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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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Phaseshifter (1993, 44.05) ****/T |
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| Jimmy's Fantasy Lady in the Front Row Monolith Crazy World Dumb Angel Huge Wonder Visionary Pay for Love |
Ms. Lady Evans Only a Girl Saragon After School Special |
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Show World (1997, 44.08) ***½/T |
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| Pretty Please Me Stoned You Lied Again Girl God Mess Around One Chord Progression Teen Competition Follow the Leader |
Vanity Mirror Secret Life Ugly Town Get Out of Myself Kiss the Goat |
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Redd Kross have been peddling their Cheap Trick-ish cartoon punk/pop/rock for about as long as anyone can remember, with the McDonald brothers (Jeff and Steve) forming their first band while barely into adolescence. Their music is immaculately-crafted hook-laden stuff, with more than a hint of Jellyfish about it (although these guys were there first), being the kind of stuff that makes you want to leap around the room making a fool of yourself (especially if you're my age), which is no bad thing.
It's difficult to work out exactly how many albums they've recorded, as name-changes and side-projects confuse the issue heavily, but 1993's Phaseshifter seems to be essentially their fifth full-length release. Their long-running obsession with American popular culture is present and correct (spot the Monkees-esque "Hey hey hey!"s in Pay For Love), as is their vast knowledge of rock history; Huge Wonder follows many other bands in ripping off one of those briefly-heard Black Sabbath riffs that crop up between their better-known ones, in this case from War Pigs. Keyswoman Gere Fennelly adds a bit of Mellotron to the mix, with Monolith featuring an, er, monolithic closing section, Mellotron strings and (real? 'Tron?) voices gradually building to a crescendo, although that would appear to be it on the 'Tron front; the deliberately 'munchkinised' sampled voices on After School Special are nothing to do with Mellotrons, before you get all argumentative.
It took the band four years to follow-up with 1997's Show World, after which they took a break for the better part of a decade, only springing back into action recently. Difficult to pick out highlights, but there ain't a duff track here, my only criticism being a slight case of sameyness about some of the tracks; sensibly, they keep the album to 'vinyl length', resisting the temptation to cram the CD full of b-sides or worse. Fennelly's on keys again (although not as a full-time member this time round), not that there's that much to be heard, although there's a cool Hammond part on Vanity Mirror. The 'Tron strings on Secret Life were arranged by the legendary Brian Kehew (Moog Cookbook etc.), and have a semi-orchestral feel to them, rather than just the usual block chord thing that so many players do. Not enough to recommend the album on the 'Tron front, but if you're looking for some good driving music, you could do a hell of a lot worse. Incidentally, final track Kiss The Goat is an ironic look at '60s Californian devil-worship, and finishes with a musical quote from Led Zeppelin's When The Levee Breaks. Smart.
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Berlin (1973) ***½/T |
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| Berlin Lady Day Men of Good Fortune Caroline Says I How Do You Think it Feels Oh Jim Caroline Says II The Kids |
The Bed Sad Song |
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Sally Can't Dance (1974, 32.58/39.22) **½/½ |
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| Ride Sally Ride Animal Language Baby Face N.Y. Stars Kill Your Sons Ennui Sally Can't Dance Billy |
[CD adds: Good Taste Sally Can't Dance (single)] |
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Berlin was Lou's third post-VU solo album, produced by Bob Ezrin (Alice Cooper, Pink Floyd et al.), resulting in a rather more 'stadium' sound than its infamous predecessor, Transformer. It's also a darker record, although probably slightly less confessional, though still recognisably Lou Reed.
Ezrin's credited with playing Mellotron, although there doesn't seem to be much of it; I think it's 'Tron on Lady Day, but with real strings on the track as well, it's rather hard to tell. However, that's definitely 'Tron on Caroline Says II, with a well-orchestrated string part, though not enough to make the album worth purchasing for that alone. The flutes on The Kids and Sad Song are just possibly 'Tron, though they're not clear enough for me to say one way or the other. So; if you don't get where Lou's coming from, don't bother. It's a well-crafted album, though, with most of his usual lyrical and musical tricks, just rather less of a Mellotron Album than I'd been led to believe.
Bizarrely, 1974's now barely-remembered Sally Can't Dance was apparently Lou's highest-charting album, at least in the States. Musically, it's a very mainstream mid-'70s effort, although it's as lyrically barbed as the rest of Lou's contemporaneous work; probable best track Kill Your Sons is based on Lou's experience of ECT in his teens in response to his 'homosexual behaviour'. Nice. Mellotron on Ennui (from the album's keys man Michael Fonfara?), with some background flutes that don't make a great deal of difference to the track one way or the other, really.
So; one fairly decent record, one fairly dull one, only one halfway decent Mellotron track. Well, what did you expect?
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Refugee (1974, 49.47) ****/TTT½ |
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| Papillon Someday Grand Canyon 1st Movement: The Source 2nd Movement: Theme for the Canyon 3rd Movement: The Journey 4th Movement: Rapids 5th Movement: The Mighty Colorado Ritt Mickley |
Credo 1st Movement: Prelude 2nd Movement: I Believe 3rd Movement: Theme 4th Movement: The Lost Cause 5th Movement: Agitato 6th Movement: I Believe (Part II) 7th Movement: Variation 8th Movement: Main Theme Finale |
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Live in Concert - Newcastle City Hall 1974 (2007, 64.21) ***/TT |
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| Outro - Ritt Mickley One Left Handed Peter Pan The Diamond Hard Blue Apples of the Moon Someday Papillon She Belongs to Me |
Grand Canyon Suite The Source Theme for the Canyon The Journey Rapids The Mighty Colorado Refugee Jam |
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Refugee were always something of an oddity; an attempt to sort-of reform The Nice, though without keyboard whizz Keith Emerson, of course. To replace him, the band's management found Swiss wunderkind Patrick Moraz, fresh from a stint with Mainhorse, joining singer/bassist/guitarist Lee Jackson and drummer Brian Davison. The music is vastly better than it had any real right to be; such 'manufactured' bands usually smell like it. Refugee were excellent, if a tad overblown; Moraz doesn't really 'do an Emerson' (well, not much, anyway...), mostly sticking to his own busy style, with multiple keyboard parts running concurrently. I'm reliably informed that the band did tour this material, playing the whole album plus a couple of Nice songs, including that band's only Mellotronic Moment, Diamond-Hard Blue Apples Of The Moon.
The album doesn't open brilliantly, with neither of the first two tracks being particularly great, but the lengthy Grand Canyon Suite makes up for it by being totally bombastic and quite wonderful. The vocal section in the middle doesn't look promising, but turns out to have a hymnal quality to it; think ELP, but better. Credo is Refugee's other major piece; good, though not as good as Grand Canyon. Plenty of decent Mellotron all round, though probably not a classic of the genre. But is it classic prog? The jury's still out on that one, I suspect. Of course, with Moraz's defection to Yes later the same year, Refugee's career was pretty much over before it had begun; shame, really, especially as Moraz only lasted one album with the affirmative ones.
Fast-forward a few decades, and Live in Concert - Newcastle City Hall 1974 appears. Is this the only Refugee live recording in existence? If so, its low quality is excusable, as it's a unique document; conversely, if it's not... I've heard a lot worse, but only in the bootleg realm, to be honest; this sounds like a dodgy desk recording, with levels flying about all over the place and an overall muddiness that makes it a difficult listen. Things aren't improved by Jackson's terrible vocals; he not so much sings the words as barks them, in the manner of a wounded dog, while Moraz seems to be doing his level best to sound like Keith Emerson, with synth patches copied direct from Pictures at an Exhibition. It's not all bad, of course, as much of the music stands up well, although a jammed-out version of Bob Dylan's She Belongs To Me does go on a bit. An abbreviated Grand Canyon Suite is excellent (if you ignore the vocals), but Refugee Jam is just pointless. One for completists, I think.
