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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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Eberhard Schoener Patti Scialfa John Scofield Scorpions |
Colin Scot Mike Scott Robert Scott Screaming Trees |
Screams Sea & Cake Seahorses Seal |
Sebadoh John Sebastian Sebastian Hardie |
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Bali-Agúng (1976, 39.14) ***½/TT½Tjandra (der Mond)Rawana (der Dämonenkönig) Nadi (in Trance Sein) Surija (die Sonne) Ramayana (Balinesisches Märchen) Ketjak - Rock Agüng Raka - Dalang (Agüng der Schattenspieler) Gong - Gede (Orchester) |
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The Book (1977, 37.17) ****/TT½ |
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| Creation Paradise The Flood Genesis Exodus Old Pictures To Anthony B. A Feeling of Passion |
Bruckner's Seventh - The Adagio Expectation |
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Trance-Formation (1977, 38.59) ***/T½Falling in TranceShape of Things to Come Frame of Mind Signs of Emotion Trance-Formation |
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Video Magic (1978, 44.58) **½/TOctogonSpeech Behind Speech Natural High Code-Word Elvis Video-Magic Night Bound City San Francisco Waitress Koan |
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Video-Flashback (1978/79, 45.39) ***/TT½Trans-AMOnly the Wind Speech Behind Speech Koan Octogon Frame of Mind Signs of Emotions Code-Word Elvis Video-Magic |
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Events (1980, 44.32) **½/½Fairlight 80Margret: a l'Ombre de Jeunes Filles en Fleurs When Colours Die Gam-Bang Events: A la Recherche du Temps Perdu Inversion Magical Echoes: Le Temps Retrouvé |
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Time Square (1981, 49.44) **/TRadiant WomenThe Nine Lives of a Cat Gramercy Park Hotel Da-Da Voyage Take the Zoom Time Square Ich Schau' ins Licht |
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Bon Voyage (1986, 43.33) ****/½Bon VoyageRondo Bavarese Duo in D I'll Wait for You Trio in D Poem Pavane |
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Eberhard Schoener is a respected German musician who, I believe, has composed classical works, not to mention his collaboration with Deep Purple's Jon Lord on his Windows suite. For a decade or so from the early '70s, Schoener released a whole slew of albums, very loosely in the German synth/Krautrock style, although I'm sure students of the genre would place him more accurately. Going by the pictures on these albums, he wasn't a young man 25 years ago, so I'm presuming he's still alive, though if so, I suspect he's moved back into the classical field. There seems to be some confusion re. his discography, too, with various albums being repackaged under new titles, and compilations packaged as new releases, which I'll try to clear up below.
Bali-Agúng is a semi-collaboration with a Balian Gamelan orchestra, who feature on several tracks. Schoener is credited simply with 'Moog Synthesizer, Mellotron', accompanied by a German guitarist and British drummer Pete York (of Hardin & York), although neither of them plays that much. It's a decidedly mixed bag, being a strange mixture of ambient synthscapes and pre-'world' music, although the two genres only rarely collide, with most tracks tending to be either one or the other. On the whole, the tracks containing Mellotron tend to be the non-ethnic ones, although Agüng Raka - Dalang has elements of both styles. Reasonable 'Tron strings and flutes on three tracks, but don't go out of your way to track this one down.
The Book, subtitled 'Sound-track of the motion picture "Und die Bibel hat doch recht"', or 'History of the Bible', was his second release after Windows, and definitely falls into the Tangs/Schulze general area, with much keyboard work, and the occasional distorted guitar lead from none other than a pre-Police Andy Summers. Schoener plays Moog, piano and Mellotron, although another two keyboard players contribute, too. The music is frequently haunting, often hovering on the edge of dissonance without ever quite tipping over into full-blown Bartok, although A Feeling Of Passion gets close. Creation opens with fairly average 'Tron strings, with a flute part appearing later in the piece, but is easily outclassed by the cellos and blistering strings of side two's Exodus, complete with another Summers solo. To Anthony B is more of the same, but his adaptation of Bruckner's Seventh throws a note of confusion into the mix; there's no orchestra credited, but if it's 'Tron, it's exceptionally well-arranged, sounding indistinguishable from real strings.
Schoener's second album of '77, Trance-Formation, pretty much does what it says on the tin, being a meditative album of synthscapes, (real) choirs and Summers again, in mellow mood, with the only real sequencer use being on parts of the lengthy closing title track, with Summers letting rip for the only time. The album features some of Schoener's longest tracks, with two in the twelve-minute range and only five overall, although the church organ-heavy Signs Of Emotion is under three minutes, sadly, as it's one of the nicest things here. Schoener adds Mellotron strings to all but one track (the title track being the exception), although the only one with any great presence is Frame Of Mind, and he still buries it under layers of reverb.
