You Gotta Say Yes to Another Excess

You Gotta Say Yes to Another Excess
Studio album by Yello
Released June 1983
Genre Synthpop
Length 37:35
Label Elektra (original US release)
Mercury (1988 US reissue)
Stiff (original UK release)
Polydor (original French release)
Vertigo (Europe)
Producer Boris Blank
Yello chronology
Claro Que Si
(1981)
You Gotta Say Yes to Another Excess
(1983)
Stella
(1985)
Singles from You Gotta Say Yes to Another Excess
  1. "You Gotta Say Yes to Another Excess"
    Released: 22 October 1982
  2. "I Love You"
    Released: 30 May 1983
  3. "Heavy Whispers"
    Released: 1983
  4. "Lost Again"
    Released: 18 October 1983
  5. "Pumping Velvet"
    Released: 22 October 1983
Professional ratings
Review scores
SourceRating
Allmusic [1]

You Gotta Say Yes to Another Excess is Yello's third album and was released in 1983. It was the last Yello album to feature founding member Carlos Peron.

Track listing

  1. "I Love You" – 3:14
  2. "Lost Again" – 4:18
  3. "No More Words" – 3:58
  4. "Crash Dance" – 2:08
  5. "Great Mission" – 2:56
  6. "You Gotta Say Yes to Another Excess" – 2:08
  7. "Swing" – 3:26
  8. "Heavy Whispers" – 3:56
  9. "Smile on You" – 3:09
  10. "Pumping Velvet" – 3:18
  11. "Salut Mayoumba" – 4:40
  12. "Two Worlds" (bonus track on some cassette releases)

2005 reissue bonus tracks

  1. "Base for Alec" – 2:54
  2. "Rubber West" – 3:26
  3. "You Gotta Say Yes to Another Excess" (UK promo 12" version) – 4:44
  4. "Live at the Roxy NY Dec. 1983" – 3:41
  5. "Pumping Velvet" (12" mix) – 4:58
  6. "I Love You" (12" mix) – 5:14

Charts

Singles - The Official UK Singles Chart / Gallup (United Kingdom)

Year Single Chart Position
June 1983 "I Love You" The Official UK Singles Chart 41
November 1983 "Lost Again" The Official UK Singles Chart 73

Other

In 2006, South African ceramicist Elton Harding, translated the opening track 'I Love You' into a ceramic tactile sculpture. The entire song was mapped out onto a rectangular spiral, with each second of the track taking up 1cm. Samples were then represented by unique shapes allowing for the song to be 'read' either by sight or touch.

References


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