Tellin’ Stories

I don't know why, but this album actually struck me quite well. Beginning at a high acceleration, the songs sort of lose energy, but in a way that feels almost cathartic. The best way I can express it is the feeling at the tail end of a party, where there is almost too much going on, so then you leave with a van full of people and begin dropping them off, and by the end of the ride it is just you and one other person talking about life together. Really nice.

What is the point of this. I can tell this book was edited by an English music reviewer. There's a reason I've never heard of this band. Generic garbage

“Tellin’ Stories” by The Charlatans (1997) Here we have more eye-rolling British pop from the last millennium. With super safe lyrics that studiously avoid controversy or offense, these Charlatans give us words around which to wrap music. Sometimes it’s an ill fit. It’s as if they really don’t have anything to say, but they want to say it with style. Tunes are composed with pleasant enough melodies, and the chord structures sometimes go beyond the ordinary, but without a mood to match. It seems random. Even the jazzy experimental compositions “Area 51” and “Rob’s Theme” fall flat. And the Dylanesque “Get On It” is thirty years too late. Are these guys coasting on previous success? The unrelated collection of songs on this album are conventional enough to guarantee popular airplay. They’ve got the fundamentals down. And it’s well produced, but with little dynamic variation. The biggest weakness here is lack of groove or dominant riffs—nothing to grab the listener. Hoping for something special, one comes to the fadeout of the last track asking, “Is that it?” 2/5

This is some really good Brit-pop -> in an alternate universe most of these tracks would replace the same timeless status as Oasis' big hits. This is a better band with better songwriting (melodies, dynamics, whocaresaboutlyrics :).....) - the single "One To Another" was immediately recognizable and got some radio play way back in the day - deservedly so. Even though this may not be anything super-complex or groundbreaking, this is a great melodic guitar album that is easy-entry and eminently catchy with fantastic songs. And I was going to give it a solid 3 but as I've found myself listening to it on repeat and am already on my 4th listen - this is a 4 star keeper for me. 7/10 4 stars (One small nitpick is that I'd love to hear a remix; this sounds a little ... cloudy... for my liking.)

Before listening to this my only exposure to the Charlatans was their single 'The Only One I Know' which is a banger that I pretty much never skip if it comes on shuffle. With No Shoes is a solid opening but unfortunately all I can think of is how they probably found Rob Collins, booze cruiser, With No Shoes when he died in a car crash after being more than double the BAC limit flung out of his sunroof. North Country Boy is groovy and shows that the album has a cohesive direction in its sound. A bit forgettable mainly because I was still laughing about how Rob Collins managed to get ejected from his car while drink driving and then still stand up before passing away in an ambulance on Monday 22 July 1996. Tellin' Stories is fantastic, I have no idea what this guy is saying but I can only assume he's tellin' cautionary tales about the dangers of driving a BMW 520i on the B4233 after having a big day at the pub with your producer in the car who would survive with minor injuries. One to Another is where I realised that this band has more to offer than just 'The Only One I Know', the vocals here work well with the guitar work and the keyboard riffs are fantastic. The song is supposedly about a guy trying to keep his relationship together but I like to think the title is a nod to how Rob Collins went from being a getaway driver for his mate to being involved in a fatal single vehicle collision that left his wife widowed and his daughter without a father. You're A Big Girl Now is a song about how Rob Collins' daughter will have to learn to live without her late pisswreck father (who is not present on this track). How Can You Leave Us was initially written by Burgess about a girl, some lyrics were changed after Rob Collins' death (not a joke i copy-pasted this straight from wikipedia) Area 51 is a great instrumental piece which really highlights the talent of Rob Collins as a keyboardist. This song is like a nice intermission between the two halves of the album. Rob Collins demonstrates here that he is very good with his hands, even if he can't put on a seatbelt to save his life. How High is the question the British public were asking when it was revealed that Rob Collins was ejected from the sunroof of his BMW. Only Teethin', much like a lot of Cool Britannia and Britpop, is clearly very inspired by 60s rock and roll; a time when the Beatles were big, Britain was a somewhat serious country, and a time before the 1962 Road Traffic Act which criminalised drink driving and before seatbelts were made mandatory in 1983. Get On It sounds like someone put on some Bob Dylan before a jam session and now they have to get the annoying vocals and harmonica out of their system. It's songs like this that make me understand why the producer, Ric Peet, would get into the car with a drunken convicted armed robber, ironically named Rob Collins. Rob's Theme is an instrumental that was included after the passing away of the keyboardist of The Charlatans, Rob Collins. In all honesty, this is a sweet tune and it warms my heart to see a loving tribute to Rob on here (even though his brother/the label decided to leave him off the album cover?). This song slaps, but as there are no lyrics I am going to find it difficult to make another joke about drink driving and crashing your car. Almost as hard as I find it to believe that Rob Collins was able to get only four months in prison and charges dropped for assisting his mate in robbing a store. But seriously, this song is great and is 100% getting added to some of my playlists. Neil Young (who has 9 albums in this book, God help me) once said it's better to burn out than fade away. Rest in power Rob Collins, may you join your brothers in arms in Alcohalla, the afterlife for all brave booze cruisers. 7 DUIs out of 10

Some solid 90s era Britpop/alternative tunes. A tad on the generic side but overall quality album. Favorite Track: Area 51 Relisten: Yes

More gerneric British alt rock. 4/10.