The confusion with Schoener's discography begins with the following year's Video Magic; this is actually the original album of that title and comprises approximately half of the following year's Video-Flashback. It's also the point at which Summers begins to introduce his new Police bandmates into the frame, Sting handling vocals on several tracks. Unsurprisingly, the album's a major stylistic change for Schoener, although there's still a little 'traditional' Schoener fare to be heard; Natural High is a straightforward rock song, Code-Word Elvis is a cheesy '40s-ish number with really inappropriate drumming, while San Francisco Waitress is thoroughly bizarre, being what appears to be a newspaper report of a ridiculous court case, sung by Sting over a sparse, jazzy backing. Well, it's different... Very little Mellotron this time round, with merely a major string part on Speech Behind Speech and a minor one on Natural High.
The confusion runs deeper with 1979's Video-Flashback, a compilation of Flashback and Video Magic, funnily enough (I've yet to hear the former). Summers turns up again, this time accompanied by both his Police colleagues; all three are pictured on the rear sleeve, although most of the other participating musicians aren't. Is that the ring of 'cash-in' I hear? Sadly, Sting feels it necessary to sing, too, although his falsetto doesn't fit the material at all; I can only assume that Schoener was keen for him to do so, though whether or not he considered it a good career move is unknown. Incidentally, 1986's Music From Video-Flashback and Flashback confuses the issue still further; these may be new recordings, or simply another compilation. Who knows? Anyway, much of the music is song-orientated and straightforward, although there are still a good few synth textures dotted throughout the album. The instrumental material works far better, to my ears, and although there's a fair bit of 'Tron (mostly strings), little of the use is as interesting as the best tracks on The Book.
1980's Events takes the Video-Flashback ethos a stage further, being highly dodgy experimental synth-pop (if there can be such a thing), with vocals from one Clare Torry, best known for her contributions to Dark Side of the Moon (Gam-Bang has some suitably 'Great Gig in the Sky'-type wailing). The album actually seems to be a concept piece based on Proust's 'A la Recherche du Temps Perdu', which is a tad pretentious, to be honest, and is also one of the first recorded outings for the infamous (and infamously expensive) Fairlight CMI, the world's first (?) useable sampler. Its low sample rate and lack of multi-sampling capability are risible by modern standards, but it was a revelation at the time. For better use, however, listen to Peter Gabriel's 4 or Kate Bush's Never for Ever or The Dreaming. On the Mellotron front, there's not a lot to report, really. It's difficult to tell, but I think there's a few string chords and a flute melody on Events itself, but I wouldn't be prepared to swear it under oath. It's interesting to note that side two is noticeably better than side one, with less vocal stuff and more of his older electronic style, although, in all honesty, it isn't particularly good; there's a couple of so-so electronic-ish tracks, but I really wouldn't bother if I were you.
Events is a classic compared to Time Square, though. Side one's bloody awful, with Schoener, er, 'singing' on several tracks (unless it's the George Beck listed in the credits), and Clare Torry back again (singing very nicely, admittedly) on the appalling The Nine Lives Of A Cat. Once again, it picks up slightly on the flip, but only in comparison to the godawful first side, although the title track isn't too bad. Very little Mellotron again, with a couple of string chords on Da-Da and some distant choirs on Time Square. Give it a miss.
However... Several years on, Schoener released Bon Voyage, and would you believe, it's excellent? OK, so the vocal track (I'll Wait For You) and Sting's narration (Poem) are less than wholly necessary, but almost every instrumental piece, including the side-long title track, are most worthy of your time. I'm not even sure what's so good about them; Bon Voyage itself has loads of percussive drive allied to great instrumental work, and Schoener's church organ work on Rondo Bavarese is magnificently understated, but they simply have... spirit. Next to none of the credited Mellotron, with Rondo Bavarese having a few seconds of background choirs, and possibly strings, but buy this album because it's worth hearing, not for the 'Tron.
So; The Book and Bon Voyage are worth the effort, but given that Video-Flashback appears to be a bizarre hybrid, I'd steer clear, and as for Events and Time Square, the less said the better.
