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Post by Deleted on Apr 6, 2010 21:25:36 GMT
I've just bought Flag from Play.com for £4.99 I must admit what I've heard of Yello is really good. I have touch Yello and have listened to some tracks on youtube and last FM. I'm a huge Jean Michell Jarre fan and have 6 or 7 of his albums and Yello seem to be at least as good from what I've heard so far. Top thread guys keep it coming. Ian, reading your text while listening to tracks on youtube and last FM is VERY entertaining. BTW I've now ordered Stella from Amazon for £4.99 Ian You've got a couple of good 'ns there Ian and at good prices too. That's the good thing about old albums - you can get them cheap. Mick - I know. It worries me a bit just in case it's not everyones' cup of tea!! I must admit, revisiting the early albums has been very interesting for me and it helps to see their new stuff in context. Flag is a top album. Ian Ian What stops me from getting some of those older albums, is having been caught too many times with reissues that don't always say they were remastered. Heavy handed remastering can stuff up even the best of the original albums. I loathe and detest over done compression. Alex
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Post by Deleted on Apr 6, 2010 21:48:16 GMT
You've got a couple of good 'ns there Ian and at good prices too. That's the good thing about old albums - you can get them cheap. Mick - I know. It worries me a bit just in case it's not everyones' cup of tea!! I must admit, revisiting the early albums has been very interesting for me and it helps to see their new stuff in context. Flag is a top album. Ian Ian What stops me from getting some of those older albums, is having been caught too many times with reissues that don't always say they were remastered. Heavy handed remastering can stuff up even the best of the original albums. I loathe and detest over done compression. Alex Absolutely Alex. trouble is the masters are also a tad thin perhaps. It seemed to be a trait in the 80's which I hated. It caused my turn towards Sennheiser headphones because the 'veil' worked for me. Especially with a Linn/Naim set up that I had in those days. Talk about toppy? PRAT and treble. I was forever buying bloody expensive cartridges. Trouble is, you get an imperfect master and then try making it sound modern and you get a Frankenstein. That's exactly it. The ones that I have as remasters still seem edgy and have possibly been tweaked that way too. You have the originals in any case don't you? They're really worth hanging on to if they sound good. In all honesty, from Stella, there isn't a great problem. (Well up to Flag in any case) Trouble is, for generations who haven't heard this stuff, there's not a lot of option. Shame isn't it? Trouble with electronic music is that so much depends on the quality of the sound since that's exactly where the impact comes from. Luckilly with Yello though, the composition quality and the way it's put together with the aural clues from earlier make them good listening. Down to engineers again eh? They always know best and you can't trust them!!!! Actually now it's been pointed out, I'll have a re-listen for it. I tend to get a little tied up with the music rather than the engineering unless it intrudes terribly. I remember one of them showed poor balancing and you could actually hear the fader being pulled down while something was playing - I did mention it in one post. I'm a bit pushed for time 'cos I'm off again myself on Friday for a week playing some good old electro myself. I don't enjoy being away from home if I'm honest, but hey ... it's money and therefore my next amp! I don't know if you have the two recent recordings Alex. I'd be interested to know if the studio hum exists on the original or whether some deaf aid put it there later!!!! Ian
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Post by Deleted on Apr 6, 2010 22:14:46 GMT
Ian No, I don't have the orïginals, only "Touch" My taste in music has changed quite a bit since they were originally released. I may have been turned off much decent material originally due to what radio stations did to it . The "loudness wars" wasn't just restricted to CDs ! What really pissed me off was how good FM stereo was, and the fabulous quality music played non stop during the initial test transmission phases, before the FM stations tried to make their station the loudest on the FM band. The crappy distorted portables of some work mates back then didn't help either. Australia was a relatively late starter with FM broadcasting, so to relax before starting work on afternoon or night shift, I often used to tune in to the TV test transmissions from the ABC before regular scheduled programming started. This was from a TV station in Canberra, several hundred KM away. Despite being in mono, the audio was very good back then. Alex
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Post by PinkFloyd on Apr 6, 2010 23:32:19 GMT
Yello "Flag" was my de facto reference recording (back in the day).... every single Hi-Fi shop on Tottenham Court Road (London) was using "The Race" to demo their gear.... "The Race" was a must have.... totally unique to anything that had gone before it and PURE class. Flag... as an album..... is a "moment in time" for me, a time where I was seeking musical perfection (from a stereo system) and a time where I was seeking "meaning" from the music..... "Flag gave me both. The utter "dross" that was the 80's music scene did nothing for me..... Yello stood out as something truly special and I latched onto their "UNIQUE" style bigtime..... FLAG just took me "there" (and still does)...... My mates thought I was"mad" listening to "shit" music like Yello / Pink Floyd / Santana / Kraftwerk / Mike Oldfield and told me I "should" be listening to stuff like "Duran Duran, Thomas Dolby, The Thompson Twins....... Argh! NO WAY...... total SHIT IMO..... YELLO, to me, are total "class" and crap all over the "wanabees" from a GREAT height both technically and sonically. Ooooooooh YEAH! www.yello.com/!
