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Classic Gear: The Mellotron

Mellotron

The Mellotron will forever be one of the most unique sounding and groundbreaking keyboard instruments ever created. It was based on the Chamberlin, which was the world’s first sampling keyboard. When you press a key on the Mellotron, an 8-second piece of audio tape is triggered to run, and when you take your finger off, the tape quickly rewinds. By actually recording each chromatic pitch of an acoustic instrument (say flutes, strings, organs, or the legendary boys choir) and assigning each 8-second recording to its respective key, the Mellotron was a machine that could emulate any instrument or sound. (See the youtube clip below for a helpful demo.)

Some samples were recordings of an actual full-band rhythm track, kind of like pressing the demo button on your Casio, but with a sound leagues more impressive. Regardless of the soundbank being used, however, the ‘Tron has an eerie, wavery quality to its sound that has intrigued musicians, producers, and listeners since its inception.

The Mellotron is infamous for its lack of portability, requiring painstaking realignment of tape heads when relocated (actually, read the comment from Chris below for more on this, thank you Chris). Today, you might find them in rare studios with a knack for vintage gear but the best shot at getting your hands on these classic sounds is to grab some kind of emulation hardware or software. Though ‘Tron purists will scoff at the use of a plug-in, it is quite simply the most realistic way to approximate the otherworldly sounds of the Mellotron.

Check out till.com for further information, and don’t miss the excellent Planet Mellotron where you will find information on many recordings that employ this expensive, rare, technologically dated but much loved and legendary instrument.

Examples
The ultimate Mellotron example is the flute intro to the Beatles’ Strawberry Fields Forever. This is an outtake (Take 7) that highlights the 10-piece street drumming team that hides in the outro rhythm of the final cut; though it’s not Mellotron, this fantastic texture always astounds me:

The Beatles – Strawberry Fields Forever

Phenomenal Cat by The Kinks from VGPS is a great ‘Tron track. The regular flute sound is instantly recognizable, but take special note of the demented ‘rock guitar’ sample and the rhythm tracks:

The Kinks – Phenomenal Cat

On David Bowie’s early classic, Space Oddity, Rick Wakeman was brought in to perform a placeholder part for what would later become orchestral strings. Apparently the magnificent warble of Wakeman’s ‘Tron part got the best of Bowie, because that is what we still hear today:

David Bowie – Space Oddity

The Mellotron became an important instrument to the world of prog rock as it could create grandiose sound without the prohibitive costs involved with hiring an orchestra. Listen to this Mellotron drenched classic from King Crimson’s debut:

King Crimson – Epitaph

(thanks to PlanetMellotron.com for the research on these notes.)

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Double Zappa |FZ| 1973-74

Over Night Sensation (left) Apostrophe (right)

Throughout the years 1999 to 2003 or so, I collected and devoured just about every official Frank Zappa release. It’s time to let it out of the brain, and hopefully you can use these posts as an introduction to this man’s incredible body of work.

I’ve found that FZ albums tend to come in two’s, so here’s our first double shot of Frank. These years contain his most commercially successful works and act as a fast and bulbous starting point.

Over-Nite Sensation (1973)
Zappa liked a tight band. The players on Over-Nite Sensation (notably featuring George Duke, Ruth Underwood, and the Fowler Brothers) would comprise the cleanest and strictest sounding rock ensemble yet. Nothing shows this more than the insanely detailed changes and synth, horn, and melodic percussion runs to one of my early favorites, Zomby Woof. The gnarly guitar lick and morally condemning lyric to I Am The Slime kinda says it all about his classical/satirical approach to rock music. And the succinct guitar solas throughout this record are both introductions and solid proof of his out-of-this-world modal guitar mastery. Dinah Moe Humm and Montana are bona fide Zappa classics and I remember even steadfast Zappa haters admitted to liking Camarillo Brillo.

