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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.


T.Rex
T2
Taburiente
Tahiti 80
Taï Phong
Take That
Tales of Justine
Talk Show
Talk Talk
Tall Dwarfs
Tamarisk
Tantra
Tarantula
Tater Totz
Tau


T. Rex  (UK)

T. Rex, 'Tanx'

Tanx  (1973,  35.07/51.54)  ***/TT

Tenement Lady
Rapids
Mister Mister
Broken-Hearted Blues
Shock Rock
Country Honey
Electric Slim and the Factory Hen
Mad Donna
Born to Boogie
Life is Strange
The Street and Babe Shadow
Highway Knees
Left Hand Luke and the Beggar Boys
[CD adds:
Children of the Revolution
Jitterbug Love
Sunken Rags
Solid Gold Easy Action
Xmas Riff
20th Century Boy
Free Angel]
T. Rex, 'Zinc Alloy & the Hidden Riders of Tomorrow'

Zinc Alloy & the Hidden Riders of Tomorrow  (1974,  46.29/61.00)  ***/0

Venus Loon
Sound Pit
Explosive Mouth
Galaxy
Change
Nameless Wildness
Teenage Dream
Liquid Gang
Carsmile Smith and the Old One
You've Got to Jive to Stay Alive - Spanish Midnight
Interstellar Soul
Painless Persuasion vs.the Meathawk Immaculate
The Avengers (Superbad)
The Leopards Featuring Gardenia and the Mighty Slug
[CD adds:
The Groover
Midnight
Truck on (Tyke)
Sitting Here
Satisfaction Pony]
T. Rex, 'Bolan's Zip Gun'

Bolan's Zip Gun  (1975,  33.51/38.27)  ***/T

Light of Love
Solid Baby
Precious Star
Token of My Love
Space Boss
Think Zinc
Till Dawn
Girl in the Thunderbolt Suit
I Really Love You Babe
Golden Belt
Zip Gun Boogie
[CD adds:
Do You Wanna Dance?
Dock of the Bay]
T. Rex, 'Futuristic Dragon'

Futuristic Dragon  (1976,  40.45/49.09)  ***/½

Futuristic Dragon (Introduction)
Jupiter Liar
Chrome Sitar
All Alone
New York City
My Little Baby
Calling All Destroyers
Theme for a Dragon
Sensation Boulevard
Ride My Wheels
Dreamy Lady
Dawn Storm
Casual Agent
[CD adds:
London Boys
Laser Love
Life's an Elevator]
T. Rex, 'Precious Star: The Alternate Zip Gun'

Precious Star: The Alternate Zip Gun  (1996, recorded 1974,  71.14)  ***/T

Light of Love
Solid Baby
Precious Star
Token of My Love
Space Boss
Think Zinc
Till Dawn
Girl in the Thunderbolt Suit
I Really Love You Babe
Golden Belt
Zip Gun Boogie (live)
Do You Wanna Dance?
Dock of the Bay
Solid Baby
Till Dawn (Marc's guide)
Till Dawn
Till Dawn
Girl in the Thunderbolt Suit
Dishing Fish Wop (Golden Belt)

Current availability:

Mellotrons used:

Marc Bolan was never really known for his Mellotron use; all the well-worn hits feature real strings alongside T.Rex's R'n'R-influenced glam-boogie thang, making me wonder how the rumours started. Well, listen to Tanx, and you'll find out. It's widely regarded as the album where Bolan irretrievably 'lost it'; it's certainly bereft of anything resembling a major hit, but don't hold that against it. There's a great deal more blues in this record than in anything the band put out at their peak, although there are too many weak spots to consider it 'classic' in any way. Given the hit-heavy bonus tracks on the CD, it seems Marc wasn't putting his singles on his albums at the time, which could have been a serious error commercially.

Given that Bolan's singles tend to be swamped in real strings, it's quite a surprise that Tanx features so much Mellotron, although producer Tony Visconti was known for using them at the time. In fact, although there are real strings to be heard, too, the first sound on the album is a tortured 'Tron being put through its paces, with Tenement Lady earning the clichéd phrase, 'Mellotron drenched', with strings all over the shop, including the phased middle section. Mister Mister has more of the same, plus flute chords in the verses, as does Highway Knees; there may possibly be 'Tron on a couple of other tracks, but I wouldn't swear to it, and real strings are also used in places (Electric Slim And The Factory Hen, Left Hand Luke And The Beggar Boys), just to confuse the issue. The CD features several single-only tracks; Free Angel features 'Tron strings trying desperately to sound like the real thing.

