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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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The Holy Pictures (2008, 42.32) **½/½ |
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| I Heard Wonders The Story of the Ink Love Reign Over Me Theme/I.M.C. Holy Pictures Kill Her With Kindness Melanie Hey Maggy |
Birth The Ballad of Sarah and Jack |
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Belfast native David Holmes has come a long way since 1997's Lets Get Killed (sic), an album still heavily influenced by his DJ background. 2008's The Holy Pictures is a far rockier proposition all round, surprisingly, although there's still a fair chunk of programming to be heard in its grooves, along with energetic indie (I Heard Wonders, Holy Pictures) and even (admittedly instrumental) piano balladry, with closer The Ballad Of Sarah And Jack.
Three tape-replay tracks, all from different players. Woody Jackson adds some distant Chamberlin strings to The Story Of The Ink, while Leo Abrahams plays inaudible Mellotron on Theme/I.M.C. and Scott Kinsey sticks what I take to be Chamby strings on the brief Birth. So; not an album for the tape-replay obsessive, I fear, and while I actually preferred it to Lets Get Killed, it's decidedly less original.
See: Sampledelica!
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Pause for a Hoarse Horse (1971, 39.14) ***/T |
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| Tramp Family Pause for a Hoarse Horse Red E Lewis and the Red Caps In My Time How Would it Feel? Bad Days Mother |
Moses Welwyn Garden City Blues You're No Good |
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The Alchemist (1973) ***½/T |
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| Schooldays The Old Man Dying Time Passes By The Old Man Calling The Disaster The Sun's Revenge A Secret to Keep The Brass Band Played |
Rejoicing The Disaster Returns The Death of the Alchemist The Alchemist |
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Many years ago, I did a temporary job working for the Census Commission, doing my little bit to help compile the figures for that year's census (not to mention earn a bit of dosh); I met with a good deal of resistance from certain sectors of the public, one of whom subsequently mellowed when he found out I was also a musician. It turns out that he was Mick Cook, once drummer with Home, along with Cliff Williams, later of AC/DC and Laurie Wisefield, subsequently of Wishbone Ash. I was saddened to hear a few years later that he'd died; definitely one of the good guys.
His old band's first album, 1971's Pause for a Hoarse Horse, is perfectly pleasant but undemanding countryish rock, which finally tips over into full-blown country on the last couple of tracks. It's very well done, but hasn't dated terribly well, and I'm not quite sure where this would fit in with modern listening tastes (not that that should necessarily be a problem, of course). The best tracks are probably Moses and the short country hoedown Welwyn Garden City Blues, but it's all a bit tame, really. Clive John plays Mellotron on two tracks, with melodic, largely single-note string parts on Red E Lewis And The Red Caps and Bad Days, but we're not talking a 'buy it now' album, I think.
Home's third (and last) album, The Alchemist, was their only concept piece. The concept's as flaky as most from the era, although it does at least have some sort of narrative structure, concerning, er, an alchemist, although I'm not quite sure how his activities relate to alchemy, but there you go. The first few tracks come across as nothing special, with some of that Wishbone Ash twin-guitar feel in places, and rather ordinary songwriting. Guest keyboardist Jimmy Anderson seems so integral to the band's sound that I can't imagine how they performed live as a four-piece; maybe they didn't - Home are one of those bands about whom very little information seems to have survived.
Anyway, as the band slide into The Disaster, most of the way through side one, they suddenly come alive, producing a quite ferocious piece with excellent keyboard and guitar work, including a smattering of 'Tron strings buried in the mix, with the intensity carried on through The Sun's Revenge. Side two again starts poorly, but picks up towards the end, with The Disaster Returns being a highlight, with another handful of those string chords. The closing title track has a string arrangement that sounds real, rather than 'Tron, but there's no mention on the sleeve of 'orchestral arrangement' or similar, so it could be simply well-arranged keys.
So; although Pause for a Hoarse Horse isn't especially worth the effort, while The Alchemist's a bit of a mixed bag, a few tracks really stand out, with the band having the advantage of a (relatively) original sound, although they let themselves down throughout much of the album by being too unadventurous. It isn't worth it on the Mellotron front, though if you're interested in the lesser-known early-'70s UK progressives, you could do worse than pick up a copy.
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Grown in U.S.A. (1970, 38.47) ***/TTT½Circles in the NorthTaking Me Home Dawson Creek Survivor In the Beginning Loves Coming Four Days and Nights Without You Cyrano in the Park Lonely Woman |
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Texans Homer release just the one album, Grown in U.S.A. It's a slightly mixed bag, to be honest, fusing psych, hard rock and, er, country into a sort-of interesting stew that doesn't always work, if truth be told. After psychedelic hard rock opener Circles In The North, the pedal steel puts in an appearance on the next couple of tracks, particularly on Dawson Creek, almost a straight country rock song. The rest of the album veers between the rock and country sides of the band, often during the same song, with twin guitar leads battling it out with pedal steel balladry in an almost unique mix of styles.
Rob Meurer (misspelled Meuer on the sleeve) plays Mellotron on most of the record, which must make this one of the earliest American 'Tron (as against Chamberlin) albums. Most of his use is nice, upfront strings, although flutes and even brass rear their misshapen heads occasionally. Meurer seems to use practically no other instrument, although the odd synth line puts in an appearance, sounding like an old Moog III. I'd give this a higher star rating if it wasn't for the country influence; OK, it makes for a more unusual album, though not always in a good way. Plenty of Mellotron, though, so worth it for that if you can track a copy down.
