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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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Reason (2003, 43.32) **/0 |
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| Here it Comes Again Reason Lose Myself in You On the Horizon Positively Somewhere Melt Do I Soul Boy |
Water Home Let's Love Yeh, Yeh, Yeh |
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So what does an ex-Spice Girl do with herself when her route to fame and fortune splits asunder? Crapola solo career, of course. Melanie "C" Chisholm, a.k.a. Sporty Spice, is one of the two Spice Girls who could actually sing; I can attest to this, as I worked as an extra on their dreadful film, and was (un)fortunate enough to witness their between-takes attempts at five-part harmony onstage at the Albert Hall, and it was only the two Mels would could hold a tune at all. A cat's chorus had nothing on them, believe me... Anyway, Ms. Chisholm has been mooted as the ex-Spice most likely to make it, which is pretty scary (ho ho). Her first solo album, the indie-friendly Northern Star (she's a Liverpudlian) did fairly well, but the anodyne Reason has apparently blown any credibility its predecessor may've engendered. What's so bad about it? It's bland, her vocals are terrible (did I say she could sing?), the material's rubbish... Need I say more?
Mellotron credited on track four, On The Horizon, played by Rick Nowells, who added Chamberlin to a couple of tracks on Dido's horrible No Angel, but I'll be fucked if I can hear it. Yeah, there's a string part, but it sounds far more like real ones than any form of tape-replay, and certainly does nothing to enhance the already gruesome song to which it's attached. Anyway; don't, under any circumstances, buy this album, just on the remote offchance you were thinking about it. It's crap, and there's no audible Mellotron.
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Space Cabaret (1972, 42.28) ***½/TSpace CabaretArchway 272 Song From the 4th Era A Distant Thought, a Point of Light Doctor, am I Normal? Dream Lightshine |
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Cambridge-based CMU (Contemporary Music Unit, apparently) were a sort of folky/bluesy/proggish outfit, like so many at the turn of the '70s, and they managed a couple of albums that are probably as much sought after now for their rarity value as their musical worth. Their debut, Open Spaces (***½) isn't actually bad; in fact, its psych-ish title track is well worth hearing, but overall it really isn't that exciting.
By their 2nd album, Space Cabaret, CMU had moved away from their bluesy roots into a more folk/psych direction, although they could also rock out when the mood took them. There's some really nice moments on the album, but it's no classic, to be honest, and a bit dated for '72. There's a fair bit of Mellotron strings on Archway 272 (presumably referring to the area of North London), but I wouldn't buy it for that alone.
So; not a bad album, a bit of 'Tron, that's about it, really.
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40 Acres (1999, 44.42) **/T |
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| There You Go Thankful Shifting Sand Faith My Eyes Where I Began Table for Two Climb on (a Back That's Strong) Petrified Heart |
Somewhere North Daring Daylight Escape 40 Acres |
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City on a Hill: It's Christmas Time (2002, 4.56) **/½[Caedmon's Call contribute]Babe in the Straw |
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Caedmon's Call are at the folkier end of the CCM spectrum, although Cliff Young's vocals come straight from the 'indie/alternative' school, particularly the irritating near-hiccup with which he ends many lines. They're notable in Christian circles for Derek Webb's on/off membership, although he has a successful solo career of his own. 1999's 40 Acres was their third album and I'd imagine it's pretty typical of their sound; a rather lifeless male and/or female-fronted Christian thing, with those horrible vocals that so many modern practitioners (and not just Christian ones) insist on using; you know, the 'fake-emotive' type than can turn a reasonable man homicidal.
Keys man Randy Holsapple plays Mellotron on Petrified Heart, with a nice flute part on one of the album's better songs, if you ignore the vocals and lyrics (not easy, I'll admit). So; not as offensive as a lot of CCM, but ruined by awful vocals. Shame. Anyway, one passable 'Tron track, that's it. Caedmon's also contribute to the horrible City on a Hill series, adding Babe In The Straw to the third volume, It's Christmas Time, with a Chamberlin string part from Phil Madeira that doesn't especially add anything to anything.
