History Music / YellowMagicOrchestra

** Early CD releases of ''BGM'' (including the 1992 Restless CD, which to this day is still the only US CD release of the album) featured a slightly altered mix on the track "Happy End", in which the metallic sound that appears in the second half of the song comes in cold rather that gradually fading in. The original LP mix of the song would not appear on CD until the 1999 remasters of the band's back-catalog, and since then it has been standard across formats.

* BookEnds: Their debut album opens, following a MinisculeRocking intro, with a cover of "Firecracker" by 50's exotica artist Martin Denny. Their final album to date closes with a cover of "Pocketful of Rainbows" by 50's rock icon Music/ElvisPresley (though the song itself first came out in 1960).

Yellow Magic Orchestra is a hugely influential SynthPop[=/=]proto-{{techno}} {{supergroup}} that has been called the Japanese equivalent of Music/{{Kraftwerk}}, while their influence inside their home country has been likened to Music/TheBeatles. They helped pioneer synthpop, modern J-pop, techno, and house music. The band was one of the first to use {{Sampling}}: alongside Music/DavidByrne and Music/BrianEno's ''Music/MyLifeInTheBushOfGhosts'' earlier that same year, YMO's 1981 album ''Technodelic'' was one of the first albums by a major artist to be primarily composed of samples.

After making the concert film ''Propaganda'', YMO "spread out" in 1984: although they shifted back to solo careers, the members would frequently perform with each other. They briefly reunited to record ''Technodon'' under the name of Not YMO (or "YMO" with an X through it) in the early 90s (as Alfa Records still owned the name Yellow Magic Orchestra at the time), and occasionally performed live as Human Audio Sponge. They officially reunited in 2007 as HASYMO, first for a Kirin beer commercial and single "RYDEEN 79/07," and then live at the Live Earth, Kyoto event on July 7, 2007. The band officially reverted to the name YMO in 2009 and released the single ''The City of Light / Tokyo Town Pages'' that same year. No new recordings have been planned, though the band members have continued their touring schedules, up until Sakamoto was diagnosed with throat cancer in 2014. After Sakamoto recovered, the band have continued to live on as an on-again, off-again live act, performing YMO material both together and as part of solo shows (under the sole condition that they only be billed as YMO if all three are present).

* DigitalDestruction: The original CD release of ''After Service'' was in a heavily truncated form[[note]]the performances of "Focus", "Kai-Koh", and "See-Through" are all omitted, and the runtime of numerous other tracks are adjusted[[/note]] that cut down the 82-and-a-half minute live album to just 71 minutes (due in part to the CD format's nascent nature at the time). Alfa would later try to rectify this in 1992 with the release of ''Complete Service'', an expanded double-CD version of the album (with mixing by Music/BrianEno no less) that contained even more content than the double-LP release of ''After Service'' (carrying 24 tracks compared to the previous 19 and clocking in at just under two hours), but the original 1984 double-LP configuration wouldn't see a proper double-CD release until 1998, after which it would become standard for later reissues on the format.

** By the time the 2000's came, their sound shifted more towards glitch pop.

* GreatestHitsAlbum: The band saw no shortage of compilations following their first dissolution, with the total number of them just barely beating out the number of actual studio albums they released. Among others...
** ''Sealed'', released immediately after the band "spread out" in 1984, is a [[DistinctDoubleAlbum Distinct Quadruple Album]], with each of the first three discs based around songs by each of the three band members. The fourth disc, meanwhile, is dedicated to songs that the band wrote collaboratively.
** ''Kyoretsu Na Rhythm'' was a US-oriented compilation made as a prelude to Restless Records' releases of the band's first round of remasters. The compilation later saw an expanded release in Japan the following year.
** ''UC YMO: Ultimate Collection of Yellow Magic Orchestra'' was a retrospective two-CD compilation put out in 2003 to commemorate the reissues of the 1999 remasters in Japan, Europe, and Canada. In addition to the band's best-known songs, the album also features a number of rarities, most of which were never released on CD until then.

