2 Foot Yard
3rd & the Mortal
4 Non Blondes
4/3 de Trio
90 Day Men
10cc (1973, 34.35) ***/½
|Johnny, Don't Do it
Sand in My Face
The Dean and I
The Hospital Song
|Ships Don't Disappear (Do They?)
Fresh Air for My Mama
Sheet Music (1974) ***½/T½
|The Wall Street Shuffle
The Worst Band in the World
Old Wild Men
Somewhere in Hollywood
10cc appeared fully-formed in '73, rising from the ashes of Hotlegs, with the witty, intelligent Rubber Bullets, on Jonathan King's independent UK label. All four members had been around for a while, particularly bassist/whatever (all members were multi-instrumentalists) Graham Gouldman, who wrote For Your Love for the Yardbirds a good eight years earlier, not to mention being a member of Wayne Fontana's Mindbenders.
10cc rather proves the point that great singles bands frequently don't make good albums bands; there's nothing wrong with the material, but it tends to fail to excite in quite the same way as the singles (Donna and The Dean And I being the other two). The lyrics are, without exception, witty and urbane and the arrangements are exceptionally clever, but somehow, most of the tracks leave you (or me, anyway) slightly cold, although Headline Hustler's not at all bad, and the doo-wop pastiches of Donna and Johnny Don't Do It are exceptionally accurate, if a little soulless. Fresh Air For My Mama is the sole Mellotron track on offer (player unknown), with a distinct Beach Boys feel on the chorus, and a little bit of strings, but that's it for the 'Tron.
Sheet Music is a better album than its predecessor, although like all their LPs, it suffers from the same 'the singles are the best bits' syndrome, in this case, the superb Silly Love and The Wall Street Shuffle. Saying that, live fave The Worst Band In The World is excellent, and Clockwork Creep, while not the greatest song, is the direct precursor to their (much) later hit, I'm Mandy, Fly Me. The Mellotron on The Wall Street Shuffle, played by guitarist/chief singer Eric Stewart is superb, with some moody string chords under the middle eight, and a strings-switching-to-flute part to die for. Hotel's flutes (from Lol Creme) are OK but nothing special and Baron Samedi's strings are almost inaudible, leaving the best 'Tron track (not to mention one of the two best songs full stop) easily available on any 'best of' compilation.
So; two OK albums, one great 'Tron track. Buy their Greatest Hits instead. Oh, and just to clear up some long-running confusion, no, that ISN'T Mellotron (or Chamberlin) on their biggest UK hit, I'm Not In Love, from '75's The Original Soundtrack (***½). Apparently, they got the 'ghostly voices' effect by (get this) recording the massed vocal parts onto a looped strip of 24-track tape, then 'playing' the mixing desk to fade different parts in and out. The effect is truly magnificent, but (heresy time) that's why samplers were invented.
Official fan club site
See: Hotlegs | Graham Gouldman
This Our Sacrifice of Praise (1974, 41.34) ***/T½
|The Earth is the Lord's
To Thy Holy Name
The Lord Has Done Great Things for Us
Let Us Thank the Lord
Praise the Lord
By the Waters of Babylon
The Musical Box Song
|Trust in the Lord
As you might have gathered from the song titles, 11.59 were a full-on Christian band, working at the folk/rock end of the spectrum. So; am I going to slate it? No. Because? a) My copy has been provided by their old keyboard player, Andy Kinch (Manasseh, Kracked Earth) and b) it's actually better than that, although calling it This Our Sacrifice of Praise bugs me slightly. Why sacrifice? Stop being so sacrificial, and just get on with living. Er, sorry, Andy. Anyway, the record is a tad sweet in places, particularly on the female vocal front, while some of the lyrics will raise the hackles of non-believers, notably the jaunty Hallelujah Jesus!, which is, in all honesty, a bit hard to bear. If you concentrate on the music, though, what you get is a nice folk rock album with a bit of Mellotron, which is rare enough in itself to warrant attention. All but one of the songs is based on the psalms, the best-known in the secular world being No.23, The Lord is My Shepherd, tackled at the end of the album on one of Kinch's two compositions, although strangely, neither of his songs has any Mellotronic content.
