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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.


Home
Homer
Hooters
Hootie & the Blowfish
Hooverphonic
Hot Hot Heat
Hotlegs
Steve Howe
Hudson Ford
Glenn Hughes
Hughes Turner Project
Alan Hull
Human Instinct
Van Hunt
The Hunt
Ian Hunter
Hurricane #1
Hush
P. Hux


Home  (UK)

Home, 'Pause for a Hoarse Horse'

Pause for a Hoarse Horse  (1971,  39.14)  ***/T

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
Home, 'The Alchemist'

The Alchemist  (1973)  ***½/T

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

Current availability:

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.

Homer  (US)

Homer, 'Grown in U.S.A.'

Grown in U.S.A.  (1970,  38.47)  ***/TTT½

Circles in the North
Taking Me Home

Dawson Creek
Survivor
In the Beginning
Loves Coming
Four Days and Nights Without You
Cyrano in the Park
Lonely Woman

Current availability:

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.

Hooters  (US)

Hooters, 'Out of Body'

Out of Body  (1993,  45.49)  **½/½

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

Current availability:

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?

Official site

Hootie & the Blowfish  (US)

Hootie & the Blowfish, 'Musical Chairs'

Musical Chairs  (1998,  48.31)  **½/½

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
Hootie & the Blowfish, 'Looking for Lucky'

Looking for Lucky  (2005,  42.23)  **½/T½

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

Current availability:

  • Musical Chairs: Atlantic
  • Looking for Lucky: Vanguard

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.

Official site

Hooverphonic  (Belgium)

Hooverphonic, 'The President of the L.S.D. Golf Club'

The President of the L.S.D. Golf Club  (2007,  41.20)  ***/TTT½

Stranger
50 Watt
Expedition Impossible

Circles
Gentle Storm
The Eclipse Song
Billie
Black Marble Tiles
Strictly Out of Phase
Bohemian Laughter

Current availability:

  • Tracks

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 what appears to be a real Mellotron, 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, so here's hoping it's as real as it sounds. So; passable gloomy record, plenty of great 'Tron. Now, has anyone got any proof that it's genuine?

Official site

Hot Hot Heat  (Canada)

>Hot Hot Heat, 'Elevator'

Elevator  (2005,  36.53)  **½/½

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

Current availability:

  • WEA

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.

Official site

Hotlegs  (UK)

Hotlegs, 'Thinks: School Stinks'

Thinks: School Stinks  (1971,  43.07)  ***½/½

Neanderthal Man
How Many Times
Desperate Dan
Take Me Back
Um Wah, Um Woh
Suite F.A.
Fly Away
Run Baby Run
All God's Children

Current availability:

  • One Way

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.

Steve Howe  (UK)

Steve Howe, 'Beginnings'

Beginnings  (1975,  39.53)  ***/T

Doors of Sleep
Australia
The Nature of the Sea
Lost Symphony
Beginnings
Will o'the Wisp
Ram
Pleasure Stole the Night
Break Away From it All

Current availability:

  • Atlantic

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.

Official site

Hudson Ford  (UK)

Hudson Ford, 'Free Spirit'

Free Spirit  (1974,  39.39)  ***/TT½

Take a Little Word
Free Spirit

Mother Mild
I Don't Want to Be a Star
Silent Star

Such a Day
How Many Times
Floating in the Wind

Current availability:

  • Not on CD

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.

Glenn Hughes  (UK)

Glenn Hughes, 'The Way it is'

The Way It Is  (1999,  55.38/60.54)  ***/T

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)]

Current availability:

  • SPV

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.

Official site

Hughes Turner Project  (UK/US)

>Hughes Turner Project, 'Hughes Turner Project'

Hughes Turner Project  (2002,  61.16)  ***/T

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
>Hughes Turner Project, 'Hughes Turner Project 2'

Hughes Turner Project 2  (2003,  62.34)  ***/T½

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

Current availability:

  • HTP: Shrapnel
  • HTP2: MTM

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.

Fan site

Alan Hull  (UK)

Alan Hull, 'Squire'

Squire  (1975,  38.21/44.15)  ***/T½

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]

Current availability:

  • Rhino

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.

Official Lindisfarne site

Human Instinct  (New Zealand)

Human Instinct, 'Peg Leg'

Peg Leg  (2002, recorded 1975,  50.11)  ***½/TTTT½

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

Current availability:

  • Rajon (New Zealand)

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.

Official site

Van Hunt  (US)

Van Hunt, 'Van Hunt'

Van Hunt  (2004,  54.53)  **½/T

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

Current availability:

  • Capitol

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.

Official site

The Hunt  (Canada)

The Hunt, 'Back on the Hunt'

Back on the Hunt  (1980,  37.39/75.09)  ***½/TT (TTT)

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]

Current availability:

  • Unidisc

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.

Ian Hunter  (UK)

Ian Hunter, 'Ian Hunter'

Ian Hunter  (1975,  40.23)  ***/T½

Once Bitten Twice Shy
Who 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
Ian Hunter, 'All-American Alien Boy'

All-American Alien Boy  (1976,  40.46)  ***½/T

Letter to Brittania From the Union Jack
All American Alien Boy
Irene Wilde
Restless Youth
Rape
You Nearly Did Me in
Apathy 83
God (Take 1)

Current availability:

  • Ian Hunter: Sony
  • All-American Alien Boy: Rewind

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.

Official site

Hurricane #1  (UK)

Hurricane #1, 'Hurricane #1'

Hurricane #1  (1997,  47.53)  ***/T½

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
Hurricane #1, 'Only the Strongest Will Survive'

Only the Strongest Will Survive  (1999,  71.47)  **½/½

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]

Current availability:

  • Creation

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.

Hush  (Denmark)

Hush, 'A Lifetime'

A Lifetime  (2004,  45.18)  **½/T

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

Current availability:

  • Universal

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.

Official site

P. Hux  (US)

P. Hux, 'Purgatory Falls'

Purgatory Falls  (2001,  32.38)  ****/T½

4258
I Loved Everything
Rubble
My Sweet Nothing
Goldmine
Red Eyeliner
Steer Clear
Offer You the World
Belief
Chordothelord

Current availability:

  • Bean Bag

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.

Official site


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