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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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SBB Sadistic Mika Band Saga (Netherlands) Saga de Ragnar Lodbrock |
Sahara Sailor Free St.Elmo's Fire |
Saint Just Salad Salem Hill |
Samarkande Samla Mammas Manna Sanctuary |
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Ze Słowem Biegnę do Ciebie (1977, 38.49) ***½/0Ze Słowem Biegnę do CiebiePrzed Premierą |
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Welcome (1979, 41.50) **½/0Walkin' Around the Stormy BayLoneliness Why No Peace Welcome Warm Nights and Days Rainbow Man How Can I Begin Last Man at the Station |
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Memento z Banalnym Tryptykiem (1980, 39.54) ***½/0Moja Ziemio WyśnionaTrójkąt Radości Strategia Pulsu Memento z Banalnym Tryptykiem |
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SBB were a Polish fusion outfit, led by über-keyboard man Józef Skrzek, who produced several inventive albums during their career, especially their second and third, both from '75, Nowy Horyzont and Pamięć. Like many Eastern European bands (Omega spring immediately to mind), SBB's discography is a confused thing, with albums appearing in different territories under different titles, although their website seems to put matters straight by listing their releases not only in order, but with the month as well as the year of original release.
As a result, it seems Ze Słowem Biegnę do Ciebie is definitely their fourth album, and like its two predecessors, is a ripping slice of prog/jazz rock, consisting of two side-long pieces, one with vocals, although not a jot of the credited Mellotron, unless the extremely faint sustained sound on side one (which pretty much rules it out anyway) is what we're looking for. Neither the first nor the last time we'll hear from 'the inaudible 'Tron'. Or not. Fine album, anyway. Now, their second album of '77 really starts the ball rolling properly; SBB (Wołanie o Brzęk Szkła) (****) is a storming record, with some of the most incendiary MiniMoog playing (from Józef Skrzek) you may possibly ever hear scorched into its grooves/binary pits. This is a fucking great album, make no mistake, even for someone who generally avoids fusion, although, despite rumours, it appears to not only be entirely 'Tron-free, but hasn't actually got the thing credited. Follow My Dream (***½), from later the same year, hasn't got it credited either, but the year's second eponymous SBB album apparently has. Confused? Good.
Sadly, the band had 'normalised' considerably by Welcome, but it still has its moments, although, to be honest, they're few and far between. Opener Walkin' Around The Stormy Bay is a high-energy slice of prog-fusion, and How Can I Begin has some nice organ work, but most of the rest of the material's pretty dispensable. There's Mellotron credited on three tracks, but I can't hear the thing myself, so that's a fat 'zero' on the 'T' rating, then.
Memento z Banalnym Tryptykiem is a better affair, surprisingly, without all the cheesy vocal material of its predecessor (I believe this was due to leaving their previous label). There's some quite ripping fusion guitar work to be heard here, which, while creating its own problems, is vastly superior to awful attempts at songwriting. The side-long title track is especially good, building to a superb guitar-driven crescendo before a sudden tape cut. Mellotron's credited on two tracks but is, once again, completely inaudible.
The only (apparently) relevant SBB albums I now haven't heard are the above-mentioned 'Amiga album' and a cassette-only release from 1978, Jerzyk, although I've no idea whether or not the latter's made it onto CD anywhere. There's also a '79 Skrzek solo release, Pamiętnik Karoliny, but going by these three, I can't imagine what use Skrzek actually made of his Mellotron; the only other band I can think of who used it so little are Novalis, and even they managed more than this. So, the only genuinely poor album I've heard by the band (apart from its opening track) is Welcome, but everything else is pretty much worth hearing, assuming you're into fusion.
