One record at a time: 493. Yellow Magic Orchestra - Technodelic

"Technodelic" was originally released in 1981 but my copy is one of the numbered clear vinyl copies released by Music On Vinyl in 2016. Once again the sound is very good and I can't fault the packaging—a highly recommended pressing.

Back in the early eighties lots of artists seem to have discovered sampling and created records using the new technology. When OMD bought an E-MU Emulator they went crazy sampling old radios and turned out the career stifling "Dazzle Ships". Like OMD, Jean-Michel Jarre adopted the Emulator along with the Fairlight CMI and went berserk with sampled voices on "Zoolook". Depeche Mode's "Construction Time Again" saw a sea-change in their sound thanks to samplers and Peter Gabriel's fourth solo album seemed to wake lots of people up to the possibilities the new technology posed.

Around the same time, YMO began using a prototype Toshiba-EMI LMD-649 sampler to create this album. As with many artists using this technology for the first time, YMO chose to sample the one thing they couldn't replicate with synthesizers: the human voice. Personally I'm not convinced that sampling phonemes and ethnic chants is the best use of a sampler, but these were early days and artists were exploring what was possible.

As opening lines go, "This must be the ugliest piece of bread I have ever eaten," isn't likely to trouble Shakespeare or Wordsworth, but it certainly makes an impression. Beyond the vocal introduction "Pure Jam" emerges as a rather avant-garde piece that moves YMO into more serious territory. There's an electronic precision to the groove on this song that I find really appealing and its astonishing to think it was released forty five years ago. The opening synth riff reminds me of "Jumbo" by Underworld.

The new music direction continues on "Neue Tanz" which sees the new sampler employed as a drum machine. Whilst Yukihiro Takahashi's drums return for third track "Stairs" it is the juxtaposition between Sakamoto's piano flourishes and the metronomic synth arpeggios that catch my ear hear.  

One of my favourite tracks on the album is "Seoul Music" which uses samples of ethnic chants to form the core of the backing track. Harry Hosono's bass is fluid and funky whilst the drumming provides a relentless groove. Side One finishes with "Light In Darkness" which is a good piece but it doesn't develop beyond the initial idea.

"Taiso" on the flip side is possibly the most light hearted piece you will find on this album but even this track has an ominous air thanks its spoken verses delivered via a megaphone. Another one of my favourite pieces is "Gradated Grey" which is hypnotic and infectious. 

"Key" couldn't sound more 'eighties' if it tried and in some senses it foreshadows the stylish pop of the follow up album "Naughty Boys". There are two short compositions by Ryuichi Sakamoto to finish the album called "Prologue" and "Epilogue". Both of these songs continue to utilise the new sampler for their rhythmical content but "Prologue" relies on a short ostinato to provide melody whilst "Epilogue" takes a more discordant and ambient approach. 

There's no doubt this is a highly inventive album and demonstrates how far the style of the band shifted in just three short years. To my ears this album provides a great contrast to the lighter pop of its predecessors and demonstrates just how astonishingly talented the three band members were. 4/5

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 ears. "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

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

One record at a time: 483. Yello - The Eye

In 2003 Yello released "The Eye". I originally bought the album on compact disc, but I acquired this double LP when it was released in 2021. As with all of the Yello re-pressings from the period, the sound quality here is excellent and the packaging is of a high standard.

The album opens with “Planet Dada”, where Boris and Dieter aim for avant-garde experimentation with impenetrable lyrics, yet they inadvertently deliver a masterful piece of electronic music. “Nervous” follows, evoking the classic Yello sound and a faint promise that the duo could be reconnecting with their roots on this album.

Boris’s fascination with Latin rhythms resurfaces on “Don Turbulento”, but the detached vocals of Jade Davies (aka Heidi Pfau) feel mismatched and dampen my hopes for the album. Jade’s pop-oriented vocals also feature on “Junior B” which closes out the first side, but again, they don’t quite fit the band’s signature style.

"Tiger Dust" offers us yet another example of Boris sampling various phonemes and sprinkling them over a clever dance beat— though the concept remains underdeveloped. Unfortunately, Jade Davies returns on “Distant Solution” and “Time Palace” but her vocals increasingly clash with the prevailing bossa nova beats. The side concludes with the uninspired jazz of “Hipster’s Delay”, marking a disappointing end to side B.

The second disc offers “Indigo Bay”, a percussion-driven instrumental that’s pleasant but unremarkable. After one final vocal appearance from Jade on “Unreal”, the album regains momentum with the slick instrumental “Bougainville”. At this point, Dieter’s absence becomes noticeable, raising questions about his role in the latter half of the album. The penultimate track, “Star Breath” is forgettable, but the closing remix of “Planet Dada” brings Dieter back into the spotlight, ending the album on a high note. 2/5

One record at a time: 482. Yello - Motion Picture

I was aware that Yello had released a new album in 1999, but acquiring a copy proved surprisingly difficult. Eventually, I managed to find a compact disc with an import sticker, which left me wondering: had Yello become so obscure that their albums were no longer released in the UK, or were they so popular that domestic copies had sold out? To this day, I’m still unsure—though I suspect the former is true.

Like much of Yello’s back catalogue, "Motion Picture" finally saw a vinyl release in 2021. This double album marks its debut on the format, and the discs themselves look and sound as if they were pressed at Optimal—few other plants could achieve this level of quality.

Dropping the needle on the opening track, "Get On" I immediately notice the use of acoustic drum samples, a departure from the dance-oriented sounds of the previous two albums. After listening to "Pocket Universe", which almost excluded Dieter’s vocals entirely, it’s refreshing to hear his distinctive drawl urging us to "Get down, right now." One slightly distracting element is a preset sound from the Roland JV-1080 or one of its expansion boards, but it doesn’t detract too much from the experience.

