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on the tour has been excised, but given his efforts largely consist of wailing solos, I'm not too concerned that he has been replaced by synthesizers.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

One record at a time: 485. Yello - Toy

After a seven-year hiatus, Yello finally re-emerged in 2016 with the album "Toy." Having had my fill of downtempo jazz from its predecessor, I wasn’t expecting much from this record. However, when I heard it, I was pleased to find some of the joy had returned to Yello. While there’s still a fair amount of jazzy influence woven throughout, something feels different this time.

Right from the outset, "Frautonium Intro" reassures us that things will be more electronic. As is customary on Yello albums, we launch straight into the lead single, "Limbo" where Dieter’s voice is backed by the usual brass stabs and syncopated percussion, but there’s also a driving kick drum and an analogue synth burbling away, making the song especially engaging.

The album then moves into several tracks featuring guest vocalists rather than Dieter. In fact, the majority of tracks here include a female vocalist in some capacity—a direction I’m not particularly fond of. We have to wait until the third song on the B-side before something more interesting emerges, though even "Tool of Love" features female backing vocals.

"Give You The World" stands out with its triple time signature, giving it an edge I really enjoy. "Dialectical Kid" offers enough aural candy to keep things interesting, but by this point, the wispy female vocals are starting to grate.

Further in there’s a superb instrumental, "Pacific AM" but the highlight of the second disc is undoubtedly "Blue Biscuit". This track is proof that the fun is back—Boris sounds like he’s enjoying himself again. Alongside his crooning vocal, we’re treated to trademark thunderclaps and a funky rhythm guitar that propel the song to great success. As the record draws to a close, "Magma" delivers perfect sound design that really leaps from the speakers. "Lost In Motion" brings a contemporary pop feel while retaining Yello’s DNA, and we round things out with the analogue synth textures of "Frautonium". 3/5

One record at a time: 484. Yello - Touch Yello

I’ve always been a bit uncertain whether this album is officially titled "Touch" or "Touch Yello", but most sources seem to favour the latter, so I’ll stick with that. Over the years, I’ve collected the original CD, the later "deluxe" edition, and even splurged on the "15th Anniversary" vinyl repress in 2025. In my eagerness, I ordered the double LP directly from Universal in Germany—paying a hefty shipping fee rather than waiting for the free postage option from Amazon. Lesson learned.

Let me start by acknowledging the album’s technical excellence: the mixing and mastering are top-notch, and Boris delivers his signature production polish. However, something is missing. The songs here lack bite, humour, or joy. The overall effect is one of style over substance—everything is finely polished but lacks any character.

Yello’s fondness for swing and lounge influences is evident, especially on tracks like "Till Tomorrow", "Electric Flame" and "Vertical Vision" which feature jazz trumpeter Till Brönner. For me, these instrumentals come across as rather vapid.

Boris lends his vocals to "Tangier Blue", "Trackless Deep" and "Kiss In Blue" but they are all tame efforts. The only song that truly channels classic Yello energy is "Friday Smile" yet even here, Dieter Meier’s vocals sound somewhat disengaged.

Several tracks feature a vocalist named Heidi Happy, but unfortunately these songs don’t leave much of an impression. "Stay" stands out with a memorable melody, but it’s a rare highlight in an otherwise unremarkable collection. Boris resorts to reviving the classic single "Bostich", but this modern rendition feels out of place amid the album’s subdued jazz leanings.

The opener, "The Expert," and "Part Love" are the only tracks I find genuinely worthwhile.  Ultimately, this is a record I own for the sake of completeness, rather than genuine enjoyment. 1/5