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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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The Watch The Waterboys Web |
Derek Webb Greg Weeks Walter Wegmüller |
Scott Weiland Dennis Weise [Denis Wize] Welcome |
Paul Weller Wellwater Conspiracy Leslie West |
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Vacuum (2004, 48.04) ***½/TTTTHillsDamage Mode Wonderland Shining Bald Heads Out of the Land Goddess Deeper Still The Vacuum |
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Live Bootleg (2006, 48.27) ****/TTT½Shining Bald HeadsHeroes Goddess Ivory DNAlien The Vacuum Doctor Mystere |
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Primitive (2007, 47.09) ***½/TTT½Sound of SirensThe Border Two Paces to the Rear When I Was a Tree Another Life Berlin, 1936 Soaring on |
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The Watch are Simone Rossetti's post-The Night Watch outfit, and while their debut, 2001's Ghost, features 'Tron samples (reviewed here), they finally bought a real one for their follow-up, from Italian pop legend (it says here) Zucchero. Vacuum is, effectively, a lot like Ghost; The material's good, but seems to lack the spark of the Night Watch stuff, although there's nothing specifically wrong with it. They still sound too much like early Genesis for their own good, and it doesn't look as if if that's going to change in the near future. Anyway, Sergio Taglioni's 'Tron is splattered all over the album, with particularly strong strings work, and the odd bit of choir.
Two years later, the band released a stop-gap album, Live Bootleg, which is pretty much what it says, being supplied with the most basic insert, in a plastic slip-case. Then again, I was given a copy when I bought one of their other albums, so who's complaining? The sound quality is excellent, too, given that it was recorded at several different gigs. I'm told the band take their M400 out with them, at least for 'local' dates, so I have to assume that all the Mellotron here is real. The material, maybe surprisingly, covers not only Ghost and Vacuum, but also a Night Watch track (Ivory being a retitled My Ivory Soul), plus one previously-unavailable track , Doctor Mystere. Mellotron all round, from Fabio Mancini, with particularly strong string and choir work on Heroes, although the reedy, high strings on opener Shining Bald Heads sound like they could be samples, as I know very well that the band's 'Tron doesn't get to every gig. All in all, a good live document of the band, especially worth it if you can score a freebie.
2007's Primitive is... another Watch album. It's difficult to fault their consistency, but in ten years and two bands, Simone Rossetti's gameplan doesn't seem to have altered one jot. It's a good album, and will probably grow on me with repeated listens (when?), but doesn't actually offer anything new. Saying that, Rossetti's English is good, and Berlin, 1936 tackles an interesting topic sensitively, commenting on Jesse Owens' heroic victory at the Berlin Olympics. Decent 'Tron work across the board, from both Mancini and Rossetti, with not only the expected strings and choir (though not so much of the latter), but also a good helping of flutes, especially on the first two tracks. Ex-keyboardist Sergio Taglioni arranged the synth orchestration on closer Soaring On, although a little 'Tron choir creeps into the mix, too.
So; strong, 'typical Italian prog' albums, with decent 'Tron. I do have one minor beef with the band, though: they actually played in London in late '07, to a woefully empty room (that isn't my beef), sadly sans 'Tron (and nor is that). After playing about an hour of their own material, they suddenly morphed into a (very) early Genesis tribute band, covering several songs that I've never even heard from an actual tribute before. All well and good, but I'd actually gone there to hear their own material, and playing so much Genesis smacks, to me, of a lack of confidence in their own compositions. In fact, upon checking their website, I'm horrified to see that most of their forthcoming gigs are labelled '1970-71 Genesis show'. Anyway, although a little derivative, The Watch are one of a handful of good, 'traditional' Italian prog bands currently doing the rounds, and deserve to be heard on their own terms.
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A Rock in the Weary Land (2000, 58.24) ***½/T |
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| Let it Happen My Love is My Rock in the Weary Land It's All Gone Is She Conscious? We Are Jonah Malediction Dumbing Down the World |
His Word is Not His Bond Night Falls on London The Charlatan's Lament The Wind in the Wires Crown |
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Mike Scott and his band, the Waterboys, are essentially interchangeable, although he didn't use the band name for the bulk of the '90s. Many fans still consider their early 'big music' albums to be their best, and I'd personally quote Red Army Blues, from 1984's A Pagan Place as his/their best song, bar none. 2000's A Rock in the Weary Land was the first album under the Waterboys name for seven years, and, although I've seen it described as 'inspired by alternative music', it sounds to my ears like an update of the band's early sound, with a strong Dylan influence pervading the record. About the only real criticism I'd level at it is that most of the tracks are too long; not because Scott's singing reams of lyrics, but because the band insist on 'stretching out' on almost every track, even when doing so can be to the detriment of the music.
