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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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Geller Gene Gentle Giant Noah Georgeson |
Gerard Lisa Germano (Per) Gessle |
Ghost Giant Sand Giardini di Mirò |
Gift I GiGanti Gila |
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The Uri Geller Syndrome (1999, 35.38) ****/TTTT½ |
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| Noones Dad Smashing Riffkin Mistake Come Around Over My Head Father Got a Plan You Bore Me |
Be Alright Lightfinder |
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Everyone Loves You (2000, 41.09) ****/TTTT |
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| All Alone in the World When You're Dead Everyone Loves You Master Intermission Big Time Simple Truth Back |
Beautiful Haze You Have Changed Everyday it Rains My Lines Right 11 Decembre |
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| Judas (2001, 34.55) ****/TTTTJudasShe Said All Alone in the World Love to Leave Almost All the Time Lightfinder We Are One Misery How am I Treating You? |
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Geller are (or rather, were) yet another of Änglagård drummer Mattias Olsson's outfits, specialising in the kind of melancholy pop his bands seem to do so well. OK, not Änglagård. There's some confusion over their debut, The Uri Geller Syndrome, as it seems it was originally released as an Andreas & Jag album, only to retrospectively become Geller's debut. Amusement also, as Uri Geller himself, rather than suing, was delighted by the recognition. Not a man who understands irony, obviously, though I think we already knew that. Anyway, some of the tracks are more upbeat, but it comes into its own on moody numbers such as Mistake or You Bore Me.
Mattias doesn't actually play 'Tron on this album, leaving it to Adam Snyder, Andreas Jansson and Änglagård's inimitable Thomas Johnson (who seems to have now anglicised his name). Shedloads of it all over the thing, of course. Overt cellos on Noones Dad (that's 'no-ones', by the way) and Mistake, along with standard strings and string section, and the rarely-heard Mellotron clarinet can be found on several tracks, including Smashing Riffkin, Come Around and Got A Plan, making a nice change from the usual stuff. Flutes and oboes crop up, too, making this a bit of a low-profile Mellotron Monster.
Everyone Loves You sets out its stall in the expected manner, with 'Tron choirs being pretty much the first audible sound on opener All Alone In The World, followed by double-tracked strings, apparently. Other Mellotronic oddities include the Chamberlin piano (played from a 'Tron) on Simple Truth and wineglasses, as used on Anekdoten's Gravity, on You Have Changed, giving the song added ghostly ambience. One notable feature of the album is the Orchestron sounds layered all over it; Mattias had just bought his, and took it out to play, so to speak. Oh, and this time round the 'Tron's played by Mattias and Andreas.
Judas, originally to be titled Aretha - Live in Pakistan (no it isn't) has more Orchestron, but there's still plenty of 'Tron, of course (Jansson and Olsson again). The album seems slightly more upbeat than its two predecessors, although that's only speaking relatively. They also reiterate two tracks from their first two releases, and I can't work out if they're new versions or not. As the Orchestron level rises, the Mellotron level drops, but there's still five tracks, with the top track having to be Almost All The Time, with some scorching strings and windswept cellos, not to mention flutes, oboes and viola, plus Chamby piano and vibes (!). Phew, wot a scorcher, as they say. Plenty of other 'Tron action, too, particularly on Love To Leave, making this the third in a classic 'Tron trio.
I met the band when they played London in early '02 (they used my Taurus pedals, and Mattias had the most bizarre percussion setup), but within the year they were no more. Despite the fact that most of you reading this will dislike them for not being 'prog', or at least for being 'pop', they're about as far away as you can get from the bland chart fodder choking up the airwaves; that'd be why they weren't more successful, but they're certainly worth hearing if you want something more mainstream than (insert fave prog rave here), but far darker than the rubbish that normally gets peddled to the general public. So; if you like the sound of that, and you want to hear loads of 'Tron, buy.
See: Änglagård | AK-Momo | Molesome
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Drawn to the Deep End (1997, 52.49) **½/T |
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| New Amusements Fighting Fit Where Are They Now? Speak to Me Someone We Would Be Kings Why I Was Born Long Sleeves for the Summer Save Me, I'm Yours |
Voice of the Father The Accidental I Love You, What Are You? Sub Rosa |
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Gene were an indie/Britpop-type UK band from the early '90s, who achieved a modicum of success without really setting the world alight. 1997's Drawn to the Deep End was their third album, and I have to say, a pretty insipid one at that. I can see why this kind of stuff appeals to a young audience who get caught up in the rush of it all, especially live, but in the cold light of day, twelve years later, it falls as flat as the proverbial pancake. Nothing actually stood out enough on the record to attempt to name a 'best track'.
