One record at a time: 499.Adamski - Doctor Adamski's Musical Pharmacy

Sometime in 2025, I picked up the CD single of "Flashback Jack" by Adamski from a charity shop for 50p. I enjoyed it, and when I stumbled across a copy of the parent album, "Doctor Adamski’s Musical Pharmacy", not long after, I couldn’t resist.

Recorded on his trusty Ensoniq SQ80 keyboard, with drums from a Roland TR-909 and a Yamaha RX120, the album captures one of the stars of the embryonic rave scene being pushed into the limelight by a major label. After scoring a huge number-one single six months earlier, Adamski’s second album was always likely to do reasonably well—but its Top 10 chart placing proved that dance music really did have commercial potential.

The massive hit single was, of course, “Killer”, and it felt revolutionary to me back in 1990—I hadn’t really heard anything quite like it before. Seal’s vocal was obviously a big part of the song’s success, but the bassline and drum programming were streets ahead of anything else around at the time. Sadly, I couldn’t afford the CD single when it came out, but my admiration for the track must have been well known as one of the Christmas cards I received that year featured a choirboy doctored to represent Adamski, complete with keyboard rig and an ADAMSKI number plate.

Beyond “Killer”, the album drew some criticism on release for being inconsistent and lacking cohesion. I can’t say I’m surprised: Adamski emerged from a frantic rave scene that was never going to be easily packaged as a neat, conventional pop product.  

So whilst there aren't many other conventional songs on this album, there are plenty of rave tunes to keep you moving. The crusty bass samples on "Eighth House" sound throaty and deep enough to rattle the bass cabinets of any nightclub and the wobbly synth lines of "Future Freak" are irresistible (Adamski must have thought so too as the song is on the album twice). 

Other highlights include the single "Space Jungle" in which Adam channels his inner Elvis. Whilst his vocals are never going to trouble Pavarotti, Adam is more than capable of carrying a melody and their naivety is really endearing. Personally I like this album and think it features some really great ideas. Whilst everything might sound a bit lo-fi and home-made today, it possesses a charm that endures. 3.5/5

Not quite the end of 'One record at a time' posts

After four and a half years and nearly 500 posts, I’ve finally done it: I’ve reached the end of my vinyl shelves. Every last record reviewed, every obscure pressing dutifully described, every questionable 80s sleeve design immortalised. For a brief moment I thought, “Well, that’s it then — early retirement from blogging.” But then I remembered the notes app on my phone, where I’ve been quietly hoarding a list of albums that slipped through the cracks. Seventy of them. Seventy.

These are the stragglers — records I bought after I’d already passed their alphabetical place in my reviewing journey. Some are re‑issues, some are second‑hand gems, and a few are things I can only assume I bought during moments of poor judgement or sale‑sticker enthusiasm. Only a handful contain new music, but there are enough oddities in the pile to keep me occupied (and mildly confused) for the rest of 2026.

As I began to take stock of my journey so far I discovered some unexpected stats. I always assumed my audience was largely UK‑based — you know, friends, fellow collectors, the occasional lost Googler trying to identify a record they found in their loft. But apparently only five per cent of my traffic comes from the UK. Most of my page views are from the USA, which is understandable, but a full twenty percent purport to originate in Singapore. Even Iraq is in there at one per cent.

Now, I’d love to believe I’m a cult international sensation, but let’s be honest: it’s probably just British readers using VPNs that make them appear to be blogging enthusiasts from around the world. Still, I’ll take it. Nothing boosts the ego quite like discovering you’re "big in Singapore".

Most views are via google.com with gearspace.com another significant source. I can usually tell when a post gets liked in a forum like gearspace as the views tend to spike for a few days. The most searched terms on the blog are "fairlight" and "fairlight cmi".

The most popular "One record at a time" post has been Kraftwerk "Trans Europe Express" with "Reproduction" by the Human League a close second. Another Kraftwerk post for "Electric Cafe" has also been popular along with "Penthouse and Pavement" by Heaven 17. I've tried to work out why these post get double or four times the views of others but failed to identify a pattern.

Sometimes I think a post becomes popular as it refers to a rare record and people searching for it on Goole will get a result from the blog. Sometimes a post that is particularity acerbic or complimentary might see a peak in popularity, but again, this isn't consistent. I've also wondered if the photo makes a difference and that people find the blog after an image search—but I've no evidence one way or another. So I'm just going to carry on posting as I was and hope all the people in Singapore like it.