* ''Kyoretsu Na Rhythm'' (1992)

* GenreBusting: The band made their own style of {{Synthpop}}, JPop, {{Chiptune}}, {{New Wave|Music}} and lots more.

* GratuitousForeignLanguage:
** GratuitousFrench: "La Femme Chinoise". A small part of "Ballet" has this as well.
** GratuitousItalian: "Kimi Ni Mune Kyun" has a brief section with this.
** GratuitousGerman: "Neue Tanz" (New Dance).
** GratuitousRussian: Appears at the end of "Mass".
** The most obscure example is in "Nanga Def", where all of the lyrics are in the West African language of [[https://en.wikipedia.org/wiki/Wolof_language Wolof]].
* IdiosyncraticEpisodeNaming: The band indulged in this regularly with their LP releases throughout the 1980's.

* CutAndPasteTranslation: Happened several times with international releases of their material.
** The band's SelfTitledAlbum from 1978 omits the MinisculeRocking track "Acrobat" from the end of the tracklist on US copies and features a considerably different mix oriented more for the American market.
** Since their album ''Solid State Survivor'' was not originally released in the US, the US version of ''×∞Multiplies'' dispensed with the Japanese-language comedy routine tracks and padded the record out with songs from ''Solid State Survivor''. The European version went further, by adding additional songs from their debut album. The 1992 international CD release of the album, meanwhile, is mostly based on the Japanese version, but throws in the non-album single "Kageki na Shukujo" and cuts from ''Naughty Boys Instrumental'' as bonus tracks due to both having not been part of the concurrent reissue campaign.
** While the tracklists for ''BGM'', ''Technodelic'', and ''Naughty Boys'' remained untouched in international releases, European copies of ''Service'' returned to the practice of altering tracklists by cutting out the Japanese-language "S.E.T." comedy routine tracks, shortening the album down to just over half of its original length.

** ''Technodelic'' (introduction of samplers and more minimal arrangements, essentially ''BGM'' turned UpToEleven)

* VariantCover: The original release of ''Technodelic'' sported [[https://t2.genius.com/unsafe/1418x0/https%3A%2F%2Fimages.genius.com%2Fda591ceeff8ab85f48acb29cf7410e44.827x827x1.jpg cover art]] of three Polaroids of the individual band members in Kabuki makeup, all laid against a white background. Reissues swapped out the cover with one [[https://t2.genius.com/unsafe/1418x0/https%3A%2F%2Fimages.genius.com%2F51dcae4382fd939c18a3239904d43cae.600x600x1.jpg featuring]] a stock photo of a woman in Maoist China against a red background; this cover has become better-known over the years, if only for how much more widely used it was.

* ParodyAssistance: Curious about why the "Taiso" video seems to be such a spot-on parody of "Music/OnceInALifetime", right down to the StylisticSuck chroma-key? That's because the members of Music/TalkingHeads themselves directed the video.

** The music video for "Taiso" recalls that of "Music/OnceInALifetime" by Music/TalkingHeads, featuring the band members performing in suits in a WhiteVoidRoom among various chroma-key backdrops. This is somewhat explainable by the fact that ''Talking Heads themselves'' directed the video.

* TakeThatUs: Virtually every television performance, especially "Propaganda."
** The "Kimi Ni Mune Kyun" video is also this, making fun of how completely unlike a boy band they are and how unsuited they are to singing (what sounds like) a SillyLoveSong.

Core members Music/HaruomiHosono, Music/YukihiroTakahashi, and Music/RyuichiSakamoto had worked together off and on throughout the 1970s, and each had worked with early electronic instruments. However, it was Sakamoto's introduction to Kraftwerk, as well as a desire to make music that didn't ape Western musicians, that pushed them to create their own band. Shortly after Hosono's 1978 exotica-tinged album ''Paraiso'' (credited to Harry Hosono and the Yellow Magic Band, which featured Sakamoto and Takahashi contributing as session musicians), they decided to use the name Yellow Magic Orchestra, parodying the faddish fascination with black magic in Japan at the time. Their debut album was intended to parody Western stereotypes of Asia (and its offensive fascination with "orientalism" going on at that time) while also exploring Asianness and the potential that came from mixing western electronic and funk sounds with traditional Japanese compositional techniques, blending Sakamoto's classical training with Hosono & Takahashi's pop expertise.

