album list
Ricky Ross
Robert Roth
Andrew Douglas Rothbard
Carina Round
Josh Rouse
Demis Roussos
Roxx Gang
Rufus Zuphall
Olivia Ruiz
Runaway Totem
Todd Rundgren
Bic Runga
Robin Runge

Rosalia  (Japan)

Rosalia, 'Zillion Tears'

Zillion Tears  (1990,  22.40)  ***½/TT

Step on Sepia Dream
Another Glassy Moment
Zillion Tears

Current availability:

Mellotron used:

Rosalia were an all-female Japanese progressive outfit (see: Arsnova) who only managed to release a four-track mini-album, Zillion Tears, in 1990, before splitting. The only member I can tell you anything about is keys lady Naomi Miura, who went on to play with, yes, Arsnova for a while some years later. The EP/mini-album/whatever's a bit of a mixed bag, as you might expect of a Japanese prog release of the era. Amusingly, it manages to cover all the prog bases of the time in twenty-odd minutes, cutting out the middle man by only using each trope once.

Instrumental opener Step On Sepia Dream combines near-dissonance with typically Japanese romance-era classical influences, Another Glassy Moment (these titles are all translations, incidentally) is the cheesy pop/rock number, Prisoner is the UK-esque jazzy one, while the title track is the epic, comparable to Teru's Symphonia and other similar Japanese bands of a few years earlier. Soundwise, the album combines more 'traditional' prog instrumentation with up-to-the-minute digital stuff, including the hilariously low-fi samples that open Prisoner, which can only dream of anything above 8-bit. Instrumental highlights include Miura's 'Hammond' and synth solos on Prisoner and the guitar and synth parts on the title track, but, exactly as you'd expect, no-one puts a foot wrong anywhere.

Miura plays Mellotron strings on every track, to a greater or lesser degree. I've listened to Step On Sepia Dream to try to ascertain whether it's real or sampled (very early for sampling, but not unheard of, particularly in Japan) and have come to the conclusion that she uses the Mellotron for chordal stuff and regular string samples for single notes. This is a textbook case of what's known as 'muddying the issue', I think. Anyway, should you be into Japanese prog (something of an acquired taste, to be honest), you can't go wrong with this, assuming you can actually find a copy. I had to sign up to a Japanese YouTube equivalent to even be able to hear someone's glitchy upload. The things I do for you lot...

See: Arsnova | King's Boards

Haroula Rose  (US)  see: Samples etc.

Avi Rosenfeld  (Israel)  see: Samples etc.

Ricky Ross  (UK)

Ricky Ross, 'What You Are'

What You Are  (1996,  45.48)  ***/½

Good Evening Philadelphia
Cold Easter
What You Are
Radio on
When Sinners Fall
Jack Singer
The Lovers
Wake Up and Dream
Rosie Gordon Lies So Still
Promise You Rain
Love Isn't Hard It's Strong

Current availability:

Chamberlin used:

Ricky Ross? Who? Turns out he's the vocalist with Scottish pop/rock crew Deacon Blue (named for the Steely Dan track), the kind of band who pass under my radar, explaining my ignorance. Well, that's my excuse, anyway. Ross actually released a little-known solo album before joining the Deacon chaps, although 1996's What You Are is apparently generally regarded as his debut. It's a perfectly ordinary roots rock/pop album, to be honest, although 'singer-songwriter' might be a better description, as the songs are generally vehicles for Ross' lyrics, particularly acerbic on opener Good Evening Philadelphia. Actually, Springsteen might be a good comparison; the material here has that widescreen Americana feel to it, albeit with a Scots feel to it, rather than the usual Irish (yes, I know The Boss isn't Irish-American). I mean, we're always hearing about the Irish diaspora, but what about the Scottish one? Scots all over the world, not least my own ancestors.

Patrick Warren does his usual Chamberlin thing, although all I can spot is a brief flute part on Jack Singer. Overall, this is far better than I'd expected, although, unless you're into Ross' lyrical take on life, the universe and everything, you may not find the actual music that exciting, let alone the minimal Chamby use.

Official site

Marina Rossell  (Spain)  see: Samples etc.

David Lee Roth  (US)  see: Samples etc.

