Jesus how old am I. I remember watching this first time round. Went to see YMO at Hammersmith Odeon in 1980. They were and still are a bloody cool band. Sakamoto's b2-Unit and YMO's BGM still all time favourites for me.
I agree with sakamoto. Just because you make music to sell, doesn’t mean it’s of a lower aesthetic value. Nowadays we hear all kinds of things about “selling out” and it’s seen as a bad thing, but hear we see a great musician like sakamoto, great pianist and composer, great in a logo of different genres, totally embracing the act of making music as a consuming good. I don’t know if he was doing it ironically or satirically, but it doesn’t seam so. I just think he loved pop music
Music made to sell is actually of a lower aesthetic value because people simply have terrible tastes in music. Sakamoto was young and didn't understand this until he got older. This is why he went all acoustic in the 2000s. Also, Pop music in the 90s and earlier took more skill to make and was very good unlike today. Today, artists just want to "sell out" and would make anything to gain fame and make money. Anyone can make music using computer software today, making the worst artists sell out and become Pop stars because they have something real musicians don't.
@@ymotechnopopfan Back in the 70s this was the case, but today, we got terrible artists writing terrible music using fake sounding synths emulated on computers and are now millionaires, while we got real musicians actually writing real music and they are still working day jobs. I say music should have boundaries. Otherwise, all we are hearing are rappers rapping about drugs money and sex along with cheap sounding instrumentals made on the computer which anyone can make in 2 weeks.
“Firecracker” was even a hit here in America. Released on the now defunct record label Horizon Records and Tapes under A&M Records. Peaked at No. 60 on the U.S. Billboard Hot 100 in 1980.
it should be 83. BGM, Technodelic era, they hated each other so strong especially Sakamoto did Hosono's spirituality/religiousness. they used to record each members own part in different days, avoiding seeing each other. in 83 they eventually decided disbanding then they restarted being friendly to each other considering them as limited time co-member. Sakamoto expected YMO as temporary session group just for the first 2 albums because it was too progressive.
Keep in mind that today, underpaid taxi drivers (or anyone working day jobs) try to copy YMO by buying an expensive Mac computer and making music in a very basic program called GarageBand which limits everything. This is why music is so shit today.
Thanks for posting it. I absolutely fell in love with YMO (like in Kraftwerk few years ago), and i want to know all about these guys and incredible music!
@@wididididididi8693 Moroder (E. Munich / EDM), Lacksman (E. Bélgica), Jarre (E. Francia), YMO (E. Japón), Tangerine Dreams & Schulze (E. Berlín)... descienden y se forjan directamente de la misma Música Electrónica y sus 4 líneas clásicas (E. Post Concreta, E. Moog, E. Experimental y E. Soundtrack), ellos no seguían el Krautrock Düsseldorf & Progressive Rock Alemán de los muchachos de Conny Plank (Kraftwerk).
Stevem that particular clip is all there is about YMO. The rest is interesting but irrelevant. If you need a higher resolution clip I can provide it. I suppose you'd also need clearance from the rights holders. Anyway let me know.
Oh is the rest of the video not about YMO? If I could get a higher res version of all the YMO bit that'd be great! I'll be alright clearance wise, the way I'll use the clips will be covered because of fair use.
@JKRetro Good question! To which I don't know the answer. I assumed it was some kind of off-hand noodling captured in the studio, but do not recognize it as any particular tune.
@KidSX Somehow I never replied to you! Oops. Anyway: You're welcome. I was a fan back then too. And they're still great! Have you seen the video clip of them doing "Thousand Knives" on the "Schola" TV show? Awesome.
Moroder, Lacksman, Jarre, YMO... descienden y se forjan directamente de la misma Música Electrónica y sus 4 líneas clásicas (E. Post Concreta, E. Moog, E. Experimental y E. Soundtrack), ellos no seguían el Krautrock Düsseldorf & Progressive Rock Alemán de los muchachos de Conny Plank (Kraftwerk).
