rock band , who agreed to do so on the strength of the album's first track. Described by Hirasawa as "an honest man who acted with a life-sized air of cleanliness", Sakuma was swiftly trusted by the band, who were cautious with making their debut. Producing for the first time outside of his band, Sakuma went on to become a renowned session producer. The instrumentation is a mix of standard punk with electronic devices for mechanical tones: A Roland CR-68 drum machine does simultaneous beats alongside a standard drum kit; the Maxi-Korg 800DV synthesizer was used for a unique blipping noise, dubbed by the music press as a "musical stapler". P-Model came to argue with Warner-Pioneer, Sakuma and engineer Makoto Furukawa daily over their instruments: The band picked them because they felt a rough sound was crucial to their theme, the production thought it all sounded bad. Ultimately, P-Model compromised on most aspects of the recording. Hirasawa re-recorded the album (with the exception of "Sophisticated") in 1999 as Virtual Live-1 [P-Model Live at Roppongi S-Ken Studio 1979]. Legacy In 2007 Rolling Stone Japan ranked it at number 52 in its list of the 100 Greatest Japanese Rock Albums of All Time and Snoozer ranked it at number 125 in its list of the 150 Greatest Albums of Japanese Rock 'n' Roll. Polysics covered "The Great Brain" for the 2007 album Karate House and have performed "Art Mania" live. A cover of "Art Mania" using Kagamine Rin is included on the Hatsune Miku sings NEW WAVE cover album. Track listing The figure of "Art Mania" is a modification of a phrase from the 1952 Poly e Seus Modernistas song "Turista" (written by ), based on a 1963 cover by The Atlantics. "The Great Brain" is a reworking of a section of the 1973 Mandrake song (officially unreleased at the time, credited to Fumiyasu Abe when released on 1997's Unreleased Materials vol. 1). "White Cigarettes" contains an interpolation of the Arabian riff (believed to originate from a 17th century traditional Algerian song, published as part of various other compositions by various other musicians over time). Two other songs were considered for the album: The Hirasawa-penned and the Tanaka piece . The former, at times part of Mandrake setlists, was considered too heavy and "not the sound you want out of a pink album"; it was later recorded, with new parts by Tanaka,