One record at a time: 498. Various Artists - Now! That's What I Call Music 19

When I hear a song drifting from the TV or the radio, I often catch myself muttering things like, "I bought the 12-inch of this from HMV in Sheffield," or "I hate this song—it reminds me of a terrible week at university." My family find it amusing that I seem to bookmark life events with music, but I suppose that’s just how my brain works. And if you’re taking the time to read a music blog, I suspect your mind does something similar.

When I look at the track listing for "Now! That’s What I Call Music 19", I immediately know it dates from 1991. My memories of that period are mixed. On the one hand, there were extraordinary things happening in music—dance music in particular—and in youth culture more broadly. It was also a time when I discovered nightclubs. On the other hand, I was also having to deal with more grown‑up milestones such as learning to drive (which I managed) and passing exams (which I didn’t). This album seems to mirror that collision of worlds I was experiencing. 

"Should I Stay or Should I Go" by The Clash enjoyed renewed success after being used in a television advertisement—Levi’s jeans, as memory (and a quick check) confirms. I’ve now reached an age where a song that’s ten years old still feels almost new, but back in 1991 it felt like this song had been dredged up from ancient history. 

It's a similar story for the next track "She's A Woman" by Scritti Politti in which a Beatles track is resurrected by the former pop idols alongside reggae artist Shabba Ranks. Everything about this was dull and uninteresting to me at the time and despite my new found love for Scritti Politti, I still don't find much merit in this particular track. 

Where this album comes alive is with the next two tracks. "You Got The Love" by The Source featuring Candi Staton is now considered something of a dance classic and I have fond memories of hearing it during my early nightclub adventures. However, even at this early stage I was aware this song wasn't quite what it seemed and it took me a long time (and access to the internet) before I finally understood its confusing provenance. As I understand it, the song was originally recorded by Candi Staton and a funk/soul group called The Source in 1986. The acapella of this track was then mixed over a house track called "Your Love" by Jamie Principle. This bootleg began to circulate and became something of an underground hit. Having secured the rights to release the bootleg, an English DJ called John Truelove decided to make his own version and adopted the band name The Source in the process. Confusing stuff.

Next up is "3AM Eternal" by The KLF. I'm pretty sure there is a whole generation of middle aged men in the UK who look back on the days of "Stadium House" with rose tinted spectacles—and why not? The KLF hit a sweet spot where they were intriguingly weird but produced highly infectious dance music. Whilst their career was relatively short, they burned bright. I knew it was all over when they threw a dead sheep on stage at the Brits and pretended to shoot everyone with machine guns. In retrospect I realise they secured their legacy that day: "Always leave them wanting more."

There's more dance tunes with "Gonna Make You Sweat" by C&C Music Factory and "(I Wanna Give You ) Devotion" by Nomad—but 808 State take the crown here with the magnificent "In Yer Face". Massive Attack dropped the 'attack' during the Gulf war, a decision that was equally mystifying as it was pretentious, so "Unfinished Sympathy" is credited accordingly. On the flip we are subjected to MC Hammer, Vanilla Ice and a terrible charity record. The fact that "Sadness Part I" by Enigma is head and shoulders above everything else on this side tells you all you need to know. 

On the second record we hear the rather turgid "Get Here" by Olita Adams and Rick Astley's 'comeback' (so it felt at the time anyway) called "Cry For Help".  I have always hated "You've Lost That Lovin' Feeling" by The Righteous Brothers and was annoyed when it resurfaced in 1991. There is literally nothing redeeming about this song and I will be happy to never hear it again.

The final side features another ancient track that was dredged up by the charts called "All Right Now" by Free. I have no idea why a twenty year old song should become popular again but I suspect it will have been related to a TV advertisement or film (*checks* yes, it was an advert for chewing gum). Chris Isaak and Chris Rea then add some more middle aged guitar tunes before the more palatable INXS contribute "Disappear". There's more rock from Thunder and The Railway Children before Queen deliver the coup de grâce. All the points here are for The KLF and 808 State. Not what I call music 1/5

One record at a time: 497. Various Artists - The Hits Album 8

"The Hits Album 8" dates back to the summer of 1988 when Wet Wet Wet found massive success with a Beatles cover, The Timelords let their car write a number one single and rock poodles Heart scored big with "These Dreams". Yet, you won't find any of those tracks on this compilation. 

