CAMEL

When by the second part of the seventies the worn out progressive genre was being checked by the new wave and disco, the ductility of Andy Latimer and his band mates to cope with the change of musical paradigms was something to be admired. Already "Rain Dances" heralded a shift in Camel's style, and "Breathless" (1978), their sixth album, confirms it. Moving away from the lengthy instrumental developments and few vocal participations in favour of more accessible melodies and in which the lyrical component had a greater incidence, 'Breathless' flows between the incorporated pop sonorities seasoned with ingredients taken from light jazz and the progressive vein of the band's first works.

And those embryonic reminiscences are what give the album its greatest value, especially in moments like the intricate elaboration of the progressive "Echoes", which, beyond sharing the same title as the famous Floydian song, is surely the best track on the album, or the dreamy, baroque gait of "Starlight Ride", or the jazzy vibes of "The Sleeper" with the very accomplished saxophone of guest Mel Collins, Pete Bardens' keyboards and Latimer's guitar solo (an unjustly underrated quality of the British band's leader).

But the poppy and more conventional waves that were coming on the way to the eighties are the ones that noticeably influence and end up marking the character of the album, with tracks like the light-hearted "Breathless", the mellow "Wing and Prayer", the dull and bland "Summer Lightening" (despite another excellent guitar solo by Latimer), or the self-indulgent beat melody 'You Make Me Smile'. And it was precisely this change of direction that was no longer unanimously shared by the band, leading to Bardens' departure once the recording of the album was finished, and he said goodbye with the orchestrated "Rainbow's End", a delicate and melodic ballad.

"Breathless" brought Camel one of their biggest commercial successes, as well as the questioning of many of their early supporters who took a dim view of the band's metamorphosis.

Acceptable.

2.5/3 stars

Mirage is the second album by Camel and one of the 3 best albums. It is the first one I had ever heard and I fell for it from the first listen in 1979. Their first album was like a lot of bands firsts, they were trying to find their way. Andy Latimer (guitar, flute, vocals), Doug Ferguson (bass, unifier) and Andy Ward (drums) were previously a 3 piece called "The Brew" until they brought on Peter Bardens on keys and that is where Camel was born. Bardens had already been where the other 3 had not; a music industry veteran who had recorded with Van Morrison had a solo album under his belt among other things.

Their first gig was as "Peter Bardens On" to fulfill his obligations before switching to the name that would stick. The magic was apparent on a few tracks on the first album but when "Mirage" was released they found their place. Really, when these 4 guys were together that is where the real best of Camel existed. Mirage is loud and soft at points but radical.

Latimer / Bardens had a great writing partnership and this album shows it. There is seriously not a single track on the album that I do not like. "Freefall" comes on to start and immediately sets a fast pace. "Supertwister" is a good track and "Nimrodel / The Procession / The White Rider" is a great prog track with some great key work and later a haunting guitar solo by Latimer that ends the song wonderfully. Bardens was one of the most underrated keyboardists in prog.

"Earthrise" is a great instrumental track that winds its way through a nice journey. "Lady Fantasy" is the longest and last track on the album. It is a love song but in a radical sort of way. It starts out that way but kicks into high gear through some great instrumentation and back to the love part and then explodes into the finale and a raunchy guitar solo and some fantastic keyboard work on Bardens part.

This is a well rounded album and it is only matched by "Moonmadness." This album is more raw in sound than that album. "Snow Goose" which followed this album was a great in between the 2. Camel's work after Ferguson left the band (pushed out) started to fall apart. Later Bardens and Latimer would both admit when Doug was let go it fractured the band. "Rain Dances" was good and had that more jazzy feel but it is not near as good and after that Latimer was aiming for pop hit singles and alienated Bardens forcing him out. After Ward left due to his issues with alcohol and mental health issues Latimer pressed on alone but none of the future albums ever came close to the beauty of this album and the others the 4 guys put out.