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Sadistic Mika Band (1973) **½/T |
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| Dance is Over Silver Child Cosmic Watch Citron Girl Shadow Show I'm Sittin' on the Edge of Skies Galaxy Way Arienu Republic |
Milky Way Picnic Boogie |
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Black Ship (1974) ****/TT |
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| Sumie no Kunie (i) (ii) Time Machine Black Ship 2nd June 3rd June 4th June Yoroshiku Dozo Dontaku |
Four Seasons Suki, Suki, Suki Typhoon Sayonara |
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The Sadistic Mika Band were pretty odd, if truth be told. The recipe goes something like this:
Sadistic Mika Band adheres to this 'formula' in particular, with every song sounding as if it's been influenced by another strand of US pop/rock'n'roll. Dance Is Over is frantic rock'n'roll, Citron Girl is '50s-style balladry, I'm Sittin' On The Edge Of Skies is pseudo-country, etc. The album sleeve spoofs early-'60s 'beach party' movie posters, while the back cover illustration is closer to 'Gone With the Wind'; all very odd. To my ears, there's only one Mellotron track, though no clues as to who plays it (or anything else, for that matter); Silver Child is relatively contemporary rock, with a few string chords here and there. I'm not quite sure what the band were trying to achieve with their debut, but although they do it perfectly well, I don't really feel I can recommend this.
Black Ship is a better proposition all round; Sumie No Kunie is a lengthy, Rhodes-driven jazz/prog workout, with duelling guitars from Kazuhiko Katoh and Masayoshi Takanaka, and the title track is distinctly prog, too. The rest of the album's more straightforward, but still a major improvement over its predecessor. Hroshi Imai's Mellotron turns up on a couple of tracks: Black Ship has some string chords fading in, then 'stabbed' in the 2nd June section, while Four Seasons has a beautiful flute part, with two lines weaving in and out of each other.
Their third (and final?) effort, Hot! Menu (***½) is also worth hearing, but Black Ship was most definitely their highpoint. Get this and don't bother looking too hard for the others.
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To Whom it Concerns (1977) ***½/TTT½RagnarokTime Only Rumours To Whom it Concerns True or False Memoires |
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There appears to be some confusion over names here; Canada's own Saga put their first album out in 1978, a year after their Dutch namesake's (presumably) one and only. The bands couldn't sound more different, though; the Canadians (still, I believe, known as Pockets at this stage) were extremely forward-looking, with no organ or Mellotron to be heard. In fact, their only concession to 'tradition' was their acoustic and electric piano use; otherwise, they were strictly synths only. In fact, if you haven't heard them, think of a slightly transatlantic sounding UK (the Wetton/Jobson/Holdsworth/Bruford outfit from around the same time).
On first hearing To Whom it Concerns I decided that it was just another average Euro-rock album from the mid-'70s; nothing special, just with a bit of Mellotron. Wrong. Now don't get me wrong, this is no classic, but it's actually a really nice European prog album, loaded with Mellotron. Keyboard player Guido Goebertus makes excellent use of 'Tron brass, with the usual strings making their presence felt, plus a little choir. The 'Tron-free track, Time Only Rumours is a pleasant little acoustic strumalong thing, very Genesis to be honest. In fact, Genesis are probably Saga's main influence overall, although they definitely have more of that 'late '70s' sound about them.
The album's a bit of a rarity, and I wouldn't recommend paying a fortune for it, but if you see it cheap...
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Saga de Ragnar Lodbrock (1979, 38.23/54.52) ****/TTT |
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| Les North Mendiants Le Temps de Géants La Chasse Hellequin Le Loup Fendri Chant de la Lance Chants Funèbres de Ragnar Lodbrock Du Fond de l'Empire des Morts La Route Longue des Combats Alors qu'Approche la Mort Chant Final |
[CD adds: Réveillez Vous Picards En Regardent Vers le Pays de France Ballade des Menus Propos Lai ou Rondo à la Mort Ballade Pour Prier Notre Dame Ballade des Pendus Ballade Finale] |
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Saga de Ragnar Lodbrock wasn't so much a band as a project, whose chief aim was to set the 12th-century poem of the title to music. The Saga describes the lesser-known Viking invasion of France in the Dark Ages, and while sung and narrated entirely in French, the music's medieval tonalities create enough atmosphere to override any language barriers. The original 18-minute Chants Funèbres De Ragnar Lodbrock was recorded first, in April '78, but ended up on side two, with several companion pieces written in a similar style to flesh out the album. Listening to it, I'm reminded of French medieval folk outfit Malicorne (slightly like a Gallic Gryphon), but the project's main members had enough of their own style for comparisons to be fairly redundant.
