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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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Oranger Oranj Symphonette OMD Orion the Hunter |
Le Orme Osanna Joan Osborne Ozzy Osbourne |
Otep Otto Ours Out of the Grey |
Outer Limits Over the Rhine Owsley |
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Doorway to Norway (1999, 37.27) ****/TMike Love, Not WarEggtooth Everything Goes Away Wolfy Donald, You're Freaking Out Jettsett Traveler Telepathic Waves This Snake Will Kill You hidden track |
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Apparently, Stephen Malkmus of Pavement isn't an Oranger fan, and one pea-brained 'reviewer' on Amazon took this to mean that no-one else should like them either. Er, like it matters what some dreary indie dweeb thinks? Going by Doorway to Norway, Oranger are an excellent modern powerpop outfit at the rockier end of the scale; think Redd Kross and you won't be too far off the mark. Their songwriting rivals many of their far more famous contemporaries; OK, let's be honest: their songwriting beats most of them into the ground. Donald, You're Freaking Out not only has a chorus to die for, but also has the best fuzz guitar sound I've heard all year, and simply the title of Mike Love, Not War earns them a star on its own.
OK, that's enough wildly enthusiastic praise; what about the Mellotron, I hear you ask? Well, it's only on two tracks, with an almost solo strings spot in the middle of Mike Love..., while more strings open This Snake Will Kill You, and I think that's 'Tron flute doubling the Farfisa (?) towards the end of the song. So; should a blend of The Beatles, Redd Kross and, er, The Stooges float your boat, go for it. OK, I lied about the Stooges. Not much Mellotron, but a damn' good album in its own right. I believe there are two subsequent Oranger 'Tron albums, which I shall review should I ever get hold of copies. Incidentally, this album's even shorter than your CD player tells you, as they've utilised that rather passé device, the 'several minutes of silence followed by a lengthy and pointless 'hidden' track', leaving the actual song content at around 27 minutes. Yikes.
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The Oranj Album (1998, 49.26) ***½/½ |
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| Call Me Mister Tibbs The Magnificent Seven Satin Doll Beat Girl Bananas Dreamsville A Man and a Woman After the Fox |
Arabesque Midnight Cowboy Up, Up and Away Chelsea Bridge Valley of the Dolls |
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Oranj Symphonette are/were a San Francisco-based five-piece, including legendary jazz pianist Dave Brubeck's son Matt, whose remit seems to be to tackle film themes in their own inimitable style. Since the whole band are session musos, the playing is immaculate, as are the arrangements, done with no little humour. I believe The Oranj Album is their second effort, although I can find no trace of any subsequent releases, so they may well have decided it was all too much trouble. A shame, as this is a witty, urbane album, without being at all up itself, taking on Bernstein's The Magnificent Seven, or John Barry's classic Midnight Cowboy without coming unstuck once.
Keys man Rob Burger plays both Mellotron and Chamberlin on Duke Ellington's Satin Doll, with some wobbly flutes from one and, er, something from the other, though it's hard to tell what, as the possibles (sax, banjo, piano) are all covered by the real things. Anyway, I enjoyed this vastly more than expected, to the extent that I'd say it's a definite buy for film theme fans, though I'd urge considerable caution on the tape-replay front.
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Architecture & Morality (1981, 38.47/61.24) ***½/TT½ (TTT) |
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| The New Stone Age She's Leaving Souvenir Sealand Joan of Arc Joan of Arc (Maid of Orleans) Architecture and Morality Georgia The Beginning and the End |
[CD adds: Extended Souvenir Motion and Heart (Amazon Version) Sacred Heart The Romance of the Telescope Navigation Of All the Things We've Made Gravity Never Failed] |
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Dazzle Ships (1983, 34.43) ***½/TT | |
| Radio Prague Genetic Engineering ABC Auto-Industry Telegraph This is Helena International Dazzle Ships (Parts II, III & VII) The Romance of the Telescope |
Silent Running Radio Waves Time Zones Of All the Things We've Made |
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Orchestral Manoeuvres in the Dark. A ludicrously pretentious name for a band, thankfully usually shortened to 'OMD'; even the band later dropped the 'in the Dark' bit, although the damage had been done by then. I remember liking their synth-pop classic Enola Gay at the time, though I never really heard anything much more by them until recently. What had passed me by was their rather major Mellotron/Novatron use on their third and fourth albums from the early '80s. Paul Humphreys and Andy McCluskey both played 'Tron, along with just about everything else, which sort of makes them a synth-pop duo, I suppose, though they broke out of that particular mould pretty early on. Incidentally, I'm amused to see that they were managed by 'Gordian' Troeller, Peter Hammill associate extraordinaire.