See: Derek Webb | Bebo Norman | City on a Hill
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Cherry Kicks [as Caesars Palace] (2000, 39.58) ***½/T |
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| Right About Time Subhuman Girl Crackin' Up One Good Night Spill Your Guts Since You've Been Gone Oh Yeah? Punkrocker |
Fun & Games From the Bughouse Only You Cherry Kicks |
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Paper Tigers [as Caesars] (2005, 47.42) ***½/T |
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| Spirit Not That Fall That Hurts Out There Jerk it Out May the Rain My Heart is Breaking Down Paper Tigers Your Time Is Near |
Throwaway Winter Song We Got to Leave Soul Chaser Good and Gone (I’m Gonna) Kick You Out |
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From a country excelling in all things garage (rock), Sweden's Caesars Palace (later Caesars, or Twelve Caesars in the rest of Scandinavia), named for vocalist/guitarist César Vidal, have raised the bar a notch or three, matching The Hives for sheer '60s-influenced excellence. Saying that, the band have developed their own take on it, ending up sounding like nobody but themselves, which has to be applauded. I believe Cherry Kicks is their second album, although the first as Caesars Palace, full of energetic, tuneful garage rock (Spill Your Guts is typical), with the odd sideways step like the rather odd slowie Since You've Been Gone. One Good Night opens with a beautiful solo Mellotron flute part from David Nyström, sounding nicely authentic, although as so often, it might have been nice to hear it a little more.
Five years on, Paper Tigers is their fourth album proper, ignoring a 2003 compilation and once again, it's stuffed full of great hooks and a vibrant, upbeat distorted Farfisa-driven sound. My only real criticism is that it's too long; any more than, say, 35 minutes of this stuff is a bit much, to be honest, but that's just being picky. There's an interview snippet on their website where Joakim Åhlund, talking about their studio, says, "We have a Mellotron and all our old mics and amps and things", although it isn't credited in the CD booklet, and there aren't any pictures, so I don't even know who plays it. Sadly, it's only obvious on one song, with a full-on string part on Winter Song, with the Farfisa and Philips Philicorda organs sharing the bulk of the keyboard work between them.
So; two damn' good albums, although hardcore progheads are unlikely to be too amused. Like the band give a shit, I'd imagine... Good, though thin on the 'Tron.
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Alta Suciedad (1997, 55.13) **½/½ |
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| Alta Suciedad Todo Lo Demás También Donde Manda Marinero Loco Flaca Quién Asó la Manteca? Media Verónica El Tercio de los Sueños |
Comida China Elvis está Vivo Me Arde Crimenes Perfectos Nunca es Igual El Novio del Olvido |
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Andrés Calamaro is apparently one of Argentina's top entertainers, his career path arcing through Los Abuelos de la Nada, Los Rodríguez and concurrent solo albums. 1997's Alta Suciedad (translates as 'high dirt', which highlights the inadequacies of online translation software) largely consists of Latin pop/rock and ballads, although the opening title track is a dirty, brass-driven rock number. Despite my effectively nonexistent Spanish, even I can translate Elvis Está Vivo... No he ain't, Andrés, and the song's really dull to boot.
Calamaro plays Mellotron on Comida China himself, with an obviously Mellotronic string part running through the song. Now, given that I don't believe there was a single Mellotron in South America until a few years ago (I now know of two), I can only assume the album, or at least part of it, was recorded in an American or European studio. Either that, or it's samples, but it doesn't actually sound like it. Anyway, you're not going to buy this for one so-so 'Tron track, so it's all a bit academic, really.
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La Terra Dei Grandi Occhi (1992, 46.25) ***½/TTTLa Terra Dei Grandi OcchiNon ci Credo Più Lunario Pensieri Affascinanti Passi Dentro il Tempo Avalon L'Anima del Cielo Mellotronmania |
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Città di Frontiera (1994, 49.59) ****/TTT½La ProvaSarajevo Margherita a Rodi Terra di Nessuno Senza Pretese Windsor L'Attesa Il Ritorno |
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Il Madrigale del Vento (1995, 52.53) ***/TTTerra di MaggioLa Nascita della Luna En Haute de Crete La Bionda Treccia Il Tempo Sei Tu La Visione della Dolce Pioggia |
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Calliope are one of those bands who, for me, were initially very impressive, but whose appeal palled as time went by. After hearing a friend's copy of Città di Frontiera, I was completely blown away, bought it immediately and played it to death, although after picking up their debut, La Terra Dei Grandi Occhi, I was rather less impressed. Playing these back-to-back, I was very aware of their shortcomings; for an Italian progressive outfit, they lack subtlety, and their retro leanings are heavily tempered with a '90s guitar sound and style, despite the (authentic) '70s keys.