Spiritualized member and frequent Julian Cope collaborator Tim 'Thighpaulsandra' Lewis guests on the album, playing various keyboards, including Mellotron on three tracks. Well, two actually, as the distorted strings on Dumbing Down The World ('recorded in Hell') are credited to 'Slubgob', but as everyone playing on the track is graced with pseudonyms (Scott's is 'Screwtape', wittily referencing noted Christian C.S.Lewis' 'The Screwtape Letters'), but it's almost certainly Thighpaulsandra here, too. On his two credited tracks, there are somewhat background strings on My Love Is My Rock In The Weary Land, and, er, not sure, but possibly distant choirs and upfront brass on closer Crown.
So; Waterboys fans of old who gave up on the band years ago should probably give A Rock... a chance, although there's nothing here sounding anything like The Whole Of The Moon or their other early-'80s efforts. Mellotron nuts (yes, YOU!) probably don't need to bother, but anyone wishing to hear good songwriting in an age of fakery would do well to invest. Incidentally, Scott used Mellotron (amusingly spelt 'Melletron') on 1997's Still Burning solo album and Love Anyway EP, with the (presumed) Floyd homage/tribute/pastiche Careful With That Melletron, Eugene.
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I Spider (1970, 39.54) ***½/TTConcerto for BedspringsI Spider Love You Ymphasomniac Always I Wait |
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Web are one of the lesser-known of the 'proto-prog' very early '70s UK bands, characterised by a bluesy and/or jazzy feel to much of their material (see: Cressida, Titus Groan et al.). I Spider is notable for being one of Dave Lawson's pre-Greenslade projects, and you can hear at least vague similarities between the two bands. Apart from the usual instrumentation, the album features sax and vibes, adding to its general slight air of jazziness. The material is reasonable, but you can see why they never really took off and aren't regarded as highly as, say, Gracious! these days.
Lawson's Mellotron use (probably a Mark II) seems to be limited to the ubiquitous strings, with the one outstanding part being some interesting dissonance at the beginning of Ymphasomniac, but probably not enough over all to make it an essential purchase, unless you're particularly into this era of UK prog.
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Mockingbird (2005, 40.20) ***/T½ |
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| Mockingbird A New Law A King & a Kingdom I Hate Everything (But You) Rich Young Ruler A Consistent Ethic of Human Life My Enemies Are Men Like Me Zeros & Ones |
In God We Trust Please, Before I Go Love is Not Against the Law |
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Derek Webb plays a kind of sparse, folky CCM, a long way from the offensively syrupy dreck served up by the likes of Charlie Hall et al, which has to be applauded in a world where that kind of stuff is apparently considered acceptable. Saying that, the album does get a bit bland in places, not least closer Love Is Not Against The Law, but overall, it's far from unlistenable.
On the Mellotron front, flutes on A King & A Kingdom, soon supplanted by a beautiful string part, from pianist Cason Cooley. There's nothing audible on Rich Young Ruler, but My Enemies Are Men Like Me has faint strings and very upfront 'Strawberry Fields'-style flutes from Cooley and Webb, making two worthwhile 'Tron tracks out of three. Minor confusion, as at least two tracks feature sounds that could be considered Mellotronic, but, according to the sleevenotes, aren't.
So; acceptable CCM; will wonders never cease? Two decent 'Tron tracks, but you're unlikely to rush out to buy this unless you're more into Webb's worldview than myself. Passable.