Moraz toured his Mellotron, along with what sounds like a Hammond, a Rhodes and several synths. Interestingly, most of his 'Tron use is quite subtle, with a brief flute line on One Left Handed Peter Pan and a few string chords on The Diamond Hard Blue Apples of the Moon, as on the original (Emerson's only Mellotronic experimentation, as it happens). Papillon features a surprisingly fast, high-end strings 'widdle' absent on the studio version, with an almost-distorted flute line later in the song, while the one 'epic' they tackle here, Grand Canyon Suite, has what sounds like brass and flute melodies in the intro, although the cello line later on disproves this, unless... was he using two 'Trons onstage? Doesn't seem likely, so chances are the brass was one of his Moogs (it's a monophonic line). This track also reveals an on-stage grand piano, so there really wouldn't be room for a second Mellotron. Overall, OK 'Tron, but given that the man only has two hands, it isn't featured nearly as much as you might like/expect.
So; Refugee? Buy, particularly if overblown keyboard prog is your bag. Great playing, decent composition and some nice 'Tron. Can't go wrong really, can you? As far as Live in Concert goes, though, you'll have to weigh up how badly you want to hear a badly-recorded version of a slightly ramshackle stage show, just to hear how they managed to play this stuff live as a trio. Incidentally, Ritt Mickley is allegedly named for Moraz' pronunciation of 'rhythmically'! Also incidentally, although I already owned a copy, I found a pristine, still shrinkwrapped copy in an otherwise cruddy chart shop in Auckland for $1NZ; about 30p sterling at the time. How could I resist?
See: Patrick Moraz | The Nice | Yes
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Klabautermann (1977, 35.27) ***/T |
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| Piratentanz Der Klabautermann Feuer Das Störtebekerlied Wir Lieben die Stürme Sophie, Mein Henkersmädel Mit den Taschen Voller Gold Halla Ballu Ballay |
Der Fliegende Holländer Abends an Deck |
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Achim Reichel's Klabautermann is the kind of album that was still being released in 1977, though not for much longer, seeming to be some kind of concept effort involving the Baltic legend of a largely benign seafaring sprite, typified by opener Piratentanz and Halla Ballu Ballay, sea-shanties both. Musically, the album swims about (enough nautical analogies (Ed.)) in a rather wet (That's enough! (Ed.)) kind of mainstream slightly folkish rock, perfectly listenable and completely inoffensive, if a little unexciting. To its credit, it's quite unique in its mixture of nautical folk and late '70s pop/rock, but that doesn't necessarily make it that desirable these days.
Novalis' Lutz Rahn plays Mellotron, though not a lot, with naught but some wavery, pitchbent strings and more straightforward choirs on Der Fliegende Holländer. This is on CD, but I really wouldn't go too far out of your way to hear it, although, in fairness, it's vastly better than the drivel with which the likes of the supposedly 'progressive' Novalis and Wallenstein were about to assail their listening public's ears. What a difference a year makes, eh?
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Knock Out (1975, 40.04) ***½/TKnock OutOrita Day Dreamer Dark Green |
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What is it with Germans and fusion? The Release Music Orchestra, To Be, the granddaddies of them all, Passport... Since, unlike prog but like hard rock, fusion rarely displays any cultural identifiers (ignoring ethno-fusion, of course), 'regular' fusion outfits from across the world all essentially sound American, although I wouldn't necessarily say the same thing for other jazz sub-genres. Whatever, organ whizz Dieter Reith's Knock Out is a good album of its type, never really sinking into tedium, despite only containing four long tracks, although if your patience for endless jazz soloing is anywhere near mine, you'll be running into trouble by the middle of side two.
Reith himself plays (uncredited) Mellotron, with string and flute parts on the opening title track and occasional string swells on Orita, though nowhere near enough to make this a worthwhile Mellotronic purchase. Mind you, unlike several of his other earlier works (he released his first album as far back as 1966), Knock Out is out of print, so you're restricted to second-hand vinyl or a download anyway. Worth the effort for fusion fans, maybe not for the rest of us.
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Life (1974, 43.02) ***½/T½Eröffnung - Tippa TibanaReyneinblan Damaskus Rot Wild Der Traum des Herrn P. Zemäs Rutan Morgengabe |
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Get the Ball (1976, 36.11) ***½/½MestaloggoSundance Get the Ball Black Bird Atlantis Chambre Séparée |
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Germany's Release Music Orchestra rose from the ashes of freakout band turned jazz-rockers Tomorrow's Gift, eventually recording five albums. They're usually described as fusion, and compared to Passport, but to my ears, there's as much progressive- as jazz-rock in their sound, certainly going by their debut, Life, that unusual, though not unique thing, a live debut album (recorded in Amsterdam and Hamburg, with studio overdubs). Unlike their later work, the album is instrumental, and has some fiery playing from all concerned; OK, maybe it is fusion. Fusion-prog. OK? The composition (such as it is) is less impressive, but this is music designed to showcase musicianship, rather than songwriting. OK, it's jazz.
Manfred Rürup plays Rhodes, synth and Mellotron, by the sound of it, although he keeps his 'Tron use well reined-in, with mostly short string parts designed to lift the sound at appropriate moments. Saying that, there's a lengthy organ (?) passage on Zemäs Rutan that almost sounds like a Mellotron (sort of high and wheezy), so is there actually any 'Tron at all? Without a credit, who knows, although it doesn't half sound like one most of the time.
Their first studio album, the following year's Garuda (**½), is Mellotron-free, although there is some minor use on '76's Get the Ball. Overall, the album isn't dissimilar to their debut, mixing fusion and prog in a pretty unique way, concentrating more on composition than lengthy, tedious soloing, although there's a fair bit of that to be heard, too. True to form, Rürup barely uses his 'Tron at all, with merely a faint string pitchbend and a couple of high, sustained notes in the title track and similar in Atlantis. I've never seen anything alluding to any 'Tron use on '78's Beyond the Limit, and while their last album, '79's News, has an odd, phased choir sound on one track, it's more likely to be a Roland Vocoder than anything Mellotronic. Musically, the album's a return to fusion-by-numbers, with the addition of polysynths (sounds like a Prophet), and rather dull brass riffs that go on for ever.
So; Life is a reasonably good album, far better than the dull fusion of Garuda, but don't go expecting a Mellotron Monster, while Get the Ball is even lighter on the tape-replay front. An archive live release, Bremen 1978, came out on Garden of Delights in 2004, but I've no idea whether or not there may be any Mellotronic input. As far as these albums are concerned, don't bother for the minimal 'Tron, but fusion fans might apply.
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Five Score & Seven Years Ago (2007, 51.00) **/½ |
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| Plead the Fifth Come Right Out and Say it I Need You The Best Thing Forgiven Must Have Done Something Right Give Until There's Nothing Left Devastation and Reform |
I'm Taking You With Me Faking My Own Suicide Crayons Can Melt on Us for All I Care Bite My Tongue Up and Up Deathbed |
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Relient K are a Christian rock band, as against a CCM act, although they still have that irritating CCM habit of churning much of their material into cheese, as against leaving it as merely music. Five Score & Seven Years Ago is their fifth album in seven years, partly explaining the title (it's also a play on Abraham Lincoln's opening to the Gettysburg Address, apparently), particularly infuriating for its moments of real passion, linked by endless minutes of sloppy, over-emoting nonsense. In fairness, the God aspect isn't too explicit, but it's there. Worst track? Has to be the pretty-damn'-tasteless, not to mention toweringly solipsistic Faking My Own Suicide. Is this a joke? We can only hope so. Best track? Eleven-minute closer Deathbed, despite its 'Jesus will come to take me home' not-so subtext.
