CAMEL

With Stationary Traveller Camel seem to dig even deeper in the 1980s. The keyboards truly dominate the music and the guitars are pushed back more than any other Camel release and most of the time its role is restricted in delivering rhythmic parts. This isn't clear from the instrumental intro Pressure Points, but the subsequent three tunes make it plain. This fact doesn't mean that the songs lack quality - quite the contrary. The title-track is the second instrumental piece of the album and this time Andy Latimer takes the lead, both in the guitar parts and the wind-instrument section (Pan pipes - no flute!). Its quality is such that it wouldn't fall short in any other Camel album, even the huge ones. Side B I would say is a bit closer to the sound the band has forged from I Can See Your House From Here onwards. West Berlin is pretty much like the stuff so far, but in the end it features Andy's signature technique with the volume knob. The fretless bass of David Paton and the saxophon of Mel Collins steal the show in Fingertips and it's one the absolute highlights of the album. Missing and After Words are two intrumental pieces (the former a fully-fledged one, the latter a two-minute one that reeks with emotion). The album comes to its end with Long Goodbyes, the only song where we can hear Andy's flute. David Paton picks up his fretless bass again and Andy's Gibson emanates a truly poignant solo. This is the way that Camel chose to deliver the story about refugees who chose to cross the then Berlin Wall. Although it is far from calling it a classic Camel album, I truly love it all these years and I spin it quite regularly. To my ears it has aged pretty well and judging by other fans reaction, it is held in high esteem by a large portion of them. It's an album that its collective quality surpasses the tracks' individual one.

Review Nº 870

"Never Let Go" is the fourth live album of Camel and was released in 1993. It was recorded from a live performance of the band in Enschede, Holland, in 1992, and as with "Camel On The Road 1972", "Camel On The Road 1981", "Camel On The Road 1982" and "Camel 73 ? 75 Gods Of Light", "Never Let Go" is also a live bootleg, a common thing with Camel.

"Never Let Go" is a double live album with twenty eight tracks. It was released to support the live tour of "Dust And Dreams". When "Never Let Go" was released, Camel had eleven studio albums, "Camel" released in 1973, "Mirage" released in 1974, "The Snow Goose" released in 1975, "Moonmadness" released in 1976, "Rain Dances" released in 1977, "Breathless" released in 1978, "I Can See Your House From Here" released in 1979, "Nude" released in 1981, "The Single Factor" released in 1982, "Stationary Traveller" released in 1984 and "Dust And Dreams" released in 1991.

So, as we can see, at the time of "Never Let Go", Camel had already a very extensive and amazing career. But, as many of we know, Camel had some problems with their lines up in the 70's. Camel only had a stabilized line up on their four first studio albums. Of their original line up, Camel saw the departure of Doug Ferguson in 1977 after "Moonmadness", the departure of Peter Bardens in 1978 before the supporting tour of "Breathless" and the departure of Andy Ward after "Nude". Besides that, Camel had also some legal problems. For a few years Andrew Latimer was fighting with lawyers to get some due royalties and to resolve the problems with their former manager. After the end of the contract with Decca, Camel was able to create their own record label, and after seven long years they released "Dust And Dreams".

"Never Let Go" has twenty-eight tracks. From all studio albums of Camel, at the time, almost all are represented here. The only exception is "Stationary Traveller" without any of its tracks represented on "Never Let Go". Thus, from "Camel" we have only one track "Never Let Go". From "Mirage" we have two tracks "Earthrise" and "Lady Fantasy", which is divided into three parts "Encounter", "Smiles For You" and "Lady Fantasy". From "The Snow Goose" we have two tracks "Rhayader" and "Rhayader Goes To Town". From "Moonmadness" we have only one track "Spirit Of The Water". From "Rain Dances" we have only one track "Unevensong". From "Breathless" we have only one track "Echoes". From "I Can See Your House From Here" we have only one track "Ice". From "Nude" we have two tracks "City Life" and "Drafted". From "The Single Factor" we have only one track "Sasquatch". From "Dust And Dreams" we have sixteen tracks "Dust Bowl", "Go West", "Dusted Out", "Mother Road", "Needless", "Rose Of Sharon", "Milk 'N' Honey", "End Of The Line", "Storm Clouds", "Cotton Camp", "Broken Banks", "Sheet Rain", "Whispers", "Little Rivers And Little Rose", "Hopeless Hanger" and "Whispers In The Rain". So, "Dust And Dreams" was entirely performed live.