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Post by Deleted on Apr 7, 2010 6:49:01 GMT
Poor Thomas. Mr Flat Earth member no. 1. I quite like his sense of humour. He appears all over the place - played for Bowie in the Live Aid concert and no-one noticed!!
I have a soft spot for Mr Robertson. He's a really approachable and friendly guy.
Ian
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Post by Deleted on Apr 7, 2010 11:23:56 GMT
ZebraFor non-Yello fans or just casual listeners, I would say that this album is a nice easy listen. It's well produced and is more commercial sounding than a lot of previous stuff. Very polished. Experimental stuff is not investigated too much here and the soundscapes seem to have taken a back seat with this album. It doesn't seem to be as adventurous as past work but is a nice listen. Suite 909 A Santana like opening on the organ with an ostinato and then electronic percussion. Real kit comes in with a ‘disco’ type beat, backwards cymbal. Lots of ‘drip’ sounds. There is a repeated bass note on a synth under the mono-tone melody. Some really nice detuned synth stuff between verses. A lonely synth melody, repeated in octaves links vocal sections together. On the third repeat, doubled with voices as well and a flute doubling the bass ostinato. Some great ‘pingy’ noises used as percussion. There is an instrumental sound with distorted organ (almost Deep Purple like in the way it’s played) The synth melody returns and the flute plays the ostinato pattern again while the syhtn melody is going on above. This piece is based on a kind of ‘drone’ idea. (One chord) The flute ostinato is replaced by a glockenspiel sound with a fat pad synth sound and Dieter speaking. How HowBass ostinato with sax riffs. Dieter singing in his ‘comedy’ type voice – a mono-tone that changes pitch like speech. Very strong (synth) sax presence. A new section introduces a kind of ‘bubbly’ bass line before the next verse. These sax sounds are really accurate. Night TrainTrain sounds with an announcer and an organ pattern. There is a strong disco bass beat and the repeated pattern type stuff that Yello often use in the bass. Also the dramatic ‘choir’ sound that they use above melodies. Some drones on strings separate the verses from the instrumental on guitar with choir above. All through this number, you hear train sound samples inserted. There is a lovely string melody that is developed in the next section that leads us to the end. Do ItStarts with manic voices shouting ‘Do It!!’ and then the organ starts a riff and a strong disco beat starts up with Dieter’s voice. The ‘Do it!’ stuff becomes a link between sections. Some really deep bass stuff on this track. The vocal samples are joined together brilliantly just before the drumming section and during. Interesting that you end up not remembering any tunes from the vocals, but you remember the organ riff easily!! I... I'm in LoveWind sounds with a rhythm and bass. This kind of reminds me of Santana in style until those Yello style of vocals come in. This one wanders through keys before returning back to the tonic for ‘I’m in Love’. A guitar solo links to the next verse. I love the way that the rhythm is just taken out of the mix for a bar. It kind of emphasizes what they’re saying. The Latin American instruments are floating around in the back of the mix and they become more prominent towards the end. S.A.X.Great samples at the start used as the basis of a rhythm. Creepy string melody with a deep bass and electronic sounds before the sax plays a riff. The others join in 5ths and then it pauses for a bar and a comic utterance. (sampled) The saxes play as an ensemble and they are answered by voices. A drum section and a lone synth before the voices join in and the percussion. Again, there is a lot of start/stop stuff with the rhythms. (A bit like an engineer playing around on a sound board, except they’re playing it) Fat CrySampled sounds begin this track before we get some pad sounds and a rhythm. Some really deep bass notes. Very deep sounding vocals, with a bass riff and very strong downbeat on a bass drum. Shakes the walls. Dieter starts to tell a story which is then commented on in the chorus/hook. Some nice counter-melody stuff on low guitar. It almost turns to reggae and then this X-Files type sound plays a melody. (Like a whistle) Some great bass sounds on this next with a dramatic lower string link. Tremendous PainLow sythn sound with wind noises and a repeated bass line and an organ pattern above. Clicks on the off beat. Then a strong kit rhythm kicks in just after the vocals enter. This piece sounds tense and driven although it’s slow. Some lovely sampled bell sounds are used as a link – they play a melody!! A guitar riff joins verse two. (Beautifully placed in the stereo image) Really well recorded kit sounds. Move Dance Be BornOpens with a simple statement which is then accentuated with a punctuated rhythm and a bluesy synth asnswer. Really fast rapping from Dieter. The rhythm eases off and then starts up again with various (comical) samples. Dieter’s rapped twice so his two voices are in unison!! It’s one of those pieces based on a drone note with samples and riffs planted over the top. The mix is then altered to change the texture. There are some off beat slamming door samples and low tom tom rhythms along with all kinds of sounds added to the mix at different points. The music crescendos and decrescendos all through so although it’s based on a drone note, it keeps your interest with the different sounds within the mix coming and going. The PremixA bass pattern and a solid crotchet beat bass drum with semi-quavers over the top. Sounds introduced and then a sax riff. A ‘double’ slow rap. (Dieter recorded twice in unison) A driving bass guitar riff with an organ pattern above plus samples and the next verse builds again. Actually notice that the bass riff gets kind of broken up and played by two sounds at one point. Poom ShankaInsect/bird sounds and an Arabian type of sound with a pad sythn and a string instrument. This seems to be a new idea in the Yello repertoire. A tabla tyle of drumming with this solo instrument and a shaker on the left. An organ joins the mix with choral sounds in the background. Sitar sounds and samples. The piece builds and then a drone fades away with the wind. www.youtube.com/watch?v=Fba5VCZ4S2owww.youtube.com/watch?v=eTBen3SXMxQ
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Post by Deleted on Apr 7, 2010 20:34:53 GMT
Too right! I was also in the trade when this was first about, a real demo dream. A customer actually recommended to me as he heard it at another dealer, I still have that same copy!. It was this, Joe Satriani, Al de Meola and Edie Brikel (and some others but they slip my mind at the mo) that I discovered along with my favourite amplification.