Deathbed is also home to the album's only Mellotron work, with a brief flute part from Matt Thiessen. There may be more on the track, but the real strings obfuscate any string work that may be present, so I suspect that's it. So; Christian rock with the occasional burst of genuine energy and a short Mellotron part. Maybe not.
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Reminder (EP) (1999, 19.23) ****/TT½Can't Do Anything About itTalk it Out Silhouette on the Wall The Trouble With Tommy Broken Tone |
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Half Empty (EP) (2000, 17.48) ***½/TTT½So GentlyToo Late Half Empty Sad Attempt |
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Creativity (EP) [a.k.a. Scared] (2000, 16.46) ****/T½ScaredLimelight All Contrast Gone Creativity |
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Broken Tone (2001, 48.39) ****/TTTT | |
| Scared So Gently Can't Do Anything About it Limelight Talk it Out Lost Sincerity Neversong Sad Attempt |
All Contrast Gone Too Late Creativity Broken Tone |
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Reminder are another of Änglagård drummer Mattias Olsson's 'intelligent pop' projects he's been involved in over the last few years (see: Pineforest Crunch, Geller); their catalogue effectively consists of three EPs and an album containing tracks from all the EPs and a couple of new recordings. Unlike Pineforest, Reminder have a melancholy aspect to their music, which I find refreshing in these days of 'everybody be bright and cheerful because it sells records' and suchlike. As a result, I don't believe they've set the world on fire saleswise, but they've produced some beautiful, understated music that stands out from the crowd like, er, a Mellotron at a Korg convention.
Talking of which, Mattias' 'Tron is well in evidence on all the above, played by none other than Änglagård keys man Tomas Jonsson (now spelled Thomas Johnson, it seems), who also plays Hammond, piano etc., on the first two EPs, and by bassist Tobias Ljungkvist on the third. Mattias has provided me with a track-by-track rundown of the album, but I've had to work out the few tracks that didn't make it for myself. On Reminder, there appear to be three 'Tron tracks, with strings, flutes and cellos splashed all over, sometimes treated, sometimes not. So Gently from Half Empty mixes Mellotron and real strings, while Too Late features a really upfront flute part, plus strings. I'm not so sure about the more upbeat title track, but Sad Attempt is back on form, with some excellent 'Tron cello, strings, choir, brass and pipe organ. Unsurprisingly, it has a largish sound...
Creativity was apparently reissued as 'Scared' after the release of the album, and is the one inessential here, as all four tracks made it to Broken Tone. The album gathers together most of their best material, although another three tracks would have mopped up everything. Anyway, their music works really well in the longer format, with the odd faster track to break up the melancholy; it's well-sequenced, too, giving no idea that it's a bit of a mish-mash of tracks. On the 'Tron front, two of the Creativity tracks feature it in a minor way, while of the two new songs, Lost Sincerity is 'Tronless, but Neversong has flutes, cellos and strings.
Y'know, Broken Tone's a bloody good album, 'Tron or not, but I'm not going to try to claim it doesn't improve it, at least to my ears. I'm not sure what the band are doing at the moment, but I'm hoping that this won't be the last we hear of them. Anyway, buy the album, then the first EP, if you can find it.
See: Änglagård | AK-Momo | Geller | Molesome | Nanook of the North | Pineforest Crunch
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A Song for All Seasons (1978, 44.42) ****/TOpening OutDay of the Dreamer Closer Than Yesterday Kindness (at the End) Back Home Once Again She is Love Northern Lights A Song for All Seasons |
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Azure d'Or (1979) ***½/T |
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| Jekyll and Hyde The Winter Tree Only Angels Have Wings Golden Key Forever Changing Secret Mission Kalynda The Discovery |
Friends The Flood at Lyons |
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Day of the Dreamer (2000, recorded 1978, 73.48) ****/TCan You Hear MeCarpet of the Sun Day of the Dreamer Back Home Once Again Can You Understand/The Vultures Fly High A Song for All Seasons Prologue Ocean Gypsy Running Hard |
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By 1978, Renaissance had already notched up many plaudits, though more in the States than their home country, where they are now largely forgotten. Always at the gentler end of the progressive spectrum, with Michael Dunford's acoustic guitar and Annie Haslam's pure soprano voice, they are often mistaken for a folk-rock group, though nothing could be further from the truth. Forming in the late '60s as a Yardbirds offshoot, the original lineup split after their second album, bizarrely being completely replaced by another set of musicians, with most of the originals ending up in Illusion around the same time as their usurpers released A Song for All Seasons.
Typically for its time, the album is a step or two away from Renaissance's earlier full-on symphonic style, with mostly shorter, more accessible material (although there are still two excellent longer tracks), although unlike many of their contemporaries, they managed not to bland out completely, possibly helped by the fact that they were never the most 'in your face' outfit in the first place. Many of the songs feature a string section (the band often played live with a full orchestra), and although you'd think they were prime candidates for Mellotron usage, it seems keyboard man John Tout never touched one until this relatively late stage in their career. I can actually only hear it on two tracks; Closer Than Yesterday has a little (uncredited) 'Tron flute part, while Kindness (At The End) has instantly recognisable Mellotron strings and church organ. Incidentally, don't think that shorter tracks and a pretty terrible sleeve design equals 'drivel'; A Song for All Seasons is a damn' good album in the Renaissance tradition. They completely sold out in the '80s, but that's another story...
Next album up, 1979's Azure d'Or, keeps up the band's quality control, although this time round there really aren't any epics, although there are, for the first time, full equipment listings for each track (hurrah!), showing that Tout used, by this stage, mainly grand piano, Yamaha CS80, CS30, ARP Solina and Pro-Soloist, with a Mellotron on the last two tracks. He only seems to use it for choirs, like many of his contemporaries, but it's quite nice use, if slightly inessential.
In 2000, a mystery disc appeared, titled, with considerable unoriginality, Day of the Dreamer. Despite the lack of recording information, keen listeners have nailed most of it down to a BBC performance in 1978, during the Song for All Seasons tour, making it a valuable document for fans, as most live recordings only seem to cover pre-Novella material. As you'd expect from a radio recording, the sound quality's excellent, and all concerned are in fine form. Complaints have been made that there's no Northern Lights, although it's perfectly possible that the band elected not to play it that night, despite its 'recent hit' status. Now, I don't know if this was a one-off, but it seems John Tout's studio Mellotron work wasn't in isolation, as he clearly had one on stage this night. Mind you, with all the string synth work on which he was so keen, especially when they weren't using an orchestra, all he uses it for is male voices, and then only in short bursts on three tracks. The upshot of which is, while this is an excellent document of live Renaissance towards the end of their useful life, don't bother for the 'Tron.
So; there are better Renaissance albums to buy, Ashes Are Burning and Scheherezade and Other Stories spring to mind, but if you desperately need to hear them use a bit of 'Tron, all these albums are good, though don't expect too much of them. And whatever you do, don't buy anything they recorded in the following decade...
See: Illusion
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Renaud (1975, 36.03) ***½/TBack and inUneasy Serenity Voyage Without a Guide Pretty Stranger |
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Alain Renaud was a French guitarist who collaborated extensively with Richard Pinhas/Heldon, finding time to record a couple of solo albums, 1975's eponymous effort and the following year's Out of Time. Both albums feature swathes of Renaud's acoustic backdrops and multi-overdubbed electric leads, with other instrumentation dropping in and out of the mix. Renaud sports a side-long opener in Back And In, probably the album's most coherent work, with a more mixed bag on side two, included the Rhodes-heavy Voyage Without A Guide and the rather pointless vocal number Pretty Stranger, which serves only to spoil the mood created by the rest of the record.