Robert Roth  (US)

Robert Roth, 'Someone, Somewhere'

Someone, Somewhere...  (2004,  71.54)  ***½/TTT

Vicki and Jacky
Someone, Somewhere...

Relive These X
The Poison Arrow
The Call of the Wild
Streetplay '99
Lightning & Thunder
Blackout City Serenade
Halliburton Blues
Walk All Over Downtown Life
Laugh Til We Cry
L&T 2

Under the Ever-Watchful Eye
Real Life Story
Yesterday's War

Current availability:

Mellotron used:

2004's Someone, Somewhere... is, I believe Robert Roth (variously of Built to Spill and Truly)'s only solo album to date, a kind of singer-songwriter-from-the-grunge-era release, albeit in a good way. Its contents shift between more straightforward (kind of) pop/rock (opener Vicki And Jacky, The Poison Arrow, L&T 2) through to a more psychedelically-influenced thing (the title track, Halliburton Blues, Under The Ever-Watchful Eye), alongside several less easily-categorisable things. It has to be said, though, the album's too long and could've done with a good edit. One man's opinion...

Roth plays his own M400 throughout, with background strings on Vicki And Jacky (plus flutes on the fade), flutes and strings, variously, on the title track, skronky string and flute parts on Streetplay '99, occasional strings on Blackout City Serenade, flutes and strings on Laugh Til We Cry and choppy strings on L&T 2, while it's very possible it's hidden in the mix on anything up to several other tracks. A decent enough album, then, with some fine Mellotron use. Recommended.


See: Built to Spill | Truly

Andrew Douglas Rothbard  (US)

Andrew Douglas Rothbard, 'Abandoned Meander'

Abandoned Meander  (2006,  43.47)  ***/TT½

A Beginning
Abandoned Meander
Bull in the Dell
Golden Calf
Rabbit Hole

Emerald Tendrils

Current availability:

Mellotron used:

Well, I don't quite know what to say about this one, really; I've read that it's the first in a five-album series, based on the 'Discordian law of fives'. OK, I'm lost already, proving that Andrew Douglas Rothbard is probably better educated than me. Said law apparently consists of the thesis, antithesis, synthesis, parenthesis and paralysis; I'm beginning to suspect a wind-up here, but I'm just not sure... Anyway, Abandoned Meander is his first solo album after spending the '90s playing in Slaves and Pleasure Forever (no, I don't know them either), and is a truly bonkers concoction of acid folk, twisted psych and general all-round insanity. I honestly can't find anything particularly useful to say about this, although other online reviewers have made a better job of it, so I think I'll just stick to its Mellotron content. Play safe.

Actually, I really can't work out whether or not the Mellotron here is real; the flutes at the end of Emerald Tendrils (and the album) sound pretty good, but the high-speed string part earlier in the song just screams 'sample!', though I've been wrong before... Anyway, assuming they're real, there's some subdued strings on Bull In The Dell and Paraxute, with a more overt part on Indigo. The cellos on Lucien and Rabbit Hole sound pretty real, and the aforementioned flutes and high-speed strings on Emerald Tendrils finish off nicely, assuming we're not talking M-Tron world here.

So; nuts folk/psych/something; if you like your acid deep-fried, you may just go for this. You never know, I may suddenly declare this a masterpiece in five years' time, when I finally get where Mr.Rothbard is coming from. Then again, I may not. Reasonable amount of Mellotron, assuming it's real, reasonable amount of samples if it isn't.

Official site

Anthony Rother  (Germany)  see: Samples etc.

Carina Round  (UK)

Carina Round, 'Slow Motion Addict'

Slow Motion Addict  (2006,  50.13)  **/½

Stolen Car
How Many Times
Gravity Lies
Ready to Confess
Want More
Take the Money
Down Slow
Come to You
Slow Motion Addict
January Heart
The Disconnection
The City

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Mellotron used:

Oft compared to P.J. Harvey, Carina Round actually claims to be influenced by Patti Smith, but going by her third album, 2006's Slow Motion Addict, I'd say a cross-section of the current UK indie scene might be more accurate. Sorry, but this kind of stuff makes me reach repeatedly for the 'next' button, although I resisted this time. Utterly unoriginal.

