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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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Trace (1974, 50.37/58.56) *****/TTTT½ |
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| Galliarde/Gare le Corbeau/Galliarde The Death of Ace The Escape of the Piper Once Progression A Memory/The Lost Past/A Memory Final Trace |
[CD adds: Progress Tabu] |
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Birds (1975, 39.35/47.30) ****½/TTT½ |
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| Bourrée Snuff In a Mist Opus 1065 Penny Trixie-Dixie King Bird First Avenue/Sculptor Bird |
Second Avenue/Preacher Bird Third Avenue Birdcorps Firecorps Birdcorps/Mail Bird/Fourth Avenue/ Soul Bird/Mail Bird/Sculptor Bird/ Second Avenue/Preacher Bird/ Last Avenue/King Bird/Reflection |
[CD adds: Birds (edit) Tabu (second version)] |
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The White Ladies [as Rick van der Linden and Trace] (1976, 39.58) ***/T½ |
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| Legend (Part I) Interlude I Confrontation Interlude II Dance of the White Ladies Doubts Trace I Witches' Dance |
Surrender Interlude III Pathétique Legend (Part II) Interlude IV The Rescue Trace II Back Home |
Meditation Flash Back Conclusion |
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Trace were put together by Dutch keyboard maestro Rick van der Linden after his departure from cheesy classical/rock crossover outfit Ekseption, bringing in bassist Jaap van Eik and ex-Focus drummer Pierre (no relation) van der Linden. Originally called Ace, the recently-formed UK band of the same name (of the truly awful How Long) forced van der Linden and co to rename themselves Trace; Grieg's Death Of Åse is renamed Death Of Ace on the album as a tribute.
Trace brought together the cream of the Dutch progressive scene, so it's no surprise that Trace is a phenomenal album. Opener Galliarde (segueing into bass solo Gare Le Corbeau before returning to the original piece) is an absolute stormer; I was grabbed by it on my very first hearing (thanks Brian!) and still love it a decade later. Basically a straight mix of Bach's Italian Concerto (third movement) and a traditional Polish dance tune, Galliarde rocks like a bastard, with Rick's insanely virtuosic organ playing and the rhythm section blasting away like their lives depended on it. The slow-down to the Mellotron-led folk tune is stunning, with Rick letting out a couple of incoherent yells on the part's repetition later in the track. Grieg's The Death Of Ace is a beautiful piano piece (also recorded by Ekseption on their contemporaneous release Bingo, amusingly), shifting into more familiar territory later in the track, and The Escape Of The Piper lurches into top gear once more, with energy levels rarely heard in the progressive arena. In fact, there's nary a duff track on the whole album, with A Memory also standing out.
Rick used a huge arsenal of keyboards (see right), including his ubiquitous Mellotron M400 (strings/choir/brass). As you can see, he uses it on almost every track, usually in rather unconventional ways, fading chords in and out unexpectedly on various sounds. The album's 'Tron highlight has to be the previously-mentioned Polish dance section of Galliarde, but all the Mellotron work is worth hearing, although there's little of the Genesis/Yes approach here. In fact, the best way to describe the band is a manic cross between Focus and the best bits of ELP, although Rick avoids Emerson's tastelessness admirably, while still keeping the energy levels higher than you'd have thought possible.
The bonus tracks on the CD are worth hearing, although Progress is, unsurprisingly, an edit of Progression; Tabu is a Dizzy Gillespie tune onto which Trace stamp their distinctive sound. These tracks came out as a single prior to the album's release and are worth hearing if you don't already own Trace on vinyl. Quick note for vinyl owners; the US Sire version has an inner sleeve with a band history/biography and track-by-track annotation, missing from the UK Vertigo issue.
By Birds, a year later, Pierre van der Linden had left, being replaced by Englishman Ian Mosley, later of Gordon Giltrap/Steve Hackett fame, before ending up in the prog graveyard better known as Marillion. The band's style had changed little in the intervening year, although the album probably has fewer of its predecessor's real highs. Side one starts brilliantly with Bach's Bourrée, but turns rather jazzy as the side progresses, which may or may not be good, depending on your taste. Curved Air's Darryl Way guests on violin on some more Bach, Opus 1065, but the music seems to lack the direction of their debut. Side two's King Bird suite is effectively one long track split into repeating parts, rather like Focus' Eruption from Moving Waves, so my Mellotron annotation may be slightly awry. Most of the music is excellent, but the piece is slightly spoilt by Jaap van Eik's vocals on Preacher Bird; his singing is fine, but Trace were basically an instrumental band, and an MOR vocal piece feels rather intrusive. I'm being picky, though; if this was the band's sole legacy, it'd still be regarded as a classic.