“Camarillo Brillo”

:) Vinyl Search | Over Nite Sensation @ eBay ]
:D CD Reissue | 1995 | Over-Nite Sensation ]

Apostrophe (‘) (1974)
Zappa had the extraordinary ability to create unheard new sounds, rhythms, and textures with each of his bands. The opener to Apostrophe, well known favorite Don’t Eat The Yellow Snow, has one of these rare grooves. Turned up loud it’s this killer double guitar riffing that alternates with a fantastic disco hi-hat rhythm. Without changing time signature even, this groove still manages to entrance me today. See, it’s not the goofy, sometimes embarrassing lyrics and jokes tucked away in every Zappa piece that I seek out (though strangely comforting they are); it’s the treasures of complicated movements and studio /conducting genius that made Frank Zappa the transcendental composer and producer we know him as today. Get this one for a perfect development from Over-Nite Sensation, featuring even zanier movements, and of course that sick guitar lick on the title track.

“Don’t Eat The Yellow Snow”

:) Vinyl Search | Apostrophe @ eBay ]
:D CD Reissue | 1995 | Apostrophe (‘) ]

Note: serious fans won’t want to miss the new Classic Albums Series DVD: Apostrophe / Over-Nite Sensation.

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Bobb Trimble “Iron Curtain Innocence”

Iron Curtain Innocence

There is nobody quite like Bobb Trimble in the world of rock n roll. Trimble released two great underappreciated records in the early 80s (private press “ real lo-fi). His vision is very deep, personal, and absolutely original with a strong outsider, late night feel. His music was totally out of sync with the times but Bobb waved the psych flag high and proud and managed to find an audience among 60s record collectors.

The sound of Iron Curtain Innocence is unique, but somehow timeless, and it defies much of the genre categorization I have often found simple. The songcraft takes a few spins to rest comfortably in your head (music that wants to belong deep in your psyche), but when they take hold they root in deep.

Bobb seems to craft his albums around one song; in this case it’s “One Mile From Heaven.” This track recently got to me in a way like my all time favorite, “God Only Knows.” It’s not the spiritual references, I don’t think, though both tracks indeed have ethereal qualities. It’s just one of those records that makes you want to cry for no reason at all, when it hits you in the right spot, at the right time.

On Bobb’s 1982 Harvest of Dreams it’s “Premonitions.” Both songs appear twice at the beginning and end of side 1, with separate, but similar versions. The effect of this technique is quite grabbing, and it gets you diving back into Bobb’s world whenever you get the chance.

Some consider Harvest of Dreams the greatest psych album after 1975. It’s full of beautiful dreamy tunes like “Take Me Home Vienna” and the killer opener “Premonitions “ The Fantasy.” “Selling Me Short” is superb, and it’s exciting to hear Trimble explode in anger nearing the song’s chaotic fuzzy ending.

Before these records saw release on Secretly Canadian, they had been bootlegged by Radioactive Records, also known as Fallout Records (please do not buy Fallout or Radioactive!). But thanks to the work of good people like Kris Thompson and Douglas McGowan both of Bobb’s albums are finally legitimately available in CD and vinyl reissues. Excellent stuff and highly recommended.

“One Mile From Heaven (Short Version)”

Aside: Is it just me, or are there Wizard of Oz references sprinkled throughout this record?

:D CD Reissue: 2007 Secretly Canadian | Buy From SC | Buy From Amazon ]
:) Vinyl Reissue (w/ free digital download) | Buy From SC | Search eBay ]

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Sweet Shops *The Best Record Stores*: Amoeba Music

Many folks are downloading their music these days, but even the strictest digital librarians will drop a little dough on a multi-album binge at their favorite record shop. In the Sweet Shops series, we are going to feature some of the best record stores we have found that are still kicking today, and that we hope will survive well into this cold and digital future.