Architecture & Morality's the album that laid bare the duo's Joan of Arc fixation, with two songs named after her (thank God for subtitles, eh?!), both of which, startlingly, were UK hit singles. Its drum machine/synth sound is sadly dated these days, though there's all sorts of interesting keyboards in there to spice things up a bit; Farfisa, anyone? (Or is it a Vox?). The most memorable tracks tend to be the singles, with Souvenir featuring a nagging/irritating (delete according to taste) synth hook, making it their biggest UK hit.
I can only definitely hear Mellotron on three tracks, which isn't to say it isn't hidden away elsewhere, too. The lengthy Sealand has 'Tron cellos, while the excellent Joan Of Arc (Maid Of Orleans) (the single was titled Maid Of Orleans (The Waltz Joan Of Arc), presumably to distinguish it from the other track, released three months earlier) has not only female voices (?), but a highly distinctive high string melody, making it one of the most 'Tron-heavy singles ever, I reckon. To finish things off, the title track opens with mixed choir chords which reiterate throughout the song. It's possible there are other bits that I'm missing; I don't know what produces the high female voice in The Beginning And The End (a high female voice, perhaps?), but it may well be the Mark I Emulator they were using at the time.
In 2003, Virgin finally released an expanded version of the album, containing various b-sides etc. An early version of Romance Of The Telescope also features the 'Tron choirs, while Navigation (which has also lent its title to a recent-ish compilation of b-sides) has some very upfront strings. Worth getting if you don't already own it on CD.
Dazzle Ships is far more experimental than its predecessors and, for that matter, its successors (the title, by the way, refers to a British experiment at camouflaging naval vessels). They used various non-standard equipment, including a Speak-and-Spell toy, a shortwave radio and a typewriter, although the results (ABC Auto-Industry, Dazzle Ships itself) sometimes sit awkwardly alongside the more mainstream tracks (Genetic Engineering and Telegraph were both hits). On the Novatron front, again, I can only hear three tracks, as I believe some of the murkier choir sounds are Emulator, with both being used on The Romance Of The Telescope. As for the others, International has some 'stabbed' string chords running through it, while Silent Running (title inspired by, but nothing to do with the film) has layered string chords alongside various contemporary synths.
Anyway, Architecture & Morality is more straightforward, and Dazzle Ships is more experimental, although the band's synth-pop beginnings lie at the core of both albums, so whether or not you'll like them is largely down to how you feel about this. They do provide an unusual opportunity to hear the Mellotron alongside various early-'80s machines, with the results being surprisingly good, as the 'Tron mixes pretty badly with later, digital synths. Anyway, cautiously recommended.
By the way, I found this Andy McCluskey (I think) posting on an OMD online message board:
We used a Mellotron Mk1 [note: he presumably means an M400] on Architecture & Morality but were advised that if we were going on the road to get a Novatron. The Mk1 had a very bad whine created by the power supply. Streetly told us it was a design fault.
I still own the Novatron and OMD tapes for it.
Romance is actually a Prophet Five factory preset for the out of tune brass sound but the choir is Mellotron.
Streetly made us some special tape sets for live so that we could use only the sounds that we needed without changing tape sets during the gig. As you probably know it takes about 5 mins to change the tapes... also we had other things sat on the Mellotron on stage, so opening the top was not an option [note: I've only ever heard of ONE band who did!].
Our only real problem that we ever had on stage with the Novatron was in Italy at a gig in a large tent. All the power was from a small generator and every time the lights got really bright on stage the power supply to equipment reduced making the Novatron flywheel slow down so the notes went very flat. Once our lighting guy realised the problem we did the rest of the show with reduced lights to keep the Novatron in tune.
We had many more problems later on with the instruments that replaced the Novatron... The bloody Emulator Mk2...
Incidentally, despite covering their brief Mellotronic period, 2000's Peel Sessions 1979-1983 appears to be 'Tron-free, although, in fairness, it contains none of their studio 'Tron tracks, or, for that matter, anything from the original Architecture LP at all. Also incidentally, I met Andy Richards (ex-Strawbs) recently, who co-produced 1991's McCluskey-only Sugar Tax, who said that they'd "Hired a Mellotron in, but couldn't get it to work".
