Valley of Sound
Jeroen van der Boom
Van der Graaf Generator
Mark Van Hoen
And Then There is Silence (2000, 65.14) ****/TT½Fields of Sorrow
Like a Whisper
Tell Me a Story
Reaching for Angels
She Will Dance No More
Valinors Tree's second album, And Then There is Silence, is a marked improvement on their debut, Kingdom of Sadness (with sampled 'Tron, reviewed here), with fewer metal stylings this time round, both vocally and in the guitar department. The Anekdoten comparisons still stand, though Valinors use far more of John Lönnmyr's piano, giving their sound an identity of its own. Actually, the more of this album I hear, the more impressed I am, especially compared to its very ordinary predecessor. They've learnt to pace themselves, use keyboards imaginatively, sing properly... There's trumpet on a couple of tracks, and Reaching For Angels even uses sampled drum loops and pseudo-analogue synth burbles, proving that the band are by no means stuck in the past.
They borrowed The Moor's Kenneth Magnusson's 'Tron first time round, then only sampled it. This time, they actually recorded the thing, with strings on Like A Whisper and She Will Dance No More, very upfront flutes on Tell Me A Story and choirs on Silence Within, although most of their 'Tron use is fairly background, leading to a low-ish 'T' rating. So; while not a classic, And Then There is Silence is worth hearing, though not necessarily for the Mellotron.
Newborn (197?, 34.50) *½/TTI Look at the Sun
How Sweet it is
While I'm Away
When You're Smiling - J'Attendrai
Rock Show 1950's-60's
Valley of Sound were one of doubtless many, many thousands of crummy functions bands that littered the musical landscape in the '70s, in the days when people were prepared to pay a real, live band to play their wedding/bar mitzvah/funeral, rather than employ a DJ. As a result, a whole generation of musicians were ruined by playing this crud for filthy lucre rather than getting out there and doing something original. Actually, it's not just the unoriginality I object to so much - plenty of bands are unoriginal, even (especially?) ones who aren't trying to be - but the appalling arrangements these purveyors of cheese foisted on the general public. Mind you, said public probably deserved everything they got, bopping about at their nephew's wedding, pretending they're having a good time and groping their hot sister-in-law during the slow ones.
So, what does this abomination actually sound like? Every bit as bad as you can imagine, is the short answer. Unbelievably, three of side one's tracks are band originals, and are utterly horrible, as are their stabs at two covers; I particularly like the bit in When You're Smiling when the singer smiles, laughs, then cries while he's singing, to match the lyrics. Truly jaw-dropping. The real meat'n'potatoes of the album lies on side two, though. A near-twenty minute live medley of, well, just about everything you didn't want to hear again from the '50s and '60s, played with grim determination by this be-suited bunch of goons, dodgy on-stage harmonies and all. Not to mention their 'risqué' bit in the middle, where they amend a few lyrics to vaguely daring effect. 'Put your legs on my shoulders' indeed. This really has to be heard to be believed, although I doubt if I'll ever be able to bring myself to play it again.
And why is this drivel here, I hear you ask? Why d'you think? My excellent
informant correspondent Mark supplied me with a copy of this horror (which cost him all of ¢25), as he noticed a credit on the rear sleeve for Mellotron, played by wonderfully moustachioed singer/keyboardist Garé Rex (I kid you not). It finds its way onto two of their three originals, with full-on 'orchestral replacement' strings on opener I Look At The Sun (sample lyric: 'I look at the sun, and notice it's shining down on everyone') and flute and string parts on cheeso ballad While I'm Away, easily the best thing about either track.
So; how easily are you going to find this? I mean, why would you? It's deeply appalling, even worse than, say, Brit efforts Triple Cream or the better-known Candlewick Green. Shockingly, there are actually aficionados of this stuff out there, some of these albums changing hands for top dollar. Who knows, maybe Mark's ¢25 would sell for 50 bucks plus? Or maybe not. Anyway, should you stumble across a copy at a yard sale or the American equivalent of a charity shop, only you can decide whether or not to shell out your hard-earned on it. I can only stand back and cry with laughter.