La Terra Dei Grandi Occhi tries hard, and given the prevalence of terrible neo- outfits doing the rounds in Italy at the time (have you ever HEARD Tale Cue?), Calliope's '70s influences came as a breath of fresh air. The song construction is rather straightforward compared to their forebears, however, with an obviousness to their compositions that would never have been tolerated by, for example, Le Orme, although some of the material actually dated back to that decade. The guitar parts are far too powerchord-based for comfort, too; they could never be mistaken for a long-lost '70s band, assuming that was actually the band's intention. As you can see, though, Rinaldo Doro used their beaten-up M400 on every single track, though to their credit, it's rarely overused, with little bursts of choir and flute among the more prevalent strings. The one outstanding piece of Mellotron work on the album, unsurprisingly, is the 90-second closing piece, Mellotronmania, consisting of a simple 'Tron flute theme, overdubbed with their other two sounds, building and repeating to fade.
Città di Frontiera opens with my favourite track on the album, La Prova, although it manages to be the only one sans Mellotron, apart from the beautiful 49-second acoustic guitar instrumental Senza Pretese. It's easier with hindsight to see the transition the band made from first album to second; the compositions are better, though still nowhere near those of their influences. Again, a certain obviousness pervades most of the material, with some irritating 'widdly' MiniMoog lines straight out of the Marillion songbook, and proto-progressive metal guitar lines doing their best to spoil otherwise quite nice songs. The Mellotron work is a bit more upfront, though, with the usual string washes on most tracks, and the occasional bit of choir. Not a classic, but an improvement on their debut.
Between Calliope's second and third albums, their line-up changed radically, with only two members (keyboards and drums) remaining. The difference is immediately apparent, as Il Madrigale del Vento removes the heavier end of the band's sound, adds female vocals and changes their approach to a more obviously neo-prog one, albeit with some unexpected folk touches, not least on the traditional En Haute De Crete. While not a bad album, it smacks a little too much of many contemporaneous Italian neo-prog acts like Theatre, though thankfully nowhere near as bad. The opening and closing tracks are both in the 16-17 minute range, rather stretching the composers' skills, to be honest, although the shorter material in between is more cohesive.
I'm assuming the Mellotron's real and is presumably still played by Doro, one of two keyboard players on the album, along with Enrico Perrucci. The album's choirs really don't sound Mellotronic at all, which is perturbing (in a rather unimportant, non life-changing kind of way), but the strings on the first three tracks sound real enough. Maybe they just didn't like the choir sound any more? Sampled strings crop up in places, too, not least throughout Il Tempo Sei Tu, overlaid with real violin. Whether we're actually hearing a real Mellotron here has to be a moot point; going by some of Calliope's contemporaries, poorly-maintained or just plain old 'Trons were breaking down right, left and centre by the mid-'90s, before Streetly Electronics' refurbishment service became more widely known.
So; while sounding pretty good at the time, Calliope have been rather overtaken by events, I fear. Ten years on, the prog audience has modern bands of far more sophistication to listen to, with the more retro outfits sounding far more 'authentic' than this, and frequently taking more care over their compositions, so I'm left giving only a cautious recommendation on both musical and Mellotronic fronts. 2002's Generazioni apparently consists of half-and-half new recordings and material taped in '93, but it all sounds like new recordings with 'Tron samples, so until/unless I find out otherwise, it shall reside in samples.
See: Sampledelica!