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Here's Luck (2001, 46.27) ***/TTT |
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| Stonewall Sour Grapes Wilson Boulevard Pins in Dolls Red Dye #40 Hearts and Heads For the Tears Losing Transmissions |
The Crown Freakshow [Untitled] |
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The Honeydogs have been around since the mid-'90s, releasing their fourth album, Here's Luck, in 2001. Although their earlier work is apparently in an alt.country vein, as various online reviewers have pointed out, this release is slanted in a Beatles/powerpop direction, if you can imagine an alt.country American band trying to be The Fabs. By far from everything here grabs me, but Losing Transmissions and Freakshow are two of the better efforts.
Mellotron and/or Chamberlin on several tracks, probably from keys man Peter J. Sands, although it could be previous 'Tron user, producer Chuck Zwicky; without a specific credit it's hard to say. Anyway, strings and cellos on Stonewall, flutes on Sour Grapes and Wilson Boulevard, strings on For The Tears and Freakshow and finally, flutes and strings on Losing Transmissions, making for a fairly heavy tape-replay record. Assuming, of course, it's all real... So; a powerpop album for alt.country fans? Hard to say, but it's a reasonable record with plenty of tape-replay of one variety or another.
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Out of Body (1993, 45.49) **½/½ |
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| Twenty-Five Hours a Day Boys Will Be Boys Shadow of Jesus Great Big American Car Private Emotion Driftin' Away Dancing on the Edge All Around the Place |
One Too Many Nights Nobody But You |
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The Hooters formed back in 1980, apparently, two of their members being ex- of an old second-hand shop perennial, Baby Grand. There's a Cyndi Lauper connection, making it unsurprising that she guests on their fifth album, 1993's Out of Body. I've occasionally wondered, idly, what this lot sound like, and now I know. A bit like an American Waterboys, that's what. Sort of faux-folk rock/pop, with mandolin, accordion and fiddle thrown into the vaguely rootsy brew. To give them some credit, most of the keyboards are of the vintage variety, before they became fashionable again, but they're not really enough to save the band from 'mainstream dullards' status.
Chief Hooter Rob Hyman allegedly plays Mellotron on Driftin' Away, in those mostly pre-sample days, but all I can hear is something that just might be a few background flute notes. I mean, what's the point? What's the point in carting the instrument into the studio in the first place, wrestling with its 'awkward' keyboard action, then crediting it, all for it to be next to inaudible on the finished product? You didn't want to buy this album anyway, did you?
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Musical Chairs (1998, 48.31) **½/½ |
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| I Will Wait Wishing Las Vegas Nights Only Lonely Answer Man Michelle Post Bluesy Revolution Home Again |
One By One Desert Mountain Showdown What's Going on Here What Do You Want From Me Now Closet Full of Fear |
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Looking for Lucky (2005, 42.23) **½/T½ |
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| State Your Peace Hey Sister Pretty The Killing Stone Get Out of My Mind Another Year's Gone By Can I See You A Smile One Love |
Leaving Autumn Jones Free to Everyone Waltz Into Me |
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I'd never actually heard Hootie & the Blowfish (named for two old college friends) before encountering 1998's Musical Chairs, and while I can't say I'm particularly blown away, they're less offensive than I'd expected. They sound like... I dunno. College rock? Springsteen? Less unpleasant Bon Jovi? Mainstream pop/rock by any other name? Purpose-built for arena shows, lightweight 'rock' with all the rock removed, I suppose. Standout tracks? None. Only Lonely has Chamberlin strings and cellos from the ubiquitous Patrick Warren, but they're almost indistinguishable from real strings, to be honest, which seems slightly pointless to me. Plenty of Hammond spread across the album, but that's it on the tape-replay front.
Seven years and two albums on, and 2005's Looking for Lucky is reassuringly similar to its predecessors, for those reassured by such things. A handful of tracks are less dull (opener State Your Peace has some Eagles-esque harmony guitars, which is actually a good thing), but most of the album conforms to their arena-pop/rock template, although their appeal seems to have become more selective over the years. John Hobbs plays Mellotron this time round, with background flutes on the obnoxious Hey Sister Pretty and what sounds like unison flute and string chords on The Killing Stone, with a rather ordinary string part on Can I See You.
I really don't think you need to hear either of these, unless listening to very bland non-rock is your idea of a good time; they might not be as bad as I'd expected, but I still sort of wish I hadn't.
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The President of the L.S.D. Golf Club (2007, 41.20) ***/TTT½ |
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| Stranger 50 Watt Expedition Impossible Circles Gentle Storm The Eclipse Song Billie Black Marble Tiles |
Strictly Out of Phase Bohemian Laughter |
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The marvellously-named The President of the L.S.D. Golf Club is Belgian indie/trip-hop outfit Hooverphonic's sixth album, it seems, and is best described as a cross between those two styles, not necessarily within songs. The overall mood is 'down' rather than 'up', although the band do pick up the pace here and there, notably on Expedition Impossible and Circles, although you'd hardly call them cheerful. Er, is this a problem?
