One record at a time: 476. Yello - One Second

Latin influences have been woven into Yello’s music from the outset, but they truly reach their zenith on the band’s fifth album, “One Second” (1987). The opening track, “La Habanera”, is a remarkable piece in which Boris’s masterful Fairlight samples are paired with Beat Ash’s superb percussion whilst Dieter narrates the story of former secret police informant Pedro Comacho, who faces an uncertain future on the eve of the Cuban revolution. For me, this track is nothing short of a masterpiece, possessing such depth that each listen reveals something new or unexpected.

“Moon On Ice” marks the debut of Billy Mackenzie’s extraordinary vocals, which glide through the song with a purity that is simply unparalleled. The single “Call It Love” features some outstanding sequences and stands among the band’s finest works—though I must admit, the rather limp kick drum is a minor irritation. As for “Le Secret Farida”, I have absolutely no idea what guest vocalist Farida is conveying, and I would have much preferred this track as an instrumental. Side one closes with “Hawaiian Chance”, which begins unpromisingly but soon veers off into all manner of inventive directions.

It may be somewhat heretical to admit this among Yello fans, but I’m not especially fond of “The Rhythm Divine”. While the song is well-crafted and the production flawless, Shirley Bassey’s vocal is, for my taste, a touch too ‘showbiz’. At times, it feels as though she sustains notes in vibrato simply because she can, rather than because it best serves the song. Bassey delivers her vocal as if she’s filling the Albert Hall rather than singing intimately into a microphone, and her performance can become a little overwhelming towards the end. The song was co-written with Billy Mackenzie, and there exists a version featuring his vocal, which some may argue is superior.

“Santiago” is another of those percussion-drenched instrumentals at which Boris Blank excels, and its abundance of ideas ensures it cannot be dismissed as mere album filler. Although uncredited, Billy Mackenzie adds a wonderful vocal to the single “Goldrush”. This track is widely celebrated and revered as iconic, though I confess I struggle to share that enthusiasm.

The first time I encountered “Dr Van Steiner” was on the remix album “Hands On Yello”, where Cosmic Baby’s version truly impressed me. Upon hearing the original, I found it somewhat underwhelming without Dieter’s atmospheric vocal alongside Rush Winters, but it remains a highlight of the album nonetheless. The closing track, “Si Senor The Hairy Grill”, is a guitar-heavy rocker that doesn’t quite suit my tastes and leaves the album on a slightly sour note. However, redemption follows if you let the record play on as an unlisted track, “L’Hotel”, emerges—a much-needed ambient outro. 3.5/5.

One record at a time: 475. Yello - 1980-1985 The New Mix In One Go

In the distant past I would spend an inordinate amount of time browsing the racks of compact discs in record shops. One album that always caught my attention was "1980-1985 The New Mix In One Go" by Yello. The album intrigued me because I could never quite work out what it was supposed to be. The title suggested it might be a 'mega mix' or perhaps a remix album, but the track listing hinted at a straightforward 'best of' compilation. It left me confused. When I finally purchased the CD in the late nineties, I discovered that the album is almost all of these things and a bit more.

By 1985, Yello had achieved a measure of commercial success and, with a solid back catalogue, their record company decided it was time to release a compilation. The band appeared to support this idea and took the opportunity to curate a cohesive collection themselves rather than leaving the task to an anonymous A&R representative. 

Like much of my Yello collection, I acquired this double LP from eBay about nine or ten years ago. It remains in good condition and there's a rich, pulsating bass from both discs. Most tracks on the first disc are segued together, while the second disc presents the songs in a more conventional manner with breaks.

The album opens with a refreshed take on “Daily Disco” from “Claro Que Si.” This new mix is smoother and more polished than the original, offering a contemporary sound that highlights Beat Ash’s drumming - which sounds more vibrant and impressive than ever. “Swing”, originally from “You Gotta Say Yes to Another Excess” receives a subtle update, while “Pinball Cha Cha” appears as an edit of the 12-inch mix, trimmed by two minutes for a tighter listening experience.