Martin Rossiter and Jack Hues both play (real?) Mellotron, although there doesn't seem to be that much about, with just strings on Speak To Me Someone and Save Me, I'm Yours, unless there's more hidden away in the mix somewhere. Overall, then, a dullard of an album, possibly comparable to the tedious Suede, with little Mellotron. Avoid.
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Gentle Giant (1970, 37.05) ****/T½GiantFunny Ways Alucard Isn't it Quiet and Cold? Nothing at All Why Not? The Queen |
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Acquiring the Taste (1971, 39.32) ****½/TT½Pantagruel's NativityEdge of Twilight The House, the Street, the Room Acquiring the Taste Wreck The Moon is Down Black Cat Plain Truth |
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Three Friends (1972) *****/TT½PrologueSchooldays Working All Day Peel the Paint Mister Class and Quality? Three Friends |
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Octopus (1972, 34.18) *****/TTThe Advent of PanurgeRaconteur, Troubadour A Cry for Everyone Knots The Boys in the Band Dog's Life Think of Me With Kindness River |
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Out of the Woods/Totally Out of the Woods: the BBC Sessions (1996/2000, recorded 1970-75, 65.13/84.06) ****/T |
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| City Hermit Isn't it Quiet and Cold? [DJ's Presentation] The Advent of Panurge Way of Life The Runaway Excerpts From Octopus Knots The Boys in the Band Organ Bridge The Advent of Panurge |
Way of Life Proclamation Experience Aspirations Cogs in Cogs Free Hand (live arrangement demo) Just the Same Free Hand On Reflection |
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Under Construction (1998, recorded 1969-80, 146.44) ****/T½ |
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| Radio Bit Freedom's Child Hometown Special Weekend Cowboy Bringing Me Down Nothing at All Rondo - Playing the Game DVS Guitars Robin Hood Interview Whispers Interview - Live |
Timing - Live Unreleased Civilian Track You Haven't a Chance Sample Archive The House the Street the Room Prologue Schooldays Peel the Paint demo Peel the Paint studio Mr Class & Quality Advent of Panurge |
'SHH' An Inmates Lullaby Way of Life Experience So Sincere - demo So Sincere - studio Intro 74 Cogs in Cogs Intro 76 Just the Same Free Hand |
Time to Kill Interview Demo Give it Back Design Another Show Empty City I Lost My Head - demo I Lost My Head - studio Convenience Freedoms Child - demo Kerry |
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Out of the Fire: the BBC Concerts (1998, recorded 1973/78, 94.13) ****/½ |
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| Introduction Way of Life Funny Ways Nothing at All Excerpts From Octopus Introduction Two Weeks in Spain Free Hand On Reflection |
I'm Turning Around Just the Same Playing the Game Memories of Old Days Betcha Thought We Couldn't Do it (Special Presentation by John P. Weathers) Funny Ways For Nobody Mountain Time |
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In a Palesport House (2001, recorded 1973-74, 69.00) ***½/TThe RunawayWay of Life Funny Ways Knots The Advent of Panurge Nothing at All Plain Truth Knots The Advent of Panurge |
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Gentle Giant, a band who almost single-handedly define the term 'progressive', grew out of the ashes of Portsmouth-based soul-turned-psych outfit Simon Dupree and the Big Sound. The heart of Simon Dupree (Dupree, incidentally, never existed) were the Shulman brothers, Derek, Ray and Phil, who recruited guitarist Gary Green and wunderkind keyboard player Kerry Minnear, along with original drummer, the (sadly now deceased) Martin Smith. Their 'mission statement', as stated boldly in the sleevenotes to their second album, Acquiring the Taste, was to "expand the frontiers of contemporary popular music at the risk of being very unpopular". So who the hell would have the balls to say that now? Never mind do it... Amazingly, Giant were, for a while, very popular, particularly in the States, although they eventually succumbed to the shift in musical taste toward the end of the seventies, finally throwing in the towel in 1980.