Studio owner Armand Frydman joined the project after they chose his studio to work in, and ended up playing all the keyboards, including a Mellotron. He makes good use of it throughout, mainly flutes and choirs, and although the CD doesn't give separate timings for each part of the piece, I think it's fair to assume that it's on every part, considerably enhancing its funereal aspect. I don't believe the 'Tron was used on the side one material, although there may possibly be some flutes on Le Loup Fendri (The Wolf Fendri), although they're more likely to be an overdubbed real one. The bonus tracks are solo pieces by vocalist François Proust, written for the theatre, but fitting the overall concept of the original album.
So; if you like medieval music with a progressive bent (or vice versa), you can't go too far wrong with Saga de Ragnar Lodbrock, assuming you don't have a problem with French vocals (don't laugh; I've run into several people who love prog, but won't buy 'foreign language' releases!). Once more (and more, and more), top marks to Musea for rescuing this rather wonderful obscurity and doing such a good job on the reissue. And no, they're not paying me. Highly recommended.
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Sunrise (1973, 48.05) ***½/T½ |
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| Marie Celeste Circles Rainbow Rider Sunrise (Part I) Sunrise The Divinity of Being Perception Devil's Tune Paramount Confluence |
Sunrise (Part II) Aspiration Creativity Realisation |
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For All the Clowns (1975, 42.28) ***½/T½ |
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| Flying Dancer The Source Part 1 Part 2 For All the Clowns Prélude The Mountain King Part 1 Part 2 |
Dream Queen Fool the Fortune |
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Some sources quote Sunrise as Sahara's third album, although the sleevenotes claim it's their debut; I now suspect the confusion has arisen over the band's previous identity, Subject Esq. who recorded two albums before changing their name. Not as confusing, however, as the music, which is highly indicative of a band who didn't really know what they wanted to do. They flit from hard rock to almost-country to full-on symphonic prog, to... I think you get the picture. The album's side-long title track is definitely the best thing on it, with several Crimsonesque sections, then in Part C) of Part II (!), a gorgeous unaccompanied Mellotron strings part from Michael Hofmann, with a bit more 'Tron later in the piece. Probably not worth buying on those grounds, to be honest, but the album does have its moments among the musical confusion.
For All the Clowns seems to be a little more cohesive, although I'm not sure it matches its predecessor's highs. Slightly more Mellotron this time round, too, with background choirs on the title track and both parts of The Mountain King, but I wouldn't say it was exactly the most exciting use ever, to be honest. In fact, I'm starting to wonder whether there's any more 'Tron this time round than on Sunrise; it's certainly less interesting, although the album's possibly better. So; neither album's a must on any front, but both are probably worth picking up if you find 'em cheap.
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The Fifth Door (1994, 51.20) ***½/TT |
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| Intro II Wild The Token Safe Havens Revolution is at Hand The Fifth Door Fairy Queen A Miracle |
Tears The End of the Day [unlisted track] |
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Sailor Free were an early-'90s hard rock/psych outfit from Italy, who would almost certainly have ended up on the excellent Black Widow label had they hung around any longer. I haven't heard their self-titled debut, but what appears to be their last album, The Fifth Door, is a pretty good effort within its chosen genre, combining riffing guitar with a spacey feel in places, sounding remarkably like an update of that whole Uriah Heep/Stray thing circa '71. Difficult to pick out highlights on one listen, but the atypical Intro II stands out, as does Wild, for totally different reasons. The violin solo from guest Barbara Barbatelli that closes Safe Havens is a nice touch, as is the slightly Van der Graaf-y sax on Fairy Queen both of which add to the album's psych credentials.
Vocalist/keys man David Petrosino plays a Vox rather than a Hammond, dragging the overall sound back into the late '60s in places, though that's not actually a problem. His Mellotron work is to the fore on relaxed opener Intro II, with a melodic flute part, with some background strings on Fairy Queen and more upfront strings and flutes on Tears. The unlisted final track seems to be part of Intro II reversed, with the 'Tron flute part sounding remarkably similar backwards. Now, I have a theory: these three/four tracks are credited as being recorded in a different studio to the rest of the album. Studio 'Tron?
The band would seem to be long gone, but if that early hard rock sound's your thing (and I have to admit that sometimes it's mine), at least some of The Fifth Door is worth a spin. I doubt whether there's any 'Tron on their debut, especially if it's only here for the reason guessed at above, but I'll report back should I ever hear a copy.