Cédric Murrath plays keys, including a real Mellotron (thanks for the confirmation, Dieter), with strings on 50 Watt, background flutes on Expedition Impossible, major string and flute parts on Gentle Storm (the album's 'Tron classic), more flutes and strings on The Eclipse Song... Basically, this album is smothered in 'Tron strings and flutes, which is a serious bonus. So; passable gloomy record, plenty of great 'Tron.
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Autumn Symphony (2009, 41.35) ****/TTTOpen Windows to AutumnLeaves in the Well (including Riverbank Prelude) Out of Water Nightswan I Nightswan II As the Night Gives Birth to the Morning Trees in November Elegy Autumn's Last Breath/The Gates of Winter |
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After several albums using Mellotron samples, Fabio Zuffanti has finally sourced a real M400 for use on his multifarious projects (Finisterre, Maschera di Cera, LaZona etc.), which has to be good news. As far as Hostsonaten (or Höstsonaten) go, their first real 'Tron album was 2008's Winterthrough, quickly followed by an unusual project, Springsong (Restyled), a partial re-recording/remix of their wonderful 2002 release, with extra added M400. I've no idea whether they'll repeat the trick for their 1997 eponymous debut and the following year's Mirrorgames; we can only hope.
2009's Autumn Symphony is their second album of new material made under the new, tape-replay based regime, and is as, well, autumnal as you might hope throughout most of its length, although I'm unconvinced by the beginning of the strangely jaunty Trees In November. The bulk of the record consists of sparse, keyboard-led, all instrumental (excluding the occasional wordless vocals), mostly very beautiful, very Italian progressive rock which, like its predecessors, is a bit of an essential purchase for anyone wanting to hear some current prog that doesn't pander in any way to the '80s horrors. Highlights include Leaves In The Well (Including Riverbank Prelude), Nightswan I and closer Autumn's Last Breath/The Gates Of Winter, although there's very little wrong with anything here, to be honest.
Zuffanti plays Mellotron, amongst other elderly instruments, with strings on opener Open Windows To Autumn, what sounds like Chamberlin solo male voice (sourced from where?) on Leaves In The Well, strings on Out Of Water and As The Night Gives Birth To The Morning and choirs on Nightswan II, Trees In November and Autumn's Last Breath/The Gates Of Winter. Like the band's previous work, this is more than worthy of your hard-earned; go on, splash out...
See: Sampledelica! | Finisterre | Maschera di Cera | LaZona | Fabio Zuffanti | Fabio Zuffanti & Victoria Heward
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Elevator (2005, 36.53) **½/½ |
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| Introduction Running Out of Time Goodnight Goodnight Ladies and Gentleman You Owe Me an IOU No Jokes - Fact Jingle Jangle Pickin' it Up |
Island of the Honest Man Middle of Nowhere Dirty Mouth Soldier in a Box Shame on You Elevator |
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British Columbia's Hot Hot Heat are current Noo Wave revivalist press darlings, having morphed out of a punkier phase of their existence. I'll be brutally honest here and say I can't see what all the fuss is about, but then, I'm at least double the age of their typical fan, and music that sounds like a modern and less quirky version of Elvis Costello really ain't gonna float my boat. You Owe Me An IOU seems to be the track that Those In The Know rave about, but to my ears, it's no less irritating than anything else here. Is it supposed to be about the lyrics? Probably, but my inability to hear most of them round vocalist/keyboard player Steve Bays' writhing lips rather spoils the effect.
Mellotron? Played by Bays, could be lurking in the background on several tracks, but is only actually audible during the fading seconds of Middle Of Nowhere, with a couple of seconds of choir. Don't bother. I mean, really, don't bother.
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Thinks: School Stinks (1971, 43.07) ***½/½Neanderthal ManHow Many Times Desperate Dan Take Me Back Um Wah, Um Woh Suite F.A. Fly Away Run Baby Run All God's Children |
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Hotlegs were a one-off project based in Manchester, consisting of Eric Stewart, Kevin Godley and Lol Creme, who, of course, after adding Graham Gouldman to their ranks, went on to become 10cc. They're chiefly remembered for their no.2 UK hit, Neanderthal Man, a bizarre effort based around, er, rather a rather Neanderthal drum pattern and strummed acoustics, over which they chanted "I'm a Neanderthal man, you're a Neanderthal girl...(etc.)". You can actually envisage this as a 10cc single; it has the same kind of dry wit and inventiveness they used to such good effect later on - hardly surprising, really.
The trio actually dragged the concept out far enough to record an album, Thinks: School Stinks, though in the best 10cc tradition, it's a little too clever for its own good, and the best track is the single. The rest of the material sits somewhere between the Neantherthal Man silliness of Um Wah, Um Woh and the 12-minute Suite F.A. (ho ho), with most of it being good, but not that good. Someone plays a brief Mellotron flute part on Fly Away, and it sounds like a couple of string chords on Neanderthal Man itself, though it's rather hard to say, to be honest.
So; an interesting curio, though not exactly essential, unless you're a 10cc completist (are there such things?). Absolutely not worth it for the 'Tron, though.
