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This page is devoted to those albums that are frequently quoted as 'containing Mellotron', but it turns out to be a case of mistaken identity (although not as a result of using samples). Most of the cases I've run into have been simply string synth or real strings, but there's always a few interesting ones that deserve some sort of comment.
Ratings:
The * rating (½-5) is my personal, entirely subjective and completely partisan rating of the music.
There is, of course, no 'Tron rating.
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Amon Düül II Dalton Discipline |
Electric Light Orchestra Frágil |
Gustavo Montesano An Pierlé |
Polifemo Rainbow |
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Dance of the Lemmings [a.k.a.Tanz der Lemminge] (1971, 68.47) ***½ |
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| Syntelman's March of the Roaring Seventies In the Glassgarden Pull Down Your Mask Prayer to the Silence Telephonecomplex Restless Skylight ~ Transistor Child Landing in a Ditch Dehypnotized Toothpaste A Short Stop at the Transsylvanian Brain-Surgery Race From Here to Your Ears Little Tornadoes Overheated Tiara The Flyweighted Five |
Riding on a Cloud Paralized Paradise H.G.Wells' Take-Off Chamsin Soundtrack The Marilyn Monroe-Memorial-Church Chewinggum Telegram Stumbling Over Melted Moonlight Toxicological Whispering |
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Wolf City (1972, 34.58) ***½Surrounded By the StarsGreen Bubble Raincoated Man Jail-House-Frog Wolf-City Wie der Wind am Ende Einer Strasse Deutsch Nepal Sleepwalker's Timeless Bridge |
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Amon Düül II are a distinct oddity in the Wonderful World of Mellotron (cough). On at least two of their albums, Jimmy Jackson is credited with 'choir-organ'. What does it sound like? Well, ostensibly like Mellotron choir, but right at the beginning of 1971's Dance of the Lemmings, there's a chord that probably holds for 30 seconds or more, although it doesn't 'alf sound like the classic 8-choir. Allegedly, it was a one-off machine, possibly from the '50s, and Jackson was the only person who could get a decent sound out of it; I believe it was far more complex than a Mellotron (!), although very little hard information is available on the subject. It's now supposed to reside in a museum somewhere in Germany. WHERE? For what it's worth, Florian Fricke also used it on various Popol Vuh releases, principally Aguirre: Wrath of God. Werner Herzog (I think) had this to say about it:
| "I've always worked very hard to select the music, but, in doing so, I've usually worked very closely with my friend Florian Fricke. For example, to create the music that is used in the opening of Aguirre we used a very strange instrument which we called a 'choir-organ'. This instrument has inside it three dozen different tapes running parallel to each other in loops. The first of these tapes has the pitch in fifths, and the next has the whole scale. All these tapes are running at the same time, and there is a keyboard on which you can play them like on a organ so that, when you push one particular key, a certain loop will go on forever and sound just like a human choir but yet, at the same time, very artificial and really quite eerie". |
Now, if you can make any sense out of that description... So who actually named the instrument, anyway? And who built it? And when?
The album, by the way (which also goes for its follow-up, Wolf City), is that peculiarly Germanic form of prog, mixed with jazz, blues and psych, that I suppose falls into the 'krautrock' category. English vocals, some jamming, generally fairly freaked-out, probably best heard when out of one's tree, which isn't to denigrate the albums in any way. Buy according to taste, but don't expect any 'Tron. It's rumoured that two later Düül albums actually do have Mellotron on them; '73's Vive la Trance and '76's apparently very mainstream Pyragony X (their tenth album, I believe). I'll report back if I get to hear copies.
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Riflessioni: Idea d'Infinito (1973, 28.13) ***½Idea d'InfinitoStagione Che Muore Cara Emily Riflessioni Un Bambino, un Uomo, un Vecchio Dimensione Lavoro |
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Dalton's ridiculously short Riflessioni: Idea d'Infinito is a pretty good little album, although it has a rather formative sound, especially when compared to what PFM were doing at the time. While none of the tracks really stand out, it's a perfectly good listen, with plenty of energy, particularly from flautist Alex Chiesa.
Keys man Temistocle Reduzzi is credited with 'piano, organ, mellotron, moog, synth', but there 's not a jot of 'Tron on the album, although at least three tracks feature a string synth quite heavily. Christ knows why you'd put 'Mellotron' when you actually mean 'string synth', but there you go. Anyway, good album, but resolutely 'Tron-free.