Someone with the slightly unlikely name Gary Go plays Mellotron, with a chordal flute part on Come To You being the only definite sighting, although it's possible there are faint string stabs on How Many Times and flutes on Down Slow. Overall then, dull, uninspired and overlong, next to no obvious Mellotron.

Official site

Roundhouse  (US)

Roundhouse, 'Handle With Care'

Handle With Care  (1976,  36.53)  ***/T½

Handle With Care
Treat Me Right
Home Town Dirty Bar
Rainbow (Lost the Sky)
City of the Dead
Once I Was Lonely
After Daybreak
Oooh Yes
Testimony, the (of H. Hughes)

Current availability:

Mellotron used:

Roundhouse (or Round House - it's spelled both ways on the sleeve) were a one-shot psychedelic hard rock band from as late as 1976, leaning towards the era's mainstream rock sound that was about to become obsolete. Led by vocalist/guitarist Brian Kent (the label actually states 'Roundhouse featuring Brian Kent'), they were, of course, destined to go precisely nowhere, although their sole legacy to the world (to my knowledge), Handle With Care, has its moments, not least Rainbow (Lost The Sky) and energetic closer Testimony, The (Of H. Hughes) and yes, that's how it's written on the sleeve.

Kent plays Mellotron, along with 'guitar, vocals, piano and general hysteria', with strings on the opening title track and strings and raucous cellos on Rainbow (Lost The Sky), although two or three other tracks that could have benefitted from its inclusion are left 'Tronless, which is a shame. Anyway, although copies of this do turn up on eBay, any in good enough condition to play are going to be prohibitively expensive, so I'd search out a download if you absolutely have to hear it.

Josh Rouse  (US)

Josh Rouse, 'Home'

Home  (2000,  38.08)  **/½

Marvin Gaye
Parts and Accssories
100m Backstroke
Hey Porcupine
In Between
And Around
Afraid to Fail
Little Know it All
Josh Rouse, 'Country Mouse City House'

Country Mouse City House  (2007,  38.30)  **/T

Italian Dry Ice
Hollywood Bass Player
God, Please Let Me Go Back
Nice to Fit in
Domesticated Lovers
London Bridges

Current availability:

Chamberlin/Mellotrons used:

Josh Rouse seems to be regarded as a folk/roots-type of guy, but going by his third album, 2000's Home, I'd lump him into the 'bland singer-songwriter' category. I'm afraid to say, the album's faster tracks expose his limitations, while the slower ones are just dreary, making any attempt at locating a 'best track' a bit hopeless. Brad Jones plays Chamberlin, with background strings on Directions, so while there may be more hidden away somewhere (hey, you know how it is with the Chamby...), I can't hear 'em.

2007's Country Mouse City House is another insipid effort that actually gets worse as it progresses, its least bad tracks (Sweetie and Hollywood Bass Player) being at or near the beginning. Mellotronically speaking, the album opens with a lovely flute part on Sweetie, with choirs later on from Paco Loco, while Joe Pisapia adds strings to closer Snowy to rather lesser effect.

So; Home is merely boring, with next to no Chamby, while Country Mouse City House is actually pretty bad. Don't bother. No, really.

Official site

See: Samples etc.

Rousseau  (Germany)

Rousseau, 'Flower in Asphalt'

Flower in Asphalt  (1980,  37.13)  ***½/T½

Flower in Asphalt
Le Grand Rêveur
Fool's Fantasy
Dancing Leaves

Current availability:

Mellotron used:

Rousseau, despite their name, were German (the name came from their admiration for the French philosopher), and played a typically German style of progressive rock; instrumental, not over-complex, but melodic. Not the sort of music that's going to make you leap out of your seat with amazement, but when you need to kick back, Flower in Asphalt is one of those albums that lets you relax and go with the flow. Apart from closer Dancing Leaves, none of the pieces far exceeds five minutes; the CD booklet says the band members were enthralled after seeing Camel, and it shows, though not in a bad way.