@@joezava8257 Kraftwerk are still important as they are massively influential and widely cited by future electronic musicians (Kraftwerk were important for the formations of Chicago House, Detroit Techno as musicians like Jeff Mills and Derrick May cite them as an influence)
@@owenevans4532 El Chicago House se forja directamente del EDM en específico de 3 géneros electrónicos de primera línea de esta escena electrónica el Italo Disco, el Electro Funk y el Freestyle en el uso de la TR-808 y nace entre 1984-1985 con Jesse Saunders (House desligadose de las mezclas de Disco Clasico de inicios de 1980 Warehouse / F. Knuckles), el Techno se origina pasado 1985 en Europa para ser específico 1988-1989 en la oleada de productores y DJ's de Frankfurt y Berlín (que tomaron géneros electrónicos del EDM 80's como el Acid, New Beat, Electro, lo más minimalista del Synthpop y HI-NRG y el llamado "ebm" forjado del mismo EDM). Los 3 de Belleville y la masa de DJ's de Detroit hacian ELECTRO! no Techno y solo utilizaron la etiqueta Techno de los mismos nombres utilizados por YMO en sus producciones Electro como en el álbum Techno/delic o Techno/polis. Las bases del Electro que utilizaron en Detroit es originada por YMO y de hecho es Ryuichi Sakamoto (Riot In Lagos / 1980) el padre, pionero u fundador de este tercer género electrónico del EDM primario el cual toma y replica Kraftwerk en el álbum Computer World de 1981. Nada de la Electrónica Moderna y la ramificación del EDM parten del Progressive Rock Alemán & Krautrock Düsseldorf de los muchachos de Conny Plank (Kraftwerk) 😂. Los hechos y data empírica dentro de la historia, evolución y desarrollo de la Música Electrónica están por encima de las interpretaciones personales de los 3 de Belleville, 3 muchachos que hacían Electro en Detroit 😃.
![Harry Hosono & Tin Pan Alley 1975-1976 [Live] (DVD)](http://i.ytimg.com/vi/nehPFjX87l4/mqdefault.jpg)
Takahashi is soooo easy on the eyes, oh my gosh
Jesus how old am I. I remember watching this first time round. Went to see YMO at Hammersmith Odeon in 1980. They were and still are a bloody cool band. Sakamoto's b2-Unit and YMO's BGM still all time favourites for me.
Rydeen is one of the alltime classics of funky disco. That syncopation is to die for
I agree with sakamoto. Just because you make music to sell, doesn’t mean it’s of a lower aesthetic value. Nowadays we hear all kinds of things about “selling out” and it’s seen as a bad thing, but hear we see a great musician like sakamoto, great pianist and composer, great in a logo of different genres, totally embracing the act of making music as a consuming good. I don’t know if he was doing it ironically or satirically, but it doesn’t seam so. I just think he loved pop music
After they split up, the Japanese music industry ignored them (and treated them as non-existence) .
Music made to sell is actually of a lower aesthetic value because people simply have terrible tastes in music. Sakamoto was young and didn't understand this until he got older. This is why he went all acoustic in the 2000s. Also, Pop music in the 90s and earlier took more skill to make and was very good unlike today. Today, artists just want to "sell out" and would make anything to gain fame and make money. Anyone can make music using computer software today, making the worst artists sell out and become Pop stars because they have something real musicians don't.
@@judenihal music should not have boundaries.
@@ymotechnopopfan Back in the 70s this was the case, but today, we got terrible artists writing terrible music using fake sounding synths emulated on computers and are now millionaires, while we got real musicians actually writing real music and they are still working day jobs. I say music should have boundaries. Otherwise, all we are hearing are rappers rapping about drugs money and sex along with cheap sounding instrumentals made on the computer which anyone can make in 2 weeks.
@@judenihal bro the 70s were a notoriously bad time for pop music. If it's good its good, whether it sells or not has no bearing on the song itself.
Heard today that Yukihiro takahashi died ...January 11 2023.
RIP.
They were, and are, so cute.
ただ機械をいじってるだけなのに細野さんが超絶カッコよく見えてしまう…
“Firecracker” was even a hit here in America. Released on the now defunct record label Horizon Records and Tapes under A&M Records. Peaked at No. 60 on the U.S. Billboard Hot 100 in 1980.
RIP Sakamoto
Hosono seems to be the producer in this clip, so this is possibly from 81 and they're recording BGM.