This is Camel's third album that follows their breakthrough second album, Mirage. It is based on the Novella by Paul Gallico. It was initially intended to have lyrics based on the story, but they had to be dropped for copyright reasons. So here we have a fully instrumental album. I will say I'm somewhere between level 1 and 2 on this one as I have heard several of the tracks before, but never the whole thing from start to finish. Also worth noting is that this review is based on the original album from 1975, not the 2013 re-recording.

Track 1 - The Great Marsh

We have a slow fade in of bird sounds, joined by electric piano with delay. There are some wordless vocal "ahhs" and a few guitar fills. By 1:30 we have a lush, orchestrated theme to take us to?

Track 2 - Rhayader

I am very familiar with this track as it was one of the first Camel tunes that I got to know. This is primarily a flute solo played by Andy Latimer over a jazzy groove. By around 1:30, though, we set up to have a keyboard solo by Peter Bardens. The arpeggio lick he plays at around 2:20 is a bit of a signature of his. The main theme returns following the solo and we wind down to a close.

Track 3 - Rhayader Goes to Town

This one begins with a fast triplet synth arpeggio riff with accents from the band. As the track proceeds, we have a fast shuffle beat with harmonized guitar lines on top. The beat changes at 1:10 and becomes whimsical at first, then slows down for a sad bit. These different feels alternate for a bit, before we have a slow groove for Latimer to take a slow bluesy guitar solo over. At around 4:30 I am reminded of one of the themes from Lady Fantasy on Mirage. Following that the whimsical bit closes the track.

Track 4 - Sanctuary

This is one of the shortest tracks on the album at just over one minute. Classical guitar fades in joined by clean electric guitar over the top of it. The track is winding down by the time I typed these few lines.

Track 5 - Fritha

Another very short track, at 1:19. This one fades in with some feedback on the top. Acoustic guitar and organ take the spotlight here with a slow delicate tune.

Track 6 - The Snow Goose

A bit longer at a little over 3 minutes. After an introduction, Latimer plays a solo that will become a recurring melody on the album. It is in a slow tempo here. The band provides a nice accompaniment.

Track 7 - Friendship

This sounds like a woodwind arrangement one might hear on Prokofiev's Peter & the Wolf. Another brief section.

Track 8 - Migration

A drum roll brings us in with wordless vocals taking the lead over a jazzy groove and wah-wah electric piano.

Track 9 - Rhayader Alone

The theme from earlier is back in a slow melancholy way.

Track 10 - Flight of the Snow Goose

This is a familiar track to me. Synth fades in and we build up to a sweeping melody. Doug Ferguson has a nice bass line here while Latimer & Bardens play the melody in harmony.

Track 11 - Preparation

A 5-8 guitar pattern forms the basis over which a flute takes the melody. Then we go to 5-4 There are some wordless vocals again over the repeating riff.

Track 12 - Dunkirk

This has more rhythm than the previous track. Doug Ferguson & Andy Ward keep a simple but steady tempo and Latimer solos in a melodic manner over the top on guitar. There is a cool little turn-around between certain phrases, which keeps it a bit more interesting. The feel changes at around 3:30. The tempo gets much faster, and things get more exciting. There are some cool drum fills with effects on them along the way. The ending of the track gives major ELP vibes.

Track 13 - Epitaph

Ominous church bells bring us in along with some cool synth sounds. Then it fades back out after a minute or so.

Track 14 - Fritha Alone

Mellow piano arpeggios start this part off. Bardens plays a little melody on top on the piano.

Track 15 - La Princesse Perdue

Another familiar one to me. Very similar to Rhayader. They expand a bit on the melodies here. Wonderful orchestration with the guitar solo at 2:20.

Track 16 - The Great Marsh (Reprise)

Sound effects and a bit of electric piano fade in and out.

