One record at a time: 492. Yellow Magic Orchestra - BGM

After the semi‑acoustic leanings of the cynical mini‑album "×∞Multiplies", YMO changed direction and returned to electronic music with "BGM" in 1981. My copy of the record is a recent purchase from eBay that appears to be an original Japanese pressing. Although the record sounds good, it is unfortunately missing its obi strip, which is a shame.

Ryuichi Sakamoto began collaborating with David Sylvian, the lead singer of the band Japan in 1980 and it would appear this partnership bled into the opening track on this album "Ballet". As vocalist Yukihiro Takahashi sings the line, "Acting out a story, written in air," you could be forgiven for thinking Sylvian was behind the microphone. There's a vague whiff of Japan's characteristic syncopation in the music and many of the synth sounds are reminiscent of Richard Barbieri. Great stuff.

This album is famous for featuring the first use of the Roland TR‑808 and the track "Music Plans" places it front and centre. Besides the famous drum machine there is a great distorted synth melody on this song that is deceptively catchy. "Rap Phenomena" attempts to recreate the emerging sounds of American hip‑hop but sadly it does not succeed on any level and is best forgotten.

More impressive are the duo of "1000 Knives" and "Happy End". Both tracks are reworkings of material from Sakamoto’s solo career. "Happy End" develops the original B‑side into an mellow dub piece that seems to anticipate ambient house by nearly a decade. While I enjoy the original version of "1000 Knives", YMO’s version is stronger, omitting the excruciating guitar solo and adding TR‑808 claps that give it a more rhythmic feel.

The next track is my favourite on the album. "Cue" is a highly sophisticated slice of synth‑pop that could easily have been a bigger hit if it had been appropriated by a Western artist in the same way "Behind the Mask" was. The deep bassline drives the track forward while a distinctive synth riff underpins Takahashi’s soaring vocal melody. I later learned that the composition was inspired by the Ultravox B‑side "Passionate Reply", although there are similarities, this is far from plagiarism to my eras. "Cue" is a genuine YMO classic and deserves a place on any playlist or compilation of the band’s best work.

The B‑side to the single release of "Cue" was the following track, "U・T". This piece captures a rare moment of collaboration between band members who were increasingly pulling in different directions. It earns its place on this record with complex delayed rhythms and an appealing chord progression. I have never been especially fond of "Camouflage", but it isn't without charm. "Mass", a composition by Haruomi Hosono, sounds as though it could easily accompany a dystopian film in the vein of Mad Max 2 or Escape from New York. The closing track, "Loom", uses a Shepard tone long before THX and Dr Dre made it widely known, and concludes with a beautifully atmospheric ambient section. 3.5/5

One record at a time: 491. Yellow Magic Orchestra - X∞Multiplies

When "X∞Multiplies" was originally released in Japan during 1980 it was considered a 'mini album' as it only contained a scattering of original songs alongside comedy sketches by a troupe called 'Snakeman Show'. The international release saw the album morph into a weird hybrid that dumped most of the comedy numbers and added previously released songs in their place. My copy of the original UK pressing is on yellow vinyl and sounds really nice.

Side one opens with a trio of songs from previous album "Solid State Survivor" followed by a trio from their eponymous debut. The track selections are pretty much as to be expected with "Behind the Mask" and "Firecracker" being the standouts. 

The meat of "X∞Multiplies" begins on the flip side with a brief jingle (which is strangely credited as "Snakeman Show") before launching into a great track called "Nice Age". There's no doubt this is a pop number with a good hook and a groovy verses. As well as the members of YMO there is an uncredited female vocal on this track which the internet tells me is by Mika Fukui. A hidden gem if ever there was one.

The title track is a strange and disappointing Ska pastiche that appears to be recorded on traditional instruments. I'm not really sure what the band were aiming for here but it falls short in my opinion. Next we encounter the only true "Snakeman Show" comedy sketch which appears to be a less than subtle critique of Western perceptions of Japanese people. The trouble with the sketch is that it isn't the least bit amusing and its message is probably completely lost on those it is aimed at. It's no surprise that four additional Snakeman skits featured on the Japanese version of the record are culled from the UK cut. 