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Orion the Hunter (1984, 41.54) ***/½All Those YearsSo You Ran Dreamin' Dark and Stormy Stand Up Fast Talk Too Much in Love Joanne I Call it Love |
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Orion the Hunter were formed by ex-Boston guitarist Barry Goudreau, apparently frustrated by his former bandleader's refusal/inability to finish their stupendously delayed sequel to 1978's Don't Look Back (the album, Third Stage, finally appeared in '86, and wasn't worth the wait). The rest of the band consisted of ex-Heart drummer Michael Derosier, Bruce Smith on bass and the silver-larynxed Fran Cosmo on vocals, who had also sung on Goudreau's 1980 self-titled solo effort, and ended up in (surprise surprise) Boston (thanks to Greg for that snippet of info). Orion the Hunter straddles the pomp/AOR divide slightly uncomfortably, leaning more towards the latter style, with the former somewhat out of favour by the mid-'80s (too clever). As a result, despite a strong opener in All Those Years, much of the album slips into commercial tedium, although still a very long way ahead of the new breed of AOR acts coming up at the time, including the execrable Bon Jovi, and Britain's 'once good' Def Leppard.
Without a permanent keyboard player, the band used three different musicians, including John Schuller on 'Oberheim organ' (presumably the pseudo-Hammond sound heard here and there) and Mellotron. Not that he overuses it, mind; background choirs on So You Ran and what I think are a couple of choir chords, either doubled with polysynth or heavily effected, at the beginning of Stand Up. So; not a 'Tron album, but if you go for that pomp thing, chances are you'll like some of this.
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Uomo di Pezza (1972, 31.46) ****½/TT½Una Dolcezza NuovaGioco di Bimba La Porta Chiusa Breve Immagine Figure di Cartone Aspettando l'Alba Alienazione |
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In Concerto (1974, 45.53) ***½/TTTruck of Fire (Parte I)Truck of Fire (Parte II) Sguardo Verso il Cielo Preludio a Era Inverno Era Inverno Rittorno al Nulla Collage (Sigla) Collage |
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Contrappunti (1974, 32.19) ****/TContrappuntiFrutto Acerbo Aliante India La Fabbricante d'Angeli Notturno Maggio |
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Smogmagica (1975, 35.42) ***/TLos AngelesAmico di Ieri Ora o Mai Più Laserium Floyd Primi Passi Immensa Distesa Amanti di Città L'Uomo del Pianino Laurel Canyon |
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Verità Nascoste (1976, 41.05) ***½/TInsieme al ConcertoIn Ottobre Verità Nascoste Vedi Amsterdam... Regina al Troubadour Radiofelicità I Salmoni Il Gradino Più Stretto del Cielo |
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Like several other Italian prog outfits, Le Orme ('The Footprint', I believe) had been around since the '60s, starting as a beat group. Their early albums, Ad Gloriam and L'Aurora Delle Orme, are apparently more psych than progressive, and 1971's Collage has been compared to ELP (same lineup, too), but by '72's Uomo di Pezza, they'd discovered their own voice. It's a wonderful album, with folk-influenced material rubbing shoulders with full-on symphonic prog, sounding not totally dissimilar to PFM at times, although I realise that's a rather lazy comparison for an Italian band. It's inescapable, though, when you hear songs of the sheer quality of Gioco Di Bimba or Aspettando L'Alba. Toni Pagliuca is known more as a Hammond player, but his inventive synth and Mellotron work stand out here, with particularly good Moog parts on Figure Di Cartone and La Porta Chiusa. This last has what I take to be Mellotron brass chords, but they're completely overshadowed by the strings on Breve Immagine, not to mention the gorgeous polyphonic flute part on Aspettando l'Alba. A stunning album, with some great 'Tron to boot. You need to own this record.
Le Orme followed Uomo di Pezza with their finest hour, the superb Felona e Sorona (****½), which was also released in an English-language version as, er, Felona and Sorona, with lyrics by Peter Hammill. However, when it came to sticking out a live album, In Concerto, the band chose to go back to their earlier style, playing no less than three tracks from Collage, one brief snippet of Felona and a side-long largely improvisational piece. Pagliuca had his 'Tron on stage with him, and the first (and by far the longest) part of Truck Of Fire has some brass under a swooping Moog, although most of the track consists of a rather regrettable drum solo. Part 2 has more of the same, as does Sguardo Verso Il Cielo, while Era Inferno (I think) has another bloody drum solo! Strings at last on Collage, so there's actually quite a bit of 'Tron, though most of it's rather inessential, to be honest.
