THE SNOW GOOSE

For one disinterested in instrumentals as a general rule, I was hesitant in purchasing this one. Damn good thing I ignored my "better judgment." This is easily the best series of instrumentals these ears have ever heard. They are not ostentatious, as most symphonic rock can be, but merely amazing arrangements of amazing pieces.

"The Great Marsh" What a way to open the album! From those haunting voices to that final theme, I am drawn into all that is to come.

"Rhayader" This is one of my favorite tracks on the album (silly thing, that, since the album must be ingested as a whole). I love the flute and piano riff, but the bass gives this piece what it needs to be awesome.

"Rhayader Goes to Town" This track kicks off with wild synthesizer work, but gradually becomes more mellow, leading into a Pink Floyd-like guitar solo, full of simple bass, drums and electric piano.

"Sanctuary" This short piece contains lovely acoustic and electric guitar, and leads into the next part. It fleetingly introduces the main theme of "The Snow Goose."

"Fritha" Continuing with acoustic guitar, this beautiful section brings back the synthesizer and flute.

"The Snow Goose" Easily my favorite Camel instrumental, Latimer's guitar just sings the notes. The music is peaceful and full of soul.

"Friendship" Quirky wind instruments and keyboards make this a suitable transition between the majesty of the title track and fleeting beauty of what is to come.

"Migration" This is another highlight for me, especially with the vocalizing and fast-paced music whisking me away, as it were.

"Rhayader Alone" Electric piano and guitar develops a somber mood based on the theme from "Rhayader."

"Flight of the Snow Goose" A synthesizer build-up brings in this exciting and happy track. The drums are exceptional on this one, but they fade out, leaving the clean guitar to usher in the next piece.

"Preparation" At first, the mood remains somewhat cheerful, but soon becomes somber, maintaining a 5/8 time signature throughout.

"Dunkirk" This ominous tracks comes in directly from the previous one, using that marching beat to musically describe war. It has a wild slide guitar solo, and thundering organ and electric guitar at the end.

"Epitaph" The melancholic second half of "Preparation" is revisited, only without the company of the female voices. It is the gravest track.

"Fritha Alone" Here lies a ninety second piano piece.

"La Princesse Perdue" This climactic instrumental rises out of the ashes of dejection and soars into an uplifting synthesizer run and a great revisiting of "The Snow Goose" theme.

"The Great Marsh" The album ends as it begins, but without the triumphant following. What's more, the voices are gone. The album ends in loneliness.