OVERALL IMPRESSIONS:

I had heard enough of the individual tracks to get an idea of what to expect, and there were very few surprises. I know many call this Camel's masterpiece, but I still prefer Mirage. The album is enjoyable, but not very exciting to me. I'll give it a 4 out of 5 stars.

I am going with level 1 on this album. I am very familiar with Lady Fantasy, but not the other tracks. I tend to enjoy Camel's music though, so I am looking forward to it.

Track 1 - Freefall

We fade in with synth sounds and go into a great rhythmic accent pattern. Following that there are some different melodies before coming back to the other pattern. Dynamic intro! Grabbed me right away. Andy Latimer's vocals aren't spectacular, but they are certainly not bad at all. He gets the job done. A bit after 2 minutes, we hit a quick- tempo jazzy instrumental section for a guitar solo with shifting meters. Nice solo from Latimer. Bardens follows with an organ solo. Then there is a full band instrumental break with changing meters. There is a recurring descending melodic pattern that fits well with the title. We end with the opening riffs and some ending chords. Great track!

Track 2 - Supertwister

After a brief slow introduction, with some flute from Latimer, the tempo picks up nicely into a 7-8 bit. Latimer continues on flute. Then the bass takes over, and the tempo slows down. We continue with a flute solo. The tempo picks up with a bit of harpsichord. I believe this is an instrumental. Yep, a brief but nice track.

Track 3 - The White Rider: a- Nimrodel, b- The Procession, c- The White Rider

A bit of Tolkien here, as I understand it. This is the second longest track on the album at just over 9 minutes. Mellow sounds kick this one off, with a synth over the top. Following that we have people cheering and a marching band coming by. Next the band locks into tempo with a mellow guitar solo on top of mellotron strings and the rhythm section, followed by keyboards in the lead. Latimer's mellow baritone voice joins in. Just before 4 minutes the tempo increases to a gallop, and Bardens takes the lead with a synth solo. At around 5:30 Latimer's guitar takes the lead. Then he's singing about Gandalf after he becomes Gandalf the White. Doug Ferguson takes over with a bass feature before Latimer switches to slide guitar. Andy Ward gives us some great drum fills along the way.

Track 4 - Earthrise

Sustained organ chords and clean electric guitar start the proceedings here. This reminds me of things I have heard from the later Snow Goose album. Not sure if this is going to have vocals or remain an instrumental, but I suspect the latter. Excellent meter shift at around 2 minutes. Nice funky rhythm guitar from Latimer while Bardens solos. The rhythm section is cooking. Now Latimer returns with a guitar solo, possibly reverse recorded. They trade solos again then play harmony lines in a manner not unlike the Allman Brothers. The tempo moderates with around 40 seconds to go. Excellent instrumental.

Track 5 - Lady Fantasy: a- Encounter, b- Smiles for You, c- Lady Fantasy

Cool organ arpeggios start off the closing epic, with melodic guitar playing. Electric piano leads the way for the rhythm bed under the vocals, along with acoustic guitar and the rhythm section. The verses are nice and groovy, in the truest sense of the word. The groove continues while Latimer and Bardens each take a solo. The tempo and riff change at 3:45. More solos follow. The rhythm section is swinging away underneath. Before the 5-minute mark that band accents the riff, then transitions to a moderately slow tempo and mellower feel. Latimer plays an almost mournful melodic pattern on this. The rhythm section bows out for sustaining keyboard chords with some mellow guitar on top. He has a nice, sustained feedback note before he starts singing with subtly more rhythm underneath. There are harmony vocal parts, not very common in Camel. Then we start rocking out at around 9 minutes. The band is jammin' on these riffs while the lead players shine. Then the riff from near the beginning of the song returns with tight rhythm section playing underneath, the tempo slows and we're out. Still my favorite Camel track of the ones I know.

OVERALL IMPRESSIONS.

That was an awesome way to spend 40 minutes. Thus far, this is my favorite overall Camel album. Moonmadness was good, but this one is great. Nothing I'd change about it. 5 out of 5 stars! (Incidentally, I believe that today is the 50th anniversary of the album's release.)

