Sakamoto's composition "Technopolis" (1979) was credited as a contribution to the development of techno music, while the internationally successful "Behind the Mask" (1978)-a synthpop song in which he sang vocals through a vocoder-was later covered by a number of international artists, including Michael Jackson and Eric Clapton. He also sang on several songs, such as "Kimi ni Mune Kyun" (1983). Sakamoto was the songwriter and composer for a number of the band's hit songs-including "Yellow Magic (Tong Poo)" (1978), "Technopolis" (1979), "Nice Age" (1980), "Ongaku" (1983) and "You've Got to Help Yourself" (1983)-while playing keyboards for many of their other songs, including international hits such as "Computer Game/Firecracker" (1978) and "Rydeen" (1979). The group's work has had a lasting influence across genres, ranging from hip hop and techno to acid house and general melodic music.
Known for their seminal influence on electronic music, the group helped pioneer electronic genres such as electropop/technopop, synthpop, cyberpunk music, ambient house, and electronica. After working as a session musician with Haruomi Hosono and Yukihiro Takahashi in 1977, the trio formed the internationally successful electronic music band Yellow Magic Orchestra (YMO) in 1978. Four-page insert with new introduction by journalist Anton Spice.In 1975, Sakamoto collaborated with percussionist Tsuchitori Toshiyuki to release Disappointment-Hateruma. Comes with original artwork featuring cover shot by famous photographer Masayoshi Sukita. Newly remastered from the original tapes by renowned engineer Bernie Grundman. Last but not least, a new English-sung track, "The Arrangement," was added, making the album nine tracks instead of ten for the Japanese edition. The sequencing was completely reshuffled and two tracks, "Saru No Ie" and "Living In The Dark" were completely dropped while three others, "Relâché", "Tell 'em To Me", "Venezia" were heavily remodeled with English lyrics and different names. The album was released in Japan in 1981 and Epic Records picked it up for Europe a year later but decided to release it in a significantly altered version. From the funk of "Relâché" to the new wave feel of "Venezia" and the ambient minimalism of "Slat Dance," the album is remarkably consistent while displaying a wealth of global influences. Together, they created a fascinating mix of pop, ambient and electronic music with elements of avant-garde and traditional Japanese music, the whole firmly rooted in a solid groove. They entered the Alfa studio in July 1981 with his fellow YMO musicians Haruomi Hosono and Yukihiro Takahashi, keyboard programmer extraordinaire Hideki Matsutake who'd been on Sakamoto's first two albums and became YMO's unofficial fourth member, violinist Kaoru Sato, saxophonist Satoshi Nakamura, and American guitarist Adrian Belew (David Bowie, The Talking Heads, Tom Tom Club). Sakamoto invited British producer Robin Scott to co-produce. In 1981, Sakamoto decided to record an album rooted in pop, following the more experimental B-2 Unit and his landmark electro debut. in 1978 (WWSCD 024CD/WWSLP 024LP), the very year Sakamoto was invited by Haruomi Hosono to join Yellow Magic Orchestra alongside Yukihiro Takahashi. it came after B-2 Unit in 1980 and his debut album Thousand Knives Of. Hidari Ude No Yume was recorded at the legendary Alfa Studio "A" in Tokyo during the Summer of 1981.
Save for a small-scale Dutch vinyl release in 1981, it is the first time the album's original Japanese edition is released outside of Japan (the European release on Epic Records included significantly different tracks and mixes). Wewantsounds present the reissue of Ryuichi Sakamoto's third solo album Hidari Ude No Yume (Left Handed Dream), originally released in 1981 on the Alfa label.
Ryuichi sakamoto left handed dream full#
Includes the album's full instrumental version.