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

Between 10th And 11th

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» TROY CARPENTER | CO-DIRECTOR

The Charlatans UK Between 10th And 11th Beggars Banquet, 1992 RiYL: Echo & the Bunnymen, Teenage Fanclub, The Ocean Blue

If you ask the Charlatans U.K. about their stellar catalog, the band members are likely to try disowning their second album, Between 10th And 11th as a bit of a red-headed stepchild. It's easy to see why the group disdains its sophomore release more than its other discs, commercially, the album made the least dent of any of their work, and it was recorded when the group was going through all sorts of flux -- bassist Martin Blunt having bouts with depression, new guitarist Mark Collins just settling in, etc.

But among the group's large fanbase, Between 10th And 11th has always had a decent reputation, and deservedly so. Its compact length, shimmering production by Flood, and creative songwriting combine to make a worthy document of early '90s Britpop, laying roots for one of the powerhouse careers of British groups in that decade and beyond.

The album has a loose, baggy feel emphasized by singer Tim Burgess' understated vocals, which seem to float above the grooves like leaves rushing down a river. While a lot of the songs have strong instrumental elements (Collins' striking guitar riff in opener "I Don't Want To See The Sights," keyboardist Rob Collins' equally powerful stacatto leads on "Weirdo," drummer Jon Brookes' soft-but-fast, electronic-tinged beat running throughout), the blend is accentuated over the contributions of any single member. Flood's smooth production often blurs the edges between the guitar and the keyboards, or smears Burgess' vocals on top like so much whipped cream.

Come the end of the decade, the only song from this album the band would touch in concert is the single "Weirdo." But as great an accomplishment as that song is, there are a number of other winners on Between 10th And 11th. "Ignition" and "Subtitle" both work a soft-loud dynamic to great effect, all instruments surging forth for the choruses yet remaining at a non-brutal level that allows Burgess to continue to lead without stretching his chords too far. The former slips quite effortlessly into "Page One," whose self-deprecating lyrics ("Physically, I resemble a vulture") and layered wah-wah guitar licks couch one of the album's more memorable melodies.

Songs like "Tremelo Song" highlight the band's electronica leanings as much as anything up through the group's ecstasy-drenched 2001 album Wonderland. Burgess croons over a fast-paced drum-and-piano groove while Blunt holds up the bottom end with aplomb and Mark Collins splashes guitar riffs onto the palette at irregular intervals.

The Charlatans would go on to much higher plateaus in their decade-plus existence, becoming Britpop's "baggy survivors" and releasing a string of top-ten smashes into the next millenium. But don't let 'em convince you Between 10th And 11th isn't worth your time. It's a solidly crafted album that showcases a precious, if embryonic, version of this great rock group.

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.