Appendix: After searching long and hard for a Schoener discography, I found one including tracklistings on, of all things, an Andy Summers fan site. It only lists the albums on which Summers plays, but that seems to cover the disputed territory above. And... all it's done is to complicate matters considerably. 1977's Trance-Formation contains five tracks, while the following year's Flashback contains nine, seven of which are new. OK so far? Video Magic, also from '78, is described as 'the UK issue of Flashback', although it contains three new tracks and five from Flashback, while not crossing over with Trance-Formation at all. Unfortunately, Flashback has two songs not on either of the other two mentioned so far. Still with me? Wish I was... Video Flashback is listed as 'the US issue of Flashback', although it also appeared in Britain, and is, in fact, a straight reissue of Flashback. Hoo-bloody-rah. Then the US version of Video Magic appeared, which only shares four tracks with the original, while managing three new ones, and to finish off (?), Music from 'Video Magic' and 'Flashback' is a complete hodge-podge of previously-released tracks, plus yet another new title. Confused? Good. Me too.
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23rd Street Lullaby (2004, 52.52) ***/T |
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| 23rd Street Lullaby You Can't Go Back Rose City Boys Love (Stand Up) Yesterday's Child Stumbling to Bethlehem Each Other's Medicine |
Romeo State of Grace Chelsea Avenue Young in the City |
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Patti Scialfa had been singing professionally for a while when she came to the attention of Bruce Springsteen, singing backup on his 1984 tour. By the end of the decade, they were associated personally as well as professionally, marrying in 1991. It won't come as any great surprise to hear that her second solo album, 2004's 23rd Street Lullaby, sounds quite a bit like one of hubby's albums, although her vocals make a huge difference to the feel of the record. Various NYC alumni play (John Medeski, Marc Ribot, Jane Scarpantoni), not to mention Nils Lofgren and The Boss himself (wonder if she calls him that at home?), adding to the 'substitute Bruce' effect; suffice to say, if you like his albums, you'll probably like this.
Clifford Carter plays Mellotron on the title track, with a nicely audible flute part, although I can't honestly say that it particularly enhances the track. Overall, then, one for Bruce fans or those who like perfectly pleasant but unchallenging radio rock, though I wouldn't bother for the 'Tron.
See: Bruce Springsteen
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Überjam (2002, 58.40) ***½/T½ |
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| Acidhead Ideofunk Jungle Fiction I Brake 4 Monster Booty Animal Farm Offspring Tomorrow Land Überjam |
Polo Towers Snap, Crackle, Pop Lucky For Her |
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John Scofield is pretty much the jazz guitarist's jazz guitarist, having played with many of the field's top names, including Miles Davis, Charles Mingus and Herbie Hancock; having recorded under his own name since 1977, it's near-impossible to ascertain how many original albums he's produced. 2002's Überjam, recorded with Scofield's friends from the New York avant-garde scene, is a cross between his own jazz stylings and those of John Medeski & Co., making it an album that should appeal to both audiences.
Medeski plays his Mellotron on a couple of tracks, with skronky pitchbent strings all over opener Acidhead and more discrete flutes on Polo Towers, refusing to overuse it, as usual. As a result, while this is a must for fans of Medeski's demi-monde, or anyone who appreciates reasonably 'out there' modern jazz, Mellotron fans should probably approach with caution.
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Fly to the Rainbow (1974, 40.09) ***½/T½Speedy's ComingThey Need a Million Drifting Sun Fly People Fly This is My Song Far Away Fly to the Rainbow |
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In Trance (1975, 36.37) ***½/T½ |
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| Dark Lady In Trance Life's Like a River Top of the Bill Living and Dying Robot Man Evening Wind Sun in My Hand |
Longing for Fire Night Lights |
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This is the Scorpions before the on-stage human pyramids, the striped guitars, the enormously silly (but, let's face it, fun) arena rock of the mid-'80s. This is the Uli Jon Roth Scorpions, with more than a touch of Hendrix about their sound, and a proggyish feel to some of their material. In fact, first album Lonesome Crow (1972, ***) has a 13-minute epic in its title track, and the band could've gone in a very different (and FAR less financially lucrative) direction at an early stage. Saying that, both these albums (their second and third) have songs that wouldn't have been so out of place a decade later; Speedy's Coming, Dark Lady and Top Of The Bill for three. Actually, the best place to sample early Scorpions is on their 1978 double-live album, Tokyo Tapes (****½) released after Uli had already left to kick-start his solo career.
There's a fairly obvious dichotomy between the songs written by the two guitarists on Fly to the Rainbow; Rudy 'brother of Michael' Schenker's are either straightforward rockers or delicate ballads, while Uli Roth's are proggier, with more freakout guitar work. Michael Schenker was their original lead guitarist before being lured away to join UFO in 1973, and gets co-writing credits on three of the tracks here, including a surprising 'M.Schenker/U.Roth' one on the title track. I don't know if the two guitarists worked together at any point, or whether Michael's work was added to by Uli; it certainly has many of the hallmarks of an Uli song, though thankfully not his godawful vocals (only to be endured here on Drifting Sun), although he does add some fairly awful narration. The band's regular vocalist, Klaus Meine, has a damn' good voice, and it seems odd that they let Uli anywhere near a mic. This is no slur on Roth's excellent guitar work, but as with his solo albums, GET A SINGER!
