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Derek Webb
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Jim Weider
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Wellwater Conspiracy
Wende

Max Werner
Matt Wertz
Kanye West


Derek Webb  (US)

Derek Webb, 'I See Things Upside Down'

I See Things Upside Down  (2004,  63.44)  **/T

I Want a Broken Heart
Better Than Wine
The Strong, the Tempted, and the Weak
Reputation
I Repent
Medication
We Come to You
T-Shirts (What We Should Be Known for)
Ballad in Plain Red
Nothing is Ever Enough
Lover Part 2
What is Not Love
Derek Webb, 'Mockingbird'

Mockingbird  (2005,  40.20)  ***/T½

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
Derek Webb, 'The Ringing Bell'

The Ringing Bell  (2007,  30.31)  ***/T

The End
The Very End
A Love That's Stronger Than Our Fear
I Wanna Marry You All Over Again
I Don't Want to Fight
Name
Can't Be Without You
I for an I
A Savior on Capitol Hill
This Too Shall Be Made Right

Current availability:

Mellotrons used:

On/off Caedmon's Call member Derek Webb's second solo album, 2004's I See Things Upside Down, is a pretty tedious affair, I'm afraid to say. Its Christian content is fairly low-key, but its overlong, drawn-out material made this listener have to physically restrain himself from reaching for the 'next' button, the old-style r'n'b of Ballad In Plain Red being about the best thing here. Cason Cooley plays Mellotron, with vaguely 'Strawberry Fields'-esque flutes on the strangely-titled T-Shirts (What We Should Be Known For), although that would seem to be it.

2005's Mockingbird's sparse, folky CCM is something of an improvement, 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 is 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.

His follow-up, 2007's The Ringing Bell, is, again, a passable listen, although not something I can honestly see myself digging out too often, even if I don't listen too closely to the lyrics. Ben Shive plays Mellotron this time round, with flutes on The Very End and I For An I, the latter alongside real strings, although we're not exactly talking 'top 'Tron album of '07' here. So; acceptable CCM; will wonders never cease? Two decent 'Tron tracks on Mockingbird, but you're unlikely to rush out to buy these unless you're more into Webb's worldview than myself. Passable.

Official site

See: Caedmon's Call | City on a Hill

Wedding Present  (UK)

Wedding Present, 'Take Fountain'

Take Fountain  (2005,  47.02)  **½/T½

On Ramp
Interstate 5 (Extended Version)
Always the Quiet One
I'm From Further North Than You
Mars Sparkles Down on Me
Ringway to SeaTac
Don't Touch That Dial (Pacific
  Northwest Version)
It's for You
Larry's
Queen Anne
Perfect Blue
Wedding Present, 'El Rey'

El Rey  (2008,  45.26)  **½/T

Santa Ana Winds
Spider-Man on Hollywood
I Lost the Monkey
Soup
Palisades
The Trouble With Men
Model, Actress, Whatever...
Don't Take Me Home Until I'm Drunk
The Thing I Like Best About Him is His Girlfriend [Santa Moncia and La Brea Version]
Boo Boo
Swingers

Current availability:

Mellotrons used:

The Wedding Present appeared in the mid-'80s, lauded as almost the 'archetypal indie band' by John Peel and other observers, reforming in 2004 after a several-year break, during which mainman David Gedge worked as Cinerama, themselves Mellotron users. Their first post-reformation album was 2005's Take Fountain (from a Bette Davis quote, fact fans), continuing the rhythmic indie stylings of their previous incarnation(s), so whether or not you'll like this largely depends on whether or not you like their earlier work, I suspect. The album's actually quite varied, shifting from the near-noise of Interstate 5 (Extended Version) through the not-so-light jangle of Always The Quiet One to the dark balladry of Mars Sparkles Down On Me.