These retailers carry music classic and contemporary, new and used, vinyl and CD; and of course, you’ve got to have a shot at finding a gem! We start with the big mama:

Amoeba Music
Los Angeles, California

amoeba music

Amoeba

It’s the Mecca of record stores. Based in Los Angeles, (with other smaller stores in San Fransisco and Berkeley) Amoeba Music is a well-oiled machine of record buying. You find yourself making a weekly trip, trying to limit your selections to just one handful, hilariously justifying that box set tucked under your arm. This picture makes it look large but it’s actually much bigger, including a football field sized room for jazz, an upstairs area with DVDs and listening stations, and dedicated sections for each genre that are often the size of your typical CD shop. The classic concert posters and memorabilia tacked all over the walls make it a sight to see and a must-visit for Hollywood tourists.

What I would try to do when I lived in LA was scan the New section for something I’d want, then check the Used section to see if it was there for cheaper. Most Used sections can be tedious, but Amoeba’s constant flow of record trading keeps the shelves pretty fresh.

Amoeba Music recently introduced themselves as a record label, releasing a fine choice in The Flying Burrito Brothers Live at the Avalon, a live set with Gram Parsons. Perhaps Amoeba can set a model for record shops to follow if they are successful in this venture.

When I’m in town, you’ll find me in the pink section.

Amoeba Music
6400 Sunset Boulevard
Hollywood, California
323.245.6400
http://www.amoeba.com/

Next time we’ll take it home to NYC with two sweet under-the-radar shops.

News: The New Rising Storm

It’s been about one year of album reviews at therisingstorm.net and I’ve been thinking a lot about this blog lately. Scores of other blogs seem to be sharing full albums. I am completely lost about the state of copyright, vintage music, and the internet. All I know is that I feel comfortable sharing 1 or 2 mp3’s from these great lost albums and I wouldn’t feel comfortable publishing anything more.

Rather than give it all I up, I’ve decided to forge ahead. And lately (thanks to the fine new Bobb Trimble and Moby Grape releases) I have developed a deadly interest in vinyl reissues. I hereby vow to reignite my vinyl collection with both original and reissue albums and as for CDs, I will only invest in very nicely packaged reissues. Best of all, I hope to do it all through this site with the help of Jason, Stranger, other bloggers, friends, and some new recurring features we are going to try out this year.

We will continue to focus on reviews of course, I don’t think we could stop ourselves. It’s just that throughout, we are going to highlight some New & Upcoming Reissues, feature a few Off Track albums that aren’t necessarily within the realm of rock music, reveal some of the Rarest Vinyl we have gotten our hands on (or at least our ears), and we’ve got some other cool features coming up that I’m excited about. Essentially, I want to try to grow this site up a bit, and become a genuine and legitimate resource for people who want to build an awesome and historically founded record collection.

I almost forgot, there will be a Podcast as well.

The Storm is still Rising! Many thanks to visitors and contributors. This is all for fun and music.

(Thanks to michael and associate for the redesign.)

Karen Dalton “In My Own Time”

In My Own Time

The first time you hear her voice. Listen to track 1 on this record (see below) and you’ll know what I mean. Karen’s got “whoa” factor that few singers can pull off and has been lauded by the likes of Bobby Dylan, Freddy Neil, the Holy Modal Rounders, and must have inspired Joanna Newsom. Yeh, the first time you hear that voice, it can transfix you.

We tend to favor garage rock and country rock records with a high ratio of original material, and tribute numbers seem to rarely ever surpass originals, but this sophomore LP comprised solely of cover songs will dash any preconceptions. Karen didn’t write songs, she interpreted really good ones. Her voice is described elsewhere in a million similar words and comparisons (“to describe it would take a poet” -Fred Neil), but all I’ll say about it, she’s got soul. It’s almost like how Miles used to say it’s not the notes you play, it’s the notes you don’t; Karen phrases in a way that pwns every tune.

Songs by Dino Valenti, Richard Manuel, Paul Butterfield mix with traditionals and pop classics recorded at legendary Bearsville Studios, featuring a couple players from the Bobby Charles sessions. The sound is akin to that of The Band on some takes, but riding solely on a clawhammer banjo on others. It’s something special though to close your eyes with this record and let her take you.Hard to get all the way through to Are You Leaving For The Country without feeling something; this one’s a mover.