This sounds like a cheerier version of Oasis. This just feels like another random British band that made it because they were relatively popular when the original list was made. I've still only gotten 1 jazz album on this list, but there seems to be an endless supply of late 90s to early 00s British rock bands that I have to slog through to get to good albums. 2/5

This is by far the most by-the-numbers record we've listened to from this list. It's insufferably generic with some of the most vanilla guitar tones I've heard on a record. This wave of British rock that made purposefully boring Stones rock is entirely skip-able. It's amazing that this band was around before Oasis, but saw their success with Brit pop and decided to throw their hat in the ring after being overshadowed by the Stone Roses in the early 90s. Just give up if this is all you got. They waited until the outro track "Rob's Theme" to give us an interesting track on this album. Sheeeeeesh Wtf kinda drugs were these folks taking in the 90s anyways? Boring pills? Snooooooze.

Well this was funny as i just finished his book, named the same as this album. While this album is not my favourite Charlatans album - thats probably the debut Some Friendly or the follow up Between 10th and 11th - its still a great album and i cannot give it anything but a 5. The book? You should read it! Some great anecdotes in there. And yeah, Tim Burgess has great music taste and there's a lot of name dropping in there.

Some blasts from the past fleshed out with some decent tracks I'd never heard. I wish I was more into this stuff first time round.

I try so hard to love the Charlatans as they are everything I want in a band but then again they just aren't. With the exception of a couple of early singles I have always found the band excel at being average. I wouldn't go as far as calling the also rans as they have etched out a reasonably successful and long career, they have just never burnt as bright as some of the contemporaries. So that brings me to this album Tellin' Stories, it came out at a time where Brit Pop was on the wane, big beat had stared to take over, Blur had reinvented themselves etc. Nothing on this albllum is exciting or new. Even 25 years on it feels like a lesser version of other bands. And Tim Burgess, his vocals start to grate by the time the album finally ends. For reasons, I can't even remember, North Country Boy is one of my least favourite songs of the era. I cringe when I hear it. Anyway, not a bad ablum but maybe not that essential either.

Very bland album from the band that nobody wanted to own up to liking at the time. They were a few years too late, too poppy, a bit whiny and derivative. This album was pretty much what I was expecting, like a poor man's version of all the more accomplished bands around that had already done the same thing a decade or so earlier. The murky production didn't help much and there wasn't anything to stand out, no amazing guitar or exciting compositions, just lots of stuff that sounded a bit like other bands. I was considering a 3-star rating, but I think I'll drop this one to a 2.

I'm sorry the fothermucker died, condolences to the family, etc, but I still don't like Britpop.

Blah blah blah, drone drone drone.

I said it before and I'll say it again, I don't like Britpop. There are some artists like Suede who can actually make something good with the genre but most popular Britpop artists are just stale and often times even bad. I hate Blur, I don't like Oasis, I cringe to Supergrass and now the Charlatans come as well to give me a new feeling: annoyed. The songs are all the same in terms of songwriting and much more than Oasis was but they are all so wannabe humorous. Not a good album. The atrocity starts with 'With No Shoes' which right off the bat is a terrible song title. But the song itself might be worse. It is a bad mix of harmonica and synths in the intro that turns into an annoying mix of Neo-Psychedelia and and Britpop with vocals that feel like the disabled son of The Verve and Oasis. It's just wannabe Britpop without any of the qualites that would make actual Britpop a tad bit interesting. There is nothing new here, it's just Oasis all over again but with worse songwriting and a worse vocalist. 'North Country Boy' does the exact same thing again but is even worse. The opening track is really bad and often just unbearable but THIS, this is just unlistenable, one of the worst songs ever. Terrible vocals, songwriting that does not work or fit the song and even worse backing vocals that feel like they appear a beat to late. This feels more like a improv Demo than an actual and finished track. Terrible, straight up terrible. The title track 'Tellin' Stories' isn't much better either. It tries itself on Baggy which will the album do later on more often but here, where it starts, it doesn't work to begin with. The different aspects of Baggy that they try to do on the track are just dissonant with the rest. It genuinely sounds terrible. If this was some wacky Experimental shit it would be good but this is Britpop and not The Velvet Underground or Robert Wyatt. Terrible, again. And if that wasn't enough, they now try to do Breakbeat inspired Britpop. That not only sounds like a terrible idea but it actually is. This feels like if the Prodigy just collabed with Oasis but neither of them bringing own stuff to the project. It does not work, sounds bad and didn't even have potential to begin with. The only fact that it's not completely terrible and just very bad is that there are moments without vocals and they are just bad or boring which is actually the highest in terms of quality you can get out of here: boring. 'You're a Big Girl Now' would've been better if it actually covered 'You're a Big Girl Now' by Bob Dylan but no, they wrote own lyrics. The song feels way too overproduced to work as a pleasent Folk tune. It sets its focus on lyrics that are not good. And it also has the terrible vocals the album had so far. Terrible. The second half of the album starts with 'How Can You Leave Us' which returns to the Baggy influences and they are implemented and executed much better here than they were before. I still think that it's a bad song but the songwriting is actually quite passable at points. It's mainly the vocals and some guitar parts that really throw me off here. 'Area 51' brings in more trippy synths which do actually kind of work and are not too far away from being Trip Hop which would actually work with their sound as long as someone else was doing the vocals. Luckily, this song is without vocals and is purely instrumental. The songwriting has some nice ideas and the production isn't too bad. I wouldn't say that I like it but this song gives a little bit of hope that there might be another song lurking here that isn't totally unlistenable. This is still bad but it's much more okay-bad. The more energetic approach at the start of 'How High' made me hope that they might go into a Punk direction but no, just Britpop. Terrible songwriting, bad delivery, annoying performance. The main problem of 'Only Teethin'' is that it is streched to over 5 minutes. The song is bad, not terrible and has some redeeming qualities like the drums but the sheer length just annoys most of the track. If it was half of the length, it'd be bad and that's it but with the way that they streched it more and more and more is just annoying. The result is really, really bad but not as bad as most the songs served so far. And if that wasn't streched enough, 'Get on It' feels like the worst that Country Rock could've influenced. The harmonica sounds bad, the different instruments sound terrible together and I'm not even going to talk about lyrics and songwriting. And on top of that it is streched to nearly 6 minutes of playtime. Nothing here works... Terrible. The album, luckily, ends with 'Rob's Theme' which is the biggest genre change on the album. It's not even really Britpop anymore as it's a straight-up Trip Hop tune with some psychedelic and Ambient elements added. It's one of the better tracks that the album has to offer although I still think that it's a mildly bad track mainly because the structuring of the track feels unfocused and not fully fleshed out but I think that even though it's bad, it's the albums "strongest" track. favourites: none least favourites: most Rating: strong 1 to light 2 https://rateyourmusic.com/~Emil_ph for more ratings, reviews and takes