Scott Rich Thu, Feb 8, 11:54 AM to me

I am rating myself as a level 1 on Moonmadness. I have indications that I have heard 4 of the 7 tracks on this album before, but never the whole album in order. While I am no expert on the band, there are some Camel songs that I like quite well, especially Lady Fantasy from the earlier album Mirage. This is the first Camel album we have reached on the countdown, but there will be more to come! This album has a loose concept, with each member having a track meant to reflect his personality.

Track 1 - Aristillus

We begin with upbeat keyboards. This is a short instrumental intro to the album.

Track 2 - A Song Within a Song

(One of the tracks I have heard before)

This one begins with mellow, slower tempo keyboards and subtle rhythm section contributions. A flute solo joins in. The first verse begins with harmony vocals. Apparently, Latimer's vocals have been criticized in the past, but I find them to be a pleasant if unremarkable baritone. Another flute solo happens, followed by the second verse. The dynamic level increases at around 3:10, and the guitar becomes more prominent. The meter begins to alternate between 4-4 and 7-8. Then the tempo increases to a quick 6-8 for the keyboard solo. Another time change happens at around 5:50 to an up-tempo 4-4 as the keyboard retains the prominent role. Excellent track.

Track 3 - Chord Change

This song is the one meant to represent keyboardist Peter Bardens. I have heard this one before. We start with a quick 7-8 riff on guitar, which is played in harmony the second time around in a manner reminiscent of the Allman Brothers. The timing changes around 48 seconds into the song. Bardens and Latimer (Guitar) are playing impressive melodies in harmony. The tempo slows at around the 2-minute mark and the music becomes more relaxed, in almost a Pink Floyd sort of way. Bardens takes over with an Organ solo just before the 4-minute mark. He switches to synth at around 5 minutes. We get a return to the quick tempos and Latimer takes over on guitar. The song fades out as Latimer repeats a melodic phrase on the guitar.

Track 4 - Spirit of the Water

We start with piano arpeggios and Flute (also Latimer) There are vocals (apparently sung by Bardens) but they are "distant" and have effects. This is just a brief track that closed-out side 1 of the original LP.

Track 5 - Another Night

This one is to represent bassist Doug Ferguson. This one fades in with a riff played in harmony on guitar & keys, much in the same way that the previously mentioned Lady Fantasy does. The rhythm section joins in at around 40 seconds. Then the first verse begins in odd shifting meters. This song has a slightly "rockier" edge to it. We have an odd meter instrumental break at around 3 minutes. Excellent playing by the 4 band members. The next verse begins around 5 minutes in, followed by an organ solo. After a transitional section, there is a guitar solo before the song fades out. Good track!

Track 6 - Air Born

This one represents Andrew Latimer (Guitar/Flute/Vocals). I have heard this one before. We start with a flute solo accompanied by gentle piano. The band kicks in at around 0:45, at a moderately slow tempo, with Latimer switching to guitar. His vocals come in with effects similar to those used earlier by Bardens. The flute takes back over after a verse, accompanied by guitar (the magic of overdubs). Then guitar and electric piano come to the forefront. Wind sound effects join in. Another verse comes in with mellotrons, giving it a bit of a Moody Blues feel. This continues into the grand instrumental close of the song. Nice track.

Track 7 - Lunar Sea

This one is representing Drummer Andy West. (I've heard this one as well.) At over 9 minutes, it's the longest track on the album. It begins with a synth intro. At around 1:15 a rhythm emerges in an odd meter. Latimer plays a melodic guitar solo over the top. The rhythm section is playing a complex rhythm underneath. Well-done. We switch to a mid-tempo 4-4 at around 2:45, and Bardens takes over with a synth solo. The previous odd-meter (in 5- 8, I believe) rhythm takes back over at around 5:15, and Latimer plays a more improvisational type of guitar solo. The drums lock in with some of his licks. Very tight playing. We go to 7-8 around 7:15. I think this is my favorite track. We start fading out and synth chords take over. Sound effects (sort of wind gusts) conclude the track and thus the album.