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Fire in the Arms of the Sun (1998, 57.56) ****/TTT |
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| The Angel of Death Starless Joan of Arc Shady Skies and Lullabies The Flesh of Terrain Tracey Bowen's Double Life The Pale Shade Leaves and Limerance |
New Silver Finger II Molly Bloom Cutting Blue Trading Touch Harvester of Sighs Straw Days Fallow King Rides By |
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Awake Like Sleep (2001, 41.22) ***½/TT½These DaysMade Past Four Corners East 5th Street The One True Song I Will Fall to Meet Her Ash Rising Sleep Right Sun Way Off |
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The Hive (2004, 44.20) ***½/½ |
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| You Won't Be the Same Ever Again The Lamb's Path Lay Low Borderline Burn the Margins The Hive Funhouse Not Meant for Light |
The Wait Donovan Division |
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Greg Weeks exists in a region of psychedelic folk, having not only released several solo albums, but co-founded the excellent (if Mellotron-free) Espers, while guesting on several other projects, probably in a similar capacity. Fire in the Arms of the Sun is his 1998 debut, a beautiful album of acoustic guitar, occasional keyboards, bass and cello, all overlaid by Weeks' fragile voice. The songs are pretty much uniformly excellent, although, like so many similar albums, a slight lack of variety begins to tell after a while. Weeks plays a Mellotron flute solo on opener The Angel Of Death, while Starless (not that one) is a short, unaccompanied 'Tron flute piece. More flutes (from Matt Martens) in The Pale Shade, sounding almost like recorders at one point, with a gorgeous string part on Leaves And Limerance, from Martens again. Back to Weeks for more strings on the lengthy Fallow, making for a most satisfying Mellotronic (and musical) experience. Oh, and there's a credit for 'Mellotron hire', just in case you weren't sure.
Three years on and Awake Like Sleep is Weeks' next full-length release, more keyboard- than guitar-orientated and somewhat shorter than its predecessor. The songwriting's still extremely good, yet possibly not quite up to his previous standard, although Made, East 5th Street and The One True Song are all quite excellent. Just Weeks on 'Tron this time round: Made has spitty flutes (HIT those keys!), wobbling all over the place, plus groaning string section, with more flutes on East 5th Street and strings and flutes battling it out with a harmonium on Sleep Right, making for another good 'Tron album.
Nothing on his 2003 EP Slightly West, or (I believe) 2005's Blood is Trouble, making us wait until 2008's The Hive for another dose of Weeks 'Tron. The album is even more electronic than its predecessors, although full band arrangements are a no-no, despite a 'drums and percussion' credit. The material is probably on a par with that on Awake Like Sleep, which is obviously where Weeks is at these days (Espers mix folk and electronica, too), with opener Lay Low and the title track probably being highlights. Now, I have an issue here: Weeks credits himself with Mellotron before anything else, yet it's barely to be heard on the record. Huh? His business, obviously, but the only things here that even might be Mellotron are distant, hazy string parts well down in the mix on Burn The Margins and The Hive itself, both of which could easily be something else. Bizarre.
All in all, then, I personally prefer Fire... to either of Weeks' later efforts, but that's simply one man's meat. All three albums are worth hearing, and I suspect the latter two will grow on me given the imaginary time I fondly imagine I may find one day. The first of these three is easily the best for its Mellotron work, although Awake Like Sleep is no slouch. Avoid The Hive is that's all you're listening for, though.
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Tarot (1972, 88.12) ***½/TTT½ |
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| Der Narr Der Magier Die Hohepriesterin Die Herrscherin Der Herrscher Der Hohepriester Die Entscheidung Der Wagen |
Die Gerechtigkeit Der Weise Das Glücksrad Die Kraft Die Prüfung Der Tod Die Mäßigkeit |
Der Teufel Die Zerstörung Die Sterne Der Mond Die Sonne Das Gericht Die Welt |
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Walter Wegmüller was a Swiss artist who made just the one album, the double Tarot, in 1972. Despite his not actually being German (although a Swiss German speaker), this is full on krautrock of the highest order, a psychedelic pot-pourri of mad juxtapositions, with English and German dialogue intercut with post-Floyd organ, erratic percussion and Wallenstein's Jürgen Dollase's fractured Mellotron parts. There are more conventional moments, too, not least the rocking Der Herrscher (The Emperor) and the gentle Der Hohepriester (The Hierophant), although they're heavily outnumbered by the weirder stuff. The album's sound comes as absolutely no surprise when you realise that the band comes from the same pool of musicians as the Cosmic Jokers, including Klaus Schulze, Walter Westrupp (of Witthüser & Westrupp), members of Ash Ra Tempel and the more conventional Wallenstein.
