|
|
|
|
||
|
 |
 |
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.
|
Mahogany Rush Mahoujin Peter Malick Group |
Malo Mandalaband Eleni Mandell |
Mat Maneri Mangala Vallis |
Manhattan Transfer Aimee Mann |
 |
IV (1976, 43.40) ****½/TTTI'm Going AwayMan at the Back Door The Answer Jive Baby It's Begun to Rain Dragonfly Little Sexy Annie Moonwalk IV... (the Emperor) |
Current availability:
Mellotron used:
Another hard rock outfit generally ignored by the progressive fraternity (and nothing to do with Rush) are Mahogany Rush; in fact, their 'Hendrix meets the mid-'70s full on' style would be appreciated by many prog fans, particularly with regard to this album and its follow-up, World Anthem. Main man Frank Marino is known for his love of soloing, making later live albums a little hard going if you don't have the same propensity, but he keeps it in check on album, particularly his major-label work.
Marino is credited on the sleeve with 'guitar, vocals, synth bass, Mellotron', and he doesn't pull any punches from the off. Album opener I'm Going Away bursts in with a series of dramatic chords, with Mellotron strings and massive synth bass to the fore. Its Begun To Rain (sic) is a lengthy Hendrix-y ballad with more 'Tron strings, cellos and flutes expertly arranged by Marino himself. Far from being a 'block chords' man, he plays the instrument almost like a string section, although he openly admits to being entirely self-taught. Final track IV... (The Emperor) opens with acoustic guitar and 'Tron strings again, before slipping into a slightly eastern-ish feel with the Mellotron fading in and out of the mix. The track finishes as it began, with the 'Tron fading to nothing at the end. The rest of the album showcases Marino's funky, bluesy take on hard rock with some superb playing and great songwriting. Even without the Mellotron element, this would be a great record, almost certainly Mahogany Rush/Marino's best. Buy.
 |
"Babylonia" Suite (1978, 36.59) ***½/TT"Babylonia" SuiteIntroduction New Babylon I New Babylon II Last City B.C.538 Epilogue Cariot Tower of Babel Festival |
Current availability:
Mellotron used:
Mahoujin are one of the earliest Japanese progressive bands proper; for some reason, it took Japan nearly a decade to catch onto the style, rather than the late-'60s type psych that was still regularly being heard in the mid-'70s. They take their cue mainly from ELP, with Shiga Atsushi using many of Emerson's organ stylings and chord structures. There's actually a lot of polysynth to be heard on the album; I'd guess it's mostly Yamaha CS80, but it's rather hard to tell. The album is completely instrumental, which is probably a blessing; Japanese-language vocals don't always work that well in a progressive context, and this way the music is left to do the talking.
The side-long title track is probably the album's high point, with part three, New Babylon II having some really nice 'Tron string parts. They use the flutes on two of the tracks on side two, but to rather lesser effect. To sum up, a good, though not great prog album, and some reasonable Mellotron, but not particularly essential.
 |
New York City (2003, 30.28) ***/½New York CityStrange Transmissions Deceptively Yours All Your Love Heart of Mine Things You Don't Have to Do New York City (radio edit) |
Current availability:
Mellotron used:
Peter Malick is an LA-based jazz guitarist who had the good fortune to hook up with a pre-fame Norah Jones in 2000, recording a handful of tracks released three years later as New York City. Stylistically, we're talking bluesy jazz (or jazzy blues?), with some tasteful playing from Malick and vocals of the quality we've come to expect from Ms. Jones, although the material's hardly stand-out, and this probably wouldn't even have been released were it not for the obvious.
Danny McGough is credited with Mellotron on the title track and its pointless radio edit added to the end of the disc to bump it up to a paltry half hour, but it's barely audible. Mike Thompson's accordion, yes, but Mellotron? It must be providing those generic-sounding strings that crop up occasionally on the track, but if you didn't know, you wouldn't know. So; laid-back bluesy stuff with a jazzy edge and some decent musicianship from all concerned. Your call. Incidentally, Malick has cashed-in as much as possible, given the small number of tracks at his disposable, releasing a double CD of the type that would fit onto one disc called The Deluxe Collection, adding entirely pointless remixes of most of the mini-album's tracks to no effect whatsoever.