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Camel (1973, 39.10/61.51) ***½/T½ |
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| Slow Yourself Down Mystic Queen Six Ate Separation Never Let Go Curiosity Arubaluba |
[remastered CD adds: Never Let Go (single version) Homage to the God of Light (live)] |
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Mirage (1974, 38.02/68.10) ****/TT (TT½) |
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| Freefall Supertwister Nimrodel The Procession The White Rider Earthrise Lady Fantasy Encounter Smiles for You Lady Fantasy |
[remastered CD adds: Supertwister (live) Mystic Queen (live) Arubaluba (live) Lady Fantasy (original mix) Encounter Smiles for You Lady Fantasy] |
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Moonmadness (1976, 39.15/71.27) ***½/T½ |
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| Aristillus Song Within a Song Chord Change Spirit of the Water Another Night Air Born Lunar Sea |
[remastered CD adds: Another Night (single version) Spirit of the Water (demo) Song Within a Song (live) Lunar Sea (live) Preparation/Dunkirk (live)] |
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The Single Factor (1982) **/½ |
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| No Easy Answer You Are the One Heroes Selva Lullabye Sasquatch Manic Camelogue |
Today's Goodbye A Heart's Desire End Peace |
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Camel were slightly late entrants to the progressive arena, not releasing their self-titled debut until 1973; Camel has a Canterbury-ish feel to it, but thankfully without the tedious whimsy and dull jazziness of many of the bands from the scene. Camel's strength was always their melodic invention, although they were still to refine it by this point in their career; their most noticeable weakness was in the vocal department, with various members singing on different tracks, all sounding a bit dodgy. Camel's a good album, without being at all outstanding, mostly organ- and guitar-driven, with highlights including Mystic Queen and Separation, with the punning Six Ate being a live favourite. Keyboard man Pete Bardens, with a string of solo albums already to his credit, only plays 'Mellatron' (aargh!) on one track, the excellent Never Let Go, and while the string chords are nice, the standout part on the track is some rippling flute arpeggios, proving that you can play a well set-up Mellotron fast, if you know what you're doing. And no, it's not Andy Latimer on his second instrument.
The following year's Mirage was better, with more consistent songwriting, particularly the album's two 'epics', Nimrodel and Lady Fantasy. Mellotron on both, with the proverbial string washes (sorry), although Bardens' use never approaches that of many of his contemporaries' for sheer invention. Andy Latimer's guitar comes into its own on this album, with some beautiful soaring lead work on several tracks, notably Lady Fantasy, and he's no slouch on the flute, either. Definitely worth hearing.
Camel are best-known for their third album, '75's (Music Inspired By) The Snow Goose (****½), an all-instrumental concept piece based on Paul Gallico's short story. Whimsical? Maybe, but the music is quite outstanding melodic prog, and the instrumental format suited the band well, making it strange that they never repeated the experiment. Sadly, there's no Mellotron to be heard on the album, presumably because of their use of an unnamed orchestra, arranged by Mike Oldfield collaborator David Bedford. They followed it up with another 'regular' release, '76's Moonmadness, with melody still to the fore, especially on the rather wonderful Song Within A Song. 'Tron on only one track this time (I've no idea whether Camel owned their own machine, or just hired them in for studio sessions; to my knowledge they never used one live), Air Born, yet another intensely melodic piece, with a few choir chords at the end, but that's it for the album's 'Tron use.
By 1982's The Single Factor, Camel were effectively an Andy Latimer solo project, a status they've maintained to the present day; the album title alludes to this situation, and although Pete Bardens returns to guest on one track, this is most decidedly Latimer's show. There are guests a-plenty, including Anthony Phillips on guitar and keys, Duncan Mackay, David Paton (Alan Parsons etc.) and Francis Monkman (ex-Curved Air), although the album retains a stylistic homogeneity throughout. It has to be said that it isn't very good, although Sasquatch (Bardens' guest spot) and Manic on side two aren't so bad. Most of side one is horrible, pseudo-commercial dross, not even worthy of being released under the band's name, in my opinion; I can only assume the only reason it wasn't in actuality a Latimer solo record was the (declining) power of the Camel brand name. As far as the Mellotron's concerned, Latimer's credited with it on Manic, but alongside Ant Phillips' Polymoog and organ, it's as near to inaudible as you can get; I'm guessing that it's background strings you can (almost) hear, but it's rather hard to say. Avoid.
So, while never much of a 'Mellotron band', Camel's contribution to the progressive canon is noteworthy, without ever being likely to challenge the big boys. Their first four albums are all worth hearing, as is Mellotron-free recent-ish live archive release On the Road 1972 (****), although quality dips towards the end of the '70s, and plummets soon after. Sadly, any vague hopes fans may have had for a reunion of the original lineup one day were dashed in early 2002 by news of Pete Bardens' death. Latimer's version of the band tour and record to this day, but keyboards these days are the usual digital dullness, and despite some reasonably-acclaimed recent releases, Camel are most unlikely ever to produce anything even close to the quality of their early material again.