The CD digipak 2006 reissue, with excellent liners, is the best way to go, containing an additional disc of alternate takes that are truly different versions, proving the strength of the material and versatility of the band. No idea what’s up with the backwards cut of Are You Leaving… but it sure would explain why people sometimes refer to this music as psychedelic folk. Her only other album, 1969’s It’s So Hard To Tell Who’s Going To Love You The Best will be essential for fans, but the above record is essential for everybody.

“Something On Your Mind”

:D CD Reissue: 2006 | Light In The Attic | Buy @ Amazon| Search @ eBay ]
:) Vinyl Reissue: 2006 | Light In The Attic | Search @ eBay ]

Os Mutantes “Mutantes”

Mutantes

Any Mutantes record is a mind-blower and this one makes an unforgettable introduction. The music and voice of Os Mutantes transcends any language barrier such that even the most literary of music fans can still fall deep for these dazzling sounds. David Byrne, who reissued an anthology of the Mutants on his Luaka Bop label, seems to back this sentiment up in the fantastic liner notes to Stop Making Sense: “Singing is a trick to get people to listen to music for longer than they would ordinarily.” One phrase echoes in my head when I listen to Os Mutantes: ‘better than the Beatles.’

Though greatly inspired by them, Os Mutantes expanded the music further than The Beatles were capable, and still maintained the disparate elements of pop song and art form. Laced with the sexiest assortment of fuzz tones and electronic effects, the production is startling and the compositions are eclectic, addictive, and lovely.

Os Mutantes’ history is as complex and interesting as their music; they are one of the best known bands of the Tropicália movement and aimed straight at the frightening political climate of Brazil 1968. With no small thanks to Byrne’s efforts, serious interest in their music led the band to reform and they are performing and releasing new records today.

No serious rock collection overlooks the Mutants. At the same time, the joy in their music should appeal universally and to all tastes.

“Nao Va Se Perder Por Ai”

[ Buy @ Amazon | mp3 Album | Search @ eBay ]

Steve Young “Rock Salt & Nails”

Rock Salt & Nails

Steve Young’s first solo record, Rock Salt & Nails, is essentially stripped down, a somewhat simple recording, yet adventurous, way ahead of its time, and gorgeous. Every song’s a genuine treat, with sincerely masterful production combining outlaw country, rock, folk, blues, and a touch of gospel.

That’s How Strong My Love Is, the infinitely relistenable opener on this record, sounds just as fresh as anything from the Ryan Adams and David Rawlings collaborations, and features a careful organ part from the poster boy of country rock himself, Gram Parsons. Bluegrass standard Rock Salt and Nails gets a nice pensive treatment, and the fiddle sound on this record- it’s so dang bright and surreal sounding (I can’t help but wonder if, however unlikely, they snuck a few well-tuned Moog synthesizers into the studio!) The production doesn’t stand out, but remains ingenious, as in the restraint of those bouncy double electric guitar lines, unleashed only in the very chorus of One Woman Man. I’m unclear on whether the raga-like Coyote is more aptly titled for its lyrical content or representing Steve’s wild lonesome howl on each stanza. And if you let Love In My Time take you with it, it will. A short song but so effective with the all-for-it gospel backup, it’s a great example of Steve Young’s solid, unwavering vocal power. Seven Bridges Road, conveniently placed at track 7 on this disc, is his most well known tune though not from this rendition, but the Eagles’ cover version.

The reason I love this record is for its subtlety in production, a wonderful interplay of country licks hovering at just the right level, creating a playful and relaxed musical atmosphere. The warm, fuzzy strings adding mood and color. Holler In The Swamp, a brilliant tune with full rock band, feels like it could take right off; the musicians behind the wheel of this record simply nail it with an understated drive, the intensifying string section making you want more and less at the same time. It closes with a mighty fine version of Hank Williams’ My Sweet Love Ain’t Around, and it’s nice to know that it’s Gene Clark blowing harp in your headphones.