Contrappunti is generally regarded to be their last great album, and while not quite up to its two studio predecessors, yes, it's pretty good, although no one track really stands out. One 'Tron track only, too, with strings on the balladic Frutto Acerbo, plus plenty of the string synth that's also splattered all over Felona. By the following year's Smogmagica, Le Orme were beginning to lose the plot (Ora O Mai Più, most of side two), heading towards pseudo-commercial territory, although it's possible that some of the dodgier music pokes fun at consumerist America, though this is a complete guess. The only Mellotron here is a string arpeggio and monophonic melody, plus distant choir chords on Los Angeles, so given that the album overall fails to excite, I really wouldn't bother.
After I'd carefully listened to Verità Nascoste for 'Tronnic evidence, I opened the album's gatefold, to find track-by-track credits. Oh well, at least it proves my ears still work (just). The album's a definite improvement over its predecessor, but they'd moved on from their classic early-'70s days, so the songs are shorter and more conventionally structured, not to mention that there are no instrumentals. The sole 'Tron track this time round is Regina Al Troubadour, with an upfront string melody, although I wouldn't say it was the album's best track.
So; The only Le Orme album I'd really recommend on the Mellotron front is Uomo di Pezza, but both Felona e Sorona and Contrappunti are near-essential (especially the former), while In Concerto and Verità Nascoste are worth hearing. Even Storia o Leggenda, from '77, is OK, but I'm told you shouldn't bother with anything later. Oh, and while most of Smogmagica is a real dog, it has a few OK tracks, but don't pay too much for a copy. I found the later three listed above in a New Jersey second-hand shop for $3.00 each while on holiday a few years ago, which probably balanced out quality-wise.
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Palepoli (1973, 41.53) ****½/TT½Oro CaldoStanza Città Animale Senza Respiro |
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Landscape of Life (1974, 36.15) ***½/TT½Il Castello Dell'esLandscape of Life Two Boys Fog in My Mind Promised Land Fiume Somehow, Somewhere, Sometime |
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Osanna are generally regarded as one of the best and most innovative bands to come out of the entire Italian '70s scene. Their debut, 1971's L'Uomo (***½) is good, if not groundbreaking, but their soundtrack to Milano Calibro 9 (****) from a year later is where their reputation begins. Some versions of this album credit 'Mellotron', but after close listening, I can confirm that there's none to be heard; much orchestral string work, but that's it. My copy doesn't even mention Mellotrons.
'73's Palepoli is almost certainly their best work; apparently it's a concept album, or 'rock opera', but without any Italian it's impossible to say. Consisting of two side-long tracks bisected by the under-two minute Stanza Città, the material is highly impressive, with complex instrumental interplay making it a 'difficult', though ultimately rewarding listen. Effectively a continuation of the style of Milano Calibro 9 applied to extended composition, this album is rightly hailed as one of the best of the genre. On the Mellotron front, the only 'Tron to be heard from Lino Vairetti during the first several minutes of Oro Caldo is an understated cello part, but about seven minutes in, a huge strings part erupts from the speakers in time-honoured fashion, with several other sections throughout the piece. Animale Senza Respiro has a little less, but the quality of the music here overshadows the actual sounds being used, which is as it should be. If only I could say the same for all the bands featured on this site...
My introduction to Osanna was their fourth album, Landscape of Life. Knowing their reputation, I was slightly disappointed when I heard it; don't get me wrong - it's not a bad album, not bad at all, but it's fairly generic, and really doesn't stand out from the crowd. Then I found out that their first three are the ones I should be hearing, and this is the one where they 'went normal'. Typical. For all that, I like Landscape of Life, it's just that after several plays the really good albums should be starting to 'stick', and this one doesn't. They used their Mellotron (played by both Lino Vairetti and Danilo Rustici) on three tracks, including the final segue of Fiume/Somehow, Somewhere, Sometime. Good use, mostly strings, but nothing particularly outstanding apart from some nice pitch bending on the title track. So, not a bad album, not a bad Mellotron album, but don't rush out to your corner prog dealer (I know you've got one).
