In the late 1990s, he composed a symphonic fantasy for orchestra and synthesizer titled The Tale of Genji, inspired by the eponymous old Japanese story. It was performed by symphony orchestras in Tokyo, Los Angeles, and London. A live concert CD version was released in 1999 followed by a studio version in 2000. Originally released in 2000, expanded version with Japanese traditional instruments, synthesizers and the Tokyo Symphony Orchestra, and Yoshiko Sakata's narration of the famous old Japanese tale, translated into modern Kyoto dialect. SACD 5.0ch Surround, SACD Stereo.

Following the triumph of Rust Never Sleeps, Hawks & Doves benefited from the enormous critical goodwill Neil Young had amassed, though fans and critics nevertheless were baffled by its set of obscure acoustic and country-tinged songs.

All the kudos Neil Young earned for Rust Never Sleeps he lost for Live Rust, the double-LP live album released four months later.

Rust Never Sleeps, its aphoristic title drawn from an intended advertising slogan, was an album of new songs, some of them recorded on Neil Young's 1978 concert tour.

Six and a half years later, Comes a Time finally was the Neil Young album for the millions of fans who had loved Harvest, an acoustic-based record with country overtones and romantic, autobiographical lyrics, and many of those fans returned to the fold, enough to make Comes a Time Young's first Top Ten album since Harvest.

Neil Young’s association with Crazy Horse could have ended after the death of Danny Whitten in 1972, but just three years later, Young recruited guitarist Frank “Poncho” Sampedro into the band and cut Zuma.

One of the more satisfying classical/synthesizer debuts, Snowflakes Are Dancing works on its own terms as a piece of music. As well, the album succeeds as an interpretation of several Debussy compositions (including “Clair de Lune” and “Arabesque No. 1″). Debussy’s atmospheric compositions are naturals to receive the Tomita treatment and despite a few moments of interstellar cheesiness worthy of Star Hustler, Tomita’s debut is an intriguing proto-synthesizer-pop record.
The sonics of the SACD are unquestionably outstanding. Well worth re-purchasing these versions.

The creative music woven out of the synthesizer by the composer Isao Tomita for the past five years has been a wonder of a glorious new development in music. In Japan his name has almost become synonomous with synthesizer music, and he has also become a hero to those young people who wish to listen to a sound coming from over the horizon. Even more vigorous attention has been given to Tomita's synthesizer music in America, and every album he has released through RCA Records has reached a top-ranking position on the charts.

This is just a beautiful recording. The perspective is close so every detail is clearly captured, but there is plenty of ambiance. The music is great,too. Scarlatti may not be as melodically inventive as Handel or Corelli, but this is no amateur music! He makes frequent use of counterpoint, usually imitative, and varies the movement order and number of movements considerably, which adds some needed variety when listening to all six concerti in one sitting. The performers play with great gusto and precision. Highly recommended.