Home
reviews
album list
UFO
Ultrasound
Ulver
Umajets
Umbra & the Volcan Siege

Uncle Acid & the Deadbeats
Uncle Green

Underground Set
Undisputed Truth


UFO  (UK)

UFO, 'Force it'

Force it  (1975,  37.42)  ****/TT

Let it Roll
Shoot Shoot
High Flyer
Love Lost Love
Out in the Street
Mother Mary
Too Much of Nothing
Dance Your Life Away
This Kid's/Between the Walls
UFO, 'No Heavy Petting'

No Heavy Petting  (1976,  35.23)  ****/T

Natural Thing
I'm a Loser
Can You Roll Her
Belladonna
Reasons Love
Highway Lady
On With the Action
A Fool in Love
Martian Landscape

Current availability:

Mellotrons used:

North London-based UFO started life as a bad space-rock band, releasing a couple of albums which only sold in Germany and Japan, but in 1973 they went through a series of guitarist changes, ending up with 17 year-old German wunderkind Michael Schenker, nicked from support act the Scorpions. I doubt if Schenker was actually responsible for the immediate stylistic change; I suspect the band had been wanting to head in a more mainstream direction anyway, and utilised young Michael's considerable talents to that end.

'74's Phenomenon (***) is a bit of a hit-and-miss affair, although it contains future classics Doctor Doctor and the mighty Rock Bottom. By the following year, the band had really got their act together, and Force it has nary a duff track on it, with no less than five songs finding their way onto their superb live double of a few years later, Strangers in the Night (*****). High Flyer is the album's ballad, with some Mellotron strings under Schenker's (melodic, as always) guitar solo. Producer Leo Lyons, from Ten Years After (non-coincidentally also on Chrysalis), brought in TYA's keyboard player Chick Churchill on keys; he adds some particularly effective 'Tron choir onto Between The Walls, a beautiful instrumental piece by the guitarist, presumably referring to the still-extant Berlin wall, segueing in from This Kid's.

The band brought in a full-time keyboard player, Danny Peyronel (from the Heavy Metal Kids) for their follow-up, '76's No Heavy Petting, a move which appeared to be only sporadically successful on stage. The album's pretty much as good as its predecessor, although fewer of the tracks became live favourites; talking of which, is the fantastic live b-side version of On With The Action ever going to be made available on CD? Anyway, I've only just decided that there's definitely Mellotron on the thing, with strings on Belladonna that I'm still not entirely sure about, and a definite (if background) choir part on Peyronel's Martian Landscape.

UFO kept the quality up through their next handful of releases, until Schenker left in 1978, and the band started their irreversible decline. They're still (technically) going today, back with Schenker (note: he's gone again), but their glory days are sadly long behind them. As far as Force it (dreadful pun!) and No Heavy Petting go, if you like UK hard rock, they're two of the five or six essential UFO albums, although 'Tron fans probably need not apply.

Official site

U I Blue  (US)  see: Samples etc.

UNKLE  (UK)  see: Samples etc.

U2  (Ireland)  see: Samples etc.

Ufo Piemontesi  (Italy)  see: Samples etc.

James Blood Ulmer  (US)  see: Samples etc.

Ultrasound  (UK)

Ultrasound, 'Stay Young' CDS  (1998,  20.27)  ***½/TT½

Stay Young

Underwater Love Story
Can't Say No
Ultrasound, 'I'll Show You Mine' CDS  (1998,  32.41)  ***½/T½

I'll Show You Mine
One Plus One
Final Solution
Lovesick
I'll Show You Mine
Ultrasound, 'Floodlit World' CDS  (1999,  10.52)  ***½/T

Floodlit World
Getting Better
Death of a Drag Racer
Ultrasound, 'Everything Picture'

Everything Picture  (1999,  87.29)  ***½/TTT½

Cross My Heart
Same Band
Stay Young
Suckle

Fame Thing
Happy Times (Are Coming)

Aire & Calder
Sentimental Song
Floodlit World
My Impossible Dream
Everything Picture

Current availability:

Mellotrons used:

Ultrasound's roots lie in wonderfully eclectic Newcastle combo Sleepy People, via the short-lived Pop-a-Cat-a-Petal; vocalist Tiny Wood and guitarist/songwriter Richard Green played in both bands, Green switching from bass for the new outfit. Ultrasound took what they learned and applied it to late-'90s UK indie, creating a crossover I can only describe as indie/prog, for its sins. They released a handful of singles before their sole album, Everything Picture, after which they imploded. Tiny (guess what: he isn't) was last seen guesting with Blue Apple Boy, but the rest of the band's whereabouts are currently unknown.

