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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.
See: Twilight Singers
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Nova Cara (2001, 51.52) ***/0 |
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| Som de Ug Poesia Orgânica Tô Bolado Conflitos Urbanos Capa de Revista Explosão do Rio Hunidade Hino de Abadá/Tem Que Ter Moral |
Iguais Sobrepondo Iguais Mesmo Assim Me Espere Pegajoso Meus Telefonemas |
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At least in the eyes of the outside world, AfroReggae are intimately linked with 2005 documentary Favela Rising, which details Anderson Sá's heroic efforts to form a movement intended to stop disenfranchised kids in Rio de Janeiro joining gangs and getting involved in drugs. Exceedingly worthy, but does it produce good music? Unsurprisingly, on 2001's Nova Cara, the collective concentrate on hip-hop and funk, mixed with traditional Latin forms, 'tribal' chanting and a well thought-out rock/rap hybrid. The music's far enough from my personal comfort zone to make it difficult to review at all, although its quality is evident in its cross-genre experimentation, light years ahead of most of what passes as hip-hop.
Apollo 9 produces, playing Clavinet and Mellotron himself, although it's pretty much impossible to tell where either might be heard, the occasional keyboard strings being so generic that they could come from almost anything. So; music that needs to be made and an organisation that needs to exist. Nova Cara is a joyful album, despite its background of poverty and violence, but it contains no obvious Mellotron and is something in which the average Planet Mellotron reader is unlikely to be interested.
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Quello Che Non C'è (2002, 44.16) **½/0Quello Che Non C'èBye Bye Bombay Sulle Labbra Varanasi Baby Non Sono Immaginario La Gente Sta Male Bungee Jumping Ritorno a Casa Il Mio Ruolo |
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Ballate per Piccole Iene [a.k.a. Ballads for Little Hyenas] (2005/2006, 44.05/48.53) **½/T |
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| La Sottile Linea Bianca (The Thin White Line) Ballata Per La Mia Piccola Iena (Ballad for My Little Hyena) È La Fine La Pił Importante (The Ending is the Greater) Ci Sono Molti Modi (There's Many Ways) La Vedova Bianca (White Widow) Carne Fresca (Fresh Flesh) Male in Polvere (Sparkle) Chissà Com'è (Desire Froze Here) |
The Bed Il Sangue di Giuda (Judah's Blood) Il Compleanno di Andrea (Andrea's Birthday) |
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I Milanesi Ammazzano il Sabato (2008, 43.01) **½/½ |
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| Naufragio Sull' Isola del Tesoro È Solo Febbre Neppure Carne da Cannone per Dio Tarantella All'Inazione Pochi Istanti Nella Lavatrice I Milanesi Ammazzano il Sabato Riprendere Berlino Tutti gli Uomini del Presidente |
Musa di Nessuno Tema: La Mia Città E' Dura Essere Silvan Dove Si Va Da Qui Tutto Domani Orchi e Streghe Sono Soli (Ninna Nanna Reciproca) |
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Afterhours (apparently named for a Velvets song) are a classic 'local market' band; playing a generally popular style singing in their own language, with a huge following in their own country, comprising kids who can't get to see the band's forebears. Cynical? Moi? They're generally described as 'alternative rock', whatever you take that to mean; sounds like a combination of the Velvets and post-hardcore to me, but what do I know?
2002's Quello Che Non C'è is something like their eighth album, neither actually bad nor especially good, better tracks including Sulle Labbra and closer Il Mio Ruolo, featuring one of those transcendent 'sticks like glue' melodies. Manuel Agnelli is credited with Mellotron, but without track-by-track credits, it's impossible to tell where it might be. Is that a cello? A flute? Another keyboard or even a guitar? Hopeless.
Having recorded a couple of English-language albums early in their career, Afterhours took the decision to make (presumably) a last-ditch assault on the English-speaking market, re-mixing their 2005 release, Ballate per Piccole Iene with English vocals, reissuing it the following year as Ballads for Little Hyenas with one extra track. It's not a dissimilar album to Quello Che Non C'è, meaning you'll have to be something of an alt.rock aficionado to really appreciate its subtleties, although the band seem to've upped their compositional skills in the interim, notably on closer Il Compleanno Di Andrea/Andrea's Birthday. Incidentally, do I hear a Bono cop on Ci Sono Molti Modi/There's Many Ways? I keep expecting the vocalist to sing, "Wipe your tears away!" Mellotron this time round from Greg Dulli (Afghan Whigs/Twilight Singers and David Adams, meaning we actually get to hear it, with an upfront string part on La Vedova Bianca/White Widow and less of the same on Il Sangue Di Giuda/Judah's Blood.
