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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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Liverpool Express Llama Farmers Serge Locat Locomotive |
Locust London Underground Loudermilk Low |
Lucifer's Friend Luna Luscious Jackson |
George Lynch Lynch/Pilson Lynyrd Skynyrd |
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Tracks (1976, 41.39) *½/½ |
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| Smile Hold Tight Never the Same Without Love You Are My Love She's a Lady Call Me Your Love It's a Beautiful Day (I Remember) Julian the Hooligan |
Rosemary Doing it All Again I'll Never Fall in Love Again Every Man Must Have a Dream |
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Oh dear. Mid-'70s UK mainstream pop, anyone? Liverpool Express were pretty awful, if truth be told; schmaltzy ballads, light pop, maudlin dirges, they covered all bases. A couple of tracks on side two up the tempo slightly, but they soon slip back into familiar patterns of behaviour. I thought I recognised You Are My Love; it was their biggest hit, although they seem to be remembered more (though not that much more) for big ballad Every Man Must Have A Dream, complete with Imagine lyrical steal. I've been told there's Mellotron all over the album, but all I can hear is regular (credited) strings, until the aforementioned Every Man..., with a snatch of 'Tron choirs here and there, apparently played by Roger Craig, amongst the band's own backing vocals. Anyway, this is awful. Avoid.
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El Toppo (2000, 43.06) **½/½ |
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| El Toppo Snow White More Salt Doggy Fudge Postcards & Moonrock Feathers Note on the Door Same Song |
Ear the C You Bore Me Movie [unlisted track] |
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El Toppo was London-based outfit the Llama Farmers' (terrible name!) second album, and comes across as a rather confused mess of grungy hard rock, bog-standard indie and typical British observational writing (viz Postcards & Moonrock). I'm having trouble thinking not so much of anything nice to say about this album, but anything at all; it left an almost indelible blank on my mind, although it didn't actively offend me, which is something.
Vocalist/guitarist Neil "Bernie" Simpson doubles on various keyboards, including Mellotron, but it's not exactly what you'd call overused; I think that's strings on You Bore Me, but I wouldn't swear to it, so if I were you, I wouldn't actually rush out and buy this. It didn't cost me very much, but I still feel like I've been had. Anyone want a Llama Farmers CD?
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Transfert (1978, 32.31) ****/TT½Le CrieurClair-Obscur Matinale Suite Matinale Transfert Reel à Maryse |
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Locat was keyboard man with the mighty Harmonium, who I believe were in their (amicable) death throes when Transfert appeared. Lush, instrumental symphonic keyboard-led prog is the order of the day here, with synth melodies to the fore, although Matinale and Suite Matinale cross the line into piano balladry, nearer instrumental Billy Joel than progressive rock. Apart from Harmonium themselves, Genesis are a prime influence, being one of the most popular international progressive outfits in Québec in the '70s, although much of the album's sound can be attributed to late-19th century composers such as Mahler, also influencing The Enid around the same time.
Locat plays Mellotron choir extensively on Clair-Obscur, with lesser use on the title track and Reel À Maryse, although the strings on the wonderful Transfert are synthesized. I'm not sure if I can actually recommend this as a Mellotron Album, but the two middle tracks aside, it's very much worth hearing, assuming you can ever find a copy.
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We Are Everything You See (1970, 41.14/62.24) ***½/T |
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| Overture Mr. Armageddon Now is the End - The End is When Lay Me Down Gently Nobody Asked You to Come You Must Be Joking A Day in Shining Armour The Loves of Augustus Abbey Part One Rain The Loves of Augustus Abbey Part Two |
Coming Down/Love Song for the Dead Ché The Loves of Augustus Abbey Part Three Time of Light and Darkness [CD adds: Mr. Armageddon (single version) There's Got to Be a Way I'm Never Gonna Let You Go You Must Be Joking (single version) Movin' Down the Line Roll Over Mary] |
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Mellotron used:
After a couple of ska hits (!), the Birmingham-based Locomotive went all progressiveish, loike, for their sole album, 1970's We Are Everything You See. Vocalist/organist Norman Haines (later of the, er, Norman Haines Band, whose sole album is a classic) lets rip on the Hammond all the way across the record, and although the songwriting falters in places, the end result is an unfairly overlooked late-period psych release. The band were managed by their ex-trumpeter, Jim Simpson, who had quite a stable of Brummie bands, not least Black Sabbath, who even recorded one of Haines' songs for their debut, only to ditch it in favour of the material we know and love. Locomotive's unusual lineup of keyboards, bass, drums, trumpet and sax makes them stand out from the pack on the psych reissue front, giving them an edge over the standard guitar-led format, with the only audible guitar (player unknown) on one of the CD's bonus tracks, Roll Over Mary.