The keys were pretty standard for the time: piano, organ, synth, string synth and, of course, Mellotron, though I've no idea if the band actually owned the machine used on the album. I don't think I'll ever work out why there was such a reaction against the 'Tron string sound around this time; maybe because of the eight-second limit, which, admittedly, is far from ideal for the sort of Floyd-y, long sustained chords favoured by many bands, particularly in Germany. Anyway, Rainer Hoffmann's 'Tron use seems to be restricted to choir on several tracks (all the flute on the album is real), and doesn't amount to much more than block chords used to reinforce the more epic passages. Mind you, since when was that a problem? It's difficult to single out any particularly outstanding use, but the chords in Fool's Fantasy have an ethereal quality missing from the other relevant tracks.

Rousseau made another two albums, but both 1983's Retreat and '86's Square the Circle (which is pretty terrible, to be honest), are resolutely 'Tron-free. Don't come to Flower in Asphalt expecting to be blown away, but it's a decidedly pleasant album, although the Mellotron work is rather too low-key for my tastes.

Demis Roussos  (Greece)

Demis Roussos, 'Forever & Ever'

Forever & Ever  (1973,  37.44)  **/T½

Forever and Ever
My Friends the Wind
My Reason
Lay it Down
Lovely Sunny Days
Lost in a Dream
Velvet Mornings

When I am a Kid
Good Bye My Love Good Bye

Current availability:

Mellotron used:

I've been dreading playing this; I bought it six months ago and have been putting it off ever since. I paid A$1.00 for it in a crummy shop in Perth, to the extreme consternation of my mate (hi, Stuart), who had only pointed it out for a laugh and couldn't believe it when I picked it up... OK, it's not good, but with the benefit of 30-odd years' hindsight, an album of Demis Roussos ballads sounds quite harmless compared to some of the utter dreck to which I've subjected myself over the last few years. Roussos, of course, was a member of the mighty Aphrodite's Child (bit of a shocker when I discovered that, many years ago), along with Vangelis, but after their demise, swiftly moved into the realms of Large Greek Balladry, delighting and horrifying Europeans in approximately equal quantities. Yeah, Forever & Ever is pretty crapulent, but largely drifts past without overly offending in the process. Modern dross take note.

Surprisingly, maybe, the album doesn't entirely comprise cheesy ballads, with Lay It Down being an energetic pseudo-rocker, with rather duff girly backing vox, while Rebecca actually has proggy touches, although, er, the other eight tracks all seem to be cheesy ballads, at which I shouldn't be entirely surprised. They obviously couldn't afford a real string section for the whole album, with the exception of closer Good Bye My Love Good Bye, so S. (Stylianos) Vlavianos plays Mellotron on several tracks, with strings and flutes on the title track and Lovely Sunny Days and a particularly strident string part on Lost In A Dream. I don't think the album's brass parts are 'Tron, though I could be wrong.

So; I can't imagine why you'd want to own a copy of this - oh, you didn't anyway? Well, Demis is hardly ripe for reassessment, but this was a far less unpleasant experience than I'd been expecting, for which I am truly grateful. Passable 'Tron on a few tracks, too, which is always a bonus. Incidentally, note the writing credits: several tracks mention a certain 'Ch. Chalkitis', clearly the legendary Harris Chalkitis, probably the first artist to get a really rippingly bad review on this site.

Official site

See: Aphrodite's Child | Harris Chalkitis

Cristiano Roversi  (Italy)  see: Samples etc.

Roxette  (Sweden)

Roxette, 'Have a Nice Day'

Have a Nice Day  (1999,  55.19)  **½/½

Crush on You
Wish I Could Fly
You Can't Put Your Arms Around
  What's Already Gone
Waiting for the Rain
It Will Take a Long Long Time
I Was So Lucky
Pay the Price
Staring at the Ground
Beautiful Things

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Mellotron used:

Roxette, a.k.a. Marie Fredriksson and Per Gessle and named for the Dr. Feelgood song (thought so!), formed in 1986, breaking through two years later with Look Sharp! In case you've never heard them (unlikely, I know) they play a really mainstream kind of pop/rock, short on innovation but long on catchy hooks. Have a Nice Day is their sixth original album, ignoring the album of Spanish-language ballads (get the picture?), and sounds like... a late-'90s pop album, complete with occasional techno influences, as was de rigeur at the time. While desperately unexciting, it's also not entirely appalling, much of it drifting by harmlessly, although it's not something with which the discerning listener may wish to spend any time, to be honest.