2008's I Milanesi Ammazzano il Sabato is supposed to be the band's 'most dissonant album yet', according to one online enthusiast, although to my ears, it's pretty much more of the same. Competent alt.rock, a couple of decent melodies, nothing you haven't heard done better by (largely) American bands. Mellotron from Agnelli again, with mad, stabbing flutes on Pochi Istanti Nella Lavatrice and distant strings on the title track, although it's perfectly possible there are more flutes hidden away on other tracks.
Overall, then, unless you're a Greg Dulli completist who has to own everything with which he's been involved, or an Italian alt.rocker, you probably don't need to own any of these. Precisely one decent 'Tron track amongst the lot of 'em, too.
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Todos Ríen de Mi (1975, 36.18) ***/T |
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| Todos Ríen de Mi Al 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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The Orion Years (1999, 72.05) ***/0LichtspruchLagrange Point L 5 Imaginary Friend Parallelwelt Transmitter - Love Lancet Eine Fremde Lebensform Big E Zeitsprung |
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Age's The Orion Years is a tribute to the iconic mid-'60s black and white German science fiction TV show Raumpatrouille Orion (Space Patrol Orion) that, despite the mere seven episodes filmed, influenced German culture heavily - their very own Star Trek. Musically speaking, the album apparently falls into the 'trance' sub-genre, a.k.a. relaxing bleeps and bloops over not-too-invasive rhythms, pootling along without making that much of an impression either way.
The band use an impressive variety of equipment; while individual models aren't specified, manufacturers include Moog, ARP, Oberheim, OSC (presumably the Oscar), Octave (The Cat and/or Kitten) and Germany's very own PPG (early digital, a welcome alternative to Yamaha's ubiquitously tedious DX7). Plus, of course, the Mellotron. Allegedly. In actuality, it's entirely inaudible, the only 'possible' part turning out to be a synth patch. So; surprisingly inoffensive, some nice analogue synth sounds, but no 'Tron.
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Make a Pest a Pet (1996, 51.23) ***/T½ |
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| Remote Control I Don't Mind Nothing Happens Unity or Grenadine You Complain Scare Myself Blow Up Don't Wreck it |
Cranky Real Stumper Mad at the World My Mistake Exist to Resist |
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The Age of Electric were a Canadian quartet consisting of two pairs of brothers, which must've made for some interesting rehearsal room/tour bus arguments. Apparently highly successful in their home country, they make a pretty appealing indie/powerpop sound on their last album, 1996's Make a Pest a Pet, top tracks including opener Remote Control (apparently a 'radio hit' at home), Nothing Happens and Don't Wreck It.
Chris Bryant plays Mellotron strings, with what sounds like backwards ones on Unity Or Grenadine, regular ones towards the end of Scare Myself and very background ones on Cranky, all to passable effect. Overall, then, not at all bad, if a little overlong; losing a couple of the weaker tracks would not only improve the album, but make it more concise.
See: Limblifter
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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.
See: Ash Ra Tempel | Tangerine Dream
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Back to Basics (2006, 78.32) **½/0 |
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| Intro (Back to Basics) Back in the Day Makes Me Wanna Pray Ain't No Other Man Understand Without You Slow Down Baby Oh Mother |
F.U.S.S. (Interlude) On Our Way Thank You Still Dirrty Here to Stay Enter the Circus Welcome |
Candyman Nasty Naughty Boy I Got Trouble Hurt Mercy on Me Save Me From Myself Right Man |
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It's impossible to live in the Western world and not be aware of Christina Aguilera (surely?); teen Disney star turned mega-selling adult artist, she's pretty much conquered the Latin/R&B market over the last decade, despite releasing surprisingly few albums. 2006's Back to Basics is only her third full English-language release; an overlong double disc (although it would just fit on a single), it mixes her usual style with Latin, cabaret, jazz and blues, although it's overwhelmingly an R&B record, to be honest. She suffers from the same problem as other current divas (see: Mariah Carey), in that she's got a great voice and knows it, wailing away over material that just needs a good, steady voice to sing the bloody tune. What's with all this showing-off crap? Horrible. Anyway, although it's perfectly good at what it does, I'm on a bit of a loser attempting to pick out anything resembling a 'best track'; it's all functional, singalong radio stuff, but it's blander than the muck peddled by various US-based hamburger chains and shallower than the gene pool in a hick Southern town.
One of several co-producers, Linda Perry (4 Non Blondes, much production work) allegedly plays Mellotron on the album, but there's no obvious sign of it amongst the high-gloss production, although I'm sure it could be secreted away almost anywhere. So; mainstream pop, effectively, albeit with a swing-era twist. Y'know, you really, really are not going to like anything about this record, unless a) you have a secret yearning for MTV-fodder, or b) you've found your way here looking for Aguilera reviews.