Haines plays Mellotron on two tracks, with something unidentifiable (one of the brass variants?) on A Day In Shining Armour (ho ho), with a couple of seconds of strings at the end, and some excellent pitchbent strings (MkIIs were better for this) on closer Time Of Light And Darkness. Nothing on the bonus tracks, either, so not enough use to consider this in any way a Mellotron Album. It's worth hearing in its own right, however, although the era did produce better records. Not bad, not brilliant.
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Morning Light (1997, 58.38) ***/TT |
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| Your Selfish Ways Morning Light Just Like You I am the Murderer Jukebox Heart Folie One Way or Another No-one in the World |
Clouds at My Feet Summer Rain Ancient Hometown The Girl With the Fairytale Dream Let Me Take You Back Some Love Will Remain Unsaid Shadow Play On the Horizon |
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Locust, a.k.a. Mark Van Hoen, play a kind of laid-back electronica that shouldn't offend those of you/us that aren't into bangin' techno and the like. Mark plays a variety of instruments, including Fender Rhodes and Mellotron, and makes a perfectly pleasant sound, although it can rather drift by at times, which I concede may be the intention. Not being a singer, he brings in several collaborators, which (to my ears) gives the album a slightly disjointed quality, although I'm well aware that this is quite normal in his chosen field.
As far as that Mellotron's concerned, Van Hoen sticks it on nine out of sixteen tracks, with light string and choir work on most, to the point of inaudibility in places, to be honest. However, Summer Rain and, particularly, Some Love Will Remain Unsaid have some upfront 'Tron flute, with some fairly obvious choir on the latter, too. I'd be lying if I said this is a classic 'Tron album, though a few tracks have enough to make them worth a quick listen. Overall, if you like the style, chances are you'll like the album, but otherwise, you're probably best advised to look elsewhere.
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Through a Glass Darkly (2003, 47.29) ***½/½ |
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| End of the Race Travelling Lady Sermonette The Days of Man Analonihum A Beautiful Child Through a Glass Darkly Cryptical Purple Browne Orcharde |
Can't Find the Reason Everything is Coming to an End Another Rude Awakening |
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Italians London Underground impressed me immediately with their foreign-language pun; well, can you pun in Italian? The band evolved from much-missed 'Tronlords Standarte; Through a Glass Darkly is their second release, after their eponymous debut from 2000, and unsurprisingly, sits defiantly in the late-period psych camp, at the point where the style morphed into proto-prog, somewhere around 1970. About the only real giveaway is that the distorted guitar sound is possibly too smooth for the time, if that isn't a non-sequitur. Decent material throughout, shifting from the full-on psych-rock of End Of The Race and Cryptical Purple Browne Orcharde to the laid-back dreamy psych of Analonihum and the title track.
Disappointingly, very little Mellotron, with only a brief string part on closer Another Rude Awakening from Gianluca Gerlini, with the album's chief keyboard input being his sterling work on the Hammond, with bits of acoustic and electric piano (Wurly?) thrown in. So; good album, especially for psych fans on the lookout for a fresh take on the style (sort of), albeit a near non-runner on the 'Tron front.
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The Red Record (2002, 56.43) **½/T |
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| Estrogen Oxygen Aches in the Teeth Again California Kreates a Presence to Blush The Twisting Ash to Ash Elekt Mai |
97 Ways to Kill a Superhero Anthema Juin Rock'n'Roll & the Teenage Desperation Goldie Ella Juillet Attached at the Mouth |
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Loudermilk hail from a small corner of Washington state, rather grandly known as the Tri-Cities area, and freely admit that they were massive Guns n'Roses fans in their (earlier) youth, although you wouldn't know it from listening to The Red Record. It's an uneasy mix of various genres, chiefly punky powerpop with several awkward ballads thrown in, giving the impression the band aren't entirely certain where their musical loyalties lie. Nope, nothing wrong with variety, anything but in fact, but this is just a bit of a mess, and none of the songs leap out at you as great songs should.