I haven't heard their debut single, Same Band and there's nothing Mellotronic on their first for Nude, '98's Best Wishes, but the first version of Stay Young from later that year (it was released in two different versions) features strings, flutes and cellos on one of its b-sides, the lengthy Can't Say No. The non-album I'll Show You Mine uses all three tracks on its last listed track, Lovesick, while one of the extra tracks on the first version of Floodlit World, the band's version of The Beatles' Getting Better, features the cellos.

My copy of Everything Picture is a double CD that says 'limited edition' on the cover; I believe the italicised tracks above aren't on the single-disc version (the timing is for the double only). Despite its sometime-overt Indieisms, it's actually a pretty good album, although Tiny's vocal stylings can grate after a while; strange, since they didn't with his previous (and subsequent) bands. Oh well. Tracks lengths tend to veer between four and six minutes, with ambient links making them appear longer, apart from the title track, which is about six or seven minutes of song, followed by thirteen or fourteen of freeform noise, ebbing and flowing over its length. It's followed by nearly fifteen minutes of silence, with a short piano-led uncredited track at the end of the disc, à la some versions of Nirvana's Nevermind. I suspect this track is missing from the single-CD version, if it exists; the album length I've put above is minus the gap.

The Mellotron use is actually quite heavy; flute parts on Cross My Heart and Happy Times, and some excellent strings on Sentimental Song. There are more flutes on the song part of Everything Picture itself, then during the improv section, keyboard man Matt Jones utilises the strings superbly, particularly in the quiet section and then to the end. I believe Ultrasound bought an M400 from Streetly at considerable cost; I've no idea what's happened to it since the split, but hopefully it was passed on to a deserving case.

I have to recommend Everything Picture, even to die-hard progheads; it's a good album, though 'great' eludes it, mainly due to the sometimes rather indifferent songwriting. Good record, good Mellotron. Don't spend a fortune, but pick it up if you see it at a sensible price (I did).

Official site

See: Samples etc.

Ulver  (Norway)

Ulver, 'Live at Roadburn'

Live at Roadburn  (2013,  53.08)  ***½/T

Bracelets of Fingers
In the Past
Can You Travel in the Dark Alone?
Soon There'll Be Thunder
Today
Velvet Sunsets
Street Song
66-5-4-3-2-1
I Had Too Much to Dream (Last Night)
Magic Hollow
Impromptu Performance (Dedicated to Can)

Current availability:

Mellotron used:

For some reason, Norwegians Ulver's increasingly-distant black metal origins hang around them like a bad smell, although they'd largely shucked off the genre's tropes by their second release, as early as 1996. Their appearance at 2012's Roadburn consists almost entirely of tracks from their '60s covers album, Childhood's End, giving not the faintest hint that they'd ever even been considered 'metal' at all, let alone of the 'black' variety. Excellent versions of better-known songs (The Pretty Things' Bracelet Of Fingers, Jefferson Airplane's Today, The Electric Prunes' timeless I Had Too Much to Dream (Last Night)) rub shoulders with material from the likes of We the People, The Beau Brummels and Gandalf ('60s version), effectively acting as a late '60s primer for the uninitiated, encoring with a Can-inspired jam, faded out on the record.

The band's current fourth member, Daniel O'Sullivan (Guapo, Mothlite), plays Matthijs Herder's borrowed M400 through a Roland Space Echo on a couple of tracks, with background strings on Soon There'll Be Thunder and flutes on Magic Hollow, albeit neither to any great effect, sadly. Is this worth hearing for its Mellotron use? No, frankly, although anyone who enjoyed Childhood's End should get something from hearing its contents played live.