OVERALL IMPRESSIONS:

A very strong album indeed. Great playing throughout and interesting compositions. As previously mentioned, I liked Lunar Sea the best, but there were no bad tracks. I am giving this a 4.25 out of 5 stars.

Clicked 4, but really 4.25.

If you want to create a concept album, first listen closely to "Nude," the eighth studio masterpiece by the English prog band Camel. This work can rightfully be considered the pinnacle within the genre of progressive rock and it was released in 1981.

"Nude" features an incredibly strong concept. It is based on a true story of a Japanese soldier who, after World War II, remained on a Filipino island for 29 years, believing the war was still ongoing. Susan Hoover, the partner of frontman Andy Latimer, added her own twist to this event and also wrote the lyrics for the album. It's remarkable how you get absorbed into the story, becoming a partaker in his triumphant welcome back home. Hoover's writing also makes it clear that the main character cannot adjust to civilized society and ultimately returns to his island in a small boat. Truly vivid storytelling, Mrs. Hoover; now, let's see the interpretations of your husband and his bandmates.

The strength of "Nude" lies in its outstanding musical arrangements, occasionally showcasing Camel at its best. Latimer's melodic guitar playing sparkles like the most beautiful flames and Colin Bass's bass guitar hums and growls delightfully. Andy Ward's drums create vibrant splashes, and the various keyboard parts sound tasteful and atmospheric. Additionally, instruments like the flute, saxophone, koto, and even tuba add beautiful hues to the music, while the warm, somewhat languid vocals of Latimer and Bass create that typical Camel feeling.

An intriguing aspect of "Nude" is its immense variation. The album consists of fifteen tracks that thankfully do not portray a band dabbling aimlessly in different styles. "Nude" is an album with a vision that immediately captivates you from the opening track City Life, immersing you in an elusive atmosphere. Following the mid-tempo pop-prog song, where Mel Collins delivers a spirited sax solo, is the ultra-short title track that transitions into the beautiful ballad Drafted, showcasing an awe-inspiring guitar moment. After these song-oriented tracks, Camel delves deep into a compelling instrumental duet composed of the tracks Docks and Beached. The band presents a richly progressive sound with occasional jazz-rock allure that is simply delightful. Special mention should be given to the delightful drum breaks that Andy Ward conjured from his drum kit. The duet is followed by the contemplative Landscapes, which serves as a mindfulness therapy of sorts, bringing a calm and beautiful end to side A of the LP.

Side B opens with the percussive Changing Places, a track with a world music vibe, a style that we encounter more frequently on this side. Cleverly, this dreamy atmosphere is interrupted by other tracks such as the fanfare-like The Homecoming, the exhilarating Captured, which wouldn't have been out of place as part of the aforementioned duet, and the bluesy guitar-infused Lies. To conclude, there's the melodious The Last Farewell consisting of two parts. Firstly, there's the new-age-like The Birthday Cake, but soon Latimer elevates it to monumental proportions in Nude's Return and the rolling drums bring an open ending to the whole experience.

With "Nude," Camel has delivered the ultimate proof that a strong concept adds significant value to an album. Not that we didn't know this already, but it cannot be emphasized enough.

Orginally posted on www.progenrock.com

The cover of "Mirage", the second album of the then groundbreaking band Camel, is quite remarkable. It shows a mirage of the front of a cigarette pack which I won't mention the brand of. The image is highly evocative with its stoic- looking desert creature. Nowadays creating something like that would be a piece of cake with a little photoshopping but the album dates back to 1974 implying the necessary craftsmanship to produce such an image. The true smoker can immediately see the drawing has been copied as Manneken Pis is not easily discernible in the camel's forelegs.

