One record at a time: 493. Yellow Magic Orchestra - Technodelic

"Technodelic" was originally released in 1981 but my copy is one of the numbered clear vinyl copies released by Music On Vinyl in 2016. Once again the sound is very good and I can't fault the packaging—a highly recommended pressing.

Back in the early eighties lots of artists seem to have discovered sampling and created records using the new technology. When OMD bought an E-MU Emulator they went crazy sampling old radios and turned out the career stifling "Dazzle Ships". Like OMD, Jean-Michel Jarre adopted the Emulator along with the Fairlight CMI and went berserk with sampled voices on "Zoolook". Depeche Mode's "Construction Time Again" saw a sea-change in their sound thanks to samplers and Peter Gabriel's fourth solo album seemed to wake lots of people up to the possibilities the new technology posed.

Around the same time, YMO began using a prototype Toshiba-EMI LMD-649 sampler to create this album. As with many artists using this technology for the first time, YMO chose to sample the one thing they couldn't replicate with synthesizers: the human voice. Personally I'm not convinced that sampling phonemes and ethnic chants is the best use of a sampler, but these were early days and artists were exploring what was possible.

As opening lines go, "This must be the ugliest piece of bread I have ever eaten," isn't likely to trouble Shakespeare or Wordsworth, but it certainly makes an impression. Beyond the vocal introduction "Pure Jam" emerges as a rather avant-garde piece that moves YMO into more serious territory. There's an electronic precision to the groove on this song that I find really appealing and its astonishing to think it was released forty five years ago. The opening synth riff reminds me of "Jumbo" by Underworld.

The new music direction continues on "Neue Tanz" which sees the new sampler employed as a drum machine. Whilst Yukihiro Takahashi's drums return for third track "Stairs" it is the juxtaposition between Sakamoto's piano flourishes and the metronomic synth arpeggios that catch my ear hear.  

One of my favourite tracks on the album is "Seoul Music" which uses samples of ethnic chants to form the core of the backing track. Harry Hosono's bass is fluid and funky whilst the drumming provides a relentless groove. Side One finishes with "Light In Darkness" which is a good piece but it doesn't develop beyond the initial idea.

"Taiso" on the flip side is possibly the most light hearted piece you will find on this album but even this track has an ominous air thanks its spoken verses delivered via a megaphone. Another one of my favourite pieces is "Gradated Grey" which is hypnotic and infectious. 

"Key" couldn't sound more 'eighties' if it tried and in some senses it foreshadows the stylish pop of the follow up album "Naughty Boys". There are two short compositions by Ryuichi Sakamoto to finish the album called "Prologue" and "Epilogue". Both of these songs continue to utilise the new sampler for their rhythmical content but "Prologue" relies on a short ostinato to provide melody whilst "Epilogue" takes a more discordant and ambient approach. 

There's no doubt this is a highly inventive album and demonstrates how far the style of the band shifted in just three short years. To my ears this album provides a great contrast to the lighter pop of its predecessors and demonstrates just how astonishingly talented the three band members were. 4/5

One record at a time: 492. Yellow Magic Orchestra - BGM

After the semi‑acoustic leanings of the cynical mini‑album "×∞Multiplies", YMO changed direction and returned to electronic music with "BGM" in 1981. My copy of the record is a recent purchase from eBay that appears to be an original Japanese pressing. Although the record sounds good, it is unfortunately missing its obi strip, which is a shame.

Ryuichi Sakamoto began collaborating with David Sylvian, the lead singer of the band Japan in 1980 and it would appear this partnership bled into the opening track on this album "Ballet". As vocalist Yukihiro Takahashi sings the line, "Acting out a story, written in air," you could be forgiven for thinking Sylvian was behind the microphone. There's a vague whiff of Japan's characteristic syncopation in the music and many of the synth sounds are reminiscent of Richard Barbieri. Great stuff.

This album is famous for featuring the first use of the Roland TR‑808 and the track "Music Plans" places it front and centre. Besides the famous drum machine there is a great distorted synth melody on this song that is deceptively catchy. "Rap Phenomena" attempts to recreate the emerging sounds of American hip‑hop but sadly it does not succeed on any level and is best forgotten.

More impressive are the duo of "1000 Knives" and "Happy End". Both tracks are reworkings of material from Sakamoto’s solo career. "Happy End" develops the original B‑side into an mellow dub piece that seems to anticipate ambient house by nearly a decade. While I enjoy the original version of "1000 Knives", YMO’s version is stronger, omitting the excruciating guitar solo and adding TR‑808 claps that give it a more rhythmic feel.