Ian,
I can stop holding my breath now! Your Flag description puts the rest on the map for me now, whether that be positive or negative for each album. Well done and thanks for such in depth and accessible write ups.
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Post by Deleted on Apr 7, 2010 20:56:31 GMT
Ian, I can stop holding my breath now! Your Flag description puts the rest on the map for me now, whether that be positive or negative for each album. Well done and thanks for such in depth and accessible write ups. Thanks Chris. I was trying to show the band's development culminating in the real 'focus' of the strong points in this one album which has a massive deal of development behind it. I was trying to see the 'whole' not just individual songs/albums. I tried to be kind of detached in what I was writing so that it shows the patterns that started to form and was hoping that other guys on here would pop in with the emotive stuff, but it's remained pretty quiet so I assumed that a lot of people aren't that familiar with their early stuff. The only guy that popped in was Mike!!! He rightly pulled me up on one that I think in retrospect, I did down because I felt personally, that it's a kind of calm before the storm and there are some things in that particular album that veer away from earlier ideas, but Flag snaps back into focus. As listeners, we tend to listen to an album (as we did at the time) and make a snap decision as to whether it's a good album or not with not regard to the journey. In my mind, there's absolutely no doubt that Yello went on a journey and your respect for them grows and deepens once you see/hear it in their work. (Most good bands go through this imo) Very often, it involves them fighting with the old chestnut commercialism/experimentation and basically cherry picking the best ideas. Flag was the pinnicale both musically and technically but with Yello, there's more to come I think. (Although those elements I tried to highlight remain) It became so popular as well, that we tend to not listen as closely nowadays but I think it's an electronic masterpiece. I'll continue on but there'll be a break 'cos I have to do some travelling myself. (I hate it!!!!) I hope that some guys get in and start some bargy over what's crap and what's not!! Maybe some fellas have now bought some albums and they'll start having a chat eh? Thanks for the feet ..... they arrived today. Absolutely perfect Chris!! No sliding Bravos any more. Ian
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Post by Deleted on Apr 8, 2010 16:08:15 GMT
Pocket Universe - 1997 For me, this is another of those albums that makes you wonder what they’re up to musically. The album seems reflective, moody and asking questions about the universe and why we’re all here. Almost like a mid-life crisis. The album has been designed to link as a whole, more like a concept but for me, a lot of it relies on heavy use of drone and one note rhythms with added disco beats. There is the return of some soundscape/orchestral stuff here but there is a lot of this ‘disco’ type beat stuff which for me comes to life on Resistor- for me, the best track on the album because it really drives. The album is well recorded and sounds are spaced out nicely. Yello seem to have lost a lot of their humour in this though and it feels as though a change is on the way to me. Guitar sounds have in effect gone from the mix. This album also had a lot of ‘cooks’ working on it – 4 producers including Dieter and Boris!! A pocket universe is supposed to be a piece of space that is supposed to be attached to a larger piece of space. They are called ‘pockets’ but can be big enough to contain a whole solar system. I suppose, the idea of having a section of space that it a part of the whole. It’s a science fiction thing and as such, is one of the things that interested a lot of Electro musicians in the UK as well. Solar DriftwoodAn inverted pedal on a string sound with choral sounds in the background while Dieter delivers a dramatic speech. Very orchestral and film like track. After he says, ‘the next inevitable big band’, there is a really dramatic pause and a distant crack of thunder which links us to … CelsiusThis starts with a low drone just after the thunder and we hear the harmonics of that note being filtered through the sound. A repeated bass note joins in with wheezing strings before we hear the drum beat superimposed on top of the rhythm that the drones make. Mens voices shouting followed by samples that have been electronically manipulated. One guy then leads the vocals with a kind of left/right stereo chant. He’s accompanied by percussion with congas now put into the mix. Vocal ‘rhythm’ noises. The whole piece seems to be based on the drone note with the strings ‘wheezing’ a semi-tone higher which brings tension into the sound. A lovely bass synthesiser riff appears and everything stops for it. There is a high synth melody in the background and some ‘wah wah’ sounds which lead us back into the rhythm even strong. The wheezing strings stay and sounds from the start come in and out of the mix. Basically a ‘rhythmic’ drone with no sung or spoken vocals and samples. MoreThis starts with female voices speaking very quietly and a bass repeating note with another higher sound above. Then a dance beat starts with each bar finishing with a strange, low ‘strangled chicken’ sound. Dieter does a mono-tone verse with various samples and the mix is altered by subtracting/adding sounds. (As in a lot of disco music) Again this is based on a drone type idea with the mix being manipulated to create interest. The middle section introduces some new sounds by subtracting stuff from the mix and adding new samples, but to me, it’s basically a disco type mix. It finishes with the female whispered voices. It links seamlessly with …. On TrackDrones and train noises, with choir sounds. Dieter talks about ‘life arriving like days on a train. Cities rush by like ghosts in the night’. This is very film like in sound. A great bass synth riff starts up (Almost Jean Michelle Jarre like) and a disco beat. Dieter does another of those amazing fast raps on one note. This is answered by a synth melody and another higher ostinato on the left joins