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Highlighting in album tracklistings denotes 'contains Mellotron'. On 'multi-part' tracks I've tried to indicate which parts contain 'Tron, although this isn't always possible.
Ratings:
The * rating (½-5) is my personal, entirely subjective and completely partisan rating of the music.
The 'T' ('Tron, of course...) rating (0-5) is an only slightly more objective indicator of an album's Mellotronness.
By the way, if you know of any Mellotron albums that aren't listed here, please look at my albums page first! Thanks.
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Afghan Whigs Agamenón Agitation Free Ain Soph |
Air Airlord Airto Akasha |
Jan Akkerman/Kaz Lux Albatross Aleph Älgarnas Trädgård |
All About Eve Amazing Blondel Amazing Friendly Apple Ambrosia |
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Gentlemen (1993, 49.03) ***½/T |
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| If I Were Going Gentlemen Be Sweet Debonair When We Two Parted Fountain and Fairfax What Jail is Like My Curse |
Now You Know I Keep Coming Back Brother Woodrow/Closing Prayer |
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The Afghan Whigs started as one of legendary Seattle label Sub Pop's main attractions, later tempering their full-on proto-grunge with melody. Gentlemen is doubtless going to be one of those 'growers', with almost every track supporting Greg Dulli's ultra-personal lyrics (he couldn't even bring himself to sing My Curse, apparently, getting guest vocalist Marcy Mays to sing it). This man is in a lot of pain and, just for once, I'm not taking the piss.
Harold Chichester plays piano on most tracks, and although you can hear Barb Hunter's cello in several places, Chichester's Mellotron strings only finally surface in closing instrumental Brother Woodrow/Closing Prayer, sounding strained and screechy. Despite its apparent no-show on the rest of the album, a final string note is almost the last sound you hear, so; a damn' good album of its kind, but you're not all going to go for this stuff, and it really isn't worth it for the 'Tron, although that's no criticism of the frequently excellent music.
Official site (may no longer be current)
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Todos Ríen de Mi (1975, 36.18) ***/TTodos Ríen de MiAl Salir el Sol Please Little Man Happy Marriage, Eleanor Send Me Blow Up the Candle (Apaga la Vela) Cuco Go Fly (Cuco Te Vas) Happy Tuesday Wooden Tears I Need Money |
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I can't say I know an awful lot about Agamenón, a particularly obscure Spanish outfit from Madrid, although they were far more late-period psych than progressive. Todos Ríen de Mi is a reasonable album, but it sounds more like 1968 than 1975, and some of the male/female harmonies are painfully off, although it's partially redeemed by the acid-fried guitar work splattered across most of the tracks.
Not much Mellotron, to be honest, with faint strings on Blow Up The Candle (Apaga La Vela), leaving Happy Tuesday as the only 'Tron track proper, with a strident string part running through much of the song. So; OK, not great (apologies to those that love it), one good 'Tron track, that's your lot.
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2nd (1973, 41.33) ***½/½First CommunicationDialogue & Random Laila, part 1 Laila, part 2 In the Silence of the Morning Sunrise A Quiet Walk Haunted Island |
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Agitation Free grew up out of the Berlin scene in the late '60s, giving members away to several bands who went on to become better-known, including Ash Ra Tempel and Tangerine Dream. Their debut, Malesch, was heavily influenced by their recent Near-Eastern trip, while the material on the following year's 2nd was pieced together on several trips to France. Above all, this is a jamming record; all the pieces are obviously either direct improvs, or worked up from them, with the first four tracks (presumably the whole of side one) merging into one continuous piece.
Drummer Burghard Rausch adds a few rich Mellotron string chords near the beginning of closing jam Haunted Island, but you wouldn't exactly call it a 'Tron track, never mind album. Basically, if you're into the 'krautrock' ethos, or at least the gentler, jamming end of it, you'll probably like Agitation Free; they were obviously extremely good at what they did, and 2nd was a far more enjoyable listen than many similar albums to which I've been subjected. A cautious recommendation, then, though not for the 'Tron.
