electro hop|electronic rap]].<ref name="allmusic_bgm">{{allmusic|class=album|id=r53034|accessdate=2011-05-29}}</ref> The band was particularly popular with the emerging [[hip hop]] community, which appreciated the group's new electronic sounds, and in [[the Bronx]] where "[[Yellow Magic Orchestra (album)|Firecracker]]" was a success and sampled in the famous ''Death Mix'' by [[Afrika Bambaataa]],<ref name="buckley_2003"/><ref name="wire_1996"/> a hip hop pioneer who credited YMO as an inspiration and once remarked that YMO invented [[hip hop music]] (in a half-joking manner).<ref name="guardian_ymo"/> Afrika Bambaataa's influential song "[[Planet Rock (song)|Planet Rock]]" was partly inspired by YMO.<ref name="perkins_1996">{{citation|title=Droppin' science: critical essays on rap music and hip hop culture|author=William Eric Perkins|publisher=[[Temple University Press]]|year=1996|isbn=1566393620|page=12|url=http://books.google.co.uk/books?id=zGC_ZNOrKDwC&pg=PA12|accessdate=2011-05-26}}</ref><ref name="cmj_1999">{{citation|title=Father Afrika Bombaataa|work=[[CMJ New Music Monthly]]|date=December 1999|issue=76|issn=1074-6978|page=72|url=http://books.google.co.uk/books?id=bCoEAAAAMBAJ&pg=PA72|accessdate=2011-05-26}}</ref> "Riot in Lagos" was cited by [[Kurtis Mantronik]] as a major influence on his early electro hip hop group [[Mantronix]].<ref>{{citation|title=Kurtis Mantronik Interview|work=Hip Hop Storage|date=July 2002|url=http://www.cheebadesign.com/legends/articleX.html|accessdate=2011-05-25}}</ref> "Firecracker" was sampled in a number of other later songs, including [[2 Live Crew]]'s "Mega-Mixx II" (1988),<ref name="whosampled">{{cite web|title=Yellow Magic Orchestra|work=whosampled.com|url=http://www.whosampled.com/sampled/Yellow%20Magic%20Orchestra/|accessdate=2011-05-28}}</ref> [[Jennifer Lopez]]'s worldwide hit "[[I'm Real (Jennifer Lopez song)|I'm Real]]" (2001), and the original unreleased version of [[Mariah Carey]]'s "[[Loverboy (Mariah Carey song)|Loverboy]]" (2001).<ref>{{cite web|title=Mariah 'Ripped Off' Twice on Same Record|url=http://www.foxnews.com/story/0,2933,49437,00.html|publisher=[[Fox News Channel|Fox News]]|date=April 4, 2002|accessdate=2011-05-28}}</ref>   "[[Yellow Magic Orchestra (album)|Computer Game]]" was also sampled in [[Warp (record label)|Warp]]'s "[[WarpVision|Testone]]" (1990).<ref>{{citation|title=Techno Rebels|author=Dan Sicko & Bill Brewster|edition=2nd|publisher=[[Wayne State University Press]]|year=2010|isbn=0814334385|page=76|url=http://books.google.co.uk/books?id=h6TNjUt-QrkC&pg=PA76|accessdate=2011-05-28}}</ref>
+The 1978 song "[[Behind the Mask (song)|Behind the Mask]]" was an international hit [[Cover song|covered]] by various later artists, including [[Michael Jackson]], who added new lyrics, and [[Eric Clapton]].<ref name="dailymail_michael">{{cite web|title=It's not Bad, but not good either! A track-by-track review of the 'new' Michael Jackson album|work=[[Daily Mail]]|author=Adrian Thrills|date=9 December 2010|url=http://www.dailymail.co.uk/tvshowbiz/reviews/article-1337281/Its-Bad-good-A-track-track-review-new-Michael-Jackson-album.html|accessdate=2011-05-30}}</ref> The 1979 ''[[Solid State Survivor]]'' album included several early computerized [[Electronic rock|synth rock]] songs,<ref name="sarasota"/><ref name="boston_1998">{{citation|title=RYUICHI SAKAMOTO GOES AVANT-CLASSICAL|work=[[Boston Globe]]|author=Jim Sullivan|date=February 8, 1998|page=8|url=http://pqasb.pqarchiver.com/boston/access/26130789.html?FMT=ABS&FMTS=ABS:FT&type=current&date=Feb+08%2C+1998&author=Jim+Sullivan%2C+Globe+Staff&pub=Boston+Globe&desc=RYUICHI+SAKAMOTO+GOES+AVANT-CLASSICAL|accessdate=2011-05-27}}</ref> including a mechanized [[Cover song|cover version]] of "[[Day Tripper]]" by [[The Beatles]].