Speaking of said 'Tron, there are flutes and strings on opener The Earth Is The Lord's, then nothing until By The Waters Of Babylon, which you may or may not be glad to hear has nothing to do with the later Boney M song, apart from the obvious lyrical content. Actually, it's one of the nicest pieces on the album, a melancholy, minor-key piece with 'Tron flutes, but sadly, that would appear to be it. Although this is now on CD, it's through the Korean M2U label, so is almost certainly a bootleg. Andy still owns his (fully working) M400, which means it must be about time he recorded with it again. Andy? n.b. See: Kracked Earth.
Twin Action (1994, 45.27) **½/T
Life is Strange
I Won't Let You Down
Poor 18 Wheeler. Despite releasing several albums on Creation in the '90s, they're chiefly remembered for being the headliners one night in Glasgow, when their label boss Alan McGhee discovered support act Oasis. With the benefit of the better part of two decades' hindsight, the kind of heavy-yet-jangly indie portrayed on their 1994 debut, Twin Action, hasn't dated well, Beach Boys vocal referencing notwithstanding, opener Sweet Tooth being about the best thing here.
Don Silver plays Mellotron strings (no idea where they found a working one in '94), with a background part on Nature Girl, a surprisingly speedily-played melodic motif on Hotel 167 and a line on Suncrush. As with many similar, it's possible it's on another track or two, but the other strings sound more generic. While Creation's more popular releases are still in print, 18 Wheeler CDs are found more easily these days in second-hand shops, assuming they actually exist any more (the shops, not the discs. Well, maybe the discs, too). Anyway, you might be after this for the music, but you really won't be for the Mellotron.
Plume Delivery (2006, 23.50) **½/TTBring the Good Boys Home
A Coming Age
Flight of the Monowings
Whole of the Law
Patron Saint of the Mediocre
Chicagoans The 1900s (no extraneous apostrophe! Hurrah!) are an indie septet, whose debut release, 2006's Plume Delivery EP, is harmless enough as these things go, a just-pre-psych influence apparent on several tracks, while the dual female vocals are reminiscent of, say, Dusty Springfield duetting with herself (cue: deluge of Dusty fans berating me for my ignorance). Best track? Has to be short instrumental Flight Of The Monowings, although when Patron Saint Of The Mediocre shifts up a gear, it almost becomes something special.
Michael Jasinski plays Chamberlin, with a flute solo opening A Coming Age, a string part (under the real violin) on Flight Of The Monowings and something (clicky flutes?) on Patron Saint Of The Mediocre. Can I recommend this? Not especially, no, although some decent Chamby use helps to drag it up from the depths of indie tedium.
Borrowed Arms (2008, 51.52) ***/0
Hold My Own
|Red-Rag & Pink-Flag
One Day in May
Whistle Past the Graveyard
The Great Escape
2 Foot Yard are the trio of violinist/vocalist Carla Kihlstedt, cellist/vocalist Marika Hughes and drummer/guitarist Shahzad Ismaily, who make music about as eccentric as you might expect from that lineup. Strangely, though, their second album, 2008's Borrowed Arms, is almost pop in its own skewed way, its weird, klezmer-influenced melodies opening a peephole into an alternate universe where East Europe, rather than Africa, became the wellspring for the world's musical lingua franca.
Ismaily plays Chamberlin, although it's hard to say where; the few seconds of something indefinable at the end of Newbury Street? Shame it isn't more apparent, actually, as its lost, haunted sound couldn't help but accentuate this album's otherwordly feel.
200 Years (2011, 40.17) **/0
Through the Trees
More Than Alive
200 Years are the acoustic indie duo of Elisa Ambrogio (Magik Markers) and Ben(jamin) Chasny (Six Organs of Admittance), whose eponymous debut is characterised by upfront gentleness and distant, squalling guitar chaos, on the offchance that the combination sounds like it might appeal to you. Both of the participants' parent bands are apparently pretty noisy propositions, so this can probably be seen as their attempt to release their inner early '70s singer-songwriters. Best tracks? Not really, no.
Chasny supposedly plays Chamberlin, but I'd love to know where; I know it can be difficult to spot, but in a mix this transparent and uncluttered, how can I miss it? Anyway, I can't honestly recommend 200 Years; it bored me within minutes, which isn't, of course, to say it'll do the same for you.