in. There’s a break from the disco rhythm with samples faded in and chords on the organ followed by another verse. I have no idea how Dieter does this fast rap trick – quite amazing. A station announcer appears with some chords and the riff before we hear the synth melody and Dieter talking about the ‘rhythm of wheels and time drifting away’. A synth ‘cello line plays under some high notes and train noises are faded in. This links seamlessly to MonolythA drone with a flute melody that sounds very closely like Debussy. A choir sings a ‘religious’ sounding melody and the flute repeats its melody. Drones and bells are going on in the mix and then Dieter (I presume) leads the chant. A very low sung voice that is answered by the choir. It’s very dramatic and just sung over a drone with bell sounds. Low booms and a lone melody plays over the drone and chanting. Some ‘woody’ sounding percussion start followed by some more drums and the flute melody. Gradually the texture is thickened with the addition with synth pad sounds and then the congas plus a new melody. It fades and we’re left with a muffled rhythm, a synth and a really low growling voice with some weird pitch bend effect for good measure. Chanting over the new texture – almost religious. More percussion join the mix and the flute repeats its melody. It gradually fades away to sea sounds and seagulls with high, sustained notes on synth. This links seamlessly to … To the SeaA nice, fruity bass pattern with pad sounds over the top. The sound wafts left to right quite strongly. The rhythm then becomes more prominent and we get female vocals over the bass pattern, pad sounds and rhythms. This is based on two alternating chords and is slightly disconcerting with strange sounds and the alternating chords. The drums are a mix of real and electric. Very exposed for the singer. Lots of space in the sound. MagneticThis starts as though it’s going to be dramatic with low sounds and dark drum sounds with a pad sound floating over the top with some strange chords. Latin percussion appear but it’s all very low key before the ‘disco’ bass drum appears and the spoken voice over pad sounds. A beautiful bass ostinato appears which starts to liven things up and then everything stops, leaving this pattern as the basis of the next section, which seems a bit more driven. A great rhythm is built up gradually and then the congas are added while Dieter continues his speaking. It’s a bass pedal again, with chords planted over the top. There is a curious section where Dieter’s voice has been sampled and then manipulated before the rhythm returns again. (Almost like they’re inventing new words by altering the length of vowels in the sample) Sideband samples appear (radio voices) and the bass changes to something a bit more ominous. These sounds take you into …. Liquid Mountain‘Fluid’ sounds and more like soundscape stuff of earlier. A low growling voice makes an appearance with bass stabs and his voice is manipulated to hold at the end like a drone. This links directly to …. Pan BlueDieter is growling as well as singing – this can make the voice seem an octave lower than it really is and was used by Stockhausen in ‘Schtimmung’. (amongst loads of other things.) A dramatic pedal keeps repeating while a string melody plays up top with choral sounds. A bass riff starts up after a growl and some ‘disco’ type organ chords followed by the strong ‘disco’ beat and Dieter continues his growling with this backing. Over this, he speaks some lyrics. It stops and there is a section with no rhythm but a repeating synth. pattern that is taken up by the vocals as well. The disco beat comes back with avengeance and then a bass melody is answered by choral sounds, chanting and growls. This reminds me of some of the linking passages that Pink Floyd wrote like … ‘The running in DSOTM. Back to the disco beat and bass melody answered by chorus. This number links directly to ….. ResistorIt has the time tone, a drone, and a dramatic organ sound as an intro, right into the main part of the piece. This one gets me every time I hear it. It’s dramatic, thumping and like they really go for it. Thumping bass sounds, very heavily hit bass drum, shouting, speaking and relentless. I love the ‘scream link’ – it’s absolutely manic. A synth melody above repeated bass notes and an off beat chord at the end of each bar. This shakes the walls. Like disco music turned nasty!! Crowd noises with a lone off beat bass note and a bass drum. Low vocal notes and a synth above with an announcement as to ‘why we’re all hear on the planet!’ Manic scream back to the heavy beat and disco type stuff. I find this gripping and somehow quite a crude type of sound; even incorporating tribal chant. Vocal percussion start the beat up again – call and response stuff with a leader and crowd. Back to that serious disco beat. Beyond MirrorsA soundscape start that goes very deep with a speech above about the ‘age of science failing.’ Lots of swooping sounds behind Dieter’s speech about us sitting on a piece of ‘solar driftwood floating in space.’ He starts to talk about magic and the sounds behind are illustrating what he’s saying. It reminds me of ‘War of the Worlds’ actually. There is an emotive ‘Spanish’ type melody behind Dieter – It really reminds me of the Guitar concerto by Rodrigez. This has an eerie, moving quality about it. The church organ is a really moving sound and works well with the strange electronic sound and choir while Dieter continues. An electronic oboe continues a strange melody. Some dramatic string stuff makes the whole thing sound like we’re done for!!! The music is very closely tied to what Dieter is saying – he is a bit controversial about what he’s saying in this passage actually. He ends with the dramatic statement that the universe is Magic!! The electronic orchestra illustrate their feelings on this – a great tinge of sadness. www.youtube.com/watch?v=Sn3rvb0dkQEIan
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Post by Deleted on Apr 10, 2010 20:23:15 GMT
Thank you Ian, you have me hooked, i had ONE, now i have SIX YELLO cd`s and i LOVE them all, in fact i have just ordered the last 3 of the range that Amazon do. Like i said, the best PR man Yello ever had. Great stuff.