A notable feature of this album is the keyboard work by semi-member Achim Kirschning, although it didn't take the band long to move away from this direction. He adds tasteful Hammond and synth parts to several songs, with some Mellotron strings on the intro and outro of Far Away, and a few chords towards the end of Fly To The Rainbow itself. He was retained for the following year's In Trance, getting in some choirs on the intro of Evening Wind, and some understated (read: quiet) strings on the instrumental Night Lights. Uli's given another vocal here, on the uncharacteristically rocking opener, Dark Lady, but is thankfully kept in check the rest of the time.
I feel I have to take a quick diversion here to expound upon the Scorpions' album sleeves. Fly to the Rainbow's is merely silly, but by In Trance, the sexism that has dogged their career had already reared its ugly head. A stocking-clad beauty doing things to a white Stratocaster wasn't exactly guaranteed to please the feminist faction, but compared to the following year's Virgin Killer (***½) it pales into insignificance. The original German sleeve of said album features (and I find this hard to believe even after having seen a copy), a naked little girl, no older than ten, with a 'shattered glass' effect centred over her pelvic region. Apparently it was their record company, but it's still pretty grim. Unsurprisingly, a generic studio shot of the band was substituted in foreign territories. They then managed a couple of albums off before their first post-Uli release, the excellent Lovedrive (1979, *****), with its infamous 'chewing gum breast' sleeve, not to mention 1980's Animal Magnetism (****), although by this time they seem to be taking the piss out of themselves. Well, I hope so, anyway. Then again, we are talking about the band who (allegedly) walked out of a screening of 'This is Spïnal Tap' in disgust...
Back onto topic, I think... both Fly to the Rainbow and In Trance are good albums, but a little formative, and the Mellotron work on both definitely doesn't make them worth purchasing for that alone, so buy only if you really have to hear all their early work. Otherwise, stick with Tokyo Tapes.
See: UFO
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Out of the Blue (1974) ***/T½ |
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| Smile Mr. Blue Continental Trailways Bus Analine My Baby Left Me Song of the Lonely Traveller Girl of Mine It's Gonna Be Alright This Time |
Friend Love The Man Who Called Himself Jesus |
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Colin Scot was apparently a participant in the early-'70s UK folk scene, although unlike several of his contemporaries, he never really managed to make a name for himself, despite releasing several albums throughout the first half of the decade. To be brutally honest, listening to his music as an 'outsider', you can see why he never reached the heady heights of Al Stewart et al. Although perfectly pleasant, the material on Out of the Blue just doesn't really cut it compared to that of his better-known compatriots, and with the benefit of thirty years' hindsight, is, sad to say, a little dull. Saying that, Song Of The Lonely Traveller is a sterling performance, and Scot's version of The Strawbs' The Man Who Called Himself Jesus allegedly rivals Dave Cousins' own.
I was interested to have it confirmed recently that the 'Dave Ethridge' who plays string bass and Mellotron on the album, on top of his arranging and conducting duties is actually my old friend David "Brillo" Etheridge (no relation to John). Dave (once the proud owner of both a pristine Mark II and an M400) plays 'Tron on three tracks, although it's difficult to tell where Mox's flute stops and Dave's 'Tron starts on Analine, although I assume the polyphonic part is all tape replay. More overt flutes on Friend Love, and a volume-pedalled phased string part on The Man Who Called Himself Jesus, slightly spoiled by Mox's harmonica.
Sadly, Colin Scot died in Amsterdam in 1999, although solid information is hard to find. He was obviously popular amongst the tight confines of the scene, but I couldn't in all honesty recommend this album, unless slightly second-rate early-'70s singer-songwriters are your bag (although Scot only actually wrote three of the album's ten tracks). The Mellotron work, however, is pretty good, although probably not worth seeking out unless you're a completist. What do you mean "like me?".
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Still Burning (1997, 40.33) ***/0 |
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| Questions My Dark Side Open Love Anyway Rare, Precious and Gone Dark Man of My Dreams Personal Strawberry Man |
Sunrising Everlasting Arms |
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I played half of Waterboys mainman Mike Scott's Still Burning thinking it was a Glen Matlock album, due to a mix-up in a dark car (oo-er). The confusion is understandable, as both records are largely mid-paced dad-rock, and really rather unexciting. That's a particular shame in Scott's case, as not only were his early Waterboys records really quite good, but so is his subsequent album with/as them, A Rock in a Weary Land, albeit in a different kind of way. This is just his usual schtick: American-ish mainstream pop/rock with soul and r'n'b influences, reasonable lyrics and a retro kind of sound with half-spoken vocals. I blame Bob Dylan.