Zinc Alloy & the Hidden Riders of Tomorrow (apparently a dig at the current glam crew) saw Bolan experimenting with American soul textures a good year before Bowie, although he still couldn't manage that all-important US breakthrough. It has a couple of real standout tracks, notably opener Venus Loon, with an almost unearthly harmony in the chorus, but as with its predecessor, far too much of the album sits squarely in the 'also-ran' camp, forgotten as soon as heard. Despite the expanded CD's sleevenotes making a reference to 'an occasional intergalactic Mellotron', the album's real strings fudge the issue to the point where nothing obviously leaps out at you, leaving me no option but to give it a resounding '0' on the 'Tron front.

'75's Bolan's Zip Gun is a bit of a mess, to be honest, with Marc adrift in a sea of coke and booze, having no real idea where he was going; even Bolan's biggest fans have trouble finding nice things to say about it, although to my ears, it comes across as merely a lesser version of its predecessor. Although almost everything here comes across as a pastiche on his earlier style, closer Zip Gun Boogie has a great intro riff that deserved better than its workmanlike boogie verse. Dino Dines played the bulk of the album's keyboard parts, including Mellotron strings on Think Zinc, and a very obvious part on Golden Belt, as against its predecessor's 'is it/isn't it?' approach. Incidentally, the expanded CD's version of Do You Wanna Dance? was kicked completely into touch the following year by the Ramones, leaving Marc musically high and dry, however much he tried to assume the mantle of the 'Godfather of Punk'. Yeah, right.

1976's Futuristic Dragon was something of a return to the T.Rex of old, although as it was recorded over the space of a year or more, in various locations, there is some disparity in style. New York City is as dumb a single as Bolan was ever to write, although Jupiter Liar and Chrome Sitar are excellent. As always, the material gets rather samey about half-way through, making me think that all you really need by T.Rex is a greatest hits and a best of the album tracks, should such a thing exist. Dines played keys again, and although most of the strings sound real, that has to be a 'Tron on Calling All Destroyers, surely?

The trouble with the bonus discs attached to all the above albums is that, unless you're a deeply committed fan, they're a bit, well... boring. Endless demo run-throughs of material you weren't that fussed about in the first place aren't all that enthralling, to be honest, but then, they really are only for Bolan obsessives, meaning that I'm missing the point. Again. Anyway, I've trawled through all of 'em, and the only one featuring any Mellotron is Precious Star: The Alternate Zip Gun, originally released in its own right as far back as 1996. Space Boss has 'Tron strings and a full-on flute solo completely missing from the album version, although Golden Belt's short string part is the same, making it likely that this is a working version of the song, rather than a completely different take. Despite a total lack of instrumental credits for the alternate versions, it seems likely that the 'Tron was played by Dino Dines.

So, despite there only being a Mellotron presence on a few tracks on Tanx, they're all stuffed to the gills with it, so a cautious recommendation on the Mellotron front, ditto the music. The other albums here are 'forget its' on the 'Tron front, with the possible exception of Zip Gun's bonus disc, although if you like Bolan's schtick, you could do worse than give 'em a listen.

Official Marc Bolan site

T2  (UK)

T2, 'It'll All Work Out in Boomland'

It'll All Work Out in Boomland  (1970,  44.28)  ****/T½

In Circles
J.L.T.
No More White Horses
Morning
T2, 'T2'

T2  [a.k.a. Fantasy]  (1997, recorded 1970,  45.40)  ****/TTT

Highway
Careful Sam

Timothy Monday
CD
The Minstrel
Fantasy
T2

Current availability:

Mellotrons used:

T2's lone album during the band's lifetime, It'll All Work Out in Boomland, falls somewhere between the psych, prog and hard rock areas. Its sound is 'very 1970', but it's a bit of a lost gem; the material's excellent, particularly No More White Horses, covered in the '90s by Swedish 'trad-prog' outfit Landberk and the side-long Morning. The only Mellotron here (played by guitarist Keith Cross) is a nice string part on J.L.T., and no, I don't know what it stands for either. The brass on most of the tracks would appear to be real, as there's a sleeve credit for 'additional arrangements by Peter Johnson'.

In 1997, a CD, allegedly of a second, unreleased T2 album slipped out, entitled, with stunning originality, T2, also known as Fantasy, apparently. Although obviously sourced not only from old tapes, but acetates and any other format in which the music could be found, it sounds a little rough in places, which matters not one jot when the band kick off in Careful Sam, for example. It's a great shame it's taken so long for this music to get itself heard, although we should count ourselves lucky it's appeared at all. Surprisingly, drummer Peter Dunton played 'Tron this time round, with brief string parts on both Highway and Careful Sam, before two full-on 'Tron attacks on The Minstrel and the lengthy T2 itself, with swathes of flute and string work, plus brass (I believe) on the former track. If anything, this album's even better than their one official release; it certainly beats it on the Mellotron front, anyway.