See: 10cc
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Beginnings (1975, 39.53) ***/TDoors of SleepAustralia The Nature of the Sea Lost Symphony Beginnings Will o'the Wisp Ram Pleasure Stole the Night Break Away From it All |
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Steve Howe's first solo album away from Yes was his contribution to the band's 'mass solo project' of 1975, all of which (with the possible exclusion of Alan White's Ramshackled) are worth hearing. For the record, the others are Jon Anderson's uniquely wonderful Olias of Sunhillow (****½), Chris Squire's Fish Out of Water (****) and Patrick Moraz' i (a.k.a. The Story of i). Saying that, Beginnings isn't the strongest set ever, with the guitar playing (unsurprisingly) being the best thing about it. The songs are OK, but nowhere near Howe's contributions to his alma mater, and someone should've told him not to sing.
Moraz plays a little 'Tron on Will O'The Wisp among his other credits on the album, but nothing to get steamed up about, really; a few seconds of 'Tron strings on an otherwise inconsequential song. The title track and Ram are far better pieces, but I don't feel I can give the album more than three stars overall, I'm afraid.
See: Yes | Patrick Moraz
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Free Spirit (1974, 39.39) ***/TT½Take a Little WordFree Spirit Mother Mild I Don't Want to Be a Star Silent Star Such a Day How Many Times Floating in the Wind |
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Drummer Richard 'Hud' Hudson and bassist John Ford, maybe surprisingly, left The Strawbs in 1973 to strike out on their own, although both (together and separately) have been on/off members of the Strawberry Hill Boys in more recent years. Free Spirit was their second album of four, full of the kind of mainstream rock that went out of fashion later that decade, never really returning; don't forget, these are the guys who wrote the execrable Part Of The Union for their previous band... It's not a bad album per se, just one of considerable averageness, if there can be such a thing, with probably only the mildly proggy Silent Star's stately rising string lines and the Strawbs-ish Such A Day being really worthy of note.
Chris Parren plays Mellotron on several tracks, with a so-so string part on opener Take A Little Word and a brief, if better one on the title track, although the strings and flute on Mother Mild are real. More o' dem strings on I Don't Want To Be A Star and Silent Star, complete with pitchbends of a level of smoothness of which my own machine, a few months old when this album was released, would struggle rather badly these days. I have to say, Parren's keyboard work overall stands out; his multiple monosynth parts on otherwise unremarkable closer Floating In The Wind are excellent, and he provides some of the album's best moments.
So; a rather ordinary album with a few nice moments and quite a lot of 'Tron strings. I don't believe it's ever been available on CD, so you're restricted to finding an old vinyl copy or downloading it from somewhere, anyway. Heard worse, heard better, passable Mellotron. Damned with faint praise? Incidentally, the duo reinvented themselves in the noo wave era as The Monks, releasing the horrible Nice Legs, Shame About The Face. "Shame abaht the boat race"? Thanks, chaps.
See: The Strawbs
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The Way It Is (1999, 55.38/60.54) ***/T |
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| The Way it is You Kill Me Neverafter Rain on Me Curse Freedom The Truth Will Set Me Free Stoned in the Temple |
Too Far Gone Second Son Take You Down Don't Look Away [some versions add: Freedom (Shagmeister mix)] |
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As I'm sure you all know, Glenn Hughes has a long and honourable history: Trapeze, Deep Purple, plus stints with Gary Moore, Black Sabbath etc.etc. I'm not entirely sure he has the right to label himself 'The Voice Of Rock', though, especially as he's chiefly known for his bassist/vocalist role in Purple, but that's how he seems to be billed these days, like it or not. The Way It Is is certainly rock, although only in places, with too many tracks sitting nearer the 'funk' camp (don't forget that Hughes was one of the proponents of the style in Purple). As a result, for every rockin' track, there's one that doesn't quite cut it; variety, I expect it's called, but to my ears it fatally weakens the album and makes for an inconsistent listen.
Marc Bonilla is credited with Mellotron on Curse on Hughes' own site, so although there's something somewhat 'Tron-sounding on the opening title track, I think we have to assume it's not. Curse opens with a nice little string part, with plenty more strings and flutes, but that does seem to be your lot. This is only really worth it if you're a big fans of Hughes, I suspect; he's in great voice throughout, although he doesn't seem to know when to hold back. Subtlety, my dear sir, subtlety.
See: Deep Purple
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Hughes Turner Project (2002, 61.16) ***/T |
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| Devil's Road You Can't Stop Rock & Roll Missed Your Name Mystery of the Heart Sister Midnight Better Man Heaven's Missing an Angel Fade Away |
Ride the Storm Run Run Run On the Ledge |
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Hughes Turner Project 2 (2003, 62.34) ***/T½ |
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| Revelation Alone I Breathe Losing My Head Going My Way Hold on Lost Dreams Time and Time Again Goodbye Friday |
Burning the Sky Keep on Shining Sofia Let's Talk About it Later |
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Another of Glenn Hughes' current projects, alongside his solo career, is his duo with ex-Rainbow (and, shockingly, Deep Purple) vocalist Joe Lynn Turner. Now, excuse me for seeming a bit dim, but why would a singer of the calibre of Hughes wish to duet with a singer who almost defines wishy-washy AOR vocals (or would if Steve Perry didn't exist)? Turner ruined Rainbow (OK, it was Blackmore's fault), then had a good stab at doing the same to Purple (OK, that was Blackmore, too). Were he a lesser singer himself, I'd accuse Hughes of using Turner to look good in comparison, but since he isn't... Who knows? Maybe he thinks he can sing. OK, he can, but not with any great power, and I don't think he's made a single good album in his entire career.