Official record company site

Umajets  (US)

Umajets, 'Demolotion' Umajets, 'Demolotion'

Demolotion  (1997,  57.57)  ***½/½

Half Man Half Wrecking Ball
Fly
The Wannabees
Mother
No Mattress
The Middle of Monday
The Walls You Walk Through
Girl Named God
American Pipe
Daphne's Disease
Matador
Skywriting
Union Umbrella
My Weary Eyes

Current availability:

Mellotron used:

The Umajets are basically ex-Jellyfishers Tim Smith and Roger Manning's next project, and while they've carried some of their alma mater's talent over to the new outfit, the overall impression I get of Demolotion (listed as 'Demolition' everywhere, of course - I had to look twice) is of a band trying desperately to be as good as their previous outfit, and not quite making it. The excellent Half Man Half Wrecking Ball starts things off well, but so-so efforts such as No Mattress or Girl Named God fatally compromise the album. Actually, with a bit of editing, this would've made a far better 40-minute record. It could even have been pressed on LP...

Manning is credited with Mellotron on The Wannabees, but unless those are flutes hidden somewhere in the mix, it's effectively inaudible. However, suspiciously Mellotron-like lines crop up on a few other tracks (notably Daphne's Disease), but aren't mentioned in the exhaustive track-by-track credits, so who knows? Overall, this falls into the 'good not great' category, I'm afraid, so unless you're a powerpop obsessive, I'd only really bother if you see it cheap.

See: Jellyfish

Umbra & the Volcan Siege  (US)

Umbra & the Volcan Siege, 'The Beginning of the End'

The Beginning of the End  (2009,  31.56)  ***½/TTT

Story Song
Lu Lu
The Pretty One
Caboom
Do Do Do
Umbra & the Volcan Siege, 'The End of the Beginning'

The End of the Beginning  (2011,  41.24)  ****/TTT½

Dumb Numb
Rains and Pours
The March
Somebody

The Ups and Downs
Chromy
Surfy
Dream Lust
Do Do Do Do...
Umbra & the Volcan Siege, 'Somedays Coming Soon'

Somedays Coming Soon  (2014,  36.20)  ***½/TT½

Stick it
Apple Pickin Tree
Distraction
Oh Pretty Please
Slip & Slide
Jazzy Hands
Somedays Coming Soon
Things
The Poodle Song
Bonus Track

Current availability:

Mellotrons used:

Chicago psych sextet Umbra & the Volcan Siege are led by Jim Licka ('Mellotron, Guitar'), also of local heroes The Luck of Eden Hall. Their first release, 2009's mostly-instrumental The Beginning of the End EP, is a pretty mixed bag, stylistically speaking, opener Story Song being a straight (albeit instrumental) rhythm'n'blues effort, Lu Lu a three-chord jam, Caboom twisted country... I think you get the picture. Two Mellotron tracks (Licka's M400): The Pretty One kicks off with a beautiful polyphonic flute part, with more flutes, (sometimes outrageously-pitchbent) strings and choirs throughout, while closer Do Do Do features more of those flutes, before it takes a short break, only to return with a string part meandering through the rest of the piece.

The band's debut full-lengther, 2011's The End of the Beginning, covers much psychedelic ground, every track at least subtly stylistically different to every other. Highlights include deranged noise-fest The Ups And Downs, the slow, brooding Dream Lust and lysergic closing jam Do Do Do Do...; strangely, despite no fewer than four 'guitar' credits, no-one's credited with vocals (I suspect Licka), although they're not exactly a major feature of the band's work. Licka and Curtis Evans play Jim's new M4000 on most tracks, with upfront flute and strings on opener Dumb Numb, a huge, polyphonic flute part, followed by strident strings on The March, flutes on Somebody, flutes, strings and muted, pitchbent choir on Chromy, more upfront flutes on Dream Lust and gentle ones on Do Do Do Do...