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A Story of Mysterious Forest (1980, 41.41) ****/T½ |
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| Crossfire Interlude I Natural Selection Variations on a Theme By Brian Smith A Story of Mysterious Forest Awakening Longing-With the Wind Mysterious Forest Passion |
Deep Sleep Darkness Dance Misfortune Mysterious Forest Awakening Interlude II |
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Ain Soph's debut album, A Story of Mysterious Forest, didn't actually contain their first recordings, just the first to be released. The material on both 1991's Ride on a Camel: Special Live (recorded when they were still known as Tenchi-Sozo) and '93's Mysterious Triangle: Special Live Volume Two dates from '76-'78, as may that on some of their other archive releases. They fall fairly and squarely into the 'Canterbury' area, with much jazzery in all departments, so fusion haters should probably stop right here.
A Story of... got their career off to a good start, with several inventive fusionesque pieces (and that from someone at best ambivalent to the genre), not to mention two beautiful solo acoustic guitar pieces in the two Interludes. Oddly enough, although side one is largely fusion, side two's title track is all-out Yes-ish symphonic progressive, with barely any jazziness at all, almost sounding like a different band. Masey Hattori's Mellotron strings work on both Variations On A Theme By Brian Smith and A Story Of Mysterious Forest itself is exemplary, as is all his keyboard work, although it seems strange to play 'jazz 'Tron' on one track, but not on the rest. Although I can only hear 'Tron on one part of the title track, it may be present elsewhere, along with the string synth that's present throughout most of the piece.
So; half fusion, half prog, some decent Mellotron work, though possibly not enough to make it worth buying on those grounds alone (and I know some of you would). Either way, recommended musically.
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Moon Safari (1998, 43.41) ***½/T |
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| La Femme d'Argent Sexy Boy All I Need Kelly, Watch the Stars Talisman Remember You Make it Easy Ce Matin La |
New Star in the Sky Le Voyage de Penelope |
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The Virgin Suicides (2000, 40.33) ****/TTTTT |
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| Playground Love Clouds Up Bathroom Girl Cemetary Party Dark Messages The Word 'Hurricane' Dirty Trip Highschool Lover |
Afternoon Sister Ghost Song Empty House Dead Bodies Suicide Underground |
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Air popped up in the late '90s, seemingly from nowhere, defining a 'new French pop' sound of self-referential musical in-jokes and pseudo-easy listening. Nicholas Godin and J.B. (Jean-Benoit) Dunckel first entered the British consciousness with the mini-album Premiers Symptomes, quickly following it with Moon Safari, utilising a bunch of old synths and immediately becoming the chattering classes' dinner party artist of choice. The 'hit' was Sexy Boy, with the vocodered title line repeating to the point of irritation, but the whole album works on the same level, making for a reasonably pleasant, if undemanding listen. The equipment list is a bit of a gearhead's wet dream; I can only assume that a lot of this stuff could still be picked up fairly cheaply in France in the '90s. There's only one 'Tron track (everything's credited); New Star In The Sky has some drifting flutes over some drifting string synth. I think you get the picture.
The Virgin Suicides is a different matter altogether; as a film soundtrack (directed by Sofia Coppola, fact fans), it has to work on different levels, and actually ends up a lot nearer to 'prog' than its predecessor. It's a lot darker than Moon Safari, and is stuffed to the gills with Mellotron; mostly strings, with choirs in places. Ghost Song is particularly impressive, with swooping synth over 'Tron choirs; very effective, while Dead Bodies is solid, in-yer-face choirs over a driving backbeat, and a million miles away from anything they'd done before. If you didn't like Moon Safari, don't let it put you off hearing this; it's absolutely fantastic, and something of a Mellotron classic.
Air's next album, 10,000 Hz Legend, is apparently closer to Moon Safari than The Virgin Suicides, and, heretically, features mainly samples. Why? Mainly boredom, it seems. However, after a Mellotron tour de force like its predecessor, somehow they don't really need to produce anything as good again. Buy The Virgin Suicides and ignore the rest.