Co-producer Steve Fisk plays Mellotron, which rings alarm bells straight away; he's notorious 'round these parts for using samples credited as the real thing in the past. However, I believe he's actually obtained a real M400, although it's anyone's guess as to whether or not it's what we're hearing here. Anyway, we get male voices on Interstate 5 (Extended Version) and Queen Anne that go high enough to make me think they're the real deal, with no 'Munchkinisation', plus strings and cellos on closer Perfect Blue, although there may well be real ones in there, too.

I haven't heard the album's 'companion' volume of outtakes, remixes etc., Search for Paradise, but 2008's El Rey has no fewer than three Mellotron players credited. The album's pretty much the usual stuff; you know, if you like The Weddoes you'll like it, with the standard corollary. Gedge, Christopher McConville and Graeme Ramsay all apparently get some 'Tron in, although I've no idea why it took three of them to record so little, with naught but flutes on Model, Actress, Whatever... and cellos on Swingers, although (as so often) I'm willing to admit it may be hidden away elsewhere, too. I don't know if there's any more 'Tron on the album's 'companion' EP set, How the West Was Won; more news if I ever get to hear it.

Generally speaking, these are for fans of yer typical UK indie, although Gedge and Co. aren't always quite that easy to pigeonhole. There isn't an awful lot of (presumed real) 'Tron on these, but the male voices are used sufficiently infrequently that you may at least wish to hear the relevant tracks on Take Fountain. More news on other releases when I track them down.

Official label site

See: Cinerama

Greg Weeks  (US)

Greg Weeks, 'Fire in the Arms of the Sun'

Fire in the Arms of the Sun  (1998,  57.56)  ****/TTT

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
Greg Weeks, 'Awake Like Sleep'

Awake Like Sleep  (2001,  41.22)  ***½/TT½

These Days
Made
Past Four Corners
East 5th Street
The One True Song
I Will Fall to Meet Her
Ash Rising
Sleep Right
Sun Way Off
Greg Weeks, 'The Hive'

The Hive  (2004,  44.20)  ***½/½

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
'Be Yourself: A Tribute to Graham Nash's "Songs for Beginners"'

Be Yourself: A Tribute to Graham Nash's "Songs for Beginners"  (2010)  ***½/T½

[Greg contributes]
Sleep Song

Current availability:

Mellotrons used:

Greg Weeks exists in a region of psychedelic folk, having not only released several solo albums, but co-founded the excellent Espers, whilst 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.

Weeks and a Mellotron. And a dog

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.

Official site

See: Espers | Be Yourself

Ween  (US)  see: Samples

Weepies  (US)

Weepies, 'Be My Thrill'

Be My Thrill  (2010,  38.28)  **/0

Please Speak Well of Me
When You Go Away
Red Red Rose
I Was Made for Sunny Days
They're in Love, Where am I?
Add My Effort
Be My Thrill
Be My Honeypie
Hummingbird
Hard to Please
Not a Lullaby
How Do You Get High?
Hope Tomorrow
Empty Your Hands

Current availability:

Mellotron used:

The Weepies are the husband/wife duo of Steve Tannen and Deb Talan, already fans of each others' music when they met. Sadly, their fourth album (and third on Nettwerk), 2010's Be My Thrill, is a rather insipid effort; I'm sure they're making exactly the kind of folky/indie stuff they like, but I'm afraid I find myself hard-pushed to say anything nice about it. Or, indeed, anything at all.

Brad Gordon supposedly plays Mellotron, but fuck knows where, as it's completely inaudible, which doesn't even give me the chance to ascertain whether or not it might be sampled. I suppose this is good at what it does, but please don't ask me to trawl through it again.

Official site

Walter Wegmüller  (Switzerland)

Walter Wegmüller, 'Tarot'

Tarot  (1972,  88.12)  ***½/TTT½

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

Current availability:

Mellotron used:

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.