Kinda wish I could hang this one right at a 4.5; solely because I think this is higher than a 4, I’m gonna begrudgingly bump this up to a 5, even if it’s not quite there for me. I do have a lot of positive things to say about this album though; maybe my expectations were set a little low for a mid-90s Britpop album by a band not named Blur or Oasis, and certainly lowered even more because of Wikipedia labeling this as a partial “hip hop soul” album comparable to Neil Young, but like… damn, I really fucking enjoyed this. I truly don’t know where “hip hop soul” comes from at all when describing this album; if we’re calling the faster paced, almost rap-esque verses on here “hip hop soul”, then you may as well just call Blues Traveler a rap group at that point. This is Britpop through and through, and honestly, a really strong merging of the more distinct aspects of both Blur and Oasis at the time, namely in the more grungy production with the guitar work, reminiscent of Blur’s self-titled, and the slower, more deliberate vocal style of “What’s the Story, Morning Glory?”. Don’t get me wrong, this certainly isn’t big bombastic stadium rock, and there’s no Wonderwall here, but it feels like it could at least play pretty well in an arena. There’s some seriously good tracks here; the big standouts are the singles, all of which have at least a million plays on Spotify apiece, but even the supplementary tracks have a few gems: With No Shoes is a pretty good opener, and “Only Teething” immediately comes to mind (even if the percussion there is pretty much from Freedom! ‘90). Really, the only reason I’m not quite at an actual 5 is because some of the supplementary tracks do fall a little short in the execution or the mix – the last 2 tracks in particular really dampen the momentum of the album. Get on It feels like a Bob Dylan track in the worst way; not that it’s a bad track, but that it clicks on all of the habits from Dylan’s work that sacrifice melodic content for slightly more verbose storytelling and a bit of repetition. However, the instrumental and the extended solo throughout really salvage that track from being too boring. Rob’s Theme, on the other hand, simply plays itself too safe, and doesn’t really lean enough into the buildup and execution of the more psychedelic style attempted in the guitars; the drum pattern in that track just kills the mood for me. It’s a sort of flat instrumental to end the album. But, hey, I said I had a lot of positive things, and those positive things more than outweigh a flat ending – this is just damn good Britpop. It’s energetic, it’s catchy, and it just feels good for 1997. The only thing I can truly knock are the lyrics, for not feeling super coherent or memorable throughout, but when the melodies hit like this, and the overall tracks have such good mixing and instrumentation, it lifts the overall experience in a pretty coherent and fun way. I don’t think this is low enough to call a 4, nor do I think it’s quite at a 5. It really is at a 4.5 for me, but it’s a highly recommended one, so much so that I’ll give it a 5 on the website. If nothing else, listen to One to Another – that shit’s a banger.