They're using a linndrum not an 808, so I would say more like 1982/3
I believe it was 1983.
it should be 83. BGM, Technodelic era, they hated each other so strong especially Sakamoto did Hosono's spirituality/religiousness. they used to record each members own part in different days, avoiding seeing each other. in 83 they eventually decided disbanding then they restarted being friendly to each other considering them as limited time co-member. Sakamoto expected YMO as temporary session group just for the first 2 albums because it was too progressive.
Is there a YMO definite book or something? How do you learn abt the band (beyond listening to the music obv) if you’re from the states?
@@justinbarrington-higgs6156 Sukiyaki & Chips - The Japanese Sounds Of Music came out in 1984.
But may have been made prior to this in 83.
This band is so freaking cool. They are mentioned in Kraftwerk: Publikation by David Buckley.
Kraftwerk bio bring me here !
今、気が付いたんだけど、細野サンと伊武雅刀って良く似てるなァ〜。
ははは（笑）そうそう。40年以上も以前から言われてる。低い声もなんか似てるよね。
Those LinnDrum sounds are INSANE
Keep in mind that today, underpaid taxi drivers (or anyone working day jobs) try to copy YMO by buying an expensive Mac computer and making music in a very basic program called GarageBand which limits everything. This is why music is so shit today.
はあ。
これって英語圏の何処かの放送局がインタビュー内容を翻訳（英訳）し放送したものを垂れ流しているのじゃなくて、このアップ主さん自身が日本語の番組内容を「自力で」翻訳し英語化してるのね。ま、本動画のアップ主さん自身じゃないかも、だけど。
無論やれない話じゃないが、でも、手間と努力とを惜しまぬその実行力に感謝しかない。
ありがとう！
omg...young sakamato
it's a cute boy i like ~
Thanks for posting it. I absolutely fell in love with YMO (like in Kraftwerk few years ago), and i want to know all about these guys and incredible music!
same here
Girl I feel you. I'm obsessed with YMO and Kraftwerk as well.
@@wididididididi8693 Moroder (E. Munich / EDM), Lacksman (E. Bélgica), Jarre (E. Francia), YMO (E. Japón), Tangerine Dreams & Schulze (E. Berlín)... descienden y se forjan directamente de la misma Música Electrónica y sus 4 líneas clásicas (E. Post Concreta, E. Moog, E. Experimental y E. Soundtrack), ellos no seguían el Krautrock Düsseldorf & Progressive Rock Alemán de los muchachos de Conny Plank (Kraftwerk).
Thank you from Japan. I've never seen this program.
Looks like it's from 1983, specifically the 浮気なぼくら sessions due to the LinnDrum, Mentioned at 3:07, heard at 3:15 and seen at 3:30 ...
Grande conteúdo. Muito obrigado e saudações do Brasil.
sakamotooooo!
cheers for posting,had this on vhs,it was from a programme about Japanese music :)
日本語版あったらいいな。
That music at the beggining iso nice, anyone got the credits for Sukiyaki and Chips?
Does anyone know the tune at 1:27.
Must be a tune they were working on,but never released on any album.
教授若…かわいいな
Do you know where I can get a copy of this documentary? I'm planning to make a video on YMO at some point in the future
Stevem the DVD is Sukiyaki and Chips, Shanachie 1213. I'm sure you can find it online. I can rip a copy worst case. Good luck with your documentary!
Thank you! I shall have a look, although since i'm from the UK it might be a bit harder to get my hands on a physical copy
Stevem that particular clip is all there is about YMO. The rest is interesting but irrelevant. If you need a higher resolution clip I can provide it. I suppose you'd also need clearance from the rights holders. Anyway let me know.
Oh is the rest of the video not about YMO? If I could get a higher res version of all the YMO bit that'd be great!
I'll be alright clearance wise, the way I'll use the clips will be covered because of fair use.
Stevem it's an overview of Japanese music in the 80's. Contact me at rlarrett@me.com.
can anyone tell what the tracks in the background are? or, the two before they showed rydeen. thx
I really want to know too!
@@miro007ist Firecracker from the their first album. You can also use Shazam to search it.