See: Norah Jones
 |
Ascención (1974) ***/T |
|
| Offerings A la Escuela Everlasting Night Latin Woman Chevere Love Will Survive Think About Love Tiempo de Recordar |
Close to Me No Matter |
|
Current availability:
Mellotron used:
Second-division Latin rockers (was there ever more than one band in the first division?) Malo were led by Jorge Santana, brother of the better known... They actually did a fair line in Santana copyism, if their fourth and last album, Ascención, is anything to go by, with plenty of Gregg Rolie-esque Hammond work from Ron DeMasi and the addition to the template of a three-piece brass section, along with the ubiquitous percussion. Unfortunately, the material isn't as good as Santana's, or at least as that on their first three classic albums, although the extended jamming on closer No Matter is pretty cool.
DeMasi was clearly an excellent player, apart from his Hammond chops, with some typically funky clavinet work on Think About Love and a ripping vibes solo on Tiempo De Recordar. He played Mellotron strings on the rather insipid ballad Everlasting Night and the more upbeat Love Will Survive, but we're not talking anything you couldn't live without. So; passable album with a smattering of highpoints; worth picking up cheap if you already own every '70s album by Santana.
See: Santana
 |
Mandalaband (1975, 41.02) ***½/½Om Mani Padme HumDetermination Song for a King Roof of the World Looking in |
 |
The Eye of Wendor: Prophecies (1978, 39.55) ***/½ |
|
| The Eye of Wendor Florian's Song/Ride to the City Almar's Tower Like the Wind The Tempest/Dawn of a New Day Departure From Carthilias Elsethea Witch of Waldow Wood |
Silesandre Ænord's Lament/Funeral of the King Coronation of Damien |
|
 |
BC - Ancestors (2009, 68.20) **½/0 |
|
| Ancestors (Overture) Eden Nimrod (Journey’s End) Shemsu-Har Karum Kanesh Beautiful Babylon The Sons of Anak Aten |
Ozymandias Solomon the Wise Akhiyawa The Wine Dark Sea Elissa Roots |
|
Current availability:
Mellotrons used:
Mandalaband were primarily a studio outfit (although I'm told they toured, at least early on), with much of their material being written by one David Rohl, who didn't actually play in the band, at least initially, and whose sole non-writing credit on Mandalaband is as remix engineer. Rohl's songs sit quite firmly in that 'musicals' style of prog writing, where you get the feeling that he'd have been happier writing stage shows in a Lloyd-Webber vein than that bloody prog stuff, although bassist John Stimpson's are less so. It's not a bad album, actually, if somewhat overblown, with highlights being parts of side one's epic, Om Mani Padme Hum (and no, it isn't a prog version of the Buddhist meditation chant), Roof Of The World and Stimpson's Determination. Now, despite keyboard man Vic Emerson having full instrumental credits, including 'string and choir arrangements', and the notable omission of a Mellotron from his rig, those are quite clearly 'Tron strings on Roof Of The World, unless the string arrangement somehow made a real string section sound like a Mellotron. The string synth has been left off his credits, too, making me seriously doubt their veracity.
Even more so than its predecessor, the preposterous The Eye of Wendor: Prophecies has all the hallmarks of a vanity project, oddly akin to The Intergalactic Touring Band's sole LP, released the previous year. Dozens of musicians, many of them famous, with no crossover with the first album, two years' recording time, a ludicrous concept... Yup, it's a vanity project. The album contains a beautifully illustrated fold-out insert, detailing the concept, a Tolkienesque effort concerning Florian, Ænord etc. etc., which was, of course, completely in keeping with the times. NOT! It seems unbelievable now that anyone might think that an album like this would be a success in the late '70s, but hindsight's a wonderful thing, and the upheavals of the day were probably regarded at the time as a temporary aberration, not a seemingly permanent situation. At the end of the story are the fateful words, "To be continued". I've only once seen this particular prophecy fulfilled, and that's on Rush's A Farewell to Kings.