Gentle Giant must've been something of a leap into the unknown for the young band, mixing influences like they were going out of fashion. The multi-instrumental lineup gives the album an ever broader feel than it would've got from the eclectic songwriting alone, with bassist Ray Shulman's violin duelling with Kerry's Mellotron on Giant, and the in-house string and brass sections on Funny Ways. In fact, I believe the six members played a good twelve totally different instruments between them, and reproduced the feat on stage! Their stupendous vocal arrangements only added to the effect of a band who knew exactly what they were doing; they wouldn't get past the record company's front door today. There may also be a touch of 'Tron strings (a Mark II at this stage, I believe) on Why Not?, but I wouldn't swear to it.
Acquiring the Taste was the only Giant album to give individual, track-by-track credits, from which we find out that Kerry used his 'Tron (probably by now an M300) on three tracks: Pantagruel's Nativity, a superb piece, has a string pad under much of the song, but nothing that really leaps out at you. There's none on one of the album's high points, The House, The Street, The Room, with its tricky unison riff, but both Wreck, with its sea-shanty feel and The Moon Is Down feature those strings again. Not essential 'Tron use, to be honest, but nice to hear all the same.
By LP number three, the concept piece Three Friends, Giant had really found their feet, and produced an absolute monster of a record, from its opening syncopated bass/piano rush to the extended Mellotron strings coda. The 'concept' is the story of three friends at school who, upon leaving, pursue wildly different ways of life; it's superb beginning to end, particularly Working All Day and Peel The Paint. Now, I can't remember who right now, but someone's just ripped this idea off wholesale, thirty years later, proving that there's nothing new under the sun etc.etc. I believe the Mellotron used was still the M300, giving the strings an unusual edginess. Schooldays is extremely good, but the previously-mentioned ending to the album is brilliant, with the strings riding roughshod over the rest of the arrangement. Definitely Giant's Mellotron high point, I feel.
Octopus was another absolute classic, with Knots being a live favourite right to the end of their career. It goes without saying that this album is completely essential for anyone who considers themselves a progressive fan at all, so I'll concentrate on its Mellotronness. Which isn't all that much, to be honest; it's all a bit buried in the mix, and all I can hear is a little flute and strings on the excellent Raconteur, Troubadour, even less flute on Think Of Me With Kindness and a few seconds of strings on closer River. Stunning album, but no 'Tron classic.
Although Kerry's M400 is pictured quite clearly on the back of In a Glass House (****½), it's nowhere to be heard on the record, or any subsequent Giant studio album, unless you believe the rumour that says the breaking glass at the beginning of the album is 'Tron sound FX... They carried on using it live for a year or two, though you won't hear it on the double-live LP they released in their 'lifetime', Playing the Fool (****½), their last really good album, to be honest. They tried to 'normalise' their sound towards the end of the decade, but didn't really get it right until their swansong, Civilian (****), which shows the (really rather good) direction they could have gone in if they hadn't decided to pack it in.
During the '80s, nobody gave a toss about Gentle Giant, which is pretty typical for that benighted decade; however, by the early '90s interest began to grow again, and the fledgling Internet helped by bringing fans together from around the world. Various archive releases began to appear on CD, including a couple of sets gathering together studio and live sessions for the BBC. 1996's Out of the Woods, reissued a mere four years later as the double-disc Totally Out of the Woods, with all of four extra tracks, collects the studio stuff, including a rather excellent little number from a 1970 session that never made it to their first album, City Hermit. This has an extremely brief Mellotron brass part, while The Knots section of Excerpts From Octopus, from '73 has a little 'Tron vibes. While none of the expanded edition's extra tracks feature any 'Tron, they're italicised above, so owners of the original set can see what they're missing.
A couple of years later, an intriguing little two-CD box crept out, entitled Under Construction. Basically, it's over two hours of demos, experiments, and bits'n'pieces of all sorts including live intro tapes and even a 'Sample Archive' of, er, exactly that! There's not an awful lot of Mellotron present, but three of the first five tracks (all recorded early 1970) have some strings: Freedom's Child, Weekend Cowboy and Bringing Me Down. Nothing too special, but at that point it seemed to be a little more integral to the band's sound than even by later the same year. The set is the perfect present for 'the Gentle Giant fan who has to have it all'; all the obscurities you could wish for and then some.