<ref name="boston_1998"/> The 1980 song "[[x∞Multiplies|Multiplies]]" was an early experiment in electronic [[ska]].<ref name="sicko_brewster"/> The beats and sounds of [[electro music]] were pioneered by the 1980 song "Riot in Lagos" produced by Sakamoto.<ref name="wire_1996"/><ref name="broughton_2007">{{cite book|last=Broughton|first=Frank|title=La historia del DJ / The DJ's Story, Volume 2|year=2007|publisher=Ediciones Robinbook|isbn=8496222799|url=http://books.google.co.uk/books?id=1GMxP6mpRdgC&pg=PA121|accessdate=25 May 2011|page=121}}</ref> "Rap Phenomena" from ''[[BGM (album)|BGM]]'' (1981) was an early attempt at [[Electro hop|electronic rap]].<ref name="allmusic_bgm">{{allmusic|class=album|id=r53034|accessdate=2011-05-29}}</ref> The band was popular with the emerging hip hop community, which appreciated the group's new electronic sounds, and in [[the Bronx]] where "[[Yellow Magic Orchestra (album)|Firecracker]]" was a success and sampled in the famous ''Death Mix'' by [[Afrika Bambaataa]],<ref name="buckley_2003"/><ref name="wire_1996"/> a hip hop pioneer who credited YMO as an inspiration and once remarked that YMO invented [[hip hop music]] (in a half-joking manner).<ref name="guardian_ymo"/> Afrika Bambaataa's influential song "[[Planet Rock (song)|Planet Rock]]" was partly inspired by YMO.<ref name="perkins_1996">{{citation|title=Droppin' science: critical essays on rap music and hip hop culture|author=William Eric Perkins|publisher=[[Temple University Press]]|year=1996|isbn=1566393620|page=12|url=http://books.google.co.uk/books?id=zGC_ZNOrKDwC&pg=PA12|accessdate=2011-05-26}}</ref><ref name="cmj_1999">{{citation|title=Father Afrika Bombaataa|work=[[CMJ New Music Monthly]]|date=December 1999|issue=76|issn=1074-6978|page=72|url=http://books.google.co.uk/books?id=bCoEAAAAMBAJ&pg=PA72|accessdate=2011-05-26}}</ref> Sakamoto's "Riot in Lagos" was cited by [[Kurtis Mantronik]] as a major influence on his early electro hip hop group [[Mantronix]].<ref>{{citation|title=Kurtis Mantronik Interview|work=Hip Hop Storage|date=July 2002|url=http://www.cheebadesign.com/legends/articleX.html|accessdate=2011-05-25}}</ref> "[[Yellow Magic Orchestra (album)|Computer Game / Firecracker]]" was sampled in a number of other later songs, including [[2 Live Crew]]'s "Mega-Mixx II" (1988),<ref name="whosampled">{{cite web|title=Yellow Magic Orchestra|work=whosampled.com|url=http://www.whosampled.com/sampled/Yellow%20Magic%20Orchestra/|accessdate=2011-05-28}}</ref> [[Warp (record label)|Warp]]'s "[[WarpVision|Testone]]" (1990),<ref>{{citation|title=Techno Rebels|author=Dan Sicko & Bill Brewster|edition=2nd|publisher=[[Wayne State University Press]]|year=2010|isbn=0814334385|page=76|url=http://books.google.co.uk/books?id=h6TNjUt-QrkC&pg=PA76|accessdate=2011-05-28}}</ref> [[Jennifer Lopez]]'s worldwide hit "[[I'm Real (Jennifer Lopez song)|I'm Real]]" (2001), and the original unreleased version of [[Mariah Carey]]'s "[[Loverboy (Mariah Carey song)|Loverboy]]" (2001).<ref>{{cite web|title=Mariah 'Ripped Off' Twice on Same Record|url=http://www.foxnews.com/story/0,2933,49437,00.html|publisher=[[Fox News Channel|Fox News]]|date=April 4, 2002|accessdate=2011-05-28}}</ref>