The music is a pure showcase of craftsmanship. On "Mirage" it's overflowing with guitar and keyboard solos even more so than on the subsequent albums "The Snow Goose" and "Moonmadness" which brought the band worldwide fame. However, "Mirage" is much more than just a precursor to that success as all the characteristic Camel ingredients are already present on the record. With great bravado and tons of determination the legendary quartet of Latimer, Bardens, Ferguson, and Ward consistently deliver beautiful melodies, mesmerizing chords and driven rhythms within a structure that deviates from the norm.

"Mirage" only lasts 37 minutes and consists of only five songs of which the first one, Freefall, written by Pete Bardens is considerably less impressive. In terms of bass and drums this staccato number is actually quite an energetic opener with a nice jazz piece in the middle but guitar and keyboards play only a minor role. It wasn't the best choice to let Bardens, the keyboard wizard of the group, sing the song himself as his guitar-playing colleague Andy Latimer has a much more pleasant voice.

After that it's basically all 'Hosanna Hosanna' for fans of melodic symphonic rock. Due to the high Red Bull level of the music you occasionally need some time to recover and the quartet allows you that time. It must be said that drummer Andy Ward is almost unstoppable but fortunatel the man's playing also has delightful relaxed moments. Camel never lets you dry out and with "Mirage" they give you a solid set of wings. For years I've been soaring miles high on the beautiful sounds of Supertwister. Supported by Fender Rhodes tinkling, Latimer's flute takes you on an enormous journey. Flute playing is often described with words like 'dreamy' and 'heavenly' but what Latimer demonstrates in this song is so different, so defining. At a certain moment he plays a trill and then tears open the sky with the right amount of reverb. What a magnificently beautiful moment and what an anchor point in the musical experience of many. At the end of the song, the band has a little trick up their sleeve. You can hear someone using an opener on a beer bottle and pouring it. So everyone can be fully replenished to fully enjoy the swirling triptych of Nimrodel, The Procession, and The White Rider.

You can hear a solemn guitar melody in The Procession. It unrelentingly demands attention and if you listen intently to the piece you will witness one of the most dazzling Moog solos ever by Camel. The lyrics, by the way, ? it won't surprise anyone anymore ? are about The Lord of the Rings. The gentlemen of Camel excel at creating the appropriate atmospheric changes, both subtly and drastically. Not only this triptych but especially the awe-inspiring Lady Fantasy holds those welcome twists and turns in high regard. Before the band concludes with this fantastic classic, making the air tremble, there is first the instrumental Earthrise that truly leaves you breathless. Its beginning is beautifully melodic but then the band goes all out. Thumbs up for that delightful play on the Hammond organ.

Every time the intro of Lady Fantasy starts you can prepare yourself for twelve exhilarating minutes. It forms the closing that the album deserves. This is no illusion; it is an unparalleled reality. To illustrate how captivating this rarity is I'll simply say that the wailing guitar tones in the serene middle section have been piercing straight through my heart for years. What a golden guitarist! The influence of Camel in general and of "Mirage" in particular, is immense.

I've become a heavy chain smoker and thanks to the ending of Supertwister I've become heavily reliant on alcohol. But above all, I am forever addicted to their beautiful symphonic rock.