So, two good albums, although T2 is the superior 'Tron record. Buy 'em both anyway.

Taburiente  (Spain)

Taburiente, 'Nuovo Cauce'

Nuevo Cauce  (1976,  38.40)  ***½/TT½

Folia del Campesino
Nuevo Cauce
La Raza Vive
Ganerso la Tierra
Canción de las Poetas
Aguantando

Lamento
Yo Poeta Declaro
Navidad Guancho
Canta a Tu Unidad

Current availability:

Mellotron used:

Now, it may say 'Spain' above, but traditional folk group Taburiente were actually from the Canary Islands, specifically La Palma. Nuevo Cauce ('New Riverbed', literally) was their second album, and is likely to be fairly unpalatable to anyone with a low tolerance for Spanish folk. It starts well enough, with Folia Del Campesino, but the title track is a bit cheesy, though still many castanets away from the sort of stuff you can hear in tourist bars on the Costa del Sol, should you really wish to do so. The rest of the album veers between pleasingly authentic and a bit naff, though you'd have to be pretty hard-hearted to really dislike any of it.

I rather suspect the album was recorded on the mainland, with Mellotron additions played by Canarios' Teddy Bautista, as despite their 'traditional' tag, it seems Taburiente branched out a little on Nuevo Cauce. It's all over the album, mostly strings (Folia Del Campesino, La Raza Vive, Aguantando, with pitchbend), but also cellos (Folia Del Campesino again), plus muffled choir on Canción De Las Poetas and Navidad Guancho, with possibly brass on the former, too, although all flute parts appear to be real. There's even a smattering of synth here and there, notably on Canción De Las Poetas and Canta A Tu Unidad.

So; those of you into various European folk musics may well like this; there's some excellent playing, particularly the flute, and some of the harmonies are wonderful. It's not actually bad on the 'Tron front, either, though don't expect anything too ground-breaking; you get the feeling it was a cheap alternative to a string section, as with many bands of the era. Anyway, don't go spending a fortune on this oddity, but it's actually not at all bad, with some decent 'Tron work.

Tahiti 80  (France)

Tahiti 80, 'Puzzle'

Puzzle  (1999,  45.35)  **/T½

Yellow Butterfly
I.S.A.A.C
Heartbeat

Made First
Mr Davies
Swimming Suit
Hey Joe
Puzzle
Easy Way Out
Things Are Made to Last Forever
Revolution 80

When the Sun
John Steed
So You Want to Be a Rock'n'Roll Star
Tahiti 80, 'Wallpaper for the Soul'

Wallpaper for the Soul  (2002,  46.58)  **/T

Wallpaper for the Soul
1,000 Times
The Other Side
Separate Ways
Get Yourself Together
Happy End
Fun Fair
Soul Deep
Open Book
The Train
Don't Look Below
Memories of the Past
[Bonus tracks:
Silently Walking
Aftermath]
Tahiti 80, 'Fosbury'

Fosbury  (2005,  50.43)  **/T

Big Day
Changes
Here Comes...
Matter of Time
King Kong
Something About You Girl
Your Love Shines
Take Me Back
Alloveragain
What Next
On the Run
Paradise
Cherry Pie
Empty and Amused

Current availability:

Mellotrons used:

Tahiti 80 are apparently named for a holiday T-shirt worn by vocalist Xavier Boyer's dad during his youth, which is pretty appropriate for this terribly twee band. Their remit appears to be to recreate that sultry kind of '60s French pop that inexplicably seems to be popular at the moment with a modern twist, i.e. beats an'shit. Boyer's voice is a supremely irritating thing, wafting along to no real purpose in a sunny kind of way, which is all well and good if you like that kind of thing, which probably explains their success.

1999's Puzzle (released internationally in 2000) was their debut album, summed-up by opener Yellow Butterfly, one of the cheesiest songs I've had the misfortune to hear in a while. Actually, reviewing this music any further is pointless; I dislike this stuff intensely and don't feel I can say anything fair about it, although I will throw in that their use of bloody Autotune is utterly unforgivable. There seems to be Mellotron on four tracks, possibly from Boyer, with flutes on I.S.A.A.C, Things Are Made To Last Forever and Revolution 80, plus faint choirs on Heartbeat.

2002's Wallpaper for the Soul is fairly appropriately-named, as listening to it is akin to looking at said wall covering, or maybe watching paint dry. I'm sure it has its fans, but I'm not among them. There's only one credited 'Tron track (definitely Boyer this time), with barely-audible sax, of all things, on The Other Side, although I've seen references to Sylvain Marchand chipping in, so given the Mellotronic flutes on Open Book and one of some editions' bonus tracks, Aftermath, maybe we can assume that's him.