Anyway, notable amongst the lengthy musicians list are all four of 10cc and Barclay James Harvest, with Woolly Wolstenholme playing synths and Mellotron, while 'Davy' Rohl plays various keys and sings this time round. I stumbled across a Japanese website detailing what was played by whom and on which track, but I've no idea where the information came from. According to it, Woolly plays Mellotron on over half the tracks, but I can only hear it on a handful, so I'm afraid I'm going to stick to that, so M400 choirs at the end of The Eye Of Wendor itself, Dawn Of A New Day and Witch Of Waldow Wood, although any or all of them could be the real choir that crops up here and there. For what it's worth, the tracks where I can't hear the 'Tron are: Ride To The City, Like The Wind, Elsethea, Silesandre and Funeral Of The King; I rather suspect that the real choir and string section have confused someone, but it's hard to say. So, we'll never know exactly how Florian regained the Eye of Wendor, but you can be sure that he did, as a failed quest isn't much use to anyone, is it?
Just when you thought it was safe to go back in the water... A composite version of Mandalaband reconvened in 2007, led by Rohl, of course, also involving Woolly. BC - Ancestors appeared in late 2009, and is... a real disappointment. I'm not sure why I thought it would be better than The Eye of Wendor, but it isn't. It has a (relatively) modern sound, full of programmed orchestrations, but its vaguely Celtic, rather insipid 'symphonic' prog sounds more like the tedious Alan Parsons Project than, say, Yes. Maybe that's the idea. Anyway, it tackles its lyrical subject matter (the ancient world, unsurprisingly) with determination, but the music really is a bit bland, not to mention that there's too much of it, as with so many releases from the last twenty years or so. Woolly's credited with Mellotron on three tracks, Ancestors (Overture), Shemsu-Har and roots, but I'll be buggered if I can hear it over the digital strings.
Well, none of these albums is exactly classic, but Mandalaband is definitely the most listenable of the three, and sounds less (though only less) like it should be playing off Broadway. The Eye of Wendor is very silly, although to be fair, it's obviously been created with a lot of love and considerable attention to detail, so it's difficult to be too hard on it, while BC is similar, though less silly. They really aren't very good, though... None of these are exactly 'Tron classics, either, so I'm not even going to attempt to recommend these. You'll just have to decide for yourself.
See: Woolly Wolstenholme | 10cc
 |
Wishbone (1998, 41.16) ***/TT |
|
| I'm Your Girl Wishbone Sylvia Tristeza Meant to Be in Love Normandie Snake Song To Dream of Sarah |
Careless Driver Hack Jimmy Nickel Plated Man |
|
Current availability:
Mellotron/Chamberlin/Birotron used:
Eleni Mandell is an L.A.-based singer-songwriter who managed to get her self-released debut album, 1998's Wishbone, produced by Brian Kehew (Moog Cookbook), getting tape-replay star Jon Brion to contribute. It's a decent enough effort, with influences from the folk, jazz and showtune worlds, amongst others, with the occasional more rocking effort (notably Careless Driver). Although blessed with a great voice, her material, at least on this record, is inconsistent, although the good bits are very good.
Brion plays a shedload of instruments, including Mellotron and Chamberlin. Opener I'm Your Girl has what sounds like Chamby rhythm tapes and guitar, with Mellotron strings on Snake Song, but to finish off the album's tape-replay work, Kehew dug up one of the tiny handful of surviving Birotrons, the doomed late-'70s attempt to replace the Mellotron with a machine running 8-track cartridges (!), financed by Rick Wakeman. Nickel Plated Man features its ghostly flutes, both similar yet different to the 'Tron and Chamby varieties, making their use here very much worthwhile.
So; not an especially exciting album, if we're going to be honest, with a couple of so-so tape-replay tracks, plus one quite essential one for fans of the concept, due largely to the instrument's extreme rareness. Possibly worthwhile on those grounds alone.
 |
Pentagon (2005, 58.11) ***/TT |
|
| .ava W.W.P. Inslut Irenam Third Hand - The Fallen Witches Woo Wound Howl in My Head/Motherless Child |
An Angel Passes By Pentagon War Room America |
|
Current availability:
Mellotron used:
You know, I've reviewed well over 2000 records for this site to date, but I've never yet been confronted with a full-on experimental, improvised jazz album like viola/violinist Mat Maneri's Pentagon. Apparently his tenth album as bandleader, and still only in his thirties, it's decidedly hard-going for those not used to the style, with melody, harmony and structure going the way of all things, although I'm sure aficionados would disagree. It's quite impossible to pick out any highlights when you don't even understand what's going on, but closer America has an almost-normal (real) strings part, which comes as light relief after the preceding chaos.
