Like so many kids I grew up with, Yello was first introduced via the 1986 John Hughes classic, Ferris Bueller’s Day Off. It’s difficult, at least for me, to imagine Ferris gallivanting around scenic Chicago without the “chicka-chicka” pounding from Yello’s Oh Yeah. 1988’s release, Flag finds Dieter Meier and Boris Blank adopting their heavily produced, dance-tronic, belly-rubbin’, baby-making electro structure from their previous five albums (only two of which I have). So, nothing new, but still quality ear juice.

It’s difficult to shove Yello into one category. Many of you will say categories are for suckers and fans of Greatest Hits albums anyway, but when describing any band to someone who has never heard of them, it’s handy to be at least somewhat accurate with the broad, descriptive brush strokes. Here’s how I would describe them (probably incorrectly): If industrial and early 80s synth-pop had an illegitimate baby-child that grew up loving heavy percussion and smoked way too many cigarettes, but whose knowledge is endless and spans international waters, this magnificent beast would give out the best candy on Halloween and would go by the handle of Yello. Yeah, that’s close enough. Personally, I prefer 1983’s You Gotta Say Yes to Another Excess, but any Yello is good Yello as far as I’m concerned.