Initially, I wasn’t fond of the vocal effects on "Houdini" but they’ve grown on me over time. "Distant Mirror" a dreamy instrumental, stands out as my favourite piece on the album. Dieter returns for "Time Freeze" and "Croissant Blue" which are enjoyable, though not exceptional.

The second disc continues in a similar vein, with jazz and lounge influences replacing the dance genre that dominated their output in the first part of the decade. "Squeeze Please" is a highlight here, featuring Boris’s saxophone samples and the kind of sonic mayhem reminiscent of the band’s heyday. I also appreciate "Shake and Shiver" where a TB-303 style riff underpins jazzy drums and Dieter’s unique vocal delivery.

Upon its release, "Motion Picture" felt like a renaissance to me—whilst the jazz influences were strong, the compositions were much better than those featured on albums like "Zebra" or "Pocket Universe". 3/5

One record at a time: 481. Yello - Pocket Universe

After the disappointment of "Zebra" and the uninspired remixes on "Hands On Yello", I was nearly ready to part ways with Yello in 1997. However, the album "Pocket Universe" restored some of my faith in the band and ensured a continuation of our relationship.

At first glance, the album’s cover seemed rather amateurish, making me wonder if the band’s growing obscurity had affected their ability to invest in professional design. Yet, as soon as the music began, I realised that the production quality remained as polished as ever and unlike their previous album, which was heavily influenced by contemporary dance, "Pocket Universe" explores a slightly broader range of styles.

The album opens with the brief but atmospheric sounds of the prologue, "Solar Driftwood" in which Dieter Meier provides a cheery narration highlighting the inevitable death of the solar system. The second track, "Celsius" is an instrumental that features lots of clever ideas that are all wrapped around a driving percussion loop. Hot on its heels is the acid-tinged "More", which successfully blends a modern dance sound with Yello's signature style —something they failed to achieve satisfactorily on "Zebra". 

"On Track" continues this energetic approach, featuring pounding beats and only occasional vocals from Dieter. It feels as if Boris had discovered club culture and decided to channel that energy into the music, though this shift left little room for vocals. Dieter’s reduced presence is especially noticeable on "To The Sea," the final track on side B. While this song stands out as a highlight and was rightly chosen as a single, the vocals are performed by Stina Nordenstam. Her voice and melody are captivating, but Dieter is almost entirely absent.

I never paid much attention to the CD booklet credits, so I was surprised to learn that one of my favourite tracks, "Magnetic" was co-produced and written by Carl Cox. The track features lush chords reminiscent of Moby, but once again, Dieter’s contribution is limited to simply repeating the phrase, "Magnetic, energetic and beautiful."

"Pan Blue" races along at 150 beats per minute, only to be surpassed by the frenetic pace of "Resistor". Unfortunately, neither track holds my interest for long, as they lack development and fresh ideas. Inevitably the album concludes with an ambient soundscape that gives Dieter another chance to deliver a monologue about the magic of the universe.

Despite a somewhat disappointing ending and Dieter’s limited involvement, I still enjoy this album and am glad to own it on vinyl. "Pocket Universe" stands as a testament to Yello’s willingness to experiment, even if it meant marginalising elements of their signature sound. 3/5

One record at a time: 480. Yello - Zebra

By 1994, I had been eagerly awaiting Yello’s next album for several years. However, my anticipation quickly faded when I bought the first single, “Do It” as I found it distinctly underwhelming. The follow-up single, “How How” was released in what felt like a bewildering array of nearly identical looking CDs, each packed with uninspired dance remixes. Although I bought all of these singles (they were only 99p each, as I recall), they didn't made it into regular rotation, and none remain in my collection today.

I purchased the parent album, “Zebra,” on CD upon its release, but it never truly captured my attention. In fact, I only added the vinyl to my collection for the sake of completeness, and like the CD, it has seen little play.

In the mid nineties I was deeply immersed in dance music, but I wasn’t expecting Yello to be similarly besotted, so the rolling basslines and four-on-the-floor kick drums that open “Suite 909” came as quite a surprise. I’ve always assumed the title is a nod to the Roland TR-909 drum machine, a staple of 90s dance music, but this all felt oddly mismatched with Yello’s signature eccentricity.

While the drum programming on “How How” is outstanding, the brass samples grate on me. Boris works hard to inject energy through effects and sonic manipulation, but the result feels cold and stark. The third track, “Night Train” is the only piece I’ve revisited with genuine enthusiasm as despite the persistent kick drum and organ presets, there’s just enough of Boris’s old magic to make it compelling. “I...I’m In Love” benefits from sounding more like classic Yello but if you’ve read my blog before, you’ll know I’m not a fan of the saxophone, so you can probably guess my feelings about a track called “S.A.X.”. Side One closes with “Fat Cry,” which, aside from its title, is largely forgettable.

“Tremendous Pain” which opens Side Two, is a pleasant song, though once again it is drenched in those house organ sounds. At least Dieter delivers an engaging vocal, and long-time collaborator Chico Hablas makes a welcome appearance on guitar. The disappointing single “Do It” doubles down on the 90s dance vibe, with TR-909 hi-hats and rumbling breakbeats that clash with Dieter’s vocals rather than complement them.

“Move Dance Be Born” is as unimaginative as its title suggests, and “The Premix (How How)” is a real test of endurance. The album closes with “Poom Shanka” a laid-back instrumental featuring predictable tabla samples and the occasional sitar run. 

This album is a rare misstep by Yello and I don't find a lot to love in its incongruous mix of styles. The odd track might provide mild entertainment, but this is far from their best work. 1.5/5

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.