Hughes Turner Project could be described as 'classy hard rock', or even (wince) 'melodic rock' (sorry), although it's better than the run-of-the-mill AOR slop that usually bears that title. Saying that, it 'features' several fairly dippy numbers (mostly sung by Turner) alongside the rockier efforts (not sung by Turner). 'Jolene' is actually at his best on the album singing harmonies with Hughes, when the true wussiness of his voice is less apparent; his leads remind me why I disliked him so much in Rainbow. Anyway, keys man Vince di Cola sticks largely to (very well-played) Hammond, but sticks some 'Tron on a couple of tracks, with occasional flute interjections on gloopy ballad Heaven's Missing An Angel, and a string part on the noticeably better On The Ledge, though both sound like they could very well be samples; I shall report back should I find out more.
In an exceedingly keen manner, the pair released their wittily-titled follow-up, Hughes Turner Project 2 a mere year later. While similar to its predecessor, the album seems to have more energy; there are certainly fewer of those awful ballads, although most of the material remains relentlessly average. Ed Roth on keys this time round, with four 'Tron tracks (all strings): Losing My Head, Lost Dreams, Burning The Sky and Let's Talk About It Later, although I suspect samples again. Losing My Head is the only one to do anything interesting, to be honest, with some nice pitchbends and a Kashmirish feel.
So; you're only going to want these albums if you're into slightly retro-ish melodic hard rock. There's nothing 'clever' about them, with even the longer tracks having depressingly-simplistic song structures, but if that's not what you're after, you won't be disappointed. While both albums feature a modicum of Mellotron, there's nothing very exciting on offer, and it's probably samples anyway.
See: Deep Purple | Rainbow
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Squire (1975, 38.21/44.15) ***/T½ |
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| Squire Dan the Plan Picture a Little Girl Nuthin' Shakin' One More Bottle of Wine Golden Oldies I'm Sorry Squire Waiting |
Bad Side of Town Mr. Inbetween The End [CD adds: Crazy Woman Carousel] |
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Alan Hull was, of course, linchpin of Geordie superstars Lindisfarne, who really should be remembered for more than the tedious Fog On The Tyne. Squire was his second solo album, after 1973's Pipedream, and covers a variety of styles, with the good-time boogie of Nuthin' Shakin' and the jaunty Mr. Inbetween contrasting sharply with the gentle Picture A Little Girl and I'm Sorry Squire, with the rest of the album covering most bases in between. The end result is a little uncohesive, but we'd complain if it all sounded the same, wouldn't we? In fact, it mirrors Lindisfarne's dichotomy, where they juxtaposed something as beautiful as Lady Eleanor and the previously-mentioned Geordie anthem, so its variety and on/off lack of taste shouldn't come as much of a surprise.
Mellotron on two tracks, with string swells and a flute solo in opener Squire (from Hull), and slightly Strawberry Fields-esque flutes and (excuse the cliché) ethereal choirs in the instrumental I'm Sorry Squire (from Kenny Craddock). In actuality, there aren't many more places on the album where it would've fitted, and both tracks feature a decent amount of the Great White Beast, so no complaints here.
But do you need to own a copy of this album? That depends largely on whether or not you like Lindisfarne and have a high tolerance for the folk end of pub rock. Squire has several nice tracks, particularly the Mellotron ones, but doesn't really hold up that well overall. Sadly, Alan Hull died in 1995 at the age of fifty, almost certainly a victim of the folk-rock lifestyle; think: 'rock'n'roll lifestyle, but more so'. RIP.
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Out of the Dust (1998, 41.05) **½/T |
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| Read Your Mind I.O.U. Make Your Light to See I Can't Live Hand Me Down In the Name Lemonade Fat Man's Delicacy |
Disguise Feel |
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By three or four tracks into Human's Out of the Dust, I knew they were Christians. I wasn't even listening to the lyrics; they just have that irritating 'Christian-ness' about their vocal melodies, that and the insipid content, given that they're supposed to be a bloody rock band. The best tracks sound like King's X-lite, the worst like any other shitty Christian 'rock' band you can think of. None of it's any good, anyway, and for what it's worth, I'd have said the same if I'd had no idea of their religious persuasions, before you start pointing your accusatory Christian fingers at me.
Blair Masters plays Mellotron, with a nicely full-on string part on In The Name, making it easily the best thing about this dull record, although I must commend the second half of Fat Man's Delicacy, the one time on the album where the band actually rock out properly. So; one reasonable 'Tron track on a flaccid, CCM/rock album. No thanks.
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Peg Leg (2002, recorded 1975, 50.11) ***½/TTTT½ |
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| Freebird All Time Loser Find Your Heart Peg Leg For a Friend Pt.I For a Friend Pt.II Fallen Star Hey You |
Tight Rope Lover Instinct |
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Human Instinct were one of the best known 'underground' bands in New Zealand in the '70s, releasing five albums across their career, including 1971's highly-rated Pins in it. Peg Leg was recorded in late '75, but by the time the band were presented with a rough mix, their style had changed, and the decision was made the shelve the album. Vocalist/drummer Maurice Greer kickstarted the process of resurrecting it by approaching their old record company armed with a cassette of that rough mix, triggering a search for the original multitrack which, amazingly, was found in a warehouse. After a full remix, it appeared in 2002 on the Rajon label, letting the Kiwi buying public know what they'd been missing.