To my surprise, Voyage Without A Guide features a couple of brief Mellotron string parts, quite possibly played by a guesting Pinhas (the rear sleeve gives nothing away). We're not talking 'unmissable' here, but it does serve to brighten up a slightly messy piece that can't decide whether it wants to be classical or jazz (never easy bedfellows). To my knowledge, this is entirely unavailable; surely those nice people at Musea could reissue both his albums on one disc? Should you track a copy down, expect a good guitar album with little 'Tron. File under 'reasonable'.
See: Heldon | Richard Pinhas
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First Offenders (1973, 39.23) **½/TYou'd Best Believe itFriend Out on the Road Breakneck Shelter Cowboy's Dream Slow Down Drive Me Wild I Suppose it's for the Best Mighty Queen |
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To be brutally honest, Renia weren't a very exciting band; not on record, at least. The nearest they come to any genre is 'mid-'70s rock'; more of that slightly heavy, slightly proggy, slightly several other things stuff, without being particularly anything. While far from offensive, Renia never even gets my foot tapping, I'm afraid, although the pace does pick up here and there. The one 'Tron track, Shelter (a rather drippy ballad), has some very ordinary strings on it from keyboard man Malcolm Sutherland, so it's not even worth picking up for that. For die-hards only, though of what I'm not entirely sure.
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Return to Forever Live: The Complete Concert (1978, 151.44) ***½/½ |
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| Opening '77 The Endless Night The Musician Stanley's Introduction Hello Again So Long Mickey Mouse Musicmagic Come Rain or Come Shine |
Serenade The Moorish Warrior and Spanish Princess Stanley's Introduction Spanish Fantasy Chick's Closing Introductions On Green Dolphin Street |
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I'm sure you all know at least something about Chick Corea's Return to Forever: one of the classic fusion bands, by their third album, they'd moved away from their early influences, shifting into full-on electric jazz-rock, their classic lineup including Corea, bassist Stanley Clarke, guitarist Al di Meola and drummer Lenny White (Airto Moreira was an early member). Corea, a Scientology devotee (don't start me), disbanded that lineup after 1976's incredibly successful Romantic Warrior, only retaining then-fellow Hubbardite Clarke for the following year's Musicmagic and Return to Forever Live, released in '78. Some confusion surrounds said album: initially released as a single LP, a four-album version, The Complete Concert, seems to have been made available at the time, now available as a two-CD set. The original LP (which I haven't heard) consists of heavily edited versions of some of the expanded version's tracks, with the exception of the short Come Rain Or Come Shine; given that it's effectively a sampler of the complete concert, it's impossible to gauge from the full version how many tracks on the edited version contain Mellotron without hearing them.
Anyway, the full version is a veritable fusion marathon, no fewer than four of its fourteen tracks easily attracting the 'side-long' sobriquet, Musicmagic reaching nearly half an hour; a jazz odyssey indeed. Many tracks cross over into a kind of progressive/fusion area, highly arranged sections being bifurcated by the expected instrumental solos; indeed, a handful of its tracks feature male and female vocals, although they only serve to dilute the power of the band, augmented by a brass section. Corea's wife, Gayle Moran, played second keyboards on the album, including (allegedly) Mellotron, although there's very little here that actually sounds like it's definitely sourced from an M400, with occasional background strings on Opening '77 and The Endless Night and background choirs (backing up real voices) at the end of So Long Mickey Mouse. To be honest, the strings could easily have emitted from a string synth, while the choirs don't sound particularly Mellotronish, although I'm not sure what else might've made that sound.
Overall, fusion fans who don't already own this should go into raptures over its considerable length, although the rest of us may find ourselves twiddling our thumbs in places. There's next to no Mellotron (if any at all), so I really wouldn't bother on its account. If I ever get to hear the original one-LP version, I'll add a tracklisting; it seems likely there's a little 'Tron, as it includes most of The Endless Night and all of So Long Mickey Mouse, for what it's worth.
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Tunnel Into Summer (2000, 46.12) ***½/TT½ |
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| Simple Pleasures Heart of the Sun If There's an Answer Rosemary Jean Tunnel Into Summer Tart with the Heart Beautiful Ruth Little Ray of Sunshine |
The Truth The Radio Played Good Vibrations Plas Yn Rhiw Honey is That Love Alice Klar |
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Kimberley Rew's best work may have been with the staggeringly underrated Soft Boys, but his best-known (not to mention most lucrative) was with Katrina & the Waves, for whom he wrote the mega-selling Walking On Sunshine, not to mention Britain's first Eurovision-winning entry for over 15 years, Love Shine A Light. OK, Kim, we'll forgive you. 2000's Tunnel Into Summer (title influenced by Robert Heinlein's novel The Door Into Summer?) is typically jangly, '60s-influenced pop/rock, as you'd expect from someone who's worked with Robyn Hitchcock. Too many highlights to mention, although opener Simple Pleasures is excellent, as is closing instrumental Alice Klar.
Rew doubles (triples?) on Mellotron, with a speedy, clicky flute part on Rosemary Jean, a similarly clicky string line on Little Ray Of Sunshine, wobbling at the end in a 'this one's 100% genuine' kind of way. More 'dying on their feet' strings on The Truth and a more (if not completely) stable part on Alice Klar. It's possible it crops up elsewhere (If There's An Answer?), but is too far down in the mix to say for sure, and it's as likely to be Hammond as Mellotron anyway.
So; a good collection of songs with some interesting arrangements, which sounds like a recipe for a successful mainstream(ish) album to me; several good 'Tron tracks are merely a bonus. Worth hearing.
See: Robyn Hitchcock
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Emitt Rhodes (1970, 31.32) ***½/½ |
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| With My Face on the Floor Somebody Made for Me She's Such a Beauty Long Time No See Lullabye Fresh as a Daisy Live Till You Die Promises I've Made |
You Take the Dark Out of the Night You Should Be Ashamed Ever Find Yourself Running You Must Have |
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Mirror (1971, 30.00) ***½/½ |
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| Birthday Lady Better Side of Life My Love is Strong Side We Seldom Show Mirror Really Wanted You Bubblegum the Blues/I'm a Cruiser (Medley) |
Love Will Stone You Golden Child of God Take You Far Away |
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Farewell to Paradise (1973, 36.53) ***½/TTTT |
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| Warm Self Sacrifice See No Evil Drawn to You Blue Horizon Shoot the Moon Only Lovers Decide Trust Once More Nights Are Lonely |
Bad Man In Desperate Need Those That Die (from "Tame the Lion") Farewell to Paradise |
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Emitt Rhodes is one of those legendary figures amongst the cognoscenti, frequently compared to Macca, although it's not a comparison I'd personally welcome, but there you go. He recorded his three proper solo albums in his garage, on equipment bought with a record company advance, which explains their slightly low-fi nature, 1970's Emitt Rhodes being the album that made his reputation, full of material of the quality of Somebody Made For Me (that IS Paul on vocals, isn't it?), Long Time No See and Promises I've Made. Although the album's overriding keyboard sound is harmonium, unusually, the background strings on With My Face On The Floor have to be tape-driven, although whether Chamberlin or Mellotron is unknown, although the former's more likely, simply due to the lack of availability of Mellotrons in the States before the early '70s.
The following year's Mirror is, essentially, more of the same, top tracks including opener Birthday Lady, Love Will Stone You and Golden Child Of God. Minimal tape-replay again, with a brief (Chamby?) flute part on the I'm A Cruiser part of the Bubblegum The Blues/I'm A Cruiser medley, although the harmonium provides the album's chief keyboard backdrop again. My theory on this is... Rhodes knew Curt Boettcher, the maverick West Coast producer who created Sagittarius and The Millennium and mixed Rhodes' last album. Boettcher owned, or at least had access to a Chamberlin, so what are the chances it's his machine we're hearing here? Anyway, Rhodes' third album was actually the recordings he made in 1969 with The Merry-Go-Round, those chancers at A&M releasing them just after Mirror. Unsurprisingly, with a higher budget, no tape-replay here, although the material's pretty decent.
