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

Us And Us Only

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» PAUL FOREMAN | STAFF WRITER

The Charlatans UK Us And Us Only MCA, 1999 RiYL: Paul Weller, Bob Dylan, The Rolling Stones, Oasis

Strange the way these things creep up on you, isn't it? You're in the record store, keeping on top of things. You've got the new Godspeed, You Black Emperor! EP, Air's Premiers Symptomes, and all the Belle and Sebastian singles. You glance up at the new release rack and spy Us And Us Only, a new Charlatans album, which you buy, of course, 'cause you've got all their other stuff.

A half-hour later you're at home listening to the record and it's good, you knew it would be good, cos you grew up with this band and you trust them. But something's not quite right. In your mighty stack of discs you count your Charlatans' selection and think to yourself, "Jesus, I've got twelve of their cds!" The early and underachieving EP, "Over Rising," the "Weirdo" single with the sexy naked chick on the sleeve, "The Charlatans Vs. The Chemical Brothers" thing and a selection of others, winding from their baggy-trouser days to their present Stonesy-soul vibe. These guys have been around, man.

But if you find yourself counting back the years, wondering if you and your new Charlies' disc are wallowing a little too near the Dadrock pool, have no fear. Us And Us Only continues the Charlatans' live-it-like-you-love-it, hands-in-the-air celebration spirit and houses it in a dirty rock shell. "Forever" ain't no "One To Another," but you can throw it in the car stereo and relish its bass-driven hook just as easily as you can boogie down to the legendary live version of "Sproston Green."

The big beat gimmick is gone now. No need for Tom and Ed on this one, the boys are back in their mobile with the Memphis blues again. Notice the way "A House Is Not A Home," nicks the riff from "I Don't Believe You (She Acts Like We Never Have Met)," and Tim Burgess sings, "Aahh, this is a separation / I can't belieeeeve this is the eeend" in his finest Bobby D. voice. Moreover, new boy organist Tony Rodgers in shaping up to be a little Al Kooper himself. Of course it's all a little too much unabashed influence to be wearing on one's sleeve, but, God, they've got great choruses!

And Dylan's no lone hero here. From the Exile On Mainstreet pastiche cover art to the vocal on "Senses" (which features the lyric You're my sweet black angel) it's evident that Tim's lips aren't the only aspect of the band reminiscent of Jagger's gritty crew. Indeed, one of the album's finest cuts, "The Blonde Waltz," features a country Stones vibe with plinky piano bit, a bluesy harmonica and the lyric "I guess I'm your man."

The half-finished loop-infected "Good Witch, Bad Witch 3" and throwaway jangle of "Impossible" represent a stumble here and a stutter there, but the rock is essentially intact. Such mishaps are to be forgiven by the time "My Beautiful Friend" and "The Blind Stagger" round out the record's strong list of possible singles.

The Charlatans are often looked upon as survivors. But unlike the Stones, they haven't lost their passion, they haven't grown into a mechanical rock assembly line. While the band may have peaked a record or two ago, there's still a fire in their eyes and their music -- too rare these days to overlook.

PAUL FOREMAN |