So; Landscape of Life is worth hearing, but if your funds are limited, I can wholeheartedly recommend Palepoli, although its Mellotron content falls a little short of some of the band's contemporaries. L'Uomo and Milano Calibro 9 are both worth the effort, too, although I'd advise caution with regard to the reformed late-'70s lineup's Suddance, ditto a recent version of the band's Taka Boom, although both are supposed to feature 'Tron.
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Relish (1995, 61.19) ****/T½ |
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| St. Teresa Man in the Long Black Coat Right Hand Man Pensacola Dracula Moon One of Us Ladder Spider Web |
Let's Just Get Naked Help Me Crazy Baby Lumina |
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My lodger at the time Relish came out (hi, Dave) used to play this album constantly, to the point where I'm amazed it sounds so unfamiliar eight years on. I wasn't expecting to like it at all, so I was pleasantly surprised to find that Osborne's raunchy, bluesy voice and vaguely Tom Petty-ish material actually still sounds pretty good, even though she's played Lilith Fair with all the usual suspects. The album contains Joan's biggest hit, the over-catchy One Of Us, which caused some upset in religious circles at the time; so, you're not allowed to say "What if God was one of us"? Oh, get a life... The rest of the material is more 'down home', with Joan's excellent voice riding over the top of the warm, natural sound of the album, which has probably helped it to avoid sounding dated.
The instrumentation is largely analogue, with loads of what sounds like Wurly piano, plus a smattering of Hammond and Mellotron, which I can't believe I didn't spot at the time. 'Tron from keys man Chris Palmaro and drummer Rob Hyman, who gets a few string chords in on One Of Us. Palmaro adds a strings pitchbend on Spider Web and some nice flute work on Let's Just Get Naked, but the relative paucity of the 'Tron limits its overall rating.
I've no idea what the rest of Osborne's stuff is like, but if you're into a more populist version of that 'Americana' thing, you could do a lot worse than give Relish a spin. Surprisingly good.
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Ozzmosis (1995, 56.50) ***/T½ |
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| Perry Mason I Just Want You Ghost Behind My Eyes Thunder Underground See You on the Other Side Tomorrow Denial My Little Man |
My Jekyll Doesn't Hide Old L.A. Tonight |
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After Ozzy left/was kicked out of Black Sabbath, he surprised everyone by returning with a killer band and two great albums in Blizzard of Ozz (****½) and Diary of a Madman (****), before the tragic death of his wunderkind guitarist, Randy Rhoads, an event from which the Ozz is said to have never truly recovered. As the '80s progressed, Ozzy's albums tended to follow the mainstream, largely consisting of undistinguished commercial hard rock, as he stumbled through various addictions, leaving him the sorry figure you've probably gawped at on 'The Osbournes', which has to take the prize for one of the most bizarre programme concepts ever, against stiff competition.
Ozzmosis was Ozzy's seventh studio solo album, and the second (?) to feature on/off Sabs bassist Geezer Butler, not that he makes any great difference to the album's content, to be honest. Guitarist Zakk 'Mastermind' Wylde (his real name, surely?) stamps his authority (as they say) all over the record, although he's frequently stymied by the rather average material on offer. Highlights include Perry Mason and Thunder Underground, but I'm afraid this is no match for Ozzy's first two efforts. Keyboards are played by producer Michael Beinhorn (no stranger to the Mellotron himself) and, surprisingly, Rick Wakeman, who I believe last worked with Ozzy on Sabbath's Sabbath Bloody Sabbath, over twenty years earlier. I'm sure I found a reference on Rick's site to the effect that he played Mellotron on Ozzmosis, but I can't currently find it; anyway, assuming it is actually the case, that clears up who plays the thing. Despite the generic sampled strings on several tracks, it's obviously 'Tron choir on See You On The Other Side, Tomorrow and My Little Man, with what sounds like strings on Old L.A. Tonight, although they could be real; hard to tell.
So, an OK album, no classic, not rubbish, just... ordinary. Not sure why he bothered to get Rick to play 'Tron (and Hammond), but don't look a gift horse in the mouth, eh? One for completists only, I think.
See: Black Sabbath
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The Ascension (2007, 61.05) **½/½ |
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| Eet the Children Crooked Spoons Perfectly Flawed Confrontation Milk of Regret Noose & Nail Ghostflowers Breed |
March of the Martyrs Invisible Home Grown Communion Andrenochrome Dreams |
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Otep are a female-fronted and led American (semi-) extreme metal band, the female in question being Otep Shamaya. Y'know, if I didn't know it was a woman singing, I'd assume all the 'roaring' stuff was a bloke, with Shamaya adding the quiet bits... Her/their third album, 2007's The Ascension (or the_Ascension) is fairly typical of the genre, quiet bits juxtaposed with bits that aren't quiet at all, with nary an original riff in sight, although that seems to be typical of the metal scene these days. Best track? Their cover of Nirvana's Breed, 'cos it's actually got a tune.