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A Good Day (2008, 35.53) **/½ |
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| Dream Wallflower I Don't Think So Masters in China Leave the Light on Red Cape Astronaut Lullaby |
Find My Way Back Home Opportunity to Cry A Good Day (Morning Song) |
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Despite being signed to jazz specialists Blue Note, Priscilla Ahn is the kind of singer-songwriter whose songs get used in sloppy films or TV programmes like Grey's Anatomy. Her debut album, 2008's A Good Day, is a super-bland effort, tailor-made to be played in Starbucks or wherever, mostly vaguely folky stuff, overlaid by her insubstantial vocals, with the occasional countryish twang (Leave The Light On) thrown in for good (or otherwise) measure.
Zac Rae plays Chamberlin on Wallflower, with the faintest of faint, er, something (strings? Flutes?), that you'd have absolutely no idea was there if it wasn't credited. This is pretty awful, to be honest, if heartfelt; drippy nonsense of the worst kind. She'll sell millions.
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Natsufuku (2001, 56.47) **½/T |
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| Hikouki Be Master of Life Rosie Hisoka na Sayonara no Shikata Owaranai Hibi Kokoro Biyori September Ame Fumu Overalls |
Asparagus Boyfriend Hatsukoi Natsufuku |
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Oyasumi Nasai (2001, 20.30) **/½Oyasumi NasaiHi to Kage Cocoa Oyasumi Nasai (instrumental) |
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Himitsu (2008, 67.58) **/½ |
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| You & Me both Futari Gakkou Kyou mo Hare Yokogao Himitsu Haru to Aki Hoshi Denwa |
Koi Michi Hoshi no Nai Sekai Shiawase Umi Usagi Yakusoku |
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Aiko Yanai is a Japanese pop singer whose producers, presumably, choose to splatter some of her records with vintage keyboards, not that I'm complaining, mind. 2001's Natsufuku (Summer Clothes) is her third album, sounding rather more mature and less J-Pop than you might expect, although I have to say, I can't understand why anyone would want to listen to Aiko's voice for long, particularly when she (almost) holds notes towards the end of her songs; shrill and off-key, for some reason, her producer has opted to eschew the usual levels of reverb, leaving us with a dry, upfront and not especially pleasant sound (see: the closing seconds of September). Among the album's unusual sonic features is the banjo on Boyfriend, while the aforementioned vintage keys turn up, not least a Hammond, a Wurlitzer and a Clavinet, while Masanori Shimada plays Mellotron, with pitchbent strings on one of the album's singles, Rosie and regular ones on Hisoka Na Sayonara No Shikata and Owaranai Hibi. Incidentally, a single from her next album, the following year's Aki Soba ni Iru yo, Oyasumi Nasai, has a smattering of 'Tron strings on one of its b-sides, Hi To Kage.
I honestly don't know if there's anything relevant on her several subsequent albums (I haven't seen anything credited), but Shimada adds some 'Tron to 2008's Himitsu, too. The album's more straightforward soul/pop than before and subsequently less interesting, although at least now Aiko sometimes holds notes without wavering. The only tracks that even slightly stand out are the early drum machine/Wurlitzer-driven Haru To Aki, although it quickly slips into the soul clichés that mar the rest of the record and the rather bombastic Umi Usagi, which at least features a decent guitar solo. And the Mellotron? After listening to the whole, hour-plus effort, it crops up on the last track, Yakusoku, with a rather ordinary flute part.
Unless you're already a big fan of J-Pop, you are not, believe me, going to get too excited about these releases. I've heard an awful lot worse, but they sound like exactly what they are; albums made in a Western style for an Eastern audience, with very little Mellotron. Maybe not.
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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.
See: Fourth World
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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; two out of nine tracks isn't quite enough, I'm afraid...
See: Focus | Ekseption | Trace
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The Ghost & the Hired Gun (2007, 56.50) ***/TTT |
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| Headspace Voice Within Hired Gun Nobody Knows You On the Way Little Hands The Places I'm From Summer's Heart |
Try to Be Kind Count on Me Light a Smoke Thankful for the Chance Walking Away Ghost |
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I suppose Minneapolis' The Alarmists are usually described as 'indie', but to my ears, their 2007 debut, The Ghost & the Hired Gun, contains a quite timeless form of American pop/rock, with a distinct Britpop feel in places (not to mention the occasional Queen-like touch to the production, notably on beautifully overblown closer Ghost). It's one of those albums that doesn't specifically remind me of anyone and none of the songs really leap out, but the overall feel is of a very listenable record that may well appeal to lovers of both modern Indie and that much-overused term, 'classic rock'.
Eric Lovold plays Mellotron, with strings on all highlighted tracks apart from Nobody Knows You, which replaces them with choirs on the spaghetti-westernish intro and Thankful For The Chance, which adds flutes. It's possible the strings on a couple of other tracks are Mellotron-generated, but they sound too generic and sustain notes for too long, at least to my ears. Top 'Tron track? Has to be Ghost, with its brief solo strings part. Overall, then, surprisingly good, given that the band appear, on the surface, to be no more than another entrant in the overstuffed indie stakes. Worth hearing.