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Post by PinkFloyd on Apr 10, 2010 22:22:09 GMT
Thank you Ian, you have me hooked, i had ONE, now i have SIX YELLO cd`s and i LOVE them all, in fact i have just ordered the last 3 of the range that Amazon do. Like i said, the best PR man Yello ever had. Great stuff. You've got a great journey ahead Mick..... "every" Yello album is a "creeper" and you can listen again and again and get a different insight every time. Enjoy the music mate. Mike.
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Post by Deleted on Apr 10, 2010 22:45:31 GMT
I am Mike, these guys are a CLASS ACT, superb.
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Post by Deleted on Apr 10, 2010 23:16:00 GMT
Have to agree Mick. My brother-in-law is always a fan and would play a few tracks but I never saw the point. I normally like many types of music but almost always there is a story in the song. Ian's insightful posts made me think a bit more about the music, mind you, I had to Google to see what a riff was The by-product of that is I notice them used in a lot of different music. I'm with you in the collection stakes, I have now got 1-3, 5 and 6 in the Remaster Series and a used original of Stella. I'll take my time and play them over a few times then reread Ian's posts whist playing. Only done that so far with Solid Pleasure. Keep the 'lessons' coming Ian, they're really appreciated Syd
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Post by toad on Apr 13, 2010 10:24:12 GMT
I've been listening to Stella for the last couple of days and I'm loving it. I'm still awaiting the arrival of Flag so bonus points to Amazon on their quick delivery.
Alex you needn't worry about the re-masters (well Stella at least) they are done by Yello themselves and peak at about 96% or 97% so they are loud but not compressed. Stella is an excellent recording in all respects.
Ian
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Post by Deleted on Apr 13, 2010 11:26:58 GMT
I've been listening to Stella for the last couple of days and I'm loving it. I'm still awaiting the arrival of Flag so bonus points to Amazon on their quick delivery. Alex you needn't worry about the re-masters (well Stella at least) they are done by Yello themselves and peak at about 96% or 97% so they are loud but not compressed. Stella is an excellent recording in all respects. Ian Ian Thanks I will check out Stella Alex P.S. I hope you can open .pps files ?
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Post by Deleted on Apr 25, 2010 17:28:20 GMT
Motion Picture – 1999 This album sounds kind of minimalist to me. There is a lot of one chord and two chord stuff while improvisation goes on above. I like this album because it feels a little more experimental with the use of percussive vocal sounds, drones, disco-type beats and mixing and some really dramatic sounds including DEEP bass riffs and pure percussive effects. I’m not sure that this album did particularly well at the time, but I feel it’s one of those albums that grows with time and it is superbly recorded too. This album will rattle the walls of your house. Get OnBig pad sounds with a fat repeated bass line after the intro. Dieter sings a low mono-tone over a repeating bass note with a catch hook. This recording goes deep down into the bass. Quite a low key opening number based on a repeating motif and a kind of low, whistling counter-melody on a synth. This recording has a gorgeous sound that truly rattles the walls. The whole song is based on just one chord. HoudiniA congo and ‘rubber band’ type sound intro on the synth. A fast bass riff which builds and changes timbre (sound) in the mix. There are two verse and this time, the vocals are based on three notes. After the vocals finish there is an electronic instrumental link and then it continues with congas coming in and a lovely low electronic ‘cello solo sound over the riff with sounds fading in and out. Great hand percussion on congas and assorted percussion. The mix continually changes and the texture changes into percussion only (Virtually) and we hear another three note verse. Gradually pitched sounds come in to the mix. At the end of the vocals, there’s a strange long note held sound which links to another verse with added replies from various sounds. Prisoner of His MindElectronic percussion sounds and a really low bass sound. An organ riff with beautifully clear percussion rhythms and electronic sounds. We’re back to mono-tone vocals here with two chords on the organ. (Some jazz chords actually – 9ths) There’s a chromatic falling sound (a bit like James Bond) The mix alters really fast while the vocals are given in a relaxed delivery. Like a DJ mix. The bass thuds are again, very deep. The percussion is a combination of real and synthesized sounds. Distant MirrorA soundscape-type opening. Left and right sweeps and then this three note motif with an echo effect. A bass rhythm and then an electronic percussion sound playing a Latin American type triangle rhythm. (It sounds almost like an insect sound though) Lots of sweeping sounds and use of pitch bend on synths. Again, the mix is altered to provide plenty of contrast in sounds, like a DJ mix. Rhythms stop and start and sounds float in and out of the mix. It’s almost polytonal actually. (Two keys being played at the same time, which gives it a kind of ‘lost’ feeling) Really good samples inside – like church bells (or tubular bells) No real melody in this piece, just the three note repeating motif. It’s almost minimalistic in its approach – minimal material with interest being created by altering the mix. Time FreezeDramatic opening riff in the bass and rock based rhythm. The mono-tone verse from Dieter over this really deep bass. Two organ chords keep answering Dieter. 