Holly Knight (yes, the one who's written for Bon Jovi, Heart, Aerosmith et al.) co-produced Perfectly Flawed, allegedly adding Mellotron to it. Yes, it's audible, but is it real? The jury will have to remain out, but I'd personally be surprised if any genuine tape-replay was involved, frankly. Listen, you really don't need to hear this unless you're a metal obsessive who's utterly unworried by the concept of unmemorable music with no tunes (strangely, not incompatible with the genre). Dull.
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Condom Black (2001, 61.15) **½/T½ |
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| Dilata Anjos do Asfalto Armadura Cuba Dias de Janeiro Pelo Engarrafamento Londres Por que |
Street Canabis Street Condom Black (Stop Play) Retratista Único Sino Hemodialisis Basquiat |
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Otto's Condom Black is probably best described as 'Latin electro' or similar, successfully blending typical Latin American music with the current dance scene, synths, loops and samples to the fore. I can't even tell whether or not it's any good at what it does, as I feel so little affinity with the music, but it seems successful enough and has apparently sold in large quantities in its home country. As so often, though, it's too long for its content, leading to boredom after forty minutes or so.
'Apollo 9' (Cibelle) plays various elderly keyboards, including Mellotron (does this now mean there's a definite M400 on the continent?). Anyway, he plays strings on Pelo Engarrafamento, flutes and strings on Por Que and flutes on the title track, though nothing to get too excited about. So; an album so far from the taste of the average Planet Mellotron reader that it almost comes round the whole 360°. OK, it doesn't. I'm sure it's good at what it does, but you're not going to like it, while there's not enough Mellotron to be worth bothering with anyway.
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Distorted Lullabies (2001, 47.28) ***/TT½ |
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| Fallen Souls Drowning I'm a Monster Sometimes Miseryhead Here is the Light Medication Dancing Alone |
Bleed Dizzy Meet Me in the Tower As I Wander |
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Ours seem to get compared to the likes of U2, Jeff Buckley, Radiohead, even the awful Smashing Pumpkins or the Mission; what doesn't get said about them is "This highly original music..." Think miserablist, gothy, surprisingly English-sounding music, with the vocals just that little bit too high in the mix, and you won't be too far off the mark. The 'band' seem to consist mainly of singer/lyricist/guitarist (etc.) the rather un-goth sounding Jimmy Gnecco, a man who knows the meaning of the word 'overwrought', although, oddly enough, the end result on Distorted Lullabies isn't that displeasing.
Quite a bit of tape-replay work here, which makes a change for the odds'n'sods I pick up for a couple of quid, most of which are fairly (make that very) disappointing. The ubiquitous Patrick Warren turns up with his Chamberlin, adding strings to I'm A Monster, Here Is The Light and the fantastically-titled Meet Me In The Tower, while Gnecco himself plays Mellotron strings on Sometimes and Mark Endert puts some nice, upfront Chamby (strings again, plus cellos) onto Medication. So; not classic, but despite being rather silly, not that bad an album, and some reasonable 'Tron/Chamby work.
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(See Inside) (1997, 43.10) **/½ |
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| No Leaving Come Clean Not a Chance Winter Sun Constant Disappear That's Where I Live My God You Are (Psalm 22) |
Prove it Joy |
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Can a husband-and-wife duo split up professionally but not personally? Scott and Christine Denté made six CCM albums as Out of the Grey (interesting UK spelling there) in the decade following 1991, then ground to a halt. Never mind, eh? 1997's (See Inside) is the fifth, containing all the usual Christian guff; in fact, if it wasn't for the lyrics and Christine's irritating delivery, this would have picked up an extra half star, as it isn't that bad musically. However, it was and it was, so it hasn't. I know I've asked the rhetorical question before, but why can't Christians sing songs about something else for a bloody change? It does get a bit boring for us happy heathens... To which they might well reply, "So don't listen to it, then", except that they wouldn't, 'cos they're infuriating, happy-clappy, evangelical... Er, sorry. The one thing about the album that amused me is track nine, Prove It, that being my usual rejoinder to Christians, if I'm in a foul enough mood and they push the wrong buttons.