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Push & Profit (1994, 61.47) ***½DiminishedThe Reasoning Wall Carmilla The Nursery Year Faces of the Petty Systems Blueprint America The Nursery Year (live) |
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Discipline's debut album, Push & Profit, isn't bad, but seems unable to maintain any sort of stylistic consistency, although that could easily be construed as a recommendation. Excellent tracks like Carmilla or Systems are let down by more workmanlike efforts such as Faces Of The Petty, and the album frequently sounds more like a multi-artist compilation than a cohesive piece of work. For all that, it's a decent enough listen, just not really a patch on their second (and sadly, last) album, Unfolded Like Staircase.
If I hadn't been passed along an e-mail that Discipline mainman Matthew Parmenter wrote to a correspondent of mine, this would've been reviewed along with their second album, probably with a 'real or sample?' comment for the 'Mellotron' flutes and strings on Carmilla. However, Parmenter tells me that it's not even samples, just a generic string sample, played like a Mellotron, and on close inspection, it really doesn't sound like the Real Deal at all, particularly the flutes. However, not a bad album, just not as good as its successor.
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A New World Record (1976, 36.15) ***TightropeTelephone Line Rockaria! Mission (a World Record) So Fine Livin' Thing Above the Clouds Do Ya Shangri-La |
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Out of the Blue (1977, 70.18) *** |
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| Turn to Stone It's Over Sweet Talkin' Woman Across the Border Night in the City Starlight Jungle Believe Me Now Steppin' Out |
Concerto for a Rainy Day Standin' in the Rain Big Wheels Summer and Lightning Mr.Blue Sky Sweet is the Night The Whale Birmingham Blues Wild West Hero |
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ELO started as a Move side-project, until Roy Wood left after their first album, leaving creative control entirely in the hands of ex-Idle Race man Jeff Lynne, who had always wanted to take the style of the Beatles' I Am The Walrus to its logical conclusion. By their seventh LP, 1976's A New World Record, the band were huge, and their trademark orchestral pop/rock had become an institution, untouchable by either punk or disco. If you're over a certain age, you're likely to know the bulk of the material on these two albums. Whether you like it or not is another matter... Personally, I'd be perfectly happy if I never had to hear any of the singles ever again, but there you go.
Mellotron-spotting on ELO albums is a futile activity, to be honest. Despite Richard Tandy's instrumental credits on both these albums, I'm absolutely assured that there's none to be heard. A correspondent of mine (hi Colin) used to know Hugh McDowell, one of the band's two cellists, who confirmed that not only is all the choir/strings work on the albums real, but the band's three-piece string section rarely featured, either. In fact, the album credits look far more like the band's stage setup than studio (what, they used their stage PA for recording?), so those two mentions of a 'Mellotron 400' can effectively be discounted.
As far as said live setup's concerned, the violin/two cellos in their lineup meant that Tandy didn't even bother with strings on his machine, going for male voices, brass and a female voices/vibes split. On the 'fake 'Tron' front, all I can hear on A New World Record is choirs on three tracks, including the exceedingly irritating hit Livin' Thing. The following year's double Out of the Blue sold approximately 84 quadrillion copies (or thereabouts), and is still easy to find for 10p (or local equivalent) at any disreputable second-hand shop throughout the world. Even more immaculately produced than its predecessor, it also provided the charts with multiple weeks of sub-Beatles minstrelsy, with another four UK hits. The most obvious fake 'Tron is on major hit Mr Blue Sky (d'you think Jeff Lynne might've heard A Day In The Life at some point?), with the male voices coming in after the key change in the middle of the song, but be assured, no tapes here...
So; do you bother? Well, you'll either like their very ('70s) mainstream style or not; liking the Beatles doesn't mean you'll like ELO, and vice versa. Personally, I wish they'd carried on taking a few risks, but they'd have sold fewer records, so there you go. Buy only if you like what they do anyway. Oh, and for what it's worth, there are a couple of live recordings available from the period, at least one of which definitely contains Tandy's 'Tron.
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Avenida Larco (1981, 39.29) ***½ |
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| Obertura Avenida Larco Mundo Raro Pastas, Pepas y Otros Postres Esto es Iluminacion Floral Hombres Solos (El Caiman) Oda al Tulipán |
Lizy Le Dicen Rock |
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Frágil (named for their Heroes Yes' Fragile, unsurprisingly) seem to be yet another case of the South American Mellotron Disease, despite being from the other side of the continent as all those Argentinian bands. The disease? Crediting 'Mellotron' on your '70s/'80s album, which actually contains no such thing, while sporting a fairly prominent string synth. I believe Avenida Larco was their second album, after an eponymous effort from two years previously, and is a decent enough progressive album, although without much obvious South American influence, unlike, say, Quaterna Requiem, although it does hop slightly disconcertingly from style to style as it progresses.