In less enlightened times record labels would sometimes restrict which compilation albums songs would end up on with Virgin and EMI artists featured on the "Now!" series and BMG and Warner artists on the "Hits" albums. Back in the day I regarded the "Hits" albums as the poor relation, yet when I look at the tracklisting here, I can't help but think the track selection is much better than its "Now! 12" counterpart. 

Things begin well with "Stay On These Roads" by a-ha. This song found the band at the peak of their powers and it was a big hit all over Europe—a worthy inclusion. The second track is "I'm Not Scared" by Eighth Wonder which was written and produced by Neil Tennant and Chris Lowe of Pet Shop Boys, and produced alongside Phil Harding. There's no doubt this was an explicit attempt to create a chart hit by emulating the hi-energy sound of Stock, Aitken and Waterman and it succeeded both commercially and artistically. Another thumbs up. 

Phil Harding provides an unexpected link to the next track "I Want You Back '88" by Michael Jackson and the Jackson 5. Harding adds some synth bass to give a more contemporary sound but the result is a little jumbled and not up to the usual standard expected of the "Mixmaster". For me, the main highlight of the first side is yet another SAW remix in the form of "Voyage Voyage" by Direless. The melody and groove on this track transcend any language barriers and I have a new found appreciation for this song almost forty years after it was released. 

On the second side I enjoyed hearing "Boyfriend" by Pebbles (which I find surprising) and "Love is Contagious" by Taja Sevelle brought back some memories; everything else was disposable. Whilst I don’t really remember Tiffany’s version of ‘I Saw Him Standing There’, there’s a good chance I have previously heard it but my brain has politely chosen to erase that particular sonic abomination from my memory.

The second disc features the number one single "Somewhere In My Heart" by Aztec Camera; a song I have always liked. I remember this song appearing on Top of the Pops and thinking, "Where have these guys come from?" Followed a few months later by, "Well we never heard from Aztec Camera again," but I now know the band were more than a one hit wonder. Whilst tracks like "Sign Your Name" by Terrance Trent D'Arby or Sade's "Paradise" are noble efforts, they don't really excite me and I soon find myself flicking over to the final side.

The early sign on side four are good with Eurythmics, S'Express and Erasure all featured. I have to say I have never heard of Ofra Haza but the internet tells me "Im Nin'alu" did enter the UK top 20 so I guess it warrants inclusion. I'm less convinced of the merits of The Sisters of Mercy or The Jesus and Mary Chain but this is just a matter of taste.

As we continue our grind through my compilation albums, I find myself reflecting on the fact that nearly all of them were bought in a charity shops. Whilst this can sometimes result in a bargain, it can also mean you end up with a record that is pretty knackered. A bit like this one. Life hasn't been kind to either of these records and they are only just tolerable. I don't enjoy this collection much and it may even make its way back to a charity shop in the near future. 2/5

One record at a time: 496. Various Artists - The Right Stuff 2 - Nothing But A House Party

When I found this album in a charity shop and read that it contained "The 28 hottest 12 inch remixes for 1990", I immediately decided it had to come home with me. The sleeve also tries to claim some additional credibility with the sub-title "Nothing But A House Party", yet it seems fairly obvious from the tracklisting that this claim is a bit of a stretch. I don't recall this compilation from 'back in the day' (I was more into the Deep Heat series) but as it is the second volume I can only assume it was successful. 

As seems de rigueur with dance compilations of 1990, we begin with Technotronic. This time around we are treated to the track "Get Up! Before The Night Is Over (Dance Action Mix)" which was the follow up to the hugely successful debut "Pump Up The Jam". While I do enjoy the song, Technotronic were part of a wave of European acts that I never entirely trusted.

There was often an uneasy sense that the performers fronting these records weren’t necessarily the people who had actually created them. Many of these groups also seemed to rely heavily on expatriates for their English language vocals—particularly the rap sections. Although this was presumably intended to add authenticity, it rarely did. Instead, it felt like a thin veneer lay over these tunes, with the distinctly European undertones always shining through. In hindsight, the exposure of Milli Vanilli probably sowed the seeds of this scepticism. As a result, I was always a little wary of acts like Black Box, Snap!, Quadrophonia, J.K., Corona etc. etc.