Oddly enough, the US version reverses the LP sides, with the Birds suite on side one, and also deletes the 'birds' cartoon strip from the European issue. Musea's CD version (as with their debut) adds both sides of a contemporaneous single, with Birds being a reworked version of King Bird and Tabu being, unsurprisingly, a new version of the b-side of Progress from a year earlier. Fair bit of Mellotron on both, so again, it's worth picking up the CDs as against the vinyl.
By The White Ladies, Trace had become the sole preserve of Rick van der Linden, and the album has to be regarded as something of a disappointment. A concept piece, it's based on the Dutch legend of the White Ladies, who steal a farmer's wife away from her husband and child. Unfortunately, there's some extremely naff narration by Harry Schäfer, not to mention more MOR vocals, this time courtesy of Hetty Smit, and much of the album is orchestrated. Despite all this, there's plenty of Rick's distinctive keyboard work (especially his unusual approach to the harpsichord), and if the narration and vocal parts were removed, it wouldn't be a bad album. As it is, it's certainly listenable, if a bit cheesy at times; better than Ekseption, whatever...
As you can see, there's very little (obvious) Mellotron on the album, but the flute parts on Meditation are about as good as they get. Rick was obviously using a different tape frame for this part; I'm not entirely sure why he bothered with brass in the first place, to be honest. A little burst of choirs at the end of Conclusion and that's it. Rick later rejoined Ekseption, and is reputed to have used his 'Tron one last time, but I can't confirm this either way at present.
So; Trace. BUY! Birds; Buy next. The White Ladies; buy if you can't get enough of Rick's faux-classical style. Until Musea's exhumation of these albums, Trace were a pretty well-kept secret on the progressive scene, despite good sales at the time; I can promise you won't be disappointed by their debut, but I advise caution as you work your way through their small catalogue. Now, any chance of the BBC releasing a prog compilation DVD of 'Old Grey Whistle Test' clips? I know the Trace one's survived... All together now, "Now ve shall play some Bach!"
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The Big Night (2002, 43.59) **½/½ |
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| Boogie Woogie Santa Claus The Big Night I Was a Bad Boy This Year Pretty Paper Run Run Rudolph Bells Are Ringing Santa Claus is Back in Town Christmas Times a Comin' |
Bo Diddley Santa Claus Little Drummer Boy Mary's Baby |
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The Tractors are essentially a country-rock pick-up band based around the talents of Steve Ripley, whose fifth album, 2002's The Big Night is, amazingly their second release aimed at what Americans quaintly call 'the holiday season'; hey, whad'about calling it 'Christmas', eh? It's nowhere near as bad as many similar, due mainly to a) an appreciation of ye olde art of rock'n'roll and b) a refreshing (relative) lack of gloopy Christian sentiment. Better efforts include I Was A Bad Boy This Year and Bo Diddley Santa Claus, but frankly, I can't imagine why I'd ever want to hear this again.
Ripley plays Mellotron, with background string chords on the title track, although any other strings on the album are real. So; a Christmas (there - I said it again) album that beats the crap out of most similar, but still manages to be completely boring, so with next to no Mellotron, that's a definite 'don't bother'.
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7" (1967) ****½/TTT Hole in My Shoe Smiling Phases |
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Mr Fantasy (1967, 34.40) ****½/TT |
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| Heaven is in Your Mind Berkshire Poppies House for Everyone No Face, No Name, No Number Dear Mr Fantasy Dealer Utterly Simple Coloured Rain |
Hope I Never Find Me There Giving to You |
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When the Eagle Flies (1974, 39.45) ***½/T½Something NewDream Gerrard Graveyard People Walking in the Wind Memories of a Rock n'Rolla Love When the Eagle Flies |
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Traffic were probably the first UK band to 'get their heads together in the country' (an obvious euphemism), with quite excellent results. They debuted with the quite brilliant Paper Sun, encapsulating 1967 in all its psychedelic glory (you can tell I wasn't there, can't you?), but their first Mellotron use was on the follow-up, the even more demented Hole In My Shoe, later tediously covered by 'Neil' from The Young Ones (early-'80s UK comedy show for non-Brit readers). The original is absolutely fantastic and a total period piece, right down to the nice, middle class little girl's voice saying something about giant albatrosses in the middle eight. 'Tron strings, complete with judicious pitchbend, help to make the track a complete classic.
