I CAN SEE YOUR HOUSE FROM HERE

In 1979, things were looking pretty bleak for progressive rock. Many bands were trying to find ways to fit into the New Wave sound that was emerging and taking over. The best artists were adapting nicely and it seems that prog rockers were trying to follow Alan Parsons Project in making prog-pop.

With so many line-up changes occurring with Camel, things were a bit up in the air as to where the band was going. Only two original members now remained with previous band members quitting over the movement to a more accessible sound. However, you have to give Camel props for really trying to retain a certain amount of progressive sound to their music while also making it approachable for the masses. The best move that Camel made at this point was the addition of Kit Watkins from the band "Happy the Man". The also recruited some orchestral arrangement help from Simon Jeffes (from "Penguin Café Orchestra" for use on two tracks. Rupert Hine was also involved with producing "I Can See Your House From Here", and this was a busy time for him as his style seemed to be the choice of many bands for bringing them into the '80's. I always seem to have issues whenever he is involved in a project, and unfortunately, you can hear his influence throughout this album.

But, doggone it, the band really tried hard, and you have to give that to them. The better tracks like opener "Wait" show some promise with some great progressive action and the guitar and synth solos throughout and even the more poppy sound of "Your Love is Stranger Than Mine" has some nice work by Watkin and a peppy sax solo from prior member Mel Collins. If they managed to stay in this style, Camel could have had a great prog-pop record. "Eye of the Storm" is mostly a lifeless instrumental that at least has some great bass work by Colin Bass. "Who We Are" has a bit of bright prog to its tracks like this one that demonstrate where a lot of Neo-prog artists would get some inspiration. The orchestral additions in this track are very nice and help to add some depth.

Most of the 2nd side is dedicated to pushing the prog-pop sound and many times you can hear the Alan Parsons Project being tapped for ideas here. The short "Suvival" is an orchestral track that sound like it was stolen from a movie soundtrack. "Hymn to Her" is just an okay track, but "Neon Magic" has some goofy vocals that makes for an embarrassing track and "Remote Romance" sounds like the band doing a bad Devo impersonation. Thank goodness the last track, the 10 minute instrumental "Ice" brings back memories of the classic and progressive Camel and this, along with "Who We Are" and "Wait" keep this album from being a complete let down. By the time you add up the pluses and minuses of this album, you end up with a 3 star rating. This is one I play only for the best 3 tracks. Other than that, nothing much seems to leave any impression on me other than the band trying it's best to fit into a new decade, but only leaving us with a mediocre album with only 1 5-star track ("Ice").