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MIRAGE
This is the follow-up to Camel's eponymous first album (MCA MUPS 473) which was released in the UK in February 1973.
The band line-up is: Andy Latimer (guitar, flute, vocals), Peter Bardens (keyboards), Doug Ferguson (bass) and Andy Ward (drums). To the tracks....
'Freefall' (5:47) begins with spacy keyboard sounds, joined by guitar, bass and drums.
Latimer then comes in on vocals while providing an electric guitar accompaniment. A fairly jazzy song this, with good rock guitar from Latimer and solid bass and drums backing from Ferguson and Ward. The keyboard work is low-key but suits the arrangement as this song is guitar driven. Guitar and keyboard work closely together for a tight finish ... a very nice start to the album.
Flute accompanies a lazy drum and bass riff at the start of 'Supertwister' (3:20), and then in come the keyboards to lift the song onto a higher plane.
Latimer's flute then takes over the melody - and this works really well, particularly when accompanied by background keyboards and some excellent basswork. At 1:18 there is a gorgeous trilling flute solo which changes the whole atmosphere of the song. The song reverts to its original jazzy pace before finishing with the sound of someone opening a can of beer and pouring it. A superb track!
'Nimrodel'; 'The Procession'; 'The White Rider' (9:12):- this comes in three sections, opening gently with 'Nimrodel' which features distorted guitar and keyboards to give a spacy effect. 'The Procession' is
basically the sound of a cheering crowd and a simple drum, flute and keyboard march which leads into 'The White Rider', a Tolkien-inspired piece (the White Rider is the wizard Gandalf) and features some
keyboard-generated bassoon and a melodic flute from Latimer. The guitar work here is exquisite and, following a brief vocal, the track takes off at 3:44 and becomes a bit heavier, with some superb keyboards
from Bardens.
There's a guitar solo from Latimer at 5:22 which leads into a vocal section. Background Hammond with some delicate guitar work leads us, at 7:00, into an eerie sequence with echoing guitar, bass and keyboard effects. There a good extended electric guitar solo from Latimer here too and some solid drumming from Andy Ward. The track ends with some Moog and the same spacy effects which started the song.
A howling wing and tinkling bells make way for keyboard and guitar on 'Earthrise' (6:42). A drum roll and the bass kicks into what seems a gentle rock track. There's some very tight playing as the pace
picks up, with impressive guitar and keyboard work, accompanied by seamless bass and drums.
A fast-paced strummed electric guitar at 2:20 turns the heat up further and the track transforms into a bit of a rocker, with some great keyboard solos being developed. A great guitar solo from Latimer at 3:28 allows Bardens free rein to trade riffs with him. The song reverts to its slower-paced origins at 5:53 and coasts along until the drum roll at the end. This is a superb, well played track and one of the strongest songs on the album.
'Lady Fantasy: Encounter; Smiles For You Lady Fantasy' (12:46):- modulating moog opens the first section of this track and is joined by drum, guitar and bass.
The song then moves off into a melodic phrase which features tight keyboard and guitar. This is a fairly lazy section, complemented by a laid-back vocal. We have a guitar solo at 2:27 which sounds a bit like some of The Doors' work and at 3:47 the song changes tack completely and turns suddenly into a fast rocker with Latimer's electric guitar working superbly with Barden's keyboards. This lasts until 5:11 when the slower paced section returns (sounding a bit like Focus). At 6:34 there's a mellotron passage accompanied by acoustic guitar; this is very effective, particularly the section at 7:50 when a screaming electric guitar moves in and out of the track and is joined by a gentle vocal. The fast section returns with some vigour at 9:11 and this passage really rocks! Listen for Latimer's superb guitar work here, and the increasingly dominant keyboard section. The slow passage returns at 12:04 and takes us gently to the end of the song. This is one of the best things Camel have done and I'd love to see them perform this one live!
This really is an excellent album; all the songs are strong and very well played. Camel are gifted in all departments and their blend of guitar, flute and keyboards works very well.
They successfully blend gentle, melodic music with rock, and none of it is wasted. Although vocals are probably the band's weakest point, they sensibly do not use them for every song and, to be fair, when they do the end result is quite pleasant. The album just gets better every time I listen to it, and I look forward to hearing more. I award this album 9 out of 10.
Interesting Facts: 'Mirage' was issued as an LP (SML 1107) in the UK by Deram in March 1974 but did not chart.