"Citizens of Science" is a mildly melodic number that I can leave or take. The final track is a cover version of "Tighten Up" which is very entertaining but again, I fear their attempted subversion of Western stereotypes of Japanese culture will be lost on most of their audience.

I could be wrong, but I'm left with the feeling that this record is a somewhat cynical reaction to the attitudes the band encountered on their first tour. Whilst there is still some joy to be found in these grooves the record doesn't feel cohesive and if it weren't for "Nice Age" it might not be so appealing. 2.5/5

One record at a time: 490. Yellow Magic Orchestra - Public Pressure

After the success of their previous album, Yellow Magic Orchestra decided to undertake a 'Transatlantic tour' that saw them play dates in the UK and USA as well as their native Japan. "Public Pressure" is a live album that documented the tour and was released in 1980.

Once again my copy of this album is the limited edition clear vinyl released by Music on Vinyl in 2015. If you research this album online you will see that the contribution of guitarist Kazumi Watanabe who played on the tour has been excised, but given his efforts largely consist of wailing solos, I'm not too concerned that he has been replaced by synthesizers. A more worrying discovery is that all the lead vocals by drummer Yukihiro Takahashi were overdubbed in the studio—which makes you wonder just how much of this recording reflects what the audience heard in the venue. 

The record begins with a vocoder introducing the band before suddenly kicking into a spirited rendition of "Rydeen". Whilst this version is largely faithful to the album mix the synth solo does sound a little out of place and its prominent position in the mix suggests it wasn't always easy to remove the guitar in post production. Whilst I find the lyrics on the next track "Solid State Survivor" impenetrable, I do enjoy oddities like the discordant organ stabs and the female backing vocals. Up next is another classic YMO track "Tong Poo" which features some terrific bass guitar by Haruomi Hosono. 

Unfortunately there is a rather abrupt edit in the crowd noise on this pressing of the album before we hear "The End of Asia". This song was originally featured on Ryuichi Sakamoto's solo album "Thousand Knives" but the version played here improves the original with a deep and fruity bassline and a more rhythmical feel. 

The first track on the flip side is "Cosmic Surfin'" which, much like the original album version, highlights just how tightly synchronised the band can sound. The version of "Day Tripper" we hear next sounds somewhat lusher than the original album version, but Yukihiro Takahashi attempts to sound different to Ringo Starr mean his drumming stutters along a bit too much for me.

I'm no expert on the solo careers of the three band members, but I think the next track "Radio Junk" is a new song that was played on the tour. This number has a nice melody but it is less original than some of the band's better known tracks. The rendition of "La Femme Chinoise" is surprisingly polished but the vocal seems to be much more prominent in the mix when compared to the other tracks on the album. There's a final piece called "Back In Tokyo" which just seems to be the band messing around with a vocoder as they say, "Yellow Magic Orchestra". Clearly this piece served as an introduction to "Behind The Mask" in concerts as you can hear the track begin just as the sound fades out. Whilst somewhat puzzling and not entirely authentic as a live album, this record sounds good and doesn't outstay its welcome. 3/5

One record at a time: 489. Yellow Magic Orchestra - Solid State Survivor

Yellow Magic Orchestra’s 1979 album “Solid State Survivor” sparked a surge in the band’s popularity—and rightly so. This record stands as a landmark release in electronic music, showcasing innovative production and stunning sound design that still resonates today.

When clear vinyl versions of the band's back catalogue were released by Music On Vinyl in 2015, I made this album my priority as it stands as one of my favourites by the band. The sound reproduction is very good and the packaging is also rather excellent. This isn't the rarest record I own and it isn't the best sounding, but I treasure it above many others.

The first track "Technopolis" is a Ryuichi Sakamoto composition that springs straight out of the box with driving beats and a bouncy bassline. Sakamoto uses a Roland VP-330 vocoder to announce that the titicular technopolis is "Tokyo!" whilst the synths swirl around us. This track is an unapologetic attempt to create an impressive opening and it succeeds quite handsomely. 

Also impressive is "Absolute Ego Dance" which was composed by another band member, Harry Hosono. A characteristic of this album is the use of sequencers and the impressive Roland MC8 programming comes to the fore on this fast paced number. Making up a trio of energetic tracks from each band member is "Rydeen" by Yukihiro Takahashi which is another YMO classic. The first side finishes with "Castalia" which is a more solemn and reflective piece that uses the VP-330 choir sounds alongside Sakamoto's jazzy piano chords to create a dream-like atmosphere. 