For some strange reason, Scott insists on spelling Mellotron 'Melletron', even though the name's quite clearly screen-printed onto the control panel. To compound that particular felony, Scott released an EP at the same time, based around the album's Love Anyway, featuring a track called Careful With That Melletron, Eugene (I hope you all get the reference). At least it makes it easy to find on Google, I suppose... There's supposed to be 'Melletron' on four tracks here, but I'll be buggered if I can hear anything even remotely 'Tronlike on any of 'em, although I've highlighted 'em anyway. I actually rather suspect that a real Mellotron came nowhere near the sessions for this album, but then, why credit it? All most peculiar. In the sleevenotes, Scott eulogises over a 'Yamaha RD500' that he plays on several tracks. A 'Net search for this only turned up hits for a motorbike (!), although there is a Roland RD500 digital piano. All this leads me to assume that Mike Scott really isn't at all sure what gear he's using, to the point where I'm wondering whether or not to stick this album in the 'Mistaken ID' section.
So; sub-Waterboys, no Mellotron. Maybe not.
See: Waterboys
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The Creeping Unknown (2001, 53.28) ***/T |
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| Harmonic Deluxe Shelf Control Details at Play Last Outlaws International Loss Adjuster Fog and Wind Extinguisher Footbridge |
The Creeping Unknown 2nd Hand Air Somewhere on the Coast The Wick Effect The Slow Room When Shade Was Made Morepork Makes it Home Greek Country |
Navigator Upper Lab Near to a Beautiful Park |
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Robert Scott is best-known for his membership of seminal Kiwi outfits The Clean and The Bats (both Flying Nun acts), 2001's The Creeping Unknown being his sole solo album to date. It combines low-fi songs (Harmonic Deluxe, Fog And Wind) with short, relatively 'standard' instrumental pieces (Shelf Control, the title track) and experiments in sound (Footbridge, Extinguisher) into a surprisingly cohesive brew, given how different most of the tracks sound to each other.
Scott plays Mellotron, amongst many other things, with tortured, horrendously wobbly flutes on Footbridge, Morepork Makes It Home and Upper Lab and, er, something (more flutes?) on Details At Play, on a machine that sounds like it's on its last legs, doubtless deliberately. This isn't an album for those who like certainties in life (not least 'Mellotrons played in tune'), I suspect, but if you're of a low-fi/experimental bent, there's much here that may catch your ear.
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Dust (1996) ***½/TTT |
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| Halo of Ashes All I Know Look at You Dying Days Make My Mind Sworn and Broken Witness Traveler |
Dime Western Gospel Plow |
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The Screaming Trees had been around for a good decade by the time they released Dust, generally regarded as the apotheosis of their career, finally collating all their diverse influences. The album switches between sort-of grunge (they never really fitted into that category, despite hailing from the Seattle area), folk, eastern-influenced raga, hard rock... You name it, really. Vocalist Mark Lanegan has gone on to solo fame, or at least respect, and the release of the Nearly Lost You compilation in 2001 seems to finally sound the death knell for the band.
I know this is going to sound ludicrously biased, but my favourite tracks really are the four featuring Benmont Tench's Mellotron. Opener Halo Of Ashes has lashings of (presumably) Coral Sitar, with stacks of 'Tron strings weaving in and out of the mix, while Traveler is a slow-burner, switching between strings, flutes and choir. Dime Western has eastern-flavoured strings layered over a more straightforward number, and Gospel Plow goes back to a raga feel, with tablas and harmonium, before lurching into a Zeppelinesque grind with more of those strings. The rest of the album is less special, but these four tracks are all excellent, so I think I can recommend picking it up second-hand, at least.
See: Mark Lanegan | Mark Pickerel & His Praying Hands | Truly
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Screams (1979, 34.57) ***½/T½Paper DollsAngeline's Toys I Play for You It's Just a Matter of Time Imagine Me Without You Your Girl, My Girl Pen Pal Financial Disaster (it's Only Money) Pop Art |
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Screams were a rather poppy US hard rock outfit from the tail end of the seventies, but in a good way, with more than a hint of Cheap Trick to their sound. I've seen 'em described as 'power pop', and I suppose that's not an unreasonable description. Tuneful but not very photogenic, they only released this one album before rather unfairly disappearing back into obscurity; it's not a bad record at all, though unlikely to win any 'lost classics' competition. Session player (?) Tony Lufrano plays Mellotron on a couple of tracks; orchestrated flutes on the slightly epic I Play For You, and choirs on the more straightforward Pen Pal. No idea what persuaded them to add the 'Tron parts, but they certainly don't harm the record.
