Yello – The Yello Metropolitan Mixdown 1989 Part 1

Standing at the machine every day for all my life I’m used to do it and I need it it’s the only thing I want it’s just a rush, push, cash….

I have never been a Yello fan (The Race and Oh Yeah was all I knew of their work up to this point) and I have absolutely no memory of buying this record. But I am extremely glad that I did.Yello Metropolitan Mixdown Part 1

As a connoissuer of the needlessly long 12″ single I must have been the core target market. Weighing in at a substantial 11 minutes long, Metropolitan Mixdown Part 1 was the b-side to Yello’s Of Course I’m Lying single, presented in a beautiful gatefold sleeve complete with cheeky photos of Dieter and Boris in their euro-finery and a space for that all important part 2 disc. I can only guess that it must have been one of those 99p specials to give it a nudge into the charts (storming to, err, number 27) that attracted me to it in the first instance. That and a chance to finally have Oh Yeah on vinyl. I never bought disc 2.

It’s bloody ace by the way. Pulling together The Race, Bostich, Call it Love, Santiago, Tied Up, Vicious Games, I Love You and Oh Yeah, this record is far more than the sum of its parts, most of which I had never heard before. Nothing outstays its welcome and it nips along at a fair old lick, brilliantly glued together by Paul Dakeyne for DMC.

I have no idea whether this was ever considered cool (Yello always seemed like Kraftwerk’s camp next door neighbour to me) but some of it sounds cool-ish. Or exotic at least.

Here it is. Don’t bother with part 2. It was massively disappointing in comparison.

Kraftwerk – Radioactivity (William Orbit Remix 1991)

Kraftwerk Radioactivity

William Orbit remix

Up until 1991, my experience of Kraftwerk had been regularly hearing The Model on the radio and (oddly) an edit of Autobahn on a Reader’s Digest compilation tape my Dad kept in his car.

The release of The Mix in 1991 changed all that. After a 5 year hiatus, during which Kraftwerk pretty much kept themselves to themselves, the release of The Mix was supposed to reassure the public that Kraftwerk were still active.

The album met with a mixed reception, mainly due to the lack of new material as it had been positioned as not-a-greatest-hits-compilation (which of course, it sort of is). Others pointed out the sterile sound, a problem more to do with Kraftwerk’s adoption of the fledgling digital technology of the time.

Nevertheless Kraftwerk saw it as an evolution of their work as they moved their Kling Klang studios into the digital age and The Mix demonstrated “where they were at” (or something).

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