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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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Charlatans Cheer-Accident Eagle-Eye Cherry Cherry Five Chicago |
Chillum Chocolate Genius Choice Tim Christensen |
José Cid Circadian Rhythm Circle Cirkus |
Città Frontale Allan Clarke Gilby Clarke Cléan |
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Us & Us Only (1999, 52.22) ***/TTT½ |
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| Forever Good Witch, Bad Witch 3 Impossible The Blond Waltz A House is Not a Home Senses My Beautiful Friend I Don't Care Where You Live |
The Blind Stagger Watching You |
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Wonderland (2001, 57.31) **/T½ |
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| You're So Pretty - We're So Pretty Judas Love is the Key A Man Needs to Be Told I Just Can't Get Over Losing You The Bell and the Butterfly And if I Fall Wake Up |
Is it in You? Ballad of the Band Right on Love to You |
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Manchester's Charlatans regrouped in 1998 after the death of their long-standing organist, Rob Collins, having decided to carry on. Replacing him with Tony Rogers, they branched out a little on the keyboard front, buying a Wurlitzer and an M400, slapping it all over their next release Us and Us Only. By the way, the band are known as Charlatans UK in the States, probably due to their ripping-off of the original '60s Charlatans' name. The album starts fantastically, with a grinding Hammond fading in and a driving backbeat, which even Tim Burgess' dodgy vocals can't dispel. Unfortunately, it's the album's best track, although they use 'Tron (mostly strings) on six tracks in total; Senses is particularly good for it, with an unaccompanied part closing the song, while Watching You branches out with a nice flute part, pitchbend included. All in all, I found this better for the 'Tron than the music, but if you're into that UK retro-indie thing, you may like this anyway.
I'm afraid to say their follow-up, Wonderland, is a distinct backwards step, being largely dated baggy-by-numbers, complete with by-now passé drum loops and largely tedious songwriting. Sorry, but I find it difficult to say anything particularly positive about such a lacklustre album; even after several listens, I can't find anything very encouraging to say about it, except: nice vintage keys. Quite a bit of Wurly, and after a slow start, some reasonable Mellotron, with a few string notes on You're So Pretty - We're So Pretty (yeah, yeah, it's a Pistols quote; would've been far better titled 'So Pretty', but there you go), which start things off with a whimper, but a nice (if brief) flute melody on And If I Fall and a more overt part on Is It In You?, along with strings, brighten things up slightly. The strings on Right On seem to be mixed with generic samples, but the choirs, strings and cellos on closer Love To You finish things off well, at least on the 'Tron front.
So; Us and Us Only is noticeably better than Wonderland, but I wouldn't really go too far out of your way for either, to be honest. Average at best, although some nice 'Tron.
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Sever Roots, Tree Dies (1988, 45.16) ***½/T½Fight for InnocenceDeath & Taxes Uncle Dale Avoid the Invisible Severed Heaven Black & White Cutting Off My Arm So I Don't Have to Shake Hands Tree Dies |
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The wonderfully-named Cheer-Accident (apparently named for a category of greeting cards) are a long-standing institution on the Chicago scene, although I was unaware of their existence before hearing this album. Sever Roots, Tree Dies was their first release, and while the overused term 'avant-garde' is relevant, what I hear is a combination of '70s RIO (Henry Cow et al.), '80s King Crimson and some weirder shit, although I believe the band have grown away from their influences on subsequent albums. Although I've only given this album 3½ stars, I suspect it may get an upgrading in the future, as its hidden depths release their murky secrets; there's an awful lot going on here - far more than the average brain (especially mine) can assimilate in a single sitting.
Of the band's three members at the time, two (multi-instrumentalists Thymme Jones and Chris Block) play Mellotron, apparently borrowed from one Ted Dominick, whose sleeve credit reads "who else would have a Mellotron?" It isn't actually used until track four, the lengthy Avoid The Invisible, with what sounds like a cello line under one of the more 'normal' parts of the song, before a fantastic discordant strings part takes over. There are more cellos on Severed (the lyrics of which give the album its name), but that appears to be it.
So; a really rather good album that is finally available on CD, through Freakshow Records, based in Würzburg in Germany, run by Charly, who also runs the town's magnificent annual prog festival. There isn't an awful lot of 'Tron, but what there is, is good, so buy this principally for the music.