Teenagers Film Their Own Life (1996, 43.59) **½/½
|The Guitarmakers Adventure: Era IV
An Audio Obstacle Course
(One Love) Le Blues Ermetique
Flashin' Light (Some Girls Like to Disco)
Rainy Day (Left)/Sintetone 2000 (Right)
End/Exploring the City of Ghosts
Valvola seem to've been a one-off mid-'90s Italian pseudo-lounge project; remember 'lounge'? Thought not. Anyway, Teenagers Film Their Own Life is vaguely amusing, with plenty of period detail, not least the keyboards used, with plenty of Farfisa (or similar) and slightly out-of-place monosynth. Probably the most interesting thing here is Rainy Day (Left)/Sintetone 2000 (Right), which actually seems to be two complementary tracks playing together, panned hard left and right. Or maybe it's just an exercise in stereo separation.
Michele Profeti (from Standarte) plays Mellotron, with faint choirs on Relaxing Mood, but nothing you couldn't live without, frankly. All in all, an attempt to capture the zeitgeist that only partially succeeds and sounds rather dated over a decade later, and with next to no Mellotron, you'd be wise to say 'no'.
Jij Bent Zo (2008, 51.02) *½/T
|Jij Bent Zo
Mijn Hoofd Verstaat Mijn Hart
Het is Over
Nou is het Genoeg
Voor de Zoveelste Keer
Jeroen van der Boom broke through commercially in his mid-thirties, rather late in the day by the industry's usual standards, although given his middle-aged music, maybe he's got it right. 2008's Jij Bent Zo is his second album, though the first under his own name; it starts passably enough, in a pop/rock vein, but quickly slumps into a slough of musical despond consisting largely of cheesy ballads of a kind with which the world is already infested, thank you very much. There are no best tracks.
Stefan Geusebroek plays Mellotron flutes on three tracks, Mijn Hoofd Verstaat Mijn Hart, Één Wereld and closer De Tijd, although only the first-named is even remotely worth hearing, with a brief solo part opening the track and a repeating 'Strawberry Fields'-type part throughout. So; safe, bland, incredibly mainstream pop/rock, with little Mellotron. In Dutch.
Pawn Hearts (1971, 45.08) *****/T
|Lemmings (Including Cog)
A Plague of Lighthouse-Keepers
Presence of the Night
(Custard's) Last Stand
|The Clot Thickens
Land's End (Sineline)
We Go Now
Still Life (1976) ****/½Pilgrims
My Room (Waiting for Wonderland)
Childlike Faith in Childhood's End
World Record (1976) ****/TWhen She Comes
A Place to Survive
Meurglys III, the Songwriter's Guild
Van der Graaf Generator were the brainchild of manic vocalist/songwriter Peter Hammill, forming at Manchester University in the late '60s. After an early, fantastically rare single, they split, Hammill recording a solo album that eventually, to his irritation, got itself released as the first VdGG outing. Aerosol Grey Machine (***½) isn't bad, but is rather 'of its time' and bears little relation to the sonic holocaust that was to come. Hammill then regrouped the band properly, recording the stunning The Least We Can Do is Wave to Each Other (****½) and H to He Who am the Only One (****½), the title referring to 'hydrogen to helium', so pronounced 'aitch to aitch ee'.
Their third album in as many years, Pawn Hearts is an incredible piece of work; dark, progressive and manic, and that's just the first two minutes of Lemmings. Man-Erg is crushingly brilliant, from Hugh Banton's ripping organ work through David Jackson's screaming saxes to Hammill's, well, Hammill. Many fans hold side two's one track, A Plague Of Lighthouse-Keepers, to be their magnum opus, but I'm not personally sure if it holds up as well as some of their, er, 'shorter' material, but it's still a fairly stunning achievement. Pieced together in the studio, it was unperformable live, so when they turned up at a Belgian TV studio the following year, only to be told "You WILL perform Lighthouse!" they had to film it in bits, splicing it together in the editing suite. There's some suitably insane Mellotron strings on one part of the track, The Clot Thickens, but there can't be more than a minute or two on the whole album. They're an excellent minute or two, though...
