YMO Kyoretsu Na Rhythm Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

YMO Kyoretsu Na Rhythm Mp3, Flac, Wma YMO Kyoretsu Na Rhythm mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Kyoretsu Na Rhythm Country: US Released: 1991 Style: Synth-pop MP3 version RAR size: 1219 mb FLAC version RAR size: 1516 mb WMA version RAR size: 1211 mb Rating: 4.8 Votes: 912 Other Formats: XM AIFF FLAC DTS APE AU AHX Tracklist Hide Credits Lotus Love 01 Engineer – Mitsuo KoikeEngineer [Assistant] – Akituu Doi, Takanobu AraiGuitar – Bill 4:06 NelsonMixed By, Producer – YMO*Written-By – Hosono* Chaos Panic 02 4:13 Written-By – Hosono* Key 03 Engineer, Mixed By – Mitsuo KoikeMixed By, Producer – YMO*Written-By – Barakan*, 4:36 Takahashi*Written-By, Producer – Hosono* Cue Engineer – Yoshifumi Lio*Engineer, Mixed By – Mitsuo KoikeMixed By – YMO*Producer – 04 4:35 Haruomi HosonoProgrammed By [Computer Programming] – Hideki MatsustakeWritten- By – Hosono*, Barakan*, Takahashi* Computer Games 05 Arranged By – YMO*Engineer – Atsushi Saita, Norio YoshizawaMixed By – Al 6:41 Schmidt*Producer – Harry Hosono*Written-By – YMO* Pure Jam 06 4:34 Written-By – Barakan*, Takahashi* Nice Age Electric Guitar – Keng OhmuraEngineer – Mitsuo KoikeEngineer, Remix – Norio 07 6:00 YoshizawaProgrammed By [Computer Programming] – Hideki MatutakaRemix – YMO*Vocals [Spoken Vocal] – SandiiWritten-By – Mosdell*, Sakamoto*, Takahashi* Tighten Up Electric Guitar – Keng OhmuraEngineer – Mitsuo KoikeEngineer, Remix – Norio 08 5:44 YoshizawaProgrammed By [Computer Programming] – Hideki MatutakaRemix – YMO*Vocals [Spoken Vocal] – SandiiWritten-By – Bell*, Buttier* Rydeen Electric Guitar – Keng OhmuraEngineer – Mitsuo KoikeEngineer, Remix – Norio 09 4:29 YoshizawaProgrammed By [Computer Programming] – Hideki MatutakaRemix – YMO*Vocals [Spoken Vocal] – SandiiWritten-By – Takahashi* Megamix - YMO In The 90's 10 13:13 Producer, Remix – Pete Lorimer* Companies, etc. Phonographic Copyright (p) – Alfa Records, Inc Copyright (c) – Restless Records Mastered At – Nimbus Credits Art Direction – Art Shoji Artwork [Calligraphy] – Mari* Bass, Electronics, Keyboards, Arranged By [Arrangements] – Haruomi Hosono Compiled By – John Guarnieri Drums, Percussion, Electronics, Vocals – Yukihiro Takahashi Keyboards, Electronics, Percussion, Orchestrated By [Orchestration] – Ryuichi Sakamoto Mastered By – Nimbus Photography By – David Perry Notes ℗ 1979, 1981, 1983, 1988, 1990 Alfa Records Inc. © 1991 Restless Records Printed in Canada This album is dedicated to the memory of Akira Ikuta. Barcode and Other Identifiers Barcode (Text): 0 18777-2574-2 8 Matrix / Runout: 72574-2 (V) Matrix / Runout: MASTERED BY NIMBUS Rights Society: JASRAC Other versions Category Artist Title (Format) Label Category Country Year Yellow Magic Kyoretsu Na Rhythm (Cass, Restless 7 72574-4 7 72574-4 US 1991 Orchestra Comp) Records Kyoretsu Na Rhythm - Yellow Magic Restless UK & LS 9189 2 Characters - The Best Of LS 9189 2 1992 Orchestra Records Europe YMO (CD, Comp) Kyoretsu Na Rhythm (CD, ALCA-331 Y.M.O.* Alfa ALCA-331 Japan 1992 Comp) Related Music albums to Kyoretsu Na Rhythm by YMO Yellow Magic Orchestra - X∞Multiplies Hosono Haruomi - Mental Sports Mixes (DJ Copy Select) Haruomi Hosono With Friends Of Earth - S-F-X Haruomi Hosono - The Tale Of Genji Yukihiro Takahashi - Neuromantic Various - Strange Flowers Vol. 1 Haruomi Hosono, Shigeru Suzuki & Tatsuro Yamashita - Pacific Harry Hosono And The Yellow Magic Band - Paraiso Yellow Magic Orchestra - Yellow Magic Orchestra USA & Yellow Magic Orchestra Yellow Magic Orchestra - Yellow Magic Orchestra.