Arguably the album's centre piece is the iconic "Behind the Mask". I think I have mentioned previously on this blog that my first encounter with this song came via hearing a version on the radio. For many years I didn't know who sang the song and it came as a surprise when I found out it was by Eric Clapton. This version of the track has quite a complex history that touches Michael Jackson and his keyboard wizard Greg Phillinganes before it reached old 'Slowhand'. Yet, to my mind, the original YMO rendition is by far the best. 

Creating a cover version of a Beatles song is a gutsy move for anyone, but for an electronic band who come from the other side of the world, it is nothing short of  heroic. Whilst "Day Tripper" sounds a little naive and disjointed in places, you still get the feeling it comes form a place of admiration rather than ridicule. Penultimate track "Insomnia" is a creepy and ponderous beast that creates a nice contrast with the frothy pop sound of the world's favourite scousers. The album rounds out with the title track that is another fast paced and enjoyable romp; but I have to admit I can't discern any of the lyrics.

When the album ends my initial reaction was that it felt too short. However, on reflection I realise it is actually a perfect little jewel and any attempt to elongate it or change the formula might break the spell. 4/5

One record at a time: 488. Yellow Magic Orchestra - Yellow Magic Orchestra

Thirteen years ago, I noted on this blog that there was a noticeable lack of YMO releases available in the UK. Thanks to the 2015 reissues from Music On Vinyl, some of the band’s catalogue finally became accessible on vinyl here, but even those editions are now becoming increasingly difficult to find.

Therefore, when I saw a cheap reissue of the band's debut album released last year I jumped at it. Whist it transpired this is an unofficial release, it doesn't sound too bad for a cheap coloured vinyl—but I'm still tempted to buy the much more expensive licenced version one day. 

Historically this album was made available as two different versions: the original 1978 Japanese mix and the later USA version. This record carries the artwork and mix of the original Japanese pressing which wasn't a big hit. From what I have read, this record was initially more popular in the USA than the band's homeland and it only gained traction in Japan when the newer USA mix was released there. 

The differences between the two mixes aren't vast and the only points I noted were the lack of vocals on "Tong Poo" and some synth improvisation missing from the intro to "Bridge Over Troubled Music". There is more liberal use of reverb on the USA mix when compared to this version and the original tracklisting includes an extra song called "Acrobat".

Back in the late 70's the film "Star Wars" and the introduction of Space Invaders arcade cabinets nearly blew my tiny mind. The sound of opening track "Computer Game (The From "The Circus")" seems to perfectly encapsulate the sounds of these childhood years and is redolent of orange carpets, flared trousers and Angel Delight. As a 'sound collage', this is never going to be anyone's favourite YMO tune, but it makes for a great introduction to the album nonetheless.

"Firecracker" is the album's centrepiece and serves as a gentle riposte to the contrived oriental kitsch of Martin Deny's original. However, rather than ridicule the source work, YMO's version actually lends the tune some credibility and transforms it by making it more melodious. Ryuichi Sakamoto's flourishes on the piano add that final sparkle.

The next track "Simoon" is a little limp but the vocoder vocal perks it up in just the right place. There's some wonderful syncopated interplay between the three band members on "Cosmic Surfin'" and you really get a sense of the sheer musical chops of the group here. 

The opening track on the b-side is "Tong Poo" which is another classic entry into the band's back catalogue. As you are being mesmerised by the electronics and the truly impressive bass playing here, it is easy to miss Sakamoto's jazz piano filling in all the gaps. OK, so the simulated disco "Ooh-ah, Ooh-ah" sounds might raise a titter amongst the younger crowd but make no mistake, this is good stuff. 