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Midnight Daydream (1999, 63.17) ***½/TT½ |
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| Midnight Daydream Doctor Please Mind Gardens Miles Away Born to Lose I Want to Be Late Forever Rebel Girls Just Like a Spaceman |
So, Aliens Have Been Here A Thousand Moons Raining the Blues Day After Yesterday Falling Up a Mountain She's So Gone |
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There's not a lot of information about Bruce Cameron on the 'Net, even on his own site, other than that he was born in late 1955 and had been 'honing his songwriting craft and guitar style in his private studio for many years'. Midnight Daydream was not only his debut album, but also his last, as he sadly took his own life soon after its release. Basically, he was an excellent Hendrix-style guitarist/songwriter, who somehow or other managed to pull together a stellar cast to play on his album, including Jack Bruce (Cream), Mitch Mitchell, Buddy Miles and Billy Cox (Hendrix), Michael 'no relation' Bruce and Neal Smith (Alice Cooper), Ken Hensley (Uriah Heep). I suspect the album was a project he'd been itching to pull off for years, making it all the more tragic that he killed himself before he could even gauge the public's response.
The material is decent, without being classic, though I suspect the better songs will improve with repeated playing; there's a little inconsistency across the album, with no two tracks featuring the same lineup, and five different vocalists, but it's held together by Cameron's playing and songwriting. It's hard to say how well he could've done, given time, but I'm sure he'd have found his niche after a couple of releases. Anyway, as far as the Mellotron's concerned, Cameron played it himself on four tracks, and it's quite obviously real, going by the crankiness of his playing. It's strangely inaudible on the drumless So, Aliens Have Been Here, but there are upfront string parts on Mind Gardens, Just Like A Spaceman, along with Ken Hensley's Hammond and the sitar-led Day After Yesterday, with some excellent tape-speed effects on the latter.
Don't let the CD booklet's relentless cheapness put you off buying Midnight Daydream (those photos... that layout...), as it's actually pretty good; I'm sure Cameron would've developed into one of those cult guitarists who bombard us with their instrumental prowess, but better. With three decent 'Tron tracks, it's almost worth it for that alone; it's certainly worth picking up if you see it cheap. Oh, and DON'T visit his old website address, 'brucecameronmusic.com'; sadly it now hosts a hardcore porn site with a download dialer at three bucks a minute. Run away fast.
New official site (same as Brain Cell)
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Meanwhile (1991, 66.34) **/T |
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| Seize Your Day Heaven (I Want You) Mellotron Mother Dad Where the Happy Live These Eyes What for |
Waiting Accordion This Day Handsome Bitter Sweet Spellbound Who the Hell is David Butler? |
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German trio Camouflage's Meanwhile, from 1991, is a rather overlong and irritating indie/electronica album with hints of a decade earlier's synthpop, notably on Heaven (I Want You). Several tracks begin well (Accordion, Spellbound) but spoil it when the vocals start, or the rest of the band enter; maybe if the album was half its eventual length and they'd mixed the vocals out? Maybe.
Mellotron (the song) doesn't appear to be about Mellotrons, unsurprisingly, although it does contain a fair dollop of 'Tron choirs (from Heiko Maile), although they don't sound particularly gritty. Early 'user's own' Mellotron samples? Hard to say, but they crop up on Mother and possibly Spellbound, too. A dull album anyway, so if I were you, I wouldn't even make the effort to find out. Incidentally, there's a much later Camouflage 'Mellotron' album, 2006's Relocated (reviewed here), but they're almost certainly samples.
See: Sampledelica!
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Taking the Wheel (1997, 56.53) **/½ |
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| Grateful Gentle Souls and Tender Hearted Fools It Will Always Be You I Honestly Love You Old Devil Moon The Nearness of You/Not a Day Goes By I Got Rhythm Never Really Mine to Lose |
Storybook Yard Sale Bridge Over Troubled Water Taking the Wheel Just Where They Should Be It Will Always Be You (Acoustic Version) |
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Given that David Campbell is the lovechild of Aussie blue-collar star Jimmy Barnes, his chosen milieu is slightly surprising: swing. Well, swing, showtunes, 'adult pop', you name it; if it's smooth, Campbell will give it a stab, it seems. 1997's Taking the Wheel features his interpretations of standards, mostly from the swing era, with a few newer numbers chucked in for good measure, not least a particularly slushy version of Bridge Over Troubled Water. Y'know, I absolutely cannot fault Campbell's voice on a technical level; it sounds about as little like his dad's whisky-soaked rasp as you can imagine, but he's probably reaping the benefits of a non-rock'n'roll lifestyle there. Maybe Barnes could've sung standards if he hadn't started smoking at three months? Paints an amusing picture, doesn't it?