-YMO also had an impact on [[techno]] music,<ref name="bogdanov_1996">{{cite book|last=Bogdanov|first=Vladimir|title=All music guide to electronica: the definitive guide to electronic music|year=2001|publisher=[[Hal Leonard Corporation|Backbeat Books]]|isbn=0879306289|url=http://books.google.co.uk/books?id=GJNXLSBlL7IC&pg=PT582|edition=4th|accessdate=26 May 2011|page=582}}</ref> including its pioneers [[Juan Atkins]], [[Kevin Saunderson]] and [[Derrick May]].<ref>[[Simon Reynolds|Reynolds, Simon]], ''Energy Flash: a Journey Through Rave Music and Dance Culture'', p. 15, Pan Macmillan, 1998 (ISBN 978-0330350563)</ref> By the 1990s, YMO were frequently cited as pioneers of [[ambient house]] [[House music|music]], resulting in the release of the tribute remix album ''Yellow Magic Orchestra: Hi-Tech/No Crime'' in 1993 by leading ambient house musicians at the time such as [[The Orb]].<ref>{{Allmusic |class=artist |id=p5886 |label=Yellow Magic Orchestra |accessdate=2011-05-25 }}</ref> 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.<ref name="UGO"/> The band's use of [[oriental musical scale]]s and [[Arcade game|arcade]] [[video game]] bleeps has continued to be an influence on 21st-century [[electronica]] acts such as [[Dizzee Rascal]] and [[Kieran Hebden]].<ref name="guardian_ymo"/> In 2006, [[Uwe Schmidt|Senor Coconut]] paid tribute to the band with his ''[[Yellow Fever!]]'' album.<ref name="clashmusic"/>
+YMO also had an impact on [[techno]] music,<ref name="bogdanov_1996">{{cite book|last=Bogdanov|first=Vladimir|title=All music guide to electronica: the definitive guide to electronic music|year=2001|publisher=[[Hal Leonard Corporation|Backbeat Books]]|isbn=0879306289|url=http://books.google.co.uk/books?id=GJNXLSBlL7IC&pg=PT582|edition=4th|accessdate=26 May 2011|page=582}}</ref> including its pioneers [[Juan Atkins]], [[Kevin Saunderson]] and [[Derrick May]].<ref>[[Simon Reynolds|Reynolds, Simon]], ''Energy Flash: a Journey Through Rave Music and Dance Culture'', p. 15, Pan Macmillan, 1998 (ISBN 978-0330350563)</ref> YMO's early music has been described as "proto-techno"<ref>{{cite web|title=Keyboard, Volume 19, Issues 7-12|publisher=GPI Publications|year=1993|url=http://books.google.co.uk/books?id=kJ4JAQAAMAAJ|accessdate=2011-06-04}}</ref><ref>{{cite web|title=Peter Stenshoel's Album of the Week: What, Me Worry? by Yukihiro Takahashi|publisher=[[KPCC]]|date=May 18, 2011|author=Peter Stenshoel|url=http://www.scpr.org/blogs/offramp/2011/05/18/peter-stenshoels-album-week-what-me-worry-yukihiro/|accessdate=2011-06-04}}</ref> and they had used the term "techno" for several songs such as "[[Solid State Survivor|Technopolis]]" (1979); the song's tribute to [[Tokyo]] as an electronic mecca also foreshadowed the concepts that Atkins and [[Rick Davis]] would later have with the group [[Cybotron (band)|Cybotron]].<ref name="sicko_brewster"/> By the 1990s, YMO were also frequently cited as pioneers of [[ambient house]] music, resulting in the release of the tribute remix album ''Yellow Magic Orchestra: Hi-Tech/No Crime'' in 1993 by leading [[House music|house]] and techno musicians at the time such as [[The Orb]].