Chamberlin strings from the ubiquitous Patrick Warren on one of the ballads, Ash To Ash, with a reasonably upfront part, although it isn't noticeably different to the (presumably) generic sampled strings on a couple of the other tracks, making you wonder why they bothered. Actually, the same could be said for the album as a whole; the faster tracks at least have some energy, but the slower stuff all sounds lacklustre, with the exception of Mai, for some reason. Anyway, pretentious titles, deliberately 'scuffed' artwork, an overlong album and no songs. Go elsewhere, I think.
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Long Division (1995, 49.14) ****/T |
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| Violence Below & Above Shame Throw Out the Line Swingin' See-Through Turn Caroline |
Alone Streetlight Stay Take |
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The Curtain Hits the Cast (1996, 65.08) ****/T |
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| Anon The Plan Over the Ocean Mom Says Coattails Standby Laugh Lust |
Stars Gone Out Same Do You Know How to Waltz? Dark |
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Things We Lost in the Fire (2001, 53.17) ****/T |
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| Sunflower Whitetail Dinosaur Act Medicine Magazines Laser Beam July Embrace Whore |
Kind of Girl Like a Forest Closer In Metal |
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The rather appropriately-named Low have been around for a while now, perfecting their melancholy folky thing. This is all rather wonderful, actually; quite exceptionally mournful, but not in a fake-miserable kind of way, coming more from the area the superb Richard Thompson has inhabited for most of his career.
Their first Mellotron use was on '95's Long Division, with some rather warbly strings on Swingin', finishing with a high note held until the bitter end, when it wobbles obscenely before dying out. More on the following year's The Curtain Hits the Cast, with Steve Fisk putting some strings onto Coattails; the rest of the album's excellent, particularly the 14-minute Do You Know How To Waltz?, which builds slowly to a crescendo, which it then manages to sustain for several minutes. Superb.
Their style reached something of a peak on Things We Lost in the Fire; even the (occasional) louder tracks are taken at a funereal pace. Much of the album features guest string players, playing both separately and together, along with Mark de Gli Antoni on keyboards, including, of course, Mellotron. Of course, the Mellotron was made for relentlessly downbeat music - well, it wasn't, but you know what I mean - and Things We Lost in the Fire is nothing if not superbly downbeat; even the title (a line of lyric) speaks of loss and regret. I'm actually quite surprised they didn't use it on more tracks, but July features some heartbreaking strings and flutes drifting in and out of the mix, enhancing an already excellent song. Unfortunately, it's difficult to recommend this to 'Tron fans on the basis of one track, but it's a great album, well worth your attention anyway. Buy.
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Where the Groupies Killed the Blues (1972, 41.24) ***½/T½HoboRose on the Vine Mother ...Where the Groupies Killed the Blues Prince of Darkness Summerdream/Delirium/No Reason or Rhyme Burning Ships |
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Lucifer's Friend were one of quite a few European outfits who recruited a British or American singer to sound more acceptable to English-speaking ears (see: fellow Germans Epitaph or Norway's Titanic), in this case, future Uriah Heep man John Lawton. The band actually don't sound too dissimilar to Heep, although they're less organ-driven, with keyboard man Peter Hecht preferring the piano as his weapon of choice. On Where the Groupies Killed the Blues, they attempt that 'complex hard rock' thing that Heep and others were doing at the time, but they don't quite have the chops, although they make brave attempts on Rose On The Vine and the title track, amongst others.
As for Hecht's Mellotron use, I can only hear it on two tracks, with brass and strings on Mother and flutes on ...Where The Groupies Killed The Blues itself. A string section is used in places, notably on Summerdream, although less so than on the preposterously overblown Banquet (***) of a few years later. Anyway, Where the Groupies... isn't bad, but isn't exactly a classic, either, and with low-level Mellotron use, I don't really feel I can recommend that you rush out to buy a copy.