The album's concept is, rather obviously, the 22 cards of the Tarot's major arcana, in sequence, although quite what angle Wegmüller was taking has to remain a mystery to a non-German speaker. There isn't any singing in the conventional sense on the album, but it could be argued that Wegmüller's incantatory narration works better than someone warbling horribly over music this powerful and strange. Just about every krautrock base is covered here, making this possibly the ultimate kraut album, although I'm sure fans of La Dusseldorf, Neu! and early Kraftwerk might have something to say about that. Dollase's 'Tron work encompasses the insane pitchbent strings and flute on Der Magier (The Magician), which are tempered by ghostly but conventional string parts on Die Hohepriesterin (The High Priestess) and Die Herrscherin (The Empress). Early choir use on Der Weise (The Hermit) and cellos on Das Glücksrad (Wheel of Fortune), with a mélange of sounds on disc two's Die Mäßigkeit (Temperance), including brass. Cellos and choir on Die Zerstörung (The Tower), with a heavenly choir part on Das Gericht (Judgement), although I can't tell if the screechy sounds on either Der Mond (The Moon) or Die Sonne (The Sun) are Mellotron or some form of glissando guitar. Or, for that matter, something else entirely.
Well, for Tarot-inspired albums, I think I'm more likely to stick to Steve Hackett's Voyage of the Acolyte and the subsequent album whose concept supposedly influenced him, The Enid's In the Region of the Summer Stars. Saying that, Tarot sounds absolutely bugger-all like either of those esteemed records, but if your preferred listening includes the likes of the Cosmic Jokers, you probably can't go too far wrong here. Decent Mellotron use, too, against all expectations.
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12 Bar Blues (1998, 59.13) ***/T |
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| Desperation #5 Barbarella About Nothing Where's the Man Divider Cool Kiss Date Son |
Jimmy Was a Stimulator Lady, Your Roof Brings Me Down Mockingbird Girl Opposite Octave Reaction |
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When he recorded 12 Bar Blues, Scott Weiland was on some sort of drug sabbatical from the outstandingly average Stone Temple Pilots, with the end result sounding little like his alma mater, which isn't to say it sounds much better, just different. In fairness, there's obviously been some experimentation on the production front, with several tracks using the sort of loops/fake analogue thing that was everywhere in the late '90s, and the overall effect is definitely more interesting, so maybe I'm being rather unfair (what? Me?). Lady, Your Roof Brings Me Down even has a sort of Kurt Weil thing going on, so you certainly can't accuse this album of one-dimensionality.
As for the Mellotron, Victor Indrizzo plays some very upfront flutes on Divider, while Weiland himself allegedly plays it on Cool Kiss, although his contribution is completely inaudible. Maybe he just thought he played it. So; a surprisingly adventurous album, although one which, sadly, doesn't appeal to me very much. Very little audible Mellotron, although what you can hear is pretty good, but hardly enough to recommend purchase. Of course, Weiland finally left STP to join the wholly tedious and overrated Velvet Revolver with various ex-Guns n'Roses. Yawn.
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Valhalla (1979, 36.09) ***/T½Machine Time ShipY M Alim-Kader Breathe the Form Alien Rock Hedonic Rapture The Big Apple Mystery The Return of the Akpallus Mutants (Part A) The Return of the Akpallus Mutants (Part B): 93rd Current Valhalla |
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Consciousness Program [as Denis Wize] (1980, 39.38) ***/TT½ |
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| Thought Proceeds Action Love in Foam and Surf Only Time We've Got Anima Manna Consciousness Program Back to Earth Rosita Facilita Light as Air |
Balfazzar Celestial Cungo Dub |
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Dennis Weise was an American electronic musician who put a couple of albums out at the turn of the '80s. 1979's Valhalla is one of the nuttiest albums I've reviewed on this site, which is saying something; mad, atonal electronics, splintered vocal fragments and bucketloads of white noise, suddenly interrupted by almost normal string synth or Froese-ish guitar. Melodies turn into random squirts of notes, pseudo-tribal rhythms pulsate in and out... Getting the picture? This is quite bonkers, and you really will probably either love it or hate it. After nowt but electronic gyrations, suddenly, on Hedonic Rapture, big slabs of reverbed 'Tron choir make their entrance, although the strings on the track sound synthesized to my ears. There's a little more choir on both parts of The Return Of The Akpallus Mutants, but that's your lot.