Its US release (Janus 7009) that same year saw the album reach No 149 in the Billboard chart, staying in the top 200 for 13 weeks. Mirage was released in CD format in 1989.
David 3rd December 2000
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MOONMADNESS
I can remember first listening to 'Moonmadness' back in the late seventies and, even after all this time, I still find it a very impressive composition. Regarded by many as perhaps one of their best works,
'Moonmadness' was the fourth Camel album to see the light of day with a lineup featuring Andy Ward on drums, Peter Bardens on keyboards, Andy Latimer on guitars and Doug Ferguson on bass.
Although Ferguson had some involvement with the song writing on the band's subsequent album, 'Raindances', this was to be his last recording with Camel. In places 'Moonmadness' does perhaps sound a little dated by today's standards, in part due to the way keyboard technology has moved forwards. However, this album is full of complex instrumental pieces with strong use of synthesiser and guitars, and it can certainly be regarded as being an important piece in the history of progressive music.
The album features a total of seven tracks and, despite some lyrical content, it is a predominantly instrumental work. The run time is limited to just under 40 minutes but this is fairly typical for a work that
was originally released as a vinyl LP.
The album kicks off with 'Aristillus', which is a very short instrumental piece dominated by Peter Barden's keyboard work.
Despite its length there are some great sounds on this track - and careful listeners will be able to hear some very subdued vocals from drummer Andy Ward.
After a fairly upbeat keyboard opening 'Song Within a Song', quickly settles into a more dreamy pace.
The hallmark of the first half of the song is the leisurely keyboard sound and the vocals from Doug Ferguson supported by Andy Latimer. Midway the song suddenly gathers pace, and the guitar provides a slight jazz/funk feel as the keyboard builds up to a climax, and fades out at the very end.
'Chord Change' represents the second of the three wholly instrumental tracks and is particularly worthy of note due to Latimer's excellent, at times almost Floyd-like, guitar work.
The keyboards have a marvellous Hammond sound with a very laid back style. It is followed by 'Spirit of the Water' which starts up with piano but sees the flute quickly taking over the lead, and it is this combination that sets the tone for the remainder of the short track. The quality of the instrumental work is really very good and this is enhanced by the vocals provided by Peter Bardens. This vocal part seems to have had some production effects applied to them that give a slightly watery sound which is in keeping with the song title.
'Another Night' begins with a simple repeating instrumental theme which is slowly built up before breaking out into the main theme, at which point Andy Latimer cuts in with the lead vocal part. This particular
track is fairly straightforward but sees some nice developments on the basic tune and allows guitar and keyboards to work in close harmony with each other.
'Air Born' is both atmospheric and melancholic. The piece starts out with a short flute part set against a piano backing, this is followed by a rising keyboard burst which, in turn, makes way for the guitar and
percussion to join in while the synthesiser continues to provide backing. Initially, comparisons can be made with European progressive bands such as Focus.
The vocals, again sung by Andy Latimer, have a slightly distorted effect that give them a somewhat ethereal sound. Towards the end of the track a short acoustic guitar and flute section is followed by a keyboard piece, very reminiscent of Greenslade, before the vocals come back for a final reprise.
The album finishes with the instrumental piece entitled 'Lunar Sea'.
Running to just over nine minutes this is the longest of the seven tracks and it makes very heavy use of synthesisers. With its upbeat guitar sections, heavy bass work and fast percussion accompaniment it has a slightly jazz feel to it. Although by no means a bad track, it is not really in keeping with the mood of the rest of the album and it consequently seems to be somewhat out of place.
It is important to remember that, in addition to the large number of bands that are currently producing very high quality progressive music, there is still a huge reservoir of older material that can be drawn from.
The seventies saw many exponents of the progressive genre - and Camel's early material is well worth checking out and I would suggest you give 'Moonmadness' a listen!
Simon 19th January 2000
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RAJAZ
This, the latest Camel offering, finds mainman Andrew Latimer joined by bassist Colin Bass, Dave Stewart on drums & percussion and Tom Scherpenzeel on keyboards.
It is much in the same vein as recent Camel albums "Harbour Of Tears" and "Dust and Dreams" - but dominated, ever more so, by Latimer's guitar style to the point where it is virtually a solo album. However, the guitar playing is truly gorgeous and Camel fans will lap it up.
The concept this time (for there is ALWAYS a concept with Camel albums!) is based on the poetry called "Rajaz" that was sung on the caravans carrying weary travellers across the great deserts.