Other tracks, such as "I Love You", "The Night Is Young", "Desire", and "Bananas To The Beat", were newly mixed using digital equipment. "Vicious Games" appears as another edit of the 12-inch mix, and "Lost Again" is a funkier version derived from the Extended Dance Version. Of these, I am most impressed by the clarity of "Desire", and "Bananas To The Beat" benefits from a welcome increase in tempo.

Naturally, the compilation includes the hugely popular singles "Oh Yeah" and "Bostich (N'Est-Ce Pas)", both of which sound excellent on this vinyl. "Base For Alec" is a clever track built from electric guitar samples and a TR-808 beat which was initially overlooked as a B-side but is rightly featured here. "Tub Dub", recorded during sessions for their second studio album in 1981, makes its debut on this compilation. I am also pleased to find my favourite Yello track, "Sometimes (Dr Hirsch)", included, and I believe this compilation is where I first discovered it.

There is also an edit of the music Yello performed live at the Roxy nightclub in New York on New Year's Eve 1983. While this track may not be remembered as the band's greatest achievement, the electro beats and Fairlight "ARR1" samples possess a certain charm.

In summary "The New Mix in One Go" takes the best of the band's output from the first four years of their career and gives it a sonic polish. It features all the highlights, some curiosities, and several well-crafted updates. 3.5/5.

One record at a time: 474. Yello - Stella

"Stella" is the fourth album by Yello and was released in 1985. My copy of the LP is an original vanilla European pressing that is in very good condition and, as with most records of the period, it offers great sound reproduction. I bought my record nine years ago for less than ten pounds, but I can't help but notice that sellers on eBay are asking increasingly high prices for both this and other albums in the Yello back catalogue. My advice would be to sit and wait for more reasonably priced auctions or use Discogs where sellers don't seem to have lost their minds.

Following the departure of Carlos Perón, Dieter and Boris recoded this album as a duo; but they continued to rely on long term collaborators Chico Hablas on guitar and drummer Beat Ash to fill in the gaps. Also credited on this record are pianist Annie Hogan who is renowned for her contribution to Marc Almond's solo work and guest vocalist Rush Winters. There's no doubt this album continues the trend towards a more commercial sound that began with their previous effort "You Gotta Say Yes To Another Excess", but it retains plenty of the idiosyncrasies that make Yello unique. 

The opening number "Desire" is a slow burning, cinematic tale in which the protagonist wanders around New York City in the morning sun. The song spends nearly three minutes building atmosphere, but I feel the effect is somewhat diminished when it ends just as it reaches its climax. Personally, I prefer the extended 12-inch version, which is only available on the original single or the more recent limited edition two-disc version of the album, which I have yet to acquire.

The lead single, “Vicious Games”, is driven by Rush Winters’ vocals. Although I enjoy the song and it is well executed, it lacks the memorable hook needed for radio play or to draw people onto the dance floor. 

Interestingly, the single that made the greatest impact from this album was not originally intended for release. “Oh Yeah” gained prominence after being featured in the films “Ferris Bueller’s Day Off” and “The Secret of My Success”, leading to it being made available as a single on both sides of the Atlantic. However, as the European release came more than two years after the album, I doubt it boosted LP sales significantly, though it certainly raised the band’s profile and generated substantial royalties.

My favourite track on the album—and possibly my favourite Yello song overall—is “Sometimes (Dr. Hirsch)”. From the rolling analogue bassline to Dieter’s impassioned vocal, this track is sonic perfection. I cannot pinpoint exactly why I find it so compelling, but it is no coincidence that this is one of Yello’s most sincere compositions.

