The Charlatans UK Albums (11)
'You Cross My Path'
Release Date 5/9/2008
Tracks 10
Label Cooking Vinyl
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What The Critics Say
Why did the Charlatans give away You Cross My Path on the internet? Because they needed a way to announce that they were back, to grab the attention of onetime fans who had long ago stopped paying attention to the group. Not that the Charlatans ever cratered, losing all their listeners, but rather they sank into a pleasant retro groove, emphasizing their fondness for the Stones instead of the modernist dance rhythms that helped bring them into the spotlight early in the '90s. You Cross My Path acts as a corrective as the band revs up the rhythms and takes risks in their production, all without abandoning the classicist structures they've relied upon since their eponymous 1995 record. That album struck a good balance between modern and retro, with the subsequent Tellin' Stories tipping the balance toward retro, and You Cross My Path follows its blueprint, bringing back that blend of contemporary and classic, perhaps even gently favoring the modern as this does emphasize sound over song. The Charlatans hardly abandon the songwriting craft they've steadily honed over the course of a decade -- the songs aren't growers, they're immediate -- but what is compelling is the variety of sounds, how "Oh! Vanity" extrapolates a Booker T. & the MG's groove, how "Missing Beats (Of a Generation)" is a circular electronic chant, how "Bad Days" appropriates a bit of a chilly New Order pulse which "Mis-Takes" explores even further creating an icy synthesized vibe that uncannily sounds like a new wave relic without losing the Charlatans signature loose-limbed groove. That's the truly surprising thing about You Cross My Path -- the Charlatans are taking risks again without losing their identity. If anything, they're reconnecting to the spirit of their initial series of albums, which is surely the reason why this album first appeared for free on the web: it was the easiest and best way for the Charlatans to demonstrate to all fans, whether they were forgotten or devoted, that they were once again operating at their full powers. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Sixteen years into their career and the Charlatans UK are roughly at the same place the Rolling Stones were at the same point in their career -- not in terms of popularity, of course (the Charlatans have never had anything approaching a hit in the U.S.), but in musical terms. Which is a roundabout way of saying that their ninth studio album, Simpatico, is the Charlatans' version of the Stones' Emotional Rescue: it's a groove-centric rock album, heavy on disco and reggae rhythms, where the overall vibe is more important than the individual songs. Not that the quintet's sense of craftsmanship has abandoned them -- the opening "Blackened Blue Eyes" is as confident, muscular, and memorable as anything from their 1997 high-water mark, Tellin' Stories -- but they've made a conscious decision to emphasize groove and group interaction on Simpatico, and the move pays off to a certain extent at least. They haven't sounded this limber or danceable since the heyday of Madchester, and they've lost many of the period affectations that date their early records; they're now a lean, sinewy rock band and nowhere is that more evident than in the relaxed, natural rhythmic interplay on this record, which is the reason why Simpatico works as a party record, or stylish background music. At close listening, it's not as compelling, which is all due to the emphasis of sound over song. While that may frustrate some listeners, Simpatico works well on its own terms and is proof that the now-veteran Charlatans UK are building a reliably entertaining body of work. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
The dance and hip-hop textures on the Charlatans U.K.'s 2001 album, Wonderland, fade to the back on the surprisingly subdued Up at the Lake, the Charlatans' eighth studio album. On Wonderland, the band sounded like it still wanted to change the world (or, at the very least, the world's dancefloors), but Up at the Lake sounds like its title suggests: a retreat and a retrenchment. The classic-rock coloring that dominated discs like the band's self-titled release and Tellin' Stories are back, combined with some previously unheard brief flirtations with classic folk. There's a defined sense that this is the beginning of a new chapter for the band, and that Up at the Lake is their first work as "mature" artists. It makes sense, since the Britpop torch had been passed on from the Charlies and their peers to the next generation (the Futureheads, Dogs Die in Hot Cars, the Coral, Franz Ferdinand, etc.) by 2004. What's here instead is the boozy barroom shuffle of "Bona Fide Treasure," British trad rock in the title track, and just a touch of the band's post-Madchester tendencies on "Feel the Pressure." Up at the Lake is a relaxed and assured record, the work of craftsmen who know how to produce something solid and consistent. As such, there isn't much of a spark, but anyone who's bothered to follow the Charlatans U.K. this long (which hasn't been easy, since Up at the Lake was denied a U.S. release) won't be disappointed. ~ Jason Damas, All Music Guide
'Live It Like You Love It'
Release Date 7/22/2002
Tracks 14
Label MCA
See Album Tracklist and Review
What The Critics Say