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Living in the Present Future (2000, 49.55) ***/T |
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| Been Here Once Before Are You Still Having Fun One Good Reason Promises Made Burning Up Together Long Way Around Lonely Days (Miles Away) |
First to Fall Miss Fortune She Didn't Believe Shades of Grey Wishing it Was |
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Eagle-Eye Cherry was actually born in Sweden, but is effectively American, despite spending time in Sweden as an adult. Son of jazz trumpeter Don and brother of Neneh, Eagle-Eye's career kicked off in the late '90s, after the death of his father, releasing Desireless in '97 ('98 in the States). His second release, Living in the Present Future, appeared in 2000, being reissued a year later in the US as Present/Future, with a slightly different tracklisting, and is an appealing mix of singer-songwriter styled material with a bit of a 'retro' sound with some more current influences, although none of them are that overt. One Good Reason is a beautiful acoustic ballad, while Lonely Days (Miles Away) is probably the album's best upbeat song, though while nothing here actually offends, the album does begin to outstay its welcome around track ten, to be honest.
The inimitable Patrick Warren plays Chamberlin on Promises Made, illustrating why the instrument is sometimes so hard to spot; it's actually almost indistinguishable from real strings, though with a tape-replay edge to it, a trick the Mellotron rarely performs, which is presumably why the Chamby is so popular amongst a small cabal of American producers. Several other tracks feature Hammond, Rhodes and some particularly nice, mellow Moog (presumably a Mini), especially the solo on Lonely Days (Miles Away).
So; not one for those of you who detest the mainstream, which this effectively is. However, it's far better than I'd expected, all things considered, and it's a shame Cherry hasn't made a bigger commercial impact, given the talentless dross that clogs up the airwaves. Anyway, one decent Chamby track, for those who are interested.
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Cherry Five (1975, 43.12) ****/TTTCountry Grave-YardThe Picture of Dorian Gray The Swan is a Murderer Part 1 The Swan is a Murderer Part 2 Oliver My Little Cloud Land |
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Cherry Five were, basically, an early version of the esteemed Goblin, of Dario Argento horror movie theme fame (try saying that quickly); in fact, the sound effects on the album were later re-used on Goblin's Profondo Rosso. Their take on prog was actually slightly dated for 1975, with a psych edge to it in places lost by most of their contemporaries by that time, but don't let that put you off.
Goblin quickly developed their own sound, partly, no doubt, due to most of their albums being soundtracks, but Cherry Five had a distinctly Yes/Gentle Giant flavour to their material, particularly in the vocal harmony (Yes) and organ (Giant) department. The songs actually get better, and more contemporary, as the album progresses; maybe they recorded their stuff in the order they wrote it? Unlikely, but Cherry Five does have that sort of feel to it. Mellotron on three tracks, all strings, all very nice use, though not quite enough to be labelled a 'Tron Classic. Anyway, an excellent album that I get the feeling will be a 'grower' the more I play it. Much recommended, especially if you're into '70s Italian prog. Oh, and don't forget to check out Goblin.
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VII (1974, 72.32) ***/T |
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| Prelude to Aire Aire Devil's Sweet Italian From New York Hanky Panky Life Saver Happy Man (I've Been) Searchin' So Long |
Mongonucleosis Song of the Evergreens Byblos Wishing You Were Here Call on Me Woman Don't Want to Love Me Skinny Boy |
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X (1976, 41.55) **/½ |
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| Once or Twice You Are on My Mind Skin Tight If You Leave Me Now Together Again Another Rainy Day in New York City Mama Mama Scrapbook |
Gently I'll Wake You You Get It Up Hope for Love |
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By VII, Chicago were already moving well away from their rock/jazz/blues beginnings, and a distinct Latin influence had begun to make itself known. Saying that, the jazz-inflected material here is still vastly superior to the rampant balladry that was to become their stock in trade within two or three albums, although Happy Man and particularly (I've Been) Searchin' So Long stray dangerously close.
Opener Prelude To Aire features a cool 'Tron strings part from Robert Lamm, underpinning a lengthy flute part, over Latin percussion, with 'Tron cellos added to the mix towards the end of the piece. Byblos is another jazzy Latin thing, with background flutes and strings from David J. Wolinski, and that's it for the album (both tracks credited, so no guesswork here). So; not Chicago's best, and the precipice of taste over which they were about to plummet is clearly visible, but VII has its moments, though I feel it may've made a better single album.