Towards the end of the album, “Ciel Ouvert” stands out as a wonderful instrumental, featuring crunchy Fairlight strings and a synth arpeggio reminiscent of Kraftwerk’s “Metropolis”. Rush Winters returns for the closing track, “Angel No”, which is a solid piece, though it feels somewhat out of place compared to the rest of the album. Overall, “Stella” is a fascinating blend of commercial appeal and Yello’s trademark eccentricity. 3.5/5

One record at a time: 473. Yello - You Gotta Yes To Another Excess

Yello's third album was released in 1983 but my copy is a budget pressing from 1988 that seems to have retailed for £2.99 in Our Price stores. I bought this record from eBay in 2016 and I think I paid about £8 for it - which is probably what it is worth now. The vinyl is in very good condition and the sound reproduction is very impressive for a flimsy discount pressing.  

From the outset, this album seems to represent a shift in style for the band and it is no coincidence that Carlos Perón decided to leave soon after it was released. Yello's initial success had been based on eccentric dance tracks, but they seem to have turned down the playfulness here and aimed for something slightly more level headed. 

Yet, as with any Yello record, there is always some form of weirdness lurking around the corner. "Great Mission" is an adventure tale replete with jungle sound effects, a sampled belch and the odd orchestra hit. On the flip side "Swing" features a fabulous crooning vocal from Boris and Dieter delivers his best Lemmy impression on the otherwise half hearted "Smile On You". 

When their more 'serious' ambition emerges, Boris feels emboldened enough to reference "Autobahn" ("Pumping Velvet") and he delivers a stunning instrumental soundscape that you only hear on Yello records ("Salut Mayoumba"). The sound of the Fairlight is much more prominent on "Excess" with the guitar and acoustic drums being pared back when compared to previous outings. Tracks such as "No More Words" are driven by heavy four-on-the-floor kick drums and the title track showers us with percussion designed to move our feet. Even relatively mellow tracks such as "Lost Again" received a suitably dance orientated remix to propel them into nightclubs back in the day. Opening track "I Love You" is probably the best known piece on the album and its vocoder bassline gives it a certain je ne sais quoi.

Whilst this album finds the band in transition from 'wacky experimental' to 'wacky commercial', there's no doubt it is well crafted and it deserves a place in the collection of every electronic music fan. 3.5/5

One record at a time: 472. Yello - Claro Que Si

"Claro Que Si" was released in 1981 and heralds the dawning of the Fairlight era for Yello. Having persuaded Dieter Meier's father to take out a loan so they could buy new studio equipment, Boris Blank fired up his new 'computer musical instrument' and went about creating an album to recoup the cost.

For this record Yello drew on the talents of drummer Beat Ash and guitarist Chico Hablas in collaborations that would endure longer than the band's original line up. Ash's contribution can be heard immediately as the opening track "Daily Disco" is largely driven by his metronomic drumming whilst Boris throws in occasional bass and top lines. Dieter's characteristic vocals are obscured with a vocoder on the second track "No More Roger" but the backing track continues to sound bendy and analogue. I can tell the Fairlight is there, but the sounds are manipulated and bathed in effects that eliminate any of the machine's characteristic grittiness. It also helps that Boris created his own sound library rather than relying on recognisable factory samples.

One of the standout tracks is the single "She's Got A Gun" whose visions from a French black and white movie of the 50s are fascinating. I can't say the same for "Ballet Mechanique" which just leaves me cold and the Arab vocals of "Quad el Habib" (credited to Zine el Abidine) aren't really my cup of tea. "The Lorry" sees Boris sampling Dieter's vocals in a sign of things to come, but the tortuous guitar solo and acoustic drums do let the side down quite a bit. The album signs off with the playful "Pinball Cha Cha" but the album version is different to the more familiar "12'' Mix" that would go on to be released as a single and included on some compilation albums. Whilst this is another patchy effort, it still proves to be entertaining - even if it's not the first Yello album I would reach for. 2.5/5

One record at a time: 471. Yello - Solid Pleasure

During my adolescence I took music very seriously and any artist who showed even a hint of frivolity was dismissed without a second thought. Fortunately, as I matured, I learned to appreciate playfulness in music, which led me to discover Yello in 1992 through their "Essential" compilation. My relationship with the band has had its ups and downs and I still fell like I should enjoy them more than I actually do, but by the time I acquired this record eight years ago, I had definitely become an admirer.