Recommended publications
  • The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap
    Open Cultural Studies 2018; 2: 122–135 Research Article Adam de Paor-Evans* The Futurism of Hip Hop: Space, Electro and Science Fiction in Rap https://doi.org/10.1515/culture-2018-0012 Received January 27, 2018; accepted June 2, 2018 Abstract: In the early 1980s, an important facet of hip hop culture developed a style of music known as electro-rap, much of which carries narratives linked to science fiction, fantasy and references to arcade games and comic books. The aim of this article is to build a critical inquiry into the cultural and socio- political presence of these ideas as drivers for the productions of electro-rap, and subsequently through artists from Newcleus to Strange U seeks to interrogate the value of science fiction from the 1980s to the 2000s, evaluating the validity of science fiction’s place in the future of hip hop. Theoretically underpinned by the emerging theories associated with Afrofuturism and Paul Virilio’s dromosphere and picnolepsy concepts, the article reconsiders time and spatial context as a palimpsest whereby the saturation of digitalisation becomes both accelerator and obstacle and proposes a thirdspace-dromology. In conclusion, the article repositions contemporary hip hop and unearths the realities of science fiction and closes by offering specific directions for both the future within and the future of hip hop culture and its potential impact on future society. Keywords: dromosphere, dromology, Afrofuturism, electro-rap, thirdspace, fantasy, Newcleus, Strange U Introduction During the mid-1970s, the language of New York City’s pioneering hip hop practitioners brought them fame amongst their peers, yet the methods of its musical production brought heavy criticism from established musicians.
    [Show full text]
  • Haruomi Hosono, Shigeru Suzuki, Tatsuro Yamashita
    Haruomi Hosono Pacific mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Jazz Album: Pacific Country: Japan Released: 2013 Style: Fusion, Electro MP3 version RAR size: 1618 mb FLAC version RAR size: 1203 mb WMA version RAR size: 1396 mb Rating: 4.1 Votes: 218 Other Formats: AA ASF VQF APE AIFF WMA ADX Tracklist Hide Credits 最後の楽園 1 Bass, Keyboards – Haruomi HosonoDrums – Yukihiro TakahashiKeyboards – Ryuichi 4:03 SakamotoWritten-By – Haruomi Hosono コーラル・リーフ 2 3:45 Piano – Ryuichi SakamotoWritten-By – Shigeru Suzuki ノスタルジア・オブ・アイランド~パート1:バード・ウィンド/パート2:ウォーキング・オン・ザ・ビーチ 3 9:37 Keyboards – Ryuichi SakamotoWritten-By – Tatsuro Yamashita スラック・キー・ルンバ 4 Bass, Guitar, Percussion – Haruomi HosonoDrums – Yukihiro TakahashiKeyboards – Ryuichi 3:02 SakamotoWritten-By – Haruomi Hosono パッション・フラワー 5 3:35 Piano – Ryuichi SakamotoWritten-By – Shigeru Suzuki ノアノア 6 4:10 Piano – Ryuichi SakamotoWritten-By – Shigeru Suzuki キスカ 7 5:26 Written-By – Tatsuro Yamashita Cosmic Surfin' 8 Drums – Yukihiro TakahashiKeyboards – Haruomi Hosono, Ryuichi SakamotoWritten-By – 5:07 Haruomi Hosono Companies, etc. Record Company – Sony Music Direct (Japan) Inc. Credits Remastered By – Tetsuya Naitoh* Notes 2013 reissue. Album originally released in 1978. Track 8 is a rare early version of the Yellow Magic Orchestra track. Translated track titles: 01: The Last Paradise 02: Coral Reef 03: Nostalgia of Island (Part 1: Wind Bird, Part 2: Walking on the Beach 04: Slack Key Rumba 05: Passion Flower 06: Noanoa 07: Kiska Barcode and Other Identifiers Barcode: 4582290393407
    [Show full text]