Mike Gubb plays Mellotron, amongst other keys, with a restrained flute part on It Will Always Be You, although that appears to be it. Frankly, listening to this has been a bit of a chore; sometimes it's nice to kick back a bit, but Sinatra-style balladry is not my musical relaxation aid of choice... Next to no 'Tron, either. Maybe not.
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Campo di Marte (1973, 40.36) ****/TTPrimo TempoSecondo Tempo Terzo Tempo Quarto Tempo Quinto Tempo Sesto Tempo Settimo Tempo |
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Another of the many Italian progressive one-offs, Campo di Marte had a heavier sound than some, though not as full-on as, say, the magnificent Museo Rosenbach. With bugger-all Italian, I can't work out whether or not Campo di Marte has a specific concept, although the tracks are (I believe) titled 'First Time' through to 'Seventh Time', and the poem on the back cover has the band's name as its first line, along with lines reading something like 'The indifference, the stupidity, the imbecility', along with a line about agnosticism. So... any Italian speakers out there like to enlighten me?
The music is pretty varied, ranging from quite dissonant, especially the end of Primo Tempo, contrasting sharply with the dreamlike acoustic intro to Secondo Tempo. Two band members are credited with flute, one of them being one of two credited drummers, but I've no idea if they ever used two kits at once. The keyboard player doubles on 'horns', leaving guitarist Enrico Rosa to double on Mellotron. Confused? Anyway, a couple of passages I originally took to be Mellotron flutes I can now hear are real flute duets, but there's a reasonable helping of 'Tron strings on tracks three and five, both well-played, quite evocative parts.
I'm not sure if two tracks make the album a 'Tron essential or not; I'll leave that up to you. Campo di Marte's a damn' good album, whatever, worthy of your attention.
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Ciclos (1974, 73.31) ****½/TTTT½Paraiso RemotoAbismo Proximo Ciudad Futura El Eslabon Recobrado |
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Ciclos appears to be the fourth and last album by Spanish quartet Canarios (no 'Los', thank you), and the only one to count as 'progressive'. It's a double-LP adaptation of Vivaldi's 'Four Seasons', and is widely regarded (amongst those who've heard it, of course) as the best classical adaptation ever, knocking ELP, Tomita et al. into the proverbial cocked hat. The band's interpretation is fairly loose, with their own compositional work scattered throughout, and vocal sections at which Vivaldi would probably have raised a quizzical eyebrow, as indeed he would have at the instrumentation; the standard guitar/keys/bass/drums, with the usual multi-keyboard setup, played most capably by Teddy Bautista. Of course, by tackling a classical piece, the band were at an immediate compositional advantage over their contemporaries, though this isn't to demean them in the slightest; their arrangement skills were exemplary, particularly in the synth department (multi-overdubbed monos, of course), seamlessly merging Vivaldi's work with their own.
I don't know the original work as well as I might, but every now and again a familiar theme rears its head amongst what may or may not be the band's own compositions. There's a sense of humour at work here, too; the closing moments of Ciudad Futura switch from one of those themes to a classic blues ending, which slides into a quick doo-wop section. Bautista's Mellotron work shines throughout the album; while not using it to overkill, he inserts it in all the right places (so to speak), with strings to the fore, while also utilising choirs and flutes, along with a real choir, particularly on Abismo Proximo. Fantastic.
Ciclos really is quite superb; I hope to be able to find the time at some stage to get to know the album really well (yeah, OK, that and about 300 others, too...). There's some quite exceptional Spanish prog out there; this is at the forefront. Buy immediately.
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Tiger Flies (2001, 48.51) ***/TT |
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| Avalanche Talk About Troubles Light Through Stones Hawaiian Police Honey Cactus Jack Burn Low Hangman's Waltz |
Head to Toe in White The Hole The Wreck of The Breeze Medicine Ball This is the Way The Last Days of the War |
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Nuada (2002, 36.43) ***½/T |
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| Barrel of Fear Sowing Song Tomorrow's Tomorrow Beautiful Birds Song of the Oss Save Us Circle of Ash Burrowhead |
Rain on the Roof Island 34 Modern Parlance |
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I assumed Candidate were going to be yet another British weak-as-water indie-schmindie outfit, so it's come as a most pleasant surprise to discover that they fall into no known category (hoorah!), although influences clearly include UK folk-rock, the Velvets (again) and that catch-all category, film soundtracks (see below).