A cynic could suggest that Latimer came up with some incredible eastern/Arabic guitar licks and built the concept around that; well you decide! The fact is that although Camel break very little new ground here, the music is excellent, as ever. The two instrumentals (or perhaps 'songs without words' is a better description) "Three Wishes" and "Sahara" are wonderful displays of imaginative writing and musicianship, with some really inspirational eastern flavoured sections.
Latimer's sometimes mournful vocals on the other tracks do not quite reach the heights that his guitar playing does but, nevertheless, they all have memorable melodies. A couple of songs, "Shout" and
"Straight to My Heart", stray from the concept and find him in a more personal and autobiographical mode singing of his musical childhood and the "sound of that red guitar".
Tom Scherpenzeel plays some excellent keyboard solos along the way and, indeed, perhaps this album would have been better for a greater contribution from him to create more light and shade amongst the, sometimes
endless, guitar workouts on the longer pieces.
So all in all, nothing much really new from Camel but another great album to add to the collection.
Steve Smith 12th November 1999
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THE PARIS COLLECTION
Track listing: Ice, Chord Change, Fingertips, Slow Yourself Down, Sahara, Mother Road, Little Rivers and Little Rose, Hopeless Anger, Lady Fantasy, Slow Yourself Down (late night version).
When I heard the Camel would only be releasing a single CD of edited highlights from their Y2K tour I was somewhat disappointed. This tour was my first taste of the band live, and seeing their show on the
opening night in San Francisco was one of the most enjoyable gigs I've ever sat in on. Given the band's previous tradition of releasing a full set over two discs, my hopes were high, as general fan reaction
seemed to suggest that the set-list was one of the best the band had come up with.
A show much earlier in the tour was recorded in its entirety, but due to technical foul-ups the sound was nonexistent and the tapes had to be scrapped. So instead we have to make do with a selection of tracks
from their show in Paris in October 2000 when, by the band's own admission, they were not firing on all cylinders due to Andy Latimer suffering from an infection.
So why go for this show?
Well, the comments on the CD sleeve suggest that this gig was considered by the band to be the most fun, and this may account for the final choice of tracks, most of which have been released on earlier bootlegs. Again, this is a shame, as numbers like 'Three Wishes' and 'Rajaz' came across much better live - but then if my favourites were picked, someone else's would be left out, so it's very much a subjective view.
Disappointments aside though, what you do get is a nice snapshot of the band on that tour, with a lineup almost built from scratch at the start of the tour, and still finding its legs as the tour progresses.
We were lucky enough to catch the band again two months later, this time in Glasgow, and they may have been a little bit tighter as a unit, but you'd never guess it.
The CD sleeve mentions the immediate chemistry as the band began rehearsals late in the day, and the tracks here reflect that. The performances are spot on, but with plenty of looseness around each song and,
after a couple of plays, you can begin to hear the band playing around each song and playing off each other.
'Ice' seems a bit of an incongruous start to the album, seeing as it was usually the encore, but it's still a great showcase for Latimer's guitar talent.
'Chord Change' soon livens things up however, and is one of the few tracks not previously available live. The medley from 'Dust and Dreams' is always a favourite of mine, and here it sounds a bit more rough and dirty than on the previous two bootlegs. 'Lady Fantasy' sounds as good as ever and is a worthy inclusion because it shows off the keyboard talents of Guy LeBlanc - his attack on the organ during the closing section was a highlight of the gigs we saw.
However, perhaps the real attractions on this album are the two acoustic numbers - 'Fingertips' and 'Slow Yourself Down' - which show a different side to Camel, and were a nice change of pace mid-set.
At the end of the day this album will probably only appeal to fans, and for those of us who were there on the tour it's the only memento we're likely to have, so for that reason it's worth getting hold of.
It's just a shame that it couldn't have been more.
John Stout 20th November, 2001
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A NOD AND A WINK
This year marks Camel's 30th anniversary, and this fact could be said to have had a bearing on main man Andy Latimer's conscious decision to make an album very much influenced both by Camel's own past music and that
of their contemporaries. This is in no way a modern, forward-looking album (although you wouldn't really look to Camel for that anyway), but it is a very enjoyable one which successfully recaptures the
laid-back, pastoral flavour of the band's mid-seventies heyday.
Personnel-wise, in addition to Latimer, long-time bass player Colin Bass is still on board, with keyboards handled by Guy LeBlanc and drums by Denis Clement.