On listening to this again, I've realised that several of the songs are actually really quite good; I seem to remember owning a copy of this not long after its release, then selling it again. A mistake. Despite not being 'classic', it's worth a listen for scholars of lesser-known US hard rock. The Mellotron use is nice but inessential, to be honest; don't pick it up for that alone.
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The Fawn (1997, 40.54) ***½/TTT |
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| Sporting Life The Argument The Fawn The Ravine Rossignol There You Are Civilise |
Bird and Flag Black Tree in the Bee Yard Do Now Fairly Well |
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I'm not exactly au fait with The Sea & Cake's previous albums, but I'm told The Fawn is the one where the 'electronica' started to take over. It's certainly fairly heavily-laden with sampled beats and suchlike, although the band rarely forget the importance of melody, making this a pleasant enough listen, even if the style isn't up your street. There are no specific credits, but due to his Mellotron use elsewhere (including several solo albums), I suspect Archer Prewitt is the man responsible for the album's tape-replay work - assuming it isn't samples, of course.
On the 'Tron front, there are airy flutes on Sporting Life and There You Are, background strings on The Argument, and both, quite upfront, on Bird And Flag. It sounds like background choirs on Black Tree In The Bee Yard, leaving Do Now Fairly Well as probably the album's major 'Tron track, with a melodic string part slotting in perfectly with the track's melancholy feel. So; nice album, although possibly not up everyone's street (possibly including mine), with some decent 'Tron work.
See: Archer Prewitt
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Do it Yourself (1997, 45.35) ***/½ |
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| I Want You to Know Blinded By the Sun Suicide Drive The Boy in the Picture Love is the Law Happiness is Eggshaped Love Me and Leave Me Round the Universe |
1999 Standing on Your Head Hello |
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I originally described The Seahorses as, "more Britpop detritus, rising like a rather shabby phoenix from the ashes of the overrated Stone Roses" (John Squire's first major band, with whom The Seahorses are frequently compared), but after a couple of listens I can confidently state that they're actually rather better than that, being more concise than their forbears, albeit less trippy and iconic. They only made one album, Do it Yourself, although apparently a follow-up was recorded, but languishes in the vaults somewhere. Anyway, opener I Want You To Know has a Hendrixy vibe about it, and the album carries on in a largely '60s-ish vein, with the other obvious highlight being The Boy In The Picture.
Legendary producer Tony Visconti (Bowie etc.) is credited with 'Mellotron/tambura/Theremin', and indeed, the latter can be clearly heard on I Want You To Know, but given Visconti's comment that 'the only good Mellotron is a sampled Mellotron', we may have to take it on trust that we're talking genuine tape-replay here. 'Tron strings on I Want You To Know, although the rest of the album's strings all sound real (Visconti is also credited with their arrangement). So; another '60s-influenced '90s album, though noticeably better than many. Minimal 'Tron, though, so don't bother on that account.
See: John Squire
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System (2007, 47.20) **½/½ |
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| If it's in My Mind, it's on My Face Amazing (Thin White Duke Edit) Just Like Before Loaded Wedding Day System Dumb The Right Life |
Rolling Immaculate Amazing |
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Seal (Henry Olusegun Olumide Adeola Samuel) hit the peak of his popularity in the early '90s, although he's actually released more recently than at the time. Sadly (yet inevitably), his fabulous voice tends to be added to mainstream pop/dance stuff, 2007's System being no exception, its disappointingly generic dance production presumably designed to appeal to the sector of his gently ageing fanbase who still wish to appear 'hip' without actually having to listen to any new artists. Is that a bit harsh? Sorry, but does the world need another dance/pop record? I think not. The album does have its moments, notably Dumb (unfortunately ruined by its ubiquitous programmed beats) and Rolling.
Bill Bottrell plays Mellotron on Just Like Before, with a rather distant string part that doesn't even sound especially Mellotronic. Seal's voice would sound fantastic doing almost anything, so how's about a subtler, more acoustic album of the kind of heartfelt stuff he does so well? It could still be loosely classified as 'soul', just without all the programmed nonsense. Go on, you know you want to... Oh, and for what it's worth, great sleeve; if only more artists would take artistic risks with their covers.