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Emotions (2003, 45.21) **½/T |
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| Western Shore Love (to Be Your Main) Sun Don't Shine Broken S.S./Candycane S.S./Candycane (Continued) Rust and Cyanide Lost the Gold |
Resistance Nightmare X In My Time |
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Alaska! (possibly alaska!) have a Sebadoh connection (Russell Pollard is an ex-member), so it's fairly appropriate that their sound sits firmly into the 'U.S. indie' camp, although they don't sound much like Lou Barlow's mob. Sadly, they're no more interesting, either, although a handful of tracks on 2003's downbeat Emotions cut through the fog of disillusion and alienation, notably Rust And Cyanide, the harmony-heavy Resistance and punchy closer In My Time.
Dave McConnell plays Chamberlin (the MusicMaster 600 at Josie Cotton's studio), with strings (alongside real cello, by the sound of it) on Rust And Cyanide and more upfront ones on closer In My Time. Overall, then, fans of American indie may well go for this, but the rest of us should probably leave well alone. Certainly not worth it for its minor Mellotron use.
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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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No Parole From Rock'n'Roll (1983, 41.34) ***/T½ |
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| Island in the Sun General Hospital Jet to Jet Hiroshima Mon Amour Kree Nakoorie Incubus Too Young to Die, Too Drunk to Live Big Foot |
Starcarr Lane Suffer Me |
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Live Sentence (1984, 38.57) ***/TToo Young to Die, Too Drunk to LiveHiroshima Mon Amour Night Games Island in the Sun Kree Nakoorie Coming Bach Since You've Been Gone Evil Eye All Night Long |
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Alcatrazz were actually a multinational band, featuring two members of the recently deceased New England, keys man Jimmy Waldo and bassist Jimmy Shea, drummer Jan Uvena, vocalist Graham Bonnet, ex-Rainbow and fresh out of the Michael Schenker Group, and finally, whizzkid guitarist Yngwie (later Yngwie J. "for Johann") Malmsteen. The last-named had already worked his way through Swedes Silver Mountain and US act Steeler in quick succession, while Bonnet, a member of The Marbles in the late '60s, was clearly struggling with his inner demons, his ejection from MSG following an incident when he allegedly exposed himself onstage, under the afluence of incohol. Hmmm. Too Young To Die, Too Drunk To Live eh, Graham? This lineup would make just the one album, 1983's No Parole From Rock'n'Roll, before Malmsteen was off again, on the solo trajectory he was clearly always destined to follow, largely because hardly anyone can work with him for more than an album or two.
The album starts horribly, with the awful AOR of Island In The Sun, after which it switches into fairly typical early-'80s hard rock, with the bonus of Bonnet's voice and Yngwie's, er, 'fiery' lead work, particularly on closer Suffer Me, in which the seeds of his Blackmore-esque neo-classical style are clearly evident. Best tracks? Assuming you can listen to the style at all, Hiroshima Mon Amour (had they heard/heard of the Ultravox track, I wonder? Yes, I know it's a film) and Kree Nakoorie, while Malmsteen's short solo piece Incubus is decent enough. I was only alerted to the possibility that this might have some Mellotronic input after seeing the faked 'onstage' video for Island In The Sun somewhere (YouTube?) and noticing Waldo's M400 sitting under a rack of then-modern synths. While nowhere to be heard on that track, Waldo splurges the (male?) choirs all over Kree Nakoorie, with more of the same on Incubus.
The band's record company stuck Live Sentence out the following year, after their successful Japanese tour; Malmsteen tried to block its release, but failed. It's a shame the whole setlist isn't available, as this only really gives a taster of their full show, but as you can see, several tracks from No Parole... are (unsurprisingly) repeated, alongside Malmsteen's Coming Bach (ouch), Night Games from Bonnet's 1981 solo effort, Line Up, and the two singles from his one album with Rainbow, Down to Earth, the rather tedious Since You've Been Gone and All Night Long. Jimmy Waldo took his Mellotron along, reprising his choir part on Kree Nakoorie, the only other interesting instrumental part being Gary Shea's uncredited Taurus pedals on Evil Eye. The album's sound quality, er, isn't great, with some pretty sudden edits, but anyone wanting to hear some difficult-to-find Malmsteen will really need to track this down.
So; early-'80s hard rock, anyone? I've heard considerably worse than these, I have to say; who remembers Dio? Or post-Bonnet MSG, for that matter? You're not going to find these that easily, should you so desire, although they've both been on CD in the past. One decent 'Tron track, found on both albums, but hardly enough to make an expensive purchase worthwhile unless you're seriously into the era.