Neither single found its way onto their first long-player, Mr Fantasy, but with the quality of material on offer, nobody noticed. Like so many other bands of the era, Traffic mixed together a plethora of influences, with the added bonus of not having a recent past in the beat boom era, at least not collectively. Although less 'psychedelic' than many contemporaneous albums, Mr Fantasy still manages a couple of lysergic outings, particularly House For Everyone, which also features the album's first Mellotronic input, with Dave Mason's stabbed brass chords under the verse, while Utterly Simple is a full-on sitar-laden psych-fest; their own Within You Without You, no less. The other really outstanding track here is the Latin-tinged Dealer, later covered by Santana, but there's very little wrong with the album, if truth be told. As far as the Mellotron's concerned, the single No Face, No Name, No Number is a deceptively gentle ballad with a haunting 'Tron string line, while Coloured Rain completes the album's trio of 'Tron tracks, with some background string chords. To my knowledge, all flute parts on the album are real, played by the now sadly late Chris Wood.
I don't believe Traffic used a Mellotron again until the tail-end of their career, on final release When the Eagle Flies, a dark album, probably reflecting the early-'70s come-down after the end of the hippy dream. I'm not personally a great fan of the music the band were making by this time, but it's all exceptionally well done, in a laid-back kind of way. Mellotron on one track only, the 11-minute Dream Gerrard, with a string part drifting in and out of the mix over the track's considerable length.
So; buy the first album and any hits set including the early singles. I'll leave When the Eagle Flies to yourselves to judge, but while there's one good 'Tron track, it probably doesn't make a purchase worthwhile for that alone.
See: Jim Capaldi
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Train (1996, 56.31) ***/½ |
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| Meet Virginia I am If you Leave Homesick Free Blind Eggplant Idaho |
Days Rat Swaying |
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Drops of Jupiter (2001, 48.33) **½/½ |
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| She's on Fire I Wish You Would Drops of Jupiter It's About You Hopeless Respect Let it Roll Something More |
Whipping Boy Getaway Mississippi |
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Train's eponymous debut sounds an awful lot like Counting Crows, so it's no particular surprise to note that its keyboard parts (Hammond/piano/Mellotron) were played by Charlie Gillingham from that band, accentuating the vaguely alt.countryness of the proceedings. While nothing here actively offends, nor does anything especially stand out, with most of the tracks disappearing into a mush of sameness. Two tracks where Gillingham's 'Tron can definitely be heard, with a polyphonic cello (?) part on opener Meet Virginia, and faint flutes on Eggplant, with most of the other keyboard work being Hammond.
By Drops of Jupiter, five years on, Train had morphed into one of those inexplicably-currently popular bands, like Nickelback, who don't seem to actually have any particular sound at all, or write especially good songs, but who all look good, and get plenty of record company push. You can sort of see that they were going to end up like this from listening to Train, but it's still a bit depressing. Pat Monahan's voice had picked up that awful whiny edge that so many contemporary singers seem to feel they have to have, but he must be doing something right, I suppose. I can't even pick out any tracks to comment upon, as they all blurred into one long wash of 'Rock', without being 'something-Rock' or, for that matter, 'anything-Rock'. 'Rock', but utterly bland. How did that happen? Although there's no Mellotron actually credited here, that has to be 'Tron flutes on Getaway, possibly played by drummer Scott Underwood (the only member credited with keys) but more likely to be by producer Brendan O'Brien, a noted 'Tron fan. It's, er, a passable Mellotron flute part, but you'd have to be certifiable to buy this album for that reason alone. Consider this a warning.
So; Train is listenable but dull, while Drops of Jupiter is just horrible. Go somewhere else, I think.
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Capricorn (1998, 45.49) ***/T |
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| Already Gone If I Live Tomorrow Here I Don't Belong Heart of Every Woman Have You Ever Better Off Had I Not Complained Running Out of Life |
Wait Not for Me Love Will Come and Go Endless Highway |
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Mike "Tramp" Trempenau (or similar; sources vary) is actually Danish, and played in a dodgy hard rock act there called Mabel in the late '70s before migrating to the States and forming White Lion. Their brand of commercial hard rock held them in good stead for some years, before falling foul of early '90s grunge, leading Tramp to get himself a couple of armfuls of tattoos and a solo career via the grunge-lite of Freaks of Nature. Capricorn is considerably better than I'd expected, sounding more like a heavier version of Bruce Springsteen crossed with any Americana act you'd care to name than his former band, for which we should all be truly grateful. Don't get me wrong, it's hardly the most exciting stuff you're ever going to hear, but that awful glossy AOR-style production is notable by its absence, with plenty of acoustic guitar and Hammond in its place.