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Clockwork Revenge (1977, 41.34) ***½/TClockwork RevengePictures in a Puddle Ladies of the Night Earthborn Pilgrim Out of the Woods Is it Such a Dream You Might Even Be |
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Airlord were one of the many New Zealand bands who headed for Australia to attempt to make their fortune; sadly, like so many others, they failed. Clockwork Revenge is good (if a tad eccentric), while nowhere near a classic; vocalist Steve MacKenzie is (presumably) clearly heavily influenced by Peter Gabriel, but without the subtlety. The title track is about the inhabitants of a toyshop who wreak a horrible revenge on their cruel mistress, with all the theatricality that suggests, and several of the other tracks pursue a similar fantasy-related approach. Airlord had a fairly symphonic sound, although they never seemed to go far enough over the top to really stand out from the crowd.
The only Mellotron to be heard on the album is a little choir by keyboardist Alan Blackburn on Ladies Of The Night, which isn't about what you think, but rather another myths-and-legends lyric, falling into line with the rest of the album's subject material. So, not a bad album; pick it up if you don't have to pay an exorbitant amount, but don't bother for the 'Tron.
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Virgin Land (1974, 39.20) ***½/½Stanley's TuneMusikana Virgin Land Peasant Dance Lydian Riff Hot Sand I Don't Have to Do What I Don't Want to Do |
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Vocalist/percussionist Airto Moreira's fifth album, Virgin Land, seems to be a typical Latin/fusion crossover album from the man, stuffed with fiery playing from a stellar cast, including George Duke on keyboards and the incomparable Stanley Clarke on bass, with the whole kit and caboodle produced by Billy Cobham. If you don't do jazz, you could be on a sticky wicket here, although the sheer energy put out by the man and his band may be enough to convert unbelievers. It's not all 900 mph stuff, but the likes of the title track are enough to leave one breathless, even if you don't know a Dorian scale from a Greek column.
Mellotron on one track only, with Kenny Ascher (from John Lennon's band) playing a few string chords on closer I Don't Have To Do What I Don't Want To Do, along with the piano part, although there's loads of scorching keyboard work throughout, not least Milcho Leviev's funky Clavinet work on Peasant Dance. Liking jazz isn't a prerequisite for liking this album, although it probably helps if you're keen on superb musicianship; suffice to say, good album, though not for the Mellotron.
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Akasha (1977, 42.36) ***½/TTTTIsle of KawiBondage Regitativ Electronic Nightmare Death Hymn Light and Darkness The Trip Man and the Void |
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Norway's Akasha are a bit of a peculiarity; despite releasing their sole album in the late '70s, in a blindfold test they'd almost pass for a typical UK 'proto-prog' outfit, with the synth work being the only real giveaway. They use that Gracious/Cressida type sound to great effect, though, so although they were a bit of a band out of time, in hindsight it's all rather unimportant, really. The main thing is, Akasha's a good album within its chosen genre and what's more, is stuffed full of Mellotron, played by both Jens Ivar Andreassen and Sverre Svendsen.
Opener Isle Of Kawi is one of the album's strongest tracks, and lays out their agenda for all to see, including their heavy reliance on Mellotron strings to create atmosphere. In fact, I don't hear any other Mellotron sound anywhere on the album until a little flute on the intro of last track, Man And The Void, but despite the rather poor recording of the 'Tron parts, this is definitely one to track down if you just can't get enough of the Sacred Instrument. Other 'Tron highlights are Bondage (presumably as in 'my people are in...', as against suspect sexual practices) and the opening chords of The Trip.
The musicianship overall is nothing special, but the synths (seemingly the only other keyboard instrument) are played with some glee, wibbly noises à la Hawkwind abounding (especially on Electronic Nightmare) and there's a couple of good psychedelic guitar parts, including a Hendrix-y thing on Man And The Void. It has to be said, this is a noticeably 'druggy' album, more so than many of Akasha's contemporaries, so maybe their chemical intake influenced the album's temporal direction. Who knows? Whatever, don't expect classic '70s prog, but for an overseas take on the proto-prog sound with lashings of Mellotron, look no further.
