Mandrill - Mandrill 1970

Mandrill's debut isn't half the album it could've been, since the band's talented musicianship and desire to experiment were often subverted -- by ambitions of pop success as well as a dry, over-serious approach to music-making. The three Wilson brothers, though masters of over a dozen instruments, still hadn't mastered the added burden of songwriting; "Warning Blues" is perfunctory (as is the vocal performance) and "Symphonic Revolution" is a bland summer-day soul song with cloying strings. The group sounds much more confident getting into a good groove and allowing room for some great playing; the band's self-titled song, "Mandrill," is the best here, featuring great solos for flute and vibraphone. Mandrill also loved playing with different musical forms: "Rollin' On" moves from an average rock song to a torrid Latin jam and climaxes with a testifying gospel session. Most ambitious of all is the five-part, 14-minute suite "Peace and Love," but the intriguing concept is negated by a few bizarre pieces, one of which sounds like a parody of a Vincent Price reading over a Santana jam. The band would soon learn that experimentation and stylistic change-ups were a means, not an end. AMG.

listen here

Mandrill - Mandrill 1970

Mandrill's debut isn't half the album it could've been, since the band's talented musicianship and desire to experiment were often subverted -- by ambitions of pop success as well as a dry, over-serious approach to music-making. The three Wilson brothers, though masters of over a dozen instruments, still hadn't mastered the added burden of songwriting; "Warning Blues" is perfunctory (as is the vocal performance) and "Symphonic Revolution" is a bland summer-day soul song with cloying strings. The group sounds much more confident getting into a good groove and allowing room for some great playing; the band's self-titled song, "Mandrill," is the best here, featuring great solos for flute and vibraphone. Mandrill also loved playing with different musical forms: "Rollin' On" moves from an average rock song to a torrid Latin jam and climaxes with a testifying gospel session. Most ambitious of all is the five-part, 14-minute suite "Peace and Love," but the intriguing concept is negated by a few bizarre pieces, one of which sounds like a parody of a Vincent Price reading over a Santana jam. The band would soon learn that experimentation and stylistic change-ups were a means, not an end. AMG.

listen here or here

Mandrill - Mandrill Is 1972

Apparently learning from the mistakes of its debut, Mandrill crafted a follow-up with fewer stylistic detours than the first record, but much more energy and greater maturity. The two singles, "Ape Is High" and "Git It All," are unhinged performances from all involved that have the sense of musical invigoration so key to a funk band -- and so sorely lacking on this band's debut. "Children of the Sun" is a somber, flute-led piece, much more assured and better-conceived than anything on its first record (it also showed how well Mandrill could've done soundtracking a blaxploitation film). The guitars are much more prominent on Mandrill Is; in fact, both "Git It All" and "Here Today Gone Tomorrow" have passages almost reminiscent of metal's heavy riffing. The first two compositions from Claude "Coffee" Cave are big successes, "Cohelo" being a traditional Latin form and "Kofijahm" a tribal funk piece. Not everything works, however: the spoken-word piece "Universal Rhythms" is a tad over-ripe, with a raft of unpoetic, pseudo-mystical nonsense over backing from an angelic choir. AMG.
 

listen here

Mandrill - Mandrill 1970

Mandrill's debut isn't half the album it could've been, since the band's talented musicianship and desire to experiment were often subverted -- by ambitions of pop success as well as a dry, over-serious approach to music-making. The three Wilson brothers, though masters of over a dozen instruments, still hadn't mastered the added burden of songwriting; "Warning Blues" is perfunctory (as is the vocal performance) and "Symphonic Revolution" is a bland summer-day soul song with cloying strings. The group sounds much more confident getting into a good groove and allowing room for some great playing; the band's self-titled song, "Mandrill," is the best here, featuring great solos for flute and vibraphone. Mandrill also loved playing with different musical forms: "Rollin' On" moves from an average rock song to a torrid Latin jam and climaxes with a testifying gospel session. Most ambitious of all is the five-part, 14-minute suite "Peace and Love," but the intriguing concept is negated by a few bizarre pieces, one of which sounds like a parody of a Vincent Price reading over a Santana jam. The band would soon learn that experimentation and stylistic change-ups were a means, not an end. AMG.

listen here