Love this album, great one to wake up to in a van near Manchester on the way to a festival where Tim Burgess is playing

Tellin’ Stories Ask me to rate this when it came out and it would have been a 5 and then some. I saw them on the Tellin’ Stories tour at Portsmouth Guildhall on the 5th of May 1997. I bought a hooky band t-shirt outside the gig which was too tight and the colours ran. Listening now it’s still good, particularly the front half; With No Shoes, North Country Boy, Tellin’ Stories and One to Another is a great run. It’s never not diverting but it definitely loses a bit of steam after How Can You Leave Us, despite picking up again with How High. The B-side to How High, Title Fight is great and it’s a shame it’s not on the album. I loved One to Another when it came out as a single, the piano riff and guitar riffs are excellent and its Stones meet The Chemical Brothers vibe is still great. The Stones and Dylan are the obvious touchstones throughout, their previous album was quite Exile but this feels very Beggars Banquet influenced, particularly With No Shoes, and there are lyrical and melodic nods to Bob all over it. I guess I can see the hip hop influence on something like How High, but I think the Hip Hop Soul moniker is a bit of a stretch. The piano and organ definitely give them textural distinctiveness, and they are definitely have an earthier bluesier than other 90s bands, and their dancey origins and the involvement of the Chemical Brothers obviously inform the bass and rhythms as there is also a lot more groove and swing to them than many of their contemporaries, even if the production does sound a little wooly in places, like a lot of mid 90s indie albums. Overall, some cracking songs, some perfectly fine if not always exciting tracks and a couple of meandering instrumentals, a bit of groove, some excellent organ and guitars and a lovely creamy dollop of nostalgia adds up to a solid 4 for me (Even though I would dispute whether anyone who doesn’t already like the Charlatans would need to hear this before they die) 📖📖📖📖 Playlist submission: Historically One to Another, but I’ll go Tellin’ Stories

Downvoted by Americans whose taste in anything is always questionable. Go figure.

This brings me solidly back, not to the 1990s, but instead to the early 2000s. In halls at Manchester University, one of my chums, a guy called "Joe. Joe. Jay Oh Ee, Joe" (for that was how he always introduced himself) was mad keen on The Charlatans. Nice guy, really passionate about class, music and being Northern, and listening to this album for the first time in more than 20 years brings me back right away to those grim rooms, shared showers and communal khazis. Anyway - despite being from Birmingham, the Charlatans are pretty closely associated with the Madchester music scene and there's a lot of acts that are kind of interchangeable. This album is a pretty good example of it the sound of the scene, but you could easily drop in any one of half a dozen bands around at the same time who were doing the same sorts of things, in the same sorts of ways. Yes - it is absolutely a foible of Robert Dimery that this is included, because these guys were what the cool kids listened to back in the 90s and clearly Dimery was of an age in the 90s when being seen to be cool was cool. Just because it's part of an over-represented genre doesn't mean it's bad - the album is, as an example of the genre, pretty solid. Standout track - North Country Boy.

For a band called The Charlatans, tellin' stories would seem a tad bit tedious and weary; skeptical, even. It might have been if it were not a blast of consistently enjoyable dance-infused Britpop that manages to do a great deal of pressing forward from the tragedy that came before the album's release (founding member Rob Collins died before the making of the record) while not being completely overwhelmed by it. Whether or not one is familiar with that backstory, Tellin' Stories is The Charlatans turning into the real deal and making believers out of us all. Favorites: With No Shoes, North Country Boy, Tellin' Stories, One to Another, You're a Big Girl Now, How Can You Leave Us, Area 51, Get On It.

Would have gone for Some Friendly or else Between 10th &11th, simply because these albums made more of an impression on me at the time. However, I agree that Tellin' Stories is overall their most consistent effort. I like the album a lot, but not sure if I would have included it on the list. Side note: the 2012 autobiography of Tim Burgess is also called Tellin Stories and is strongly recommended.

An album that capitalizes on the combination of britpop influence and that stereotypically wandering shoegaze of the later 90's. Stands out amongst its' peers as something less known with a wider range of genres built upon tragedy. A great combo worth returning to

I want to start this review by giving the lead singer Tim Burgess a special shout out. Anyone enjoying this project should also check out Tim’s twitter listening parties (you can reply a lot of them on his website), something he started during Covid lockdowns and what got me back into listening to full albums, which then lead to me starting this project. Anyways on to the review…. The Charlatans are one of the underrated bands from the Britpop era. To me, Telling Stories is a captivating and energetic album that showcases their musical talent and diversity. However, I can appreciate that those who do not like Britpop might think this is very average or bland. Musically, I was impressed by this album. The standout track was their biggest hit, One to Another, which has a catchy chorus and a powerful guitar riff. This album is already in my frequent rotation of Britpop albums, so I might be biased. I give it 4 stars out of 5.

Britpop hangover. Best Tracks: North Country Boy, One To Another, How Can You Leave Us

A very pleasant if ultimately forgettable album. Nothing unpleasant but also nothing really new or challenging. Safe music to put on if you don’t want to offend anyone!

poor mans oasis

not bad... but had to give it a couple of listens to actually hear it - - know what I mean?