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Live at the Cleveland Agora [a.k.a. Splitting Ions in the Ether] (1980/1998, 26.30/67.21) ****/TTT |
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| Searching for Food Gone to Ground in the Khyber Pass The Balrog Parasites and Bureaucrats Aspen Flambe The Reluctant Bride Fantasy Come Reality |
The Abduction The Nuremberg Waltz [Italicised tracks added to CD] |
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Artifacts of Passion (2001, 63.25) ****/TTTThe Dead Sea ScrollsNorth-West Territory Contortions of the Balrog Esmerelda The Nemo Syndrome Erin and the Green Man The Abduction of the Adolescents Lake Effect Dog-Eared Page |
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I've always found it strange that although prog was huge in the States in the '70s, such a vast country produced hardly any major acts in the field. St. Elmo's Fire, from Ohio, were one of many hopefuls who managed to get one album out before folding due to public indifference. Unlike many of their contemporaries, however, the band reformed in the late '90s, reissuing their sole album with bonus tracks and recording both previously-unrecorded and new material, while staying true to their original intentions.
Live at the Cleveland Agora was apparently originally meant to be a 10" mini-album, but was mispressed as a 12", and is now impossibly rare in its original form. Reissued as Splitting Ions in the Ether (from an Eno lyric, fact fans), it now begins with a drifting polysynth piece, Searching For Food, before letting rip with 'Tron and Moog Taurus on Gone To Ground In The Khyber Pass. The music is largely instrumental, more Crimson than Yes (they covered Crimson in their early days), with a fusion edge in places; oddly, I'm occasionally reminded of Canadian trio FM, maybe because of the turn-of-the '80s synths the band utilised. Laid-back this isn't, and is all the better for it if you ask me (or even if you don't). Steve J. Stavnicky's Mellotron use is fairly sparse but effective; mostly strings, although there's an unidentified brass (?) sound on the last two tracks, with heavy key-click to the fore, along with more of those ubiquitous strings on The Nuremberg Waltz. You're never going to find an original copy, but this timely reissue is well worth the effort.
In the late '90s, four fifths of the original band reformed, and having sidestepped the hideous '80s, sensibly realised that a large percentage of the modern prog audience values 'authenticity' over misguided attempts to sound 'contemporary', which isn't to disparage genuine progression, of course. In other words, the Mellotron and Taurus pedals are right at the front of the mix, having obviously been kept safe and sound in the intervening decades. Like so many reformed bands, St. Elmo's had a considerable stock of unrecorded music from first time round (two of the pieces are rewrites of material from Splitting Ions), making their first album a little easier to write, with only three completely new tracks included on the hour-long Artifacts of Passion. It's a good album, recognisably by the same band that produced Splitting Ions, although with a more mellow, quite folky edge in places, particularly on the fiddle piece Esmerelda. The rustic fiddle parts inescapably remind one of Kansas, though there's little real similarity; again, Crimson are an influence in places, but generally, St. Elmo's sound more like themselves than anyone else. The bulk of the album's Mellotron work (this time by bassist Paul M. Kollar) is on the two opening tracks and Lake Effect, with particularly heavy use on The Dead Sea Scrolls, with a fantastic string part running right through the piece, although there's more of those 'what is that sound?' moments in The Abduction Of The Adolescents.
All in all, two very good albums, if US prog with a Crimso influence is yer thang, but be aware that there's quite a bit of country blues-style guitar on Artifacts of Passion. A compilation of demos, Antiquities (***½), appeared in 2004, but is surprisingly 'Tron-free, although the Taurus is used as heavily as ever. Anyway, nice Mellotron work all round on the first two. Buy.
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La Casa del Lago (1974, 39.15) ***½/TTristanaNella Vita, un Pianto Viaggio Nel Tempo La Casa del Lago Messicano La Terra della Verita' |
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Saint Just were yet another of those Italian one- or two-shot bands that emerged in the early '70s, often splintering into other outfits, while making music frequently every bit as good as that emanating from bigger artists. La Casa del Lago was their second and final release, following their folkier self-titled debut. It still has many folk elements about it, with much use made of acoustic guitar, while Jane Sorrenti's clear voice reminds you of British folk-rock stalwarts such as Fairport Convention or Steeleye Span. While perfectly good, it's nowhere near the quality of the likes of Celeste, although it's a perfectly good album. The best track may well be the longest, Nella Vita, Un Pianto, while others, such as the title track, tend to drag a little, although the overall quality is pretty high.