Painting on Glass (1996, 64.33) ***½/T½
Persistent and Fleeting
Eat the Distance
Vavonia part II
The 3rd (or Third) and the Mortal started as a metal band in the early '90s, but by their second album, 1996's Painting on Glass, they had already ditched the more clichéd elements of their sound, going for more of a goth/prog crossover thing, maybe like a less heavy and immeasurably better version of the likes of Nightwish, but a decade earlier. Vocals are female throughout, and the wordless part that opens Persistent And Fleeting actually reminds me a lot of Dead Can Dance, making me realise that they're an obvious influence on the quieter bits of the record as, above all, this is still a rock album.
Nice 'Tron strings on Commemoration, from Lars Lien, with more of the same on Persistent And Fleeting and Azure, though that appears to be it. I'm not totally, totally convinced that the 'Tron is real, but until I find out to the contrary... Anyway, a pretty decent album that should appeal to your inner goth, and will probably click with many progheads. Far better than expected.
Evolver (2003, 40.17) **½/T
|Creatures (For a While)
Crack the Code
Same Mistake Twice
Beyond the Gray Sky
Give Me a Call
Other Side of Things
Sometimes Jacks Rule the Realm
311 are one of those bands who have seemingly been around forever, without having made any impact on yours truly whatsoever; I mean, I had the impression they were some sort of boy band, when it turns out they're an early rap/metal crossover who dip into reggae every now and again. So there you go. They apparently hit the news after some fuckwit decided that their name referred to the KKK (11th letter, × 3...), at which point they came clean and admitted it was the 'Omaha Police Department citation for indecent exposure'. Rap, reggae... Yeah, most racist... I have to admit that what they do, at least on the wittily-titled Evolver, doesn't float my boat in any way, to the point where I have no idea whether or not they're actually any good at it; suffice to say, I was bored enough to flip almost every track on before the end, though the album may be perfectly good in its own milieu.
There is Mellotron, or something that sounds a lot like a Mellotron to be heard on one of the album's two quieter tracks, Seems Uncertain, with a flute part running through most of the song, plus a brief cello line. No keyboard player is credited, however, and the chances of it being genuine tape-replay are vanishingly small, though you never know... As a result, don't bother unless the musical description above quickens your heart.
Stop (2002, 51.41) **½/T
Get Out Alive
You're Coming in Clearer
There is Gonna Be a Problem
|Smoke From a Funeral
Rock Stars Plastic Cars
Getting High With a Stranger
34 Satellite play a rather generic type of US indie, far too similar to a load of other bands I've heard recently, and no more interesting. Admittedly, there's far worse than Stop around, but it doesn't exactly grab you by the short'n'curlies, screaming "Listen to me!" Highlights? Didn't hear any.
Joe McGinty arranges the string section on Longest Day, also playing Mellotron strings on Smoke From A Funeral, with a decent enough part. You know the score... One passable 'Tron track, dull album, don't bother. Is this my shortest ever review?
Bigger, Better, Faster, More! (1992, 41.08) **½/½
Morphine & Chocolate
Old Mr. Heffer
Calling All the People
|Dear Mr. President
No Place Like Home
The three-quarters female 4 Non Blondes had one of the odder career paths detailed on this site: their debut single, What's Up, crossed over from 'alternative' to mainstram radio, they sold a monstrous six million copies of their sole album, Bigger, Better, Faster, More! then fell apart in disarray. Let's hope a) they actually made any money from it and b) they managed to keep it. It's an entirely predictable album of safe alt.rock, to be honest, with Linda Perry's rather irritating vocals and clichéd lyrics splattered all over it like a second-rate Jackson Pollock painting; 'highlights' just ain't gonna happen, baby.
Rory Kaplan is credited with Mellotron on one of the album's massively successful singles, Spaceman, but if you can hear the background strings and/or cello I think are there with any clarity, you're doing better than me. So; don't buy this album, unless blandola college rock's your thang. Rubbish 'Tron, too.
Official Linda Perry site
See: Christina Aguilera | Celine Dion | Goapele | Pink | Daniel Powter | Skin | Sierra Swan
Play With the Changes (2007, 67.19) **/½
Take My Time
Sink or Swim (No Choice for Me)
Play With the Changes
Something in the Way
Stoke Up the Fire
Superwoman (Where Were You When I Needed You?)
Why Don't You Talk?