The line up on "Never Let Go" is composed by Andrew Latimer (vocals, guitars, flutes and keyboards), Mickey Simmonds (keyboards), Collin Bass (vocals, bass guitar and keyboards) and Paul Burgess (drums). Camel gave a very extensive live show, a kind of a nostalgic time trip, a voyage for almost all Camel's studio works, starting from some of their best and oldest musical material in the 70's and ending with what was, at time, their last studio creation. The pieces are largely kept on the originals, but overall appear stronger than on the studio versions. So, it contains some of their best jewels from their various studio albums. We may say that "Never Let Go" is divided into two distinct musical parts. The first disc contains some of their best studio material from some of their best studio albums, and begins with a song from their debut studio album, and goes forth following a perfect chronological order with songs from their first to their eighth studio album. The second disc contains the complete live performance from their eleventh studio album "Dust And Dreams". No major changes have been made to the studio version, but the game is played with more pressure. "Never Let Go" ends with the encore of two songs from other two studio albums, which represents a kind of two bonus live songs of the show, the instrumental "Sasquatch" and the classic "Lady Fantasy".

Conclusion: Another Camel's bootleg live album. What can I say? I can say that we are in presence of another live masterpiece from Andy Latimer and his friends. And once more and despite we are in presence of a live bootleg album, the quality of its sound is once more very good. I even dare to say that it's completely irreproachable. Fortunately, their weakest albums "Breathless", "I Can See Your House From Here" and "The Single Factor" are each represented with some of their very best songs, "Echoes", "Ice" and "Sasquatch". So, "Never Let Go" is a fantastic live album of Camel, and is an excellent place to start your journey through Camel's world, if you aren't used with Camel's music, especially if you want to explore some stuff that desn't belong to the so-called golden era, that comprises their first four studio albums. Overall, "Never Let Go" is one of the best of Camel's numerous live albums due to the great selection of songs.

Prog is my Ferrari. Jem Godfrey (Frost*)

Doug Ferguson gone, Peter Bardens now gone, maybe it made sense that the original title of the album was Endangered Species - fans and critics alike were not too confident about the future of the band. But Andy Latimer had other plans in mind. Colin Bass took over the bass and he would remain in the band until the very end. In the place of Peter Bardens it took two keybordists to fill the gap, Kit Watkins ( Happy the Man) and Jan Schelhaas (National Head Band, Caravan). Special mention should be made of Phil Collins who played percussion. All well and good, but what about the music itself? Well, personally I like it a lot, though it has its ups and downs (and also a pinnacle). The opener Wait is fast-paced and full of energy and it showcases the abilities of the two newly arrived keyboard players which is the song's highlight. On Your Love Is Stranger Than Mine Collin Bass takes over the vocals for the first time and he's doing more than fine. It's an upbeat tune, pretty much in the vein of the opener and it was released as a single (with Neon Magic as the B side). Mel Collins on the saxophone makes an appearance on this track, too. From now on there is a significant leap in terms of quality. The four subsequent tracks with their tremendous melodies is a good reason why this album is a favourite of mine. I'd like to make a special mention of Hymn to Her which kicks off with a stunning melody, then goes on like a soulful ballad and suddenly the song takes such a prog twist that is hard to believe that it gelled so naturally. Every time I listen to it, though I know the song note-for-note, I can't believe my ears. No one else but Camel can do that. After this formidable quartet, the album takes a slight dip with the aforementioned Neon Magic (there is a superb instrumental section halfway the song) and a sharp one with Remote Romance (amazingly, it was this song that was included in the collection Chameleon - The Best of Camel, the album that got me into their music and all I can think is why this one!). But the best was saved for the last and not only for this album but it is a highlight in Camel's output and one the best songs in music in general. I'm talking about Ice and we should thank our lucky stars that Andy Latimer was freezing cold in the Netherlands some time when he was on tour and inspiration was still around when it was studio time when the solo was recorded in a single take. There isn't much to say: if you don't like this one, then probably you will never get into Camel - and maybe prog music.