According to Discogs, this Vertigo pressing was made for the German market and dates back to the album’s original release in 1980. At that time, Yello consisted of Dieter Meier, Boris Blank and Carlos Perón. While the band are probably best known for their Fairlight driven pop hits, this album predates such milestones and relies on analogue synths, electric guitar and live drums

The opening track, "Bimbo" must have been quite a revelation for listeners forty-five years ago. Boris’s fluid bassline bubbles along as Meier’s distinctive vocals are manipulated in fascinating ways. On "Night Flanger" the precision of the drumming is exceptional and I found myself musing over which drum machine would have been available to the band in 1980 - before realising that everything was live.

"Downton Samba" introduces Latin rhythms - a theme that would become a recurring motif in Yello’s work - but it is the trio of "Magneto," "Massage" and "Assistant’s Cry" that truly reveal the inner workings of Boris Blank’s computer-like mind. Side one closes with the familiar ode to the stapler, "Bostich," though this album version is brief and lacks the depth of the more well-known "N’Est-Ce Pas" single version.

Side two begins with "Rock Stop" which never quite wins me over; no matter what effects or synths you add to a twelve-bar blues loop, it always sounds the same. "Coast to Polka" is more my style, and "Blue Green" hints at the sonic fireworks Boris Blank would later unleash on albums such as "Stella" and "One Second."

"Eternal Legs" sounds at least a decade ahead of its time, and its coda, "Starztrigger," pulses with the energy of early industrial techno. The final track, "Bananas to the Beat" is one of those irreverent songs I struggled with in my youth. Refusing to take themselves too seriously, Yello invite us to dance and enjoy the ride. Perhaps the best sign of how much I have enjoyed this record is that time seems to fly by; it is over before I know it. 3/5

Sell me it again Sam

Having recently purchased the ‘remastered’ versions of Blancmange’s three albums and with New Order’s ‘collectors’ editions in the post, I have begun to consider why I’m buying music I already own. 

In recent years, I have purchased numerous ‘remastered’ CD’s including the entire back catalogue of Depeche Mode, Eurythmics, Pet Shop Boys and Yello, along with various reissued versions of albums by Front 242, Level 42, Orchestral Manoeuvres in the Dark and Gary Numan. These are the CD’s that immediately come to mind, I am sure if I thought further there would be many more. The amount of money I have spent is quite staggering and yet I already own much of the music I am buying; I am being sold the same thing twice. So why am I a sucker for reissued albums and singles? 

Well firstly, there is the lure of previously unreleased material or remixes that are otherwise difficult to acquire. Secondly, these CD’s boast that they offer considerably enhanced audio quality. We are also enticed by new or improved artwork, which provides a feeling of luxury or elitism. 

Yet the reality is not always the experience we are promised. On purchasing a new ‘remastered’ CD, I often find myself immediately jumping to the bonus tracks. Often it becomes apparent why this ‘unreleased’ material was not made available originally: its crap. I have even come across CD’s where the master tape is obviously missing and thus a recording has been made from a vinyl source. Hardly the high fidelity experience you are enticed with. 

Similarly, 99% of reissued CD’s seem to have been created by people unfamiliar with the artists work or just plain incompetent. Often you will find that tracks have substituted for their ‘single mix’ or an uncredited alternate version with absolutely no explanation. Remixes are often labelled incorrectly, glaring omissions are made or the running order has been altered. Not one of the reissued CD’s I have purchased have been immune from one, or more of these mistakes. So record companies take note: if you want people to buy even more of the music they already own, get someone competent to compile it.