Due to all the usual pressures, Van der Graaf split the following year, although all members helped Hammill out in his solo career, leading to the inevitable reformation in 1975. Their first album under the new arrangement was Godbluff (****½), closely followed by Still Life and World Record, before the band fractured again. To my ears, Still Life is the better album, and still getting better with every listen, but World Record definitely has its moments. Live, VdGG and solo Hammill were growing ever closer, with the band regularly performing several 'solo' tracks in their set, and World Record seems to me to be closer to solo Hammill than band, though I'm sure there are plenty who'd disagree with me. Both albums have Mellotron credited, but there's little audible evidence; maybe a touch of strings on the stupendous Pilgrims on Still Life, and a bit of flute on Wondering from the follow-up, but that's about it, really.
VdGG were one of the very best progressive bands of the seventies, and one of the very few with a still untattered reputation, almost certainly due to their general intensity and uncompromising attitude towards their music. Almost any of their albums are worth hearing, though the four from The Least We Can Do... to Godbluff are probably their peak. The only bit of Mellotron in their entire catalogue really worth hearing is the short burst on Pawn Hearts, so buy them for the sheer quality of the music on offer. Monumental.
See: Peter Hammill | The Tangent | Eyewitness: A Tribute to VdGG
Where is the Truth (2010, 45.01) ***/T
|Put My Trust in You
Where is the Truth
I Need Your Silence
Render the Voice
Mark Van Hoen worked as Locust throughout the '90s, releasing occasional albums under his own name, the fourth of which (after a several-year gap) being 2010's Where is the Truth (question mark clearly optional). It's a decent enough album of mostly instrumental electronica, although Your Voice, a vocal number with an irritatingly dance-informed rhythm, could've been left elsewhere without damaging the record's overall prospects.
Van Hoen plays Mellotron, amongst other keyboards, with strings on the title track (although the actual credit is for Yourself) and closer Soyuz A, while the solo voice on the latter sounds more like a Chamberlin than a Mellotron, though not very much like either. So; very competent electronica, should that be your bag, but very little Mellotron. Your choice.
Vanderhoof (1997, 57.43) ***/TT½
Take to the Sky
Falling to Earth
|50 Cent Sympony
Tons of Time
40 Days Down
Game is Played
A Blur in Time (2002, 53.28) ***½/TTT½
|30 Thousand Ft.
Electric Love Song
If There's a Song...
Brand New Light
|Surface of Another Planet
Metal Church's Kurdt Vanderhoof formed his own band in the late '90s, moving completely away from the parent band's power metal into '70s hard rock territory, and would you believe it, they do it rather well? OK, they sound almost exactly like classic Uriah Heep with a lesser singer and more Mellotron, but compared to sounding like a third-rate saddo metal band, there's no contest really, is there?
Their eponymous 1997 debut is so close to Heep in places that it could almost pass as a long-lost outtakes album, particularly on Take To The Sky, but I'm not actually complaining... Vanderhoof plays Mellotron himself, with distant choirs and upfront strings on Angel Now and Tons Of Time, lesser ones on Beg and strings and cellos on 50 Cent Symphony. While I understand Vanderhoof owns a real Mellotron (and loads of other old gear), it doesn't always sound genuine, but it stays here until/if I find otherwise.
2002's A Blur in Time carries on the good work while improving on both the style and production fronts, top tracks including Surface Of Another Planet and Sonic Blur. Loads of Vanderhooftron this time round, with strings on 30 Thousand Ft., Electric Love Song, Nowhere Train and Un-Changed, with a really full-on solo part opening If There's A Song... More strings and choir on 3 A.M. and choirs on Surface Of Another Planet, alongside what sounds like an analogue polysynth (Oberheim?), making for a surprisingly 'Tron-heavy release in an unexpected area. Mind you, Vanderhoof's gone on to form the exceptionally retro Presto Ballet, so should we really be surprised?