I have a really hard time to decide if three or four represent better the quality of this album (3,5 would be more accurate), but the bottom line is to listen to Ice. Don't miss out on this tremedous song.

Three years after Rajaz the band had something to say and it is closer to the core Camel sound more than anything that have done ever since Moonmadness and, what is more, it shares the glory of their glorious past. Andy Latimer's flute takes us to the world of A Nod and a Wink. The cover gives us a clue, it somehow reflects back to childhood and the dreams that come with it. "Sleep tight /safe into the night/wander through your dreams at will" are Suzan Hoover's lyrics. The melodies (guitar, vocal, keyboard, the works) are equally magical, truly only Camel could come up with them. On Simple Pleasures Latimer is done with singing the lyrics in 2:25 minutes, eager to launch into a soulful bluesy solo before the chorus brings the song to an end. On A Boy's Life he is even more keen to finish singing the lyrics, allowing a larger instrumental section which on the fourth minute takes such an unexpected turn breathing new life into the song. It's from now on that the album picks up steam for good. Fox Hill has a playful disposition (consider Down on the Farm). It's a Camel highlight (and perhaps the album's top song) with all these manoeuvres, its sublime musicanship, the catchy melodies and the warm feeling it conveys. Next is a small intermission, so to speak, carried mainly by acoustic guitars and synths, featuring only a quatrain of lyrics. Still in its 3:34 minutes it pulls off to give off a certain amount of feeling and poignancy. After that comes the instrumental piece of the album - well, it would be if it wasn't for a brief recitation. Squigely Fair that follows is truly a gem with its unparalleled melodies (how many times this word is bound to come up when thinking of Camel's music?) and its superb orchestration. The flute playing ranks among the best in Latimer's repertoire. The bass lines are magnificent. No solos here, just golden melodies. On the last song For Today Camel and Suzan Hoover remind us of the preciousness of time, moved and inspired by the fall of the High Diver on the 11th of September, 2001. Camel here stretch their soloing muscles a bit before repeating the chorus like a mantra.

Although on the booklet it reads that Andy Latimer looked forward for the next 30 years of the band to come, his illness put a stop on his purposes. A Nod and a Wink remains the last Camel album. Even if it is truly their last contribution to Music, their legacy is worth more than gold.

OK, I know this is considered by many as an awful album, but I can't share this view and this is why: For starters, let's make clear that it was a very difficult period for Andy Latimer since Andy Ward was diagnosed with bipolar disorder (on the inner sleeve it reads that he couldn't play on this album following a serious injury on his arm and in a sense it was true since he attempted to cut his wrists to committ suicide). He was all for disbanding Camel, but there was an obligation to deliver an album in 1982. Aside that, as Latimer himself has stated, he was "coerced and sweet-talked into doing it". Now, let's have a look at the music. Granted, the album begins with a poppy one-two, namely No Easy Answer and You Are the One, an obvious sign that Camel surrendered to the demands of the decade also probably the label's pressure (the title of the album is a nod to this). Yet, it's not your every-day tasteless pop and I won't say no to any good song that comes from any genre and I still enjoy those tracks. Heroes comes next to show that Camel aren't done yet with their prog roots (though, admittedly, it has nothing to do with the glorious past). The orchestration widens on this track to fit its needs and it marks the beginning of a good streak of songs. It is also the first song where Susan Hoover penned the lyrics - many would follow. Selva is the first instrumental piece with the guitar as the protagonist and there is some connection with the past. Lullabye can't be taken as a song and what comes next is a surprise. An old friend is here, namely Peter Bardens, and Sasquatch takes a more original-Camel (post Rain Dances era) turn. How much have I missed this guy! The great drummer Simon Phillips is also recruited for this tune and this great company made up the record's top song. Manic might be Camel's heaviest song, but it still features a great prog twist halfway the song. After that, Camel revisit the pop ground they explored on the first two tracks, only this time it ruins the flow, therefore it doesn't sound as interesting to me. A Heart's Desire/End Peace are two (one actually) peaceful tracks that close the album and I can't get worked up by them.