Not so bad overall. Catchy Britpop with memorable choruses and great instrumentation throughout. Feels like it could belong to such a list, except from one little detail: this record, supposedly the magnum opus of The Charlatans, was released in the second half of the nineties, not the first. To be more specific, it was released one month before Radiohead turned the game of British (alt-)rock on its head with *OK Computer*. Talk about a last-minute feat before that whole Stone Roses / Oasis-adjacent sound immediately became less relevant. This situation might explain the Britpop "fatigue" of some listeners on this app (sometimes harshly expressed), and so the album's relatively low global score. It's true that this record goes through very predictable stylistic twists and turns at times, from Rolling Stones-indebted compositions to Stone Roses / Primal Scream-like syncopated rhythms and heavily guitar-laden spots à la Oasis. And this to the point where it sometimes feels you don't even need to listen to the album to know what's in it. Add the fact that the record's second half is far less impressive than the first (except for one organ-enhanced cut reminding me of Bob Dylan circa *Highway '61 Revisited*, before one instrumental closer paying tribute to the band's keyboard player--who tragically died during the sessions of *Tellin' Stories*), and what you have here is a record that clearly lacks something to *truly* stand out. Pretty good music is still pretty good music, though. Had this thing been released three years earlier, chances are The Charlatans would have been a more famous figurehead for that whole Britpop thing, maybe up to the level of Oasis themselves. To be fair, Blur was still more interesting as an album band than any of those acts, but to use words used by The Charlatans themselves, that's a (music tabloid) "story" I'm gonna tell in another time, kiddies. 3/5 for the purposes of this list of "essential albums" 8/10 for more general purposes Number of albums left to review: 155 Number of albums from the list I find relevant enough to be mandatory listens: 364 Albums from the list I *might* include in mine later on: 214 Albums from the list I won't include in mine: 271 (including this one)

Hmmm, for some reason I thought the Charlatans were a 00s indie band. This was fine I guess, sounds like all britpop which I'm not a massive fan of, I think unfortunately britpop got a bit overplayed for me and I'm bored of it but I guess for the time it would have been great.

I really struggle in rating albums like this. It is inoffensive and not remarkable, but also pleasant enough that it didn't intrude in any unpleasant way. A decent album to put on while I drink my morning coffee and browse the ol' Internet on this Sunday morning, but on the other hand, it lacks a certain spice to make me want to listen to more. It is worse off being kind of boring or being kind of painful on the ears? Settled on 3 stars based on the merit that (morbidly enough) it is a wonder that this album flows as smoothly as it does considering the circumstances behind it's production. It helps that this album does not drag.

Хороший альбом, позитивный, так сказать :) И вроде не к чему придраться в нём. Классный бритпоп, легко слушается, но не цепляет как-то ничем. Всё как-будто дефолтное какое-то. Слова обычные, голос обычный, супер выдающихся гитарных или ударных соляков не замечено. Разве что можно отметить внезапные вставки соула, которые отсылают нас к Бобу Дилану немножко. Чуваки ещё заявляли хип-хоп, но как-то особо я тут его не услышал особо. Хоть и ждал. Может быть, они имели в виду инструментал Zone 51 как хип-хоп, но что-то как-то не...

3.5/5. Not the worst alt-rock I've been thrown, but by no means is it amazing. Overall it sounded better than other alt-rock albums I've listened to.

Britpop? For spring? Groundbreaking.

OH GOOD MORE BRITPOP

This was very generic and boring. I don't really care for Oasis but this seemed like a worse form of Oasis. I feel like including stuff like this is an insult to so much that could have been included.

Not the worst but honestly quite boring.

I’m not familiar with the rest of their discography, but this album just sounds like a poorly produced Oasis copycat

Meh.

This one feels especially inessential. I suppose the one thing in its favour is, were you to ask me to simply imagine a rock album from 1997, the resulting mental composite would sound a lot like 'Tellin' Stories' by the Charlatans. 'One To Another' has a bit of a sting in the tail; 'How High' ain't too bad; and I quite enjoyed the quirky instrumental 'Area 51'. Everything else just sounds safe, conservative, uninspired and boring.

Tedious baggy. Distinctly average.

There's some proper Gallagher pronunciation here innit. What a mess.

Britpop delontón donde no hay que destacar nada. Suenan como unos Oasis descafeinados. Interesante cuando copian a Dylan, debieran haber tirado por ahí mejor. De fondo.

109/1089 - This Charlatans album sucked and was very derivative so I'll recommend some other albums that are influential/interesting and are not currently on the user list: Bill Evans Trio - Portrait in Jazz (1960) : Changed the game for jazz combos by allowing every member to contribute as a "leader," instead of just the melodic instruments. (I like "Explorations" better but this one is more historically important) Mort Garson - Mother Earth's Plantasia (1975) : Early electronic “warm earth music for plants…and the people that love them,” made with an early Moog synthesizer. Chock-full of optimism. Take 6 - Take 6 (1988) : Debut album of a gospel a'cappella group which had a big influence on modern vocal harmonies. Stereolab - Dots and Loops (1996) : One of the first albums made with a digital audio workstation. Cool blend of experimental and accessible sounds. Gorillaz - Demon Days (2005) : Loose concept album with a cool blend of alternative rock, trip-hop, and dance-pop. It also has "Feel Good Inc." Hiatus Kaiyote - Choose Your Weapon (2015) : Neo-soul group with a very eclectic sound and a strong vocalist. Tennyson - Rot (2022) : Experimental electronic music by a brother (producer, vocalist) and sister (drums) duo. Amazing production skills and intriguing vocal effects. I've found a lot of the songs translate well to piano as well.

bland, boring, and dull

yes

Felt a little folky at times which I really enjoyed. The rock parts were fine and beyond. It was outstanding actually

Good album to work to but otherwise I wouldn’t choose to listen to this.

Brilliant

This is not going to be objective as i saw these guys in this tour in 1996 when i was 14 and they rocked my teenage world. Shout out to Max Broady who came with me! The three track run from North Country to Tellin Stories, plus how high are god tier. The rest is damn good and they have such good hair. I bounced through this with a shit eating grin in my face.

