History YMMV / YellowMagicOrchestra

* AudienceAlienatingEra: While outright disliked, ''Service'' and ''Technodon'' are regarded as noticeable steps down in quality. Specifically, the comedy skits on ''Service'' are regarded as AlbumFiller that mesh poorly with the music, while ''Technodon'' sees criticism for its hour-long length and shift to {{ambient}} {{techno}} instead of GenreBusting SynthPop. The non-album tracks YMO put out in the 2000's, meanwhile, are much better-regarded, taking the style of ''Technodon'' and reintroducing the earlier eclectic elements.

* FaceOfTheBand: Depends on where you look. In Japan, Haruomi Hosono takes this role, having been the most famous member of YMO prior to their formation and remaining their main creative director throughout their lifetime. In the west meanwhile, Music/RyuichiSakamoto is the best-known member of the band, thanks to being the only one to establish a large following there via his soundtrack work and his collaboration with Western artists such as Music/DavidSylvian. Almost ironically, considering the above, Yukihiro Takahashi actually took lead vocals on most of YMO's most popular vocal singles (including "Kimi Ni Mune Kyun", their biggest hit in Japan) and (co-)composed most of them.

* AccidentalInnuendo: With the song's word choice and the band's accents, it can be easy to mis-hear the line "teeny-weeny floppy deck" in "Hi-Tech Hippies" as "TeenyWeenie [[TheLoinsSleepTonight floppy]] ''[[TheLoinsSleepTonight dick]]''." The fact that the line before it goes "itty-bitty hippie tech" only compounds this.
* AdaptationDisplacement: The 1979 US mix of ''Yellow Magic Orchestra'' by Al Schmitt is generally much better-known than the original 1978 Japanese mix by Haruomi Hosono. Part of this is due to the Schmitt mix being the only version officially available outside of Japan before 2003, but even in Japan it overtook the Hosono mix in popularity and was even functionally adopted by the band as the canonical version of the album, to the extent where the Hosono mix took until 1992 to see a CD release in its home country (CD releases before then exclusively used the Schmitt version). To this day, the Schmitt mix is the one most heavily prioritized in reissues; on double-CD and double-LP releases that contain both versions, Schmitt's version is consistently placed on disc one.

* FaceOfTheBand: Depends on where you look. In Japan, Haruomi Hosono takes this role, having been the most famous member of YMO prior to their formation and remaining their main creative director throughout their lifetime. In the west meanwhile, Music/RyuichiSakamoto is the best-known member of the band, thanks to being the only one to establish a large following there via his soundtrack work and his collaboration with Western artists such as Music/DavidSylvian. (Almost ironically, considering the above, Yukihiro Takahashi actually took lead vocals on most of YMO's most popular vocal singles, including ''Kimi Ni Mune Kyun'', and (co-)composed most of them.)

* TastesLikeDiabetes: "Kimi ni Mune Kyun": a cutesy bubblegum-pop song about a summer crush (...[[SugarWiki/FunnyMoments performed by a hugely influential and respected band made up of three grown men]]). Even more evident in the sped-up, female vocal cover used for ''Anime/MariaHolic'' ending theme which removes the original's tongue-in-cheek humour.

* FaceOfTheBand: Depends on where you look. In Japan, Haruomi Hosono takes this role, having been the most famous member of YMO prior to their formation and remaining their main creative director throughout their lifetime. In the west meanwhile, Music/RyuichiSakamoto is the best-known member of the band, thanks to being the only one to establish a large following there via his soundtrack work and his collaboration with Western artists such as Music/DavidSylvian.

* DorkAge: While outright disliked, ''Service'' and ''Technodon'' are regarded as noticeable steps down in quality. Specifically, the comedy skits on ''Service'' are regarded as AlbumFiller that mesh poorly with the music, while ''Technodon'' sees criticism for its hour-long length and shift to {{ambient}} {{techno}} instead of GenreBusting SynthPop. The non-album tracks YMO put out in the 2000's, meanwhile, are much better-regarded, taking the style of ''Technodon'' and reintroducing the earlier eclectic elements.