1973's Farewell to Paradise is his third and last solo album proper, as he pretty much retired from music not long after its release. Stylistically, the album's fairly typical for a singer-songwriter effort in the early '70s, being fairly soft rock, although much of the writing transcends its rather dated setting. Saying that, opener Warm Self Sacrifice and Bad Man are pretty ordinary rock'n'roll numbers, although little else disappoints, highlights being the balladry of Only Lovers Decide and the brief but beautiful Those That Die, apparently excepted and mutated from another Rhodes song, Tame The Lion. Mellotron from Rhodes himself, and lots of it (couldn't afford a string section?), with flute and string parts on See No Evil, Blue Horizon and Shoot The Moon, strings on Only Lovers Decide and Trust Once More, flutes and queasily pitchbent strings on Nights Are Lonely and finally, full-on strings on Those That Die. It's always a surprise when a previously-unknown major 'Tron album sticks its head up over the parapet, and this one just has.
So; early-'70s singer-songwriter territory, mostly good, loads of Mellotron on one album, anyway. What's not to like?
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Rialto (1997, 48.19) ***/T½ |
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| Monday Morning 5:19 Dream Another Dream Broken Barbie Doll Summer's Over Untouchable Hard Candy Quarantine Lucky Number |
Love Like Semtex When We're Together The Underdogs Milk of Amnesia |
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Britpop leftovers Rialto made all the right moves; '60s influences, period instruments, mockney vocals. How could they fail? Probably because there was only ever room for one Pulp. Rialto isn't actually a bad album, with quite a few memorable songs, although they're nowhere near Pulp's level of sophistication, despite their Scott Walker fixation.
Keys man Toby Hounsham plays Mellotron on a couple of tracks. Summer's Over sounds like a Kinks outtake, with quite upfront 'Tron strings and maybe cello, while the harpsichord-driven Quarantine has a startlingly similar feel about it, with some Beatles-y brass, and more of those 'Tron strings. Actually, two good 'Tron tracks, and, going by the evidence presented here, a better band than many of their more successful rivals (who said Oasis? Oh. Must've been me).
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Electròccid Àccid Alquímistic Xoc (1975, 41.14) ***/T½Sol SoletEs Fa Llarg es Fa Llarg Esperar Cuatre Barres Blanc i Negre Brian a Clown Lluna Robada María Occident (Recepte de Cuina) Lluna Estimada Estrella de la Fortuna |
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To my knowledge, Pau Riba's 1975 release, Electròccid Àccid Alquímistic Xoc, was his first for several years, although a lack of Spanish leaves me unable to ascertain why. Whatever, it consists of that strange variety of psych-inflected mainstream pop/rock that seems to be unique to Spain of the period, possibly due to the lifting of restrictions after the fall of the dictatorship and the general social and political upheaval of the era. Or maybe the Spanish just liked it. It's passable enough as that kind of stuff goes, but a rather unexciting listen 35 years on, to be honest, although far from offensive.
Pepe Dougan plays Mellotron, with faux-orchestral strings and flutes on Es Fa Llarg Es Fa Llarg Esperar, heavily phased strings on María and a nice flute part on Occident (Recepte De Cuina), though nothing you really can't live without. So; passable album, couple of nice bits of Mellotron, just scrapes three stars. Whatever.
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Marc Ribot y los Cubanos Postizos (1998, 46.41) ***½/T |
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| Aurora en Pekín Aquí Como Allá Como Se Gozo en el Barrio Postizo No Me Llores Más Los Teenagers Bailan Changui Fiesta en el Solar La Vida Es un Sueño |
Esclavo Tristé Choserito Plena |
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Marc Ribot's been around since the '80s, doing his 'weird guitarslinger for hire' thing with artists of the calibre of Tom Waits (he was Waits' guitarist of choice for some years), Cibo Matto and Elvis Costello. He's been releasing solo albums under various nomenclatures since 1990, including 1998's self-titled effort from Marc Ribot y los Cubanos Postizos ('Marc Ribot and the Prosthetic Cubans'). It's a wonderfully off-the-wall melting-pot of styles, Latin and otherwise, top tracks including gentle opener Aurora En Pekín and the nutzoid No Me Llores Más.
As part of the New York Weird Mafia, it's hardly surprising that John Medeski plays organ and Mellotron here (Ribot's guested with MMW), although there's just the one 'Tron track, No Me Llores Más, with a gleefully pitchbent string part alongside the organ. All in all, then, a joyful album that proves the Latin music can hold discrete liaisons with the avant-garde without losing face.
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Trouble is Real (2005, 58.20) **/T |
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| Short Song for Strings Mid-November Kiss Me Goodbye So Sweet Break So Easy Lady Memphis Behind the Frontlines My Mother's Son |
Leave the Light on City on Fire Put Me in Your Holy War Salvation Day Stay at Home Acrobat Hickory Wind (Outro) I Wouldn't Miss it for the World |
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The oddly-spelled Johnathan Rice is a pretty typical modern singer-songwriter, all over-emoting musical drool and blander-than-bland arrangements, assuming his debut, 2005's Trouble is Real, is anything to go by. The album's so faceless that most of it slipped past without me even noticing, including his take on Gram Parsons' Hickory Wind, so any attempt to say anything more about its contents would be fruitless.
Mike Mogis plays Mellotron, with a jaunty flute part all over Stay At Home, although all the album's strings sound real. I'm sure Mr. Rice is fairly popular, doubtless helped considerably by having songs used in TV programmes such as The O.C. One passable 'Tron track here, but far, far from enough to make the album actually worth hearing.
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Rock'n'Roll Juvenile (1979, 44.06) **/½ |
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| Monday Thru' Friday Doing Fine Cities May Fall You Know That I Love You My Luck Won't Change Rock'n'Roll Juvenile Sci-Fi Fallin in Luv |
Carrie Hot Shot Language of Love We Don't Talk Anymore |
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Ah, Cliff Richard, the oldest swinger in town, not to mention the oldest confirmed bachelor, a.k.a. 'Cliffy Bastard', for anyone old enough to've seen the heavily Cliff-referencing The Young Ones in the early '80s. I should be fair here; Cliff (born Harry Webb) is Britain's first genuine rock'n'roller, releasing what's generally regarded to be the UK's first proper rock'n'roll record, Move It, in 1958, aged seventeen. In 2008, of course, he celebrates an unbelievable fifty years in 'the biz', although he's spent the vast majority of them as a family-and-Christian-friendly artiste, producing jaunty mainstream horrors such as Summer Holiday (OK, so it was a film theme), Congratulations (OK, so it was Eurovision) and Mistletoe & Wine (no excuses whatsoever - rhymes with 'children singing Christian rhyme'). We're not going to talk about The Millennium Prayer. If you've never heard Cliff's music (Brit readers stop reading now), think: an even more straight-down-the-line Paul McCartney with less talent and extra added Christianity.
Rock'n'Roll Juvenile was something like his 33rd non-compilation studio album in twenty years, and is, to no-one's surprise, a mainstream pop/rock album, recorded with the help of various session men and professional songwriters, including Brian "B.A." Robertson (not that one). In all honesty, while bland and faceless, it's nowhere near as bad as many, many other albums, its chief sin being the tedium it induces in any listener not inured to Cliff's unashamedly pop approach. Of the album's two hit singles, We Don't Talk Anymore, his first UK No.1 in over a decade, is truly horrible, although Cliff's sleevenotes comment that it only went on the album as an afterthought, and was clearly recorded at a different session, while Carrie is actually one of his better hits, despite its cheeso chorus (well, it was a hit). Incidentally, presumably a) to prove everyone concerned has a sense of humour, and b) to see if anyone's watching, über-session man Herbie Flowers is credited in increasingly sillier ways as the album progresses, ending up with 'Hermione Fleurs' and 'Inter Flora', which, while slight, seems to indicate an attention to detail lacking in so many mainstream acts.