Unsurprisingly, like most NZ music of the time, Peg Leg now sounds a little dated, but stands up surprisingly well, in a prog-lite kind of way. I'm not sure that opening with a cover of Lynyrd Skynyrd's inimitable Freebird was the best idea the band ever had, although it has to be said, they have a fair crack at it, duelling guitars and all, although their own slightly pedestrian material pales a little in comparison. Saying that, the two parts of For A Friend are pretty good, and it's not as if there are any real stinkers, although the title track is probably slightly unnecessary.
Steve McDonald's Mellotron work is quite exemplary; and to think I was worried this one might be a dud... His string part on Freebird shits on the original's, which is, admittedly, notorious as one of the worst-recorded 'Tron parts ever. McDonald actually writes a completely different, and vastly superior part, then carries on in a similar vein on most tracks, slapping strings all over the place, with choirs here and there (notably on For A Friend Pt.I), too, not to mention a high cello part on Fallen Star. Given how unexpected it is, this is a real Mellotron monster, although, typically, I believe there are only a few copies left unsold at the time of writing, probably spread out across North and South Island. There's bound to be a few online, if you search hard enough, and although the music is only slightly above average, the Mellotron work is excellent. Recommended.
See: Steve McDonald
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Van Hunt (2004, 54.53) **½/T |
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| Dust Seconds of Pleasure Hello, Goodbye Down Here in Hell (With You) What Can I Say (for Millicent) Anything (to Get Your Attention) Highlights Precious |
Her December Hold My Hand Who Will Love Me in Winter Out of the Sky |
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Van Hunt has had a varied musical career, working with rock bands, producing hip-hop artists and recording his own, slightly skewed R&B, unbelievably covering The Stooges on his second album and working with Cree Summer, amongst others. It's his first, eponymous effort that concerns us here, though. Van Hunt was apparently largely recorded in 2000, but didn't see the light until 2004, which must have been torture for the man. Although more inventive than most of the bland nonsense this deservedly-maligned genre puts out, I wouldn't say it's exactly groundbreaking, in the grand scheme of things. Tracks like What Can I Say (For Millicent) and Who Will Love Me In Winter help to keep things uninteresting, although I'm sure they helped sell the album.
Unusually for him, Patrick Warren plays Mellotron, rather than Chamberlin, on the album, with an orchestrated string part on Seconds Of Pleasure that makes a welcome change from the standard string section. However, it's the record's chief point of interest for most of us and hardly makes it worth buying for that alone. Slightly quirky R&B, sir? I don't think so, no.
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Back on the Hunt (1980, 37.39/75.09) ***½/TT (TTT) |
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| Standing in the Road She Flew Freely Heart Bender Little Bit of Love If Only We Had Tried Ain't Got You It's All Too Much What Good is Love Back on the Hunt Tell Me Why |
[CD adds: Fantasy Mansion She Opens My Eyes Mexican Gimme Some Loving Yesterday's Hero Love is a Happy Song I've Been Waiting for So Long It's My Life Take a Piece of My Life] |
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The Hunt formed from the ashes of Canadians proggers Dillinger, recording an apparently excellent debut in The Hunt in 1977. After multiple lineup changes, vocalist/bassist Brian Gagnon regrouped the band as a power trio for 1980's Back on the Hunt, bringing in guitarist Paul Dickinson and their old drummer, ex-Max Webster man Paul Kersey. To be brutally honest, the album isn't that exciting, being mainly typical hard rock of the period, rather too plodding in rather too many places to be afforded any kind of 'classic' tag; it's by no means bad, but there are better albums from the era you'd be advised to sample first.
Gagnon also plays all the keyboards on the album, including Mellotron on three tracks. A string part on She Flew Freely and strings and choir on Little Bit Of Love are quite overshadowed by the full-on, upfront choir on What Good Is Love, along with real strings. Closing ballad Tell Me Why seems like it should have been a perfect 'Tronnish ending to the album, but Gagnon resisted the temptation and stuck the string section on again.
The CD reissue adds a whopping ten bonus tracks, doubling its length, while irritatingly completely changing the track order of the original album. They're a slightly mixed bag, although the first few are excellent (if shortish) progressive tracks, making me wonder if that's how their first album sounds. It all goes a bit downhill after their workaday cover of Spencer Davis' Gimme Some Loving [sic], although nothing really stinks, I'm glad to say. Three extra 'Tron tracks: She Opens My Eyes has a fair helping of (quietish) choirs, while I've Been Waiting For So Long's 'are they/aren't they?' strings are completely overshadowed by the definite 'Tron on It's My Life.
So; not bad, not great, passable 'Tron. More news if/when I get to hear either of the band's other albums.
See: Dillinger
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Altitude (2007, 97.46) ***/TT |
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| Taipei 101 Pyramid of Giza Everest Seoul Tower Kingda Ka Warsaw Radio Mast Empire State Three Haikus |
Death Valley Salt Lake Dead Sea Submarine Canyon Subduction Zone Evaporites Forearc Cold Seep |
Downwelling Decollement Sea Floor Spreading Hypothesis Turbidite Bathymetric Expression Tectonic Revolution Mariana Trench |
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Altitude is apparently the final instalment in a trilogy by Charlie Hunter and Bobby Previte, recording as Groundtruther. Both musicians are generally thought of as 'jazz', although this album slides between styles like a greased pig, falling, more often than not, into that specifically NYC avant-garde scene defined by Medeski Martin & Wood. Fittingly, since John Medeski is a guest player here, to the point where he actually gets a 'special guest' mention on the cover. It's (obviously) a two-CD set, disc one being electric and two acoustic, the mostly lengthy tracks on the electric disc being named after some of the world's tallest structures, while many of the mostly very short acoustic ones have something to do with underwater goings-on. There's no getting away from the fact that most of the set is highly experimental, some of the acoustic disc crossing over into modern atonal classical, which you will either like or... you won't. It's difficult to fault the concept and impossible to fault the playing, but I'd be lying if I said this was an album for everyman.