Bed of Roses
Gonna Give it Up (Wanna Quit)
Dedication to the Horse
The London-based 4hero, under various spellings, began as a quartet at the beginning of the '90s, quickly contracting to the duo of Mark "Marc Mac" Clair and Dennis "Dego" McFarlane, becoming involved in the nascent drum'n'bass scene. By 2007's Play With the Changes, their style had broadened considerably, encompassing various dance-related genres, with guest vocalists on almost every track. A noticeable feature of the album is that every track is distinctly different, even a different sub-genre, to every other, yet each has little sonic variation within itself, probably typical for the area in which they work. Do I have any favourite tracks? Yes, actually: the late '70s psychedelic soul guitar work on Stoke Up The Fire, plus Why Don't You Talk? and Dedication To The Horse's full-on fusion make them the most listenable things here.
Mac plays Mellotron on Superwoman (Where Were You When I Needed You?), with a brief chordal flute part amongst the real strings that, frankly, really wasn't worth the effort. I can't really imagine any of you will ever want to hear this, but I'm just letting you know. Don't shoot the messenger.
Faiblesse (1999, 68.28) ****/T½
Spare Yourself the Pain
The Taste of You
Dying for Religion
Ersatz (2004, 69.49) ****½/T½Solmhinärm
French quartet 4/3 de Trio presumably started life as a three-piece before expanding. They play a sort-of RIO-influenced progressive style with twin guitars, heavy on instrumental interplay, with one of the guitarists, Sébastien Grammond, doubling on various interesting keyboards. They actually remind me (ever so slightly) of mid-'70s Charisma outfit AFT (Automatic Fine Tuning) with their keyboardless sound; now there's a band long overdue for CD reissue...
Like AFT, the vocal numbers on their debut, 1999's Faiblesse, should maybe have been quietly excised, particularly the lyrics on The Taste Of You, but this is only a minor criticism. For a band who own some fine old gear, they seem to use it surprisingly little, although the two tracks featuring the studio Mellotron don't mess around too much with subtlety. The strings on Queen Wilson and choir on Ma Devise are quite overt, with both songs building to a Mellotronic crescendo, making you wonder why they didn't use it slightly more. 4/3 de Trio sometimes slip over into complex hard rock territory, especially on the keyboard-free numbers, but I think they're closer to 'prog' than anything else, although they're unlikely to appeal to your symph die-hard.
Apparently, the band split in 2002, despite having partially recorded a second album. After their drummer was subsequently killed in a car crash, they decided to finish the album in his memory. Of course, it would be vastly preferable had he survived and they'd decided to regroup anyway, but as a memorial, 2004's Ersatz beat your average marble slab hands down. A more 'typical' prog album than its predecessor, with a heavier keyboard presence, it's probably a more satisfying listen overall, while retaining the eclecticism of their debut. Grammond gets a little Mellotron in again, with choir and cellos on Solmhinärm, although the strings are real, with some 'stabbed' choir chords at the end of the 16-minute Kossmokardak, leaving La Blonde as the nearest the album gets to a Mellotron track, with major string and choir parts throughout. Incidentally, the two parts of DDar that close the album are listed as 'bonus tracks', although without a 'non-bonus' version, I think we have to assume that the band never intended them to be part of the album per se, but wanted them heard.
Anyway, not really Mellotron albums per se, but for complex, guitar-based prog, look no further. Sadly, more releases seem unlikely, but I suppose the band may reform at some time.
Flores de Alquiler (2004, 46.39) **/½
|El Sol No Regresa
Flores de Alquiler
Busco Tu Piel
A Cada Paso
No Hay Perdón
Rompe el Mar
Si Yo Fuera Mujer (Se Fossi Una Donna)
Voy a Pasármelo Bien
La 5a Estación, or La Quinta Estación (the fifth season), are a Spanish pop/rock outfit who relocated to Mexico after the release of their first album, 2001's Primera Tome. Its follow-up, 2004's Flores de Alquiler, is a bland, safe, yet largely ignorable record that irritates nowhere near as much as many similar, although that really shouldn't be taken as any kind of recommendation.
Armando Avila, who has worked with Mexican outfit RBD, adds Mellotron flutes to Niña, with a minor, yet perfectly pleasant part. You really aren't going to want to hear this for a few seconds of Mellotron use, believe me, or, most likely, for the music.