Clarence Öfwerman plays all kinds of devices, as he has on Gessle's solo albums, including Mellotron. Now, I've read that it's on Fredriksson's Waiting For The Rain, but all I can hear there is regular strings, and the only place I can even possibly hear it is a high flute line on opener Crush On You, probably also the album's best track. So; boring mainstream pop, next to no 'Tron. You know what you have to do.

Official site

See: (Per) Gessle

Roxx Gang  (US)

Roxx Gang, 'Mojo Gurus'

Mojo Gurus  (1998,  49.38)  ***/T

Tiger Lily
Strawberry Wine
Blues for Maryjane
Mojo Guru
I Walk Alone
Rave on
Magic Carpet Ride
Baddest Mother's Son
Gotta Move
Ballad for a Blue Guru
Come on Into My Kitchen
Shine a Light - This Little Light of Mine
Daddy's Farm
Red Rose

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Mellotron used:

Originally forming as far back as 1982, Roxx Gang's fourth album in a decade, 1998's Mojo Gurus, caught them on the cusp of mutating into a band named for the album. It apparently sounds little like their earlier work (and only has one member in common with it), being more of a sleazy blues-rock album than their previous glam metal style, better tracks including the porch-blues of Blues For Maryjane, the epic folk/blues of I Walk Alone and acoustic closer Red Rose, although the mid-paced Strawberry Wine goes on approximately forever and not in a good way.

Howard Helm plays what might just be genuine Mellotron string and flute parts on Red Rose, the sounds having more of an edge to them than the era's samples. I'm not going to say, "Best thing I've ever heard, squire", but this is a decent enough effort, if not especially for its Mellotron use.


Roxy  (US)

Roxy, 'Roxy'

Roxy  (1969,  31.19)  **½/T

Love, Love, Love
Sing a Song
New York City
Somebody Told You
Love for a Long Time
Windy Day
You Got a Lot of Style
I Got My Friends
Yesterdays Song
Rock and Roll Circus

Current availability:

Mellotron used:

The little-known Roxy were precursors of the better-known (at least in the States) Wackers and were the first band that outfit's Bob Segarini and Randy Bishop played in together. They were apparently a blast live, but their sole, eponymous album has too many rather dreary, countryish efforts like Somebody Told You or You Got A Lot Of Style to be considered a particularly good listen today.

Someone, probably Segarini, plays a Mellotron on Yesterdays Song [sic.]; according to the CD liner notes, Elektra's president, Jac Holzman, brought one over from the UK, so the band dug it out and stuck it on the track. The song's harmonium actually takes 'best keyboard' award on the track, but the 'Tron's flutes and faint strings add enough to make it worth hearing if you're listening to the album anyway. I can't honestly say this is that great a listen, though, unless you're into the kind of mainstream stuff the band were peddling, or are a dedicated Wackers fan (huh?) who has to own everything connected with the band.

Roxy Music  (UK)  see:

Roxy Music

Rufus  (US)

Rufus, 'Rufus'

Rufus  (1973,  42.11)  ***/TT

Slip n'Slide
Keep it Coming
There's No Tellin'
Maybe Your Baby
I Finally Found You
Feel Good
Haulin' Coal
Whoever is Thrilling You (is Killing Me)
Medley: Love the One You're With/Sit Yourself Down

Current availability:

Mellotron used:

Rufus are remembered these days as Chaka Khan's jumping-off point, although she wasn't even a founding member of the band. She was already installed when they recorded their eponymous 1973 debut, though, dominating the vocal area, despite the occasional male lead. Surprisingly, it isn't the funk-fest you'd expect from their later work, being more of a blues/soul concoction with a funk feel on some tracks, although opener Slip n'Slide is essentially rock'n'roll and Maybe Your Baby is more electric blues than anything.

Ron Stockert plays Mellotron, with cellos and strings on There's No Tellin', strings and flutes on I Finally Found You and a triumphal string part at the climax of Haulin' Coal. Given the lack of real strings on the album, the Mellotron was probably employed as a substitute, possibly making itself more useful than expected once Stockert actually sat down at the thing. Anyway, Rufus is not an album you need to hear if you don't get on with the more soulful end of things, although it contains some unexpectedly worthwhile 'Tron work.