I'm not a massive fan of the female vocal on "La Femme Chinoise" but the tune stands up. "Bridge Over Troubled Music" is a bit of filler that precedes the throbbing disco of "Mad Pierrot" whose synth bass is reminiscent of Kraftwerk's "The Robots". We finish off with "Acrobat" which offers a fleetingly improvisation centring on some of the "Computer Game" themes before the needle moves off. A most pleasing experience beamed back from the dawn of 'synth-pop'. 4/5

One record at a time: 487. Yello - Yell40 Years

When I reviewed the second Yello compilation "Essential" a few weeks ago, I finished by saying that there was a better compendium of the band's work to come, and here it is. "Yell40 Years" was released in 2021 and pressed onto two flawless chunks of vinyl by Optimal in Germany. Whilst most of the band's well known works are here, this isn't a simple "Greatest Hits". Some might say the track selection is a little eccentric, but Yello have always taken delight in throwing us a curve ball. 

We start naturally enough with the band's first single "Limbo" and follow up with their first big hit "Bostich (Ne'st-ce Pas?)". I particularly like the deep bass on the latter track, but the cut of the records is so sympathetic it simultaneously manages to preserve the definition in the distinctive percussion breaks. 

Whilst the first disc continues to move in a broadly chronological order, everything abruptly resets in the transition to the second disc. For some reason we we move from a live version of "The Race" recorded in 2017 to "Desire" — a song that was released over thirty years earlier. The second disc then plays a rather eclectic selection of tracks that concentrate far too heavily on the band's post millennium output for my taste. Also thrown into the mix are a bonus track from the box set of their last studio album "Point" and a couple of songs that were previously exclusive to other compilations. 

Whilst I'm not mad about the off kilter approach to the second half of the album, "Yello40 Years" still holds my interest. I just think it is a shame that fantastic tracks such as "Dr Van Steiner", "Call It Love" or even "Planet Dada" are excluded at the expense of limper efforts such as "Starlight Scene" or "Meet My Angel".

The sound of these discs is pretty immense and there's no better way for the uninitiated to experience Yello. Think of "Yell40 Years" as a dégustation menu: small, hand crafted selections from Switzerland's finest sonic chefs. Not every course will be an exact match for your palette, but you will experience wonderful sensations and be pleasingly replete by the end. 4/5

One record at a time: 486. Yello - Point

During the COVID pandemic there were few good things happening in the world, so when I saw Yello were about to release their new album as a boxed set that wasn't already sold out, I decided to treat myself. As well as a standard CD and a live Blu-ray, the box contains a picture disc which I haven't yet played as I've always consumed this album via digital files and left the box unmolested. From what I have read the picture disc isn't exactly a dynamic listening experience anyway so I might have to invest in a standard black vinyl edition at some stage.

There's no standing on ceremony here as the boys get straight down to business with single "Waba Duba" which is classic Yello fare and rather pleasing as a result. "The Vanishing of Peter Strong" is an amusing tale of the titicular character's journey into another universe. To my ears the music sounds like it was partially created using the Yellofier mobile app, but I haven't seen a source to confirm this. Whilst I'm intrigued by an app that transforms sampled sound into 'funky music', it is only available on the Apple AppStore so I probably won't get to investigate it further.

"Way Down" is a funky stomp that you may find yourself humming along to and the riff on "Out of Sight" is irresistible. I love the melody on "Arthur Spark" and the lyrics of "Big Boy Blues" are interesting—even if the faux rock isn't completely to my taste. At this point it occurs to me that the songs on the first side of the record are really distinctive and catchy. The anonymous and sombre jazz of their more recent albums seems to have been jettisoned along with the guest vocalists and Yello have found themselves once again. 

The polyrhythms and heavy bass of "Basic Avenue" sound remarkable and Dieter's heavily modified vocal provides the icing on the cake. "Core Shift" is suitably electronic but there is also some nice guitar work that harks back to their seminal work "Baby". The TR-909 hit hats of "Spinning My Mind" come as a bit of a shock when you have become accustomed to hearing Boris’s acoustic drum samples but they do provide some energy. "Hot Pan" is a driving number with a cool vocal and whilst "Rushing for Joe" threatens to stray into jazz territory, it does redeem itself with some funky guitar. Unfortunately we do encounter one dreary track with a guest vocalist in the form of "Siren Singing", but even this doesn't drag down the wonder of what we have already heard.

When I hear this album I almost want to exclaim, "Yes! Dieter is back" and celebrate the fact that the anonymous female vocals and lounge jazz have been eradicated. If any of their recent output is to be considered a 'return to their roots' then surely it must be "Point". 4/5