I don't have 2004's A Piece of Sunshine, but the following year's Fosbury is pretty similar to their earlier efforts, probably unsurprisingly. Has this band no depth whatsoever? Clearly not. Is there a least awful track? Yes: Take Me Back, a brief acoustic number. Anyway, Rémy Galichet plays high 'Tron strings on King Kong, a slightly disco-inflected number that made me want to gnaw my own leg off, and uncredited ones on the slightly less offensive Alloveragain.

This stuff really is awful, I have to say. Yeah, it's impeccably done, but it's horrible, unless you have a yen for sticky-sweet '60s-influenced Euro-pop. I don't, as you might've guessed. Not much Mellotron, either, even assuming it's real. Very nasty.

Official site

Taï Phong  (France)

Taï Phong, 'Last Flight'

Last Flight  (1979,  37.24)  **½/T

End of an End
Farewell Gig in Amsterdam
Sad Passion
Thirteenth Space
Last Flight
How Do You Do

Current availability:

Mellotron used:

Despite being nominally French, Taï Phong were actually formed by two Vietnamese brothers, giving their progressive rock more than a little flavour of South-East Asia. Their third release, Last Flight, was, unsurprisingly, their last album, only featuring one brother, and is probably best described as 'ethno-fusion', whatever you may take that to mean. Amongst the jazzier efforts are hidden heavily uninspired efforts such as Sad Passion or How Do You Do, although some of the longer pieces, notably the title track, have their moments.

Despite never having used one before, Farewell Gig In Amsterdam features some Mellotron choir from Pascal Wuthrich, used reasonably well, which is always nice to hear, although that's it on the 'Tron front. I can't really recommend this album, I'm sad to say, as at their best, Taï Phong were trying to do something a bit different. Last Flight is a disappointingly bland effort, probably best avoided unless you really have to hear 'Tron choir track no.5438. Or is it 5439?

Take That  (UK)

Take That, 'Beautiful World'

Beautiful World  (2006,  47.46)  **½/½

Reach Out
Patience
Beautiful World
Hold on
Like I Never Loved You at All
Shine
I'd Wait for Life
Ain't No Sense in Love
What You Believe in
Mancunian Way
Wooden Boat
Take That, 'The Circus'

The Circus  (2008,  46.31)  **½/½

The Garden
Greatest Day
Hello
Said it All
Julie
The Circus
How Did it Come to This
Up All Night
What is Love
You
Hold Up a Light
Here

Current availability:

Mellotrons used:

Take That seem to have been not only one of the more successful, but also (get this) one of the more artistically valid pop group reformations of recent years, picking up their teeny audience, now around thirty, where they left off, while recording new albums that don't make the audience groan when they announce, "Here's a new one!" at gigs. Of course, it's still all lightweight fluff, but what did you expect? King Crimson? Actually, the two bands do have one thing in common, which is why this is here... Rather breathless Take That boss Gary Barlow was introduced to the Mellotron by the band's then-bassist, Lee Pomeroy, who also plays with Rick Wakeman, who used his machine on his recent Retro albums.

Beautiful World is as blandly professional as you'd expect, with those terrible vocal melodies that Barlow's known for, but they sell millions, so what do I know? I can't bear it, to be honest, but somehow I can't bring myself to give it a good pasting; maybe Barlow's sincerity actually shines through the aluminium micro-pits? Anyway, discussing the music here's almost irrelevant; it's Take That, and it does what Take That do, for better or worse. Probably the latter. An unknown player (Barlow? Pomeroy?) adds a bit of 'Tron to the album, with quiet little flute stabs on Patience, if you can imagine a quiet stab; it may well be elsewhere, alongside the considerable use of a real string section, but it's impossible to tell in the mix.

As if to prove it wasn't a fluke, the band released a second reformation album two years later, The Circus. It's business as usual, musically, being every inch as professional (and bland) as its predecessor, although they seem to have gained a modicum of cojones since their '90s heyday, to be fair. Mind you, spot the first use I've encountered of the abbreviation 'OCD' in a song lyric (in How Did It Come To This) and the Queen-alike guitars in Up All Night, self-deprecating lyrics to the fore. Again, very little Mellotron, almost certainly from Barlow this time, with a faint string part in Said It All, only audible at the end, and a very brief flute part, only just audible under the piano, in You.