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Eli (1976, 38.33) ***/TEliGuardian Angel Tranquillizer Can't Fake a Good Time There He Still Goes Strindberg Wings of Strings Naked Actress Fairytale |
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After Jan Akkerman left Focus, to be replaced by Belgian guitarist Philip Catherine, one of his first projects was Eli, an album recorded with his old compadre Kasimirz (Kaz) Lux from their late-'60s outfit Brainbox. The end result, sadly, is somewhat dull and mainstream, with a surplus of funky rhythm work and Lux's soulful vocals, although the album is apparently a concept work concerning the 'dream life of a woodcutter' (!), with an August Strindberg connection, although songs such as Eli itself and There He Still Goes hardly give the impression of such weighty subject matter. There are a few decent tracks, not least guitar instrumental Tranquillizer, Wings of Strings and Fairytale, but the album's highlight has to be the Focus-like Strindberg, with a beautiful Akkerman line over piano chords, making a very welcome change from the likes of Naked Actress.
Speaking of piano, some of the album's keyboards are played by the mighty Rick van der Linden (Ekseption/Trace), including Mellotron on a couple of tracks, with ethereal choirs on Can't Fake A Good Time and Strindberg, although hardly enough to make a purchase worthwhile on that account. Eli barely scrapes three stars, to be honest, rescued by a handful of worthwhile tracks; maybe it made more sense at the time. Very little 'Tron work, too, so don't go spending too much on this; four out of nine tracks isn't quite enough, I'm afraid...
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Albatross (1975, 35.45) ****/TT½Four Horsemen of the ApocalypseMr. Natural Devil's Trumpet Cannot Be Found Humpback Whales |
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Albatross were a pretty obscure bunch, but their only, self-titled album's actually pretty good, without breaking the mould for American '70s prog, following the standard Yes template (see: Starcastle). Albatross opens with a side-long epic, with the suitably epic title Four Horsemen Of The Apocalypse, and it doesn't disappoint, unless you were actually expecting the horsemen to burst out of your speakers and make a mess on your living-room carpet. The album's shorter tracks are all good, although Devil's Trumpet rips off the church organ part from Close To The Edge something rotten - in fact, the whole track rips Yes outrageously - and I spotted an ELP cop somewhere too, unfortunately proving the band's essential lack of originality.
Mellotronically, Mark Dahlgren goes for it in a big way on Four Horsemen, strings and choir all over the shop, with one especially good part, and although much of side two is 'Tronless, Mr. Natural has some background strings, and Humpback Whales has a few string chords right at the end of the album. All in all, while falling somewhat short of 'classic' status, Albatross is a good album with some nice Mellotron work. If you can find a copy, that is...
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Surface Tension (1977, 41.27) ***½/TTTTBansheeMan Who Fell Morning You Were Never a Dreamer Mountaineer Heaven's Archaepelago |
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Aleph were a seriously symphonic prog outfit from Australia, let down slightly by a dodgy vocalist, and while none of their material was particularly original, they weren't at all bad, and are one of a tiny handful of full-on progressive outfits to hail from their country (see: Sebastian Hardie and Rainbow Theatre). On their sole release, 1977's Surface Tension, Aleph concentrated on shorter material on side one, leaving side two as their magnum opus, Mountaineer, where they finally gave themselves room to stretch out compositionally, finishing off with the shorter, though still excellent Heaven's Archaepelago. There aren't any bad tracks on the album, but the shorter ones do pale in comparison with the epic, to be honest.
It's not specified which of the two female keyboard players (!) played the 'Tron, Mary-Jane Carpenter or Mary Hansen, but whoever it was knew their stuff; it's all over the place, mainly strings, mostly used with taste and reasonable restraint, and there's some nice piano work scattered across the album, too. Again, the 'Tron's at its best on Mountaineer, but it's worth hearing anywhere on the album. I've no idea how legal Korea's M2U Records release is, but at least this is available.
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Delayed (2001, recorded 1974, 44.46) ****/TTTTakeoffInterstellar Cruise Reflection Almond Raga Beetlewater The Arrival of Autumn My Childhood Trees |
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From Gothenburg, Älgarnas Trädgård, which translates as 'Garden of the Elks', apparently, released just the one album in their lifetime, Framtiden är ett Svävande Skepp, Förankrat i Forntiden ('The Future is a Hovering Ship Anchored in the Past'). I haven't heard it, but I'm told it's a bit of a psych classic, comparable to early Pink Floyd, featuring both a VCS3 and a Moog modular amongst the band's arsenal of equipment. A strangely never bootlegged second, unreleased album appeared out of nowhere in 2001, appropriately titled Delayed. Their sound had tightened up considerably after two years of heavy touring, so while the album is loosely 'psych', it has a heavy influence from the international progressive scene of the time, too, particularly King Crimson, with Interstellar Cruise featuring some Fripp-ish guitar and Cross-like violin.