The second track here describes itself as "Itaniano Disco" but I would argue it is just a SAW hi-energy number. Either way, it's definitely not true house or even Italo house come to that. Equally, the third number "Street Tough" by Double Trouble and the Rebel MC is a catchy song, but it's a Ska influenced pop tune that sounds a bit like a fish out of water.

Things do pick up a bit with "Go To Get" by Rob and Raz and the credentials of S'Express check out. Unfortunately the track by Redhead Kingpin And The FBI belongs to the short lived new jack swing genre that America seemed to be in love with during 1990. Side one finishes with a winner in the form of "Going Back To My Roots" by FPI project (again an Italian group fronted by an English session vocalist) and the piano riff here is iconic. 

Side two opens with terrible rap/shouting nonsense called "20 Seconds To Comply (Pumped Up Mix)" in which the writer seems to have discovered a RoboCop sample and gone to town with it. I know that De La Soul are revered and seem to be credited with creating numerous sub-genres of hip-hop; but I'm not a fan and an extended version of "The Magic Number" just annoys me.

The Beatmasters thrown down the "Lately Bass" from a Yamaha DX-27/100 alongside some breakbeats and a great rap by Betty Boo on "Hey DJ/I Can't Dance To That The Music You're Playing". Yet another Italian house outfit Magic Concept throw their hat into the ring with "Unstoppable" but this seems to be an edit rather than the "12 inch mix". "Let There Be House" by Deskee (an American expat living in Germany) features a much overused Korg M1 organ bassline alongside the riff from "This Brutal House" by Nitro Deluxe (also used on "Brutal-8-E" by Altern8) .

Inner City are uncharacteristically chilled on "Watcha Gonna Do With My Lovin'" which is remixed by Frankie Knuckles and David Morales—making me wonder if this was simply an exercise in seeing just how many house legends you can you cram into one record. Sydney Youngblood (yet another American expat in Germany) contributes the wonderful "If Only I Could"—but again its not the 12" mix that plays. I don't suppose you can have any kind of compilation from 1990 that doesn't include Black Box "Ride On Time" but I've heard this thing so many times it has lost any limited appeal it might have had. Kaoma "Lambada" has no place on any record ever, and it certainly shouldn't be included one that purports to offer hot remixes—I can't overstate just how much I hate this song. 

As I reflect on what I have just been subjected to heard, I can't help but think I have misunderstood what the record company meant by a 'house party'. Rather than, 'a party where they play house music', I think they actually meant 'a party at the house of someone who has just discovered Italo house but still has a dodgy taste in pop music'. Not quite as catchy a title though is it? 2/5

One record at a time: 495. Various Artists - The Singing Detective (Music From The BBC-TV Serial)

The Singing Detective was a TV series that was originally broadcast in the UK during 1986. I first saw it when it was repeated sometime after the millennium and I enjoyed lots of the music used in the show. 

The series was set in the 1950's so it featured lots of jazz and novelty recordings from the thirties and forties. Normally I wouldn't be a fan of this sort of music, but it really worked in the context of the show and got into my head. 

Not long after I first saw the show I bought a CD compilation but this vinyl came into my possession in 2022. To be honest I'm not really sure why I bought this record as the fidelity of the source material is inferior to the carrier and everything is in mono. Equally, the vinyl has half the number of tracks that were featured on the CD release, so it is really difficult to make a case for this record at all. 

The main theme from The Singing Detective is an instrumental version of "Peg o' My Heart" which was recorded for the series by composer Max Harris. The original recording that inspired the writer of the series, Dennis Potter, dates back to 1947 but one would presume the producer of the television programme needed a high fidelity version of the tune for broadcast.

Almost all of the other tracks on this album are sourced from an old shellac 78 records, so there's plenty of crackles and additional noise accompanying the music. I have no doubt this record adds some of its own noise on top of the source recording so the result is almost constant crackles. There are a few tracks that sound like they are sourced from tape, such as "Dry Bones" by Fred Waring And His Pennsylvanians, but generally everything here is best consumed in short doses due to the extra noise.

However, for me, there are two significant elements on this record. The first is the appearance of The Ink Spots. There's something about the voice of lead singer Bill Kenny that is magical and I have admired the group's work since this compilation introduced me to them.