<ref>{{Allmusic |class=artist |id=p5886 |label=Yellow Magic Orchestra |accessdate=2011-05-25 }}</ref> 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.<ref name="UGO"/> The band's use of [[oriental musical scale]]s and [[Arcade game|arcade]] [[video game]] bleeps has continued to be an influence on 21st-century [[electronica]] acts such as [[Dizzee Rascal]] and [[Kieran Hebden]].<ref name="guardian_ymo"/> In 2006, [[Uwe Schmidt|Senor Coconut]] paid tribute to the band with his ''[[Yellow Fever!]]'' album.<ref name="clashmusic"/>
-The band has also been very influential in its homeland Japan, where they had become more popular than [[The Beatles]] during the late 1970s and 1980s.<ref name="guardian_ymo"/> The band popularized electronic and computer music across the country, inspiring many future [[J-pop]] musicians,<ref name="loubet_couroux"/> as well as [[Music in Japanese animation|anime music]] and [[List of video game musicians|video game composers]]. Various cover versions of "[[Naughty Boys|Kimi ni Mune Kyun]]" (1983) have been produced, by artists such as [[The Human League]] ("[[YMO Versus The Human League]]" in 1993)<Ref>{{cite web|title=Yellow Magic Orchestra Versus Human League, The – YMO Versus The Human League|publisher=[[Discogs]]|url=http://www.discogs.com/release/504204|accessdate=2011-05-28}}</ref> and [[Asako Toki]] (in 2006).<ref name="whosampled"/> In 2009, a cover of "Kimi ni Mune Kyun" was used as the ending theme song for the [[anime]] series ''[[Maria Holic]]'', sung by [[Asami Sanada]], [[Marina Inoue]], and [[Yū Kobayashi]], the [[Seiyū|voice actresses]] of the main characters.
+The band has also been very influential in its homeland Japan, where they had become more popular than [[The Beatles]] during the late 1970s and 1980s.<ref name="guardian_ymo"/> The band popularized electronic and computer music across the country, inspiring many future [[J-pop]] musicians,<ref name="loubet_couroux"/> as well as [[Music in Japanese animation|anime music]] composers. The band also influenced many [[List of video game musicians|video game composers]] and had a major influence on much of the [[chiptune]] and [[video game music]] produced during the [[History of video game consoles (third generation)|8-bit]] and [[History of video game consoles (fourth generation)|16-bit eras]].<ref name="japantimes">{{cite web|date=February 29, 2008|title=YMCK takes 'chiptune' revolution major|author=Daniel Robson|work=[[The Japan Times]]|url=http://search.japantimes.co.jp/cgi-bin/fm20080229a1.html|accessdate=2011-06-11}}</ref> Various cover versions of "[[Naughty Boys|Kimi ni Mune Kyun]]" (1983) have been produced, by artists such as [[The Human League]] ("[[YMO Versus The Human League]]" in 1993)<Ref>{{cite web|title=Yellow Magic Orchestra Versus Human League, The – YMO Versus The Human League|publisher=[[Discogs]]|url=http://www.discogs.com/release/504204|accessdate=2011-05-28}}</ref> and [[Asako Toki]] (in 2006).<ref name="whosampled"/> In 2009, a cover of "Kimi ni Mune Kyun" was used as the ending theme song for the [[anime]] series ''[[Maria Holic]]'', sung by [[Asami Sanada]], [[Marina Inoue]], and [[Yū Kobayashi]], the [[Seiyū|voice actresses]] of the main characters.