  • Untitled Spreadsheet
    Founded in 2002, Light In The Attic is a leading archival reissue label, distribution company, and creative house with offices in Seattle and Los Angeles. They earned their reputation as the quintessential champion of the underdog through their grassroots success with Rodriguez and the soundtrack to the Academy Award®-winning documentary SEARCHING FOR SUGAR MAN (2012). Since then, LITA has gone on to garner nominations for multiple GRAMMY Awards, including one for Best Historical Album for Native North America (Vol. 1) (2015). Their exuberance and dedication to spreading joy through music has propelled them through the release of 200+ titles worldwide, setting the pace for reissue labels and the archival process. From D’Angelo to Donnie & Joe Emerson, Jim Sullivan to Serge Gainsbourg, Betty Davis to Karen Dalton, Lewis to Lifetones, the list goes on and on. In addition to the label’s acclaimed output, the company operates a thriving and rapidly growing distribution business and is home to nearly 150 like-minded labels including heavyweights MONDO / Death Waltz, iam8bit, Tidal Waves, and more. True to their record-loving roots, Light In The Attic also maintains a thriving physical brick and mortar record store inside the KEXP Gathering Space in Seattle. PRE-ORDER before 30th April 2020 Underlined texts been hyperlinked to it's webpage ETA are on May 2020 unless is stated otherwise For more new arrivals, pre-orders and merch, do visit www.tandangstore.com BENNY SOEBARDJA W I C The Lizard Years 2xCD STRAWBERRY RAIN RECORDS K E psych rock
    [Show full text]
  • Kevin Milburn Futurism and Musical Meaning in Synthesized
    Kevin Milburn Futurism and Musical Meaning in Synthesized Landscapes Abstract The purpose of this paper is to explore how musicians engaged with a particular form of technology, the synthesizer, to create imaginative geographies of the near future. It examines the output of numerous ‘synth-pop’ acts involved in the production of this commercially successful, urban-focussed music, focussing on the period between 1977 and 1984. Attention is given to how this music both embedded and self-consciously reflected notions of futurism, a theme that, until that time, had largely been neglected in popular music. The role of earlier futuristic visionaries, such as Fritz Lang, JG Ballard and Stanley Kubrick, in shaping musicians depictions of futurism is highlighted. Throughout, the music is interpreted by situating it within the specific cultural, economic and sociotechnical realms in which it was produced. Whilst the emphasis is on debates concerning futurism that were played out within a British musical context reference is also made to related significant developments that occurred outside the UK. This paper assesses the way that notions of futurism were enrolled into electronic music in certain times and places. Naturally, in many respects, all contemporary popular music is now ‘electronic’; if not in its instrumentation then almost certainly in terms of its recording, distribution and consumption. However, my analysis of ‘electronic music’ refers to music in which electrically powered keyboard instruments, and specifically synthesizers, are to the fore of the mix, and where many of the sounds produced are clearly synthetically generated. In particular, the focus is on a form of electronic music, given the genre-label ‘synth-pop’ for marketing purposes, that was produced by artists sometimes referred to as ‘futurists’.