Stylistically, 2014's Somedays Coming Soon is probably closer to a weird surf/new wave cross, with Dick Dale-esque guitar work running head-on into vaguely Talking Heads vocal work, shifting from the queasy Tex-Mex of instrumental opener Stick It through to the blues/punk (!) of Distraction, the low-fi jazzy balladry of Oh Pretty Please and the psychedelic blues of the title track. Overall, not all that much of the M4000, relatively speaking, with background choirs and flute on Apple Pickin Tree, rather wobbly choirs on Oh Pretty Please, vibes on Jazzy Hands, background strings on the title track and Things, leaving the untitled 'Bonus Track' as the album's Mellotronic tour de force, a mélange of heavily-echoed Mellotron tracks, not least various string and church organ parts, including pitchbends and tape-delayed stabs.

So, do you bother? Yes, basically, as long as psychedelic exploration's your bag (The End... more so than Somedays...); these are fine albums, both for novices and seasoned psychonauts. Worth the effort.

Facebook

Uncle Acid & the Deadbeats  (UK)

Uncle Acid & the Deadbeats, 'Blood Lust'

Blood Lust  (2011,  47.36)  ***½/T

I'll Cut You Down
Death's Door
Over and Over Again
Curse in the Trees
I'm Here to Kill You
13 Candles
Ritual Knife
Withered Hand of Evil
['Bonus' track]

Current availability:

Mellotron used:

Cambridge-based trio Uncle Acid & the Deadbeats began as a recording project, releasing the limited-edition Vol. 1 on their own label in 2010, following up with 2011's Blood Lust, also picked up for vinyl release by Rise Above. According to interviews, the album's supposed to be something of a concept effort involving a witchfinder type, his wrongdoings and eventual comeuppance, which is certainly backed up by the lyrics. Musically, the band have one basic influence: Black Sabbath. Unafraid to channel that early '70s boogie feel (or 'the pariah of modern doom'), the album comes across as a straight cross began pastiche and homage, tracks like opener I'll Cut You Down, Over And Over Again (great guitar hook) and the superb Withered Hand Of Evil displaying Uncle Acid's Ozzy-esque vocal style to its best advantage.

Mr Acid himself plays the upfront, real-sounding Mellotron strings on Withered Hand Of Evil and flutes on the untitled bonus track (is this missing from the vinyl version?); where did he source a real machine? Who knows? This knocks your average doom-by-numbers crew into the proverbial cocked hat; a band with a genuine love of an era, with the will and songwriting chops to carry it off, unlike others I could name, but shan't. The vinyl's long sold out, but this is still available on CD. Buy.

MySpace

Uncle Green  (US)

Uncle Green, 'What an Experiment His Head Was'

What an Experiment His Head Was  (1991,  47.48)  ***/T½

I Always Knew You'd Come to Me
I Don't Know (I Just Wish)

I Don't Wanna Know About it
I'm Goin' Down
The Deal of a Lifetime
Like Today
Guilty Party
By the Way (Not Even Then)
Misfit Mouth
Ephenus
I Won't Let it Drop
Don't Fix it if it Works
Jack-a-Drum
Uncle Green, 'Book of Bad Thoughts'

Book of Bad Thoughts  (1992,  46.12)  ***½/TT

I Know All About You
I Don't Wanna Know About it
Wake Up Now
Look Into the Light
Bellingham
She's Storing it Up
You're Getting Into it
In Good Time
He Woke Up Naked
The Blue Light
A Good Man
I Always Knew You'd Come to Me

Current availability:

Mellotrons used:

Forming in 1980, power-popsters Uncle Green took six years to get an album out, 1991's What an Experiment His Head Was being their fourth release. It combines college rock sensibilities with powerpop (frequent bedfellows anyway), better tracks including the powerpop of I Don't Wanna Know About It, Misfit Mouth and Don't Fix It If It Works. Producer Brendan O'Brien (credited as 'Bud O'Brien & His Dog') plays Mellotron, with raucous cellos on opener I Always Knew You'd Come To Me, skronky strings on I Don't Know (I Just Wish) and great string pitchbends and flutes on Like Today.