Two years on, X isn't entirely awful, surprisingly, though bloody close, with interesting chord sequences in a couple of tracks, which are then spoilt by completely naff arrangements. It also contains the utterly hideous If You Leave Me Now, surely one of the worst songs known to mankind, which docked it at least half a star on its own. Suffice to say, unless you have a yen for the sort of anodyne crap they've been churning out ever since they decided to stop doing anything interesting, you want to avoid this album. Wolinski plays Mellotron strings on weepy closer Hope For Love, but to little effect, to be honest.
So; stick with Chicago's early material, although bits of VII are passable.
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Chillum (1971, 39.49) ***/T½Brain StrainLand of a Thousand Dreams Too Many Bananas Yes! We Have No Pajamas Promenade des Anglais |
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Chillum was the third album by undeservedly lesser-known psychonauts Second Hand, or at least their twin enfants terribles, vocalist/keyboardist Ken Elliott and drummer Kieran O'Connor; it seems no-one can now remember why they also elected to use it as the band name. It's possible that the overt drug connotations were a deliberate attempt to piss someone off (record company? Society? Each other?), but that can only be a matter for conjecture.
The album opens with a side-long jam, Brain Strain, apparently recorded at guitarist Tony McGill's audition, which is remarkably good, all things considered. A brief proto-symphonic piece, Land Of A Thousand Dreams, is followed by a drum solo (Too Many Bananas) and another lengthy jam (Yes! We Have No Pajamas), before a final short well-arranged piece in Promenade Des Anglais, making this more of a jamming album than anything else. Elliott's Mellotron work is confined (big surprise here) to the two short arranged pieces, with a major string part on the all-too brief Land Of A Thousand Dreams, and a minor one on closer Promenade Des Anglais, making this a bit of a minor effort in the Mellotron Canon, though at least it's audible where used.
Elliott and O'Connor fell out dramatically in 1972, signalling the end of the band, although the collapse of their record company can't have helped. Eventually, they had another stab at fame and fortune as Seventh Wave, releasing a further two albums before the inevitable permanent rift, meaning that they probably reached their artistic peak on their first album, although I'm sure many of you will disagree. Chillum doubtless has its advocates, although its druggy jamming won't be to everyone's tastes, and its Mellotron use is pretty low-key, though I've heard an awful lot worse. Oh, and See For Miles released an expanded edition in the late '90s, which I shall review when I manage to get hold of a copy.
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Black Music (1998, 46.23) ***½/TT |
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| Life Half a Man Don't Look Down Clinic My Mom Safe and Sound A Cheap Excuse Hangover Five |
Hangover Nine Stupid Again It's All Good Half a Man |
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Chocolate Genius (now Chocolate Genius Inc.) is basically the nom de plume of Marc Anthony Thompson, a New York-based musician who clearly has no intention of conforming to any stereotypes, racial or otherwise. Black Music apparently refers to the darkness within most of its songs, although every now and again (doubtless to confound the listener), Thompson toys with one or another of the styles the ill-informed observer may expect of him. The album starts brilliantly with the stark Life, featuring several other tracks of searing honesty, not least My Mom, which is painful to even listen to, so I can't imagine what it cost Thompson to write and record something so nakedly open. There are weaker tracks; the rather anodyne Clinic veers rather too close to the kind of clichés you might expect from the album's title, but the low points are few and far between.
Mellotronically speaking, John Medeski (of Medeski, Martin & Wood) makes his presence felt immediately, playing a brilliantly seasick 'Tron strings part on opener Life, with lesser input on Don't Look Down and Safe And Sound. This is an unexpectedly good album by an artist of whose existence I was previously unaware; Thompson covers several musical bases, and actually writes lyrics worth listening to, which is more than I can say for, ooh... 99.9% of lyricists? Probably more. Only one full-on 'Tron track, but an essential for Medeski fans, and worth hearing for the rest of you. Incidentally, as this is an album from the '90s, it includes a hidden, unlisted track, a different version of the excellent Half A Man; the CD's running time has been adjusted accordingly.