Out of the Fire is a greatly expanded version of the BBC In Concert disc of a couple of years earlier (funny how both their BBC sets couldn't be released 'in full' originally...), with not only the original's '78 set (their last UK gig), but an extra 35 minutes from '73 (shame about the tinny sound, though). Anyway, once again, the only obvious 'Tron (and it's not that obvious) is the vibes on Excerpts From Octopus; so that'll be Knots again... I believe Kerry's stage Mellotron was an M400 with strings/flutes/vibes tapes, meaning they didn't have to haul a vibraphone around with them, and although the tapes sound pretty close, you can tell they're not real. In this, they join quite a few bands (New Zealand's Split Enz spring to mind) who used a Mellotron chiefly to reproduce studio effects live, as much as for its innate sound. Anyway, a good set, but not for the 'Tron fan who can't handle this wonderful band's complexity and originality.
In 2001, In a Palesport House appeared, and was quite clearly an official release of a bootleg, with all the inherent problems of the genre, i.e. it's as rough as a camel's arsehole. The Runaway cuts in part of the way through, there are numerous dropouts throughout the album, the sound is fairly poor mixing-desk quality etc.etc. For all that, it's a great performance, or rather, two great performances, 'cos although the bulk of the disc is from an Italian gig in January '73, the last two tracks are from the States late the following year. It sounds like 'Tron flutes on The Runaway to me, though I'm willing to be proved wrong, and I can't hear the usual vibes on Knots, but then, Giant were rarely the most obvious of Mellotron users. Anyway, let the buyer beware here, but the actual performance is worth the effort.
So; for the music, buy all Giant albums up to Playing the Fool, especially The Power and the Glory (*****) and Free Hand (*****), then pick and choose with all the archive stuff. Various live recordings, some of rather dubious quality, seem to be crawling out of the woodwork, and there may be some 'Tron on the earlier ones; I'll report back when (if) I get the full set. I've heard Giant described as 'derivative' or 'Yes-like', but I really think you've got to be completely tone/stone deaf not to realise how original this band really were; you may not get it on first listen (I know I didn't), but patience reaps rewards. For the Mellotron, probably only Acquiring the Taste and Three Friends are worth it, and they're not exactly in the Genesis or Crimson league. What the fuck. Buy 'em anyway. Yes, NOW!
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Find Shelter (2006, 35.13) ***½/T |
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| Tied to the Mountains Walking on Someone Else's Name Find Shelter Build and Work Hand Me, Please, a City Priests of Cholera Glorious Glory An Anvil |
Wooden Empire Shawm Overture Tied to the Coast Angry Afternoon |
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Although best-known as producer for Joanna Newsom, Devendra Banhart and their ilk, Noah Georgeson is a talented musician in his own right. 2006's Find Shelter is his first album, featuring his startling voice, a powerful, Scott Walker-esque baritone that sounds like it could probably tackle The Great American Songbook, should he ever feel the urge. His classical guitar playing, allied to unusual arrangements and That Voice are a million miles away from what the media assumes people want to hear, although Newsom et al. are beginning to prove the lie to that particular theory. There isn't a bad track on the album, but highpoints include Glorious Glory, solo guitar piece Tied To The Coast and closer Angry Afternoon.
Georgeson plays (presumably real) Mellotron on two definite tracks, although the polyphonic flute part on Build And Work insufficiently prepares the listener for the loud-to-the-point-of-distorting choirs at the end of An Anvil. A quite unique record that demands your attention, then, with a smattering of Mellotron for good measure. Buy.
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Gerard (1983, 48.31) ***/TT |
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| Meridian Orpheus Chapter I: Cry for Help Chapter II: Decision Chapter III: Elysium Incantation Lasting Memory Revenge Melting Time |
Visionary Dream Midnight Dreamer |
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Empty Lie, Empty Dream (1985, 47.39) ***/T½The Acts of the ApostlesConquest of the Dark Wall Empty Lie, Empty Dream Hopeless Blue Star Future Love Game Again |
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The early incarnation of Gerard (I believe the band are still operating today - they certainly were when I saw them in '98) were a pretty 'mainstream' prog outfit, taking their musical cues as much from Marillion as from Genesis, with a US-influenced guitar sound; think a considerably more progressive Asia, and you won't be a million miles away. Apart from the rather ubiquitous early-'80s polysynths, Toshio Egawa plays Mellotron on a few tracks on Gerard; mostly choir, but there's some seriously high-in-the-mix strings on the Incantation/Lasting Memory segue, which sort of make up for the dodginess of the overall sound. Sort of. Saying that, whoever decided on that godawful drum sound should be shot at dawn, if not sooner. Hideous. Midnight Dreamer is the album's worst track, being almost an Asia clone, and this is only a year after that band's debut album. It's not all bad, but most of it's far from good, too.