Rufus Zuphall  (Germany)

Rufus Zuphall, 'Phallobst'

Phallobst  (1971,  36.45/79.29)  ****/T

Closing Time
Wenn Schon, Denn Schon
Waste Land
Prickel Pit
Portland Town
I'm on My Way
[CD adds:
Paint it Black
Wade in the Water
Sau Aas
Portland Town

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Mellotron used:

Rufus Zuphall's Phallobst was their second and last album, and for most of its length could be described as an interesting blues/prog hybrid, with a clean but punchy guitar sound, very distinct from the band's heavier contemporaries. The material is good, the style unusual, the playing excellent; what's not to like? OK, so it hasn't dated that well, but compared to the type of acid folk that Germany was chucking up at the time (Emtidi, Hölderlin etc.), it hasn't actually done too badly, and I can see this becoming a minor favourite if I ever find the time to play it more often.

Guitarist Günther Krause doubled on Mellotron (Dieter Dierks' studio's machine), although he hardly used the thing, to be honest, with no more than a brief burst of brass at the beginning of Portland Town and some more obvious strings on closer I'm On My Way, but nothing to get too excited about. So; a good, unique album, worth it for the progressive fan who wants something slightly different. Long Hair's CD version has the second half of a bloody good gig, 'Live Aachen '72' (part one is tacked onto the reissue of their debut, Weiß der Teufel), which is, of course, Mellotron-free.

Olivia Ruiz  (France)

Olivia Ruiz, 'Le Calme et la Tempête'

Le Calme et la Tempête  (2012,  41.15)  ***/½

My Lomo and Me
Le Calme et la Tempête
Plus J'Aime, Plus Je Pique
L.A. Melancholy
La Voleuse de Baisers
Ironic Rainbow
Larmes de Crocodile
Question de Pudeur
Crazy Christmas
Mon P'tit Chat
La Llorona

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Mellotron used:

Olivia Ruiz' music is generally described as nouvelle chanson, it seems. Going by her fourth studio release, 2012's Le Calme et la Tempête, I have to concur; timeless, French folk-influenced music, albeit with modern production values. It may not be your bag (I won't pretend it's mine), but it's exceedingly good at what it does, deserving the accolades it collects. Top tracks? Opener My Lomo And Me sets her stall out neatly and Volver's pseudo-spaghetti westernisms are a nice touch, while Question De Pudeur is undeniably the closest the set gets to 'rock', although the jury's out on whether or not that's a good thing.

Credited Mellotron on two tracks: obvious flutes from Tony Berg on the title track and cellos (or are they real?) from Johane Myran on Ironic Rainbow. Real Mellotron? Seriously, who knows? It's become so hard to tell that, unless sample use is really obvious, I've almost given up trying to differentiate. Do you need to hear this? probably not, but I have no intention of running it down. File under 'good music that doesn't really do it for me'.

Official site

Runaway Totem  (Italy)

Runaway Totem, 'Zed'

Zed  (1996,  48.54)  ****/TT


Current availability:

Mellotron used:

Runaway Totem's second album (I think), Zed, is a dense, difficult work, which repays the extra effort required to gain anything from it. Among their chief influences would appear to be Magma, with a similar operatic feel to the male and female vocals, and lengthy sections in march time, although they go off at a tangent, where Magma would plough on till the bitter end.

The album consists of two side-long tracks (although I don't know if it's ever been released on vinyl), with a gentleman named Ohm playing Mellotron on the first, and piano on the second; his 'Tron work consists of slabs of strings laid down all over the place, definitely improving the sound of the piece. I'm not sure whether or not to recommend this to 'Tron fans, but if you don't mind your prog a little on the abrasive side, it's probably worth hearing.