Take That's resurrection has an amusing side to it: Robbie Williams, their original fifth member, who left them in the lurch back whenever, has watched his mega-career shoot down the shitter in recent years, only to see his ex-colleagues return and clean up. For those of us on the sidelines, I believe this is known as schadenfreude. Strangely, there's been talk from the quartet of taking him back, but given that he could never sing in the first place (I mean, have you HEARD his attempts at Sinatra?), they can, and he's ballooned in the last few years, why, I mean WHY would they?

See: Robbie Williams

Tales of Justine  (UK)

Tales of Justine, 'Petals From a Sunflower'

Petals From a Sunflower  (1997, recorded 1967-68,  46.21)  ***½/T

Albert (a Pet Sunflower)
Monday Morning
Sunday School
Evil Woman
Obsolete Incident
Music to Watch Us By
Sitting on a Blunestone
So Happy
Morpheus
Aurora
Something Special
Pathway

Saturn
Jupiter
So Much Love to Give You

Current availability:

Mellotron used:

Tales of Justine were one of far too many late '60s psych/pop outfits who should have been bigger, but ended up doomed to obscurity. They released just one single in their lifetime, Albert (A Pet Sunflower), a typically 1967 psyched-up pop song, rather too jaunty for its own good, to be honest, though better than many that made the charts. Fans of the era had to wait thirty years before hearing anything else, when Tenth Planet released a vinyl-only compilation (I do wish they wouldn't do that), Petals From a Sunflower, now sadly out of print. EMI had enough belief in the band at the time to record them at Abbey Road, from where all but one of the album's tracks emanate, despite some 'Net info to the contrary (my info comes direct from David Daltrey - thanks, David). Admittedly, some of the album's contents are a bit psych-by-numbers (Jupiter and So Much Love to Give You spring to mind), but Sunday School is really very good, with a slightly churchy organ part, ditto the oddly-titled Sitting On A Blunestone, although the intro to Aurora is a straight cop from the Lovin' Spoonful's Summer In The City, which is a bit cheeky.

David tells me that the Abbey Road 'Tron is on several tracks, although it's barely audible, one of which isn't the rather inconsequential flutes on So Happy, which are David on recorder. The flutes on Something Special are probably 'Tron, ditto Pathway and So Much Love To Give You, though I wouldn't actually put money on the latter two. So; there are enough decent tracks here to make the compilation worth the effort for the connoisseur, but don't go expecting a long-lost classic. Incidentally, information re. this release is incredibly hard to find on the 'Net, probably because it's never been on CD (I had a bugger of a job even finding a tracklisting), so for your information, side 1 (up to Sitting On A Blunestone) is from 1967, and side 2, '68.

Talk Show  (US)

Talk Show, 'Talk Show'

Talk Show  (1997,  42.06)  **½/T

Ring Twice
Hello Hello
Everybody Loves My Car
Peeling an Orange
So Long
Wash Me Down
End of the World
John
Behind
Morning Girl
Hide
Fill the Fields

Current availability:

Mellotron used:

Talk Show were essentially Stone Temple Pilots plus one, without the wayward Scott Weiland, doubtless off on one of his many rehab visits at the time. And it sounds like...? Not a million miles away from Stone Temple Pilots, as far as I can tell, songs full of riffs that aren't riffs, just rather dull chord sequences (yes, there is a difference) and unmemorable vocal lines. It does pick up the pace every now and again, with John rocking out quite nicely, but the overall effect is of exactly what it is; a side-project.

Mellotron on one track from drummer Eric Kretz, with a typical flute part opening Behind, reiterating throughout, morphing into a full-on strings part towards the end of the track. A couple of other tracks sound like they might feature the mighty 'Tron, although they're more likely to be 'actual' instruments, notably the solo flute on Hide. Anyway, not a very interesting album, while falling short of completely crap, and one so-so 'Tron track.

See: Stone Temple Pilots

Talk Talk  (UK)

Talk Talk, 'The Colour of Spring'

The Colour of Spring  (1986,  45.40)  ****/T½

Happiness is Easy
I Don't Believe in You
Life's What You Make it
April 5th
Living in Another World
Give it Up
Chameleon Day
Time it's Time

Current availability:

Mellotron used:

The Colour of Spring was the album where Talk Talk broke away from their fairly dreadful '80s pop beginnings, becoming more organic and far less mainstream, while still making an album that's relatively easy on the ear and, dare I say it, almost commercial. Saying that, April 5th and particularly Chameleon Day are distinct pointers to the band's future, sparse and effective, with a welcome sense of space to them; definitely of the 'less is more' school. While there's the odd bit of digitalness to be heard on the album, it's nice to see a band in the appalling mid-'80s using not just analogue, but electro-mechanical gear, too.