Kim Bullard is credited with Hammond/Wurly/Mellotron and cello, although the latter two can only be heard on Love Will Come And Go, with some very overt 'Tron flutes and what I take to be 'Tron strings, although they're somewhat in the background. So; not a 'Tron album, nor a record to gladden the heart of anyone not into the style, due to its inability to transcend its oeuvre, but not a bad album of its type. Average.
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Silver (1972, 41.48) **½/T |
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| Eagle Eye Can I See You Linda Whip Wheel The Driver's Engine Couldn't Possibly Be Nice and Easy Dear oh Dear |
Silver The Tree |
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Now, I can say in all honesty that I know bugger all about Tranquility; it took me long enough to ascertain that they were British. The sleeve gives the impression that the album just may have a progressive slant to it, but in all honesty, 'slant' is probably too strong a word; think typical early-'70s mainstream soft rock but marginally more interesting. Infuriatingly, there's the occasional 'almost there' moment, like the closing section of Whip Wheel or Silver itself (definitely the album's highlight), but they never last long enough to be of any real consequence. There's a country edge to some of the material, and their massed harmony vocals sound like a rather low-budget CSN&Y, so don't expect anything too exciting. And what the hell's with the dodgy Donovan impersonation on The Tree?
Although a bit more Mellotron would probably have livened the album up slightly, keyboard player Tony Lukyn only uses it on Nice And Easy, with some almost inaudible flutes, then a genuinely good string part in an otherwise average song. In all honesty, I'd be pretty hard pushed to particularly recommend this album, although there are a few OK-ish tracks; if only they'd concentrated a little harder on not sounding so bloody wussy. Dear Oh Dear indeed.
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Sex Change (2007, 42.58) ***/½ |
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| First Words North East Rising Sun Obscene Strategies Conspiracy of the Gods Exit Management Solution Climbing Up the Ladder 4738 Regrets Reprieve |
Tesco Vs Sainsbury's Shining Path Triangular Pyramid |
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The Fucking Champs-associated Trans Am play a kind of ironic/non-ironic synth metal with krautrock overtones, their eighth album, Sex Change, apparently being a return to form after a couple of unsuccessful diversions. It shifts between sort-of synth-pop (First Words, North East Rising Sun, most of the rest) and something nearer Champs territory (Conspiracy Of The Gods, Shining Path), with the odd sidetrack here and there. 'Best tracks' are entirely a matter of taste, I feel; I like Shining Path and the synth-heavy Tesco Vs Sainsbury's (have they visited the UK lately?), but their fanbase may prefer the lighter material.
The album was recorded in Auckland, and the band borrowed some vintage gear while in NZ, including Tall Dwarfs' Chris Knox's M400, although it's only at all obvious on one track, with rather background strings on the superbly-titled Conspiracy Of The Gods, played by an unknown (Knox, maybe?), that could almost be something generic. Anyway, an interesting album, if not one I'll be returning to that often. Incidentally, a Mellotron was also used on on of their Champs collaborations (below), TransChamps.
See: Fucking Champs
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Double Exposure (2001, 17.18) ***½/TGive it to YouThe Big Machine First Comes Sunday Morning Then Comes Saturday Night Somebody Like You |
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As you may have just read above, TransChamps are one of two Trans Am/Fucking Champs collaborations, the other superbly named (you guessed it) The Fucking Am. Their Double Exposure EP combines the two bands' sounds with aplomb, mixing heavy synths and heavy guitars in equal measures in what seems to be more a send-up of/homage to their different influences, with the arena metal of Give It To You contrasting sharply with The Big Machine's synths and clattering drums, while Then Comes Saturday Night coming across as more of an Allmans/Bad Co. cross.
Tim Green plays Mellotron, but not a lot, with nowt but a string part (under real violin) in The Big Machine. All in all, this is one for both Champs and Trans Am fans, plus anyone who enjoys musical parodies with more (much more, thankfully) nous than that twat "Weird Al" Yankovic or any similar (are there any similar?). Let's hope not.