On the Mellotron front, Medeski only uses it on disc one (well, is a Mellotron acoustic? No), with a string part on Pyramid Of Giza, bassoon and strings on Everest and more bassoon on the lengthy Empire State, with flutes (?) and wildly pitchbent strings later on. Good to hear such an under-used sound, actually, although whether Medeski had to change frames to use it or he has it alongside strings and flute on one frame is unknown. So; a fairly out-there release, delving into the further reaches of modern jazz, but a nice bit of Medeskitron for those who can't get enough of his uniquely skronky style.
See: Medeski Martin & Wood | Bobby Previte
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Ian Hunter (1975, 40.23) ***/T½Once Bitten Twice ShyWho Do You Love Lounge Lizard Boy 3,000 Miles From Here The Truth, the Whole Truth, Nuthin' But the Truth It Ain't Easy When You Fall Shades Off I Get So Excited |
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All-American Alien Boy (1976, 40.46) ***½/TLetter to Brittania From the Union JackAll American Alien Boy Irene Wilde Restless Youth Rape You Nearly Did Me in Apathy 83 God (Take 1) |
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Ian 'Unter's something of a long-term fixture on the UK scene, and good luck to him; he joined Mott the Hoople around 1969, and is still touring and recording over three decades later, although I've no idea what his recent output's like. Probably a lot like these two albums, I suspect. Ian Hunter was his solid solo debut after leaving Mott, and it features the same mixture of, er, 'rockers and ballads' as his alma mater, with plenty of his signature-type songs thrown in, particularly hit single Once Bitten Twice Shy, covered by a whole slew of rock acts since. The 'Tron only gets used on one track (played by Mick Ronson), but there's a fair bit of strings on the lengthy Boy, which is a typical Hunter-style power ballad building to a crescendo of wailing guitars, etc.
His follow-up, All-American Alien Boy, is more of the same, with standout tracks including Irene Wild and Rape, with its bleak refrain of "And justice was seen to be done". Chris Stainton on 'Tron this time round, with flutes on the misspelt Letter To Brittania From The Union Jack, making this even less of a 'Tron album than its predecessor, but if you're into Hunter's skewed take on the world, it's worth hearing whatever.
I wouldn't say 'rush out and buy these for the Mellotron', but they're good albums, transcending their 'mid-'70s middling rock' feel.
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Hurricane #1 (1997, 47.53) ***/T½ |
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| Just Another Illusion Faces in a Dream Step Into My World Mother Superior Let Go of the Dream Chain Reaction Lucky Man Strange Meeting |
Monday Afternoon Stand in Line |
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Only the Strongest Will Survive (1999, 71.47) **½/½ |
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| Intro N.Y.C. The Greatest High Remote Control The Price That We Pay Separation Sunday Rising Sign Only the Strongest Will Survive |
Long Way Down Twilight World Come Alive What Do I Know? Afterhours Outro/N.Y.C.2 [Hidden track] |
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Hurricane #1 were effectively Britpop Johnny-come-latelys, formed by Andy Bell, after the Oxford-based Ride bit the dust. Although they took Oasis as their rather unfortunate collective muse, they couldn't stoop that far, partly because Bell's voice is considerably better than the estimable (?) Mr. Gallagher's. In fact, the music's better all round, with some fairly inventive riffs (Step Into My World, Stand In Line) and a less whiny vibe about the whole thing, which has to be good.
The Mellotron, played by Bell, is mostly in the background, to the point where I'm not 100% sure it's there at all on some tracks, with vague flutes and strings on Just Another Illusion, Faces In A Dream and Mother Superior, the only upfront use being on closer Stand In Line, with some Beatles-esque flutes, and maybe a little strings. As a result I really couldn't recommend this as a Mellotron Album, although if you're into that UK indie sound, you could do an awful lot worse. Like Oasis. Talking of which, in a supreme irony, after Hurricane #1's split, Andy Bell has joined Oasis as a full partner, apparently. Good luck, mate...
Before said split, Hurricane #1 managed one more long player, '99's Only the Strongest Will Survive, which is near-as-dammit identical to their debut, only even less good, not to mention horrendously overlong. And they did a bunch of otherwise unreleased b-side tracks... No outstanding tracks in any area, and only one with any 'Tron, with some faint flutes on Afterhours, although I believe the phased strings are just regular samples. They've used that grotesquely clichéd 'gap with a hidden track' technique, too, said track being an interminable instrumental jam loaded with synth bleeps, but it only knocks three or so minutes off the album's ridiculous length.