See: Ash Ra Tempel | Cosmic Jokers | Klaus Schulze | Wallenstein | Witthüser & Westrupp

Jim Weider  (US)

Jim Weider, 'Percolator'

Percolator  (2005,  46.32)  ***/T

The Maze
Percolator
New Day
Troll
Flight
Smooth Move
No Goodbyes
Rain Daze
Caveman
Prayer

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Mellotron used:

I had no idea The Band had reformed in 1985, but it seems Jim Weider played guitar in the reconstituted band, replacing Robbie Robertson, until they split in 2000, following Rick Danko's untimely death. Weider has made a handful of solo albums to date, of which I believe 2005's Percolator is the second. It's a mixed bag, as far as instrumental guitar albums go, with fusion workouts (The Maze, the title track), guitar balladry (New Day, No Goodbyes) and smooth jazz (Smooth Move) amongst the styles he tackles.

Our old friend John Medeski plays Mellotron, with a relatively normal flute part on Troll, at least as far as Medeski's concerned. A couple of other tracks (notably the flutes on New Day) have a vaguely Mellotronic feel to them, but it's only credited on the one track, so they're likely to be synth approximations. Overall, this is a mostly fusion effort, with other influences thrown into the melting pot (coffee pot?), making it stand out from the glut of identikit jazz guitar albums, with a little Mellotron thrown in for good measure.

Official site

See: Medeski Martin & Wood

Scott Weiland  (US)

Scott Weiland, '12 Bar Blues'

12 Bar Blues  (1998,  59.13)  ***/T

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

Current availability:

Mellotron used:

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.

Official site

See: Stone Temple Pilots

Weird Weeds  (US)  see: Samples

Dennis Weise  (US)

Dennis Weise, 'Valhalla'

Valhalla  (1979,  36.09)  ***/T½

Machine Time Ship
Y 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
Dennis Weise, 'Consciousness Program'

Consciousness Program  [as Denis Wize]  (1980,  39.38)  ***/TT½

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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Mellotrons used:

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.

Welcome  (Switzerland)

Welcome, 'Welcome'

Welcome  (1976,  41.39)  ****/TTTT

The Rag Fair
Dizzy Dune
Glory
Chain of Days
Dirge
Welcome, 'You're Welcome'

You're Welcome  (1978,  38.12)  ***½/TTT½

Music is Life
Seasons
Join the Party
Elf
The Whip

Current availability:

Mellotrons used:

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 the ir 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.

Well Wishers  (US)  see: Samples

Paul Weller  (UK)  see:

Paul Weller

Wellwater Conspiracy  (US)

Wellwater Conspiracy, 'Brotherhood of Electric'

Brotherhood of Electric: Operational Directive(s)  (1998,  50.12)  ***½/T½

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

Current availability:

Mellotron used:

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.

Official site

See: Soundgarden | Monster Magnet

Wende  (Netherlands)

Wende, 'No.9'

No.9  (2009,  36.35)  ***/T

Dream
Wonderful
Break My Heart
Roses in June
Exhale
NY is Passing By
Sycamore Tree
The Moon is Out
Hey
Sunday Morning
Yes, We Can
Beautiful Song

Current availability:

Mellotron used:

Although British-born, Wende (Snijders) is very clearly Dutch, although recent albums see her breaking out to an international audience. 2009's No.9, er, isn't; it's either her fifth or sixth release, depending on what you count, a strange album, more vaudeville and circus music than the expected contemporary pop/rock or singer-songwriter guff. Better tracks include Sycamore Tree and The Moon Is Out, but nothing here offends.

Reyn Ouwehand (Charlie Dée, Stephan Eicher) plays most of the album's fairly minimal Mellotron work, with nothing immediately identifiable on Break My Heart and flutes on Exhale and Sycamore Tree, while Wende adds flutes to Yes, We Can, although the eternal question of 'is it a real Mellotron?' is, as so often, unanswerable. Anyway, a welcome breath of fresh air into a stale modern scene and an album that will almost certainly reward further plays. Worthwhile, though probably not for the Mellotron.