The next track is my favourite on the album. "Cue" is a highly sophisticated slice of synth‑pop that could easily have been a bigger hit if it had been appropriated by a Western artist in the same way "Behind the Mask" was. The deep bassline drives the track forward while a distinctive synth riff underpins Takahashi’s soaring vocal melody. I later learned that the composition was inspired by the Ultravox B‑side "Passionate Reply", although there are similarities, this is far from plagiarism to my ears. "Cue" is a genuine YMO classic and deserves a place on any playlist or compilation of the band’s best work.

The B‑side to the single release of "Cue" was the following track, "U・T". This piece captures a rare moment of collaboration between band members who were increasingly pulling in different directions. It earns its place on this record with complex delayed rhythms and an appealing chord progression. I have never been especially fond of "Camouflage", but it isn't without charm. "Mass", a composition by Haruomi Hosono, sounds as though it could easily accompany a dystopian film in the vein of Mad Max 2 or Escape from New York. The closing track, "Loom", uses a Shepard tone long before THX and Dr Dre made it widely known, and concludes with a beautifully atmospheric ambient section. 3.5/5

One record at a time: 491. Yellow Magic Orchestra - X∞Multiplies

When "X∞Multiplies" was originally released in Japan during 1980 it was considered a 'mini album' as it only contained a scattering of original songs alongside comedy sketches by a troupe called 'Snakeman Show'. The international release saw the album morph into a weird hybrid that dumped most of the comedy numbers and added previously released songs in their place. My copy of the original UK pressing is on yellow vinyl and sounds really nice.

Side one opens with a trio of songs from previous album "Solid State Survivor" followed by a trio from their eponymous debut. The track selections are pretty much as to be expected with "Behind the Mask" and "Firecracker" being the standouts. 

The meat of "X∞Multiplies" begins on the flip side with a brief jingle (which is strangely credited as "Snakeman Show") before launching into a great track called "Nice Age". There's no doubt this is a pop number with a good hook and a groovy verses. As well as the members of YMO there is an uncredited female vocal on this track which the internet tells me is by Mika Fukui. A hidden gem if ever there was one.

The title track is a strange and disappointing Ska pastiche that appears to be recorded on traditional instruments. I'm not really sure what the band were aiming for here but it falls short in my opinion. Next we encounter the only true "Snakeman Show" comedy sketch which appears to be a less than subtle critique of Western perceptions of Japanese people. The trouble with the sketch is that it isn't the least bit amusing and its message is probably completely lost on those it is aimed at. It's no surprise that four additional Snakeman skits featured on the Japanese version of the record are culled from the UK cut. 

"Citizens of Science" is a mildly melodic number that I can leave or take. The final track is a cover version of "Tighten Up" which is very entertaining but again, I fear their attempted subversion of Western stereotypes of Japanese culture will be lost on most of their audience.

I could be wrong, but I'm left with the feeling that this record is a somewhat cynical reaction to the attitudes the band encountered on their first tour. Whilst there is still some joy to be found in these grooves the record doesn't feel cohesive and if it weren't for "Nice Age" it might not be so appealing. 2.5/5

One record at a time: 490. Yellow Magic Orchestra - Public Pressure

After the success of their previous album, Yellow Magic Orchestra decided to undertake a 'Transatlantic tour' that saw them play dates in the UK and USA as well as their native Japan. "Public Pressure" is a live album that documented the tour and was released in 1980.

Once again my copy of this album is the limited edition clear vinyl released by Music on Vinyl in 2015. If you research this album online you will see that the contribution of guitarist Kazumi Watanabe who played on the tour has been excised, but given his efforts largely consist of wailing solos, I'm not too concerned that he has been replaced by synthesizers. A more worrying discovery is that all the lead vocals by drummer Yukihiro Takahashi were overdubbed in the studio—which makes you wonder just how much of this recording reflects what the audience heard in the venue. 

The record begins with a vocoder introducing the band before suddenly kicking into a spirited rendition of "Rydeen". Whilst this version is largely faithful to the album mix the synth solo does sound a little out of place and its prominent position in the mix suggests it wasn't always easy to remove the guitar in post production. Whilst I find the lyrics on the next track "Solid State Survivor" impenetrable, I do enjoy oddities like the discordant organ stabs and the female backing vocals. Up next is another classic YMO track "Tong Poo" which features some terrific bass guitar by Haruomi Hosono. 