9it reminds me of the two chords used in ‘So What’ by Miles Davis) This is based on one chord with a riff. There is a break where the drums stop and when the bass riff returns, boy is this powerful with an electric piano over the top playing like a jazz solo. On a later verse, there is a little counter melody in the back behind the voice that almost floats somewhere in the centre of the stereo. Then an organ solo with the riff and assorted sounds floating around. It finishes with a jazz chord too. Croissant BleuA riff is set up with pad sounds and Dieter speaks in French. Very strong bass drum beat with a great hook – in French but meaning ‘when I’m with you, I’m lost, just a fool’. It has this warbling instrumental sound which I think is an attempt at trying to produce the ‘flavour’ of an accordion. ‘Aah’ vocal chord sounds in the background on a sampler/synth. Liquid LiesThunder introduces this and a riff full of character. Dieter sings a mono-tone but he has superimposed himself an octave higher. Again, really heavy bass led music. In the second verse, the bass is left down below and it goes REALLY deep. It has a kind of swing rhythm played on drums with brushes so there is this influence of ‘jazz’ style again in this album. This is a good test for speakers/headphones in following a deep bass riff in quite a busy mix. It’s actually played in octaves down there at some points I think. A synth also doubles it at other points. Squeeze PleasePercussion intro and samples of voice that have been cut so that they become part of the percussion. A great electronic sax riff with Dieter in fine form. I think his voice has been manipulated to be lower since it is SO low. (Like a growl) It kind of reminds you of the Race in the orchestration. Saxes, Latin American percussion, deep bass, brass riffs, samples in and out with plenty of percussion action – in fact, if you imagine the car racing sounds, you can hear how close this is. I really like this track and the Yello sense of humour is a bit more to the front. Shake and ShiverAn electronic sequenced opening with a fast percussion rhythm. Vocal samples and then the riff starts in earnest. A whistling synth answer to the samples. The chorus is hilarious – ‘Shake and Shiver, - an electronic accordion sound that moves in the left and right stereo image, panting, a massive bass tiff and an instrument that makes an Ooh Ooh sound. Then the Miami theme on brass with a detuned instrument playing in the right speaker. There is a sequence with cut up samples of voice sounds. I love the ‘Hawai Five O’ type brass theme in this that’s used as a link to the hook. Miami vice type stuff. Bubbling UnderVocal percussion. (sampled) A repeated electronic note and a bass line added. The mix is gradually built up. Even a wobble board in this if you’re quick. (Electronic – Think Rolf Harris) Strong beats with a mono-tone fast rap, but it’s in the background rather than to the front of the mix. Again, this really deep bass drum beat that rattles your teeth. Some jazz sequences are added later against this background of bass, drums and riffs with samples, including those vocal percussion sounds. (including raspberries!!) The sense of humour has returned!! Rhythmically fantastic. You just can’t help turning this up. Point BlankA swing number with eerie sounds fading in and string noises. The bass is extremely low. So low, I found it hard to track. It rumbles away while the swing is going on above with these weird chords on strings and percussion fills. Once the mix settles, you can actually hear that bass line more clearly. Some of the samples are used in other albums if you listen carefully and actually know their other albums. The ‘So What’ chord sequence returns on the organ with all kinds of sounds coming and going around it. This is kind of using Jazz idioms inside the electronic mix and the Yello percussion style. It also includes really dramatic changes of sound. In a way, it reminds me of John Zorn soundscapes stuff where he used to go from one style and then suddenly launch into another. No melodies. Just rhythms and sounds mixed together. Very complex. CyclopsHigh string sounds and rumbles with a choir singing at the start. Some electronic screams with the choir wailing away. The string sounds wheeze away and eventually, it settles into a kind of pattern which is cleared of percussion to leave the strings and choir. It sounds very film-like and dramatic. A beat start up and the piece settles into a kind of ‘drone’ and then more space is left with the kit taken out again before it all starts up again. Very orchestral. This is an unusual (and bold) album. Rhythmically complex with some challenging mixes. Very deep bass lines and minimalist (almost) writing. Songs that use few chords and some that are totally riff based with no particular melodies, leaving you with complex mixes of rhythms. I really like this album and the quality of the recording is absolutely top notch. Worth getting imo. Anyone bought an album not heard before by Yello? What do you reckon? Ian
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toad
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Post by toad on Apr 27, 2010 11:12:00 GMT
I must say I'm absolutely loving this stuff, both Ian's reviews and listening to the several Yello albums I now own.