Some will debate the nature of authenticity in music, but if anything is ‘authentic,’ I know that it’s this classic, country-rock shaping LP. Shamefully out of print for so long, you might construct the album for yourself by combining the mp3s below with Lonesome On’ry & Mean, an overview compilation of Steve Young’s works.

mp3: Coyote
mp3: Love In My Time

mp3: Gonna Find Me A Bluebird
mp3: Hoboin’


[ Buy “Lonesome On’ry & Mean” from Amazon]

Bob Lind “Since There Were Circles”

Since There Were Circles

This is a really interesting release, and a perfect example of how important it is to support well-designed reissues. I can’t figure out why Richie Unterberger trashes the album, causing me to believe it may have been a hit-and-run by one of my favorite reviewers; 2 stars (allmusic) is off the mark for this fine, fine record.

City Scenes makes a perfect album opener. Introducing the modest, effective orchestra of driving acoustic guitar, piano accents, electric slide guitar, and laid-back drum kit (not to mention players The Dillards, Bernie Leadon, and Gene Clark), Lind immediately wraps his nice voice around poetic storyteller verses. It closes with an unexpected little treasure of an outro, adding a sweet, smooth french horn line. Fine songcraft.

Listening to Loser, I can’t help but imagine Lind as a roots-rock David Bowie; either by inflection of the voice or it’s the lyricism, perhaps, they are kindred spirits. Bob keeps it pretty soulful and groovy on tracks like She Can Get Along, with its vocal workout ending, and the lazy Not That I Would Want Her Back, featuring more orchestral backing on the choruses. The softer numbers are melodic gems that will stay with you. Theme From The Music Box and the title track, Since There Were Circles, are melancholy and wonderful. Five bonus tracks supplied by Bob Lind himself stand apart from the flow of the album, but stand strongly on their own.

Get yourself this beautiful 2006 reissue from the fine UK label RPM Records and give it up to Bob Lind, who certainly had much more music left in him after his 1966 #5 folk hit, Elusive Butterfly. I keep coming back to this esoteric beauty.

“Loser”

[ Buy from Amazon | Buy from RPM Records | BobLind.com ]

Love “Forever Changes”

Forever Changes

I think everybody must remember where they were the first time they heard Alone Again Or. For me it was a high school summer, driving my car, just marveling at the beautiful guitar line and mariachi rhythms, and the building drama of the chorus that goes so close to the top and never over. Any sucker riding shotgun over the next two months would be subjected to this powerhouse lead-off track from Love’s third record.

It’s important to not let Alone Again Or overshadow the rest of this classic disc. The masterful songs on Forever Changes manage to accept and transcend the sound of the era. In a Los Angeles scene where the Byrds were absent heroes and the Doors would shortly become immensely more popular, Love was and will remain the coolest, baddest group from this time and place.

Forever Changes is one of those albums where every moment of sound is as thoughtful as the last. The tunes are led with an acoustic rock combo and string orchestra with horns. Lyrically, the album represents both the light and dark sides of the 60s; these were reportedly Arthur Lee’s last words, as he believed he was soon going to die, and in reality his band was falling apart.

Tracks like Maybe The People Would Be The Times Or Between Clark And Hilldale drive with a southern California sound forged by Love, part folk-psych and nearly part tropicalia. Lee’s voice is authoritative but welcoming on A House Is Not A Motel and lean electric guitar leads provide quintessential psych sounds. The poetry can get dark sometimes, in The Red Telephone with its suicidal hint, but it remains somewhat down-to-earth when “The snot has caked against my pants…” opens Live And Let Live.

I have read all manner of scandal from contemporaries of Love, including one wondering why the band hadn’t chosen Hate for their band name. Their story, revolving around the genius of Arthur Lee won’t equal the story told on this record; while not a concept album or rock opera, it gives an eerie glow of some tale, or lesson never learned. A beautiful, haunting suite.

“Maybe The People Would Be The Times Or Between Clark And Hilldale”

:D CD Reissue | 2008 | Rhino | Collectors Edition | buy from amazon ]
:) Vinyl | Elektra | search ebay ]