    [Show full text]
  • Leksykon Polskiej I Światowej Muzyki Elektronicznej
    Piotr Mulawka Leksykon polskiej i światowej muzyki elektronicznej „Zrealizowano w ramach programu stypendialnego Ministra Kultury i Dziedzictwa Narodowego-Kultura w sieci” Wydawca: Piotr Mulawka [email protected] © 2020 Wszelkie prawa zastrzeżone ISBN 978-83-943331-4-0 2 Przedmowa Muzyka elektroniczna narodziła się w latach 50-tych XX wieku, a do jej powstania przyczyniły się zdobycze techniki z końca XIX wieku m.in. telefon- pierwsze urządzenie służące do przesyłania dźwięków na odległość (Aleksander Graham Bell), fonograf- pierwsze urządzenie zapisujące dźwięk (Thomas Alv Edison 1877), gramofon (Emile Berliner 1887). Jak podają źródła, w 1948 roku francuski badacz, kompozytor, akustyk Pierre Schaeffer (1910-1995) nagrał za pomocą mikrofonu dźwięki naturalne m.in. (śpiew ptaków, hałas uliczny, rozmowy) i próbował je przekształcać. Tak powstała muzyka nazwana konkretną (fr. musigue concrete). W tym samym roku wyemitował w radiu „Koncert szumów”. Jego najważniejszą kompozycją okazał się utwór pt. „Symphonie pour un homme seul” z 1950 roku. W kolejnych latach muzykę konkretną łączono z muzyką tradycyjną. Oto pionierzy tego eksperymentu: John Cage i Yannis Xenakis. Muzyka konkretna pojawiła się w kompozycji Rogera Watersa. Utwór ten trafił na ścieżkę dźwiękową do filmu „The Body” (1970). Grupa Beaver and Krause wprowadziła muzykę konkretną do utworu „Walking Green Algae Blues” z albumu „In A Wild Sanctuary” (1970), a zespół Pink Floyd w „Animals” (1977). Pierwsze próby tworzenia muzyki elektronicznej miały miejsce w Darmstadt (w Niemczech) na Międzynarodowych Kursach Nowej Muzyki w 1950 roku. W 1951 roku powstało pierwsze studio muzyki elektronicznej przy Rozgłośni Radia Zachodnioniemieckiego w Kolonii (NWDR- Nordwestdeutscher Rundfunk). Tu tworzyli: H. Eimert (Glockenspiel 1953), K. Stockhausen (Elektronische Studie I, II-1951-1954), H.
    [Show full text]
  • Ryuichi Sakamoto
    Ryuichi Sakamoto Born in 1952, Sakamoto released his debut solo album Thousand Knives in 1978. In the same year, he formed the pioneering electronic band Yellow Magic Orchestra (YMO) with Haruomi Hosono and Yukihiro Takahashi. Since YMO disbanded in 1983, he has continued to be active in and beyond the realm of media in the fields of music, movies, publishing, advertising and others. In 1984, he won a British Academy Film Award among other accolades for Merry Christmas, Mr. Lawrence, which he starred in and composed the score for. He later won an Academy Award and a Grammy among other honors for his score to the 1987 film The Last Emperor. He has since changed his career base to the West and earned an international reputation for pursuing innovative sounds. In Japan, Sakamoto advocated the revitalization of the nation’s music industry and established the commons music community in 2006 to provide common ground for music-related activities transcending genres and categories. Since the release of his opera LIFE in 1999, Sakamoto has often made reference to environmental and peace issues in his works. In 2000, he contributed to the efforts of Jubilee 2000 – an international movement calling for the cancellation of debts weighing on the world’s poorest countries by the year 2000 with supporters including Bono from rock band U2 and Bob Geldof. In 2001, he founded artists’ power, an artists’ organization advocating the use of renewable energy. He joined fellow members Takeshi Kobayashi and Kazutoshi Sakurai in founding the NGO ap bank in 2003. In 2006, he opposed the operation of the Rokkasho Reprocessing Plant and launched the website stop-rokkasho.org.
