Charlatans U.K.

The Charlatans had the misfortune to hail from Manchester, England, during roughly the same period as groups like the Stone Roses and the Happy Mondays, and have spent the better part of their career living down the association. The fact that their 1990 debut, Some Friendly, was a derivative ode to dippy, Hammond-happy psych-pop didn't help. On their darker second effort, the Charlatans (who would soon add the "U.K." to their American releases to avoid confusion --and litigation --with the '60s Bay Area psychedelic group of the same name) first demonstrated their growing fascination for classic rock of the Doors/Exile on Main Street variety. Though there's nothing much memorable here (except for the fine, if workmanlike, "Tremelo Song") and not a hook in sight, it was nevertheless a strong step forward from their debut.

In 1994 Up to Our Hips, a comparatively uncomplicated pop record mostly notable for containing the great semi-hit "Can't Get Out of Bed," ushered in an era of intra-band turmoil that would play out over the next few records and included lineup changes, the embezzlement conviction of the band's accountant, and the armed robbery conviction of keyboard player Rob Collins, who would later be killed by a drunk driver. The albums from this period --1995's The Charlatans U.K. and 1997's Tellin' Stories -- are the group's finest, charting their progression from Mancunian faux-pop hedonists to En gland's most assured purveyors of soulful Brit-rock. Tracks like "North Country Boy" and "Here Comes a Soul Saver" suggest a growing fondness for country-folk and blues-rock that, all previous evidence to the contrary, oddly suits them, and the psychedelic flourishes are no longer laid on with a trowel.

The greatest hits/odds and sods compilation Melting Pot followed, offering all of the band's hits and a track remixed by the Chemical Brothers, with whom the Charlatans often collaborated. Us and Us Only served mostly as a showcase for the group's grow-ing Bob Dylan fascination, with the usual pop and psychedelia sprinkled throughout. Released September 11, 2001, and quickly forgotten (stateside, at least) Wonderland mixes electronica, pop, rock, and disco grooves in a not entirely satisfying way. Though singer Tim Burgess adopts a passable falsetto on tracks like "I Just Can't Get Over Losing You," and the record-opening "You're So Pretty --We're So Pretty" is atypically witty, this is the group's most disjointed effort since their debut. Though not as essential as Melting Pot, 2002's Songs From the Other Side collates seven years' worth of Beggars Banquet B sides, and includes several remixes and instrumentals. (ALLISON STEWART)

From 2004's The New Rolling Stone Album Guide