Orginally posted on www.progenrock.com

There were changes in the fold of my ever-favourite band back then. The original -and unsurpassable- quartet had to split due to differences between the drummer Andy Ward and the bassist Doug Ferguson. The latter - who had suggested that Andy Ward should join the band - wanted Camel to carry on being a prog rock act whereas the former wanted to move into jazzier territories, threatening no less that he would leave if Ferguson remained as the bassist. More than that, the bass lines that Latimer was coming up with were out of Ferguson's reach. As a result, Ferguson was asked to leave. His replacement was Richard Sinclair (ex Caravan) who was playing in Hatfield and the North at the time, but they had just disbanded and he was available. Aside his bass playing, he also contributed with vocals. Another addition was Mel Collins (ex-King Crimson but I got to know him from Dire Straits-personally speaking!) as a guest. Therefore a new musical direction was bound to take place. To my ears it is an album I truly enjoy. First Light that kicks things off is spectacular and full of melody with Bardens' leads up front. The rest of side A sounds more or less equally enjoyable to my ears. Side B begins with one of the best Camel tunes, ever. Unevensong is a m-a-s-t-e-r-p- i-e-c-e, full stop. It is perfect. It is timeless. It is Music at its best. After this, the vocals call it a day and four instrumental tracks close the album. I won't be surprised if I ever hear One of These Days... on a summer night bar (its concept was revisited one year later), Elke was the precursor of Nude, Skylines although it features some excelellent fretless bass playing by Latimer is not one of my favourites and Rain Dances is a reprise of First Light.

Camel widened the palette of their sound with the addition of two fine musicians and Andy Ward fulfilled his heart's desire and tried other things, too. I am too young to know what people could expect back then. I gather anyway that it is not considered by the fanbase as a Camel must-have album. Maybe it isn't, but I would have felt poorer if I hadn't listened to it.

Camel's Rain Dances is full of highs and lows and comes across as a fairly mediocre safe album with only a sprinkling of prog in comparison to their earlier releases.

First Light is a solid start with some solid guitar work from Andy Latimer and the musicianship of Collins, Sinclair, Bardens, and Ward.

You would think with such a lineup this would be a feast of prog but it is not to be. Instead this is a pop driven melancholic album with nothing that delights like Mirage or Snow Goose.

Metrognome is a fun track and I liked Highways of the Sun with its melodic approach.

One of These Days I'll Get an Early Night is quite innovative and Elke is great with Brian Eno's brilliance to propel it along.

Apart from that nothing stands out so this is a rather disappointing album. Worth 3 stars due to Andy Latimers fine contribution.

One of Camel's most notable albums is "Harbour of Tears," whose quality is amplified by a strong and emotionally resonant concept that aligns perfectly with the band's musicality. To better understand the story behind this album, we need to go back in time to Ireland between approximately 1845 and 1850, a dark period in the country's history known as "The Great Famine."

This album uses this tragic historical moment as its guiding thread. It tells the story of an Irish family facing painful separation, with the younger members departing for the United States and Canada in search of a better life. The album's title, "Harbour of Tears," alludes to the deep-water port located in the town of Cobh. This port served as the departure point for the ships carrying these people, creating an extremely sad farewell scene.

The lyrics of the album were primarily written by Andrew Latimer's wife, Susan Hoover. Though I don't have full confirmation on this, it seems that Latimer's idea for the album was inspired by the story of his own ancestors, who were Irish immigrants from that time. This personal connection adds an additional layer of depth and emotion to the work.

Musically, it's an album that blends progressive rock with Celtic and folk elements, deeply reflecting the Irish theme. Through its melodic and atmospheric harmonies, the album creates a sonic environment that transports the listener to the landscapes and stories of Ireland. The instrumental passages are meticulously crafted, creating a mesmerizing sonic tapestry.

"Irish Air," with it just under a minute, delicately and melancholically kicks off the album, notable for Mae McKenna's soft and emotive vocals. The song's atmosphere sets the emotional tone for the rest of the album, immersing the listener in a mood of introspection and sentiment. "Irish Air (instrumental reprise)" is an instrumental version of the opening track, reinforcing the central melody and the feeling of sadness and nostalgia.

"Harbour of Tears" is an emotionally charged song, whose lyrics capture the pain of departure and the hope for a new beginning. This duality between sadness and hope is skillfully expressed through the music, especially by Andy Latimer's evocative guitar, which shines over a combination of gentle chords and engaging harmonic progressions. "Cobh" is another short instrumental track with less than a minute, serving as an interlude, offering a moment of beauty and simplicity that functions as a reflective pause in the album's narrative.