Excellent. Great instrumentals and vocal work. I enjoyed the overall vibe and loved that there were some tracks that were purely instrumental. 'One to Another' was my fave track.

This and Urban Hymns are my sounds of 1997. It's always a little worrying when you revisit these albums after having not listened for a while, knowing the Proustian rush it will undoubtedly give; but not knowing if the music holds up. But I needn't have feared - the album is simply wall to wall Britpop-era excellence. Where Oasis take their Beatles with a twist of Quo, and Blur take theirs with a twist of Weller or Kinks, this lot have added a big Stones mixer, and a twist of Dylan. And while they wear their influences openly on their baggy parka sleeves, the album is carried by the pure strength of every single melody. Their eponymous album was good - but this is their peak; I love it when a band is in this form and just hits riff after riff, hook after hook, melody after melody. And every break down, bridge or middle eight in every song, adds a new earworm melody or hook. It's really one of those albums I always did, and still do, find life affirming. I don't skip anything, I love everything, they nail the feel of the time, the vibe, they take Britpop and mash it with their soul and dance sensibilities to produce a classic. And that's it.

Classic

Αγαπημένοι Charlatans

⭐⭐⭐⭐⭐ Finally some good fucking music

Never heard it before. I quite liked it. It is unique, well mastered, and every song gave me something different. It truly showed their talent as musicians.

hahaha wnl gseht chli nach öppisem uus wo mier chönnt gfalle find sie hend chli so en emo ihfluss? aso v.a. sini stimm oder vlt han ich das au nur wegem albumcover s gfühl finds sehr en geile ahfang! north country boy gfalltmer au sehr, au wenn ichd musig iwo durre schwierig find zum griffe? hä ich finds extrem geil AA er tönt halt auchli wie de sänger vo blink 182, es isch so ähnlich nasal wtf you're a big girl now erinneret mich ad beatles??? ich glaub de wechsel bi 1:57? idk finds bis jz sehrsehr es geils album hä au area 51 erinneret mich mengisch so hert ah so 60er oder so? mite hammond orgle und allem ich verstah jedi person wo das nöd gern het mich fesslet die weirdi mischig us modernerem sound mit iwie altem? das isch under anderem hip hop soul?? hee jaa geg de schluss ziehts sich nachli und rob's theme isch jz nöd so unglaublich gsi, au wenns e cooli hommage ah ihre verstorbene keyboard spieler isch ich bin seehr nöch amene 5i, musses mier nachli überlege

Great!

Great album really enjoyed it.

kinda like Elvis Costello. I like it. Would listen to more

Right up my street

Rating this on its own merits and not based on it sounding like other britpop bands.

It was a very relaxing album that made me feel upbeat. Sounded very similar to the Ocean's soundtrack

Maybe I’m just on a vacation high but everything sounds so great to me right now. I loved this so much!

Awesome. Kinda like oasis

One of my favourite albums of the 90s the 4 singles are superb. Definitely the high point of their career. One to Another is one ofthe greatest indie disco tunes of all time. 4.5 stars bumped up to a 5.

Poxa, até agora não teve nenhum que eu já tivesse ouvido do tanto desse. Não tem como ser menor que 5. FDS. Aquele show em Recife...perdi umas células auditivas ali.

Just love this album. Key record for 90s Britain.

very cool

kinda decent sound but not an enjoyable album by any means

A delightfully nostalgic listen. My brother used to hammer this album and it took me straight back to the 90s. Don't think I've ever actively sought out Tellin' Stories before, but i loved it!

Great band. Great album. 💚 The Charlatans

So much drive in this album quite rocky in parts

Feels like I'm 15 again, loved this album then and listened the hell out of it, so it's great to hear again. Loads of musical layers, brilliant lyrics, it's a big noise. What a band.

Loved it! Great songwriting and overall vibe. Favorite track is number 10: Get it on. Can’t wait to play this one on high rotation.

Interesting

Love this

Rätt bra! Lik mycket annan britpop. Trodde det var Ian Brown som sjöng först.

This was some good British 90s rock best played loud. Probably will keep listening to this album. I liked almost every song here, cept the closer. Rob didn’t need a theme. Straight 4/5

I have a vague memory of having listened to this before but it was apparently long ago and far away. So today I listened (again?) and, really dug it! Maybe in some alternate universe I'll get to listen to it for the first time again. I can only hope that I like it this much again..

Good britpop and an extra star for being from my home town

These guys sound like Oasis lite, and I'm not mad about it. Pretty solid Britpop/alt rock. Favorite songs: One to Another, Tellin' Stories, North Country Boy, With No Shoes, How High, Only Teethin', Get On It Least favorite songs: Rob's Theme 4/5

For a while, I’ve thought that The Charlatans were a spinoff of The Libertines. It didn’t take me long listening to this album for me to think that this sounds nothing at all like Peter Doherty, and that I’d mixed them up with the Bluetones. I did find myself thoroughly enjoying this album. Several songs from this are regularly played on the radio station I generally have on while working, so I felt very much in my element. This is great indie rock, and avoids being quite as annoying as some others despite the very northern accent (and I say this as someone with a very northern accent).