Life's What You Make It, the album's surprise hit, has Tim Friese-Greene on Mellotron flutes, strings and choir at different points, along with the Hammond that starred in one of their videos from this period (possibly for this song), while Mark Hollis gives it some more flutes and strings on the also almost-mainstream Give It Up, although to slightly lesser effect. Talk Talk went on to greater things, releasing the even-better Spirit of Eden (****½) two years later (no 'Tron, though), before quietly closing their career with '91's Laughing Stock (****½).

Tall Dwarfs  (New Zealand)

Tall Dwarfs, 'Fork Songs'

Fork Songs  (1991,  67.37)  ***½/½

Dare to Tread
We Bleed Love
Wings
Skirl
Thought Disorder
Small Talk
Lowlands
Life is Strange
Daddy
All is Fine
Two Humans
Oatmeal
Boys
Think Small
Tall Dwarfs, 'Stumpy'

Stumpy  [as International Tall Dwarfs]  (1996,  62.37)  ***/TT

Swan Song
They Like You, Undone
The Green, Green Grass of
  Someone Else's Home
The Severed Head of Julio
Crocodile
Macramé
Song of the Jealous Lover
Honey, I'm Home
Jesus the Beast
Cruising With Cochran
Things
Mojave
Box of Aroma
Ghost Town
Deep-Fried
Disoriented Bodgie
And That's Not All!!
Pull The Thread (& Unravel Me)
Dessicated
Albumen
Two Minds
Up
Tall Dwarfs, 'The Sky Above the Mud Below'

The Sky Above the Mud Below  (2002,  69.29)  ***/T½

Meet the Beatle
Beached Boy
Deodorant
Michael Hillbilly
Room to Breathe
Right at Home
Time to Wait
Melancholy
We Are the Chosen Few
Baby it's Over
Cascade
The Beautiful Invader
Big Brain of the World
You Want Me Shimmy
How the West Was Won
OK Forever
Your Unmade Eye

['The Weidenhaüsen Impediment' EP:
Seduced By Rock'n'Roll
Amniotic Love
Carsick
Wax
Open Wide Your Pretty Mouths
Possum Born
Over the Waves
The Runout Groove]

Current availability:

Mellotrons used:

Tall Dwarfs have been around since the early '80s, ploughing their own furrow of drumless, low-fi folk-influenced 'indie' stuff, whatever you take that to mean. They're pretty unique, which has to be celebrated in these days of homogeneous (NOT 'homogenised' - that's what they do to milk) radio-friendly blandness. I imagine Fork Songs (ho ho) is fairly typical of their oeuvre, with plenty of thrashy acoustic guitar and mucho vocal harmony stuff, reminding me in places of the Velvet Underground, amongst others. Chris Knox plays 'Tron cellos on Small Talk, but they're pretty much inaudible, apart from a hanging note at the end of the song.

Apparently, a liner note in 1994's 3 EPs collection asked listeners to send in their own rhythm tracks. They did, and '96's Stumpy (released as International Tall Dwarfs in honour of the multiple collaboration) used them as the basis for new material. It's typical Tall Dwarfs, being generally skronky low-fi oddness, but fans of the band are almost guaranteed to like it, even 19-minute closer Up. Knox and Alec Bathgate (the band's two principal members) apparently both play 'Tron, with a lovely flute part on Crocodile and a clunkier one on Cruising With Cochran, fractured cellos on Deep-Fried and more flutes about ten minutes into Up.

They released The Sky Above the Mud Below in 2002 to considerable acclaim, although I believe some of their older fans are disappointed in their recent releases (but isn't that always the way?). The basic album comes with another International Tall Dwarfs EP attached, The Weidenhaüsen Impediment, consisting of the duo plus various friends worldwide, including Jad Fair and Jeff Mangum, although I expect I should know some of the other names on there, too. And no, I don't think 'Jimmy Page' (on vocals?!) is actually, er, Jimmy Page! Maybe he's a Jimmy Page. Anyway, I'm afraid most of the material left me a little cold, although the album starts fairly well, and Baby It's Over is an excellent song. Maybe it's just too long for its own good - when will bands learn that just because you can put 80 minutes of music on an album, that doesn't mean you should? Anyway, two credited 'Tron tracks: Room To Breathe features a nice little flute part, while Melancholy has almost nothing but 'Tron, with Bathgate's harmonising cellos and flute melody underpinning Knox's vocals and, er, 'oventray' percussion (I told you they were lo-fi).

So; if you're into that lo-fi thing, you may very well like the Tall Dwarfs, and even if you're not, you may anyway. From what I've heard so far, they don't use their 'Tron much, but any contemporary Mellotron use has to be applauded, so please don't think I'm knocking them.