See: Fucking Champs
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Get Down (2004, 45.05) ***/T |
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| Black Tin Rocket Flake My New Name Down for the Count Johnny & Waldo Holiday Park Happy Landings Novanna |
Element Packakools The Dimmest Porch Powder Burn |
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Transmissionary Six are yet another alt.country/slowcore crossover outfit, although the lack of variety on their third album, the ironically-titled Get Down, makes for a rather monotonous listening experience, if truth be told. Terri Moeller's voice is great for a few tracks, but her relentless melancholy ends up depressing rather than uplifting, as it can for true masters of misery (see: Richard Thompson). The duo (completed by guitarist Paul Austin) have put two instrumentals on the album, one of which (Johnny & Waldo) is probably the most interesting thing here, but I'm afraid the bulk of the album just... drags.
Mellotron on one track, from Steve Moore, with a beautiful string part on My New Name. Shame they didn't see fit to add it to anything else; it may've livened the whole affair up a little. Anyway, not actually bad, but not really good enough, either. Almost adequate? One nice 'Tron track, but that's it.
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Shine on Me (1972, 35.18) ***/T½Shine on MeGoodbye Flagstone Path Maybe I Wrote This Song for You Found Myself in You Time's Running Out Carry Me With You |
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Travis (not to be confused with the current Scots miserablists), were an early-'70s UK outfit, vaguely akin to Wishbone Ash, concentrating on slightly hard rock with plenty of vocal and guitar harmony. I'm told that they morphed into Strange Days, who released the rated 9 Parts to the Wind in '75, although I don't believe there's any Mellotron on the album. Travis are quite insipid in places, I'm afraid, although some of the material on Shine on Me isn't bad, particularly the guitar-driven Flagstone Path and the very Blowin' Free-like Maybe I Wrote This Song For You.
I've no idea who played keyboards on the album, but Found Myself In You is the album's chief 'Tron track, with largish helpings of strings on a typical ballad, while Carry Me With You has a few chords on the fadeout. All in all, given the record's rarity, I wouldn't spend a fortune, unless you're a Mellotron nut in the unlikely position of having money to burn. Average.
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Child of Nature (1973, 38.34) **½/½Child of NatureBirds and Beasts and Bumblebees I've Got You Smile Time to Be Happy Come on, Children Fifteen Years After Gone to Canada Caveat Emptor |
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Jack Traylor was a Grateful Dead/Jefferson Airplane associate who contributed towards Kantner, Slick & Freiberg's Baron Von Tollbooth & the Chrome Nun, various members of the collective returning the favour by playing on his 1973 solo album, Child of Nature, credited to Jack Traylor & Steelwind. As you'd expect, it's a fairly drippy folky effort, like a weak-arse Airplane, although the ensemble manages to summon up some life on Gone To Canada.
Airplane associate David Freiberg plays what I presume is that band's M400, with a string part on I've Got You, although all the album's flute parts are real, played by Skip Morairty. This is once again available, from Traylor's website, but I think I can only really recommend it to Airplane family completists, although it has its moments. As for the Mellotron, as with his other work, Freiberg's playing on the album is too background to be of any real consequence.
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Maybe it's Me (1997, 49.52) ***/T |
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| Friend of Mine How She Died Stupid Thing to Say Kareen Red Fade Ever She Flows Forever Knowing |
Mercury Smile Christ is on the Lawn Scatterbrain Takes Me Down Left Feeling Odd |
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On the evidence of their third album, Maybe it's Me, Canada's Treble Charger veer between pop-punk and powerpop, utilising elements of both, frequently in the same song. The end result is definitely aimed more at the young than the not-so-young, but isn't that how rock should be? The album's quieter songs tend to make more impact, to be honest, with both Red and Christ Is On The Lawn standing out from the pack, although it's noticeable how the album's better tracks are let down by whiny drivel like Ever She Flows. It's also noticeable how most of the album's tracks are too long; there's nothing here under three minutes (or over five, conversely), and many of them outstay their welcome by a minute or more, making the album overlong as a knock-on effect.
Although there's no cellist credited (although the brass section is), I suspect the cellos on Red and Ever She Flows are real, making the album's only 'Tron track Christ Is On The Lawn, with a lovely (and obviously real) flute'n'strings part from guitarist Bill Priddle, nicely enhancing what might otherwise be a rather workaday ballad. Albums like Maybe it's Me depress me a little, as they indicate that the artists concerned have only listened to the musical generation immediately before their own, which if carried to its logical conclusion would culminate in a situation where everybody just ran round in circles, biting each other's tails. Oh, you mean we're already there? I'm being a bit unfair in this case, as the album has its moments, but the 'indie' vocals are bound to irritate those who haven't grown up with them. One good 'Tron track, though, so we'll let 'em off. Maybe. p.s. Horrible sleeve design.