Recorded at the Manchester Evening News Arena in December 2001, Live It Like You Love It sees the Charlatans UK not quite living up to the mantra that is this live album's title. Over the course of the first ten tracks, Tim Burgess offers up some truly weak vocals, his voice lacking any passion, as he accidentally goes in and out of falsetto and hits a myriad of sour notes. While his bandmates are generally in better form, it would be a stretch to call their playing tight and impassioned. Even when Manchester guitar god Johnny Marr appears deus ex machina to help out on "Weirdo," the band plays well below its abilities as represented on many superb albums. Burgess and company steer through their key singles and standouts, tackling five songs from Wonderland, four from Tellin' Stories, two from Us and Us Only and Some Friendly, and one from Between 10th and 11th. Surely a peek at the set list would show a rendition of "Can't Get Out of Bed" from Up to Our Hips or any track at all from their self-titled rebirth album, but no. All this being said, for the encore of the final four songs, Burgess emerges revitalized, all the other players attack their instruments, and energy bursts forth from where none previously existed. How strange that extended versions of "Forever" and "Sproston Green" rock the hardest, their vibes perfectly aligned. Still, the finale isn't enough to recommend Live It Like You Love It, and fans who've enjoyed them live might wonder if this set was just a bad showing, or if a recording just can't convey the band's live, psychedelic party atmosphere. This being said, fans would do well to investigate every studio effort before treading into this murky and uneven affair. ~ Tim DiGravina, All Music Guide
What The Critics Say
Seven albums in, and the Charlatans haven't so much settled into a groove as they've settled into a style. They long ago carved out a niche between classic British rock and post-Madchester British dance, and that's what made their music seem fresh for several different generations -- they represented whatever you wanted to see within their distinctly British blend. In that sense, they are indeed proving themselves to be like the Stones, who subtly incorporated modern trends into the sound, sometimes so seamlessly you didn't realize they were branching out. The Charlatans work from the same template, gradually expanding their sonic texture in terms of modern dance trends, without ever abandoning their rock base. They occasionally emphasize one side over another -- Us and Us Only played to the rock side of the fence, while Wonderland is very heavy on groove and texture, a move that's strangely emphasized by Tim Burgess' unexpected reliance on a falsetto. This can mean that the songs fade into the background, but that often seems like an intentional move, since it happens so frequently throughout a record where the surface remains stylish and sleek. Still, that means there's not a whole lot to hold onto, although certain songs start to emerge upon repeated listens -- "You're So Pretty - We're So Pretty" seduces with its minor-key swagger, "Love Is the Key" rocks convincingly, "I Just Can't Get Over Losing You" swings nicely. Even so, this winds up as simply a good, solid Charlatans record, despite the efforts to jazz things up with a heavier dancefloor quotient. That may seem like a slight, but a solid Charlatans record still satisfies, and can't quite be taken for granted just yet. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
Us and Us Only picks up where Tellin' Stories left off and twists that album's virtues around. Where that record was essentially a stripped-down, straight-ahead collection, Us and Us Only dresses up the band's continually impressive songcraft in a moody atmosphere, borrowed in equal parts from Blonde on Blonde, Beggars Banquet, and the Chemical Brothers. The album unfolds in a haze of keyboards and subdued beats, and this murky veil never really lifts throughout the record, even as harmonics and acoustic guitars break through the mist every once and a while. Consequently, the album can initially seem a little amorphous, albeit intriguingly amorphous, filled with deep grooves and tantalizing sonic textures. Repeated plays reveal that Us and Us Only is merely a step below their previous high point of Tellin' Stories. If nothing is as immediately grabbing as "North Country Boy" or "One to Another," that's not a problem, since nearly every song works its charms with subtle grace and considerable muscle. "Forever" soon reveals itself as a minor masterpiece of swirling menace and swagger, while the Dylan inflections of "A House Is Not a Home" and "My Beautiful Friend" seem natural instead of grandstanding. Soon, it becomes apparent that, unlike most of their trad rock contemporaries, the Charlatans figured out how to make their music sound both timeless and modern by quietly adding influences and changing their attack each time around, while remaining true to their core sound, much like the Stones did in their prime. The Charlatans may not be as innovative or as song-oriented as the Stones, but after a decade of recording, they're turning out to be nearly as consistent as the Stones were at the same point in their career, which is no small accomplishment. ~ Stephen Thomas Erlewine, All Music Guide
'Tellin' Stories'
Release Date 4/21/1997
Tracks 13
Label Beggars Banquet
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What The Critics Say
The Charlatans made a surprising comeback in 1995, turning in an eponymous album that earned them their best reviews and sales ever. Tellin' Stories, the follow-up to The Charlatans, should have been triumphant, but tragedy struck midway through its recording, when keyboardist Rob Collins was killed in a car accident. Collins was an integral part of the band's lineup, creating a distinctive, swirling, neo-psychedelic sound, and it seemed unlikely that the band could carry on without him, much less record a record as earthy and warm as Tellin' Stories. Primal Scream's Martin Duffy volunteered to help the band complete the album, which was basically written before Collins' death, and that might explain why there are no overt references to his absence anywhere on the album. Instead, Tellin' Stories is another collection of classicist rock & roll spiked with dance beats, much like any other Charlatans album. Where its predecessor was more informed by mechanized beats, the rhythms are more organic, which perfectly suits the rolling "North Country Boy," the sweeping "One to Another," and the heart-tugging "How Can You Leave Us?" And, like any other Charlatans album, it doesn't quite hold together, falling apart with instrumentals and ill-conceived songs toward the end. On the whole, however, Tellin' Stories is more consistent than their earlier records, and the best songs showcase the band at its strongest, which is quite an achievement considering the traumas the Charlatans underwent during its recording. More than anything, that's a fitting salute to Collins. ~ Stephen Thomas Erlewine, All Music Guide