As I say, no Mellotron here, despite César Bustamante's credit, which puts the other five albums I have listed by the band in serious doubt, too. Why am I not especially surprised? I'm pretty sure that there wasn't a Mellotron to be found on the entire continent, though why you'd claim there was when there wasn't... Did/does it really make a difference in sales figures? Whatever. So; decent album, no 'Tron, probably none over their entire career. I shall report back should I get to hear any of their other releases.
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Homenaje (1977, 43.41) ***½Sinfonía LunáticaCuando la Duda se Hace Grande Alrededor Desde que te Pude Ver La Última Barrera Marginado en el Sueño Primer Triunfo Homenaje Color Naranja |
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Gustavo Montesano was the bassist and chief composer with one of Argentina's best progressive outfits, Crucis; Homenaje was his first of his two solo albums, the other being 1982's El Pasillo, released under the name Montesano. Progressive, but with mainstream influences in places, notably the more song-based material, Homenaje is a reasonably good album, though in no way up to his work in Crucis (see: Desde Que Te Pude Ver for details). Saying that, there are some lovely moments, particularly Homenaje Color Naranja, with its mid-period Genesis feel.
Like so many other Argentinian albums, while 'Mellotron' is credited (on all but track four in this case), there's no actual audible evidence for this, although both string synth and real strings are to be heard in abundance, particularly the former. OK, there might be a smattering of 'Tron strings buried in the mix on opener Sinfonía Lunática, but probably not. I wouldn't let other albums get away with it, so the same goes for this. So; not bad, not brilliant, listen to Crucis in preference.
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Helium Sunset (2002, 55.07) ***½ |
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| Sorry As Sudden Tears Fall Nobody's Fault Sister Kiss Me Helium Sunset Medusa Once Again |
Sing Song Sally Leave Me There Walk Here in the Woods [unlisted 'bonus track'] |
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An Pierlé's second album, Helium Sunset, attempts the balancing act of being moody without sounding ridiculous, and would you believe, she succeeds? Most of the tracks fall loosely into the 'ballad' category, but don't take that to mean we're into, say, Dido territory; this is far more accomplished and far less contrived, although nearly an hour of it does get a bit much, to be honest.
So; why is this here? Easy one, this: the credits for track one, Sorry, read 'live mellotron: An Pierle & Koen Gisen'. 'Live Mellotron'? As in 'a Mellotron played live'? Nope; more 'something sounding a bit like Mellotron voices actually emanating from live things', i.e. Pierlé and partner/producer/etc. Gisen. In other words, backing vocals. So... Why 'Live Mellotron'? Who knows? Maybe they thought it sounded cool. Anyway, it fooled me until I actually heard the thing, so don't get caught the same way. Helium Sunset isn't a bad album, not a bad album at all, but it doesn't contain a note of any sort of Mellotron, even a sampled one.
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Polifemo II (1977, 41.46/50.55) ***½El Sueño TerminóViene del Sol Superhombre Trópico de Cáncer Dualidad Pie [CD adds: Oye Dios que Me Has Dado Buzios Blues] |
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Polifemo are one of several Argentinian '70s outfits who credited 'Mellotron' when the album quite clearly contains nothing of the sort. I'm not at all sure what was going on there, but having listenend to several of these efforts and been rewarded with nothing more than Ciro Fogliata's string synth every time, I've completely given up on music from that country/era. Saying that, Polifemo II is actually a pretty good album, just not one that belongs here. They did that mix'n'match thing with their sound, veering from hard rock through fusion to a fairly straight prog sound on different tracks, which could be seen either as diversity or not knowing what they wanted to do; your decision, really.
Their self-titled debut apparently credits Fogliata with 'Tron again, but I think it's safe to assume it's as non-existant as here. Fogliata previously played with Espiritu, so the same goes for their albums, as it does for Gustavo Montesano of Crucis. No 'Tron here. Sorry.
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Rainbow Rising (1976, 33.53) *****Tarot WomanRun With the Wolf Starstruck Do You Close Your Eyes Stargazer A Light in the Black |
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Rainbow's blisteringly good second album, Rising (or Rainbow Rising), has been sitting in my regular reviews for a few years now, despite my having received various e-mails telling me that there isn't a jot of Mellotron on the thing. Well, having finally got the site to the stage where I feel I can start chasing up loose ends like this, I have to say that I agree; keyboard player Tony Carey owned a Vako Orchestron (as used so effectively by Kraftwerk), and the weak-as-water choirs on the mighty Stargazer are very obviously not Mellotron, so without a credited choir (although there is orchestra on the album), it seems likely that the Orchestron is the choral culprit. So; a stunning, stunning album, but not one for the 'Tron fan, I fear. Buy anyway.