Empty Lie, Empty Dream, from two years later, carries on in pretty much the same vein, with far too many cheesy bits and not enough truly epic moments. The drum sound is still pretty dreadful, though the production is marginally better, so those awful electronic tom rolls at least come in at the right level. Nothing stands out particularly, and only two 'Tron tracks, assuming the choirs are actually synthesized. Wall has some fairly major 'Tron strings, with less of the same on Hopeless Blue Star. Far from classic, to be honest.
The reformed '90s band dispensed with the guitar, relying mainly on Egawa's Hammond work to carry their new style; despite the lack of Mellotron, I'd go more for this lineup if I were you. Saying that, Gerard does have one sublime Mellotron Moment, repeated several times, but it's not enough to make the album actually worth buying. Incidentally, it would appear that some of the band's recent work uses 'Tron samples.
See: Sampledelica!
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Excerpts From a Love Circus (1996, 51.55) ****/TT |
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| Baby on the Plane A Beautiful Schizophrenic Bruises I Love a Snot Forget it's a Mystery Victorias Secret Small Heads We Suck |
Lovesick Singing to the Birds Messages From Sophia Big Big World |
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Apparently, Excerpts From a Love Circus is Lisa Germano's most upbeat album, which makes me worry about the state of her mental health, though in the nicest possible way. Chiefly a singer and violinist, Germano's actually a talented multi-instrumentalist, who knows how to put together an album or two of bittersweet, dark-but-somehow-uplifting songs such as Bruises. Often compared to the likes of P.J. Harvey or, oddly, Tori Amos, I'd actually say that Germano is the greater talent, with considerably more presence on record, and possibly better songs.
The CD digipack doesn't say who plays what, only who appears, so I've no idea who plays the haunting Mellotron flutes on Baby On The Plane (just about the first sound you hear on the album) and, particularly, A Beautiful Schizophrenic, but they sound highly authentic and are right up at the front of the mix. There's a possibility there's some more 'Tron on the album, but what with the real violin and possibly real flute, it's rather hard to tell. So; good album, great 'Tron, just not quite enough of it.
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The World According to Gessle (1997, 53.21) ***/T½ |
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| Stupid Do You Wanna Be My Baby? Saturday Kix I Want You to Know Reporter B-Any-1-U-Wanna-B Wish You the Best |
Elvis in Germany (Let's Celebrate!) T-T-T-Take it! I'll Be Alright There is My Baby Lay Down Your Arms Kix-Cha-Cha |
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Mazarin (2003, 48.09) **½/T |
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| Vilket Håll du Än Går Om du Bara Vill På Promenad Genom Stan Smakar På ett Regn Gungar Födelsedag Sakta Mina Steg Tycker om När du Tar På Mej |
Spegelboll För Bra för Att Vara Sant Här Kommer Alla Känslorna (På en Och Samma Gång) Jag Tror du Bär På en Stor Hemlighet Varmt Igen Mazarin |
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Although I'd never previously heard of Per Gessle, it turns out he's vocalist/guitarist/all-round leader of Swedish megastars Roxette and the less well-known internationally though huge back home Gyllene Tider. Older than I'd expected, he formed the latter as far back as '77, forming Roxette in 1986, both bands still operating in one form or another.
The World According to Gessle, released as Gessle, is his third solo album, the first two dating from the mid-'80s. I am so relieved I don't have to listen to those. Er... Anyway, The World... has many things in common with classic powerpop, notably opener Stupid, although it spoils it with cheesy mainstream hit single stuff like I Want You To Know and B-Any-1-U-Wanna-B. Overall, the two just about balance out, giving the album a compromising three stars. Clarence Öfwerman plays Mellotron, with strings and quite overt flutes on I Want You To Know, background flutes on I'll Be Alright and phased strings on Lay Down Your Arms, which makes a nice change from most mainstream pop acts. Is it real? Who knows? Sounds like it, but I've been fooled so many times now I don't even trust myself any more.