Mellotron from Jamie Saft on a few tracks, with discordant flutes on W.W.P., bereft strings and flutes on Wound, with ghostly choir on An Angel Passes By and the very brief title track. It sounds like pitchbent brass and strings on War Room, and it's possible that it's somewhere in the mix on some other tracks, but with so much going on at once, and so much manipulation of sounds, it's rather hard to tell. Jazz improv fans will probably love this, and the rest of you/us won't, I think it's safe to say. Interesting Mellotron work, but probably not enough to make it worthwhile getting through this very difficult album.
 |
The Book of Dreams (2002, 62.05) **½/TTTTOuvertureIs the End the Beginning? The Book of Dreams The Journey Days of Light Under the Sea Asha (Coming Back Home) A New Century |
Current availability:
Mellotron used:
Mangala Vallis formed in the late '90s as a guitar/keys/drums trio, with guitarist Mirco Consolini doubling on bass; they used several guest vocalists on their debut album, The Book of Dreams, including ex-PFM man Bernardo Lanzetti, which is a problem they're going to have to overcome in time. To be quite honest, the album lacks something on the originality front, although those of you more into the neo- side of the prog world will find much here to commend. As for the rest of us... This basically sounds like a cross between Grey Lady Down (who themselves sound an awful lot like the dreaded Marillion) crossed with Spock's Beard trying to play Genesis (just listen to the Supper's Ready cop on A New Century), so we're looking at a pretty well-trodden path here, and not an especially interesting one, at least to those already steeped in the genre. Actually, by about halfway through, I found myself beginning to lose the will to live, with only the occasional decent key modulation to keep my attention - oh, and the Mellotron work, of course. I believe the album has a concept, too; it's apparently based on the work of Jules Verne, though I could only hear the odd reference to his writings.
Enzo Cattini is actually credited with Mellotron (yes, it's real), used loads, with shedloads of strings and choir on most tracks. He also plays it with a modicum of taste (another Banks comparison, then), although his efforts are somewhat wasted when they're plastered over a generic neo-prog chord sequence, with a bass part that Mike Rutherford would've hammered to death with his polo mallet, or at least his Rickenbacker. I'm afraid I really can't recommend something as leadenly uninspired, plagiaristic and wildly overlong as The Book of Dreams to anyone, really, although there is a fair bit of the ol' 'Tron to be heard, which is about this album's only real saving grace. Lots of far better 'Tron-heavy albums about - buy one of those instead.
So; a dodgy neo-prog album, I'm afraid. Mangala Vallis followed-up three years on with the slightly better Lycanthrope, reviewed here, due to their sample use; apparently their 'very old' machine (er, aren't they all?) didn't want to work, so they faked it. Oh well. Decent enough Mellotron on their debut, though not enough to disguise the music's shortcomings.
See: Sampledelica!
 |
The Spirit of St. Louis (2000, 46.18) ***½/½ |
|
| Stompin' at Mahogany Hall The Blues Are Brewin' Sugar A Kiss to Build a Dream on Old Man Mose Do You Know What it Means to Miss New Orleans Gone Fishin' |
Nothing Could Be Hotter Than That Blue Again When You Wish Upon a Star |
|
Current availability:
Chamberlin used:
Ignoring an early version of the band, Manhattan Transfer (named for the 1925 novel) as we know and, er, love them have been around since 1972, releasing the better part of twenty studio albums in that time. They're best known in the UK for their 1977 No.1, the smoochy Chanson D'Amour, although it didn't hit in the States at all. For those of you who've managed to avoid them, they're essentially a four-piece vocal group (two female, two male) who sing material mainly from (or in the style of) the swing/big band era. Unsurprisingly, they sometimes come across as pastiche, but their dedication to their art is difficult to fault, whatever you might think of the actual music.