Tiger Flies is their second album, and while my attention wandered in places, their brave mix'n'match approach to instrumentation enhances several otherwise fairly ordinary songs. All three members are credited with Mellotron, with strings on Hawaiian Police, female choir on Cactus Jack, along with what I take to be Mellotron mandolins and guitar, and flutes on Hangman's Waltz. The only definite credit is for 'Mellotron choir' from vocalist Joel Morris, with both guitarist Alex Morris and bassist Ian Painter getting simply 'Mellotron'. Given that the non-choir sounds on Cactus Jack are presumably from a MkII, are we actually hearing a real 'Tron here? Well, chaps?
Subtitled 'Music inspired by the film The Wicker Man', the following year's Nuada shows a folkier Candidate than on its predecessor, unsurprisingly, with much of the writing being done in and around the film's locations. The material appears to be better than on Tiger Flies, but that could simply be because I prefer the album's sound, and at only 36 minutes, it doesn't get a chance to outstay its welcome. The legendary Bert Jansch guests, too, on Burrowhead, which is a bit of a coup for the band. Although both Painter and Morris, A, are credited with 'Tron (just flutes in the latter's case), I can only hear said flute part in Tomorrow's Tomorrow, so I've no idea where Painter gets his bit in.
So; two unusual albums, with Nuada in particular being worth hearing. Very listenable 'Tron stuff on both albums; just a shame there isn't more of it. Pick up if you see 'em cheap, like I did. Oh, and there's more on 2004's Under the Skylon; review when I hear it.
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Candlewick Green (1977) *½/TTT |
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| Don't Take Away the Music You Make Me Feel Brand New/ I Can't Give You Anything/ Star on a T.V. Show Love is Blue Feelings December 63 Let's Dance |
Killing Me Softly She Loves You/Yesterday/From Me to You/Please Please Me Who Do You Think You Are Goodbye to Love |
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Good Lord, it's 1977, punk has taken the nation by the scruff of the neck and given it a fucking good kicking and Candlewick Green are still dressing like the Rubettes. Actually, they typify a largely (who said deservedly?) forgotten seam of British light entertainment, which included Bruce Forsyth, It Ain't Half Hot Mum and the completely indefensible Black & White Minstrel Show. I mean, can you believe that a) the BBC still broadcast that stuff in the '70s, and b) people watched it? Shocking. In fairness, I can't hold that against the Candlewick boys, but I can blame them for their peculiar brand of low-budget weak-as-water covers of contemporary hits, so I shall. Candlewick Green is really quite disgraceful, bringing grubby workingmen's clubs and racist 'comedians' to mind, although, in fairness, I'm sure they were only trying to make a living like the rest of us. OK, not like the rest of us, because we wouldn't have gone out and played shite versions of already shite songs like You Make Me Feel Brand New and Feelings to bored parents and screaming kids in crummy regional venues called things like the Steel-Grunters and Taplockers Club or suchlike.
Amusingly, the hapless Dudley Jones plays his Mellotron on most tracks, desperately trying to fill in for the absent orchestra, accidentally creating one of the weirdest 'Tron-stuffed albums I've ever heard in the process, and that includes the Small Wonder album. You name it, he plays it: fast runs on several tracks, notably Who Do You Think You Are, a front-of-the-mix part on the dreadful Feelings, and overdubbed strings and cellos on Yesterday, in a vain attempt to recreate the original. At least he doesn't contribute to the awful backing vocals, buttock-clenchingly out of tune on the unlisted She Loves You at the beginning of their Beatles medley on side two. Maybe that's why it's unlisted. It should be.