See: Rainbow | New England
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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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Tigermouth (2003, 56.57) **½/T½ |
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| Inferno Love High Teardrop Hitting the Ground Keep on Dreaming Angel in L.A. Here Comes the Summer Fellow Man Sunlight in the Rain Beautiful Boy |
Queen of the World Wings in Motion The Infinite Stars Kids Tigermouth |
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Kelli Ali is better-known in some quarters as Kelli Dayton of Sneaker Pimps, a highly-regarded lesser light on the mid-'90s UK trip-hop scene. She left the band in '98, taking another five years to release her solo debut, Tigermouth and was berated by the British press for making such a mainstream record for her trouble. The occasional track heads (slightly) out onto a limb, notably Beautiful Boy and the upbeat pop/rock of The Infinite Stars, but the vast majority of the album's material sticks fairly closely to the 'hit' formula, making it ironic that the album was a relative flop.
Producer Rick Nowels (Dido, Ronan Keating) adds Mellotron and Chamberlin to the album, with cellos, flutes and strings on Angel In L.A. and flutes on Sunlight In The Rain, although it's more than possible they're on several other tracks too, together or separately. Although Tigermouth is less formulaic than it might be, it's also a lot more so than it might be, too, and isn't a very interesting listen for anyone who wants to hear something slightly different (let alone very different). Not much obvious tape-replay, either, making this a bit of an overall thumbs-down.
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Arrêtez le Monde [a.k.a. All Ice] (1972, 38.14) ***½/TT |
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| Introduction Salina Arrêtez le Monde 1 Byzance Il est Arrêtez le Monde 2 Overture Le Roseau |
Franky l'Oiseau Le Cercle 1 Le Cercle 2 |
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Alice were that relatively rare thing, an early '70s French progressive band, especially one who sounded next to nothing like brand leaders Ange. Their second and last album, Arrêtez le Monde (Stop the World, also issued in an English-language version, All Ice), is a good psych/prog crossover effort, stronger tracks including Salina, mad instrumental Byzance and both parts of Le Cercle, but in truth, there's nothing here to offend fans of the era.
Luc Bertin plays keys, including what sounds like MkII Mellotron (the album was recorded in London, so it's quite possible), with cranky brass on Byzance and strings on Il Est and Overture, although the rest of the album's brass (not to mention flute) sound real. All in all, then, a decent proto-prog effort from a band in some ways ahead of their time, with three decent 'Tron tracks to boot.
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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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Who's Afraid? (1993, 42.53) ***½/T |
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| Thinking Thoughts Love Who's Afraid? Shadow Bopera III Pretty Teacher Call it Accident Song For Robert |
C'est la Maison More & More Quit Yr Bullshit |
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I don't know who came up with the idea of pairing on/off Gongster Daevid Allen and noted US eclectic producer/muso (Mark) Kramer, but the combination seems to work, going by their one collaboration, 1993's Who's Afraid? More Allen than Kramer, at least to my ears, it's a quirky collection of late '60s-esque psych, with plenty of acoustic guitar, almost-chanted vocals and the relentless electric repetition of Bopera III and More & More.
Kramer's responsible for the album's occasional keyboard work, including some wavery, high-end Mellotron strings on the title track which, while unusual, are nothing you desperately have to have. Given the year of release, it seems likely it's genuine, although early samples were coming in by that point. Quit Yr Bullshit's strings sound more like an old string synth than anything; definitely not a Mellotron, anyway. Daevid Allen fans will love this, Kramer ones probably less so, while the rest of us will probably sit on the sidelines wondering what all the fuss is about. Good, but niche.
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Exaltation of Larks (2007, 49.23) ***½/T½ |
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| Allelujah Thief of Me Sunset In Deep Water You Dropped Your Soul M'Aidez Call Tall Flowers Quicksand |
Shivering The Latitude and Longitude of Mystery |
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I Killed the Monster: 21 Artists Performing the Songs of Daniel Johnston (2006)[Dot contributes]Don't Let the Sun Go Down on Your Grievances |
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Dot Allison is a Scottish singer who rose to fame via her involvement with the electronica of One Dove in the early '90s. Given that she's known for working in that style, it's all the more surprising that her third solo album proper, 2007's Exaltation of Larks, should consist of hushed, dreamy folky material, full of banjos, solo violins and Allison's breathy voice. The latter actually becomes a distraction after a while, as she doesn't seem to be able to sing this material any other way, but that could be construed as unfair criticism of a quietly beautiful album.
The legendary Kramer produces and plays various keyboards, including Mellotron, with uncredited strings on opener Allelujah and credited ones on Sunset and M'Aidez Call, all used to reasonable effect while never being in any danger of being lauded as 'outstanding'. Overall, a lovely album, worth pursuing by those of a folky persuasion, being far more 'authentic' than some of the bigger new names on the current British folk scene. Naming no names.