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Just a Dream (1980, 40.17) ***/TT½IxtlanHollow Men All the Things Remembrances Sonnenaufgang Old Piece of Rock Back Up Nothing to Hide |
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Choice grew out of one of the best German one-shots (excluding their apparently awful reformation album), Epidaurus, and included both of that estimable outfit's keyboard players, Günther Henne and Gerd Linke. Compared to their superb effort of only three years earlier, Choice peddled a relatively mainstream form of prog on Just a Dream, which I've seen compared to Kayak, or maybe Camel, although just because it was quite late in the day for prog, that didn't have to mean giving in to The Man (see: Tau). Actually, I'm being a little unfair here; there are several reasonable tracks on the album, including Ixtlan and Old Piece Of Rock, it's just that after the Epidaurus album of all of three years earlier, it's a slight let-down.
Anyway, 'Tron on four tracks, with effective strings on Ixtlan and less of the same on Hollow Men, choirs on Remembrances, and strings and choir on closer Nothing To Hide, although the best use has to be on the first track. So, not bad, not great, more for those into neo-prog, although Just a Dream predates that style by a couple of years.
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Secrets on Parade (2000, 54.31/58.55) ****/TTTT |
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| Secrets on Parade Get the Fuck Out of My Mind Time is the Space Between Us Love is a Matter of... Watery Eyes Falling to Pieces Let's Face it Prime Time |
Stranger 21st Century High Caterpillar Kings Garden [Jap CD adds: Misty Mono] | |
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Honeyburst (2003, 53.36) ****/TTTT |
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| Intro Surfing the Surface Lost and Found Jump the Gun Whispering at the Top of My Lungs Lay Down Your Arms Right Next to the Right One Isolation Here I Come |
No Easy Key Close the Door Don't Leave Me But Leave Me Alone Tonight I'm Fine unlisted track |
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Once upon a time there was a devilishly good Danish hard rock outfit with the rather suspect monicker Dizzy Mizz Lizzy, little known outside their homeland and Japan. Their eponymous debut (*****) was the dog's, although follow-up Rotator (***½) couldn't match it for quality. Sadly, mainman Tim Christensen chose to split the band and concentrate on his burgeoning production career for a while, during which he discovered the Mellotron and bought three M400s (probably Denmark's entire population).
Which leads us to his solo debut, Secrets on Parade. There are echoes of DML here, particularly in some of the guitar parts (see the magnificent Get The Fuck Out Of My Mind), but the album has a lighter sound overall, and Tim's songwriting skill has recovered since Rotator. There's plenty of 'Tron on board, mostly chordal string parts, with the occasional bit of cello and brass, and I'm sure I can hear Mellotron electric guitar on the excellent Prime Time, just after the 'Palm Court'-style strings. Tim Christensen is definitely a 'Tron convert, which makes me wonder how the DML albums might have sounded with the occasional burst...
Christensen's second solo album, Honeyburst, keeps up the standard set by his first, with strong, if relatively mainstream songwriting, with the odd rocker thrown in to confuse the casual listener. Even more 'Tron this time round, or at least, more variety, with loads of cellos, and a flute solo on one track. Individual highlights are hard to pick out, although I particularly liked the drawn-out Don't Leave Me But Leave Me Alone, with its jammed-out coda. Either way, if you liked his debut, you'll like this.
All in all, two rather good little albums, with lashings of 'Tron. Despite their major-label status (EMI Denmark), I doubt if you'll find them in your local HMV/Virgin/whoever, but they're available via Tim's site.
![José Cid, 'Vida [EP]'](images/cidjose-vida.jpg) |
7" (1977, 12.41) ***½/TT½ Vida (Sons do Quotidiano) (part 1) Vida (Sons do Quotidiano) (part 2) |
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10 000 Anos Depois Entre Vénus e Marte (1978, 38.21/51.02) ***½/TT½O Último Dia Na Terra (The Last Day on Earth)O Caos (Chaos) Fuga Para o Espaço (Escape Into Space) Mellotron o Planeta Fantástico (Mellotron the Fantastic Planet) 10,000 Anos Depois Entre Vénus e Marte (10,000 Years Later Between Venus and Mars) A Partir do Zero (Starting From Zero) Memos [CD adds: Vida (Sons do Quotidiano)] |
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José Cid's 10 000 Anos Depois Entre Vénus e Marte is that rarest of things, a Portuguese progressive LP, especially given that the country was still under the yoke of a right-wing dictatorship up until 1974. Maybe unsurprisingly, the album sounds quite dated for its time, harking back more to the psych/prog crossover of the beginning of the decade, with none of the local colour to be heard in the Spanish prog of the time. Saying that, it also has a sort of 'pre-neo' vibe about it, too, sounding bizarrely almost like IQ in places. The album's release was predated by the Vida single, a twelve-minute plus track split into two for vinyl release, rejoined for the CD. Although Cid owned two Mellotrons (reputedly of three in the country), as on the album, all he uses here are choirs, and I'm not even sure if he ventures further afield than the 'standard' 8-voice.