Fan site

Tamarisk  (UK)

Tamarisk, 'Lost Properties'

Lost Properties  (1983 cassette,  23.44)  ***½/TT½

An Alien Heat
Mojo

Royal Flush
No Room at the Top

Current availability:

Mellotron used:

Tamarisk were, unfairly, one of the lesser-known outfits to emerge from the early '80s UK prog revival. Their first demo, the Tamarisk E.P. was released in 1982, along with similar offerings from Marillion, Pendragon, IQ etc., but received less attention than their compatriots/rivals (delete according to taste). To my knowledge, they never gigged that far from their home territory of north-east London, but I'm willing to be proved wrong on that one. If that's true, it may account for their small following; most of their contemporaries were gigging feverishly up and down the country for all they were worth, building up sizeable fanbases as they went. Tamarisk also had trouble holding down a steady lineup, and by 1984 they were still only managing Marquee supports, with not a sniff of record company interest.

Listening to them with the benefit of hindsight, they were never going to bother Genesis, Yes et al for complexity or sheer musicality, but they were every bit as good as many other bands from the original neo-progressive movement. Song structures were simpler than their forebears, and more based around vocal parts in common with Marillion and co., but the tunes were strong and generally well-arranged, which should have given them a clear advantage over several bands discretion leads me not to name...

Their second (and last) demo, Lost Properties, while not actually progressing very much musically from their debut, had the added bonus of keyboard player Steve Leigh (later of just about everybody)'s EMI Mellotron M400. It's hard to tell exactly what he had on his tape frame, but Mojo opens with some rather tremulous top-of-the-keyboard choirs, and An Alien Heat features lower-pitched choir and what sounds suspiciously like Mellotron FX tapes of a crowing cockerel and church bells. It also sounds like there may be some faint choirs towards the end of No Room At The Top, but it's hard to tell.

If you get a chance to hear this stuff, do; Tamarisk's approach should've been different enough to afford them more attention. Criminally, these tapes remain unavailable over twenty years on; rumours appear occasionally that an official release is 'imminent', but nothing ever seems to happen. Anyway, if you like the better end of the neo-prog thing and you find this on a trade list (like mine), give it a listen.

Tantra  (Portugal)

Tantra, 'Holocausto'

Holocausto  (1979,  43.42)  ****/T

Om
Holocausto/Ultimo Raio do Astro Rei
Zephyrus
Talisma
Ara
Π

Current availability:

Mellotron used:

Tantra were Portugal's chief progressive exponents, releasing two albums in the late '70s, before deciding to tread the commercial path, leading to an unpopular album and their eventual split. I haven't heard their debut, but Holocausto's a fine album, if not quite up there with their heroes. The material has a jazzy bent in places (listen to the MiniMoog solo in Talisma), but slightly lacks in originality; the title track's refrain is an obvious steal from King Crimson's The Court Of The Crimson King, though not the part that usually gets 'borrowed'.

Pedro Luis' Mellotron use is fairly minimal; the band borrowed a machine for the recording, but the only audible evidence is a little choir on Holocausto itself (the track also utilises a real choir), and some faint string and choir chords on the most symphonic part of Talisma. It's actually a pretty good album, though, so probably worth it for the prog fan, if not for the Mellotron.

Tarantula  (Spain)

Tarantula, '1'

I  (1976)  ****/T½

Recuerdos
La Arana y la Mosca
Singladura Final
Un Mundo Anterior
Imperio Muerto
La Danza del Diablo
Lydia
Paisajes Pintorescos

Current availability:

Mellotron used:

In all honesty, I know very little about Tarantula; there was a follow-up to I, funnily enough, titled 2 (or II), and the keyboards were played by Vicenti Guillot, but that's about it, really. I's a rather good album, actually, with little of the jazz or flamenco influences heard in many of their Spanish contemporaries.

Opener Recuerdos flies through a bewildering variety of styles, including a brief bright'n'breezy section, darker Crimsonesque guitar and an almost MOR/opera vocal part. A Mellotron flute melody and 'Tronalike string synth lift the track, but it seems a strange piece with which to open the album. The rest of the record is more 'normal', at least by prog standards, although Tarantula refuse to be shoehorned into one style, mixing the rockier likes of La Danza Del Diablo with the more mellow La Arana Y La Mosca. The other Mellotron track is Un Mundo Anterior, with more of that flute melody and what sounds like it may be female choir towards the end of the song; it's a shame they didn't use it a little more, and find space for some strings, unless of course, my ears are deceiving me with that string synth...