See: I Killed the Monster
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For Loved Ones & Lost Ones (2002, 36.57) **½/T½ |
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| It's Alright Everyone Was Right Ann-Christine Blue T-Shirt Boy In Bad Dreams What I've Been Maybe Next Year |
Closer Than You Think Flowers |
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I'm having trouble finding out very much about Alma; it seems they were a Swedish quartet, two blokes, two girls, specialising in a type of country/folk/pop. To my sketchy knowledge, they only released the one album, 2002's For Loved Ones & Lost Ones, a pleasant enough set, if a little samey, which manages to slightly outstay its welcome, despite its relative brevity. There's nothing specifically wrong with any individual track, but ten of them on the trot made me fidgety.
Tom Hakava (Ben's Diapers) plays Mellotron, with major flute and string parts on Everyone Was Right and strings towards the end of closer Flowers, to good effect. Just for once, I'm going to say that I feel it was used about the right amount here; it's easy to overdo, especially on an album as quiet as this. I've heard far worse albums than For Loved Ones & Lost Ones, but then, I've heard far more interesting ones, too.
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The Siren & the Sage (2007, 45.33) ***/½ |
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| The First Picture of You Trouble Monterosso Since Yesterday Joy Scarlet Heaven Southern Sky |
Morning '71 Listen Happy Ending |
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Blue Sky Blue (2010, 50.35) ***/½ |
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| Safe From Harm I Think I Love You Show More Love Alone to the Chill Blue Sky Blue The False Alarm Paint it Black Dawn Chorus |
Gardengreen White Cloud Seize My Heart Himmelblå |
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Anne Marie Almedal was vocalist with Mellotron users Velvet Belly for a decade before going solo, debuting with 2007's The Siren & the Sage. It's a gentle, drifting album of dreamy, folk-influenced pop, like Kate Bush on mogadons; probably a slightly harsh assessment, but its languid sameyness makes it difficult to concentrate on the music to any great extent. Maybe that's the point? Also, her/her record company's insistence on promoting her via rather inappropriate imagery (all short skirts and high heels) rankles a little, too. Anyway, Nicholas Sillitoe plays Mellotron, with background strings and flutes on Since Yesterday, though it's hardly the most arresting use you'll ever hear.
Anne Marie followed up with 2010's Blue Sky Blue, a similar album to its predecessor, albeit with one particular highpoint: her version of The Stones' Paint It Black is superb, as she enunciates the lyrics more clearly than Mick ever could. Two credited 'Tron tracks from Sillitoe again, with nothing audible on Dawn Chorus and faint background strings on Gardengreen, making this even less worthwhile on that front than its predecessor.
I think my problem with these albums is that almost any track in isolation, picked at random, is a thing of ethereal beauty; a whole album (never mind two) starts to drag after a while. Maybe I'm just not in the right headspace. Anyway, good at what they do, next to no Mellotron.
See: Velvet Belly
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Varieté (2010, 66.43) ***½/½ |
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| (Intro) Bread & Circus Nijinsky Heart The Exhibitionist The Trials of Eyeliner Lavender Soho So Long Unloveable |
Sandboy It's All Going on Variety Cabaret Clown My Madness and I But Not Today Swan Song Sin Song |
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Marc Almond (not to be confused with early '70s Brit-jazzers Mark-Almond) rose to prominence with, of course, the superb Soft Cell with Dave Ball in 1980, going on to a solo career four years later. 2010's Varieté is his eighteenth post-Soft Cell effort, including releases with two other band projects, staying true to his lifelong obsession with the sleazier side of things, jazz and cabaret influences to the fore, as ever. While the album's good (possibly excellent) at what it does, Marc sounds like he's repeating himself, both musically and lyrically, with tales of drag queens, unrequited love et al., although it's a million miles from Soft Cell's cool turn-of-the-'80s electronica. Incidentally, Soho So Long appears to be built around a sample from Squeeze's classic Take Me, I'm Yours - well, Mr. Almond?
Roland Faber plays Mellotron on two tracks, with strings on My Madness And I (mis-credited as being on Cabaret Clown) alongside a well-played Theremin and while there's nothing audible on Swan Song, it features some of the best Hammond work I've heard in a while. Overall, you're probably not going to go a bundle on this unless you're already a fan, but as a non-believer, I have to say that much of it grabbed my attention in the way that most current albums don't. Hardly any Mellotron, then, but worth hearing.