From an electronic music perspective you could argue that the inclusion of "We'll Meet Again" by Vera Lynn is quite significant as it features an instrument called the Novachord. This keyboard was manufactured by Hammond and Wikipedia asserts that it was the first ever commercially available polyphonic synthesizer. I'm not really sure what sounds the machine was capable of, but the end result sounds just like an organ to me. Disappointing, but historic nonetheless. 1/5

One record at a time: 494. Various Artists - Now Dance 903 - The 12" Mixes

Twenty years ago I found this double vinyl compilation lurking in the back of a charity shop. The promise of full 12" mixes coupled with the allure of a gatefold sleeve resulted in an impulse purchase. As it turned out, the records themselves are in near perfect condition with little or no addition noise. The only slight downside is that in order to accommodate this number of 12" tracks onto one side of vinyl the mastering is pretty quiet and you have to crank the volume to get a reasonable sound from it.

On the surface this compilation seems to frame itself as a dance album with a degree of club credibility. Yet if we look at the rather eclectic track listing we can see that this is far from being a persuasive dance anthology. Classifying artists such as Glenn Medeiros or The Soup Dragons as dance music is something of a stretch—and if I were an artist on the other end of the dance credibility scale (e.g. LFO, Inner City, Stevie V) I might be a little upset at being bundled in with such artists.

The album kicks off with the club version of "Megamix" by Technotronic. Even back in 1990 I never really understood why people would buy a 'mega mix'. As I listening experience I don't really see any merit in them and to my mind they only make sense as a tool for lazy DJs. Yet a number of contemporary bands released singles that gathered together their recent hits and they were alarmingly successful. I remember mega mix offerings from Snap! and Blackbox, but the Technotronic single had passed me by until I heard this record. As an example of the genre it's fairly unremarkable but it is nice to hear "Rockin' Over The Beat" and "Pump Up The Jam" again.

Betty Boo comes up next with the 12" mix of "Where Are You Baby". This track has a Motown flavour and a twee pop melody that saw it become a chart hit—but I'm not sure it really qualifies as dance music. Much more palatable is the club mix of Twenty Four Seven's "I Can't Stand It". The Korg M1 piano and Roland D-50 "Soundtrack" synths instantly transport me back to my teenage years and a time when dance music was the future.

Kevin Saunderson rocks up next with "That Man (He's All Mine)". Whilst this is no "Big Fun", the TR-909 programming and rolling bass have an authentic house feel that the pop tracks on this compilation can't match. Side one finishes with the 'Long version' of "She Ain't Worth It" by Glenn Medeiros. This track appropriates the new jack swing sound that was so fashionable in 1990, but the end result couldn't sound more dated if it tried. Yuk.

Things pick up a bit on the b-side with "Fascinating Rhythm" which was released by the William Orbit vehicle Bass-o-matic. Next up is the majestic "Live at Transcentral" mix of "What Time Is Love?" by The KLF which shines bright like a diamond. Stevie V contributes hit track "Body Language" and once again its, genuine house sound adds some credibility to proceedings. The efforts of Monie Love and Neneh Cherry at the end of the disc don't entice me and I am quite pleased when I can move on.

"Naked In The Rain" by Blue Pearl impressed me a great deal when it was released and I even bought the resulting album. The '12" extended mix' of the track included here benefits from a remix by Graham Massey and sounds as fresh as it did all those years ago. Next up is "LFO" by LFO and the original 'Leeds Warehouse Mix' remains an enduring tribute to a lost talent.

We hit a bit of a soggy patch with the next two tracks as both "Mother Universe" by The Soup Dragons and "Groovy Train" by The Farm sound out of place in this company. We round out this side of the disc with "You're Walking" by Electribe 101 in the form of the funkier 'Corporate Dance Mix'.

The Korg M1 presets are scattered all over "Don't Be Fool" by Loose Ends but this is the most exciting thing I can find to say about what is a thinly veiled (and overly long) copy of Soul II Soul. There's a wonderful pounding TR-909 kick on "Let's Push It" by Innocence but the saxophone samples are irritating beyond belief. A band called Young Disciples sound like they have turned up to completely the wrong party and can be summarily dismissed. Norman Cook delivers a Beats International number called "Burundi Blues"—but "Praise You" this is not. Fittingly the final track "Hardcore Uproar" by Together is a rave classic whose raw originality rivals the big hitters on here such as The KLF and LFO.

A wildly inconsistent album that applies a very loose interpretation of the 'dance' tag. Where it is good, it is very good. Where it is bad, well...2/5 

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