The band were clearly on their last legs (at least in that incarnation) by their fifth album, 1992's Book of Bad Thoughts, which turned out to be their swansong. It's actually a pretty good record, far better than efforts I've heard by supposed deities of the genre, although it falls slightly short in places (so how many albums don't?). Best tracks? Possibly I Don't Wanna Know About It, He Woke Up Naked and A Good Man, despite its generic-boogie intro, with nothing actively cringeworthy on board. Band member Bill Decker and producer Brendan O'Brien both play Mellotron, with a strings solo on opener I Know All About You, pitchbends included, with more of the same on You're Getting Into it and massed cellos on closer I Always Knew You'd Come To Me, making for a medium-heavy 'Tron album, definitely worth it if you're a powerpop fan anyway.

Incidentally, after their mid-'90s split, the band regrouped as the awkwardly-named 3 Lb. Thrill, although I don't believe they used a Mellotron again.

MySpace fan page

Unconscious Collective  (US)  see: Samples etc.

Underground Set  (Italy)

Underground Set, 'War in the Night Before'

War in the Night Before  (1971,  37.14)  ***½/TT½

War in the Night Before
Top Invocation
Cronic Illness
Cool Paradise
Car Driving
Una Lettera
Hard to Group
Oblivion
Libitium
Hot Paradise
Useless Obsession
Hopeless Train

Current availability:

Mellotron used:

For many years, the mysterious Underground Set were so anonymous that one usually well-informed expert listed them as being British. It seems they actually consisted of members of Nuova Idea, their material being composed by Le Orme's producer, Gian Piero Reverberi. 1971's instrumental War in the Night Before (their second and last release) has more than a whiff of soundtrack about it - in fact, tracks by the band were used in films - highlights including the dirty, heavy psych of the opening title track, the lethargic Cool Paradise and Oblivion, while the slothful Una Lettera is a dead ringer for Procol Harum's A Whiter Shade Of Pale.

It seems likely that the uncredited keyboard player was Nuova's Giorgio Usai; whoever he is, he adds Mellotron to several tracks, with MkII brass on the title track, a clicky, pitchbent flute solo on Cronic Illness [sic], more lead flute on the cinematic Car Driving and the gentle Oblivion and a final blast of unruly brass on closer Hopeless Train. I have no idea why an album like this, ripe for progressive collectors' circles, has never been released on CD, so here's hoping for a swift resolution to the issue.

See: Nuova Idea

Undisputed Truth  (US)

Undisputed Truth, 'Cosmic Truth'

Cosmic Truth  (1975,  41.18)  ***½/T

Earthquake Shake
Down By the River
UFO's
Lil' Red Ridin' Hood
Squeeze Me, Tease Me
Spaced Out
Got to Get My Hands on Some Lovin'
1990
(I Know) I'm Losing You

Current availability:

Mellotron used:

Motown master writer/producer Norman Whitfield, responsible for The Temptations' success, amongst others, formed The Undisputed Truth in the early '70s to further his psychedelic soul vision. Cosmic Truth was their fifth album (of six), and is certainly true to Whitfield's ideal; it opens with an outrageous slice of psych/funk/rock, Earthquake Shake, before 'souling-up' Neil Young's Down By The River, which responds surprisingly well to the treatment. UFO's is a ludicrous song about alien invasion paranoia, fuelled by acid-fried vocals and fuzz guitar, while Squeeze Me, Tease Me is a bonkers hard rock/funk crossover. I think you get the picture...

Mellotron (from Mark Davis) on one track only; the last two minutes of Earthquake Shake are a 'Tron strings'n'flutes extravaganza, over the earthquake rumble that runs through the track, though sadly, that's it on the 'Tron front. This is the kind of soul album, not entirely unlike the Chairmen of the Board's Skin I'm in from the previous year, or anything by Funkadelic, that it's acceptable for rock fans to listen to, with plenty of ripping leads and experimental production tricks. There ain't a lot of 'Tron, but it's worth buying to hear the one relevant track.


previous pagenext page