The Spirit of St. Louis puns nicely, referencing both Charles Lindbergh's minuscule plane in which he made the first non-stop Transatlantic flight and the album's content, which is pure Louis Armstrong, end to end. There's quite a range of material here, from the energetic Nothing Could Be Hotter Than That to the laid-back Gone Fishin', probably the best-known song here, all treated with just enough, but not too much reverence, Gone Fishin' in particular raising a smile. They also tackle the cheese-fest that is When You Wish Upon A Star without making me want to gag; quite a feat in itself. The ridiculously ubiquitous Patrick Warren is credited with Chamberlin, but as so often with the blasted instrument, it's enormously difficult to work out exactly where it appears. About the only even vaguely obvious place is the strings on A Kiss To Build A Dream On, although they could easily be real, unless some of those distant male voices are Chamby, which seems extremely unlikely, all things considered.
Anyway, do you like swing? Big band? Jump jive? Listen to the Manhattan Transfer. Don't? Then don't. Easy. The Spirit of St. Louis is excellent at what it does, but don't take that as a recommendation for non-fans of the era. As usual, next to no/no audible Chamby. Why DO they bother?
 |
Whatever (1993, 52.50) ****½/TTT½ |
|
| I Should've Known Fifty Years After the Fair 4th of July Could've Been Anyone Put Me on Top Stupid Thing Say Anything Jacob Marley's Chain |
Mr. Harris I Could Hurt You Now I Know There's a Word I've Had it Way Back When |
|
 |
CDS (1993) ****/TT I Should've Known Take it Back Baby Blue |
 |
CDS (1994) ****/TT That's Just What You Are Superball Momentum Stupid Thing (alternate version) Jimmy Hoffa Jokes |
 |
I'm With Stupid (1995, 56.23) ****/T½ |
|
| Long Shot Choice in the Matter Sugarcoated You Could Make a Killing Superball Amateur All Over Now Par for the Course |
You're With Stupid Now That's Just What You Are Frankenstein Ray It's Not Safe (unlisted track) |
|
 |
Magnolia: Songs From the Motion Picture (1999, 47.16) ****/TT |
|
| One Momentum Build That Wall Deathly Driving Sideways You Do Nothing is Good Enough Wise Up |
Save Me Goodbye Stranger [by Supertramp] Logical Song [by Supertramp] Magnolia [by Jon Brion] |
|
 |
Bachelor No.2 or, the Last Remains of the Dodo (1999, 53.42) ****/TTTT |
|
| How am I Different Nothing is Good Enough Red Vines The Fall of the World's Own Optimist Satellite Deathly Ghost World Calling it Quits |
Susan Backfire It Takes All Kinds Save Me Just Like Anyone You Do |
|
 |
Lost in Space (2002, 43.05/82.07) ****/TTT½ |
||
| Humpty Dumpty High on Sunday 51 Lost in Space This is How it Goes Guys Like Me Pavlov's Bell Real Bad News Invisible Ink |
Today's the Day The Moth It's Not ['Special Edition' adds: Real Bad News (live) The Moth (live) This is How it Goes (live) |
The Scientist (live) Invisible Ink (live) Nightmare Girl Backfire Fighting the Stall Observatory It's Not (BBC session)] |
|
 |
The Forgotten Arm (2005, 47.13) ****/T½ |
|
| Dear John King of the Jailhouse Goodbye Caroline Going Through the Motions I Can't Get My Head Around it She Really Wants You Video Little Bombs |
That's How I Knew This Story Would Break My Heart I Can't Help You Anymore I Was Thinking I Could Clean Up for Christmas Beautiful |
|
 |
 |
One More Drifter in the Snow (2006, 37.08) ****/TT |
|
| Whatever Happened to Christmas Christmas Song Christmastime I'll be Home for Christmas You're a Mean One, Mr. Grinch Winter Wonderland Have Yourself a Merry Little Christmas God Rest Ye Merry Gentlemen |
White Christmas Calling on Mary ['New edition' adds: River] |
||
Current availability:
Mellotron/Chamberlins used:
Aimee Mann (these days married to Michael Penn, who operates in the same field) had been around seemingly forever, principally with her '80s outfit, 'Til Tuesday, by the time she released Whatever. My personal introduction to her was her guest vocal on Rush's Time Stand Still, from '87's Hold Your Fire, but this doesn't seem to get mentioned too much these days (n.b. it's on her website). However, like a fine wine, Whatever was worth the wait; her take on vaguely '60s-influenced pop-rock bears much repeated listening, with songs of the quality of I Should've Known and the rather wonderful Jacob Marley's Chain, and I think it's fair to say that there are no clunkers on this album, which isn't something you can say too often. There are various musical nods to Mann's forbears, including Roger McGuinn's sly 12-string quote from Mr Tambourine Man on Could've Been Anyone, but her music is far more than the sum of its influences, and she comes across as an original voice in an overcrowded field.