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III (1991, 63.36) ***/T |
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| Freed Pig Sickles and Hammers Total Peace Violet Execution Scars, Four Eyes Truly Great Thing Kath Perverted World |
Wonderful, Wonderful Limb By Limb Smoke a Bowl Black-Haired Gurl Hoppin' Up and Down Supernatural Force Rockstar Downmind |
Renaissance Man God Told Me Holy Picture Hassle No Different Spoiled As the World Dies, the Eyes of God Grow Bigger |
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Bakesale (1994, 41.52) ***/T |
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| License to Confuse Careful Magnet's Coil Not a Friend Not Too Amused Dreams Skull Got it |
S. Soup Give Up Rebound Mystery Man Temptation Tide Drama Mine Together or Alone |
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Harmacy (1996, 50.37) ***/T½ |
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| On Fire Prince-S Ocean Nothing Like You Crystal Gypsy Beauty of the Ride Mind Reader |
Sforzando! Willing to Wait Hillbilly II Zone Doubt Too Pure Worst Thing |
Love to Fight Perfect Way Can't Give Up Open Ended Weed Against Speed I Smell a Rat |
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Beginning as bassist Lou Barlow's Dinosaur Jr offshoot, after J Mascis chucked the others out, Sebadoh seem to have gone on to become the kings of the US indie scene. They're pioneers of the low-fi ethos, mixing folk, psychedelia, punk and just about anything else you can think of into a mélange of murk, strangely low on energy much of the time. Rather like Dinosaur's original lineup, the band seem to be in a permanent state of semi-existence, reforming for tours in between other commitments, although I've no idea whether or not they plan on releasing anything again.
No prizes for guessing how many albums they put out before the double III. The album's length actually works against it, as this isn't the kind of stuff that bears listening to for over an hour, despite the reasonable level of variety on offer, although I'm sure fans would argue the toss on this one. To be brutally honest, this really doesn't do it for me at all, but I'm not prepared to slate it on that account, as it's clearly well-constructed, just not my bag. Mellotron from producer Sean Slade (who, amusingly, also played it on Dinosaur Jr's Green Mind the same year) on a mere one track, with ghostly strings on Spoiled that neither add to nor detract from the track.
Three years on and three albums later, Bakesale is, oddly, a rockier proposition all round, sounding strangely like Hüsker Dü in places. Maybe not so odd; grunge had hit in the intervening years, and maybe Sebadoh's earlier style was getting washed away in the flood of Seattle-based distortion, leading them to look backwards to Minneapolis' gods of pre-grunge. Whether or not it'll appeal to you is another matter, of course, I'd rather listen to Hüsker Dü, personally, but there you go. 'Tron strings on Dreams from either Barlow or Anne Slinn, both of whom are helpfully credited with 'organ' (heard on Temptation Tide), with a short, rising part that improves an otherwise fairly ordinary track. Oh, and that horrible cover pic? Barlow, aged one, taken by his mum.
Two years on, and Harmacy isn't dissimilar to its predecessor, albeit maybe slightly less full-on. More of those Hüsker Dü-isms in places, though still not as good as them; Sebadoh are doing something different, so maybe comparisons are unfair. 'Tron from Barlow this time round, with strings on Willing To Wait and Open Ended and flutes on Too Pure, and while there's nothing jaw-dropping, at least they used it a bit more this time round.
So; plenty of people seem to like Sebadoh, although I'm afraid I shall have trouble joining them. Perfectly good at what they do, but I just can't bring myself to like what they do... Not all that much Mellotron on any of these, Harmacy being the best, and despite rumours, nothing on their last album (at least to date), '99's The Sebadoh.
See: Dinosaur Jr
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John B. Sebastian (1970, 31.52) ***/T |
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| Red-Eye Express She's a Lady What She Thinks About Magical Connection You're a Big Boy Now Rainbows All Over Your Blues How Have You Been Baby Don't Ya Get Crazy |
A Room Nobody Lives in Fa-Fana-Fa I Had a Dream |
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Post-Lovin' Spoonful, John Sebastian went the solo route, 1970's John B. Sebastian being his second release, containing an interesting mixture of styles, in the way you could back then without being derided for your 'lack of focus' or somesuch. Rocking efforts like Red-Eye Express and What She Thinks About contrast sharply with the acoustic beauty of She's a Lady or the light vibraphone jazz of Magical Connection, not to mention the pedal steel-assisted country of Rainbows All Over Your Blues. Of course, the lyrics are an important part of the album, as they have been for Sebastian's entire career; watch for the wonderful stanza in How Have You Been about the 'strange European guitar string I found on the floor of a club in Marseille'. The album's chief fault? Inconsistency, despite what I said above. Variety's fine, but jaunty stuff like Baby Don't Ya Get Crazy don't enhance the record at all, although removing anything would turn it into barely more than a long EP.