* NeoclassicalPunkZydecoRockabilly: One of the members described their music and its mix of influences as the equivalent of a Bento box.

* ''{{Music/Service}}'' (1983)
* ''{{Music/Technodon}}'' (1993)[[note]]as Not YMO[[/note]]

* ''Naughty Boys'' (1983)
* ''Service'' (1983)
* ''Technodon'' (1993)[[note]]as Not YMO[[/note]]

* ''Music/BGM'' (1981)

* ''BGM'' (1981)

Over the next few years, YMO was the most popular band in Japan, and was regularly charting in America and Europe (despite their distribution being much spottier in those regions), with sold-out tours in all three areas. For 1979's ''Solid State Survivor'', the band brought English lyricist Chris Mosdell to write English lyrics, producing the song "Behind the Mask", which would later become a hit for Music/MichaelJackson and Music/EricClapton[[note]]Jackson even wrote additional lyrics for the song, which have since become standard for it[[/note]]. Both it and the follow-up, ''[[{{Music/Multiplies}} ×∞Multiplies]]'', were on the Oricon charts at the same time for seven weeks, a record that still stands. The band's music became a major influence on early {{Techno}} and HipHop pioneers, with Sakamoto's solo piece (and YMO live staple) "Riot in Lagos" seen as both the TropeMaker for electro and one of the first songs to have a "techno" beat. After sampling "Firecracker" for his song "Death Mix," Afrika Bambaataa jokingly claimed YMO "invented Hip Hop." The band's work also had an inevitable effect on JapanesePopMusic itself, in particular influencing the development of CityPop through their eclectic blend of styles. Their later albums shot straight to the top of the Oricon charts, and their 1983 single "Kimi ni, mune kyun." was the highest charting SynthPop song in Japanese history at #2 -- a record the song held until synth-pop idol group Music/{{Perfume}} released "love the world" in 2008.

* ''[[{{Music/Multiplies}} ×∞Multiplies]] /増殖''[[note]]''Multiplication''[[/note]] (1980)

* "Kageki na Shukujo" / "See-Through" (1983)[[note]]A-side is an exclusive studio recording of a track performed live on ''After Service''; also available on the 1992 remaster of ''Multiplies'' as a bonus track; B-side otherwise available on ''Service''[[/note]]

** The Japanese version of ''Multiplies'' uses a front shot of the band collage on side one and a rear shot on side two.

** ''Multiplies'' (becoming GenreRoulette, with an increased use of live vocals)

* ''[{{[Music/Multiplies}} ×∞Multiplies]] /増殖''[[note]]''Multiplication''[[/note]] (1980)

Over the next few years, YMO was the most popular band in Japan, and was regularly charting in America and Europe (despite their distribution being much spottier in those regions), with sold-out tours in all three areas. For 1979's ''Solid State Survivor'', the band brought English lyricist Chris Mosdell to write English lyrics, producing the song "Behind the Mask", which would later become a hit for Music/MichaelJackson and Music/EricClapton[[note]]Jackson even wrote additional lyrics for the song, which have since become standard for it[[/note]]. Both it and the follow-up, ''[[{{Music/Multiplies ×∞Multiplies]]'', were on the Oricon charts at the same time for seven weeks, a record that still stands. The band's music became a major influence on early {{Techno}} and HipHop pioneers, with Sakamoto's solo piece (and YMO live staple) "Riot in Lagos" seen as both the TropeMaker for electro and one of the first songs to have a "techno" beat. After sampling "Firecracker" for his song "Death Mix," Afrika Bambaataa jokingly claimed YMO "invented Hip Hop." The band's work also had an inevitable effect on JapanesePopMusic itself, in particular influencing the development of CityPop through their eclectic blend of styles. Their later albums shot straight to the top of the Oricon charts, and their 1983 single "Kimi ni, mune kyun." was the highest charting SynthPop song in Japanese history at #2 -- a record the song held until synth-pop idol group Music/{{Perfume}} released "love the world" in 2008.