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The Days of Our Nights (1999, 54.08) ***/TT |
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| Dear Diary Hello, Little One The Old Fashioned Way Four Thousand Days Seven Steps to Satan Superfreaky Memories Math Wiz Words Without Wrinkles |
The Rustler U.S. Out of My Pants! The Slow Song Sweet Child o'Mine |
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Luna are ex-Galaxie 500 guitarist Dean Wareham's band, who have apparently made a career out of not being noticed, which is a bit of a shame, as going by The Days of Our Nights, they're a reasonably appealing folk/indie sort of outfit with occasional Neil Young tendencies, which is no bad thing. It's their fifth album, and apparently the second Mellotron one, after 1995's Penthouse, featuring songs of the quality of Dear Diary and Math Wiz, not to mention their laid-back cover of Sweet Child O'Mine, of all things.
Mellotron from bassist Justin Harwood and guest keys man Paul Kimble, although a faint choir swell and some background strings on Dear Diary are no match for the full-on (and very wobbly) string part on Hello, Little One, and although the backing vocals on The Old Fashioned Way sound real in places, with no female backing vox, we have to assume they're 'Tron, too. 'Tron strings on Superfreaky Memories and The Rustler, although the cello on a couple of tracks is real, played by Jane Scarpantoni, who seems to have played with everyone, not least R.E.M. and Tiny Lights.
Definitely two later Luna 'Tron albums in 2002's Romantica and Rendezvous from two years later, though I've no idea how they compare to The Days of Our Nights. This is actually a pretty decent album, although I'm not sure if it holds up that well against its influences; several reasonable 'Tron tracks, but probably not actually worth purchase on those grounds alone.
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Fever in Fever Out (1996, 47.27) **/T |
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| Naked Eye Don't Look Back Door Mood Swing Under Your Skin Electric Take a Ride Water Your Garden |
Soothe Yourself Why Do I Lie? One Thing Parade Faith Stardust |
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Electric Honey (1999, 50.10) **½/½ |
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| Nervous Breakthrough Ladyfingers Christine Alien Lover Summer Daze Sexy Hypnotist Friends Devotion |
Fantastic Fabulous Gypsy Beloved Country's a Callin' Space Diva Fly Lover's Moon |
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Luscious Jackson's Wikipedia entry describes their thing as "a style of alternative music that combined hip hop, punk, folk and dance", which seems a fair enough summation - in case that's too ornate, 'indie' will do. Fever in Fever Out was the all-female band's second album, and keyboard player Vivian Trimble's last, before defecting to Dusty Trails. I can't say it grabs me in the slightest, I'm afraid, but plenty of people seem to have liked them, so looks like I'm out of step with popular opinion. Again. A particularly irritating facet of the album is the half-spoken vocals on most tracks, but again, some people seem to like that sort of thing. On the Mellotron front, nothing audible on opener Naked Eye, although whatever there is was played by co-producer Tony Mangurian, while Water Your Garden has flutes from Trimble, as does Soothe Yourself.
It took the band three years to come up with what turned out to be their last album, Electric Honey, and at least the half-spoken vocals have disappeared in the interim. Apart from that, there seems to have been little change on the musical front, departing members notwithstanding, although the overall effect is a little less irritating than on its predecessor. Vocalist/guitarist Gabrielle Glaser plays 'Tron cellos on Fly, to little effect, but that's it on the tape-replay front, even though Roger Manning guests on the album.
I really don't think you need either of these albums, to be honest; there's enough tedious indie-pop in the world already, without adding to it. A little 'Tron, but far from enough to be worth bothering with.
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Sacred Groove (1993, 47.16) **½/T½Memory JackLove Power From the Mama Head Flesh and Blood We Don't Own This World I Will Remember The Beast, Part I The Beast, Part II Not Necessary Evil Cry of the Brave Tierra del Fuego |
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Another Jim Rigberg reviews, ladies'n'gents.