Overall, then, one reasonable and one really quite good retro hard rock efforts with Mellotron all round, particularly on their second. It looks like the band has split to make way in Vanderhoof (the man)'s life for Presto Ballet, but A Blur in Time, in particular, is worth hearing.
See: Metal Church | Presto Ballet
Pixel Revolt (2005, 53.43) ***/TT
|Letter to the East Coast
Peacocks in the Video Rain
New Zealand Pines
Radiant With Terror
|Dear Sarah Shu
Dead Slate Pacific
The Golden Gate
Romanian Names (2009, 37.18) ***/0
|Tremble and Tear
C & O Canal
Too Much Time
Sunken Union Boat
Pixel Revolt is ex-MK Ultra John Vanderslice's fifth album, although I believe if anything, he's known more for his production work; his style is a sort of indie take on the singer-songwriter thing, although that doesn't really describe it very well. Most of the album just drifts along, with the lyrics (Trance Manual, Angela) standing out more than the music, to be honest, although going by online reviews, Vanderslice is very popular, albeit in a non-mainstream kind of way. Mellotron (from Vanderslice and Matt Henry Cunitz) on three tracks, all credited properly (hurrah!). Flutes and (lesser) strings on Trance Manual and fairly unusual vibes on Angela, leaving Exodus Damage as the album's 'Tron highlight, with a major string part, backed with flutes, plus faint choir and (allegedly) pipe organ, though I can't hear the latter for the life of me.
Vanderslice's 2009 effort, Romanian Names, is a mixed bag of indie-ish singer-songwriter material, better tracks including opener Tremble And Tear, the E-Bow-driven D.I.A.L.O. and brief instrumental Forest Knolls. Cunitz is credited with Mellotron again, but I'll be buggered if I can work out where he uses it, all potential sounds (vibes, low strings) being covered by real instruments.
So; maybe one for the singer-songwriter fan who doesn't mind a few modern production tricks? Pixel Revolt isn't bad on the Mellotron front, though not essential, although you're wasting your time with Romanian Names. Middling.
See: MK Ultra
Sofa Livin' Dreamazine (1991, 44.31) **½/½
|Wilbur and Orville
She Cries Diamonds
Naked on a Train
Vanilla Trainwreck were a N. Carolina-based band, slotting somewhere in between indie and grunge, stylewise, which hasn't allowed their debut, 1991's Sofa Livin' Dreamazine, to age that well. For all the fuzz and dirt they put into it, it's a strangely lifeless record, vaguely psychedelic closer Naked On A Train being the least dull thing here, which isn't really saying that much.
Producer-of-the-day Sean Slade (Dinosaur Jr, Sebadoh, Blackfish) is credited with Mellotron, but the only even slightly possible use is some of the assorted sounds on Naked On A Train, which could, frankly, have been made by almost anything. I'd take that as a non-recommendation, then.
|7" (1969) **½/TT
Hitchin' a Ride
The Kent-based Vanity Fare (ho ho) had a handful of hits, the biggest being Hitchin' A Ride, from late 1969, chiefly due to cracking the US charts. The recorder and piano-driven effort is pretty typical of the era's lightweight pop, almost certainly the reason this isn't as fondly remembered as some of its contemporaries. The flip, Man Child, is rather better, in a toytown pop kind of way, but I can't imagine it would be anyone's first port of call when compiling the sub-sub-sub-genre.
Someone, probably the band's new keyboard player Barry Landemen, layers Hammond and Mellotron on Man Child, with an overt, quite clunky string melody that actually improves the song no end. Both sides of the single appeared on 1970's rather disjointed Early in the Morning, essentially an uncredited greatest hits, but I've no idea whether you can find Man Child on CD.