The uncredited Mellotron on Nella Vita, Un Pianto was presumably played by pianist Andrea Faccenda, with a pleasant repeating string line over the last minute or so of the song, although it's not exactly groundbreaking, to be honest. There is a little confusion over the 'Tron use, due to the (also uncredited) violin and cello parts, but I'm pretty certain it's the real deal (oh, the irony) on this track.
So; do you? La Casa del Lago is a perfectly pleasant album, but little of it really stands out from the pack, even though it's more folk-tinged than your standard Italian fare. A whole 'T' on the 'Tron front is probably slightly overstating the case, too, so I shall sit happily on the fence in this instance.
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Drink Me (1995, 47.09) ***/T½ |
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| Motorbike to Heaven Drink the Elixir Granite Statue Machine of Menace Overhear Me Shepherds' Isle Muscleman Your Ma |
Warmth of the Heart Gertrude Campbell Nothing Happens No 1.'s Cooking A Man With a Box Insomnia |
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Salad appeared towards the end of the largely deservedly-maligned Britpop movement, releasing their debut, Drink Me, in '95. It's fairly generic female-fronted stuff, to be honest, although nowhere near Oasis and their ilk for that all-out irritation factor. Drummer Rob 'no relation' Wakeman doubled on keys, as did vocalist Marijne van der Vlugt, so I've no idea who played the Mellotron, but there are quite upfront choirs at the end of Motorbike To Heaven and flutes and more choirs on Granite Statue, although that would appear to be it. If you're into the style, you'll probably like this, but the converse is also true, and the Mellotron's fairly minimal.
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Not Everybody's Gold (2000, 65.15) ***½/TPreludeRiding the Fence The Last Enemy January Let Loose the Arrow We Don't Know Sweet Hope Suite Eternity in Our Hearts And We Wait The Hill of Peace Unlisted track |
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Salem Hill formed in 1991, playing that peculiarly '90s form of prog that isn't exactly 'neo', but isn't 'trad' either; think: vaguely like Echolyn or Spock's Beard, though those are only pointers. Not Everybody's Gold is their fifth album, and it apparently compares well to their earlier material, generally being regarded as their best yet. As long as you don't approach it expecting a full-on '70s thing, you shouldn't be disappointed; the songs are reasonably good, though I occasionally wish they'd write slightly darker material.
Michael Ayers' keys tend to be of the modern variety, which makes it surprising that he used a Mellotron on the album. Unless, of course, like so many current progressive outfits, it's samples. Why is it that artists of other genres make the effort to track down real Mellotrons/Chamberlins, but so many prog bands don't? anyway, I'll assume it's real until I find out otherwise. Actually, he only appears to use it for short melodic parts on The Last Enemy and The Hill Of Peace, anyway, so it's hardly the most major use ever.
Not Everybody's Gold is a good album, just not actually a classic. The lengthy Sweet Hope Suite is the best track; it's just a pity they felt it necessary to make such a long album, when, with a bit of judicious editing, it could well've been more concise, and better. Anyway, good album, but don't bother for the 'Tron.
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4 Cadavres Exquis (2002, 51.53) ***½/TTTCadavre No 2 (Samarkande)Cadavre No 3 (Koninkrijk der Dode Zielen) Cadavre No 5 (Surmenage et Désordres Mentaux) Cadavre No 4 (L'Avènement) |
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Rude Awakening (2004, 69.25) ***/TÉpisodesAnalgésique Analogique Rude Awakening Présences Les Dépossédés |
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Douglas' Basement (2006, 59.14) ***½/TTCatharsisDouglas' Basement Pray Hard But Pray With Care... Cadavre Exquis No 8 (1<1) Cadavre Exquis No 7 (L'Arrache-Cœur) |
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3 Synapses (2008, 52.02) ***½/TSynapse No.1Synapse No.2 Synapse No.3 |
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Samarkande are, generally speaking, the French-Canadian electronic duo of Sylvain Lamirande and Éric Fillion, although their second album is credited to Lamirande plus guest musicians, including Fillion. Their brand of EM seems to be the 'quiet but menacing' variety, with little rhythm but plenty of unsettling sounds and an ominous feel to the proceedings. They're actually an improvisational outfit, avoiding the usual EM clichés by refusing to use step sequencers and/or Froese-ish guitar lines, preferring to take inspiration from the ancient city for which they're named, once the most cosmopolitan in the world, by utilising influences from anywhere and everywhere.