Did I say Valhalla is the maddest piece of shit I've heard all year? Weise decided to respell his name Denis Wize and released Consciousness Program the following year. It makes its predecessor look almost structured, full of found sounds, pre-sampler samples and crazed juxtapositions of noises. Oh, and a Mellotron. It's difficult to think of anything constructive to say about the music itself, but Weise/Wize sticks plenty of 'Tron choir on two parts of side one's thirteen-minute 'medley', Anima Manna and the title track. Side two's similarly-lengthed segue has some very faint choirs on Light As Air and some more upfront phased choir on closer Celestial Cungo Dub. It's still difficult to tell what's producing the strings, but I'm sticking with string synth until/if I should find out otherwise (like, how?).
I think it's safe to say you're not going to find these very easily, at least in non-downloadable form; they're the sort of thing that someone will suddenly decide to reissue, but will remain unbelievably obscure until then. Not that much Mellotron on the first, a little more on the second; these are more one for the synth nuts out there who've run out of better-known practitioners.
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Welcome (1976, 41.39) ****/TTTTThe Rag FairDizzy Dune Glory Chain of Days Dirge |
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You're Welcome (1978, 38.12) ***½/TTT½Music is LifeSeasons Join the Party Elf The Whip |
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Welcome were a late-'70s Swiss outfit who seemed to be trying to be the Swiss Yes; mission accomplished, chaps. Their debut, Welcome, while derivative, is a very nice listen indeed, although the vocal harmonies are a little off in places (what was I saying about Yes?). Loads of Mellotron from Bernie Krauer, although the strings on The Rag Fair start off sounding like string synth, though soon resolve into definite 'Tron. The opening flutes on Glory switch to strings almost immediately, before shifting back and forth between the two sounds, but the inaccurately-titled Dirge may be the album's Mellotronic and musical highlight, with a beautiful polyphonic flute part followed by some gloriously upfront strings, although there's probably actually less 'Tron, second for second, than on some of the other tracks.
Their second album, You're Welcome, isn't quite up to the standard of their debut, to be honest; most of the material's reasonably good, though, with the glaring exception of Join The Party, without which the album would be noticeably better. A slightly more American sound too, strangely, with the band reinforcing their Yes fixation by adding a Styx influence, themselves Yes-influenced. Mellotron all round, from Krauer again, with choir on Music Is Life, then strings on everything else (even Join The Party), and both sounds cropping up on the side-long The Whip, the album's best track.
So; Welcome is really very good, although I wouldn't call You're Welcome a classic, to be honest, although it's definitely got its moments. I believe there are some non-LP compilation tracks, also featuring 'Tron; more news should I get to hear them sometime.
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Wild Wood (1993, 51.19/53.59) ***½/TT |
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| Sunflower Can You Heal Us (Holy Man) Wild Wood Instrumental (pt 1) All the Pictures on The Wall Has My Fire Really Gone Out? Country Instrumental Two |
5th Season The Weaver Instrumental (pt 2) Foot of the Mountain Shadow of the Sun Holy Man (Reprise) Moon on Your Pyjamas [Later CDs add: Hung Up] |
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Live Wood (1994, 64.01) ***½/TT |
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| Bull Rush/Magic Bus This is No Time All the Pictures on the Wall Remember How We Started/Dominoes Above the Clouds Wild Wood Shadow of the Sun (Can You Heal Us) Holy Man/War |
5th Season Into Tomorrow Foot of the Mountain Sunflower Has My Fire Really Gone Out? |
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Stanley Road (1995) ***½/TT |
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| The Changingman Porcelain Gods I Walk on Gilded Splinters You Do Something to Me Woodcutter's Son Time Passes... Stanley Road Broken Stones |
Out of the Sinking Pink on White Walls Whirlpool's End Wings of Speed |
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Heliocentric (2000, 48.12) ***/TTT |
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| He's the Keeper Frightened Sweet Pea, My Sweet Pea A Whale's Tale Back in the Fire Dust and Rocks There's No Drinking, After You're Dead With Time & Temperance |
Picking Up Sticks Love-Less |
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Illumination (2002, 47.41) ***/TTT |
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| Going Places Bullet for Everyone Leafy Mysteries It's Written in the Stars Who Brings Joy Now the Night is Here Spring (at Last) One x One |
Bag Man All Good Books Call Me No.5 Standing Out in the Universe Illumination |
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As is Now (2005, 53.24) ***½/TT |
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| Blink and You'll Miss it Paper Smile Come on/Let's Go Here's the Good News The State of Forever Pan All on a Misty Morning From the Floor Boards Up |
I Wanna Make it Alright Savages Fly Little Bird Roll Along Summer Bring Back the Funk (pts 1 & 2) The Pebble and the Boy |
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I've just read an article on Paul Weller which commented on his '25 years in the biz', which knocked me back slightly; it's easy to forget just how long someone's been around, especially when you can remember their first flush of success. After The Jam and the Style Council, Weller reinvented himself for the second time at the turn of the '90s as a rootsy singer-songwriter, sounding like nothing more or less than an early-'70s 'Whistle Test' regular (Traffic et al.), complete with a 'back to the country' ethos circa '72. His debut, Paul Weller, was extremely low-key, but by the time Wild Wood came out, the press had sat up and begun to take notice, amusingly coining the phrase 'dadrock' to describe Weller's retro-rock, probably to his considerable chagrin, although I suppose he may wear it as a badge of pride. Can't say I could imagine my dad listening to this sort of stuff; must be a generation thing...