The Single Factor clearly falls short of their earlier and later releases, but I still keep revisiting it every now and then to relish its music.

Review Nº 858

"Coming Of Age" is the second DVD of Camel and that was released in 1998. It was released at the same time of their seventh double live album with the same name. It was recorded from a live performance of the band that was made at the Billboard Live, Los Angeles, California, U.S.A. in March of 1997.

The line up on this live performance of the DVD "Coming Of Age" is Andrew Latimer (vocals, guitar, flute, keyboards and pennywhistle), Foss Paterson (vocals and keyboards), Collin Bass (vocals, bass guitar, 12 string guitar and keyboards) and Dave Stewart (drums and percussion).

Despite it has been taken from the same live show, the tracks contained on both versions, the CD and DVD versions, aren't properly the same. While both versions, the double CD version and the DVD version have the same number of tracks, twenty-eight, not all tracks correspond to the same on both. So, four tracks on the double CD live version, "Preparation", "Dunkirk", "Milk N'Honey" and "Irish Air (Reprise)" were substituted on the DVD with non musical tracks, "Rehearsal (Bonus Footage)", "Soundcheck (Bonus Footage)", "Fan Interviews" and "Closing Credits/Irish Air".

So, as I said before, "Coming Of Age" has twenty-eight tracks. The first track "Rehearsal (Bonus Footage)" represents a very interesting documentary. It's very special to all Camel fans, where we can see the band preparing the material and rehearsing for the live tour. The second track "Soundcheck (Bonus Footage)" is also a very interesting track that shows the band making the sound check to the live concert that would be released in that evening. The third track "Opening Titles/Lunar Sea" presents the concert itself, the band's members and some images of the band and of the stage. All these images are supported by their track "Lunar Sea" which was originally released on "Moonmadness". The fourth track "Hymn To Her" was originally released on "I Can See Your House From Here". The fifth track "Rhayader" and the sixth track "Rhayader Goes To Town" were both originally released on "The Snow Goose". The seventh track "Drafted", the eighth track "Docks" and the ninth track "Beached" were originally released on "Nude". The tenth track "Spirit Of The Water" was originally released on "Moonmadness". The eleventh track "Ice" was originally released on "I Can See Your House From Here". The twelfth track "Sasquatch" was originally released on "The Single Factor". The thirteenth track "Fan Interviews", as its name indicates, is composed by some interviews with people who attended the live show and correspond to the brief pause of the live show between the two parts of it. The fourteenth track "Mother Road", the fifteenth track "Needless" and the sixteenth track "Rose Of Sharon" were originally released on "Dust And Dreams". The seventeenth track "Irish Air", the eighteenth track "Harbour Of Tears", the nineteenth track "Cobh", the twentieth track "Send Home The Slates", the twenty-first track "Under The Moon", the twenty-two track "Watching The Bobbins", the twenty-three track "Eyes Of Ireland", the twenty-four track "Running From Paradise", the twenty- five track "End Of The Day", the twenty-six track "Coming Of Age" and the twenty-seven track "The Hour Candle" were all originally released on "Harbour Of Tears". The twenty-eight and last track "Closing Credits/Irish Air", as its name indicates, represents the credits on the DVD and is supported by "Irish Air", a song already performed live by them on this DVD.

The DVD "Coming Of Age" is particularly interesting due to the almost complete live version of the then current studio album "Harbour Of Tears", which takes up most of the second part of the show. The pieces don't sound exactly the same, but they stick relatively close to the studio versions. Overall, this is a great DVD with nice playing and some great tunes. Much better than shows made by so-called big name bands. Still, for me, Camel always was one of big names.