Unfortunately there is a rather abrupt edit in the crowd noise on this pressing of the album before we hear "The End of Asia". This song was originally featured on Ryuichi Sakamoto's solo album "Thousand Knives" but the version played here improves the original with a deep and fruity bassline and a more rhythmical feel. 

The first track on the flip side is "Cosmic Surfin'" which, much like the original album version, highlights just how tightly synchronised the band can sound. The version of "Day Tripper" we hear next sounds somewhat lusher than the original album version, but Yukihiro Takahashi attempts to sound different to Ringo Starr mean his drumming stutters along a bit too much for me.

I'm no expert on the solo careers of the three band members, but I think the next track "Radio Junk" is a new song that was played on the tour. This number has a nice melody but it is less original than some of the band's better known tracks. The rendition of "La Femme Chinoise" is surprisingly polished but the vocal seems to be much more prominent in the mix when compared to the other tracks on the album. There's a final piece called "Back In Tokyo" which just seems to be the band messing around with a vocoder as they say, "Yellow Magic Orchestra". Clearly this piece served as an introduction to "Behind The Mask" in concerts as you can hear the track begin just as the sound fades out. Whilst somewhat puzzling and not entirely authentic as a live album, this record sounds good and doesn't outstay its welcome. 3/5

One record at a time: 489. Yellow Magic Orchestra - Solid State Survivor

Yellow Magic Orchestra’s 1979 album “Solid State Survivor” sparked a surge in the band’s popularity—and rightly so. This record stands as a landmark release in electronic music, showcasing innovative production and stunning sound design that still resonates today.

When clear vinyl versions of the band's back catalogue were released by Music On Vinyl in 2015, I made this album my priority as it stands as one of my favourites by the band. The sound reproduction is very good and the packaging is also rather excellent. This isn't the rarest record I own and it isn't the best sounding, but I treasure it above many others.

The first track "Technopolis" is a Ryuichi Sakamoto composition that springs straight out of the box with driving beats and a bouncy bassline. Sakamoto uses a Roland VP-330 vocoder to announce that the titicular technopolis is "Tokyo!" whilst the synths swirl around us. This track is an unapologetic attempt to create an impressive opening and it succeeds quite handsomely. 

Also impressive is "Absolute Ego Dance" which was composed by another band member, Harry Hosono. A characteristic of this album is the use of sequencers and the impressive Roland MC8 programming comes to the fore on this fast paced number. Making up a trio of energetic tracks from each band member is "Rydeen" by Yukihiro Takahashi which is another YMO classic. The first side finishes with "Castalia" which is a more solemn and reflective piece that uses the VP-330 choir sounds alongside Sakamoto's jazzy piano chords to create a dream-like atmosphere. 

Arguably the album's centre piece is the iconic "Behind the Mask". I think I have mentioned previously on this blog that my first encounter with this song came via hearing a version on the radio. For many years I didn't know who sang the song and it came as a surprise when I found out it was by Eric Clapton. This version of the track has quite a complex history that touches Michael Jackson and his keyboard wizard Greg Phillinganes before it reached old 'Slowhand'. Yet, to my mind, the original YMO rendition is by far the best. 

Creating a cover version of a Beatles song is a gutsy move for anyone, but for an electronic band who come from the other side of the world, it is nothing short of  heroic. Whilst "Day Tripper" sounds a little naive and disjointed in places, you still get the feeling it comes form a place of admiration rather than ridicule. Penultimate track "Insomnia" is a creepy and ponderous beast that creates a nice contrast with the frothy pop sound of the world's favourite scousers. The album rounds out with the title track that is another fast paced and enjoyable romp; but I have to admit I can't discern any of the lyrics.

When the album ends my initial reaction was that it felt too short. However, on reflection I realise it is actually a perfect little jewel and any attempt to elongate it or change the formula might break the spell. 4/5

One record at a time: 488. Yellow Magic Orchestra - Yellow Magic Orchestra

Thirteen years ago, I noted on this blog that there was a noticeable lack of YMO releases available in the UK. Thanks to the 2015 reissues from Music On Vinyl, some of the band’s catalogue finally became accessible on vinyl here, but even those editions are now becoming increasingly difficult to find.

Therefore, when I saw a cheap reissue of the band's debut album released last year I jumped at it. Whist it transpired this is an unofficial release, it doesn't sound too bad for a cheap coloured vinyl—but I'm still tempted to buy the much more expensive licenced version one day. 