10 000 Anos Depois Entre Vénus e Marte (title handily translated on track five) is a good, solid, keyboard-led album, although it doesn't really do anything that exciting. It seems to be a Portuguese-language concept piece about interstellar migration, but where a bonkers title like Mellotron The Fantastic Planet comes in, I've absolutely no idea. None of the songs do that 'prog thing' with key/tempo changes, although there are some nice melodic parts here and there, particularly on the recurring theme best heard on album closer Memos. More 'Tron choirs, mostly block minor chords, on several tracks, but nothing that you could really consider outstanding, to be honest. For some reason, this is yet another example of the 'String Synth Syndrome', where Cid insists on using synth strings, with the Mellotron acting as no more than a 'choir machine'; bit of a waste, really, but there you go.
So; good but not great, both musically and 'Tronically. Buy at your discretion. Incidentally, Cid used his 'Tron(s) far more on Quarteto 1111's Cantamos Pessoas Vivas from '75.
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Over Under Everything (2001, 49.50) ***/½ |
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| Beautiful Savior Where You Go We Are Hungry Something Glorious Gloria Into You Ever My Love More Like You |
Let Us Gather Raise Sounds of a Revolution |
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Circadian Rhythm (named for the natural 24-hour sleep cycle of lifeforms on our planet) manage to be better than the average CCM band by the simple expedient of, er, sounding like U2. You don't like U2? Believe me, it's better than the usual near-MOR pap churned out by most Christian bands. Actually, Circadian Rhythm like U2 so much, they do a pointlessly straight cover of their Gloria on what appears to be their sole album, Over Under Everything, although it ends up being the album's best track, so let's not whinge too much... No, their music isn't the most inspired ever, but (gloopy lyrics aside), it's good by CCM standards, should you be into this strange, lyrically-defined genre.
Two supposed tape-replay tracks here, with Mellotron strings on Into You from Otto Price that sound nothing like a Mellotron, and allegedly some Chamberlin on Sounds Of A Revolution, though I'll be buggered if I can hear anything (am I allowed to say 'buggered' in a CCM review?). Circadian Rhythm split up in 2002, which is sort of a shame, as their indie rock thing should have given the Christian music community a kick up the arse and maybe diverted it from the usual shite with which it associates itself. Anyway, Over Under Everything is a rather average effort out in the real world, and its tape-replay is utterly minimal, so I wouldn't try too hard to track this one down.
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Tulikoira (2005, 43.12) ***½/TRautakäärmeTulilintu Berserk Puutiikeri |
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Tulikoira is Circle's fifteenth studio album in around a decade, ignoring the raft of live albums, EPs etc. So who are they, anyway? They describe themselves, with no little humour, as 'NWOFHM', or, in case you hadn't guessed, the New Wave Of Finnish Heavy Metal, although both they and others have also used the terms Krautrock, Speedkraut, Psych... Basically, Circle do whatever the hell they like, for which both their fans and I love 'em, whether or not I actually like their music.
So do I actually like Tulikoira or not? It's probably fairer to say I respect it rather than actually like it per se, although repeated exposure could well sway me. It's certainly intriguing, mixing genres like there's no tomorrow; opener Rautakäärme starts in a semi-ambient manner, before the speed metal kicks in, overlaid with sampled strings, shifting back to a ghostly monks' chant with occasional powerchords... Get the picture? Probably not, no, not that I can blame you. Tulilintu is marginally more 'normal', with vocals this time, in a declamatory Finnish kind of way, while Beserk is slower, with English-language spoken vocals. The 'side-long' Puutiikeri is the album's centrepiece, though, all 24 minutes of it, starting like an Iron Maiden epic, all galloping guitars and more Finnish half-sung lyrics, before heading off into more interesting pastures. OK, not much like an Iron Maiden epic at all, really. This track is where the band earn their 'Krautrock' tag, at least as far as this album's concerned, with motorik drumming and interlocking guitar parts that Maiden wouldn't dare try, or even contemplate.