See: Oasis
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A Lifetime (2004, 45.18) **½/T |
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| If You Go Breaking My Heart Say a Little Prayer That Don't Make it Right Lovestruck A Lifetime Sometimes Come to My Rescue To a Better Place |
For How Long Why You Fly If I Was Drown |
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Hush are the Danish duo of Dorthe Gerlach (vocals) and Michael Hartmann (guitars/programming), and going by the evidence on their debut album, A Lifetime, are heavily committed to producing rather dull, maudlin ballads, making the occasional more upbeat track (Why You Fly, If I Was) sound good in comparison. Is this stuff popular? They've on Universal, so I'd imagine someone thinks so. Not round here, though.
String arranger Ole Hansen also plays Mellotron, with flutes on Come To My Rescue and strings, as against the ubiquitous real ones, on closer Drown, with an interesting 'choke-off' at the end, as the tape runs out. You know, you really don't need to own this album or, for that matter, even hear it. There's good maudlin and bad maudlin, and this is the latter. Avoid.
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Purgatory Falls (2001, 32.38) ****/T½ |
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| 4258 I Loved Everything Rubble My Sweet Nothing Goldmine Red Eyeliner Steer Clear Offer You the World |
Belief Chordothelord |
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Parthenon Huxley, or P. Hux, is a singer-songwriter of the highest calibre, having written major hits for other artists and worked with ex-members of E.L.O., amongst others. Purgatory Falls is his fourth solo album, detailing his wife's tragic struggle with and death from cancer, so those unable to cope with one man's outpouring of grief in song form should probably go elsewhere now. Far from all the lyrics are obviously grief-stricken, though, making it easy to see the album for what it is; a great powerpop/singer-songwriter record chock-full of songs of the quality of Goldmine or Red Eyeliner.
Nic Peroni plays Mellotron, with flutes and strings on the heart-wrenching Red Eyeliner, with flute block-chords and more strings on Offer You The World, although some of the album's strings (notably on Belief) sound either real or sampled. The cheesy string part on closer Chordothelord bears a striking resemblance to the 'moving strings' on the MkII Mellotron, making me wonder if we're hearing 'Tron samples throughout, although they could quite feasibly be some other form of sound generation, including real strings, playing a similar part.
So; a fine album, painfully sad, almost distraught in places, with some excellent songwriting. I need to hear more of this man's work. Anyway, a couple of 'Tron tracks, assuming it's real (so often an issue these days), on an album very worthy of your attention.
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The Intrige of Perception (2004, 48.22) ***½/TTThe Endless VoidGood Sinner - Bad Saint Third Nature Twisting the Knife The Intrigue of Perception I Islands in the Sun II The Next Level III A Castle in the Sky IV Islands (Reprise) Absent Friends |
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Hypnos 69 grew out of an earlier, '70s-inspired outfit, Starfall. Although they changed their name in 1995, their first release (an EP) was in 2000 and their first album in 2002. The Intrigue of Perception is their third full-lengther, sounding almost exactly like the kind of band who'd be on about mid-afternoon at one of those early-'70s festivals, just when you'd given in and joined the three-hour queue for an overpriced, half-cooked dogburger. But better. There's something to be said from having the ability to learn from your predecessors' mistakes, you know... It's a pretty varied effort - you can't fault the band for their eclecticism; opener The Endless Void is mad psych/prog, while Good Sinner - Bad Saint is an electric blues jam, the title track falls halfway between CSN&Y and Earthbound-era King Crimson, maybe and closer Absent Friends is all '68-era Floyd.
Steven Marx is credited with Mellotron, and we get pretty authentic-sounding strings on The Endless Void, with flutes on parts I and III of the title track and background strings on part IV. Not the most jaw-dropping use ever, but the strings sound wobbly enough to be real. This album beats a lot of the competition by dint of its variation and overall sound, even if the material isn't that outstanding. Worth hearing. Incidentally, there's supposed to be more 'Tron on their follow-up, 2006's The Eclectic Measure (reviewed here), but it sounds seriously sampled to my ears.
See: Sampledelica!
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Apple 13 (2003, 43.48) ***/T |
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| Stargazer Boat Keep Sailing Apple 13 Shivering Sands In a Silver Room Do You Love The World Spits Out a Lover Headspace Detonates |
Hush Little Children Over and Over Saviour Time Find Another Clown |
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Hypnosis coalesced in the late '90s, releasing their debut, Medicine Works Like Magic, in 2000 (review to follow when I track a copy down). Three years on, Apple 13 appeared, sounding precisely like a recently-unearthed late-period psych album from 1969, round about the time the brown acid kicked in. While not a bad record, I've found it difficult to engage with this; I think I prefer my psych either short and poppy or drawn-out and jamming, and this is short but jamming, which is almost as bad as long and poppy. Opener Stargazer's pretty good, ditto Shivering Sands, but most of the rest just drifts along in a fog of third-rate Pretty Things copyist accusations and badly-recorded Farfisa.
Produced by Sundial's Gary Ramon and recorded at his studio, I presume keys man Darren McFerran played Ramon's Mellotron, although it's possible Ramon did the honours himself, I suppose. Anyway, we get spitty brass on In A Silver Room and solo trumpet (same sound?) on closer Find Another Clown; oh well, I suppose at least they aren't the usual Mellotron clichés... I'm sorry to be so down on this; UK psych's pretty thin on the ground, and I'd love to be able to be more positive about it, but... I can't. Has its moments, but they're not Mellotronic ones.
See: Sundial
