Artist bio

The Charlatans UK are often tagged "survivors," which really suits them well. The group has never been a groundbreaking outfit, but it has consistently defied expectations to continue making albums with stylistic progressions throughout the '90s and beyond. The group was spawned by the Madchester scene of the late '80s, which brought indie rock and dance music together in the form of such Britpop progenitors as the Stone Roses and the Happy Mondays.

Yet, the Charlatans outgrew their peers, turning in such legacy-breaking albums as 1994's Up To Our Hips and 1995's The Charlatans UK, which documented their evolution into a Stonesy throwback rock band who still worshipped and incorporated the dance rhythms and textures they assimilated in their early years. They became more reliant on the syncopated organ riffs of keyboardist Rob Collins, and their interplay with Mark Collins' (no relation) spider-fingered guitar work provided for a furious symbiotic bed over which singer Tim Burgess could exercise his melodic sensibilities.

The group made its biggest strides with 1997's Tellin' Stories, while dealing with tragedy -- a drunk Rob Collins wrecked his car heading to the studio one night during the album's sessions and died instantly, throwing a shadow over the group's bubbly creative resurgence. But over time, Collins' death lended weight to the "survivors" label, as the group closed ranks and Tellin' Stories triumphantly debuted atop the U.K. charts.

By 1999, new keyboardist Tony Rogers had gotten stuck in, and the group went old-school rock for Us And Us Only. Burgess' Dylan influence rose to the forefront, as the group seemed to be settling into middle age with dignity and great songs. Yet another right turn led to 2001's Wonderland, an electronically structured cocaine-and-ecstasy-fuelled party album, that just lent more credence to the group's ability to keep on truckin'; cranking out hit singles and tightly packed albums until they can't no more.

Albums by this artist

Wonderland (2001)

Us And Us Only (1999)

The Charlatans UK (1995)

Up To Our Hips (1994)

Between 10th And 11th (1992)

Concerts

August 1, 2001
Bowery Ballroom, New York

The Charlatans UK

Wonderland

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» TROY CARPENTER | CO-DIRECTOR

The Charlatans UK Wonderland MCA, 2001 RiYL: Black Rebel Motorcycle Club, Curtis Mayfield, the Style Council

Tim moved to L.A., Tony got comfortable, and as the sweeping organ chords and strummed acoustic guitars of Us And Us Only washed over us, it seemed as if the Charlatans were mellowing out a bit. Not disappearing, mind you -- this isn't one of them "comeback trail" tales. But you know, maybe they were settling in to a groove.

Well, groove is here, in abundance. But it ain't that kind of Bob Dylan-ish, Stonesy classic Hammond rock style they looked to be kicking around. Seems ol' singer Tim has been stepping out into the L.A. club scene, spinning records and cutting beats. He brought a few of them into the studio, although reuniting with Black Grape producer Danny Sabre brought more, and here then are the Charlies, stepping up the BPM, welcoming the funk back into their fold.

Wonderland is the Charlatans' seventh album, and it might be their best. Granted, this band has produced the wildly uplifting chart-topper Tellin' Stories and the brooding masterpiece Up To Our Hips. But Wonderland is the toughest to beat from start to finish. Twelve songs of quality, with an impeccable overall arrangement.

It's got the high-energy funk of "Judas" and "I Just Can't Get Over Losin' You," which showcase Tim's new Curtis-Mayfield-via-Kurt-Wagner falsetto and use Tony's keyboards not as rock accentuation, but as staccato blurts down in the pocket of the groove. It's got the pedal-steel inflected ballad "A Man Needs To Be Told." The magnificent electro-pop synthesis of "And If I Fall." Dirty rhythmic fun instrumentals ("Bell And Butterfly"). Shiny, life-affirming pop tunes ("Right On," "Wake Up").

And then there's the first single "Love Is The Key," which combines everything great about the band -- shout-along choruses, windows-rolled-down rock guitar riffs, flashy rhythms and tension-building momentum that explodes at the bridge. The rhythm section of Martin Blunt and Jon Brookes is exquisite as usual, while the other three keep the group's rock roots afloat through the oceans of beats. You gotta love the way these guys keep cranking it out.

So to recap, electronic rhythms: good. Counting out the Charlatans: bad. They've made more good albums since 1990 than almost any pop band in England. At this late date, that's quite an accomplishment. But it's hard to assess them in such a retrospective fashion when their current incarnation is churning out music this good.

TROY CARPENTER | Troy Carpenter founded NATN from a Chicago apartment during the ambitious winter of 1998 with co-conspirators Ben French and Jonathan Cohen. After a five-year stint in New York, he and wife Lourdes have recently relocated to Indianapolis, where he spends days listening to music and nights in the kitchen at Elements restaurant. Musical heroes: Jimi Hendrix, Bob Marley, Super Furry Animals. What else makes life worth living: Sushi, Phucty, runs in the park, and the Atlanta Braves.