Jan Ternald plays most of the 'Tron on the album, although Mikael Johanson chips in on Reflection. Plenty of 'Tron use, with flutes and strings on the lengthy Interstellar Cruise, Beetlewater and The Arrival Of Autumn, while Reflection is simply a beautiful 30-second Mellotron flute solo. If it's 'pure' prog you're after, you may not like Delayed, but for the (not that much) more adventurous listener, it's a winner. Recommended.
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Ultraviolet (1992, 50.59) ***½/½ |
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| Phased Yesterday Goodbye Mine Freeze Things He Told Her Infrared I Don't Know Dream Butcher |
Some Finer Day Blindfolded Visionary Outshine the Sun |
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Ultraviolet was All About Eve's fourth album in five years, and is a very long way from their self-titled debut indeed. All the hippy "Hello trees, hello flowers" stuff seems to've fallen by the wayside, to be replaced by a darker vision, although that isn't to say every track is full-on minor key gloom'n'doom. What is certain is that it's far less accessible than their earlier work, though that's rarely a criticism round here. Best track? Possibly weird opener, Phased, though the slightly (I do say slightly) more upbeat I Don't Know or Infrared (with a vocal melody that nods towards Pink Floyd's Astronomy Domine) are worth mentioning, too.
Singer/mainwoman Julianne Regan's Mellotron work is sparse, to say the least, with what sounds like a repeating string section part on I Don't Know, although it could be almost anything, to be honest. Definitely sampled strings on one other track, so that's yer lot. If you're a fan and haven't heard it (quite possible, as the band split soon after its release, and it was deleted immediately), it's probably worth the effort, but for the rest of us, go elsewhere, I think. Minimal 'Tron, too.
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England (1972) ***/½The PaintingsSeascape Landscape Afterglow A Spring Air Cantus Firmus to Counterpoint Sinfonia for Guitar and Strings Dolor Dulcis Lament to the Earl of Bottesford Beck |
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Amazing Blondel (named after Henry VIII's favourite minstrel, apparently), started life as an Elizabethan music ensemble, operating in the same vague sphere as Gryphon and Magna Carta, although they did it first, with albums such as their self-titled debut and '71's Fantasia Lindum. England was their fourth release, with the band down to a duo, and the first to noticeably incorporate contemporary instrumentation, although much of the album still has that 16th century vibe about it. To be honest, much of the material is a bit lightweight and forgettable, with the honourable exception of Cantus Firmus To Counterpoint, which conjures up the spirit of times past with aplomb. To be fair, this may just be a reflection of the era they were trying to recapture, but I find that side one, in particular, doesn't bear repeated listening.
Most of the tracks are backed by the strings of the Hopkins/Blondel Ensemble, but Terence Alan Wincott, as the band's resident multi-instrumentalist, plays Mellotron (credited as 'Mellotron?!') on closing instrumental, Lament To The Earl Of Bottesford Beck, although all that's audible is a few strings pitchbends behind the harmonium and pipe organ. So, not a classic, but some of side two is quite listenable.
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7" (1969) ***½/TT½ Water Woman Magician |
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Amazing Friendly Apple were a Leeds-based five piece, who only managed to release one single; there doesn't even appear to be any other material in the vaults. I haven't heard the a-side, but going by the flip, Magician, it was a good late-period psych piece. Organ, harpsichord and Mellotron strings, presumably from organist Barry Mills, vie with each other for precedence over Peter Waddington's strangely nasal vocal, as the song moves through several different parts in quick succession, reminding me slightly in places of Traffic's Hole In My Shoe. In fact, this could be said to be bordering early progressive; it's certainly more inventive than many of its better-known cousins.