2003's Mazarin is his solo follow-up (under his full name this time), a rather different album, largely because it turns its back on the international market, reverting to being sung entirely in Swedish, as were his first two. Sad to say, it's far blander than its predecessor, being mostly ballads and mainstream pop; about the best thing here is probably Jag Tror Du Bär På En Stor Hemlighet, with its electric 12-string and nice bottleneck work. Öfwerman on 'Tron again, with strings on Tycker Om När Du Tar På Mej, sounding as if they're combined with synth strings, but despite the rumoured use on Om Du Bara Vill and the title track, all I can hear is real strings.
So; a pop artist who manages to be occasionally semi-interesting. Better than one who doesn't, I suppose... If you really feel you have to hear the man's solo work, get The World According to Gessle, but despite the odd 'Tron track, I'm really not recommending these to anyone not already a Gessle/Roxette fan.
See: Roxette
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Hypnotic Underworld (2004, 70.42) ****/TT |
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| Hypnotic Underworld God Took a Picture of His Illness on This Ground Escaped and Lost Down in Medina Aramaic Barbarous Dawn Leave the World! Hazy Paradise Kiseichukan Nite Piper Ganagmanag |
Feed Holy High Dominoes - Celebration for the Gray Days |
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Ghost are an institution in the lysergically-inclined world of current Japanese psych, having released a sizeable number of albums of stoned-out, semi-improv'd weirdness. Hypnotic Underworld is merely the latest of the band's psychedelic creations, moving between various styles in the manner of a silverfish flitting around your house, almost undetectable, but... OK, I'll shut up. Ghost are extremely talented, though, shifting from the freeform drones of the first part of the album's title track, God Took A Picture Of His Illness On This Ground, through more high-energy stuff like Holy High to the early-'70s style folk/psych of Kiseichukan Nite. Some listeners may be in favour of opening the album with a 13-minute stoned jam, but I'd have rather they'd kicked off proceedings with something more cohesive, but that's just my prog roots showing, I think.
Kazuo Ogino's Mellotron crops up on their cover of an obscure Earth & Fire b-side, Hazy Paradise, with a full-on string part, then short bursts of strings on the other tracks highlighted above, though no extended use anywhere. I'm all for subtlety, but a little more 'Tron wouldn't have hurt... They even get a few chords onto their epic version of Syd Barrett's Dominoes, which they've subtitled Celebration For The Gray Days, for reasons best known to themselves.
Although Hypnotic Underworld has prog touches, it's definitely more psych than progressive, so don't buy it expecting a full-on prog-fest (ho ho), or indeed, a 'Tron one. Five 'Tron tracks, but none of them outstanding in that area. Your choice.
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Chore of Enchantment (2000, 59.53) ***½/T |
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| Overture Dusted (for the Millennium) Punishing Sun Extra Wide 1972 Temptation of Egg Raw Wolfy |
Shiver Dirty From the Rain Astonished (in Memphis) No Reply Satellite Bottom Line Man Way to the End Shrine |
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...Is All Over the Map (2004, 47.57) ****/T |
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| Classico NYC of Time Remote Flying Around the Sun at Remarkable Speed Cracklin Water Rag Muss |
Drab Fool Les Forbats Innocents Napoli Hood (View From a Heidelberg Hotel) A Classico Reprise Anarchistic Bolshevistic Cowboy Bundle Ploy |
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Howe Gelb's brainchild, Giant Sand's 13th album, 2000's Chore of Enchantment, is typical of their skewed take on Americana, sounding like it was recorded in a desert full of cranky old keyboards. Highlights include the creepy Dusted (For The Millennium), the abrasive 1972 and the acoustic Dirty From The Rain, but there's nothing here that will offend those used to a bit of pre-country. Mellotron from three different players, Big Star producer Jim Dickinson, Rob Arthur and Kevin Salem, although there's not actually that much to be heard on the album. Dusted (For The Millennium) has flutes and very background strings, with brief double-tracked, panned strings on Shiver, although it's possible that various cellos and vibes are Mellotronically-produced, too.
A bizarre little coincidence that happened while I was listening to this album: Satellite features the line, "You could get Leonard Nimoy to play the part of Leonard Cohen". What am I reading at the time? Nimoy's second autobiography, 1995's I Am Spock. Much too weird, and probably very Giant Sand.