Official site

Todd Rundgren  (US)

Todd Rundgren, 'A Wizard, a True Star'

A Wizard, a True Star  (1973,  55.56)  ****/T½

International Feel
Never Never Land
Tic Tic Tic it Wears Off
You Need Your Head
Rock and Roll Pussy
Dogfight Giggle
You Don't Have to Camp
Zen Archer
Just Another Onionhead;
  Da Da Dali
When the Shit Hits the Fan;
  Sunset Blvd
Le Feel Internacionale
Sometimes I Don't Know
  What to Feel

Does Anybody Love You?
  I'm So Proud
  Ooh Baby Baby
  La La Means I Love You

  Cool Jerk

Hungry for Love
I Don't Want to Tie You Down
Is it My Name?
Just One Victory
Todd Rundgren, 'Todd'

Todd  (1974,  66.53)  ***½/½

How About a Little Fanfare
I Think You Know
The Spark of Life
An Elpee's Worth of Toons
A Dream Goes on Forever
Lord Chancellor's Nightmare Song
Drunken Blue Rooster
The Last Ride
Everybody's Going to Heaven/
  King Kong Reggae
No.1 Lowest Common Denominator
Useless Begging
Sidewalk Cafe
Izzat Love?
Heavy Metal Kids
In and Out the Chakras We Go
Don't You Ever Learn?
Sons of 1984

Current availability:

Mellotrons used:

Todd Rundgren is known for recording albums entirely solo, a practice which reached its apogee with Faithful, where he attempted to recreate classic songs to the point where they were indistinguishable from the originals, meaning it's hard to know who's playing what on his albums. On the offchance you've never heard any of his stuff, he's wildly eclectic, and on a good day, a truly brilliant pop writer, although his career contains far too much faff for him to ever be really consistent. Starting with The Nazz in the late '60s, he worked his way through two albums with Runt at the beginning of the '70s, before striking out on his own, then forming Utopia, while running his solo career concurrently. Confused?

A Wizard, a True Star is regarded by many as his peak, with songs of the quality of International Feel and Is It My Name?, although it has to be said that at nearly an hour, it's a little overlong, and a little editing may have been in order. As far as the Mellotron's concerned, although I've had people swear blind he never used one, all I can say is: listen to the highlighted tracks above. It's difficult to tell on Sometimes I Don't Know What To Feel until the end of the song, where it's quite clearly 'Tron strings, and they're all over the Medley, a rather unnecessary combination of four soul tracks. It may well be elsewhere on the album, too, but it's extremely difficult to tell, given the denseness of the production.

The following year's Todd is more of the same, musically, with killer songs like An Elpee's Worth Of Toons and Useless Begging vying for space with bizarre tracks like the Gilbert and Sullivan spoof Lord Chancellor's Nightmare Song. I'm assuming it's Mellotron strings again on The Last Ride, but I wouldn't actually stake anything really important on it, and if it is, it might also be elsewhere. Who knows?

Rundgren's had a long and honourable career, and is still doing it now, albeit to a smaller audience. I wouldn't absolutely swear that either of the above albums absolutely, definitely contains Mellotron, but it seems likely. As to whether he used one on anything else... More news should I ever get a fuller story.

Official site

Bic Runga  (New Zealand)

Bic Runga, 'Drive'

Drive  (1997,  41.33)  **/½

Bursting Through
Roll Into One
Suddenly Strange
Without You

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Y'know, I really want to like Bic Runga's music; she's a Kiwi (I have family there), and she sounds pretty sorted and independent. Unfortunately, her debut, Drive, is a dullsville girly singer-songwriter album, like an Antipodean Dido, though without the irritating production (and admittedly, several years earlier). It starts OK, with the sparse title track, but as soon as the band come in, my attention begins wandering, and after a few tracks, I have to physically stop myself from hitting the 'stop' button.

The sole Mellotron track (played by Miss Runga herself), Suddenly Strange, is as dull as the rest of the album, with a brief 'Strawberry Fields'-style flute part before the (real) strings come in. Although there's only one track credited, I can hear a couple of other 'is it?'s, particularly the background strings on Heal, but without confirmation, the one track it is and shall remain. So, buy? Only if her chosen style is really what you're looking for, to be honest. Sorry, I tried...