Over the next few years, YMO was the most popular band in Japan, and was regularly charting in America and Europe (despite their distribution being much spottier in those regions), with sold-out tours in all three areas. For 1979's ''Solid State Survivor'', the band brought English lyricist Chris Mosdell to write English lyrics, producing the song "Behind the Mask", which would later become a hit for Music/MichaelJackson and Music/EricClapton[[note]]Jackson even wrote additional lyrics for the song, which have since become standard for it[[/note]]. Both it and the follow-up, ''×∞Multiplies'', were on the Oricon charts at the same time for seven weeks, a record that still stands. The band's music became a major influence on early {{Techno}} and HipHop pioneers, with Sakamoto's solo piece (and YMO live staple) "Riot in Lagos" seen as both the TropeMaker for electro and one of the first songs to have a "techno" beat. After sampling "Firecracker" for his song "Death Mix," Afrika Bambaataa jokingly claimed YMO "invented Hip Hop." The band's work also had an inevitable effect on JapanesePopMusic itself, in particular influencing the development of CityPop through their eclectic blend of styles. Their later albums shot straight to the top of the Oricon charts, and their 1983 single "Kimi ni, mune kyun." was the highest charting SynthPop song in Japanese history at #2 -- a record the song held until synth-pop idol group Music/{{Perfume}} released "love the world" in 2008.

* ''[[Music/Multiplies ×∞Multiplies]] /増殖''[[note]]''Multiplication''[[/note]] (1980)

* ''×∞Music/Multiplies /増殖''[[note]]''Multiplication''[[/note]] (1980)

* ''×∞Multiplies /増殖''[[note]]''Multiplication''[[/note]] (1980)

* SomethingCompletelyDifferent: The original versions of "Multiplies" and "Service" are half comedy, half music album.

+ Van Dyke Parks

[[caption-width-right:350:YMO circa 1981 (from left to right: Music/HaruomiHosono, Music/RyuichiSakamoto, and Yukihiro Takahashi)]]

Core members Music/HaruomiHosono, Yukihiro Takahashi, and Music/RyuichiSakamoto had worked together off and on throughout the 1970s, and each had worked with early electronic instruments. However, it was Sakamoto's introduction to Kraftwerk, as well as a desire to make music that didn't ape Western musicians, that pushed them to create their own band. Shortly after Hosono's 1978 exotica-tinged album ''Paraiso'' (credited to Harry Hosono and the Yellow Magic Band, which featured Sakamoto and Takahashi contributing as session musicians), they decided to use the name Yellow Magic Orchestra, parodying the faddish fascination with black magic in Japan at the time. Their debut album was intended to parody Western stereotypes of Asia (and its offensive fascination with "orientalism" going on at that time) while also exploring Asianness and the potential that came from mixing western electronic and funk sounds with traditional Japanese compositional techniques, blending Sakamoto's classical training with Hosono & Takahashi's pop expertise.

[[caption-width-right:350:YMO circa 1981 (from left to right: Haruomi Hosono, Music/RyuichiSakamoto, and Yukihiro Takahashi)]]

Core members Haruomi Hosono, Yukihiro Takahashi, and Music/RyuichiSakamoto had worked together off and on throughout the 1970s, and each had worked with early electronic instruments. However, it was Sakamoto's introduction to Kraftwerk, as well as a desire to make music that didn't ape Western musicians, that pushed them to create their own band. Shortly after Hosono's 1978 exotica-tinged album ''Paraiso'' (credited to Harry Hosono and the Yellow Magic Band, which featured Sakamoto and Takahashi contributing as session musicians), they decided to use the name Yellow Magic Orchestra, parodying the faddish fascination with black magic in Japan at the time. Their debut album was intended to parody Western stereotypes of Asia (and its offensive fascination with "orientalism" going on at that time) while also exploring Asianness and the potential that came from mixing western electronic and funk sounds with traditional Japanese compositional techniques, blending Sakamoto's classical training with Hosono & Takahashi's pop expertise.

* ''Public Pressure'' (1980)

* ''Faker Holic: YMO World Tour Live'' (1991)