"Tellin' Stories" is the fifth studio album by British rock band the Charlatans. The music is described as a "Britpop, hip hop and rock album compared to works of Neil Young and Patti Smith." Keyboardist Rob Collins died in a car crash during the recording influencing the finishing of the album. Bandmembers included Tim Burgess (vocals), Jon Brooks (drums), Mark Collins (guitar, loops), Martin Blunt (bass) and Rob Collins (keyboards, backing vocals). Primal Scream's Martin Duffy finished the keyboards on the album after Collins' death. The album had mostly favorable reviews especially for its mix of genres. Commercially, it reached #1 in the UK. Reverbing edgy guitar and loops open the album in song "With No Shoes." A psychedelic vibe. Some scratching. Layered guitars. The band wanted a sound similar to Jon Martyn's "Solid Air." "North Country Boy" has more layered guitars which lead into drums. Clearer vocals by Burgess. The guitars remind me of "Let It Bleed" Stones. The lyrics describe a boy trying to cheer himself up. "Tellin' Stories" kicks up the pyschedelic level in the intro with various sounds, loops and guitar. The main song music is acoustic guitar, bass and percussion. Nice mix and here's your Britpop. A strings-led outro. The lead single "One to Another" begins with electric drums, wah-wah noises and piano. The song gets louder with guitar slashes. A boy is trying to stop his relationship from disintegrating. A hypnotic piano and distorted guitar outro. A R.E.M. "Document"-era guitar riff opens "How High." Loud vocals and a straightforward rock sound. It's about a pied piper-like persona influencing a young audience. There's an urgency to this song I like. I agree with the critic citing the albums' various genres as it's strengths. I heard Britpop, pyschedelic rock, hard rock, soul and blues. A bluesy Stones-esque guitar at times and elements of hip hop with the scratching and loops. There's various influences both heard and admitted by the band including Bob Dylan, Marvin Gaye, Jon Martyn and R.E.M. The band isn't afraid to just jam out including two instrumental songs. The album is well mixed and produced by Dave Charles, Ric Peel and the band. (I've been really lucky recently with albums regarding that.) There's a seriousness and professionalism about this about this album I really liked. Recommended!!!

I'm of the age where I could appreciate The Charlatans when they broke out, they're a tidy band, neither too flashy or underperforming, but there's no world where this album is in a list of albums you must listen too. You could give me the entire paper content of an office supply store and I still wouldn't get to this album on that list. Theres enjoyable stuff on here but its not even cracking any "best of 1997" top 10, it's not even their best album (that would be the following Us And Us Only album), it's not even their best "classic Rob Collins era" album (that would be the preceding eponymous The Charlatans album)... I can only assume it's here because it was their most commercially successful album (300,000 sold in the UK vs. their usual 100,000) and, honestly, a lot of that was attributed to the passing of Rob Collins the year prior and a hot set at Oasis' Knebworth shows. Can't blame them for riding that wave. Long way to say I do enjoy this album, its just not an all time album...

Classy

This was a decent album for Britpop. “How High” was the track I immediately recognized, thanks to its inclusion on Liam Prodigy’s DJ mix album The Dirt Chamber Sessions. Beyond that, I really enjoyed the neo-psychedelia elements and the subtle breakbeats used in the beats and percussion. Some parts of the album even reminded me of The Chemical Brothers, with certain sounds feeling very similar to what they were doing during this same era.

I enjoyed this very consistent album, which must've been tough to make after the loss of bandmate Rob Collins, whose organ playing was very a distinctive part of The Charlatans" sound. Liked Songs Added: North Country Boy One To Another Only Teethin'

Generic sounding Brit pop but good

I am just starting to understand British Pop. I had trouble getting into Definitely Maybe on this list as well as this album. I realized I was viewing them through the lens of Alternative or Indie Rock and while they fit somewhat in those genres, the currency they are really trading in is Pop. This album surprised me by using British Pop as a connective tissue for a blend of soul, psychedelic, and a little prog even. Very heady. I'm excited to explore the genre more.

I knew of them but wasn’t too familiar with their music. I was impressed and found the variety of styles on the album a treat.

more like 1001 britpop albums ive never heard of in my life!!!!!!!!!! more like!!! fr even just taking a cursory glance in various places does make this seem like a p interesting band, originating from baggy/madchester but staying commercially viable by transitioning to britpop that retains its clear connections to those scenes. these r all geographically connected scenes so im sure they werent the only britpop band to have good grooves and dancey type beats (esp since as this list has made clear idk shit ab this genre lmao) but its a good combination!!! very satisfying to listen to, if tbh a bit inherently exhausting, 47 minutes is toeing righttt up to the line of how much ambiguously smarmy britishness i can take. its not all that tho, last track is a tribute to their keyboardist who died partway through recording. not one of my fave records or anything, but one of those lil pockets of art and history i enjoy learning about on even briefly on this project

Consistently good listen. 4 stars or B-.

This album apparently gets a lot of hate for being generic late 90's Brit Pop. I guess I'm a fan of generic late 90's Brit Pop. This is the first time I've ever listened to this album and I thoroughly enjoyed it.

A less whiny Oasis. This was actually far better than I would have expected. Have probably heard odd tracks from the group but I would listen again happily. 4 stars just about.

