One record at a time: 479. Yello - Essential

"Essential" was my introduction to the broader world of Yello, and I have vivid memories of playing the compact disc on my rather underwhelming new Sony D-33 Discman during the autumn of 1992. The original CD featured sixteen tracks, but the LP omits "Drive/Driven" and "Call It Love"—a real shame, as these are arguably two of the strongest songs on the album. The sound quality of the disc is nothing remarkable, and my copy is beginning to show its age in places.

The first two tracks, predictably, are "Oh Yeah" and "The Race". If I were following this obvious route, I would have gone a step further and included "Bostich (N'est-Ce Pas)" and "Of Course I'm Lying" at the start, front-loading the record for maximum impact. Instead, we move on to "Rubberbandman" and "Vicious Games", which, while excellent, don’t have the same level of public recognition.

The B-side features the rather lacklustre album version of "Desire" alongside the single "Goldrush". There’s also a new mix of the Shirley Bassey vehicle "The Rhythm Divine" which was released as a single to promote the album. Thankfully, "Jungle Bill" and "Pinball Cha Cha" inject some much-needed energy into the second side, though I do miss hearing "Call It Love".

It’s been a long time since I last listened to this record, and I must admit, it left me feeling a little underwhelmed. While it certainly piqued my interest in the band over thirty years ago, it doesn’t make as compelling a case as it could have. In fact, one could argue it’s not as persuasive as their earlier compilation, "1980-1985 The New Mix in One Go".

As this album was released during the rise of the compact disc, the vinyl edition is relatively uncommon. Its scarcity is further increased by the fact that it has since been superseded as a career retrospective and has not been repressed. I purchased my copy from eBay in 2020 for £22, which, according to popsike.com, was a fair price. Still, my advice would be to save your money as there are far better Yello compilations to come. 3/5

One record at a time: 478. Yello - Baby

I purchased the compact disc of "Baby" on December 28th, 1992, for the princely sum of £13.49—a price that, adjusted for inflation, would be about £30 today. No wonder I kept the receipt tucked inside the case! Back when music was an expensive commodity, you were forced to keep listening to your purchase and not simply discard it. Repeated listening sometimes resulted in a love affair and, for me, this album is a case in pont. This phenomenon is somewhat lost in the modern world where music is peddled by "The streaming services of Lucifer™" at little or no cost. Anyway, I will move on before I get into a rant.

Today, my collection has grown to include two vinyl copies of "Baby". One is an original Spanish pressing, and the other is a 2021 reissue. Before the reissue this abum quite scarce on vinyl, so I was pleased to discover an original pressing on eBay back in 2018. Both records sound fantastic, but the original just edges out the reissue in terms of sonic fidelity.

The album opens with "Homage to the Mountain" a brief yet epic introduction whic is quickly followed by the sampled phonemes of "Rubberbandman". Adopting the persona of the titular character, Dieter delivers a raspy vocal performance while Boris explores his Fairlight sample library. The wonderful vocals of Billy Mackenzie once again grace a Yello record, providing a beautiful contrast to the band’s signature sonic mayhem.

Boris’s favourite baritone saxophone samples make a return in the single "Jungle Bill". While the track borrows elements from the previous album "Flag", the drum sounds here are much more in line with contemporary dance and electronic music giving the song a fresh and modern edge.

One of my favourite songs on this album is "Ocean Club", which is a prime example of Yello’s mastery of narrative-driven tracks. As Lou Norman prepares for a clandestine meeting at the Lower Manhattan Ocean Club, Boris's big band craft a lush soundtrack that is so evocative you can almost picture Mandy Cooper, Lou’s mysterious contact, gliding into the room. Oh boy...

The tracklisting on my original compact disc referred to the next track as "Who's Groove" so I was a little confused when I saw it credited it correctly on other copies as "Who's Gone?". The chorus is particularly infectious here and I like the track very much. "Drive/Driven" is another brilliant song that demonstrates Yello's ability to create lush and atmospheric tracks alongside their more rhythm driven efforts.

Dieter takes a back seat for "Capri Calling" and Billy Mackenzie's captivating vocal is given centre stage on what is a great track. Whilst "Blender" has more than a whiff of "The Race" about it, things go in a very different direction as salesman Random Tox tells us how popular he is with the ladies. We'd probably better skim over the part where he divulges he is the slave of a sixteen year old. Different times.  

This album refuses to go gently into that good night and the last track, "Sweet Thunder" finishes proceedings with an almighty flourish. This instrumental is a grandiose, spine tingling masterpiece that I could listen to over and over again. If anyone ever needed evidence that Boris Blank is a musical genius then they can find it in this jewel.

For some reason this album doesn't get as much love as its predecessor and I find that strange. For me, "Baby" is head and shoulders above anything Yello had made up to this point and it remains one of my favourites. 5/5

One record at a time: 477. Yello - Flag

“The Race” was such a massive hit here in the UK that back in 1988, it felt rather ubiquitous. I was equally taken with another single, “Of Course I’m Lying”, which showcased a rare versatility for an electronic group. Nevertheless, I didn’t actually purchase either record at the time—funds were limited, and the band’s apparent frivolity didn’t quite resonate with my adolescent angst. As a compromise, I mentally added Yello to my “buy when funds allow” list and moved on.

I eventually acquired the compact disc of the album “Flag” in the mid-nineties, and this LP joined my collection in 2016. Although this is a standard European pressing, it’s in excellent condition, with minimal surface noise or other irritations. In fact, the sleeve appears almost mint.

The album opens with the six-minute opus, “Tied Up”. The formula here is broadly similar to “The Race” with bold brass samples, chanted vocals and a driving rhythm. The album version is far superior to the rather severe single edit, with Beat Ash’s percussion shining much more brightly in the extended format. As strong as this track is, it’s not commercial pop, and unsurprisingly, it failed to make an impact when released as the follow-up to “The Race”.

Next up is another single, “Of Course I’m Lying”. I liked this track from the outset as it is propelled by a superb synth riff and exudes effortless cool. Billy Mackenzie contributes wonderfully airy backing vocals that complement Dieter’s slightly gruffer delivery perfectly. While I enjoy the album version, I probably prefer the tighter single mix found on various compilations.

The remainder of side one is taken up by “3rd Of June”, one of those narrative-driven tracks that only Yello could produce. Boris then steps up with a credible vocal on the slightly eccentric “Blazing Saddles”, which skips along quite nicely.

Flipping the record, “The Race” leads side two. For me, this track suffers from indifference through overfamiliarity; I’ve heard it so often that its charm and ingenuity are somewhat lost on me. The eight-minute version included here is entertaining and offers a refreshing change from the more familiar single edit, but I can’t pretend it excites me as it once did.

“Alhambra” is a curious instrumental with apparent Arabic influences, but it fades out before fully developing its ideas. “Otto Di Catania”, which Google Translate suggests is a narration by a master of ceremonies for a variety performance, shifts the style. The musical ideas supporting Dieter are rather thin on this track and ultimately, this feels like album filler. The same applies to the final track, “Tied Up In Gear”, a raucous, guitar-driven take on “Tied Up” that neither expands on the original nor adds much to the album (beyond occupying space that is).

Although Yello enjoyed commercial success during the period this album was released, it was always on their own terms. For those of us who discovered the band through “The Race” and “Of Course I’m Lying”, this album was something of a disappointment. The music here is a tad too eccentric for those craving more radio friendly hits - a statement that is as true today as it was back in 1988. 2.5/5

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