Phil Madeira does his usual Mellotron-on-CCM-album thing, with faint flutes on Winter Sun, though that's your lot. So; you really don't need to bother with this one on any grounds whatsoever. At least, at 43 minutes, it doesn't outstay its welcome. Much.
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Misty Moon (1985, 44.42) ****/TTPreludeMisty Moon Saturated Solution Subetewa Kazenoyouni Spanish Labyrinth |
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The Scene of Pale Blue (1987, 52.55) ***½/T½Marionette's LamentMixer Platonic Syndrome Anti Podean The Scene of Pale Blue |
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Outer Mania (1989, recorded 1980-84, 49.35) ***½/TTMarionette's LamentMisty Moon Platonic Syndrome The Scene of Pale Blue I Love You |
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Outer Limits played a particularly symphonic brand of violin-fuelled progressive rock, largely (and thankfully) instrumental, rarely slipping into the common '80s Japanese progsters' habit of apeing the British neo-prog bands. Their debut, Misty Moon, is generally strong, although parts of Saturated Solution sound slightly too '80s for their own good. Prelude is actually a full-length track, and sounds almost orchestral in places, although I believe it's all keyboards. Shusei Tsukamoto's Mellotron work is restricted to two tracks, but Prelude has a lengthy flute part and some strings, with more strings and what may be male voice choir on Subetewa Kazenoyouni although, to be honest, the 'Tron use isn't that heavy. To my knowledge, this is now available on Musea, but the original Japanese CD release has no transliteration for the latter title, so many thanks to whoever it was that sent it to me.
I actually find The Scene of Pale Blue rather harder going, although I'm sure it's a fine album. Maybe you have to be really in the mood for it. It's long for a pre-CD (well, sort of) release, and I get the feeling it might've been better if it had been slightly shorter. Anyway, I've seen reports of a King Crimson influence, and I can hear them in places, particularly on the opening part of the title track (probably the album's best), with some choppy rhythmic stuff and a Frippish guitar part. Although they used Mellotron on three tracks, there's very little to be heard on either Mixer or Anti Podean, with the only overt use being a string part, doubled on real violin, in the lengthy The Scene Of Pale Blue itself.
I haven't heard either their live effort, Silver Apples on the Moon, or A Boy Playing the Magical Bugle Horn, but I have come across an archive release of some unreleased demos from the early '80s, called Outer Mania. Four of the five tracks are different (and largely slightly inferior) versions of tracks from the two above albums, with only I Love You being previously unheard. The Scene Of Pale Blue has what sounds like the same Mellotron part as the later version, leaving the short but 'Tron-heavy I Love You as the only real reason to buy the album.
So; Outer Limits aren't the first band to which I'd direct the new prog fan, but that doesn't make them bad, just slightly inaccessible. The albums are rather variable in quality, but the best tracks make them worth the effort. Start with Misty Moon, then progress (ho ho) to The Scene of Pale Blue, though Outer Mania is a bit inessential. I'll report back on their other albums if I get to hear copies.
See: Sampledelica!
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Good Dog Bad Dog (1996, 60.10) ***½/T |
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| Latter Days All I Need is Everything Etcetera Whatever I Will Not Eat the Darkness Faithfully Dangerous The Seahorse Everyman's Daughter A Gospel Number |
Poughkeepsie Willoughby It's Never Quite What it Seems Happy to Be So Go Down Easy |
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Besides (1997, 60.29) **½/T |
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| The People Here Are Not Shy Hej (I Do) My Love is a Fever [live] Within Without [rough mix] (An American Deejay) Last Night Murder Dead Weight |
Bothered All I Need is Everything [chamber music mix] Lucy Miles (Polish Deejay) If I'm Drowning [live] |
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Ohio (2003, 93.41) ***½/T |
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| B.P.D. What I'll Remember Most Show Me Jesus in New Orleans Ohio Suitcase Anything at All |
Professional Daydreamer Lifelong Fling Changes Come Long Lost Brother She Nobody Number One Cruel and Pretty |
Remind Us How Long Have You Been Stoned When You Say Love Fool Hometown Boy Bothered [unlisted track] |
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Mellotrons used:
Over the Rhine, named for the oddly-named district in Cincinnati where the band formed, have an intriguing sound, melancholy yet strangely uplifting. At the heart of the band are the husband and wife team of Linford Detweiler and Karin Bergquist, Detweiler playing guitar, bass and keys, and Bergquist singing and playing acoustic guitar and piano, her throaty voice suiting their music perfectly.