I'm not at all sure I is available on CD, but if it isn't, someone should get around to releasing it; a great example of Spanish progressive, although it's a bit thin on the 'Tron front. Buy for the music only, assuming you can ever find a copy.

Tater Totz  (US)

Tater Totz, 'Sgt. Shonen's Exploding Plastic Eastman Band Request Mono! Stereo'

Sgt. Shonen's Exploding Plastic Eastman Band Request Mono! Stereo  (1989,  60.55)  ***/½

Instant Karma
Rock on
Rain
Who Has Seen the Wind?/Bohemian Rhapsody
Strawberry Fields Forever
1, 2, 3 Red Light
The Luck of the Irish
Sisters, O Sisters
The Lovely Linda
Shompton in Babylon
Why?
Two Virgins #9
Tomorrow Never Knows (live)
Cambridge 1969 (live)

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Mellotron used:

Tater Totz (sorry, don't know the US '70s cultural reference) were a Redd Kross side-project featuring Pat Smear, ex-Germ and future Nirvanaist and Foo Fighter alongside Redd Kross linchpins Jeff and Steve McDonald. It's difficult to work out if their career (such as it was) was loving homage, complete send-up, somewhere between the two or (quite possibly) both at the same time. 1989's Sgt. Shonen's Exploding Plastic Eastman Band Request Mono! Stereo, usually known as simply Mono! Stereo, was their second album, consisting wholly of covers, mostly Beatles-related, including at least three Yoko songs. Yoko crops up again on the cover's Help! homage (that word again), and in spirit on the solo Lennon covers, alongside two Beatles and one Paul song, assuming Lovely Linda deserves that accolade. The remaining tracks are David Essex's first hit Rock On, 1, 2, 3 Red Light, originally by bubblegum gods The 1910 Fruitgum Co., Shompton In Babylon, the only non-cover and their hysterical Who Has Seen The Wind?/Bohemian Rhapsody mash-up (to use the current vernacular), which somehow puts Yoko's words to Queen's music and works. Sort of.

Special guests abound, with The Runaways' Cherie Currie singing Instant Karma and members of the wondrous Shonen Knife and Sonic Youth (Thurston M. Miserable, anyone?) getting in on the act. As far as Pat Smear's credited Mellotron goes, the obvious candidate is Strawberry Fields Forever, of course, although the famous intro flutes sound too synthetic to be genuine. I can't imagine where else it might be, though, so I think we'll have to go with this one.

So; do you need this album? If you're a Redd Kross fan (and if not, why not?), a tentative yes, though only tentative, and conversely, if not, no. Fun in places and excruciating in others (Why? and Cambridge 1969 are both lengthy and teeth-grindingly irritating), this is a very mixed bag indeed, which is why it gets a lower rating that it might. Incidentally, the CD reissue adds the most bizarre bonuses I've ever heard of: two actual Os Mutantes tracks, sourced from crackly vinyl; rumour has it that they're actually the first Mutantes tracks ever to be released in the States. Odd. Very odd.

Official Redd Kross site

See: Redd Kross | Steven McDonald Group

Tau  (Germany)

Tau, 'Tau'

Tau  (1981,  39.42)  ****/TTTT

Willkoruinen
Der Traum
Todesfuge

Weuer die Rose Soure Gei McDonald's Versinks un Hauseruren
Eines Morgens, im April...
Goss
L.S.D.

Current availability:

Mellotron used:

Tau were surprisingly progressive for 1981, although, for some reason, the band elected to open each side of the album with its weakest tracks, Willkoruinen and Weuer Die Rose Soure... respectively. By Der Traum, though (the album's longest and best song), the full-on prog kicks in properly and, despite the occasional lesser number, Tau acquits itself very well. It isn't especially German sounding, despite German-language vocals, so don't write this off as 'another Sky label-type thing', like so much lesser German prog of the time (see: Octopus, Shaa Khan et al.). The album finishes with a thoroughly bizarre cover of Lucy In The Sky With Diamonds, re-titled L.S.D., bearing very little obvious relation to the original, with a new chorus melody (!) and lyrics in German.

There's a fair bit of Mellotron, too, presumably from keys man Michael Barfuss, with strings, choir and flutes on Der Traum, with excellent choirs, plus a polyphonic flute part on Todesfuge, and more choirs on the following two tracks. The aforementioned L.S.D. is smothered in strings, playing the verse melody and some 'violined' and pitchbent chords, making for one of the most bizarre reworkings I've ever heard, almost on a par with the Residents' highly disturbing take on Satisfaction.

Overall, then, a pretty good record, with some pointers towards its year of release, although if you ignore the two non-'Tron tracks (coincidentally, I may add), it's well worth hearing, both for music and Mellotron.


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