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Master (1970, 38.37) ***/TT½ |
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| Wait on Me Long Road Now's the Time Try Me But Then I Before I Sleep Boola Boola I Swear |
Baby By the Way Willow Tree Me and My Life |
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May Morning (2000, recorded 1970, 35.30) ***/TTT½ |
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| May Morning All Pull Together Till the Sun Goes Down Turn on With Thee I Can't Even Breathe Down There May Morning (Reprise 1) Anything Think of What You Said |
Beer Duel Hard Time I'll Take You Home Bunch of Rapes May Morning (Reprise 2) I Know You |
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After several years of mainstream pop hits with and without vocalist Brian Poole (Silence Is Golden, Here Comes My Baby), The Tremeloes found themselves rather adrift by the end of the '60s, seen as seriously old hat by the counterculture, something they clearly found difficult to wholly embrace. 1970's Master was their attempt to bridge the gap, shifting between relatively contemporary stuff (opener Wait On Me, Try Me, Boola Boola) and mainstreamish fare (But Then I, Willow Tree), and what's with the Elvis impersonation on Baby? Bizarre. Anyway, the band allegedly bought Jeff Lynne's MkII from his Idle Race days, utilising it on a few tracks (probably played by Len "Chip" Hawkes), with strings and flutes (and brass?) on Now's The Time, sustained strings (bit of studio trickery here) and vibes on But Then I, strings on Boola Boola and flutes and strings on By The Way, making this semi-worthwhile on the 'Tron front.
Italian director Ugo Liberatore then dug them out of a bit of a hole by signing them up to soundtrack his cult film May Morning, not officially released for another thirty years, although various tracks leaked out on compilations. With the benefit of hindsight, it can be seen as a decent transitional record, bridging the gap between their pop work and the light end of early '70s rock (think: solo Rod Stewart), although quite a bit of ground is covered across its fourteen tracks. Although most of the material is on the acoustic side, Anything has echoes of The Who about it, while Hard Time has a distinct early Floyd vibe and several tracks feature a sitar somewhere in the mix. More of that ex-Lynne 'Tron, the band using it to good effect across much of the album. Obvious use includes the strings on Turn On With Thee, Think Of What You Said and Beer Duel, plus the flutes on May Morning (Reprises 1 & 2), although top 'Tron track is probably Till The Sun Goes Down, opening with vibes and flute, adding strings to the mix further into the song. Add the almost-inaudible accordions in All Pull Together, and you're left with a pretty damn' good 'Tron album from an unexpected source.
Neither of these albums are the most exciting music you'll ever hear, though they have their moments and are actually worth it for their 'Tron input.
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Doux-Amer (2005, 41.20) **½/½ |
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| Dimanche Matin A Helene Gronde Moi La Poupee Les Vacances Toi et Moi En Attendant Raskolnikov |
Sous le Soleil Les Tigresses C'est Fini Des Mysteres Ne Lui Dis Pas a Maman |
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The Barcelona-based Très Bien Ensemble are clearly total Francophiles, most of their members having French names, although whether they're culturally French Spaniards or émigrés Françoise is uncertain. Anyway, the combo coalesced out of a related group, Los Fresones Rebeldes, releasing Doux-Amer in 2005, immediately drawing comparisons with all the classic chansonniers, not least Jane Birkin, Brigitte Bardot and, of course, the ubiquitous Serge Gainsbourg. For most English-speaking listeners, however, their sound will conjure up images of that strain of 'we're so French' British bands that appeared at the beginning of the '90s, delighting and infuriating the general public in equal measures with their lightweight faux-Gallic pop. Yes, Stereolab, I blame you. Oh, and Saint Etienne.
As far as the album's material goes, it's largely as you'd expect; cheesy attempts to sound Parisienne, accordions, muted trumpet and male/female vocals to the fore, the only let-ups being the slightly more energetic (though rather out of place) Des Mysteres and the almost-psych-lite of Toi Et Moi. Lucien Bulles plays Mellotron, though not a lot, with flutes on Sous Le Soleil, seemingly combined with a real one, although the jury's out regarding the string part on Toi Et Moi, while they're obviously real on C'est Fini. All in all, then, unless you're a fan of the style, don't go anywhere near this. You'll only regret it.