The joy of track-by-track instrumental credits! Since I'm quite clearly deranged enough to actually buy stuff like this (as long as it's dirt cheap), at least some artists have the good grace to enable me to skip across the tracks on their worthless pieces of shite (OK, maybe not quite) until I reach the one (usually just the one) of any 'interest' (term used loosely). In this case, it's Language Of Love, with, rather surprisingly, a short burst of fairly decent 'Tron male voice choirs, played by hit-artist-in-his-own-right Peter Skellern. However, you're not going to buy this album for that, or, I'd imagine, anything else.
See: The Shadows
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The Herethereafter (2001, 55.00/63.34) **/T½ |
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| The Beginner The Long Goodbye Folkin' Hell Right Now I Know What It's Like Ella Last Solstice of the 70's Dandelion |
Beauty Queen Seven Hours The Landscape [Bonus tracks: Vagabond Angel Prayer] |
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Apparently, Metallica's Kirk Hammett taught Miranda Lee Richards how to play guitar by teaching her Mazzy Star songs, not that you can tell from her style... Her first album, 2001's The Herethereafter, is an alt.country/indie crossover effort, although I have to say, it's pretty bland fare; most of the tracks are too long, and Richards' voice is rather dreary, making for a somewhat unappealing package, I'm afraid to say.
The inimitable Jon Brion plays Chamberlin, with strings on The Long Goodbye, Folkin' Hell (ho ho), flutes on I Know What It's Like and strings and flutes on Seven Hours, alongside real strings on several tracks. Overall, this becomes more and more irritating as it progresses, largely due to its overriding blandness. Is it really acceptable to make music this safe? Seemingly. Anyway, more Chamberlin than on many similar, but nothing you can't live without.
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Forever & Today (2003, 40.13) ***½/TT |
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| Fallen Stars Up & Out Every Little Thing I Wanna Make it With You I Won't Give in My Love is True I Do Little Petty Things |
Today (part 1) Little Charms You Fill Me Up Oh No, Okay Today (part 2) |
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The Richies are one of Australia's top powerpop bands, comprising members of other fêted outfits. Their debut, 2003's Forever & Today, is an immaculately produced record, highlights including I Wanna Make It With You, Little Petty Things, Today (Part 2) and the two 'backwards' sections, although, in truth, there isn't a bad track here. There also isn't anything of any great originality, but how many older genres really have anything new to say, anyway? Most 'genre' outfits settle for writing material as well as they can within the confines of their style; we can argue 'til the cows come home whether or not this is inferior to producing original rubbish.
Drummer Michael Carpenter and guitarist Eddie Owen both play Mellotron, with strings on Every Little Thing and Little Charms, plus flutes and strings on My Love Is True, all enhancing their chosen tracks nicely. Powerpop fans who haven't run into The Richies need to purchase this album post haste; anyone else who appreciates good writing in a Badfinger/Big Star style could do a lot worse than to hear this, too. Three 'Tron tracks merely enhance what is already a very good album. Recommended.
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Space Waltz (1975, 40.50) ****/TTTFraulein LoveBeautiful Boy Seabird Out on the Street Angel Open Up Scars of Love And Up to Now Love the Way He Smiles |
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Alastair Riddell (1978, 42.57) ***½/TSmileWonder Ones Come on Over Wear My Light Are They Real Oh Ron Eyes of Love What Good Does it Do Me I Can See Space |
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Alastair Riddell was yet another of those Kiwis who moved to Oz to attempt to find fame and fortune (see: Split Enz, Crowded House and, er, Airlord). His stock in trade, at least on Space Waltz (also the name of his band) seems to have been as the Antipodean Bowie, doing a passable imitation of the great man's voice, with a band who did a fair Spiders/Mott impersonation. I believe Out On The Street was actually a largish hit
over there, too, although it sounds slightly dated for '75 to my ears. On the 'Tron front, Tony Raynor (i.e. Eddie Rayner of Split Enz) plays loads of strings on Beautiful Boy, flutes, strings and choir all over the epic Seabird, flutes on Angel and more strings on Open Up, along with various other keys. Although the Bowie influence is far too obvious to ignore, it doesn't diminish the album's qualities. It's now been reissued twice, although with new sleeves (see right and above).
Riddell didn't record again until '78 and, despite its boring sleeve, Alastair Riddell is actually a pretty good album, rather like a toned-down version of his debut. In the interim, Riddell seems to have picked up another influence, Steve Harley, with much of his stylised diction tending towards him, although Bowie is everpresent too, of course. The songs are good without being outstanding (nothing is up to the quality of the best material on Space Waltz), but the overall sound of the album isn't unpleasing, being devoid of spiky Noo Wave influences, which probably hadn't made it as far as NZ by then. Only one 'Tron track this time round, from Riddell himself, with some fairly standard flutes and strings on Wonder Ones, but that isn't why you should pick this up if you see it. Oh, and Eddie 'Raynor's name is still mis-spelt.
So; Riddell's is a largely wasted talent, with a tiny handful of releases to his name; there was a third album in the early '80s, with an unpleasant synth-pop veneer to it, but I really wouldn't bother if I were you. Space Waltz is definitely the better of these two albums (and far more 'Tron), and by far the easier to find, with two different CD issues in the last few years, but his eponymous second effort is worth hearing should you find a copy, probably in NZ.
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Holiday in Dirt (2002, recorded 1995?-99?, 61.31) ***½/½ |
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| Beloved Movie Star Operator Help Me Time Inside End of the Line Garage Band '69 Bing Can't Walk Brand New Special and Unique After the Storm |
Floundering Amnesia Whatever Happened to You? Act of Faith Beloved Movie Star Redux Behind Closed Doors [unlisted] |
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Stan Ridgway is known in Britain, if at all, for his one-off novelty hit Camouflage, but is best remembered round here for his first band, the Wall of Voodoo's classic Mexican Radio, as later covered, in truly surreal fashion, by Swiss avant-metallers Celtic Frost. Holiday in Dirt is a collection of outtakes, b-sides etc, several of them seemingly finished off for the compilation, and none, repeat none of them third-rate rejects left off previous releases due to a lack of quality. Highpoints include Garage Band '69, Whatever Happened to You? and Beloved Movie Star Redux, not to mention the superb unlisted track, a version of Charlie Rich's Behind Closed Doors sung as if by some bitter, twisted shadowy management figure, jealous of his client's talent. Killer.
Only one 'Tron track, from Ridgway's wife Pietra Wexstun, with flutes on Operator Help Me, although they don't, in all honesty, add that much to the song. So; possibly not the best entrée to Ridgway's singular talent - or maybe it is? Certainly worth picking up cheap, though not for the Mellotron. Two more 'Tron albums to my knowledge: '04's Snakebite: Blacktop Ballads & Fugitive Songs and Blood: Paintings By Mark Ryden from the same year. I shall report back at a later date.