2004's ...Is All Over the Map caries on in similar style, sandblasted Americana with squalling punk rock guitars, not least on the bizarre Anarchistic Bolshevistic Cowboy Bundle, a segue of Anarchy In The UK and a maudlin country toon; no, I don't know why, either. Other top tracks include Cracklin Water and the Italianate Napoli, which highlights the nearest this album has to a problem: maybe it's just a little too diverse? Anyway, Mellotron from John Parrish on Flying Around The Sun At Remarkable Speed, with a high string threnody, with more of the same on Muss, while Fool remains resolutely 'Tron-free until its dying seconds, when a creakily real-sounding Mellotron choir appears to pipe the song out.
Essentially, if you like Giant Sand, you'll like both these albums, and if you don't... Neither of them's that heavy on the 'Tron front, but they're both good albums in a twisted Americana kind of way.
See: Howe Gelb
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Rise & Fall of Academic Drifting (2001, 53.20) **½/TA New Start (For Swinging Shoes)Pet Life Saver The Beauty Tape Rider Trompsø is OK Pearl Harbor Little Victories Penguin Serenade Rise and Fall of Academic Drifting |
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Punk... Not Diet (2003, 44.53) **½/½Too Much Static for a BeguineThe Swimming Season Given Ground (Oops... Revolution on Your Pins) Connect the Machine to the Lips Tower (Be Proud of Your Cake) Once Again a Fond Farewell The Comforting of a Transparent Life When You Were a Postcard Last Act in Baires Dolphins Are Here to Watch Your Blue Blood Flow |
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Ah, post-rock. Italy's Giardini di Mirò's debut offering, Rise & Fall of Academic Drifting, initially struck me as sounding not dissimilar to, say, Pineapple Thief, maybe, although as it progressed it became apparent that Mogwai were probably a safer comparison. Something mostly instrumental, rather drifting and not particularly interesting, anyway. Sorry, does that come across as a bit narrow-minded? I've listened to quite a bit of this stuff in the course of my unpaid 'duties', and little of it holds my attention for very long. Am I missing the point somewhere along the line? Anyway, the enigmatically-named Giacomo F. guests on Mellotron, with a string line under real violin on Pet Life Saver and another background string part on Penguin Serenade, neither anything to write home about.
By the even more oddly-named Punk... Not Diet, from two years later, the band had incorporated vocals as a regular feature, using them on around half the album's tracks. The material is, sadly, no more exciting than before, the album's chief plus point being that it's 'vinyl length' and doesn't outstay its welcome. Mellotron from Luca di Mira this time round, with just flutes on (inhale) Connect The Machine To The Lips Tower (Be Proud Of Your Cake) (exhale), although I can't say they add to it particularly.
Is the Mellotron on either of these albums real? Will we ever know? Does anyone care? Two not especially interesting albums that seem to ride piggyback on others' stylistic achievements, which they have in common with most others bands, sad to say. Even if the 'Tron's real, it's all rather unexciting, so I wouldn't bother if I were you.
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Blue Apple (1974, 40.46) ***½/TTBlue AppleRock Scene Don't Waste Your Time Psalm Everything's Alright Go to Find a Way Reflections Part I & II Left the Past Behind |
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Blue Apple was German hard rock outfit Gift's second and last album, and the only one to utilise keyboards, from Dieter Frei. The music is that typically mid-'70s mix of lighter and heavier rock, with a noticeable blues base, but way better than that produced by many of their countrymen, including Jane and Epitaph. There isn't actually a bad song on the album, with top marks going to the high speed Purple/Heep-ish Everything's Alright, complete with Speed King-style classical organ intro.
Frei's Mellotron is apparent from the off, with a 'Tron flute melody running through the title track, and strings on the other credited tracks. It's a shame more bands from the heavier end of the spectrum didn't use Mellotron, as it can work well in that area; kudos to current outfits such as Sweden's Spiritual Beggars for doing exactly that (although it seems they actually used samples). So, against all expectations, Blue Apple is actually very good, and will definitely be played again. Buy? If '70s hard rock's your thing, yes. Pity about the rather crass sleeve, but it was 1974...