The latter two musicians played on Camel's successful 2000 tour; I was lucky enough to see this line-up at The Astoria, and can confirm that the band gelled together extremely well and gave an excellent performance, boding well for Camel's future.
Thematically, many of the lyrics here deal with the longing for a time gone by and the days of childhood innocence.
There is a notable "ye olde rural Englande" flavour to much of the album - perhaps a bit odd given that Latimer now lives in California, and the two new band members are French-Canadians! Nevertheless Camel do successfully convey this atmosphere, and it gives the album a pleasingly relaxing feel - perfect late night listening.
The title track opens up proceedings, with the atmosphere is invoked by a collage of sounds including bird song, the hum of farm machinery and a steam train, while the use of glockenspiel and Andy Latimer's flute
give an almost nursery-rhymish feel...
The first main section has some softly-sung vocals (not really Latimer's strong point, it must be said), before the welcome introduction of bass, drums and electric guitar segues us into a
classic (and lengthy) Camel instrumental workout (albeit with another short vocal passage thrown in for good measure). Latimer's instantly recognisable, soaring guitar solos vie with Le Blanc's keyboards to create a familiar but very welcome soundscape - the main nod here being to Camel's own past, in particular 'Snow Goose' and 'Moonmadness'.
'Simple Pleasures', as its name perhaps suggests, has a very basic main rhythm and structure, around which Latimer plays some bluesy lead guitar solos.
Both vocally and instrumentally (and even, to an extent, lyrically) this has strong overtones of latter-day, Dave Gilmour-led Pink Floyd.
'A Boy's Life' starts with Latimer's vocal set against simple
acoustic guitar with the song then gradually building in intensity, although not going into instrumental overdrive on this occasion - this is a nicely understated, quietly effective piece.
There's still room for some of that soaring Latimer guitar though ... always a good thing in my book.
The upbeat 'Fox Hill' starts off as a dead ringer for one of those mid-70's "amusing" Genesis story songs (think 'Robbery Assault and Battery', 'Squonk' or 'All In A Mouse's Night'), complete with Andy
Latimer's impression of a toff on horseback (the song's about a fox hunt) which is obviously influenced by Phil Collins' characterisations. This is lighthearted, fairly silly stuff, but the song is raised
several notches by the excellent instrumental section, illustrating the chase very well - showing (as with 'Snow Goose') that the band are often better forgetting about vocals and just letting the music do the
talking. The song ends with a slower, flute-led section which brings fellow contemporaries Jethro Tull to mind.
'The Miller's Tale' is a short, slightly mournful ballad, with some sensitive playing by both Latimer and LeBlanc - although the use of real horns instead of synthesised ones would have added to the effectiveness of
the track.
'Squigely Fair' is an instrumental affair (apart from Latimer's "ticket collector"!), and once again gives the musicians the chance to stretch out - plenty of trademark Camel-esque guitar and keyboard work,
and some well-executed switches -
in pace, mood and between lead instruments. Andy Latimer's flute playing is particularly good on this track - this instrument was largely missing from 99's 'Rajaz' album and its extensive use throughout 'A Nod And A Wink' is welcome, as it is a distinctive part of the Camel sound.
Final track 'For Today' dispenses with the rural setting and instead focuses on a far darker and more serious theme - the events of 11th September. Starting with a sombre, vocal-led section, this leads into an
extended solo from Latimer - again very much in the Gilmour/ Pink Floyd vein - in fact, taken with the sustained-note keyboard backing, this is very reminiscent of some of Dave Gilmour's work on 'Shine On You Crazy
Diamond' (although valid comparisons have also been made to Camel's own 'Ice').
The final instrumental build up is stately and majestic, having something of a symphonic feel. Some chanted group vocals (a Camel rarity!) at the end is very effective and adds poignancy to the track.
Camel detractors will have a field day with this album - it is unquestionably quite twee in places, it doesn't really mark any progress in the band's sound, and the nods to other bands are quite blatant.
However, if you are already a fan of Camel, then 'A Nod And A Wink' will almost certainly go down very well indeed - the playing is top-notch, many of the songs are very well constructed, and the trademark Camel
sound from their heyday is back in full effect.
To cap it all, the album is extremely well-produced with each instrument crystal-clear in the mix. Overall, a very enjoyable listen - even if you haven't checked out the band before, but like relaxed, melodic prog with the emphasis on fine instrumental work, this is a good bet.
Tom 25th September, 2002
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