Anyway, Wild Wood's a well-written, well-produced album, if not entirely to my personal taste. Mostly quite laid-back, Weller's taken care over the vocal melodies and the instrumentation, recruiting Brendan Lynch and Helen Turner to help him out with the keyboard parts, although he plays many of them (including most of the Mellotron) himself. The 'Tron use is as low-key as the rest of the album, to be honest, with some very background strings on Sunflower and Can You Heal Us (Holy Man), and a subtle flute melody on Wild Wood itself. The one Mellotron-heavy (-ish) track is the album's 'epic', the seven-minute Shadow Of The Sun, 'Tron played by both Weller and Lynch, with quite overt string and flute parts. Nice. Incidentally, the Hammond work throughout is superb, reminding you of any number of long-lost turn-of-the-'70s outfits, giving the album an organic quality missing in so much music since the end of that decade.
I'm quite surprised Weller saw fit to put a live album out as his third release, but live work has always been his forté, so I presume he decided to play to his strengths. The material on Live Wood is mostly culled from his first two solo albums, recorded at various gigs between '93 and '94, with a five-piece band including Helen Turner on 'Wurlitzer, piano, organ, Mellotron, Pro-One', so top marks for the nice analogue rig. Of course, as is often the way with live albums, arrangements change, so Above The Clouds, from Paul Weller has Mellotron strings added, while Shadow Of The Sun, a 'Tron monster in the studio, is all piano here. Actually, I expected to hear it on more tracks, to be honest, but what there is is strong and upfront, rather than buried beneath studio arrangements. I've just realised what this album reminds me of, by the way: Crosby, Stills, Nash and Young. It's got that early-'70s 'jammin'' thing going on several tracks, with authentically retro keys and guitar tones; funny how people revert to their early influences, innit?
1995 brought the critically-acclaimed Stanley Road, named for the Woking street in which Weller grew up. Aficionados rate it as highly as Wild Wood; it's certainly in the same vein, although as a non-fan, I can't really attest to the quality of the songs. As far as its Mellotron content goes, it was played by Weller and Helen Turner this time, with decidedly audible strings on three tracks, Out Of The Sinking, Whirlpool's End and best of all, the title track, with a great string melody. The other couple of credited tracks are very background, to be honest, and one excellent effort doth not really a 'Tron album make.
Weller's fourth solo studio outing was the uncharacteristic Heavy Soul, which bears at least slight comparison with Oasis' Be Here Now, with a similar tendency to meander through a rather substandard set of songs without actually going anywhere much. Also, it seems Weller hit the 'Mellotron Wall' with this record, keeping it in mothballs for the sessions. However, it was back to business as usual on Heliocentric, with little real change on the music front and a decent chunk of (uncredited) Mellotron, presumably played by the man himself. I'm afraid I can't warm to this any more than to the rest of his catalogue, but it seems to do what it does perfectly well, so I'll leave my comments on its content at that. As far as the 'Tron goes, it's the usual flutes and strings across the board, really. Few of the parts stand out particularly, although the string part (along with real strings, by the sound of it) in There's No Drinking, After You're Dead works well, as do the string chords in Picking Up Sticks, on two of the album's few uptempo songs.