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Terra in Bocca (1971, 46.40) ****½/TTTTTTerra in Bocca parte ILargo Iniziale Molto Largo Avanti Avanti Tutto - Brutto Momento - Plim Plim Plim Plim al Parossismo - Delicato Andante Rumori - Fine Incombente Terra in Bocca parte II Fine Lontana - Allegro per Niente Tanto va la Gatta al Lardo - Su e Giù Larghissimo - Dentro Tutto Alba di Note - Rimbalzello Triste Rimbalzello Compiacento - Ossessivo Ma Non... |
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Ex-beat group I GiGanti's last, and sole progressive release, Terra in Bocca, is apparently a concept album based around the Mafia - a brave subject to tackle at any time, but especially in early-'70s Italy. It's characterised by many multi-part vocal sections, though not in the harmonic sense; this is an album that will make very little sense to the non-Italian speaker, to be honest. For all that, it's a wonderful piece (the album really has to be taken as a whole), being an excellent early example of typical Italian symphonic prog; don't forget, this is actually pre- the first PFM album. Multiple tempo/mood changes abound; this is a band who had obviously listened to King Crimson, then applied the lessons learned to their own cultural influences, resulting in something quite unique.
Much Mellotron throughout, from Francesco "Checco" Marsella, with flute, brass and (especially) string parts throughout; given the year it came out, I rather suspect that what you're hearing is one of the few Mark IIs to make their way to Italy, rather than those three sounds on an M400 tape frame. The 'Tron certainly has that particularly rich, reverbed sound that only really comes from a Mark II, although this is a good year before the first known appearance of the M400 choirs, so their lack proves nothing. Actually, this really is something of a 'Tron monster; I know there's still plenty of extremely 'Tron-heavy albums I've never heard, but it's still sometimes surprising to come across one as powerful as this. Marsella obviously had excellent technique, as it never sounds 'clunky', as it can with rather lesser practitioners.
So; Terra in Bocca really is a rather special album. If the Italian vocals aren't a problem, I can highly recommend it, both for the music and the Mellotron. Buy.
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Gila [a.k.a. Free Electric Sound] (1971, 37.57) ***½/TAggressionKommunikation Kollaps Kontakt Kollektivität Individualität |
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Bury My Heart at Wounded Knee (1973, 35.00/40.50) ***½/TThis MorningIn a Sacred Manner Sundance Chant Young Coyote The Buffalo Are Coming Black Kettle's Ballad Little Smoke [CD adds: Mindwinds and Heartfrost] |
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Gila are the sort of German band who fall into the 'are they or aren't they?' debate re. 'Krautrock'. By no means as experimental as early Tangerine Dream or as trippy as, say, Amon Düül II, they were certainly more 'out there' than Eloy, Jane, or many of the other relatively mainstream acts of the time. Their style was based firmly on jamming around a basic song structure, or at least it was on Gila (a.k.a. Free Electric Sound, for some reason). The material's actually very good, although both 'Kommunikation' and 'Kontakt' do go on a bit, to be honest; it's all very druggy, with echoes of early Floyd (pun intended), but there's a solid core of good songwriting, putting them several notches above many of their contemporaries. As well as the ubiquitous organ, there's a little of Fritz Scheyhing's Mellotron to be heard on the album, with the unusual combination of brass and flutes on 'Kommunikation', topping and tailing the lengthy piece (and isn't that a riff later purloined by Porcupine Tree?).
Anyway, two years later, Bury My Heart at Wounded Knee, with its Native American theme, is a very different album to its predecessor, being less trippy and more folky, with much 12-string acoustic from Conny Veit. Decidedly more song-orientated than Gila, Bury My Heart is generally regarded as a Krautrock classic, though with three decades' hindsight, it probably fits the so-called 'acid folk' genre better. Coincidentally, the two Mellotron tracks are probably also the best musically, though others may disagree. Piano and Mellotron are played by, of all people, the now sadly late Florian Fricke, soon to be the one man musical whirlwind otherwise known as Popol Vuh (German version). There's actually very little audible 'Tron; all I can hear is cellos on In A Sacred Manner, and flutes (as against Veit's real one) on probably the album's trippiest track, Little Smoke. I actually find the album slightly less engaging than their debut, though I can see why some listeners prefer it. Oh, and the CD's bonus track, Mindwinds And Heartfrost, is there more for completion's sake than anything else, as it's very average, with terrible vocals.
So; Gila's a good, if trippy, album, with a little Mellotron among the more usual stuff, while Bury My Heart is folkier, making (in my humble opinion, of course) their debut the better of the two albums, though neither's one's really worth it for the 'Tron.