 ==Discography==
@@ Line 134: / Line 136: @@
 ===Studio albums and variations===
+*1978 ''[[Yellow Magic Orchestra (album)|Yellow Magic Orchestra]]'' — [[Oricon|Japan]] #17,<ref name="oricon_album_archive">{{cite web|title=Yellow Magic Orchestra (Albums)|publisher=Yamachan Land (Oricon archives)|url=http://www7a.biglobe.ne.jp/~yamag/album/al_ymo.html|language=[[Japanese language|Japanese]]|accessdate=2011-06-01}} ([http://translate.google.co.uk/translate?hl=en&sl=ja&tl=en&u=http://www7a.biglobe.ne.jp/~yamag/album/al_ymo.html Translation])</ref> [[Billboard 200|US]] #81<ref name="allmusic_billboard">{{cite web|title=Yellow Magic Orchestra: Billboard Albums|publisher=[[Allmusic]]|url=http://www.allmusic.com/artist/yellow-magic-orchestra-p5886/charts-awards|accessdate=2011-05-25}}</ref>
-*1978 ''[[Yellow Magic Orchestra (album)|Yellow Magic Orchestra]]''
-*1979 ''[[Solid State Survivor]]''
+*1979 ''[[Solid State Survivor]]'' — Japan #1<ref name="oricon_album_archive"/>
-*1980 ''[[x∞Multiplies|&times;&infin; Multiplies]]'' (a.k.a ''Zoshoku'')
+*1980 ''[[x∞Multiplies|&times;&infin; Multiplies]]'' (a.k.a ''Zoshoku'') — Japan #1,<ref name="oricon_album_archive"/> US #177<ref>{{allmusic|class=album|id=r181175|label=Xoo Multiplies|accessdate=2011-05-31}}</ref>
-*1981 ''[[BGM (album)|BGM]]''
+*1981 ''[[BGM (album)|BGM]]'' — Japan #2<ref name="oricon_album_archive"/>
-*1981 ''[[Technodelic]]''
+*1981 ''[[Technodelic]]'' — Japan #4<ref name="oricon_album_archive"/>
-*1983 ''[[Naughty Boys]]''
+*1983 ''[[Naughty Boys]]'' — Japan #1<ref name="oricon_album_archive"/>
-*1983 ''[[Naughty Boys Instrumental]]''
+*1983 ''[[Naughty Boys Instrumental]]'' — Japan #18<ref name="oricon_album_archive"/>
-*1983 ''[[Service (album)|Service]]''
+*1983 ''[[Service (album)|Service]]'' — Japan #5<ref name="oricon_album_archive"/>
-*1993 ''[[Technodon]]''
+*1993 ''[[Technodon]]'' — Japan #2<ref name="oricon_album_archive"/>
 ===Live albums===
-*1980 ''[[Public Pressure]]''
+*1980 ''[[Public Pressure]]'' — Japan #1<ref name="oricon_album_archive"/>
-*1984 ''[[After Service]]''
+*1984 ''[[After Service]]'' — Japan #2<ref name="oricon_album_archive"/>
-*1991 ''[[Faker Holic]] (Transatlantic Tour 1979)''
+*1991 ''[[Faker Holic]] (Transatlantic Tour 1979)'' — Japan #50<ref name="oricon_album_archive"/>
-*1992 ''Complete Service'' (mixed by [[Brian Eno]])
+*1992 ''Complete Service'' (mixed by [[Brian Eno]]) — Japan #37<ref name="oricon_album_archive"/>
-*1993 ''Technodon Live''
+*1993 ''Technodon Live'' — Japan #12<ref name="oricon_album_archive"/>
-*1993 ''Live At The Budokan 1980''
+*1993 ''Live At The Budokan 1980'' — Japan #87<ref name="oricon_album_archive"/>
-*1993 ''Live At Kinokuniya Hall 1978''