'Up to Our Hips'
Release Date 3/22/1994
Tracks 10
Label Beggars Banquet
See Album Tracklist and Review
What The Critics Say
Having experienced initial fame and its retreat, the Charlatans (perhaps somewhat self-consciously) set out to create a series of classic-rock-inspired albums, fusing everything from Dylan and the Stones to whatever else caught their fancy. Up to Our Hips, the first result, was produced by Steve Hillage, who made a career ranging from wacked-out hippie ramblings in Gong to the clean, inspired synth/Krautrock surge suffusing his production for Simple Minds. One thing he contributed to the Charlatans was more active percussion. While Flood didn't hide the drums on Between, on "Come In Number 21" Brookes' work feels strong and punchy for the first time. While production was a touch more straightforward than on Between, Hillage otherwise let the Charlatans be the Charlatans; where changes are apparent, it's more in the name of atmosphere than attention-getting, especially on the echoed, rumbling funk instrumental "Feel Flows" (excellent Blunt bass and Rob Collins clavinet on this one). The band stretches with the lovely, acoustic stomp "Autograph"; Mark Collins' guitar work was, increasingly, a larger part of the band's sound than Rob Collins' Hammond, but both worked well together. The laid-back lead single "Can't Get Out of Bed"'s lazy Exile on Main Street vibe and the equally groovy "Patrol" and "Jesus Hairdo" showcased both of their work to good effect, especially on the breaks between chorus and verse. Rob Collins certainly still has his moments -- witness the opening build to the title track, another great effort with Blunt. Burgess sounds his strongest yet; while his singing still lurks in the mix more than anything else, he never disappears entirely. ~ Ned Raggett, All Music Guide
'Between 10th and 11th'
Release Date 4/14/1992
Tracks 10
Label Beggars Banquet
See Album Tracklist and Review
What The Critics Say
A few songs aside, the Charlatans generally regard this release as their least successful album, considering it was recorded at a personal and professional crossroads (Baker's departure, Rob Collins' conviction, and so forth). Criticism within and without settled on Flood's production style as well, his crisp, technically sharp abilities seem to go against the band's natural flow. In hindsight, though, Between is much stronger than its reputation, with many fans proclaiming it their favorite. It's partly due to Burgess' more up-front vocals -- his singing is still some of the calmest one will ever hear at the front of such a band, but his performance maintains Some Friendly's loose flow while sounding more compelling. Similarly, Blunt's bass sounds stronger and Rob Collins' keyboards stand out more, either shading or leading the songs perfectly. "Weirdo," the album's lead single and strongest point, has a brilliant lead organ break from Collins and series of great funk stabs that became his strongest performance ever. Equally fine is the electric piano start to "Tremolo Song," leading to a deep Blunt bass and sassy flow of a song. Brookes and Mark Collins also fill out their parts equally well, with Flood's production strengthening and creating excellent arrangements for everyone as a whole. His numerous touches are really something, from the sudden shift to buried/flanged production on "Ignition" to "Subtitle"'s atmospheric mixing and burbling bass. Other highlights include the string-laden charge of "Can't Even Be Bothered" and the concluding "No One (Not Even the Rain)." ~ Ned Raggett, All Music Guide
'Some Friendly'
Release Date 1/1/1990
Tracks 11
Label Beggars Banquet
See Album Tracklist and Review
What The Critics Say
Emerging out of semi-nowhere -- well, Norwich -- the Charlatans UK were saddled with a name that lent itself to jibes about their quality, perceived bandwagon jumping and the burden of being a one-hit wonder with "The Only One I Know." Then Some Friendly, the group's debut, planted itself at the top of the UK charts; while the rest of the '90s were up-and-down for the band, this album set the band on its way. Drawing on Blunt's background in mod and psych outfits, Collins' outrageously funky keyboards and Burgess' unexpected star quality -- even if his voice wasn't the strongest -- Some Friendly is just that, a friendly and fun vibe. Some of the lyrics betray Burgess' sharp-tongued punk background -- "You're Not Very Well," the opener, expresses anything but sunny sentiments -- but otherwise Some Friendly delivers everything from '60s beat groove to Madchester bagginess with verve. True, the group was still following in the Roses/Mondays slipstream -- "Fool's Gold" was the blueprint for much of the album -- but the individual delights of the slow trance "Opportunity," "Polar Bear"'s upfront rhythms and "Flower"'s slightly ominous funk all show the band's abilities well. "The Only One I Know" remains the best-known cut, Blunt's crisp bass and Collins' Deep Purple-inspired keyboards providing its charge. But Some Friendly's hidden masterpiece comes at the very end -- "Sproston Green," a monster jam based on Collins' supreme keyboard work, with Burgess' soaring lyric matching the massive surge of the music. It remains the concluding number of the band's sets to this day for good reason. ~ Ned Raggett, All Music Guide