"Send Home The Slates" is more dynamic, standing out for its vibrant combination of electric guitar and keyboards. The interaction between these two instruments creates a rich and engaging sound, while its lyrics emphasize the harsh reality of railroad workers, the importance of sending money home to the family, and the longing and emotional connection with loved ones in Ireland. "Under the Moon" is more introspective and stands out for its gentle arrangement and melancholic guitar that echoes like a lament. The atmosphere created is dense and emotive, evoking a sense of delicacy and contemplation.

"Watching The Bobbins" is one of the longest tracks on the album and boasts instrumentation that is truly remarkable, standing out for its ability to create a rich and immersive sonic tapestry. Latimer's guitar is the pulsating heart of the music, emitting notes that are laden with emotion and depth, while the lyrics depict the realities of a woman's life in the textile industry, highlighting difficult working conditions, physical and emotional strain, and the desire for freedom and autonomy. "Generations" is another short interlude that adds yet another layer of depth to the album.

"Eyes of Ireland" brings a sense of the green and mystical fields of the land of the Celts. The guitar, with its gentle and captivating melody, guides us through a path of memories and emotions, while subtle keyboard lines in the background add an ethereal and hypnotic atmosphere. It's a perfect instrumentation for an emotional narrative about a grandmother's memories of her life in Ireland and the importance of honoring roots while embarking on a new journey.

"Running From Paradise" is an instrumental track that features what I consider to be the most beautiful arrangement on the album, standing out for its symphonic approach and meticulous attention to detail. From the first notes, we are immersed in a world of sonic beauty, where each instrument plays a vital role in building a rich and engaging musical landscape.

"End of the Day," with its delicate vocalization, soft guitar and flute notes, stands out for its beauty and depth. Meanwhile, the flute adds an additional layer of depth and feeling, filling the music with a sense of nostalgia and introspection. Its three-verse lyrics impose a feeling of longing and yearning to reconnect with fragments of experiences and emotions that now seem distant.

"Coming Of Age" features orchestral arrangements where each instrument plays a vital role in creating a rich sonic landscape. Latimer's guitar takes on the role of a conductor, guiding the orchestra with mastery and precision. The keyboards deliver various nuances that evoke darkness and mystery. Each note seems loaded with meaning, sounding like a complete sensory experience, evoking a myriad of emotions and images in the mind of the listener who becomes enveloped.

"The Hour Candle (A Song For My Father)" is a brilliant closing for the album. The introduction with its hypnotic rhythm and the gradual addition of Latimer's guitar seems to signal the arrival of something extraordinary. The orchestral arrangements are amazing, enveloping the listener in a rich and lush sonic tapestry. Latimer's guitar shines once again through a lot of emotional expression, creating moments of pure musical magic. It's hard to put into words the depth of sensations that this music evokes. It's an experience that transcends rational understanding, leading us to a state of contemplation and ecstasy. Despite the track being marked as approximately twenty-three minutes long, from the eight-minute mark, it is filled only by gentle sounds of waves. This peaceful and serene ending serves as the perfect epilogue to the musical journey taken, bringing a sense of calm and peace that is deeply comforting.

"Harbour of Tears" exemplifies Camel's continued commitment to conceptual and narrative albums, highlighting the band's ability to create music that is simultaneously complex and accessible. Since its conception, the album immerses the listener in an emotional and imaginative journey, leading them to explore the deepest corners of the mind and soul. Although the songs may be dense in layers and meanings, they are presented in a way that is easily appreciated and understood.

Through "Harbour of Tears," Camel not only pays tribute to the history and experience of Irish immigrants but also addresses universal themes of loss, hope, and resilience that resonate deeply with anyone who listens. An ode to humanity and the capacity of the human spirit to persevere in the face of difficulties. It's a powerful reminder that even in the darkest moments, there is always hope and the promise of a new dawn.