2002's Illumination starts off sounding as if Weller's forsaken the Mellotron, until it suddenly appears on track 6, Now The Night Is Here, with One X One being particularly heavy on it, with strings, flutes and choir smothering the whole thing. Excellent! Loads more on Standing Out In The Universe, too. The music? It's Weller. More acoustic than some of his albums, probably less so than others. I haven't heard the next two relevant Weller albums, 2003's self-explanatory Fly on the Wall: B-Sides & Rarities, 1991-2001, or the following year's Studio 150, but 2005's As is Now, featuring a nattily-suited Paul on the sleeve, is typical Weller, throwing all his usual influences into the pot. Best tracks? Maybe the jamming Bring Back The Funk and closing ballad (with real strings), The Pebble And The Boy, making for one of the most listenable Weller albums in years. Mellotron (from yer man) on three tracks, with some beautifully clear 8-choir and flutes on Pan, high-in-the-mix flutes on Savages and a strings part on Roll Along Summer.
So; if you like Paul Weller, you'll already know these albums, and if you don't, I'd have trouble recommending him over many far better singer-songwriters (the sublime Richard Thompson springs to mind), but, as always, it's all a matter of opinion. You'll find advocates of all of these, even Heavy Soul, so I expect the general consensus is that they're all pretty good. None of them really cuts the mustard on the 'Tron front on their own, though a compilation of the best tracks would work well. Weller still regularly tours with a 'Tron, which I heartily applaud, although I'm told that despite (allegedly) owning Steve Hackett's old Novatron, he usually hires one in. Mind you, do you blame him?
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Brotherhood of Electric: Operational Directive(s) (1998, 50.12) ***½/T½ |
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| Destination 24 Compellor Teen Lambchop Hal McBlaine Born With a Tail Destination 7 Red Light Green Light B.O.U. |
Psycho Scrimm Van Vanishing Right of Left Field Ladder to the Moon Dark Passage Good Pushin' Dr.Browne Dr.Greene Jefferson Experiment |
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Wellwater Conspiracy are effectively a duo, comprising ex-Soundgarden man Matt Cameron (who played Mellotron on their Superunknown, fact fans) and John McBain, ex-Monster Magnet, with various friends guesting. Unlike many such projects, they're actually really good, making a heavily psych-influenced sound, throwing all sorts of stuff into the pot, most of which works. Difficult to pick standout tracks, especially on a first listen, but the ones with the Floyd-ish Farfisa are all worth hearing.
I've absolutely no idea who plays the Mellotron parts on their second album, Brotherhood of Electric: Operational Directive(s) (the brackets appear to be optional), as both Cameron and McBain are credited with keyboards, as is Glenn Slater on several tracks, including the 'Tron ones. Anyway, strings and flutes on Red Light Green Light and VERY LOUD strings on B.O.U., which makes a welcome change; they sound cranky enough to be real, too. So; not bad at all, and decent 'Tron on two tracks.
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The Great Fatsby (1975, 33.58) ***/TTT |
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| Don't Burn Me House of the Rising Sun High Roller I'm Gonna Love You Thru ESP Honky Tonk Women If I Still Had You Doctor Love |
If I Were a Carpenter Little Bit of Love |
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The Great Fatsby (ho ho) was Leslie West's first solo album after the first dissolution of Mountain, although his second in total, after 1969's Mountain, and was promoted with a campaign that greatly upset the heavily overweight West, including 'speak your weight'-type machines and the like; I have no idea whether or not the title was his idea. It's not a bad album, though mostly rather pedestrian, with little of the 'rock' really, er, rocking that much. Highlights are probably the instrumental ESP and, maybe surprisingly, his take on the Animals' version of old warhorse House Of The Rising Sun. If I Were A Carpenter isn't bad, but West insists on realigning the vocals so they scan differently, which has the effect of reducing the song's magic, unfortunately. Probably seemed like a good idea at the time.
Most surprisingly, loads of Mellotron from Howie Wyeth, being joint main keyboard along with the piano. Background strings on Don't Burn Me, with a chordal flute part under real flute opening House Of The Rising Sun, while I'm Gonna Love You Thru features string and choir parts. More flutes and strings on the ESP, very full-on strings on If I Still Had You and another string part on closer Little Bit Of Love wrap things up nicely, making this a most unexpected addition to the ranks of halfway-decent 'Tron albums.
The following year's The Leslie West Band (***) was a decent enough effort, if slightly uninspired (again), although it's saved by a few good acoustic tracks, not least a version of The Beatles' Dear Prudence, although sadly, no 'Tron. So; while The Great Fatsby is only average musically, it's probably worth it for the 'Tron nut, and it's not too often I say that.