    [Show full text]
  • Yellow Magic Orchestra Computer Game (Theme from the Invaders) Mp3, Flac, Wma
    Yellow Magic Orchestra Computer Game (Theme From The Invaders) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Computer Game (Theme From The Invaders) Country: Australia Released: 1979 Style: Electro, Synth-pop, Disco MP3 version RAR size: 1505 mb FLAC version RAR size: 1625 mb WMA version RAR size: 1202 mb Rating: 4.8 Votes: 701 Other Formats: DMF AC3 APE VOC WAV TTA ASF Tracklist Hide Credits Computer Game (Theme From The Invaders) (Edited Version) A1 0:22 Arranged By – Yellow Magic Orchestra Firecracker A2 3:13 Written-By – M. Denny* Technopolis B 4:13 Written-By – R. Sakamoto* Companies, etc. Phonographic Copyright (p) – A&M Records, Inc. Manufactured By – Festival Records Pty. Ltd. Credits Producer – Harry Hosono* Notes This is the regular black vinyl release, without picture sleeve. A side label states "From the Horizon Album "Yellow Magic Orchestra" L37005". Barcode and Other Identifiers Matrix / Runout (A Side): MX-55887(AMS 7502) Matrix / Runout (B Side): MX-55888(AMS 7502) Other versions Category Artist Title (Format) Label Category Country Year "Theme From The Invaders" Yellow Magic A&M AMS 7502 / Firecracker / Technopolis AMS 7502 UK 1980 Orchestra Records (7", Single) Computer Game (Theme Yellow Magic A&M AMS 7502 From The Invaders) (7", AMS 7502 UK 1979 Orchestra Records Single) Yellow Magic Juego De Computadora (7", A&M 11367 11367 Chile 1979 Orchestra Single) Records Computer Game (Theme Yellow Magic A&M New K7811 From The Invaders) (7", K7811 1979 Orchestra Records Zealand Single) Computer Game (Theme Yellow Magic A&M AMS 7502 From The Invaders) (7", AMS 7502 India 1979 Orchestra Records Single) Related Music albums to Computer Game (Theme From The Invaders) by Yellow Magic Orchestra 1.
    [Show full text]
  • ! Nternmtiofvml
    ! NTERNMTIOfvML Mi-Sex, LRB Cop Top Prizes INTERN/4TION/4L D/4TELINE Australia Rotelli will be replaced in his post by liali! MELBOURNE — Festival Records has Roberto Citterio. previously deputy Australian released a limited number of Supertramp's general manager of the M Rock Awards same music ‘ "Breakfast In America” pressed in platinum publishing group. by Allan Webster tist, was named as Most Popular Female. colored vinyl to commemorate the album's Adriano Celentano’s latest album, "Un Other awards went to Terry Britten (Best MELBOURNE — Mi-Sex and The Little one year stay on the Australian charts. Po' Artista Un Po' No,” on Clan label Australian Recorded Songwriter) for his River Band walked away with top honors in Little River Band leaves Australia in May (distributed by CGD), appeared on the work on Christie Allen's debut album; The the inaugural TV Week Rock Music for a world tour that includes a week in market at the end of March. The music for Angels, who received a special award from 13. Awards, held here on April Both groups Japan, three weeks in Europe and five all the songs was written by Toto Cutugno. the producers of Countdown for continued picked up three awards, and Mi-Sex weeks in to the co-operation. enthusiasm and America support band’s winner of the last Sanremo festival. producer Peter Dawkins was honored for recently released “Backstage Pass" album, Ri-Fi Records has signed various agree- professionalism, and to Cold Chisel for for his. work on the group’s debut album a double set recorded live in Australia and ments with foreign independent producers Best Australian Album Cover Design for CBS Records.