Their debut, 4 Cadavres Exquis, sits firmly in the above category, with only the last track, Cadavre No 4 (L'Avènement), featuring any sort of rhythm, and then not exactly in a Berlin School kind of way. Fillion uses his M400 subtly, frequently fading a chord in and back out almost before you've noticed, or adding no more than an echoed flute line that far from overwhelms the piece. Cadavre No 2 (Samarkande) is typical, with a few string chords early on preceding a 'perpetual motion'-style descending choir line that rolls round and round before eventually fading from view.
Lamirande's near-solo effort, Rude Awakening, is well-titled; when people talk about 'industrial' music, they usually mean the posturings of the likes of Marilyn Manson (whatever happened to?) or Nine Inch Nails. This is real industrial music. It sounds like heavy machinery running amuck, full of the clanks, groans and whistles of an aging and ill-maintained factory grinding to a halt. Whether or not it's even music has to be a matter of opinion; there's next to nothing on the album resembling a tune, or even anything tuned, with the possible exception of Karoline Leblanc's harpsichord and Fillion's Mellotron on the near-20 minute Présences. Fillion adds the odd flute note here and there, and some dissonant choirs, well in keeping with the piece (and the album), but don't get your hopes up for any sort of 'Tron-fest here.
Back to business as usual for 2006's Douglas' Basement, another full Lamirande/Fillion collaboration, although a rather more rhythmic one this time. Not as in Tangerine Dream rhythm, mind, more a less discordant version of Rude Awakening's industrial clattering. Actually, thinking of this as a cross between the duo's two previous albums is probably a fairly good approach; it's certainly more listener-friendly than its predecessor, but more upfront than their debut. Fillion gets a bit of Mellotron in everywhere except the uncharacteristically short title track, with a flute harmony suddenly appearing from nowhere on Catharsis, with a similar string part cropping up a minute or two later, and brief string and/or flute parts on the last three tracks, not least the flutes at the end of Cadavre Exquis No 7.
After the by-now requisite two-year gap, mid-2008 brings 3 Synapses, consisting of, er, Synapses 1-3. No change on the style front, with all three parts falling into the 'challenging' category, although I'm sure I heard a brief step-sequencer line in No.1. Careful now, chaps... Lamirande's mad sax overdubs at the end of No.2 are a minor deviation, but fit in with the album's overall vibe, while the rest of the sonic maelstrom is exactly what we've come to expect from the duo. Little Mellotron, as usual, with a repeated background choir part in No.1, even fainter choirs (and possibly strings) in No.2, and nothing apparent in the last track.
Samarkande are for the EM fan who feels he (they're invariably 'he') will go insane if he hears another bad Tangs rip-off; they actually have something new to say in the genre, largely by approaching it from a new angle, and refusing to follow well-worn paths to electronic righteousness. The newcomer to their work might be best off starting with 4 Cadavres Exquis, moving on to Douglas' Basement and 3 Synapses, then approaching Rude Awakening if he's feeling brave. There isn't that much Mellotron on any of them, but 4 Cadavres should probably be your first port of call for that, too.
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Måltid (1973, 42.23/57.05) ****/TT | |
| Dundrets Fröjder Oförutsedd Förlossning Den Återupplivade Låten Folkvisa i Morse Syster System Tärningen Svackorpoängen Minareten |
Værelseds Tilbud [CD adds: Minareten II Circus Apparatha Probably the Probably] |
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Snorungarnas Symfoni [Gregory Allan FitzPatrick/Samla Mammas Manna] (1975, 34.09) ****/T½Första SatsenAndra Satsen Tredje Satsen Fjärde Satsen |
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Samla Mammas Manna are one of Swedish prog's better-kept secrets, with many aficionados having never heard the band, or really gathered where they were coming from at all. They took influences from the more 'out there' end of British art-rock, as well as Swedish folk and God knows what else; think Gentle Giant/Henry Cow in a jazz stylee, and you might be just beginning to get a handle on their sound. And that's before vocals are even mentioned...