All of them are excellent recordings and fascinating listens. More like a journey into the music rather than mere tracks. You just can't help but tap your feet or even do a bit of air drumming to this stuff. The music is infectious...
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Post by Deleted on Apr 27, 2010 16:03:09 GMT
I must say I'm absolutely loving this stuff, both Ian's reviews and listening to the several Yello albums I now own. All of them are excellent recordings and fascinating listens. More like a journey into the music rather than mere tracks. You just can't help but tap your feet or even do a bit of air drumming to this stuff. The music is infectious... Thanks Ian, I was starting to wonder if anyone was reading/using this. I try to take an overall view of the band and its development (if they're a good band) so that you can take when it came out etc into consideration when listening. That way, you get a better understanding of what's going on and so a deeper appreciation of the music itself. (Let alone the recording technology of the time) Also, it stops you listening to the gear and gets you to focus on music which is what it's all about really. I love Yello's music, but I don't just have a 'blanket' fanboy approach. I try to analyse what they're doing and if I can work it out - why? The music makes more sense then. I was an early fan of Yello and it led me to look at other things such as Holger Hiller in the 80's I think it was. He was a kind of 'Sampler' pioneer but way out of mainstream music. He was using a sampler in such a new way and many of his little experiments appear in other electronic music alongside all of the quoted influences like Kraftwerk. (of course) We all know about them but there are others hiding down below who never got recognition for their work imo. Yello are absolute masters of sampling technology combined with that 'disco' type of mixing where you take stuff in and out of the mix rapidly so the texture of the music becomes the main focus of interest rather than the melody. Music without melodies can be very difficult for non-musical people to accept and so early adopters tend to shorten those types of things. For instance, Led Zepellin in 'Whole Lotta Love' did a kind of electronic soundscape in the middle of the song with the vocals screaming and shouting all over the place, but it was still within the context of a riff based motif idea and the soundscape appears later, only to be taken over with the guitar answering those bass stabs before returning to the famous riff. That's the bit everyone knows, not the unusual stuff. Then you have to ask yourself, why did they put that passage in the middle of that song? (If it wouldn't be received all that well?) With Zep, they seemed to progress through each album following the beautiful first one which is pretty conventional with Rhythm and Blues all over it ... they wandered off and with the third album, wandered off again and then the 4th ... a return to roots with more experience behind it and so on. That's why Zep were also a great band. I heard the first performance of 'Stairway to Heaven' in the BBC. We were absolutely gobsmacked. A LONG song with so much development going on. It slowly speeds up as well but that was another biggy. Yello also went through a lot of development. For me, I think there are three stages with what I call two 'link' albums between the changes. By 'link', I mean an album that seems to stand out because something seems very different. (As in the album that didn't particularly use a lot of Dieter which for me changed Yelllo's character, but retained Boris' work) Also, Boris is the hard worker whereas Dieter is rich and a bit laid back. he doesn't like sitting in a studio and isn't quite as fanatical about getting things right like Boris. However, take him out of the mix and you do get another thing. As long as you step back and don't get your knickers in a twist about your favourite band, it can be really fascinating and worthwhile. Doing your own little private study for instance concerning a particular band through the MUSIC and not their lives. You build a better library for yourself that way with a true appreciation. Also, I hope I'm not boring the bejaysus out of people, but a lot of these music recommendation areas on these sites don't really get used very well.... just recommending the latest album or someone's favourite song or whatever. I think Hii Fi people need to get into music a bit more. For me, it's backwards. I'm just getting into Hi Fi. I've been too wrapped up in music. I suppose in the past, I've tended not to worry that much and it's only people like Mike, Frans, Alex and Miguel and Rick (Way back) that have got me started on this incredible audio journey again since I could buy anything I wanted really. These guys don't realise how many 'hidden' readers they have and I was avid for a long time before I even dared appear on head-fi let alone here because it's more contained so you're more exposed. However, I've learned to listen now to the gear as well as the music and I've found out (painfully) that I have wasted a lot of money, presuming something is good, when in fact it's not as good as I first thought and that there are other choices of equipment that really do enhance my own appreciation of recorded sound in a massive way. Yello started it for me. I had to get a decent sounding kit to listen to them. It was begging for it!!! Ian
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Post by Deleted on Apr 27, 2010 16:25:19 GMT
I must say I'm absolutely loving this stuff, both Ian's reviews and listening to the several Yello albums I now own. All of them are excellent recordings and fascinating listens. More like a journey into the music rather than mere tracks. You just can't help but tap your feet or even do a bit of air drumming to this stuff. The music is infectious... Yes me too Ian, reading with great interest, and it will not be long before i have all there Albums which are obtainable, keep up the good work, its very interesting with VERY accurate descriptions of the album tracks, GREAT STUFF
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Post by Deleted on Apr 27, 2010 16:41:55 GMT
Mick, I hope you're well.
You never moan or mention it, but I hope you're OK now. You've been busy with the rings etc., but shouldn't you be taking it easy?