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Here Comes Everyone (2004, 45.43) ***/T |
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| All the Wars You've Escaped Summer Away Boys in the Bathtub Be Near Water Your Hands I Don't Know What Else to Do Setting Up Shop |
Thermostat Perry Como Gold Altoona Goodbye to the Factory |
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Some Echoes (2006, 38.59) ***/½ |
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| Brace Your Face Big Morning Your Eyes Ice Storming Between the Walls Come Home Weekend Summer Lawn |
If I Lie Down Mountain |
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Many online reviews label Aloha art-rock, or even a modern take on prog. Weeeellll... Slightly arty indie with the occasional tricky bit thrown in for good measure might be a closer description, albeit rather less snappy. They apparently featured vibraphone heavily on their early records, but vibraphonist Eric Koltnow left after 2002's Sugar, leaving the band to find a new instrumental focus.
Their third album, 2004's Here Comes Everyone, fits the above description to a T, my main beef being that memorable material seems to be at a bit of a premium, although I'm quite sure fans of the band will shoot me down for saying so. Most of the songs are slightly Tortoise-like downbeat efforts, although Perry Como Gold gives the 'widescreen proggish effort' button a good whack, giving the whole a 'just about made it' three stars. T.J. Lipple plays Mellotron, with flutes on opener All The Wars, You've Escaped and Setting Up Shop, with something else (cellos?) on Thermostat, though nothing you can't live without, to be honest. I've seen a reference to a 'homemade Mellotron', so I've no idea whether what we're hearing is the Real Deal or some other form of bodged-together tape-replay device. Or indeed, samples. Who knows.
Two years on, and Some Echoes repeats the formula, if with a slightly more psychedelic bent than before. Again, not much to stick in the synapses, although the slightly proggy Summer Lawn has its moments. Practically none of whatever Lipple's calling a Mellotron this time round, with only what sounds like high-end 'Tron cellos on Come Home. Going by 'Net reviews, many people love Aloha to bits, and I feel slightly ashamed not to be able to join them, but I found both these albums rather flat-sounding and, well, dull really. Sorry chaps, but you just don't float my boat. Next to no Mellotron (or similar) either.
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Whipped Cream & Other Delights: Re-whipped (2006, originally 1965, 46.58) **/T |
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| Whipped Cream (Anthony Marinelli) A Taste of Honey (John King) Green Peppers (Anthony Marinelli) Ladyfingers (Camara Kambon) Love Potion #9 (Anthony Marinelli) Peanuts (Anthony Marinelli) Tangerine (DJ Foosh) El Garbanzo (Medeski Martin & Wood) |
Lemon Tree (Thievery Corporation) Lollipops and Roses (Anthony Marinelli) Bittersweet Samba (Mocean Worker) Butterball (Anthony Marinelli) |
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Herb Alpert (the 'A' in 'A&M') and his Tijuana Brass are one of the scourges of the '60s; the kind of stuff that your parents would put on, thinking they were hip, now cluttering up a charity shop/garage sale near you. Yes, some people claim that this kind of easy listening has a certain caché these days: they're wrong. Not cool then, not cool now; don't give me that hipster crap. 1965's Whipped Cream & Other Delights was one of Alpert's most successful releases, familiar to anyone brought up on this kind of stuff (not me, then), presumably making it ideal for an ironic remix project, Whipped Cream & Other Delights: Re-whipped (remixers credited in brackets). You can see this in three ways: a) as a welcome updating of a vilely dated sound, b) vandalism of the highest order, or c) doing something nasty to something that's already nasty. I favour c).
John Medeski plays Mellotron on his trio's reworking of the Latin El Garbanzo, with some typically skronky, pitchbent strings warbling away in the background, barely scraping a single T. If your ironic bone is twitching, you stand a good chance of loving these contemporary reworkings. If it isn't, I can only suggest that you move quickly in the direction of 'away', as this may irritate you as badly as it's irritated me.
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Spredt for Vinden (1972, 41.34) ***½/½Kom NuHer i Solen En Snehvid Fugl Sammensang XN Flyv Fugl Fisk Spredt for Vinden Gåseøje Gåseøje Fortsat |
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Alrune Rod were one of Denmark's first psychedelic bands, operating between the late '60s and mid-'70s, producing six albums in the process, although the only one that interests us here is 1972's Spredt for Vinden, a raw, psych/proto-prog crossover effort with a broad blues streak running through it. This really is rather good, actually, standout tracks including opener Kom Nu, the incendiary Flyv Fugl Fisk and closer Gåseøje Fortsat, while the brass-driven Sammensang, while not amongst the album's best tracks, is unusual enough to be worth commenting on.
This album's up for the coveted 'least actually audible Mellotron on a record ever' award, with naught but a few seconds of background choppy strings on opener Kom Nu, although two gentlemen are credited with it, Mikael Miller and someone called Ivan. Is there more elsewhere? Possibly, but as with so many albums on this site, if it's there, it's buried pretty deeply in the mix. Anyway, a good album of its type, worth hearing for psych and early prog fans who think they've heard it all.