Very little Mellotron on the album, presumably from vocalist Mike Rättö, although what there is sounds 'wobbly' enough to be real, which probably means it isn't. I have to admit, its even octaves and suspiciously high pitch at one point trigger my sample alert, but I could well be wrong. Anyway, an octave string part on Puutiikeri, slipping in and out of the mix, and that's your lot, as the strings on Rautakäärme and the choirs on Beserk are generic samples. So; do you bother? 'Yes' if you want to hear something new and different, 'no' if you want something fairly generic with loads of Mellotron. Circle are different enough that I wouldn't mind hearing more (and there's plenty of it), although I shall probably approach with caution. There's supposed to be one other 'Tron album, 2001's Taantumus; more news when I get to hear it.
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One (1971) ***/T½You AreSeasons April '73 Song for Tavish A Prayer Brotherly Love Those Were the Days Jenny Title Track Breach Ad Infinitum |
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Not to be confused with any other Cirkus/Circus, I believe this was Cirkus' only album, at least under that name, although they reappeared considerably later in the decade as Future Shock. Despite usually being labelled a progressive rarity, One is more a (very) late-period psych album, with ten average-length tracks of relatively simple construction. It's not a bad album, by any means, but there's something of a shortage of great material, although Brotherly Love stands out. There's a string section on most tracks, so it's frequently very difficult to work out where Derek G. Miller's Mellotron is actually being used, although the aforementioned Brotherly Love has some quite obvious strings and flutes, and Song For Tavish has an unaccompanied Mellotron strings coda.
Psych fans may well lap this up, but I reckon it falls rather short of greatness, and the Mellotron use is at best average. Even my vinyl reissue's quite rare now, but I believe this is available on CD. Buy at your discretion.
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"El Tor" (1975, 44.14) ****/T½Alba di Una CittàSolo Uniti... El Tor Duro Lavoro Mutazione La Casa del Mercante "Sun" Milioni di Persone Equilibrio Divino? |
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There seems to have been quite a bit of movement between bands in the Italian '70s progressive scene; two of Città Frontale had, only a year earlier, been members of Osanna, including vocalist and sometime Mellotron player Lino Vairetti. "El Tor" definitely has echoes of the Osanna sound on it, but the band pretty much had their own voice, partially characterised by Enzo Avitabile's sax playing, giving the music a fusiony edge in places, particularly on Solo Uniti... and the excellent Mutazione.
The Mellotron parts, also played by regular keyboard man Paolo Raffone, are extremely tasteful and restrained, with often only a few chords or a short orchestrated flute part (aside from Avitabile's real flutes) before disappearing again. A classic example of their restraint is in the album's longest track, Duro Lavoro, where they refrain from using the oh-so obvious strings during the first time through a grandiose chord sequence, only bringing them in second time round. 'Tension and release', as I believe it's known. Strangely enough, they only use it on tracks 1-4, so there's probably less than a minute of Mellotron on the whole album; it's a very tasteful minute, though.
So; a good album, while not really approaching 'classic' status. In other words, I wouldn't put it on your 'A' list of Italian 'must-haves', but it should certainly be on your 'B' list, along with Osanna's Landscape of Life, amongst many others. Nor is it a Mellotron classic, but what there is to be heard is tasteful in the extreme. Worth the effort.
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Allan Clarke (1974, 34.13) ***/TTDon't Let Me Down AgainCan't Get on I'll Be Home I Wanna Sail Into Your Life Side Show If I Were the Priest New Americans Love, Love, Love Send Me Some Lovin' |
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By 1974, Allan Clarke had left and rejoined the band with whom his name is synonymous, The Hollies, and was in the process of recording their last huge hit, the irritatingly memorable The Air That I Breathe. Allan Clarke was his third solo album, and, in all honesty, there's little about it to distinguish it from a thousand other mainstream pop/rock albums of the era, and its recent reissue can only be due to his Hollies connection. It's perfectly competently written and played, but it totally fails to excite, not even containing anything of the quality of The Air That I Breathe. Mind you, if it had, I'm sure it would've been siphoned off for The Hollies' use... Interestingly, Clarke covers an early Springsteen song (this was still a year before Born to Run, note), If I Were the Priest, and went on to encourage The Hollies to do the same.