You know, I think I was playing around with a cartridge that you had something to do with way back.....
Ian
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Post by Deleted on Apr 27, 2010 18:32:15 GMT
Mick, I hope you're well. You never moan or mention it, but I hope you're OK now. You've been busy with the rings etc., but shouldn't you be taking it easy? You know, I think I was playing around with a cartridge that you had something to do with way back..... Ian Hi Ian, good to see you back, yes i am doing ok thanks, 60 this year, mind is willing but body struggles a bit now, but so long as the sheets are dry when i get out of bed in the morning, and i can reach my feet to get my own socks on i am happy, no grumbles there`s many worse off. Seriously you are doing a great job on this thread, much time and effort on your part i know, but very much appreciated by myself, and other Ian and Syd to name but a few. Yes i made "a few" metal bodied Nagoaka cartridges, branded the Stilton Nagoaka at the time, till demand got to high, and sleep was down to 3-4 hrs a day, it was time to move them on. I have other Ian`s Novo, which came today, initial impressions are very favourable, but i also have my Mikes moded V-CAN, which came yesterday, and Neco`s mosfet V2, so will be trying to do a comparison between the 3 over the next week, (there all VERY GOOD) before passing the Novo on to you, and the other two also if you would like to try those in a group test as i am doing. Take care. Mick.
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Post by Deleted on Apr 27, 2010 18:49:48 GMT
Mick, I hope you're well. You never moan or mention it, but I hope you're OK now. You've been busy with the rings etc., but shouldn't you be taking it easy? You know, I think I was playing around with a cartridge that you had something to do with way back..... Ian Hi Ian, good to see you back, yes i am doing ok thanks, 60 this year, mind is willing but body struggles a bit now, but so long as the sheets are dry when i get out of bed in the morning, and i can reach my feet to get my own socks on i am happy, no grumbles there`s many worse off. Seriously you are doing a great job on this thread, much time and effort on your part i know, but very much appreciated by myself, and other Ian and Syd to name but a few. Yes i made "a few" metal bodied Nagoaka cartridges, branded the Stilton Nagoaka at the time, till demand got to high, and sleep was down to 3-4 hrs a day, it was time to move them on. I have other Ian`s Novo, which came today, initial impressions are very favourable, but i also have my Mikes moded V-CAN, which came yesterday, and Neco`s mosfet V2, so will be trying to do a comparison between the 3 over the next week, (there all VERY GOOD) before passing the Novo on to you, and the other two also if you would like to try those in a group test as i am doing. Take care. Mick. I thought so!! I was one of the customers keeping you awake. They were amazingly good. I've been having fun with the Neco portable. Very good. A V1 is on its way and I think Mike may be sending a Novo for me to have a listen to. I've kind of got addicted to the V2. The funny thing is I'm comparing it with a portable, which shows how good the Neco is. The little one doesn't have the weight of the V2 and little more top information, but I still go back to my baby V2 if I'm honest. The Neco is very good with the Senn HD650 and 600. (The V2 is a killer with them - especially HD600) Glad to see you're well. I'm not that far behind you (56) and I occasionally feel it nowadays. Especially running around which I hate really. It'll be interesting to see what you think with those amps. Ian
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toad
Been here a while!
I am the Super Toad, the Original Toad, the Whole Toad and nothing BUT the toad.... don't forget it!
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Post by toad on Apr 27, 2010 21:09:13 GMT
I was starting to wonder if anyone was reading/using this. I would have replied earlier in the week but I've been busy. Your efforts are very much appreciated by me Ian and as Mick says there are others like Syd and Mike. At the time of writing this thread had more than 650 views so people are definately interested.
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Post by Deleted on Apr 28, 2010 9:04:44 GMT
I'm still with the program I have learnt a lot about listening to music Ian, not just Yello and certainly before your posts I wouldn't have taken the time to try to 'get into' Yello. Now I find my ears open to a lot of other stuff as well. I was glad to see your first Yello review after your return as I thought they might die the death as a lot of things do after even a short enforced break. Your efforts are much appreciated and as Ian pointed out the read count indicates there are a lot of silent appreciators out there! Syd
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Post by Deleted on Apr 28, 2010 16:24:56 GMT
I'm still with the program I have learnt a lot about listening to music Ian, not just Yello and certainly before your posts I wouldn't have taken the time to try to 'get into' Yello. Now I find my ears open to a lot of other stuff as well. I was glad to see your first Yello review after your return as I thought they might die the death as a lot of things do after even a short enforced break. Your efforts are much appreciated and as Ian pointed out the read count indicates there are a lot of silent appreciators out there! Syd I love that!!! Made me laugh. 'I'm still with the programme'. Makes me feel like a mini professor!!! If it gets you listening to music that's really good. It may change how you regard other bands' work too perhaps. The Yello stuff sort of growns on you and you hear new subtleties in the mix each time you hear it. I'm glad you enjoyed it Syd. Maybe we'll all have all of the Yello albums now as a reference to judge equipment!!!! We can all listen to the same pieces to evaluate gear. At least we would all know what we're listening out for then. Ian
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