Official site

Fan site

Robin Runge  (US)

Robin Runge, 'Don't Give Up the Ship'

Don't Give Up the Ship  (1974,  33.44)  ****/TT

From the Sea
Life Has Just Begun
Son Keeps Shining
The Ship
Fur Elise/Minuet/Bouree
Allegro/Study in D/Long Long Ago
Prelude/Laura's Theme
Country Here I Come

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Robin Runge's first (?) album, 1974's Don't Give Up the Ship, has caused some confusion in collecting circles, as his follow-up release, three years later, bears exactly the same title. Huh? Having not heard the later version, I can't comment, but the '74 album is, most surprisingly for a Christian release, a beautiful (if rather amateurishly recorded) record, largely consisting of Runge's lovely acoustic guitar work, sounding (as other reviewers have pointed out) slightly like the quieter tracks from Yes' contemporaneous work, its best tracks including opener From The Sea and Runge's pair of classical segues, Fur Elise/Minuet/Bouree and Allegro/Study In D/Long Long Ago.

The album opens with over a minute of solo Mellotron strings and flutes from Runge himself, while John Salmon adds more of the same to Son Keeps Shining (v.droll, chaps), although, sadly, they elected not to use it anywhere else. This must have the highest star rating of any 'Christian' album on this site; it seems odd referring to a mostly instrumental album as such, but its pair of vocal tracks land it in that category, so there it is. This is really very good indeed; although unavailable officially, it's doing the rounds on download blogs - just take care to grab the right version. Runge apparently went on to record CCM albums the following decade as Robin Crow, a fact you can probably forget immediately. Remember him for this superb effort instead.

Official Robin Crow site

Runrig  (UK)

Runrig, 'The Stamping Ground'

The Stamping Ground  (2001,  56.44)  ***½/½

Book of Golden Stories
The Stamping Ground
An Sabhal Aig Neill
Wall of China/One Man
The Engine Room
One Thing
The Ship
The Summer Walkers
Running to the Light
Òran Ailein/Leaving Strathconon
Big Songs of Hope and Cheer
Runrig, 'Everything You See'

Everything You See  (2007,  48.59)  ***½/T

Year of the Flood
Clash of the Ash
The Ocean Road
An Dealachadh
This Day
Something's Got to Give
And the Accordions Played
In Scandinavia

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Before I start, I must apologise to Runrig for listing their country of origin as 'UK'; if ever a band deserved to be called 'Scottish', it's them. I mean, two members have actually left the band to go into Scottish politics, at least one of them on the devolution side. Quite how well Scotland would/will do devolved from the rest of the so-called 'union' remains to be seen, and I expect we will eventually see it. And when we do, Runrig will play the independence celebrations.

For a brief period in the mid-'80s, I quite liked the band, buying a couple of albums and even going to see them once. My enthusiasm waned after I realised that their music was featuring a growing element of AOR/stadium rock, mixed with their patented Celtic thang. I can't have listened to them in nearly twenty years, so it comes as a nice surprise to report that 2001's The Stamping Ground is actually a pretty decent album, albeit in a Celtic/stadium rock kind of way. To be fair, they've actually toned down most of the bombast, making for a reasonably listenable record, rather against the odds, still throwing in the occasional Gaelic title for good measure. Michael Bannister is credited with Mellotron on An Sabhal Aig Neill (sorry, my Scots Gaelic is a bit rusty), but the only thing it even might be doing is background cellos, though, which makes me wonder why they bothered.

Six years and two albums later, Runrig used a Mellotron again, on 2007's Everything You See. Musically, the album isn't dissimilar to The Stamping Ground, finding a good balance between their Gaelic heritage (the band come from the Isle of Skye and are native Gaelic speakers) and their more anthemic side. I'm not sure how it occurred, but they contacted noted Edinburghian Mellotron owner Mike Dickson about the use of his M400, their keys man Brian Hurren ending up recording it onto a laptop in Mike's front room. Anyway, we get background strings on The Ocean Road, This Day and In Scandinavia (the album's best track?), quite upfront for a few brief seconds on the last-named.

You'd need a heart of stone (yes, even colder than mine) to dislike these two albums. Runrig's evident joie de vivre spills over onto their records; it's not difficult to see why they're such a major live attraction these days. Neither of these albums features an awful lot of the mighty M400, but I really can't see that being a reason for anyone to buy them, anyway. If you like Runrig and haven't heard these, do so.

Official site

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