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Trettioåriga Kriget [a.k.a. Thirty Years War] (1974, 38.24) ****/TTTKaledoniska OrogenesenRöster Från Minus Till Plus Fjärilsattityder Mina Löjen Ur Djupen Handlingens Skugga |
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Krigssång [a.k.a. Warsong] (1976, 38.30/59.45) ****/TTT |
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| Krigssång Metamorfoser Jag Och Jag Och 'Jag' Mitt Mirakel Murar Krigssång II [CD adds: On Going to England (live) |
Ur Djupen (live) So Long (live)] |
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Elden av År (2004, 49.05) ****/TT½LjusetNightflight Lång Historia Elden av År Möte Molnbudet Nightflight - 77 Gnistor |
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I Början och Slutet (2007, 54.15) ****/TTT½ |
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| I Krigets Tid Barndom Ungdom Ungdom II Benke Lovsång Öknen S-bahn |
Floden Ryttaren I Början och Slutet I Krigets Tid II |
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Trettioåriga Kriget, or 'Thirty Years War' are a bit of an oddity; driving, high octane jazz-inflected hard rock with a progressive edge and Swedish vocals. What could be an appalling mish-mash of influences is actually a rather wonderful mixture of genres; TK had a unique sound that still stands up well today. Trettioåriga Kriget manages to combine several different approaches into a cohesive whole, and should appeal to the hard rock crowd as well as the progressive fraternity. The band didn't use Mellotron live, unsurprisingly, as it was played in the studio by drummer Dag Lundquist. Used sparingly but effectively, the 'Tron often bursts in after several minutes of a song, then disappears just as quickly. Trettioåriga Kriget have been quoted as a major influence on '90s Swedish wunderkind Änglagård; listen to Mina Löjen for proof. Trettioåriga Kriget is a real grower; listening to it again for review purposes I'm struck by how good the songs actually are. It's a great shame they never found any success outside their native country, despite being signed to the Scandinavian branch of CBS; it would probably have been seen as a terrible sell-out, but some English-language lyrics may have done the trick (well, it worked for PFM).
Krigssång ('War Song') was recorded in summer '75, although it wasn't released until early '76. While obviously the same band that recorded their debut, Krigssång is a little more acoustic, and maybe a tad more straightforward, too. The Mellotron work fits the same pattern as their first LP; sparse but effective. TK took their only step into larger-scale composition on this album; Krigssång II takes up the whole of side 2 of the original album and has the best Mellotron work on the record. TK spent five weeks in Britain in late '76, just before punk hit the headlines. Obviously mindful of the impenetrability of their lyrics to a British audience, they rewrote a few of their songs in English; On Going To England is a new version of Mina Löjen from their first album. Despite a good review in 'Melody Maker' the band made no further headway in the UK; presumably their albums were unavailable here, and it was at the time unheard of to sell your own recordings at gigs. The live tracks added to the CD were recorded in Stockholm a few weeks later.
Trettioåriga Kriget carried on for some years, eventually changing their name to the more manageable Kriget, but they simplified their approach (haven't we heard this somewhere before?) and never attained the heights of their first two releases again. There is a compilation of outtakes and suchlike called War Memories (1972-81) (***½); while worth having, there isn't a trace of Mellotron on it anywhere.
However... having dissolved some time in the early '80s, with occasional reformations, the Kriget boys have decided to have another stab at fame and fortune, or at least making some more great music. Elden av År (Fire of Years) doesn't disappoint, with the band having lost none of their energy, although it by no means sounds like a carbon copy of their '70s style. It's difficult to pinpoint the best material after a single listen, so I may well revisit this review at a later date; suffice to say, it's about as far as you can get from the (allegedly) insipid reformation works from the likes of Epidaurus or Il Balletto di Bronzo. Mellotron from Mats Lindberg on four of the eight tracks, with intelligent and restrained use of strings and flutes; nothing jaw-dropping, but well worth hearing, as is the album as a whole. Incidentally, they used Mellotronen boss Stefan Dimle (Paatos, ex-Landberk)'s machine.