In the '80s, George Lynch was the guitarist for Dokken, a band that registered at least two gold and maybe one platinum album while never really being on the top of anyone's list of favorite bands. Part of the problem was the uneven product they produced. Singer Don Dokken - like many of his kindred mid-'80s, LA scene metalheads - just so desperately wanted to be all things to all people. I remember hearing a radio interview with him in 1985 or 1986 describing the band's third album, Under Lock and Key, stating something along the lines of "We have some power ballads, we have some Metallica-like songs, blah, blah, blah". And they did. For every raunchy early Van Halen-like It's Not Love or truly heavy-metal stuff such as Back For The Attack (which would please current power metal fans), there was a wussy attempt to channel Journey (the Jonathan Cain/Escape era Journey). The latter category of tunes certainly bought them hits - Alone Again and the lame lite-metal Dream Warriors from one of those Nightmare on Elm Street sequels, for example - but they could have avoided the 'hair band' label and built a solid audience that might still exist if they'd stuck solely to the former.
George Lynch was one of the best guitarists that the LA scene produced in the '80s. He had, and has, a distinct sound - he loves the phrygian mode and diminished scales and always had a killer tone - which lent a doomy and/or aggressive quality to even the goofiest Dokken songs. Not surprisingly, he and Don Dokken did not see eye to eye, leading to a rather spectacular implosion while the band was touring behind Back for the Attack in 1988 (or so). In the '90s, Lynch somehow managed to quell his feud with Dokken long enough to produce two albums before they started sniping at each other again and Don Dokken became a favorite target of web humorists (see, e.g. the hilarious Metal-Sludge.com).
In between the '80s Dokken and reformed Dokken, Lynch released a couple albums with his own band, Lynch Mob, and a 'solo' piece, Sacred Groove. While I like Lynch's playing and much of his song-writing (I suspect he was behind the music on the better Dokken songs), Sacred Groove was a bit of a disappointment. Memory Jack is about 1.39 of noise and though The Beast is listed as being in two parts - suggesting two songs or (admittedly a stretch) some kind of multi-movement prog excursion, it sounds like just one song to me. Realistically, therefore, there are 8, not 10, tracks. Love Power From The Mama Head and closer Tierra Del Fuego are instrumentals, the latter of which has a Latin-jazz groove and nice Spanish-style guitar solo from Daryl Gable. Neither of these is offensive, but neither is terribly exciting, either. The anthemic Cry Of The Brave and the bluesy-hard rock Not Necessary Evil, both featuring vocals from Glenn Hughes, are solid.
The highlight - from both the casual listener's and this website's perspective - is Flesh And Blood. Good riffing, nice solo, and great moody 'Tron strings played by Chris Fuhrman, who also engineered the album, underscoring the vocal melody in the chorus.
The low point is the afore-mentioned The Beast. It's not often that a singer's voice can destroy a song for me. Lynch got a fella who, unbelievably, is not (or was not in 1993) embarrassed to use the handle "Mandy Lion", to lay down pseudo-death metal cookie monster vocals on The Beast. These vocals don't sound threatening or scary. They sound like the cookie monster. That's why they call them cookie monster vocals. It's fucking horrible. Oh, and the lyrics, which presumably were meant to be funny, aren't. The worst part of all this, is that, as was probably apparent from the beginning of the paragraph, the rest of The Beast (i.e. the music) is a good 'on the heavier' side rocker, with plenty of interesting sounds, including sitar. Indeed, it's apparent that "Mandy Lion" could probably sing well if he'd wanted to do so. The CD notes list Mellotron in both Parts 1 and 2 of The Beast. I'll be damned if I can hear it in Part 1. However, the 'Tron is used to nice effect in Part 2, but not nice enough to make this song listenable.
If you must own everything Lynch has ever put out, buy it. You'll get at least four good hard rock songs with much-better-than average hard rock guitar playing. If you have your own mixing equipment, the master tapes, and the ability to sing at all, you can re-record The Beast for yourself and make that five good songs. No need to buy it for the 'Tron (I sure didn't, though the fact that there was some was obviously a pleasant surprise).
| Jim Rigberg |
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Wicked Underground (2003) ****/T |
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| Breath and a Scream Beast in a Box When You Bleed Vaccine Ever Higher Zero the End The Evil That You Are Awaken |
Cromaniac Goodbye Utopia Inner View Closer to None |
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Jim Rigberg AGAIN!