You're unlikely to find an original copy of Magician, but it's apparently available on The British Psychedelic Trip 1966-1969 LP or The Great British Psychedelic Trip, Vol.1 CD, according to the excellent, and now sadly disappeared Tapestry of Delights site. I wouldn't say it was a 'Tron classic, but it's worth hearing on both musical and Mellotronic grounds. A quick word here to say a public thank you to the band's manager, Peter Brent, for providing scans and information. Interesting to note that the single even had a picture sleeve, as they were still a rarity in the UK at that time.
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Ambrosia (1975, 38.39) ***½/TTNice, Nice, Very NiceTime Waits for No One Holdin' on to Yesterday World Leave Me Alone Make Us All Aware Lover Arrive Mama Frog Drink of Water |
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Somewhere I've Never Travelled (1976, 45.02) ****/½ |
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| And... Somewhere I've Never Travelled Cowboy Star Runnin' Away Harvey I Wanna Know The Brunt Danse With Me George (Chopin's Plea) |
Can't Let a Woman We Need You Too |
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One Eighty (1980, 39.23) **½/½ReadyShape I'm in Kamikaze You're the Only Woman Rock n' a Hard Place Livin' on My Own Cryin' in the Rain No Big Deal Biggest Part of Me |
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All This & World War II (1976, 3.52) ***/½[Ambrosia contribute]Magical Mystery Tour |
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Ambrosia operated towards the rock end of the 'progressive pop' field, rather in the way that Canada's Saga did a few years later, without really sounding anything much like them. Regular song format, good hooks, clever arrangements, interesting instrumentation... I think you get the general idea. Influences include Yes, Styx (who were still on their way up when Ambrosia appeared) and maybe Kansas (ditto); a very American sound, which keeps reminding me of Spock's Beard from two decades hence.
Ambrosia itself is a good album, if falling short of 'excellent', with standouts including Time Waits For No One, Make Us All Aware and Mama Frog, complete with Lewis Carroll quotes. Christopher North plays Chamberlin on several tracks, with flutes on Nice, Nice, Very Nice and what I presume are Chamby cellos on Make Us All Aware, but it isn't until Lover Arrive that it kicks in properly, with a beautifully arranged polyphonic flute part. Apart from a brief burst of flutes again on epic closer Drink Of Water, that would appear to be it, but as usual with the Chamberlin, I could just be missing parts due to a lack of detailed knowledge of its sounds. Either way, a fine album.
The following year's Somewhere I've Never Travelled (note English spelling!) sees Ambrosia at the peak of their pomp powers; an excellent album with endlessly inventive arrangements, often coming more from a soundtrack/stage show area than 'rock'n'roll'. Highlights are probably Cowboy Star and Danse With Me George, but there isn't a bad track on the album. Much real strings/woodwind, although it's been pointed out to me that there's a brief burst of Chamberlin flutes (and possibly strings?) towards the end of Cowboy Star, though the casual listener simply isn't going to notice.
By '78's Life Beyond L.A. (**½), North seemed to have been relegated from full-member status, only playing on a handful of tracks. The album starts well enough, but soon deteriorates into soul-influenced schlock. Overall, avoid. One Eighty's the only other Ambrosia album to have credited Chamberlin, but in all honesty, if it's actually on Biggest Part Of Me I'd be surprised; it's the nearest any of the keyboard sounds gets to tape replay. The album's a slight improvement over its predecessor, although there are two or three soul-influenced tracks that are rather hard to bear. The band are, surprisingly up to a six-piece, with North reinstated, but it hasn't improved their sound overmuch. I'm actually surprised they didn't manage to break through into the AOR big league; right time, wrong place? Maybe a lack of truly memorable material sunk them, although they managed one more album, '82's Road Island (***).
One various artists project appearance, with a so-so version of Magical Mystery Tour on 1976's dodgy All This & World War II, but with merely a few seconds of Chamby strings (admittedly underneath some great Taurus pedal notes), we're talking less than fully essential, I think.
So; Ambrosia and Somewhere I've Never Travelled are worth hearing, though the Chamberlin input isn't that great. The later albums are for fans only, to be honest, although there might just be a decent album to made from the three of them.