Does anyone have a link to the full documentary? Ive been looking online for this everywhere but still haven't managed to find it :(
Good luck on your search
It's called the Tube.
COOLNESS !
thank you
なぜ日本の音楽界が こういう革命的歴史を編纂しないのか
散開後しばらく、YMOなんて無かった扱いの風潮に感じたが
そのくせテクノロジーやノウハウはちゃっかり頂戴してた当時の音楽業界、オレの偏見？
あなたの言う通りだ！
@@user-tx9tt1bd8k ☹️
@JKRetro Good question! To which I don't know the answer. I assumed it was some kind of off-hand noodling captured in the studio, but do not recognize it as any particular tune.
Takahashi's gone
😥 A huge loss. So sad.
I never got why people call asians yellow ... Are they colourblind?
Does anyone know the name of the song in the beginning ?
Rydeen
Astral by maruchan
@zmix Wow, good catch! Thanks.
류이치...레알로다가 잘생겼잖아..?
Awesome footage! Do you know if this is TV show or Documentary? I would like to find and watch whole thing.
日本語の字幕さえあれば
where can i find Sukiyaki and Chips documentary ?
It's available on Amazon now - I just checked.
And the song they were recording could have either been them just coming up with ideas or a later discarded song.
today, anyone with a mac computer running garageband can do this
@KidSX Somehow I never replied to you! Oops. Anyway: You're welcome. I was a fan back then too. And they're still great! Have you seen the video clip of them doing "Thousand Knives" on the "Schola" TV show? Awesome.
These guys hung out with Kraftwerk. How cool is that?!
Kraftwerk hung out with these guys. How cool is that?! ;)
They're way better thank kraftwerk
@MisterNormanDog Damn,,,,same here...
What's the synth at the start?
0:33 Prophet 5
1:39 lol is it beginning of Synthesia?
you say sakamoto, I say sakamato :D
うわ～。ダイヤル電話。。。
Kraftwerk's favourite BAND? =
YMO
Moroder, Lacksman, Jarre, YMO... descienden y se forjan directamente de la misma Música Electrónica y sus 4 líneas clásicas (E. Post Concreta, E. Moog, E. Experimental y E. Soundtrack), ellos no seguían el Krautrock Düsseldorf & Progressive Rock Alemán de los muchachos de Conny Plank (Kraftwerk).
@@joezava8257 Kraftwerk are still important as they are massively influential and widely cited by future electronic musicians (Kraftwerk were important for the formations of Chicago House, Detroit Techno as musicians like Jeff Mills and Derrick May cite them as an influence)
@@owenevans4532 El Chicago House se forja directamente del EDM en específico de 3 géneros electrónicos de primera línea de esta escena electrónica el Italo Disco, el Electro Funk y el Freestyle en el uso de la TR-808 y nace entre 1984-1985 con Jesse Saunders (House desligadose de las mezclas de Disco Clasico de inicios de 1980 Warehouse / F. Knuckles), el Techno se origina pasado 1985 en Europa para ser específico 1988-1989 en la oleada de productores y DJ's de Frankfurt y Berlín (que tomaron géneros electrónicos del EDM 80's como el Acid, New Beat, Electro, lo más minimalista del Synthpop y HI-NRG y el llamado "ebm" forjado del mismo EDM).
Los 3 de Belleville y la masa de DJ's de Detroit hacian ELECTRO! no Techno y solo utilizaron la etiqueta Techno de los mismos nombres utilizados por YMO en sus producciones Electro como en el álbum Techno/delic o Techno/polis.
Las bases del Electro que utilizaron en Detroit es originada por YMO y de hecho es Ryuichi Sakamoto (Riot In Lagos / 1980) el padre, pionero u fundador de este tercer género electrónico del EDM primario el cual toma y replica Kraftwerk en el álbum Computer World de 1981.
Nada de la Electrónica Moderna y la ramificación del EDM parten del Progressive Rock Alemán & Krautrock Düsseldorf de los muchachos de Conny Plank (Kraftwerk) 😂.
Los hechos y data empírica dentro de la historia, evolución y desarrollo de la Música Electrónica están por encima de las interpretaciones personales de los 3 de Belleville, 3 muchachos que hacían Electro en Detroit 😃.