But you know what? I've got a sneaking sort of respect for Candlewick Green, in a perverse kind of way. They ploughed their own furrow, ignoring current trends (those clothes were well on the way out in '77), even releasing this album on (their own?) independent, Storm Records (based in Blackpool! Yes!), in true punk style. Maybe. Shockingly, although discographical information is unsurprisingly hard to come by, I've discovered that they released at least two other albums, What Kind of Songs in '74 (seemingly on Decca!), and Making It in 1980. 1980? Do you think they still had the same suits? Let's hope so. Anyway, I suspect this is the only time I've given this particular combination of stars and Ts; I actually toyed with an extra half T, but came to my senses just in time. Of course, should I happen to find anything else by this lot, I may just have to buy it, just on the offchance there's as much Mellotron as here... Or maybe not.
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Balene (2002, 46.48) ***½/TTTT |
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| Ulisse Ulisse Intro Ulisse part 2 Ulisse pt 3 Primo Battito Macina Estratto 1 Estratto 2 |
Dive-Nire Ali Grandi Una Vela Balena |
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Kalevala (2003, 5.46) ***½/TT[Cantina Sociale contribute]Kantele |
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Cantina Sociale's sole album to date, Balene, is an interesting mix of contemporary and 'classic' prog, with some modern influences from completely outside the genre. There's the odd sampled beat here and there and some current synth sounds, although used in a good way on the whole. Apparently, it's a concept album, but my Italian's no better than it ever was, so unless someone out there would like to enlighten me... I admit it may well grow on me with repeated plays (like, when I retire...), but I don't currently feel I can give it a higher star rating, although it's far more inventive than most current Italian acts.
Good old Beppe Crovella turns up on the Mellotron, which accounts for its 'real' sound. Because it's real (see: Arti e Mestieri, Romantic Warriors). It's used quite unconventionally in places, which makes a refreshing change; the flutes on Macina are far higher in the mix than they have any right to be, and some of the 'choppy' choir work is way off the map for 'standard' 'Tron use. Good! All round, quite excellent on the 'Tron front, and while I'm unconvinced by the strings at the beginning of Una Vela, I'm willing to be proved wrong.
So; if you want to hear an off-the-beaten-track modern progressive album, Balene may be just what you're after. The 'Tron work is most fine, too, so cautiously recommended. Incidentally, Cantina Sociale also turn up on Musea's massive Kalevala project, with a pretty decent track, Kantele, replete with clicky 'Tron flute intro and strings.
See: Arti e Mestieri | Romantic Warriors | Secret Cinema | Tower
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Humming By the Flowered Vine (2005, 39.32) ***/T |
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| 14th Street What You Said And Still Khaki & Corduroy Letters California Rose Wishful Thinking Poor Ellen Smith |
Bees Old Downtown |
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Laura Cantrell is a Nashville-based singer who avoids all the terrible country clichés that we know and hate, making music more akin to American folk with a country edge, which is more palatable than the Nashville orthodoxy by a factor of infinite to one. Saying that, those of you totally allergic to anything even remotely country aren't going to like her third album, 2005's Humming By the Flowered Vine, although once upon a time, folks, that was me... Best tracks? Probably Letters and slightly rockier six-minute closer Old Downtown, although more upbeat efforts like California Rose and the honky-tonk Wishful Thinking help to knock the album's rating down a notch. Just say no, Laura.
A little Mellotron from Rob Burger, with a nice string part on Letters, but, as with so many albums, nothing you can't do without. Humming By the Flowered Vine is the kind of album to hear if you want to find out where the good country artists are hanging out, but avoid if a Southern twang and/or an occasional pedal steel make you heave.
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There's a Forest in the Fire (2005, 60.26) ***/½ |
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| Rusted Selling Sun Safe How to Make a Song Machine Like Water From My Eyes Without a Sound Sweet One Mood Sunbeam Still...Sleeping |
Honey & Gold Windy Easy Seventeen Beach Song Dead or Dreaming Weeping Wind Lude Battle Axe |
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You can add Canyon Country to the pantheon of 'low-key, low-fi' outfits, although they're more a solo project than a real, flesh'n'blood band, it seems. On 2005's There's a Forest in the Fire, Nick Huntington's vision takes him through post-rock territory and out the other side to a kind of parched, sparse, Americana-influenced music, light on conventional melody and structure and heavy on atmosphere.
Huntington plays Mellotron, with gentle choirs on opener Rusted and closer Battle Axe, although whether or not it's real can only be a matter for conjecture... This is an album to get shoegaze fans salivating, though I can't guarantee it'll do much for the rest of you. Like several I've heard recently, a few tracks are great, but a whole album (let alone an hour-long one) can really drag.