Nightwalker (1981, 36.35) ***/TNightwalker
Seek and You Will Find
Put the Weight on My Shoulders
Living Inside Myself
Stay With Me
Sally (She Says the Sweetest Things)
It seems Gino Vannelli has been around since the early '70s, and is still making music today. He unashamedly describes himself as 'pop', and going by 1980's Nightwalker, it's difficult to argue with this; a very musicianly, soul and jazz-influenced variety of pop, although unfortunately somewhat dated by modern standards. Vannelli has an amazing voice, however, and the more soulful material here (Put The Weight On My Shoulders, Sally) shows it off to great effect.
It seems Vannelli likes to keep things in-house, having worked with his brother Joe throughout his career, while another brother, Ross, co-produces here. Joe is credited with 'electric piano, acoustic piano, organ and synthesizer', strangely neglecting to mention the Chamberlin I'm assured is on the album. Several tracks feature real strings, but the Chamby can quite clearly be heard providing the string line on the opening title track, although the use on Put The Weight On My Shoulders and Sally (She Says The Sweetest Things) isn't either that upfront or even entirely confirmed, though the strings sound more Chamby than real. Living Inside Myself has been confirmed for me, although it's almost indistinguishable from the real thing...
So; a very musical album, but also a very mainstream one that really isn't going to appeal to most listeners at the rock end of the spectrum. Your jazz fan will find things to praise here, but the rest of you would really be advised to steer clear, despite the obvious quality of the material. Only one really obvious Chamby track, too, so I wouldn't really bother for that, either.
Er is Geen Weg Terug (1973, 47.27) ***/T
|Er is Geen Weg Terug
Ballade Van een Oude Vriend
Zal ze Dan Nog Voor Me Zorgen
Het is Nog Niet Laat
Toch is ze Zo Lief
Als Je Zomaar Weg Zou Gaan
|De Idioot van de Vrede
Als de Dood Toch Ooit Moet Komen
Langs de Spiegels van de Tijd
Zjef Vanuytsel is a Flemish singer-songwriter who released his first album, De Zotte Morgen, in his early twenties, in 1970. Its slightly belated follow-up, '73's Er is Geen Weg Terug (There is No Return), is actually a quite affecting album of mostly acoustic material, which manages to make its point even when you don't understand the words. Best tracks are probably Ballade Van Een Oude Vriend, Het Is Nog Niet Laat and the beautiful Als De Dood Toch Ooit Moet Komen, but, amazingly for the genre and era, nothing here offended me.
Jean Blaute plays Mellotron, with a chordal flute part and cellos on Ballade Van Een Oude Vriend and a beautifully arranged string part on Lusi, although the harmony flutes on Zal Ze Dan Nog Voor Me Zorgen and the strings on a couple of other tracks are real. Overall, then, a surprisingly decent album, although a long way from a lost prog classic. Worth hearing for fans of '70s acoustic albums, but not really for the Mellotron.
Moroccan Roll (1974, 35.14) ***½/TMoroccan Roll
I Don't Know Why
Kasbah - Tadla
Lord (Give Me Money)
All I Want to Know
Les Variations were a French band of Moroccan Jewish extraction, making for an intriguing smörgåsbord of influences, from the power-trio rock of Cream and Zeppelin to indigenous Moroccan and Sephardic Jewish music. Moroccan Roll (the pun pre-empting Brand X by a year or two, and more relevantly) was their third album of four, with its English-language vocals making it accessible to an international audience; the band toured the States at least once, and their last two albums were released there. There isn't really a bad track on the record, but Growing Stronger is the best 'rocking' effort, and Kasbah - Tadla probably the best at the folk end of the album.
Mellotron on two tracks, from an unknown player, with faint strings on Did It and a more upfront part on closer All I Want To Know, although not enough to make a purchase worthwhile merely for its 'Tronic content. So; an interesting effort, at least partially unlike anything much you'll have heard before, although some of the hard rock numbers are fairly generic. Not much 'Tron, but worth hearing if you're thinking of buying it anyway.