The sleeve features complete instrumental credits, with one important exception. Someone, possibly Paul Harris, plays Mellotron (or Chamberlin?) on the clavinet-driven Fa-Fana-Fa, with some squelchy brass and mandolin that's quite clearly tape-generated. Was this a US version of the Musicians' Union issue? Why else would it be uncredited? Anyway, we're not talking a classic by any means, but John B. Sebastian's a passable enough album with a few really nice moments and one odd tape-replay track.
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Four Moments (1975, 39.47) *****/TTTT½Four MomentsGlories Shall Be Released Dawn of Our Sun Journey Through Our Dreams Everything is Real Rosanna Openings |
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Windchase (1976, 37.01) ****/TTWindchaseAt the End Life, Love and Music Hello Phimistar Peaceful |
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Live in L.A. (1999, recorded 1994, 56.46) *****/TTTT½(Introductions)Four Moments Glories Shall Be Released Dawn of Our Sun Journey Through Our Dreams Everything is Real Rosanna Windchase - Conclusion Openings/Millo's Bizarre Bizet Solo/Openings - Conclusion |
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Sebastian Hardie are without doubt Australia's best-known progressive act, being asked to reform for a one-off appearance at America's Progfest in 1994. I've heard them described as 'dated', but to my ears their music's a gorgeous example of lush, symphonic progressive rock, although I'll admit there may be a slight tweeness to their sound in places. Actually, what they really remind me of is the contemporaneous Italian scene, which isn't surprising when you look at their mainman's name; Mario Millo? Despite being very Australian, the band was formed from, er, 'immigrant stock', for want of a better phrase, so I'm assuming that the music the members grew up hearing was from the southern European classical tradition. By 1976 they'd probably also heard at least the bigger names from the Italian scene, but they could just be a case of parallel development. Who knows.
Anyway, Four Moments is an absolute bloody classic, particularly the side-long title suite, with a main theme to die for. At different points in the piece, it manages to be powerful and stately, reflective, or sprightly and uptempo, showing the considerable grasp the band had on dynamics and progressive song structures. The two instrumentals on side two are almost as good, but without the 'oomph' moments of Four Moments, but still display the band's considerable melodic invention, particularly in Millo's guitar parts. There's actually slightly less of Toivo Pilt's Mellotron on the album than I remember, although Four Moments is stuffed with it (mostly strings), accentuating the epic qualities of the piece as is its wont. Rosanna and Openings use it with more subtlety, but bugger subtlety, give me more of that title track! This is superb, and I can attest to its ability to bear repeated playing.
Windchase is a slight disappointment after the glories of Four Moments (sorry), but only because of its immaculate forbearer; it' still a damn' good album, just not quite up there with its predecessor. Again, the title track is a side-long affair, but without the exceptional highs of Four Moments and worst of all, most of the Mellotron has been replaced by Solina. Why? The Solina's a beautiful instrument, in its place, but replacing Mellotron strings wholesale is not that place. To be fair, there are some background choirs in the piece, and you can definitely hear 'Tron strings duelling with the Solina towards the end, but overall, it only removes the lushness of its predecessor, all for the joys of infinite sustain. I can't understand why Pilt couldn't use both to complement each other, rather than the complete synthetic takeover. Oh well. Anyway, side two consists of four shorter pieces, still basically keeping the quality up, although again, without the quite extraordinary quality of the Four Moments tracks, although closer Peaceful gives them a close run. More 'Tron choirs, especially on the oddly-titled Hello Phimistar, but this could hardly be described as a Mellotron Album, sad to say. Incidentally, it's rumoured that the reason the choirs on the album sound slightly strange is that they aren't the standard 8-voice, but the (unsurprisingly) little-heard 15-voice 'TT' (or Teddy Taylor) version, making this album one of the few where this unusual sound can be heard.
The band fragmented after their second album, with Pilt and Millo going on to form Windchase, whose sole album is a kind of progressive/Santana crossover, which is unfortunately less exciting than it sounds. As mentioned above, they were asked to reform to play Progfest '94, and the bulk of the Four Moments suite can be heard on the official souvenir of the festival, Musea's Progfest '94, complete with period keyboard equipment. Five years later, their whole set (I believe) was released by Musea as Live in L.A., and it's pretty magnificent, including all of Four Moments, plus Solina-free highlights from Windchase, although the set is based around their debut. The band get the chance to stretch out a little, including Mario Millo's solo guitar piece, making this another essential Sebastian Hardie album.
So; it hardly needs to be said; if you're into either prog or the Mellotron (or preferably both), you need a copy of Four Moments, so buy Windchase while you're at it, and then Live in L.A., simply because it's there. Incidentally, Sebastian Hardie reformed again in 2003, but only to play a few shows in Australia.