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Birth of a Giant (1999, 51.28) ***/½ |
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| Intro (Non Outro) Open Mouth Endless Day Birth of a Giant Spy Thriller Secret Cafe Ballad of Maria Banter A Casual Observation |
Uncomfortable Cafe Hanging Gardens Outro (Non Intro) |
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Bill Rieflin seems to have a largish musical résumé, but is best known for his work on the drum stool for Ministry and the Revolting Cocks/Revco (surely one of the best-named bands ever?), and after a lengthy friendship with Peter Buck, it seems he's now also R.E.M.'s touring drummer. Birth of a Giant is his first solo album, with considerable input from Robert Fripp and Trey Gunn of King Crimson and yes, it shows. I've seen it described as 'dark, heavy electronica', and that doesn't seem to be too far off the mark; it's a dense, claustrophobic record that still apparently manages to be one of the 'lighter' offerings in Rieflin's discography. Heavily percussive, even the gentler pieces here are quite propulsive, contrasting oddly with Rieflin's half-spoken vocals and the drifting synths that crop up almost everywhere you look. There doesn't seem to be that much variety on offer, at least on an initial listen, but I'm sure fans of the album will take me to task for saying so.
Multi-instrumentalist Rieflin plays Mellotron, alongside what seems to be almost everything else, although the only place it even might be is on overlong closer Outro (Non Intro), although the background string chords could be produced by just about any modern keyboard, to be honest. I'll give this one the benefit of the doubt, but rather like Trey Gunn's The Joy of Molybdenum, I'm far from convinced any actual tape-replay was involved. So; an album unlike anything else I've heard, which is a feat in itself, but whether I actually like it is another matter. File under 'interesting'.
See: R.E.M. | Trey Gunn | King Crimson | Angels of Light
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More Adventurous (2004, 44.23) **/T |
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| It's a Hit Does He Love You? Portions for Foxes Ripchord I Never The Absence of God Accidntel Deth More Adventurous |
Love and War (11/11/46) A Man/Me/Then Jim It Just is |
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Rilo Kiley were formed in L.A. by former child actors Jenny Lewis and Blake Sennett, giving them an instant entrée into the world of TV and film soundtracks. He says, cynically. Going by their third full album, the mistitled More Adventurous, they play the kind of squeaky-clean indie pop/rock that seems to captivate untold millions of young people, for no seemingly discernable reason. Why do people like this kind of music? Its emotional content? It's easy to sing along to? It speaks to them? The only thing it says to me is, "I'm extremely dull, go and listen to something else", but then, I'm not a Young Person, and haven't been for a long time, so it'd probably be a bit scary if I did like it.
Mellotron from Lewis and Sennett, with a reasonable flute part on Does He Love You? (although the strings are real), and a few notes at the beginning of the oddly-titled Accidntel Deth, although I'm not sure why it took two people to play them. All in all, a pretty tedious record, not improved by the addition of pedal steel to several tracks. Little Mellotron, dull music: avoid.
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Family (2007, 47.37/57.07) **/½ |
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| Family Nothin' Better to Do Fight Good Friend and a Glass of Wine Something I Can Feel I Want You with Me Doesn't Everybody Nothing Wrong |
Pretty Things Upper Hand One Day Too Long What I Cannot Change [Bonus tracks: Till We Ain't Strangers Anymore When You Love Someone Like That] |
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LeAnn Rimes had her first major hit at the tender age of thirteen, making her now a veteran of the country scene in her late twenties. She's found her niche in the country-pop market, although her tenth album, 2007's Family, is no worse than many others in the genre and better than many (the horrible Gloriana spring to mind). LeAnn actually experiments with different approaches on the record, not least the soul/blues of One Day Too Long, which is a long way from what you might expect of a contemporary country singer, although I could've done without the 'bonus' Jon Bon bleedin-Jovi duet Till We Ain't Strangers Anymore.
Tim Lauer plays Mellotron, with flutes on Fight, so despite a couple of 'is it/isn't it?' string parts, I think that's your lot. Family isn't that long an album, but would almost certainly be better were it a few (specific) tracks shorter, not least the two crummy 'bonuses' (funny use of the term, but there you go). Next to no obvious Mellotron, anyway, even if you, er, actually go for this stuff.
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La Huerta Atómica: Un Relato de Anticipacion (1976, 47.16) ***½/TTTT |
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| Entre Arboles y Aviones Una Casa en la Guerra Buenos Dias, Superman Yankee Johnny Bienvenida, Katherine La Huerta Atómica (Un Relato de Anticipacion) Una Siesta Atomica Instrucciones a la Poblacion Civil |
El Consultorio Atomico de la Sr.a Pum El Carnaval de los Espectros (I) La Burbuja Antirreaccion La Cancion del Megacristo El Carnaval de los Espectros (II) Por el Hombre Futuro El «Dulce» Despertar |
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It's difficult to find any info on artists like Miguel Rios in any language other than their own, and my Spanish isn't exactly up to scratch, so going by discographies I've seen, I'm making something of an assumption in saying that I think Rios was/is a 'popular singer' in Spain, who took a minor diversion into sort-of prog territory in 1976, when Spain's slightly late progressive scene was at its peak. La Huerta Atómica is obviously a concept album of sorts, presumably referring to nuclear war. The music is a rather mainstream version of the Spanish progressive sound, although it has its moments, including the more tuneful parts of La Huerta Atómica itself.
On the Mellotron front, Mariano Diaz uses strings pretty heavily, which makes a nice change for a Spanish LP. Flutes and choirs (Bienvenida, Katherine) can also be heard, but surprisingly, the title suite on side two has rather less 'Tron than the bulk of the first side. Top 'Tron track has to be the anti-American rant Yankee Johnny, intoned in English, with shedloads of 'Tron strings all over the thing.
All in all, this is a reasonable album musically, but top-notch for 'Tron; the only thing stopping it getting a higher 'T' rating is a slight lack of imagination in its use. I think this is now available on CD; just try to avoid paying as much as I did for a knackered vinyl copy that looked fine in a dimly-lit Barcelona shop.
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Roses for a General (1984, 39.40) ***/T½The Green CoastPuzzles Figueras Soul Exercise The First Rose Old Places |
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Laza Ristovski was an on/off member of top Yugoslav/Serbian outfits Smak and Bijelo Dugme throughout the '70s and '80s, also playing with Alvin Lee, Chris de Burgh and other European artists. Although Smak are rumoured to have used a Mellotron, it's nowhere to be found on the only album of theirs on which he played, although he did play one on Laza i Ipe's Stižemo (with Ipe Ivandić) in 1978. Roses for a General was his fourth solo album, where he took the unusual step of recording an instrumental progressive synth-pop record with jazz influences (!), which probably did well in his home country and, er, less well elsewhere. In fairness, he took chances musically, not least the strident polysynth part in The First Rose and the Hammond solo in Old Places, although the bulk of the album suffers from a rather samey sound.
Another unexpected feature of the album (OK, you expected it, or it wouldn't be here) is Ristovski's occasional Mellotron use, with flutes and strings on Puzzles and a beautifully upfront flute part on closer Old Places, the least 'pop' track here. Roses for a General doesn't appear to be available on CD, and probably isn't worth paying very much for on vinyl, although it does have one very nice 'Tron track. As a sad addendum, Ristovski died in late 2007 at the age of 51, having suffered from MS for some years.
See: Laza i Ipe
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Variéty [a.k.a. Variety] (2007, 44.18) ***/½ |
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| L'ami Ennemi (So Called Friend) Communiqueur d'amour (Communic' Hearts in Love) Rêverie (Daydream) Berceuse (Lullaby) Même si (Even If (Même si)) Rendez-vous Avec Moi-même (Big Bone to Chew) She's a Cameleon (She's a Chameleon) Soir de Peine (Time You Call) |
Badluck Queen (Bad Luck Queen) Ma Vieille Ville (Paris (France)) Ding Ding Dong (Ding Dang Dong (Rolling on the Floor)) Terminal Beauté (Terminal Beauty) |
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Catherine Ringer and Fred Chichin began releasing records as Les Rita Mitsouko in the mid-'80s, in an ironic chanson/folk/punk/electro crossover style. Tragically, Chichin died in 2007, mere months after the duo released Variéty (also released in English as Variety), only their seventh album, which would probably work well as a primer for the band, veering between, er, acoustic synthpop (Rêverie/Daydream), ironic metal (Berceuse/Lullaby) and pseudo-'60s French pop crossed with synthpop again (Soir De Peine/Time You Call).