Fan club site
Fight for Love (1989, 43.44) **½/½
|Here in My House
Over My Head
Baby Have Some Faith
Fight for Love
Walk Talk Madly
|Where is My Heart
For a band I've never heard of, 54-40 (named for a historical Canadian territorial dispute) have been around for a while, as in 'nearly thirty years'. 1989's Fight for Love is their fourth album, largely in an 'acoustic rock' vein, clearly taking an influence from contemporary indie, tempered with a '70s vibe in places, although closer Journey is more of a proto-jamband effort, featuring some very David Gilmour slide work. If I were to say, "Best thing I've heard all year", I'd be lying, frankly; this is largely inoffensive, yet also largely dull, drifting past the synapses without impinging on them at all, until Journey, which, while no classic, is easily the best thing here.
Unusually for the time, David Osborne is credited with Mellotron, making the album one of the first 'Mellotron revival' efforts, particularly given that the band weren't especially retro. Anyway, we get a few string chords on Over My Head and more of the same on Laughing, none of which sound that Mellotronic and aren't exactly the most outstanding work you're ever going to hear. Canadian specialists only, I think.
Nighty Night (2011, 18.51) ***/TNikola Tesla
Because the Origami
One Tiny Thing
Twelve Line Song
I'll Be My Mirror
The Problem With Saints
In some respects, 8in8 could be seen as a vanity project for all concerned, given that they consist of Ben Folds, author Neil Gaiman (is Neverwhere his best work? Discuss), Amanda Palmer of The Dresden Dolls and Damian Kulash of OK Go. As you might expect, given the band's membership, 2011's Nighty Night is a fairly quirky proposition, particularly Folds' and Palmer's contributions. Unfortunately, I the EP struggles to hold my attention, although it's rescued by its two final tracks, I'll Be My Mirror and the bizarre The Problem With Saints (clearly vocalised by Gaiman), possibly the first song in which the word 'bifurcate' is used not just once, but several times. That's what happens when you include a respected author in your ranks.
Folds plays Mellotron strings on One Tiny Thing, although, as with his own albums, its veracity could well be called into question. I'm still not entirely sure whether or not this has been released in anything other than the 'digital' (i.e. download) format, but Folds fans, at least, should make the effort to hear this.
See: Ben Folds
9.30 Fly (1972, 40.02) ***/TLife and Times
Time of War
Difficult to know how to describe 9.30 Fly; sort-of folky, sort-of proto-prog, sort-of quite a few things, without ever really being any of them. To be quite honest, 9.30 Fly isn't the most exciting album ever, although it's perfectly pleasant as background music, with male and female vocals from husband-and-wife team (?) Barbara and Michael Wainwright at different points, and a relaxed feel that has nothing in common with, say, Van der Graaf Generator. It isn't helped in the slightest by Michael's consistently flat voice, though, especially when he's attempting to harmonise with Barbara, as on Time Of War.
Just one 'Tron track, presumably from Barbara Wainwright, with some full-on strings (MkII?) on Brooklyn Thoughts, but far from enough to make it worth buying for that alone. Sorry, but this album really didn't grab me at all, despite there being nothing actually 'wrong' with it, so I can only say: buy at your discretion.
Panda Park (2004, 34.34) ***½/TTTEven Time Ghost Can't Stop Wagner
When Your Luck Runs Out
Too Late or Too Dead
Silver and Snow
90 Day Men apparently started out as some kind of post-punk thing, but by what appears to be their final album, 2004's Panda Park, they sat more in the prog/psych area, in a post-rock kind of way. The material here's actually pretty impressive, with some interesting harmonic twists here and there; one that will most likely be played again, I think. Best tracks? Probably opener Even Time Ghost Can't Stop Wagner and Chronological Disorder, but there's nothing here that offends.
Keys man Andy Lansangan plays Mellotron (sounding very real, I have to say), with a lengthy flute accompaniment on Even Time Ghost Can't Stop Wagner, background strings and flutes on Chronological Disorder, beautifully clunky flutes on Sequel and cellos all over Too Late Or Too Dead, making for an unexpectedly 'Tron-heavy record. It all sounds wavery enough to be real, though who knows? Let's hope. Anyway, a surprisingly good album on both musical and Mellotronic fronts. Worth the effort.