(1999) | CD
Stereorrific Recordings (USA)
Musician, Partial Producer and Engineer
Out of Print
From Tom Semioli, All Music Guide
"This Boston-based rocker's collection of infectious melodic jangle pop and swamp folk is actually a combination of two self-released EPs from the late '90s. Divided into two distinct sections, part one finds Mellin plowing through the groovy sounds of the British Invasion and mid-'60s American pop with guitar arpeggios, falsetto harmonies, handclaps, Farfisa organ textures, and a backbeat worthy of Ringo Starr's hearty approval. Cuts such as "Frankly Babe," "Shocked at First," and "Wilson Squared Airport Disaster" utilize primitive studio trickery such as canned applause, spoken word vignettes, and the crackling pop of vinyl to add an additional smattering of authenticity. Part two could be sub-titled "Mellin's Music From Big Pink" as the singer/songwriter opts for acoustic guitars, upright bass, accordion, and echo-laden vocals which give the cuts an aura of desperation and loneliness. Mellin's rootsy persona shines best on "Half-Moon in 4/4," a tongue-in-cheek country dirge that bemoans the perils of romance. Though he wears his influences on his sleeve, Mellin is never derivative and his songs are well crafted. The musicians on this album are among the cream of the crop of New England's underground pop coalition, including Andy Pastore and John Clarke (Charlie Chesterman & the Legendary Motorbikes), Suzi Lee (Coronet Premiers, Slide), brother Joel Mellin (the Oscillators), and Jake Guralnick (the Eddies, Tuffskins)." -
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"a tour de force... a great retro pop/rock sound that [Mellin] makes very much his own... enviable songwriting... inventive, original, retro and refreshing... Pinch me, I must be dreaming! Let's hope this is not one of the most overlooked albums of the year. It would be a shame forears everywhere! (Top 10 of 2000)"
-Jordan Catalano, The Noise
"Mellin has rattled around the fringes of the New England bohemian music scene playing in a variety of configurations, so it comes as no surprise that his first solo release reveals a pop sensibility that blends many influences. The result is a catchy and diverse musical package. While the 10 cuts are undeniably filtered through Mellin’s ear, a listener can’t help but hear snatches of Crowded House, a ’60s Turtles vibe, a cheery side of the Velvet Underground, a bit of Paul McCartney bass and even some Dylanesque vocals and lyrical images.... Mellin’s songwriting and his way with a tune show he’s headed in a promising direction."
-Ames Arnold, Style Weekly
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