Conclusion: From what I know, "Coming Of Age" is the best DVD of Camel and represents, in my humble opinion, one of the best DVD's ever released by any band. It brings to us some of the best musical moments created by Camel from 1975 to 1996. The final result was a tremendous triumphant concert, one of the best examples of how to do it right with great style. To conclude, I can't resist to transcribing the second paragraph on the back cover of the DVD, which resumes perfectly well my present feelings about Camel and "Coming Of Age". In a chaotic business that has seen countless musical trends come and go in the last two and a half decades, Camel have remained true to themselves, their music, and their ever growing legion of fans. The soaring melodies, the dazzling arrangements, the superb musicianship, the intensity, the emotion, the artistry?it's all here in glorious surround sound to be experienced again and again".

Prog is my Ferrari. Jem Godfrey (Frost*)

With only 2-3 good pieces here and the rest ranging from bad to mediocre. I cannot recommend this album to anyone but the most forgiving fans. Half of the album is background light pieces that could be done by above average children. The best track on the album is "Docks" a track that can easily fit Camel albums that came before it. "Captured" is also quite good. But enduring this boring album for so little is a grueling task. I think "Breathless" is a much better album than this one. I haven't listened to "The Single Factor" but its hard to imagine it being worse than this.

Camel reached their late artistic peak on Rajaz and their 2002 album, "A nod and a wink". It is more upbeat than the conceptual "Harbour and tears". Starting from the first track, the instrumental "Three wishes", this is clearly a progressive rock pathway with no new milestones but hardly any setbacks either. The guitar is dominant with the emotional drive and stunning beauty. Keyboards could take more leads though they remain colourful. Versatile drumming is fitting the purpose. There is a level of exotics in the music but it doesn't disrupt from the flow. Latimer has created a piece of work that few peers could match at their comparable age (Hackett and Gilmour come to my mind). Enjoy it!

The pressure from the label for hit singles got even bigger and so did the rows between Andy Latimer and Peter Bardens. The album is more accessible, but to my ears it is an incredible cross between progressive music and "pop" stuff. The uplifting title-track (where the vocals are provided by Sinclair) is an indicator of the direction of the album, but hold your horses; Echoes is the first true gem of the album, a genuine masterpiece. More beautiful melodies and more great bass lines come in bounds on Wing and a Prayer (where Bardens sings for one and only time here on Breathless), as well as Down on the Farm. I get a folk vibe from Starlight Ride which suits me fine. Great woodwind lines and also Bardens provides superb piano background. Side B opens with an almost disco song. That's right, but one of Andy's best solo ever (and there are plenty of them) really takes Summer Lightning to another level. I'm still surprised why I like so much such poppy stuff. It's a unique piece of music but You Make Me Smile although is just as poppy it doesn't share the quality of the previous tracks and it is the only flaw on the album. The Sleeper which is the album's sole instrumental track restores things and will also please those who swear by the first four Camel albums. As a closer comes the album's most poignant moment. The rows between Latimer and Bardens had come to the crunch and the latter would leave the band. Many fans view Breathless as the last essential Camel album since it was the last collaboration between those two genius musicians. If you read the lyrics of Rainbow's End you might think it is about two lovers, but it is Andy's farewell to his mate. It sent chills down my spine when I first heard it and so it does after all these years. No, Breathless is an album I love deeply. Sublime stuff.

Review Nº 846

"The Paris Collection" is the ninth live album of Camel and that was released in 2001. This live album was taken by several recordings made of their live concert performed at the Bataclan-Club, in Paris, France, in 30 September 2000.