Chamberlin (and, I believe, Mellotron) throughout are played by the redoubtable Jon Brion, who also produces, as well as Ms Mann herself. As usual with Harry Chamberlin's marvellous creation, the instrument's irritating habit of sitting back in the mix means that it isn't always particularly obvious, but some upfront string parts on Put Me On Top and Jacob Marley's Chain more than make up for the 'is it or isn't it?'-ness of, for example, I Should've Known. As always with Mr Brion, its use is supremely tasteful, with immaculate arrangements and superb playing. You might've realised by now that I think this album's absolutely superb, and I find it incomprehensible that Ms Mann isn't better-known than she is, although it seems that her star is finally on the rise. All things come to those who wait?
Finding accurate information on Aimee's single releases from the period is nigh-on impossible, as every source I've seen (her site's discography included) seems to disagree with every other in various respects. What I do know is that three b-sides from Whatever turn up on various releases; the two listed here handily gather together all three relevant tracks, although you may very well find them in different combinations. Take It Back, an I Should've Known b-side, is a decent enough song with a brief string part, with a fab pitchbend at the end, while the harmonium-driven Jimmy Hoffa Jokes is a beautiful song (why was this not on the album?), with a lovely Chamby flute part. The alternate version of Stupid Thing has some strings towards the end that are so quiet they only really show up in the dying seconds of the song, but is still well worth hearing. Jimmy Hoffa Jokes and Take It Back are available on Ultimate Collection, released in 2000, which is doubtless an easier way to find them than tracking down long out of print singles, and can also be found on the Attack of the Killer B-Sides and Return of the Killer B-Sides (ho ho) bootleg compilations of odd Aimee tracks.
By the time I'm With Stupid (remember the '70s novelty t-shirt slogan? No?) came out two years later, Aimee was already suffering label hassles, being dropped by Geffen soon after. The album's opening line is "You fucked it up", just in case anyone was thinking of accusing Aimee of wussing out. Fat chance... While the songs are still excellent, there are fewer stick-in-your-head efforts here, docking the album half a star from its predecessor, although in a saner world, Superball would've been a major worldwide hit. Less (presumably) Chamberlin this time round, with only four obvious tracks on display (track-by-track credits, but no keyboard specifics). Amateur's flutes and strings fit the underlaid vinyl crackle and sort-of '50s vibe rather well, while Par For The Course features Aimee on every instrument, with a little burst of Chamby strings towards the end. There may be some brass on Frankenstein (not that one), along with the flutes, and just a tiny smattering of flute on It's Not Safe, but the last bit of tape-replay on the album is a muckabout unlisted track stuck on the end (thankfully without the obligatory 13-minute gap...).
The soundtrack to '99's Magnolia, a film featuring many of Aimee's songs (some of which reappeared on Bachelor No.2), appears to be largely responsible for her current higher public profile, so hats off to director Paul Thomas Anderson for giving her a much-needed (and much-deserved) break. I've no idea how the songs fit into the film, but they work pretty well on disc, being the by-now usual run of dissertations on people, and why they do. Or don't. Three tracks have Chamberlin specifically credited, but it sounds to me like it might be on some of the other tracks, too, specifically Save Me, which has to be Chamberlin (Patrick Warren this time). Of the credited tracks, You Do features Warren on Chamby strings to reasonable effect, Benmont Tench plays it on Nothing Is Good Enough and Jon Brion gets to have a go on Wise Up. The soundtrack's filled out with a Jon Brion orchestral piece and two well-known (and well-worn) Supertramp songs. At least they didn't use the awful Breakfast In America...