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Alligators in the Lobby (2001, 36.11) ***½/T |
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| Adore Falling Unhappily Yours Thing for Me Beautiful 74 Victorian Revelation |
Alva Star Girlfriend |
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John Hermanson's Alva Star are a Minneapolis-based powerpop outfit, whose 2001 debut, Alligators in the Lobby (is that a Fear & Loathing in Las Vegas reference?) is an excellent addition to the canon, top tracks including opener Adore, with a repeating guitar hook to die for, Unhappily Yours, the laid-back 74 and solo-electric-guitar-and-vocal closer Girlfriend. Truth be told, there isn't a bad track here, although Hermanson's falsetto on Beautiful reminds me a little too much of the horrible James Blunt, even though that artist's similarly-titled hatefest was several years in the future at this point.
Hermanson plays Mellotron on their 'theme tune', Alva Star, with a beautifully upfront and very real-sounding flute line and string and choir chords, making it a pity it wasn't used a little more often. All in all, yet another great powerpop album, the only caveat being that, like so many similar, it has trouble standing out from the pack, despite featuring several memorable tracks.
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Pajaros en la Cabeza (2005, 52.39) **½/T |
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| El Universo Sobre Mí Días De Verano Revolución Mi Alma Perdida Marta, Sebas, Guille y los Demás Esta Madrugada Big Bang Enamorada |
Tarde Para Cambiar En el Río Resurrección Confiar en Alguien Salta No Soy Como Tú |
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Top-selling Spanish duo Amaral, named for vocalist Eva Amaral, play a kind of Latin-infused pop/rock, tailor-made to appeal to the Spanish market, not necessarily in an opportunistic way, I suspect. 2005's Pajaros en la Cabeza (their fourth album) sounds like the kind of music Spanish twenty- and thirty-somethings might listen to when they've grown out of their various teenage phases: tuneful, slightly 'alt.rock', with plenty of local stylistic input, some tracks (Revolución, Big Bang) sounding more sub-U2 than others, with plenty of Mediterranean balladry.
Guitarist Juan Aguirre, crediting himself as "Los Aguirre", plays Mellotron, with flutes all over opener El Universo Sobre Mí, although nothing else sounds enough like a Mellotron to count. So; Latin pop/rock, anyone? Didn't think so. Perfectly respectable, but not my bag and very little Mellotron.
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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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Goodbye to Dusk, Farewell to Dawn (2004, 64.02) ***/TA New AtlantisTartaros Devil Song Gangsters The Drowning Man in My Hands Hide Inside Clock Hands Heart New Day |
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Amber Light fall somewhere between 'typical' modern prog and the Talk Talk/Porcupine Tree, combining 'trad' prog moves with an almost post-rock sensibility in places. However, their debut album, 2004's Goodbye to Dusk, Farewell to Dawn, does rather outstay its welcome at over an hour, with overlong tracks like Clock Hands Heart and New Day, while Hide Inside is an irritatingly poppy effort, particularly in the vocal department. The album does have its better points, but they're all too often hidden behind what sometimes feels like hour upon hour of 'emotional' vocal work and an unfortunate tendency to attempt a 'crescendo-lite' style of writing, like applying Godspeed, You! Black Emperor's chief defining feature to a song-based aesthetic.
Vocalist/guitarist Louis Gabbiani also plays the album's keyboard work, with Mellotron (real?) on a couple of tracks, with block chord flutes on Devil Song and distant choirs on Gangsters. He's not actually credited with the thing, so if it hadn't have been for an online review that mentioned their use of 'all-analogue equipment', this would be in the sample section by now. Of course, said review could be wrong, but until/unless I find out for sure...
Some prog fans will 'get' this, many won't. In addition to the bands references above, think Radiohead and Pineapple Thief and you won't be too far wide of the mark. Very little Mellotron (real or otherwise), too, but if you want more of that post-rock/prog crossover, you'll probably go for this.
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Es Lebe der Zentralfriedhof (1975, 38.36) **½/0 |
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| Es Lebe der Zentralfriedhof Wem Heut Net Schlecht is Espresso G'Söchta Heit Drah i Mi Ham Zwickt's Mi Familie Pingitzer De Kinettn Wo i Schlof |
A Gulasch und a Seitl Bier I Glaub i Geh Jetzt |
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Wolfgang Ambros is an Austrian singer-songwriter, whose 1975 album, Es Lebe der Zentralfriedhof, is a fairly typical mainstream pop/singer-songwriter record of the era, albeit one sung in German, which won't add to its non-German-speaking appeal. Is it any good? Not especially, no, although I've no doubt that the lyrics are meaningful and erudite; shame they're set to such dull music, really.
Christian Kolonovits allegedly plays Mellotron, though I'll be stuffed if I can tell where, as all of the album's strings are real and there are no obvious flute or choir parts. Maybe he didn't actually play one at all? Anyway, although this is actually available on CD, I can't really recommend it on either of the usual grounds.
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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.