Will listen again! No misfires. A little bit of Bob Dylan vibe now and then. What a nice surprise

This was a decent album for Britpop. “How High” was the track I immediately recognized, thanks to its inclusion on Liam Prodigy’s DJ mix album The Dirt Chamber Sessions. Beyond that, I really enjoyed the neo-psychedelia elements and the subtle breakbeats used in the beats and percussion. Some parts of the album even reminded me of The Chemical Brothers, with certain sounds feeling very similar to what they were doing during this same era.

## In-Depth Review of *Tellin’ Stories* by The Charlatans *Tellin' Stories*, released in 1997, marks a significant moment in the discography of The Charlatans, encapsulating themes of loss, resilience, and musical evolution. This review delves into the album's lyrics, music, production, themes, and influence while evaluating its pros and cons. ### ****Lyrics The lyrical content of *Tellin’ Stories* is deeply reflective and often poignant, shaped significantly by the tragic death of keyboardist Rob Collins during its production. Tim Burgess’s songwriting showcases a maturity that contrasts with earlier works, exploring complex emotions tied to love, loss, and existential musings. - **Emotional Depth**: Tracks like “How Can You Leave Us” poignantly express grief and confusion regarding Collins' passing. The lyrics convey a sense of desperation and longing: *“I don’t want to believe it, how can you leave us?”* This emotional resonance has allowed listeners to connect deeply with the song, making it a standout track. - **Introspection**: The title track “Tellin’ Stories” reflects on personal experiences and broader human conditions. Lines about finding guidance amid sorrow resonate with listeners who have faced similar struggles. - **Imagery and Themes**: The album employs vivid imagery to evoke feelings of nostalgia and introspection. Lyrics often juxtapose light and dark themes, such as hope against despair, which enhances the album's emotional complexity. ### ****Music Musically, *Tellin’ Stories* represents a blend of genres that showcases The Charlatans' evolution from their Madchester roots into a more diverse sound. - **Instrumentation**: The album features a rich tapestry of sounds. The opening track “With No Shoes” combines harmonica with echoing guitar reverb, setting an intriguing tone. The use of Rob Collins’ signature Hammond organ adds depth to many tracks, creating a lush sonic landscape. - **Song Structure**: Tracks like “North Country Boy” exemplify straightforward rock-pop structures infused with catchy riffs and infectious grooves. The rhythmic interplay between Martin Blunt’s bass and Jon Brookes’ drumming provides a solid foundation for Burgess’s melodic vocals. - **Production Quality**: Produced by the band alongside renowned producer Jim Lowe, the album exhibits high production values. The mixing allows each instrument to shine while maintaining a cohesive sound throughout the record. ### ****Themes Thematically, *Tellin’ Stories* navigates through personal loss, resilience in the face of adversity, and the pursuit of joy amidst sorrow. - **Grief and Loss**: Collins' death looms large over the album. Many songs reflect an undercurrent of mourning yet also celebrate life’s fleeting moments. This duality creates a compelling listening experience that resonates on multiple levels. - **Resilience**: Despite the tragedy surrounding its creation, the album embodies a spirit of perseverance. Songs like “How High” channel an energetic lust for life, encouraging listeners to embrace existence fully despite challenges. - **Nostalgia and Reflection**: The lyrics often evoke nostalgia for simpler times while reflecting on personal growth. This theme resonates with listeners navigating their own life transitions. ### ****Influence *Tellin’ Stories* has had a lasting impact on both fans and musicians alike. Its exploration of complex emotions set against a backdrop of engaging melodies has influenced various artists across genres. - **Cultural Context**: Released during the Britpop era, it stands apart from contemporaries by delving deeper into emotional territory rather than adhering strictly to the genre's typical themes of youth and rebellion. - **Legacy**: Over the years, *Tellin’ Stories* has been recognized as one of The Charlatans' defining works. It continues to be celebrated for its artistic integrity and emotional depth, influencing new generations of musicians who seek to blend introspective lyrics with diverse musical styles. ### ****Pros and Cons #### Pros: - **Emotional Resonance**: The album's exploration of grief is both heartfelt and relatable. - **Musical Diversity**: A successful blend of genres keeps the sound fresh throughout. - **High Production Quality**: Professional production enhances the listening experience. #### Cons: - **Niche Appeal**: Some listeners may find its introspective nature less accessible compared to more upbeat Britpop offerings. - **Tragic Context**: The circumstances surrounding its creation may overshadow some tracks for listeners unfamiliar with the band's history. - **Pacing Issues**: Certain songs might feel slower or less engaging compared to more energetic tracks on other albums from that era. ### Conclusion In conclusion, *Tellin’ Stories* by The Charlatans stands as a remarkable achievement in the band's career. Its poignant lyrics, diverse musicality, and thematic richness offer listeners an immersive experience that transcends time. While it may not appeal universally due to its introspective nature or tragic context, its influence on music remains undeniable. As fans continue to connect with its emotional depth, *Tellin' Stories* solidifies its place as a timeless classic in British rock history.

Another band I'd not really caught up with at the time. I rather enjoyed this album, which I suppose reflects a less derivative Britpop. This'll go on my Qobuz favourites and I'll listen to further Charlatans albums.