I haven't heard Samla Mammas Manna's eponymous debut, but Måltid is pretty hard going, although ultimately worth the effort. Dundrets Fröjder gets things off to a good start, building up to a loping jazzy groove, slowly picking up speed, with Mellotron strings cutting in around the seven-minute mark. Oförutsedd Förlossning is totally different, while Den Återupplivade Låten heads off in another direction again, with a short burst of 'Tron flutes this time. The last 'Tron track on the album is Tärningen, highlighting their unusual Mellotron use: rather than layer it all over a track, they just bring in a few chords here and there; maybe only a few bars in a whole song, which avoids overkill, although sometimes you feel that a little more wouldn't have hurt. Anyway, don't buy Måltid expecting symphonic prog, but if your palette's a little jaded, they might be just the tonic you need. Incidentally, two of the bonus tracks on the CD are from the same sessions, but Circus Apparatha has been rather pointlessly appropriated from their first album.
Samla's third album, '74's Klossa Knapitatet, is 'Tron-free, but the follow-up is quite an oddity, being a collaboration between the band and American ex-pat Gregory Allan FitzPatrick, who composed and arranged the entire album, effectively using the band as collective session musicians. FitzPatrick's material, while no means 'standard' prog fare, leans more in that direction than Samla's own stuff, with four lengthy tracks contrasting with the band's own highly variable track lengths. There's a decidedly folky bent to some of this album, and it's difficult to work out whether the passing similarity with Samla's own sound is due to they and FitzPatrick coming from the same musical area, or because his ideas have been filtered through theirs. Either way, it's different enough from Måltid to almost be a different band, except that they keep lurching back to type, just when you least expect it.
Lars Hollmer's Mellotron strings in Första Satsen (I think the tracks are titled simply 'first to fourth parts') are few and far between, with just a few seconds here and there, but Andra Satsen opens with a clunky flute/strings part (I think), before a few more odd bits scattered throughout the song. Tredje Satsen seems to be bereft of 'Tron, but a flute line in Fjärde Satsen reminds you it's still there. Not exactly a Mellotron Classic, then, but despite being written by someone else, a worthy album in the Samla catalogue.
So; two very good albums, though not for the beginner to the style. Samla split in '77, reforming as Zamla Mammaz Manna, then becoming involved in the British RIO (Rock in Opposition) movement, alongside Henry Cow and co. There are various other albums released under various names, but I'd be surprised if there's any more Mellotron use; there certainly isn't any on 1980's Familjesprickor (Family Cracks) (***½). Anyway; recommended.
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Sanctuary (1972?) ****/TTT½All in My Dreams1982A Time and a Word Hard to Be Winter's Dream |
Current availability:
US outfit Sanctuary's sole self-titled album is so obscure that even its year of release is unknown, although 'around 1972' seems a safe bet. Its sound is mostly post-psych rather than prog per se, and it's a pity the band didn't get the breaks; they could have developed nicely given a bit of time and money.
Keyboard man Eric Bikales shines on various instruments, including Mellotron. All In My Dreams showcases his skills, with a descending strings run to be proud of, although 1982A only has a smattering of cellos on the outro. Their cover of Yes', er, 'seminal' Time And A Word misses the opportunity to smother the chorus in 'Tron, only using it for a few chords at the end, and Hard To Be again waits until near the end for what sounds like a 'Tron strings'n'flute duet, although most of the album's tracks sound like they contain real flute. The best track (as so often) is the side-long Winter's Dream, which is definitely more proggy than the rest of the album, with some excellent keyboard work. Although none of the tracks feature the 'Tron that heavily, this one has the most, definitely with flutes this time, a quick burst of cello and the obligatory strings, including a brief solo section with some excellent high-speed playing and a superb crescendo at its conclusion.
Your chances of finding a vinyl original of this are probably akin to discovering a Mark II 'Tron in perfect nick for sale at your local social club. Actually, less. I think it's been bootlegged onto CD, but here's hoping for an official release sometime, not to mention the other tapes that Bikales says he has stashed away somewhere. Worth the effort.
Fan page (dead link?)