Historically this album was made available as two different versions: the original 1978 Japanese mix and the later USA version. This record carries the artwork and mix of the original Japanese pressing which wasn't a big hit. From what I have read, this record was initially more popular in the USA than the band's homeland and it only gained traction in Japan when the newer USA mix was released there. 

The differences between the two mixes aren't vast and the only points I noted were the lack of vocals on "Tong Poo" and some synth improvisation missing from the intro to "Bridge Over Troubled Music". There is more liberal use of reverb on the USA mix when compared to this version and the original tracklisting includes an extra song called "Acrobat".

Back in the late 70's the film "Star Wars" and the introduction of Space Invaders arcade cabinets nearly blew my tiny mind. The sound of opening track "Computer Game (The From "The Circus")" seems to perfectly encapsulate the sounds of these childhood years and is redolent of orange carpets, flared trousers and Angel Delight. As a 'sound collage', this is never going to be anyone's favourite YMO tune, but it makes for a great introduction to the album nonetheless.

"Firecracker" is the album's centrepiece and serves as a gentle riposte to the contrived oriental kitsch of Martin Deny's original. However, rather than ridicule the source work, YMO's version actually lends the tune some credibility and transforms it by making it more melodious. Ryuichi Sakamoto's flourishes on the piano add that final sparkle.

The next track "Simoon" is a little limp but the vocoder vocal perks it up in just the right place. There's some wonderful syncopated interplay between the three band members on "Cosmic Surfin'" and you really get a sense of the sheer musical chops of the group here. 

The opening track on the b-side is "Tong Poo" which is another classic entry into the band's back catalogue. As you are being mesmerised by the electronics and the truly impressive bass playing here, it is easy to miss Sakamoto's jazz piano filling in all the gaps. OK, so the simulated disco "Ooh-ah, Ooh-ah" sounds might raise a titter amongst the younger crowd but make no mistake, this is good stuff. 

I'm not a massive fan of the female vocal on "La Femme Chinoise" but the tune stands up. "Bridge Over Troubled Music" is a bit of filler that precedes the throbbing disco of "Mad Pierrot" whose synth bass is reminiscent of Kraftwerk's "The Robots". We finish off with "Acrobat" which offers a fleetingly improvisation centring on some of the "Computer Game" themes before the needle moves off. A most pleasing experience beamed back from the dawn of 'synth-pop'. 4/5

Naughty boys and their yellow magic

For a devoted fan of electronic music the pickings were slim in the early 90's. A backlash against the synth driven pop of the 80's led to the rise of Britpop and the guitar driven dirges of Pulp, Blur, Oasis, et al. During these bleak days I sought solace in a variety of strange (electronic) music; "any port in a storm" and all that.

Artists such as Wendy Caros and Isao Tomita didn't appeal too much (as my tastes have matured and both now have a place in my music collection) and never really came up to the standards of my hero Jean Michel Jarre. Tangerine Dream and The Art of Noise were two bands that I felt I should like, rather than having a natural affinity for. Yello and Vangelis were all well and good, but they still lacked melodic drive and proved to have quite inconsistent back catalogues (I'm thinking more Vangelis than Yello here to be fair).

That left the 'odd child' of electronic music; Yellow Magic Orchestra. My introduction to them came through their remix album "Hi-Tech/No Crime". Albums like this where were quite de rigueur in the 90's (The Art of Noise's "FON Mixes" and Yello's "Hands on Yello" etc etc). I liked a lot of the melodies in the album but it somehow left me cold and uninterested. Yellow Magic Orchestra albums were (and to a certain extent still are) difficult to obtain and so my interest in them cooled. However, in 2003, remastered versions of their albums were released in the UK and I dipped my toe back into the YMO water.

To listen to Yellow Magic Orchestra you have to re tune your ears away from western sensibilities and remember this band were trying to do something new. Not only were they determined to retain the sound of their Japanese heritage but they also wanted to add the bright fun loving melodies and sounds so despised by Kraftwerk and their contemporaries. They were, and remain, unique and fun loving.

P.S. As I mentioned earlier, not all Y.M.O. albums are easy to come by in the UK. Albums such as "Solid State Survivor" and "Yellow Magic Orchestra" are very easy to find, whilst "×∞Multiplies" and "BGM" are quite rare. Consequently, the unscrupulous are trying to make a killing on amazon by charging silly money for these rarer albums. Top tip is to use eBay and collector sites such as eil.com as they actually represent the best value for money and there can even be a bargain or two to be had.