+*1993 ''Live At Kinokuniya Hall 1978'' — Japan #55<ref name="oricon_album_archive"/>
 *1995 ''Winter Live 1981''
-*1996 ''World Tour 1980''
+*1996 ''World Tour 1980'' — Japan #59<ref name="oricon_album_archive"/>
 *1997 ''Live At The Greek Theatre 1979''
-*2008 ''Euymo - Yellow Magic Orchestra Live in London + Gijon 2008''
+*2008 ''Euymo — Yellow Magic Orchestra Live in London + Gijon 2008''
 *2008 ''[[LONDONYMO - Yellow Magic Orchestra Live in London 15/6 08]]''
-*2008 ''Gijonymo - Yellow Magic Orchestra Live in Gijon 19/6 08''
+*2008 ''Gijonymo — Yellow Magic Orchestra Live in Gijon 19/6 08''
 ===Compilation albums===
@@ Line 174: / Line 176: @@
 *"[[Yellow Magic Orchestra (album)|Firecracker]]" (1979, US)
 *"[[Yellow Magic Orchestra (album)|Yellow Magic]]" (Tong Poo) (1979, UK)
+*"[[Solid State Survivor|Technopolis]]" (1979, Japan) — [[Oricon|Japan]] #9<ref name="oricon_single_archive">{{cite web|title=Yellow Magic Orchestra (Singles)|publisher=Yamachan Land (Oricon archives)|url=http://www7a.biglobe.ne.jp/~yamag/single/ymo.html|language=[[Japanese language|Japanese]]|accessdate=2011-06-01}} ([http://translate.google.co.uk/translate?hl=en&sl=ja&tl=en&u=http://www7a.biglobe.ne.jp/~yamag/single/ymo.html Translation])</ref>
-*"[[Solid State Survivor|Technopolis]]" (1979, Japan)
 *"[[Yellow Magic Orchestra (album)|La Femme Chinoise]]" (1979, UK) (Lyrics:  [[Chris Mosdell]])
-*"[[Yellow Magic Orchestra (album)|Computer Game]]" (1980, UK, Italy, Spain, US) - [[UK Singles Chart|UK]] #17,<ref name="British Hit Singles & Albums">{{cite book| first= David| last= Roberts| year= 2006| title= British Hit Singles & Albums| edition= 19th| publisher= Guinness World Records Limited | location= London| isbn= 1-904994-10-5| page= 614}}</ref> [[Billboard Hot 100|US]] #60<ref>{{cite web|title=Yellow Magic Orchestra: Billboard Singles|publisher=[[Allmusic]]|url=http://www.allmusic.com/artist/yellow-magic-orchestra-p5886/charts-awards/billboard-singles|accessdate=2011-05-25}}</ref>
+*"[[Yellow Magic Orchestra (album)|Computer Game]]" (1980, UK, Italy, Spain, US) — [[UK Singles Chart|UK]] #17,<ref name="British Hit Singles & Albums">{{cite book| first= David| last= Roberts| year= 2006| title= British Hit Singles & Albums| edition= 19th| publisher= Guinness World Records Limited | location= London| isbn= 1-904994-10-5| page= 614}}</ref> [[Billboard Hot 100|US]] #60<ref>{{cite web|title=Yellow Magic Orchestra: Billboard Singles|publisher=[[Allmusic]]|url=http://www.allmusic.com/artist/yellow-magic-orchestra-p5886/charts-awards/billboard-singles|accessdate=2011-05-25}}</ref>
-*"Riot in Lagos" (1980, Japan, US, UK)
+*"Riot in Lagos" (1980, Japan, US, UK, Germany)<ref>{{Discogs master|20630|Riuichi Sakamoto – Riot In Lagos|type=album}}</ref><ref>{{allmusic|class=album|id=r108408|label=B-2 Unit}}</ref>