Mark Plati guests on 'Tron, with background strings on Badluck Queen, although that would appear to be it. I suspect you have to be something of a Francophile to really enjoy Les Rita Mitsouko, but there's little here to really dislike for anyone with at least a semi-open mind. Thankfully, Catherine Ringer hasn't let her partner's death stop her; she's currently working with the last lineup of the band, though whether or not they're still using the name is unknown.
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None But One (1977, 38.08) ****/T½ |
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| Fair Nottamun Town Too Many Shadows Black Waters None But One The Orphan's Lament Flowers of Joy See That Rainbow Shine The Riddle Song |
Sweet Sorrow in the Wind Wondrous Love Now is the Cool of the Day |
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Jean Ritchie was born in Kentucky in 1922, and eventually became known as 'the mother of folk', having recorded countless albums of folk and folk-inspired music. At the time of writing, Ritchie is not only still living (aged 85), but performing, putting her in the Pete Seeger league of musical longevity. As much as for her singing, she's known as one of America's chief exponents of the lap dulcimer, as against the better-known hammer version. Her first album, Traditional Songs of Her Kentucky Mountain Home, was recorded at the dawn of the long-playing era, in 1952, and while her recorded output has slowed from the '70s on, her most recent album appeared in the late '90s, and it's presumably not inconceivable that she may record again.
1977's None But One was something like Ritchie's 24th album, appearing on the Sire label, making her a contemporaneous label-mate of The Ramones. I wonder what she thought? Label boss Seymour Stein obviously had the breadth of vision to sign both artists, though, which has to be applauded. None But One is a mix of more obviously traditional folk songs (the beautiful old English ballad Fair Nottamun Town, the title track) and countryish material (Too Many Shadows, See That Rainbow Shine), with a modern backing in places. Some listeners may find Ritchie's delivery a bit old-fashioned, but given that she was in her twenties before she even heard the radio, it's highly commendable that she allowed producer Al Steckler to foist so many modern influences on her music.
Ron Frangipane's Chamberlin can be heard on a few tracks, starting with an ethereal flute line on opener Fair Nottamun Town, with what I presume is a background Chamby strings part on The Orphan's Lament. It's real recorders on The Riddle Song (sorry, I can't hear this without thinking of the scene in National Lampoon's Animal House), but those strings crop up again on Sweet Sorrow In The Wind, although that would appear to be it.
This is a lovely album that neatly straddles the divide between 'traditional' and 'modern' folk, where the last two a capella tracks rub shoulders with country- and folk-rock material without getting into a scrap. Thankfully, it's available on CD as a two-on-one with the considerably later High Hills & Mountains, although its Chamberlin content is too low to really be worth bothering with. Buy it anyway.
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Ritual (1995, 60.48) ***½/½ |
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| Wingspread The Way of Things Typhoons Decide A Little More Like Me Solitary Man Life Has Just Begun Dependence Day Seasong for the Moominpappa |
You Can Never Tell Big Black Secret Power Place |
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Ritual are probably best described as a prog/folk crossover; live, they down instruments at one point and pick up a variety of acoustic ones, including a hurdy-gurdy, so it's fair to say that they're pretty hot on the Swedish equivalent of hey-nonny-nonny. On an initial listen to their debut, Ritual, it seems at first that this side of their collective personalities comes across less well on record, although it doesn't take long for the folk influence to creep in, ending up being discernable on most tracks. Possibly the best example is the ridiculous but rather sweet faux-sea shanty Seasong For The Moominpappa, dedicated to Sweden's very own imaginary 'little people', Tove Jansson's Moomintrolls (as are at least two other tracks on the album), opening with what has to be Jansson herself reading from one of her works. Generally speaking, it's actually quite difficult to categorise Ritual's music (which has to be a good thing), as it contains elements of metal, fusion, '70s prog and other genres, as well as various folk musics, meaning either that you'll be irritated at its diversity, or that there's something here for everyone.
Jon Gamble's keyboard work is exemplary throughout, although there are a few unfortunate digital synth patches in places that sit rather uneasily with the music. I'm not at all convinced the album's minimal Mellotron use is genuine, and as it only lasts a few seconds, it's hardly worth worrying about (I mean, are you worried?). The otherwise folky The Way Of Things suddenly switches into a big symphonic section near the end, with a Mellotron string crescendo, but that appears to be your lot. There's supposed to be more 'Tron on '99's Did I Go Wrong EP and 2003's Think Like a Mountain; more news when I get to hear copies. As far as Ritual itself goes, don't bother for the 'Tron, but it's an adventurous debut from an interesting band, and is well worth a listen. Incidentally, vocalist Patrik Lundström also sings for the reformed Kaipa, although (luckily) it doesn't seem to have affected his work with Ritual.
See: Kaipa
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Reinvention Highway (2004, 45.36) ***½/0 |
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| Midnight Special I'll Be Back I'll Try The Way We Live Everynight Johnnie Johnson Blues The Snake Lo Down |
Going Back to Big Sur Feel a Whole Lot Better Walk on Boy Don't Go Lovin' Songwriter Learning to Dance |
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Johnny "Rivers" Ramistella began his career in the late '50s, while still in his teens, scoring his first hit, his take on Chuck Berry's Memphis, in 1964. He last hit the charts in 1977, but never stopped working, although album releases have become few and far between in recent decades. 2004's Reinvention Highway mixes remakes of a few of his early hits, some covers and a few new originals, the end result being a very long way from the tired old rehash you might expect. Rivers still has a great blues/soul voice in his sixties, and an excellent choice of material makes the album a reasonable prospect for those who remember him in his prime.
Mike Thompson plays various keys, mostly Hammond and various pianos and, allegedly, Mellotron, but once again, I'll be stuffed if I can hear where. Certainly not the strings on closer Learning To Dance, anyway. All in all, though, a bit of a triumph for an artist generally shoved into the 'where are they now?' category. Rivers is unlikely to ever trouble the upper reaches of the hit parade again, but as long as he can make albums as real as this, he can hold his head high.
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Jacques Tom Rivest (1979, 40.46) ***½/TT½ |
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| Dimanche La Langue de Son Pays Voyage au Tibet Clown d'un Soir Messager du Temps Toujours Plus Haut La Nuit Trouver Ma Liberté |
Laisse Toé Donc Aller [CD adds: Prendre Son Temps] |
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Jacques Tom Rivest was a mainstay of excellent Québecois proggers Pollen (one self-titled album, no 'Tron), releasing his eponymous solo debut in 1979. It's less 'progressive' than 'singer-songwriter' with a folky edge, although some tracks stray into semi-symphonic territory, not least Voyage Au Tibet and La Nuit. Even the more straightforward numbers hold the listener's interest, though, making this an adjunct to the Québecois prog scene, if not an integral part of it.
Mellotron on most tracks from either Rivest himself, Claude Lemay or Richard Lemoyne, with strings and an unusual 'Tron sax melody on La Langue De Son Pays, with more strings on Voyage Au Tibet. Choirs on Clown D'Un Soir and Toujours Plus Haut, with more strings and choirs on Trouver Ma Liberté, although little of the Mellotron work (excepting the sax part) breaks any new ground. But then again, why should it? It provides a decent strings and/or choir backdrop to several tracks, sounding a whole lot better than the string synth that crops up here and there.
So; not exactly prog per se, but proggish, with a good selection of songs; something many prog outfits could learn from, I feel. Decent music, not bad 'Tron, worth hearing.