Good Dog Bad Dog is their fourth album, and is a triumph of 'slowcore', featuring a selection of downbeat songs that never tip over into parody, although highlights are hard to identify on an initial listen. Mellotron on just one track, with flutes on Faithfully Dangerous, plus strings at the end of the track, from guitarist Ric Hordinski; the sleevenotes state, "Ric... coaxed a melody out of his Mellotron... - no mean feat". It certainly sounds like it's on the edge of breakdown most of the way through, but that not only adds to its appeal, but proves that the damn' thing's real, in these days of rampant sample (ab)use.
Not so sure about the following year's Besides; it's an odds'n'sods album of live tracks, outtakes etc, but much of it is rather unappealing arena rock, with a distinct U2 edge (Edge! Geddit?) in places, which they've done well to leave behind if you ask me. It has its good moments, not least Lucy, but if you like their later style, you're likely to be fairly disappointed here. Again, one 'Tron track, with flutes and cellos on Miles from Detweiler, although nothing overly essential, to be honest.
I don't know anything about their interim albums, but 2003's double-disc Ohio isn't wildly dissimilar to Good Dog Bad Dog, although it's noticeably more country influenced, reinforced by Tony Paoletta's pedal steel on several tracks. The chief trouble with the album is its length; this sort of downbeat material doesn't tend to lend itself to albums much over 40 minutes long, so more than twice that is a bit gruelling, especially in one sitting. Anyway, very little Mellotron this time round, with cello parts on opener B.P.D. and Professional Daydreamer, assuming they are actually Mellotron; there's an uncredited saxophonist on Nobody Number One, with a sustained string part on the same track that you couldn't do on 'Tron, so I presume the cellos are tape-driven?
So; I reckon Good Dog Bad Dog's the best of the bunch here, although even that's rather too long; it certainly has the best 'Tron moment of any of these, although not exactly what you'd call essential. And avoid Besides unless you just can't get enough U2.
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Owsley (1999, 42.27) ***/T½ |
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| Oh No the Radio I'm Alright Coming Up Roses Good Old Days The Sky is Falling Sentimental Favorite Zavelow House Sonny Boy |
The Homecoming Song Uncle John's Farm Class Clown |
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The Hard Way (2003, 47.28) ***/T |
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| Be With You Rise She's the One Dude Down Matriarch Undone The Hard Way |
Dirty Bird Rainy Day People Band on the Run |
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Mellotron/Chamberlins used:
I don't know if anyone else has made this comparison, but Will Owsley's eponymous debut (recorded over a period of three years, for some reason) reminds me more of The Eels than anyone else; he even uses an abbreviation of his name, à la 'E'. The music's a similar form of bittersweet melody-laden American pop/rock, with much use of 'authentic' instrumentation (Hammond, Wurlitzer, Moog, Mellotron etc.). Owsley isn't a bad album, but too many of its songs stray too close to schmaltz (Good Old Days), although there's a couple of stormers in there, too (notably I'm Alright). Tape-replay on three tracks: Coming Up Roses has Owsley playing Mellotron flutes and what I presume are Chamberlin strings, although there's real cello in there, too, and possibly real strings into the bargain. Sentimental Favorite has Chamby strings (along with real ones, again?) from part-time keys man Jonathan Hamby, while Class Clown has Owsley on volume-pedalled 'Tron strings, making it the album's 'Tron triumph.
Four years on, Owsley released his second (and to date, most recent) solo album, The Hard Way. Is it just me, or is his powerpop schtick starting to wear a little thin? OK, most of the album's reasonably good, but there's a little too much lightweight filler for comfort, reminding me of the kind of mainstream fluff to which I already spend too much time listening. Decent 'hidden' version of Wings' Band On The Run, though... Two Chamberlin tracks this time round, with barely audible strings on Rise from John (Mark) Painter and nice cellos on Down from Jonathan Hamby, though not enough to rescue a rather insipid release.
So; Owsley's not a bad album at what it does, although I remain unconvinced by The Hard Way, but there's an awful lot of artists out there doing this sort of thing, often better. Saying that, I would've thought Owsley would appeal to the Eels' audience, at least. Reasonable 'Tron/Chamby work, particularly on the former's Class Clown and the latter's Down, but probably not worth a purchase on those grounds alone.