-*"[[Solid State Survivor|Rydeen]]" (1980, Japan 1982, UK)
+*"[[Solid State Survivor|Rydeen]]" (1980, Japan; 1982, UK) — Japan #15<ref name="oricon_single_archive"/>
 *"[[Behind the Mask (song)|Behind the Mask]]" (1980, UK, US, Italy) (Lyrics:  [[Chris Mosdell]])
 *"[[x∞Multiplies|Nice Age]]" (1980, UK, the Netherlands) (Lyrics:  [[Chris Mosdell]])
-*"[[Tighten Up (Archie Bell & the Drells song)|Tighten Up]]" (Japanese Gentlemen Stand Up Please) (their version of the ''[[Archie Bell & the Drells]]'' hit; 1980, US, Japan; 1981, UK)
+*"[[Tighten Up (Archie Bell & the Drells song)|Tighten Up]]" (Japanese Gentlemen Stand Up Please) (cover version of [[Archie Bell & the Drells]] hit; 1980, US, Japan; 1981, UK) — Japan #43<ref name="oricon_single_archive"/>
 *"[[BGM (album)|Cue]]" (1981, Japan)
 *"[[BGM (album)|Mass]]" (1981, Japan)
 *"[[Technodelic|Taiso]]" (1982, Australia, Japan)
 *"[[Technodelic|Pure Jam]]" (1982, Spain)
-*"[[Naughty Boys|Kimi ni Munekyun]]" (1983, Japan)
+*"[[Naughty Boys|Kimi ni Mune Kyun]]" (1983, Japan) — Japan #2<ref name="oricon_single_archive"/>
-*"Kageki na Shukujo" (1983, Japan)
+*"[[After Service|Kageki na Shukujo]]" (1983, Japan) — Japan #15<ref name="oricon_single_archive"/>
-*"Ishin Denshin (You've Got To Help Yourself)" (1983, Japan)
+*"[[Service (album)|Ishin Denshin (You've Got To Help Yourself)]]" (1983, Japan) — Japan #23<ref name="oricon_single_archive"/>
-*"Every Time I Look Around (I Hear The Madmen Call)" (1983, Holland)
+*"[[Service (album)|Every Time I Look Around (I Hear The Madmen Call)]]" (1983, Holland)
 *''Reconstructions'' EP (1992, UK)
-*"Pocketful of Rainbows" (1993, Japan)
+*"[[Technodon|Pocketful of Rainbows]]" (1993, Japan) — Japan #13<ref name="oricon_single_archive"/>
-*"Be A Superman" (1993, Japan)
+*"[[Technodon|Be A Superman]]" (1993, Japan) — Japan #76<ref name="oricon_single_archive"/>
-*"[[Rescue / Rydeen 79/07]]" (2007, Japan) - Digital download release: 10 March 2007, CD release: 22 August 2007
+*"[[Rescue / Rydeen 79/07]]" (2007, Japan) — Digital download release: 10 March 2007, CD release: 22 August 2007
 *"[[The City of Light / Tokyo Town Pages]]" (2008, Japan)
-*"Good Morning, Good Night" (2009, Japan) - by HASYMO
+*"Good Morning, Good Night" (2009, Japan) — by HASYMO
 ==See also==
@@ Line 219: / Line 221: @@
 [[Category:Japanese electronic music groups]]
 [[Category:Japanese dance musicians]]
+[[Category:Japanese pop music groups]]
 [[Category:Dance musical groups]]
+[[Category:Ambient music groups]]
 [[Category:Electro musicians]]
+[[Category:House musicians]]
+[[Category:Techno musicians]]
 [[Category:Musical groups established in 1978]]
 [[Category:Musical groups reestablished in 2007]]