    [Show full text]
  • Alva Noto & Ryuichi Sakamoto
    The Revenant, which was nominated for a Golden Globe award. Melbourne Festival Artistic Director Jonathan Holloway said: ‘You can take any era of Sakamoto and it changed anything from pop music to film soundtracks to classical music to chamber music. He is Japan’s master of both classical music and electronica. To bring Sakamoto alongside Alva Noto, back to Melbourne for the Festival is just thrilling.’ ‘There’s a resonant center to Noto and Sakamoto’s work together in which stark timbres and abstract electronics ultimately turn heart-stirring.’- Pitchfork. JAPAN & GERMANY // MUSIC Presented with AsiaTOPA. ALVA NOTO & RYUICHI SAKAMOTO TWO From 70s synth-pop pioneer with Yellow Magic Orchestra to experimental minimalist to lauded film composer, Ryuichi Sakamoto has never been content keeping still. A partial list of his collaborators proves the expanses his music roams: Brian Wilson, Iggy Pop, Youssou N’Dour and David Sylvian are just a few. Sakamoto’s most recent and enduring musical partner has been German glitch maestro Alva Noto. In the early days of this century what began as a swapping of files has Arts Centre Melbourne, Hamer Hall ultimately led to raved-about albums, an exquisite Fri 19 Oct soundtrack to the film The Revenant and a series of 8pm unmissable live events. $39 - $119 On the heels of the 2018 live improvised album Glass, festival.melbourne witness these two distinct minds in communion once more. Arts Centre Melbourne 1300 182 183 #melbfest New York-based Japanese electronic artist Ryuchi Sakamoto first came to attention with his electronic trio, Yellow Magic Orchestra in 1978.
    [Show full text]
  • The No Nukes 2012 Concert and the Role of Musicians in the Anti-Nuclear Movement No Nukes 2012 コンサートと反原発運 動における音楽家の役割
    Volume 10 | Issue 29 | Number 2 | Article ID 3799 | Jul 09, 2012 The Asia-Pacific Journal | Japan Focus The No Nukes 2012 Concert and the Role of Musicians in the Anti-Nuclear Movement No Nukes 2012 コンサートと反原発運 動における音楽家の役割 Noriko Manabe The No Nukes 2012 Concert and the Role of Musicians in the Anti- Nuclear Movement Noriko MANABE On July 7–8, 2012, a two-day mass rock concert called No Nukes 2012 was held in the Makuhari Messe Convention Center in Chiba, near Tokyo. The organizer wasSakamoto Ryuichi, member of the groundbreaking Japanese technopop group Yellow Magic The Entrance to the Concert Orchestra (YMO) and Academy Award-winning composer. Profits from the concert were donated to Sayonara Genpatsu 1000 Man Nin The concert took place the day after a massive Akushon (Citizens’ Committee for the 10 protest in front of the Prime Minister's official Million People’s Petition to say Goodbye to residence (Kantei)—the latest and biggest in Nuclear Power Plants), an antinuclear group what has become a regular Friday-night which Sakamoto has been backing, along with protest, which, organizers estimated, attracted Nobel Prize-winning author Oe Kenzaburo and 150,000 people that evening. Sakamoto himself others. The concert featured performances by had participated in this protest, saying before 18 groups, including pioneering electronic the camera, "I come here as a shimin (citizen); groups Kraftwerk and YMO as well as rock it's important that we all do what we can and bands Asian Kung-Fu Generation, Acidman, and raise our voices." others. Sakamoto's concert is a significant moment for the Japanese antinuclear movement.