The credits contain several familiar names, including Herbie Flowers and Johnny Gustafson on bass, Mike Moran on keys and the ubiquitous B.J. Cole on steel guitar, with Tony Hymas (here spelt Hymass) on Mellotron. Surprisingly, maybe, it's on several tracks, with varying levels of strings, presumably standing in for an overly-expensive string section, but let's not look the proverbial gift horse, eh?
Clarke finally retired from the Hollies in 2000, only to have his successor, Carl Wayne (once of The Move), die of cancer in 2004. To my knowledge, Clarke hasn't gone back on his pledge; in fairness, he's in his sixties, and the touring lifestyle has finished off many a younger man. While Allan Clarke is a perfectly good album of its type, it's desperately unexciting, and despite several 'Tron tracks, it's all pretty much background use, to be honest. File under 'that was then'.
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Rubber (1998, 36.05) ***/T |
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| Kilroy Was Here The Haunting Something's Wrong With You Sorry I Can't Write a Song About You Mercedes Benz The Hell's Angels Saturday Disaster Trash |
Technicolor Stars Superstar Bourbon Street Blues Frankie's Planet |
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After belonging to some no-hoper L.A. bands in the '80s, Gilby Clarke joined Guns N'Roses (LOVE their half-arsed approach to punctuation!) in 1991, replacing original rhythm player Izzy Stradlin (whad'ya mean, "Isn't that his real name?"). After being ousted a couple of years later, in one of Axl's perpetual power games, Clarke has gone on to lead a Hollywood b-list rock star life, releasing competent solo albums and forming short-lived outfits with other nearly men.
Actually, his third solo effort, '98's Rubber, isn't a bad record, not even coming close to Guns' horrible sub-Aerosmithisms, being more of a bluesy hard rock record with reasonable songwriting. Clarke's vocals are decent enough, if slightly characterless, which probably sums up this album's chief failing; everything on it is 'OK', 'alright', 'not bad'. I feel as if I'm damning it with faint praise, but there really isn't anything here that leaps out at you and yells, "Listen to me!" Mercedes Benz starts as an attempt at swamp blues, with self-deprecating lyrics, while Saturday Disaster features one of the album's best riffs, but it's all a bit second-hand, I'm afraid to say.
Teddy Andreadis plays Mellotron on the album's two opening tracks, with yer typical 'Strawberry Fields'-style flutes on Kilroy Was Here, with less of the same, buried in the mix, on The Haunting. In fairness, Clarke has the taste to use 'classic' keyboards throughout, with plenty of Hammond, though it's a shame he couldn't have used the 'Tron a little more. He's actually used Mellotron on most of his solo albums (good man), which I'll review as I find them at a low enough price to be worth buying. As far as Rubber's concerned, it's an OK kind of record, undemanding hard rock without ever approaching Metal territory, thankfully. Not nearly enough Mellotron to be worth buying for that alone, though.
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More or Less the Truth (2002, 44.39) **½/T |
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| Stronger Man Right Now Room 16 Under Over U Say Hilliard Cleaner |
Game White Paradise Strange Journey |
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Cléan (not 'Clean') are a Swiss band who've relocated to Bristol, of all places; mind you, it's the centre of all things trip-hoppy, I suppose, so they could've done worse. To be honest, though, what they're doing on More or Less the Truth is pretty dated, with the sort of sample 'manipulation' (for want of a better word) that slid out of favour in the late '80s. The album starts OK, but the band seem to run out of ideas about halfway through, resorting to pointless random triggering of samples by the seventh or eighth track; a sure sign of lack of anything new (or at all) to say, I suspect.
Matt Sampson guests on Mellotron on two tracks: Hilliard has nothing audible, although there's a multiply-repeating lengthy choir sample running through the track, but White Paradise has a repeating grungy string part, although its lack of variety makes me wonder just how real it is. Well, they do actually credit the 'Tron, so you'd like to think it's genuine... Anyway, I can't really recommend this, unless you're absolutely desperate to hear a band writing lyrics in their second (or possibly third) language, trying to recreate a several year-old style.