Three years on, just to prove it wasn't a flash in the pan, I Början och Slutet (The Beginning and End) appears, every bit as good as its predecessor. Like their other albums, in many ways this is not so much 'progressive' as mainstream rock with a progressive edge, although the greater use of keyboards over their '70s work increases the 'progressiveness' of some of the material. Highlights include both parts of I Krigets Tid, Ungdom and the gentle Lovsång, despite its unusual use of digital synth textures. Lindberg on 'Tron again (don't know whose this time round), with strings on all highlighted tracks above, except for Benke, which features flutes, making this the most Mellotron-heavy of their albums, if not actually the best.
So; I would recommend all of these albums unequivocally, but those of a more delicate disposition may have trouble with them. If, however, you like original and adventurous hard rock/prog, buy.
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El Patio (1976, 39.07) ***/TAbre la PuertaSe de un Lugar Todo es de Color Luminosa Mañana Dialogo En el Lago Recuerdos de Una Noche |
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Triana, like many of their countrymen, played a typically Spanish style of prog, heavily influenced by flamenco; suffice to say, this music couldn't have come from anywhere else. El Patio's... well, not bad, I suppose. Damning with faint praise? Probably; the songs are OK without being anything special, the musicianship's good, but far from outstanding... I think you get the picture.
The only Mellotron I can hear on it (from Jesús de la Rosa) is a few choir chords at the beginning of Abre La Puerta, repeating towards the end of the piece. Apart from that, Triana seem to be afflicted by the Spanish Keyboard Disease, otherwise known as the String Synth Syndrome, i.e. an insistence on playing all string parts on a string synth, reserving the Mellotron for choirs. Viruses (if virus it is) know no boundaries, so the syndrome can also be spotted in the work of Portuguese artist José Cid. Maybe there was an international anti-Fascist moratorium in the '70s on Mellotron string sounds. Or something.
So; an OK prog LP, but nothing particularly special, and extremely minimal 'Tron use to boot. I can pretty much take or leave this, to be honest.
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Revolucion 13 (1998, 62.54) ***½/TT |
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| Aztlan What's Up? Summer Rain Revolucion 13 Landslide Spanish Blue Collapse Mother's Cry |
Aztlan Reprise Pancho Villa (Part 1) Freedom |
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Tribe of Gypsies III (1999, 44.48) ***½/T½ |
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| The Flower Rays of the Sun Admit it It Don't Bother Me Puro Party What Cha Want Angel Up |
Better Days Dreams Puro Party (Reprise) |
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Tribe of Gypsies describe themselves as a 'heavy rock band with Latin influences', although their general lack of heaviosity with extra added percussion reminds me of Santana more than anyone, although the band must be getting sick of the comparison. 1998's Revolucion 13 was their second album, and while it's a more than pleasant listen, it does little you haven't already heard on those early Santana records, two extra percussionists and all. There's certainly very little of the riffing guitar work that you'd expect of an outfit describing themselves as 'heavy', particularly given that guitarist/mainman Roy Z has worked on several Bruce Dickinson albums, although the odd ripping solo is unlike anything old Carlos would've come out with back then. Greg Schultz is one of three guest keyboard players, adding background Mellotron strings to Summer Rain and more upfront ones to Collapse and Mother's Cry, which is more 'Tron than you'll hear in Santana's entire career. But is it real? Mother's Cry's closing chord holds a little too long, although that could be studio trickery as much as anything.
'99's Tribe of Gypsies III was apparently released in Japan under the title Standing on the Shoulders of Giants, but before it came out around the world, the useless Oasis announced their rather singularly misquoted Standing on the Shoulder of Giants, forcing the Tribe guys to find a quick'n'easy replacement. There are a couple of heavier tracks than on its predecessor, chiefly What Cha Want, which sounds like Santana crossed with Thin Lizzy, but we're not exactly talking Metallica territory here, but then, the band don't describe themselves as 'metal' anyway. It's actually a very pleasant album, little like I'd expected, although I suspect it'll take a few plays for the better tracks to make themselves known, although the guitar line in Puro Party has probably lodged itself in my brain for the foreseeable future. For a guitarist's band, Tribe of Gypsies have a remarkably cohesive sound, with no one instrument dominating, making a welcome change from the serried ranks of guitar wank outfits plaguing the scene. Z (no, I don't know his full name) plays Mellotron on a couple of tracks, with cellos and strings on Better Days, and strings on Dreams, though they're less overt than they might be.
These are both good albums with an interesting sound, if slightly derivative of other Latin Rock outfits. Not that much 'Tron, but worth hearing if you were going to buy them anyway.
See: Bruce Dickinson