    [Show full text]
  • Authentically Inauthentic: Queering Cultural Identity
    Access this presentation online! www.williamsoutherland.com Authentically Inauthentic Queering Cultural Identity Through the Soundtrack to Merry Christmas, Mr. Lawrence William Southerland Music and the Moving Image 2019 Wednesday, May 29, 2019 Introduction •Director – Nagisa Oshima •Score by Ryuichi Sakamoto David Bowie as “Maj. Celliers” Ryuichi Sakamoto as “Capt. Yonoi” Images from: Nagisa Oshima, Merry Christmas, Mr. Lawrence, Blu-ray special edition (Criterion Collection, 2014). Historical context • Sakamoto grew up in Shinjuku • Center of counter-cultural revolution • Inspired by New Wave • Member of “Yellow Magic Orchestra” • Composition of the score • Sakamoto given complete control • Three months to complete Ryuichi Sakamoto (2018) the project Image source: https://www.discogs.com/artist/5087-Ryuichi-Sakamoto Theoretical framework • Queer theory highlights artificiality of cultural construction • Chen: “an array of subjectivities…outside of the heteronormative.” • Taylor: queerness as post-structuralist critique of identity coherence • Doty: Queer readings of texts are real readings, not “alternate” readings Japanese masculinity post-WWII • Defeat by Allied forces, 1945 • Yukio Mishima and radicalism • Representations of Asian men in Western media • Nguyen: “Oriental Passivity” • “Failed masculinity” Failed Western masculinity • Iconic Bowie cast under Japanese directorial “gaze” • Derfoufi: “creative and artistic subjectivities” • Contaminated the Western hegemonic subject • Unidentifiable • A “failed” colonizer Compositional intentionality • Score as a “dichotomy” • Western Christmas bells, set in Asian contexts • Neither Japanese nor Western • Purposefully exoticized Queer codes • Minimalism: avoids semiotic constraint of traditional harmonic form • Melodrama: overly stylized, unobtainable • Camp: excess of emotion, mimicry, and overblown identity Kenjiki • “Forbidden Colors” • Reference to Yukio Mishima • Use of synth “gamelan” to invoke “Asian-ness” • Kenjiki – homosexual novel by Mishima Figure 1: Primary theme from Merry Christmas, Mr.
    [Show full text]
  • YMO BGM Mp3, Flac, Wma
    YMO BGM mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: BGM Country: Europe Released: 2016 Style: Synth-pop MP3 version RAR size: 1700 mb FLAC version RAR size: 1450 mb WMA version RAR size: 1263 mb Rating: 4.3 Votes: 469 Other Formats: MP3 AAC WAV TTA AU XM MPC Tracklist Hide Credits Ballet = バレィ A1 4:30 Written-By – Yukihiro Takahashi Music Plans = 音楽の計画 A2 4:30 Written-By – Riuichi Sakamoto* Rap Phenomena = ラップ現象 A3 4:30 Written-By – Haruomi Hosono Happy End = ハッピーエンド A4 4:30 Written-By – Riuichi Sakamoto* 1000 Knives = 千のナイフ A5 5:20 Written-By – Riuichi Sakamoto* Cue = キュー B1 4:30 Written-By – H. Hosono*, Y. Takahashi* U・T = ユーティー B2 4:30 Written-By – Y M O* Camouflage = カムフラージュ B3 4:30 Written-By – Yukihiro Takahashi Mass = マス B4 4:30 Written-By – Haruomi Hosono Loom = 来たるべきもの B5 5:20 Written-By – Hideki Matsutake, Y M O* Companies, etc. Manufactured By – Music On Vinyl B.V. Distributed By – Music On Vinyl B.V. Published By – Yano Music Publishing Co., Ltd. Published By – 1980 Music Inc. Recorded At – Studio A, Shibaura, Tokyo Mastered At – JVC Cutting Center, Aoyama Phonographic Copyright (p) – Sony Music Entertainment Copyright (c) – Sony Music Entertainment Credits A&R – Kazusuke Obi Art Direction – Yukimasa Okumura Artwork [Creative Service] – Plan-Net Werk*, Toshinao Tsukui Design – The Studio Engineer – Mitsuo Koike Engineer [With] – Yoshifumi Iio Executive-Producer – Shoro Kawazoe Lyrics By [Additional] – Peter Barakan Management [Yoroshita Music Inc.] – Hiroshi Okura, Yoichi Itoh* Mastered By – Hiroshi Yuasa Mixed By – Y M O* Mixed By [With] – Mitsuo Koike Photography By – Kenji Miura Producer – Haruomi Hosono Programmed By [Computer] – Hideki Matsutake Technician [Equipments Coordination] – Don Nagata, Takeshi Fujii , Tomoki Miyadera Written-By, Performer, Arranged By – Y M O* Notes Standard black vinyl edition.
    [Show full text]