Official site

Wendy & Lisa  (US)  see: Samples

Max Werner  (Netherlands)

Max Werner, 'Rainbows End'

Rainbows End  (1979,  41.05)  ***/TT

Rainbows End
Beware of the Dog
Tale of Tenderness
Sir Dance-Alot

Help Me to Do it Alone
Longsleeper
A Deadly State of Mind
Secrets of Mother Earth
Life's Serenity
Medicineman
A Glamour Story

Current availability:

Mellotron used:

Max Werner was vocalist and sometime drummer for Dutch progressive popsters Kayak, standing stage-front with an M400 to his right, in an almost unique set-up. Rainbows End (sic) is his first solo album, from '79, standing up very well against Kayak's contemporaneous albums, with better tracks including the title track, the instrumental Sir Dance-Alot, Secrets Of Mother Earth and closer A Glamour Story. The sleeve is far more mid- than late-'70s, too, possibly giving some idea of Werner's inspiration for the album.

The album utilises modern technology, including sequencers and what sounds like Prophet brass riffs on several tracks including Rainbows End itself and Beware Of The Dog. However, rather surprisingly, Werner's Mellotron crops up on several tracks, although he only uses the choirs. The title tracks sounds more like a Roland Vocoder, although I think it's the real thing on Tale Of Tenderness, Sir Dance-Alot, A Deadly State of Mind and Life's Serenity; unexpected, but welcome.

Overall, Rainbows End is a pleasant surprise. Yes, it's (progressive) pop, but so are Kayak, and they produced some fine material, better than, say, Earth & Fire's more mainstream efforts. None of the Mellotron work here is exactly essential, but nice to hear on an unexpectedly decent album. Unsurprisingly, though, there's nothing to be heard on his successful follow-up, 1981's Seasons.

See: Kayak | Ton Scherpenzeel

Matt Wertz  (US)

Matt Wertz, 'Weights & Wings'

Weights & Wings  (2011,  40.21)  *½/½

Don't Come Easy
Everything Will Be Alright
Nobody's You
Running Back to You
Family
For the First Time
Someone Like You
Feels So Right
Easier Tonight
Gonna Be Good
Somebody's Gonna Love You

Current availability:

Mellotron used:

Going by his sixth studio album (including an early independent release), 2011's Weights & Wings, Matt Wertz is the very worst kind of wet-as-water, drippy US singer-songwriter; it will come as absolutely no surprise whatsoever to learn that his ultra-twee songs have been used on various crappy mainstream US TV shows. He's also toured with the hideous likes of Jason Mraz and Christians Jars of Clay, so his own appallingness is pretty much a foregone conclusion and, believe me, this album is appalling.

John Deaderick and Jason Lehning play Mellotron, if only just; is that Mellotron flute doubling the whistled melody (ouch) on Everything Will Be Alright? Definite flutes on Easier Tonight, but that would seem to be our lot. Never mind, only masochists and the terminally tasteless are ever going to listen to this steaming heap of garbage anyway.

Official site

John Wesley  (US)  see: Samples

Kanye West  (US)

Kanye West, 'Late Registration'

Late Registration  (2005,  70.25)  ***/½

Wake Up Mr. West
Heard 'Em Say
Touch the Sky
Gold Digger
Skit #1
Drive Slow
My Way Home
Crack Music
Roses
Bring Me Down
Addiction
Skit #2
Diamonds From Sierra Leone (Remix)
We Major
Skit #3
Hey Mama
Celebration
Skit #4
Gone
Diamonds From Sierra Leone
Late

Current availability:

Chamberlin used:

hip-hop, eh? Wossit all about then? Fucked if I know - I'm utterly the wrong demographic for this stuff, but it seems that the controversial Kanye West (real name, it seems) is more inventive and, well, eccentric than most. After a massive hit with 2004's The College Dropout, West could afford the time and money to sink into the following year's Late Registration, including collaborating on several tracks with Chamberlin legend Jon Brion, making for some interesting instrumentation, at least.

According to interview footage in Diana Dillworth's Mellodrama film, Brion plays Chamberlin on Gold Digger, with some squiggly pitchbend stuff at the end of the track, but if you didn't know it was there... So; superior hip-hop, but it's still hip-hop, with next to no obvious Chamby. Maybe not.

Official site

See: Jon Brion


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