Bachelor No.2 or, the Last Remains of the Dodo carries on in the grand tradition of Aimee Mann songwriting, but confuses the issue by slightly crossing-over with Magnolia, although one of the four common tracks is a different version anyway... Nothing Is Good Enough is dramatically improved by vocals (the original version was instrumental), although the Chamberlin on Red Vines, despite being played by two of the usual suspects, is largely inaudible. A few tracks have Chamberlin specifically credited, but I can hear it on several others; How Am I Different and Satellite have strings from Patrick Warren, and Deathly doesn't even have keyboards credited, despite the fairly obvious string part. Ghost World, Susan... the list just goes on of excellent Chamby parts draped around killer songs; Backfire is a particularly good example of both. Another effortlessly great album, with stacks of Chamberlin to boot.
Lost in Space's faux-'50s booklet graphics seem to suit the music's gentle melancholy and timeless analogue sound perfectly; inspired design choice, Ms Mann. The music's as good as ever although, as with most of her material, it takes several listens to fully appreciate the artistry involved. It's actually quite difficult to pick out highlights, but the title track, Guys Like Me and It's Not are all good starting points. Once again, Chamberlin pretty much throughout, played by Michael Lockwood, Jebin Bruni and the inimitable Patrick Warren, and two of the three Chamby-less tracks have orchestral arrangements anyway. It's odd how Aimee's albums can sound both sparse and lush at the same time, but given the quality of her collaborators, I really shouldn't be surprised at the professionalism of her sound. Superlative. A year after its initial release, a 'special edition' version of the album appeared, with a 40-minute bonus disc of live stuff, b-sides etc. Is it worth having? Of course, although most of the tracks are available elsewhere in their original versions. Chamberlin on two studio tracks, with flutes, strings and brass on Backfire from Jon Brion, and strings on Fighting The Stall from Patrick Warren. There's a fair bit of 'Chamby' on several other tracks, but given that they're live or radio sessions, and aren't specifically credited in the booklet, I suspect they're all samples.
After 2004's Live at St. Anne's Warehouse, featuring Chamby samples, 2005 brought The Forgotten Arm, a concept album of sorts; the title is a boxing reference, which explains the sleeve. As on its predecessor, beautiful artwork, though in a completely different, pulp novel style; in fact the whole CD booklet is designed to look like an old paperback, right down to the fake 'back of the title page' and the lyrics presented as chapters. So, can this woman do no wrong? Another set of great songs, lovingly recorded, in Aimee's standard 'timeless' style (by which I mean, 'not contemporary', I suppose), with no specific highlights (at least initially), but her usual overall warmth and charm. Am I a fan? Well, am I? For the first time, no specific track-by-track credits, although Jebin Bruni is the only credited keyboard player. It takes a while for any tape-replay (presumably Chamberlin) to kick in, with a gorgeous string part on Going Through The Motions, with cellos and more strings on That's How I Knew This Story Would Break My Heart although, oddly, that appears to be it, with Bruni playing more piano and Hammond than anything, making this Aimee's lowest-rated Chamby album yet.
I'm not sure what's driven Aimee to make a Christmas record, but 2006's One More Drifter in the Snow is, as you can imagine, better than most of the competition, simply because it's by Aimee. Arrangements are tasteful throughout and even if you're not keen on the concept, it's difficult to run such a nicely put-together record down. Patrick Warren's on Chamberlin, but as so often, it's extremely difficult to tell what he's actually using it for. There are strings on all the highlighted tracks, with none credited, so are they all Chamby? And for that matter, are those vibes on White Christmas real or Chamby? I'll leave the highlights on until/if I find out otherwise, I think.
Anyway, all these albums are more than worthy of your attention, if you like great songwriting, so the Mellotron/Chamberlin stuff's really quite secondary, although it often enhances what's already there. Buy.
See: Michael Penn