Sweet Life (1998, 48.26) **½/T
|Gulf of Mexico
Now You're Dirt
All About Love
While You Were Sleeping
This is the River
Underneath the Mountain
|Fuck and Fight
Beginning as Anders Parker's solo project, Varnaline had become a trio by the time they released Sweet Life in 1998. Bemusingly, I've seen them described as Americana/alt.country, as their sound is quite clearly positioned slightly towards the noisier end of the US indie spectrum, incorporating occasional hints of Neil Young-ish guitar work. Sadly, it's all a bit dreary, to the point where I don't even feel I can recommend any tracks, which is a bit tragic, really. Maybe the closing nine-minute title track? Maybe not.
Parker plays Mellotron, with occasional strings on opener Gulf Of Mexico, though that appears to be your lot, despite various other keyboards and string sounds (mainly real strings) elsewhere. Sorry, to be so down on this, but, frankly, it bored me rigid. Next to no 'Tron, either.
MySpace fan page
Official Anders Parker site
Nouvelle Vague (2007, 49.37) ***/0
|Il est Cinq Heures, Paris S'éveille
Le Temps de l'amour
Attends ou Va-t'en
Dans le Souffle du Vent
Les Yeux Ouverts
|Ya Ya Twist
Drive My Car
I'm a Believer
Et Je M'en Vais
Sylvie Vartan is one of those 'overseas' artists of whom the average Anglo-American-centric music fan has never heard, myself included, despite several decades of Gallic fame. She's actually been making records since the early '60s, shockingly, being one of France's original yé-yé girls (a popular strain of '60s French pop, for those not in the know), her subsequent career being largely informed by that remarkable decade. Married to 'the French Elvis' for fifteen years, Johnny Hallyday, she's also worked with later Spooky Tooth member and Foreigner mainman Mick Jones and had songs written for her by Paul Anka, amongst others.
2007's bilingually-punning Nouvelle Vague sums up her '60s-centric work perfectly; a good album, certainly, but it lacks originality, containing a slew of '60s covers, not least The Stones' Ruby Tuesday, Leonard Cohen's Suzanne and The Beatles' Drive My Car, plus French-language versions of Reach Out I'll Be There (J'attendrai) and Then I Kissed Her/Him (Et Je M'en Vais). Then again, why would a singer in her early sixties be bothered about being original? Her intention was clearly to make a good, professional and entertaining album that her fans would enjoy, in which I can say she's been entirely successful.
John Philip Shenale (Tori Amos, Willy DeVille) plays Chamberlin, although as so often, it's effectively inaudible, unless it provides some of the very real-sounding strings on the album. Nouvelle Vague isn't really an album for the international market, more for her domestic audience and Francophiles everywhere, so with no obvious tape-replay work, I can't honestly recommend it, despite its obvious quality.
99.9F° (1992, 37.42/39.38) ***½/T
|Rock in This Pocket (Song of David)
Blood Makes Noise
Fat Man and Dancing Girl
(If You Were) In My Movie
As a Child
When Heroes Go Down
As Girls Go
Song of Sand
[Some versions add:
Suzanne Vega is proof positive that singer-songwriters can still write relevant, tuneful material that doesn't just navel-gaze to the point where the music becomes entirely secondary to the lyrical content. 1992's 99.9F° is her fourth album, produced by the mighty Mitchell Froom, later her husband. It's full of material of the quality of Blood Sings, Bad Wisdom and the title track, and while some of her fans threw their hands up in horror at Froom's relatively 'electronic' production, his use of 'period' instruments stops it sounding like a relic, 17 years later. And Richard Thompson guests. Result!
I heard a rumour years ago that Froom plays Chamberlin on the album; he's stated that he used one on 'pretty much everything' he produced at the time, so it's hardly surprising. There's a large, composite sound on the Vega/Froom co-write Fat Man And Dancing Girl, but it's as likely to be a combination of organ and synth, but As Girls Go features possible cellos and definite strings, albeit briefly. So; a '90s singer-songwriter album that still sounds good now, due almost entirely to a combination of Vega's songwriting and Froom's production. Worthwhile.
See: Mitchell Froom