Behind Rick in this image you can spot an Mellotron M400.

In the 1976 concert video "Genesis - In Concert 1976 - Fly On A Windshield / Carpet Crawlers," Tony Banks can be seen using the Mellotron M400, showcasing its integral role in the band's live performances.

Used on "Please Wake Me Up" and "Everything You Can Think", as documented extensively in this page from the website Tom Waits Library.

NN: "I was just checking out your excellent Mellotron-related website when I came across the page about the Chamberlin Music Master. What a cool instrument. Tom Waits has a Music Master. Apparently he saw an ad in his local Recycler-type of paper and went to find out what this thing was. The previous owners were a couple of "surfer" types that would just turn the thing on a revel in the sound effects (there's a fireworks or FX tape on this one). Tom reportedly paid something like $400 for it. Tom uses it quite a bit! Most recently he put down some tracks using the Music Master's "vibraphone" sound, and you will probably hear it on Tom's releases in the Spring of 2002. Tom also has an M400 he likes very much, by the way." (Source: email as published on: Ken Leonard's Mellotron page. Subject: Music Master/Tom Waits Date: Wed, 2 Jan 2002 14:37:55 -0600)

(...) TW (1987): "Kathleen started out with the melody on that (Please Wake Me Up). It's just a little lullaby of some kind. With mellotron, baritone horn, upright bass." (Source: "From the set of Ironweed, Tom Waits talks with Rip Rense" New York Post: Rip Rense. Early 1987)

TW (1987): "The mellotron, I've been hearing about over the years, and I've always been afraid of it. You know, when you hit a key, you actually get that particular note taped on a particular instrument. So when you hit the note, it feels like you're tapping somebody on the shoulder and they begin to play. It's very real. Dream real. Most of the instruments on the tracks, though, can be found in any pawn shop. I haven't completely joined the 20th century." (Source: "From the set of Ironweed, Tom Waits talks with Rip Rense" New York Post: Rip Rense. Early 1987)

MR (1987): "Cohorts include guitarist Marc Ribot, percussionist Michael Blair, bassist and horn arranger Greg Cohen, Ralph Camey on saxophone and William Schimmel on a variety of equipment, from accordion to Leslie bass pedals. Waits' instruments include pump organ, guitar, mellotron, even something called the optigon." (Source: "Tom Waits is flying upside down (on purpose)" Musician: Mark Rowland. October, 1987)

BF (1987): "Waits had his own arsenal of prehistoric keyboards, the type you don't find on records these days. There's his wheezing pump organ, his plodding Mellotron, his tacky Farfisa and, of course, the Optigon."(Source: "Better Waits Than Ever" Music & Sound Output: Bill Forman. Vol. 7, No. 11. October, 1987)

TW (1987): "I've always liked the Mellotron as well. The Beatles used it a lot, Beefheart used it a lot. They're real old and they're not making them anymore. A lot of them pick up radio stations, CB calls, television signals and airline transmitting conversations. And they're very hard to work with in the studio because they're unsophisticated electronically. So it's almost like a wireless or a crystal set."(Source: "Better Waits Than Ever" Music & Sound Output: Bill Forman. Vol. 7, No. 11. October, 1987)

TW (1989): "I love that thing the Mellotron so much. I just used one yesterday. (Its owner) guards it with his life because it's such an exotic bird, it's a complete dinosaur, and every time you play it it diminishes. It gets old and eventually will die, which makes it actually more human, you're working with a musician that is very old, he's only got a couple more sessions left. It increases the excitement of it. And that great trombone sound... Those Mellotrons, the first time I actually played one, it really thrilled me. It's like you touched somebody on the shoulder, everytime I touch you on the shoulder I want you to play a note. It was that real." (Source: "Eavesdropping on Elvis Costello and Tom Waits" Option Magazine. July/ August, 1989)

PD (2002): To add to the songs' (Alice/ Blood Money) other-wordliness, Waits uses the Mellotron (an early synthesiser), which had its heyday in the 1970s in bands such as the Moody Blues, and his latest "found objects", such as a 1929 pneumatic calliope (an old circus instrument with 57 whistles) and a dried boomerang seed pod from a rare Indonesian tree." (Source: "Lying in Waits" The Age (Australia) by Patrick Donovan. Published: May 10, 2002)

Wilson can be seen playing a purple Mellotron M400 at 1:37 in this video.

Towards the middle of this page, there is a photo of Greg Lake with a Mellotron M400.

... This is the story of Tangerine Dream’s Ricochet.... The array of electronic equipment used by Tangerine Dream on that tour was formidable indeed. For its time it looked nothing short of a futuristic world controlled by machines. For the die hard rig fanatics, an approximate list of the machines used by the three members of the group at the Coventry Cathedral show included:

Apart from the Chamberlain and an Emulator 2, other keyboards featured on Woodface include a Mellotron, a Baldwin Electronic harpsichord, an old Cox organ, a Hammond, a Prophet 5, and a Piano Optigan, "a very trashy organ brought out in the '60s which reads a kind of optical disk. It sounds very low-fi but is very atmospheric. There are what you could call 'samples' on them of things like brass bands playing. It's pretty wild."

At :29 of this live performance of "Into the Lens" by Yes, Downes can be seen with a Mellotron M400 to his right.

You can hear the mellotron throughout the song

He's credited with "Mellotron Flute" in the liner notes.

Andy: "We got our Mellotron for £250 a few years ago — they're very much in neglect. This one has, I expect, had its fair share of being bucked on stage by members of King Crimson during 25-minute versions of 'Devil's Triangle'. I put this song together all on the Mellotron, but I've had the tune knocking about for ages and would bash it out on piano whenever we were in the studio — it's vaguely reminiscent of 'Marjorine' by Joe Cocker, for some reason. So I built this thing up on the Mellotron, and it reminded me of the seaside, especially the seaside in winter when everything's shut up."

Toward the end of the century, when Isao Tomita sat down to record the piece, he had before him a thicket that included a Moog synthesizer, comprising (among many other things) a 914 extended range fixed filter bank, two 904-A voltage-controlled low-pass filters, nine 901-B oscillators, four 911 envelope generators, five 902 voltage-controlled amplifiers, a 950 keyboard controller and a 6401 Bode ring modulator; several tape recorders, among them an Ampex MM-1100 16-track and a Sony TC-9040 4-track; two Sony MX-16 mixers; an AKG BX20E Echo unit; an Eventide Clockworks Instant Phaser; two Binson Echorec 2 units; and the electronic keyboard instrument known as a Mellotron.