"The Paris Collection" belongs to a live tour that was at risk of not being released. Amongst other things, the band had some problems with the line up for this live tour. After all, they needed a new keyboardist and Guy LeBlanc was invited. After he arrived in San Francisco and discussed the conditions he joined Camel. When they thought that everything was right, their drummer Dave Stewart informed the band that he had accepted a position as manager of a drum shop and can't keep his commitment to that tour. Then it was suggested that the ex-Jethro Tull drummer, Clive Bunker was the right man to the job due to his playing style. Clive Bunker agreed to do Camel's tour but after some time he inform the band that he was unable to do the tour. So, Guy LeBlanc suggested and called the French Canadian drummer Denis Clement which was fortunately available. The mainly problem is that he was a completely unknown entity, but after he arrived at San Francisco and does the casting he soon proved that he was perfectly capable to do flawlessly the job.

By the other hand, Andrew Latimer had an extremely bad cold which turned to a bronchial infection and if that's not enough he latter chipped a bone in his knee cap and had to perform sitting down. Due to Latimer's infection he was unable to sing and Colin Bass and Guy LeBlanc takeover of all vocal duties. So, all this made of "The Paris Collection" a different Camel's album without the familiar Latimer's voice. But, as a whole, the band was able to do a very good job.

So, the line up on "The Paris Collection" is Andrew Latimer (guitar), Colin Bass (vocals, acoustic guitar and bass guitar), Guy LeBlanc (vocals and keyboards) and Denis Clement (drums and percussion).

"The Paris Collection" has ten tracks. The first track "Ice" was originally released on their seventh studio album "I Can See Your House From Here". The second track "Chord Change" was originally released on their fourth studio album "Moonmadness". The third track "Fingertips" was originally released on their tenth studio album "Stationary Traveller". The fourth track "Slow Yourself Down" was originally released on their debut eponymous studio album "Camel". The fifth track "Sahara" was originally released on their thirteenth studio album "Rajaz". The sixth track "Mother Road" was originally released on their eleventh studio album "Dust And Dreams". The seventh track "Little Rivers And Little Rose" was also originally released on "Dust And Dreams". The eighth track "Hopeless Anger" was also originally released on "Dust And Dreams". The ninth track "Lady Fantasy" was originally released on their second studio album "Mirage". The tenth track "Slow Yourself Down (Late Night Version)" is a bonus track, an acoustic studio version of the original track.

"The Paris Collection" is another release from the "Official Bootlegs" series of Camel, this time a recording that was made in October 2000, in Paris. About the live performance of the band and the choice of the repertoire of Camel to be included on this album, it was very good. First, there are a few older pieces to be heard. So, we have the majestic instrumental track "Ice" and the instrumental "Chord Change", both from the 70's, are determined entirely by Andrew Latimer's cutting electric guitar, which is much more effective here than on the studio versions. For "Fingertips" and "Slow Yourself Down" the album then switches to the acoustic guitar, which gives the two pieces a very different character than the original. After "Sahara" from the 1999 album "Rajaz", there are three songs from "Dust And Dreams" that merge into one another, followed by Camel's classic "Lady Fantasy". These pieces are again kept relatively close to the respective original versions, but appear much more dynamic here. Finally, and as a bonus track there's a very atmospheric version of "Slow Yourself Down" recorded by Andrew Latimer and Guy LeBlanc with only acoustic guitar and keyboards in the studio. So, there's enough variation of Camel's material for the release of another live album.

Conclusion: Camel is, in my humble opinion, one of the best progressive rock bands that ever existed, is one of my favourites and it's also the band of the 70's that give me more pleasure to listen too, nowadays. Relatively to "The Paris Collection" I must confess that I had some reservations about this album and it was one of the last two albums that I bought from them because some previous reviews. When I read about the so many problems before that live tour and that Andrew Latimer doesn't sing a note on the album, I was really a bit worried about what I would hear. However, and despite it isn't a masterpiece, I was pleasantly surprised with "The Paris Collection". So, let's see why. Collin Bass and Guy LeBlanc take good care of the vocal parts and it has also great musical moments too, especially the three songs from "Dust And Dreams", and of course, their legendary track, "Lady Fantasy". So, I have no problem in recommending this album to everyone who likes good symphonic progressive rock performed live. This is a wonderful set all around.

Prog is my Ferrari. Jem Godfrey (Frost*)