Label: Universal Music (Europe), 06024 9830756
Style: Synth Pop, Electro Pop, Techno Electronic
Country: Zurich, Switzerland
Time: 60:26
Format: Flac Tracks 16/44,1 kHz
Size: 411 Mb
WWhile
the "Bimbo" single on Ralph was the first Yello I had heard [on
community radio in Tampa], the first record I found out in the wilds and
bought was something else. It was easy enough back then to find the
Ralph pressing of "Claro Que Si." While I had a jones for hearing
"Bimbo," I am at least pragmatic and know when to be flexible. As it
turned out, "Claro Que Si" was a strong introduction to Yello. "Daily
Disco" got the album off to a rousing start with one of Yello’s dynamic
dance tracks as singer Deiter Meier vacillated between two vocal
characterizations to contrast with the flanged synths and jittery
sequencers of Boris Blank. This was a track that actually belonged in
its namesake; an early example of Yello’s club appeal, which was just
one side of a multifaceted branding at the time. As if the next song,
"No More Roger" didn’t make abundantly clear.
The band had traveled
from Switzerland to San Francisco to meet with prospective label Ralph
Records since they were fans of the idiosyncratic Residents. The trip
was a good thought since Ralph signed the band and issued their first
two albums. "No More Roger" sounded like little else out in the 1981
marketplace with roiling, liquid synths providing the melodrama
underneath Meier’s chorused, vocoder vocal. The stark melodrama of the
instrumental "Take It All" was a throwback to the queasy cinematic
landscapes of the debut album, which I had yet to hear when I got this,
but makes perfect sense here.
It served as a long introduction that
segued into "The Evening’s Young," which was the first Yello video I had
the pleasure of seeing brief clips of on cable TV somewhere. I was just
as taken by Meier’s cinematic eye [and penchant for lighting gels] as I
was with the electrifying music. "The Evening’s Young" posited a
fascinating portrait of a barfly questioning his redundant existence
while Boris Blank and the band created a driving, motorik psychedelia.
With the processed tapes of Carlos Peron adding mysterious textures and
the solid drumming of Beat Ash and guitar of Chico Hablas all folding
into the rich mix. At one point Hablas’ guitar attempted to try for a
Tom Scholz styled Boston riffage but Blanks synths stepped up to quickly
obliterate the guitar.
(full version: postpunkmonk.com/2021/07/21/claro-que-si-my-first-yello-album/)
01. Daily Disco (04:32)
02. No More Roger (03:17)
03. Take it All (01:40)
04. The Evening's Young (05:01)
05. She's Got a Gun (03:41)
06. Ballet Mecanique (03:41)
07. Ouad el Habib (03:22)
08. The Lorry (03:32)
09. Homer Hossa (05:14)
10. Pinball Cha Cha (03:37)
11. Tub Dub (01:45)
12. She's Got a Gun (live at the Palladium NY Sep. 1985) (04:02)
13. Daily Disco (1985 version) (04:05)
14. The Evening's Young (1985 version) (03:10)
15. Pinball Cha Cha (12' mix) (05:24)
16. Desire for Desire (04:15)
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