Last year, ex-Dokken guitarist George Lynch and bassist Jeff Pilson joined forces for what, hopefully, will be the first of several excellent melodic-hard rock releases. The bulk of these songs are driven by Lynch's punchy tone and Pilson's thick, at times Beatle-y bass and smooth vocals. The stand-out tracks - When You Bleed, The Evil That You Are, Ever Higher, Closer To None - hinge on great hooks without sacrificing one iota of aggressiveness, thanks to Lynch's stellar riffing. Also notable is the instrumental - Cromaniac - a nice little piece of guitar violence that sounds like a thrash band channelling Joe Satriani.
Jeff Pilson is apparently the proud owner of an M400 which he puts to excellent use on Ever Higher, an Indian-music inflected cut. A nice string line surfaces during the intro and wafts in and out through a good portion of the balance of the song. The track builds quite nicely culminating in a proggy hard rock à la (the equally wonderful) King's X.
I can't recommend this for the Mellotron content (although it is used well). However, I highly recommend Wicked Underground for anyone interested in driving hard rock, fans of interesting guitar work, and those who wondered what Dokken might have sounded like if they had been consistent.
| Jim Rigberg |
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Pronounced Leh-nerd Skin-nerd (1973, 43.03) ****½/TTI Ain't the OneTuesday's Gone Gimme Three Steps Simple Man Things Goin' on Mississippi Kid Poison Whiskey Free Bird |
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Lynyrd Skynyrd's first album (or at least, first released) must've come as a breath of fresh air back in '73; an unpretentious record that rocked, though not without a degree of subtlety, too. Like a heavier, less jamming version of the Allman Brothers. Skynyrd's secret weapon was killer songs; in my opinion, all but the rather irritating Things Goin' On still stand up well, and the band play several numbers in their live set to this day.
Produced by Al Kooper, Pronounced Leh-nerd Skin-nerd features Mellotron on two tracks, one better-known than the other; Kooper plays some excellent semi-orchestral arrangements on the country-ish ballad Tuesday's Gone under his long-time pseudonym 'Roosevelt Gook'. It seems he used this name on some of the Dylan albums he worked on, giving rise to rumours that 'Gook' was ol' Bob himself. The other 'Tron track on the album is, of course, the infamous and horrendously-overplayed Free Bird, presumably played by regular keyboard man Billy Powell. Unfortunately, this has to be one of the worst Mellotron performances on record; it's noticeably flat, and badly-recorded to boot. Shame - however badly you never want to hear it again, the song is a classic, and it's a real pity the 'Tron couldn't have been done a little better.
Of course, after the meteoric rise came the cataclysmic fall; the plane crash in '77 that killed Ronnie Van Zant and several other band and crew members finished the band for a decade. Since then, another two original members have died, and they only manage to use the name at all by recruiting early drummer Rickey Medlocke, better known as guitarist/singer/mainman of slightly lesser Southern heroes Blackfoot, to make up the quorum of three 'original' members, satisfying various parties legally, if not exactly morally. Ronnie's brother Johnny has taken his place (leaving third brother Donnie with his own Southern/AOR crossover act 38 Special), but of the original seven, a sad two remain. Nonetheless, Skynyrd still rock like bastards, and are always worth catching; I can't find it in me to castigate them for their slight legal chicanery, 'cos you'd be hard-pushed to find a better night out. No Mellotron, of course, but you'll go home happy.
So; Pronounced's a great album, but a million miles away from anything in the prog vein. Good-time 'Suvvern' rock'n'roll, with great songs and one decent 'Tron track. Buy according to taste.
Note: In 1978, after the band disintegrated, they released the best of their pre-Pronounced demos, poignantly, as Skynyrd's First...and Last (****½), which is at least as good as their first album proper. The expanded recent CD issue (Skynyrd's First: the Complete Muscle Shoals Album) explains the reason for the original version's lengthy track-by-track musicians list; the tapes were overdubbed before release, with extra parts being added for various reasons. The gentle acoustic ballad White Dove, featuring Rickey Medlocke (later Ricky Medlocke of Blackfoot) on curiously-choirboyish vocals, credits Randy McCormick with Mellotron. Oh no it isn't... On subsequent listening, it's a generic string synth, so it's anyone's guess why it's miscredited like that. Who knows. Anyway, great album, but no 'Tron.
