COLIN BASS

The calm, grey athmospheres of the previous album "Still" are still present, but this time the album is a bit more rock oriented. The presence on some track of Andy Latimer, who I consider one of the best and more underrated guitarists, is also a significant added value. The songwriting sounds more influenced by the Camel standards than on the previous works of Colin Bass, but this is counterbalanced by Daniel Biro, keyboardist and producer whose solo works are often made of very lengthy instrumental tracks.

Noticeable is also the sound quality. Daniel Biro is an excellent producer, too. While "Still" was mainly a combination of tracks written half by Biro and half by Bass, this time Biro's songs are 2/3 of the total and I'm quite sursprised to see how an artist who seems to be mainly used to instrumental suites can be also a godd lyricist.

Despite the absence of a track written by both together, the album is very consistent and honestly I can't tell who is the author of what without reading the booklet.

The track that I personally like more is "Deep Fake". For a Camel fan like I am, the long solo by Andy Latimer baked by the "strings" of Daniel's keys with Colin's background choir in the coda sends me back to the 70s. Nice fact: the author is Daniel Biro.

Regardless who wrote what, this is an excellent album, less ambient oriented than the previous, but still very relaxing and warm, highly suggested for progheads and in particular for Camel fans.

The coda of the closer, with Colin's fretless bass, The clean guitar by Andy Latimer and the warm keyboard background by Daniel Biro sounds like it was written at the time of Breathless or I Can't See Your House From Here. So good that it leaves me with the will of restarting the album from the beginning.

Why not dreaming of a new Camel album with Daniel Biro on keys?

Finally this album has landed to PA. When I received my crowdfunded copy months ago, I was unsure about adding it to the site, as it's effectively a collaboration between Colin Bass and the South African keyboardist Daniel Biro.But now it's here and I'm happy to review it. They have composed almost half of the album each. There are 11 tracks and the first one has been composed by both. It's a slow intro mainly based on keys. Despite lasting more than 4 minutes I consideer it just an intro to the album.

I would have guessed by the presence of Colin's fretless bass that he was the author of Summer, but it's Biro's stuff. A catchy slow melancholic song, but let's say that the whole album is slow and melancholic, without being depressing.

Still Life 2 is Bass's stuff. One minute of overdubbed bass in a Michael Manring's way (Bass can even do better than Manring, I think)m Which introduces "Old Europe". Another song showing the very good songwriting of Daniel Biro. The first proper song by Bass is "Once Was A Time", and as it can be guessed from the title, is a song about regret and childhood's memories. It's based on a children's photo which is printed in the CD booklet.

Same for the next song by Biro: Faces. There's a photo of a school class in the booklet. It seems that it's the album's concept.

The picture in the page with the lyrics of "The Man Who Never Was" (by Bass) is effectively depressing: an empty burnt room, a broken piano and a poster of a girl tied to a column. From the lyrics I can't understanbd what it's effectively about, but it describes the photo musically. Well, the last four lines describe what can be seen in the photo. So it's possible that they have had the aidea of starting from the photographs and compose songs related to them. I'd like to ask the artists about it. "Still" may refer to a photo shot.

The same applies to "Heaven". It starts speaking about a house close to a river, and the booklet shows a big colonial house in the middle of a forest. From the architecture it may be somewhere in Portugal but also in the Caribbean, who knows.

After the third "Still", Biro breaks the "photo thing: Hands doesn't have a photo related, but the sadness which permeates the album with nostalgy and memories is "still" there. Something about father and son, this time.

Bass closes the album with the last "Still". The short lyrics are about death: "From the liquid plasma grave...deny the signs of the end of the days".

A sad album. A sadness that hides a little touch of newage. Excellently played but very essential: mainly bass and keys, with vocals and little more.

It's perfect for this season, on a sofa with a drink in a rainy locked down day.

To love this album you must be in the right mood. Not too dark, it could be depressing, but not too happy because the sensations that it gives to the listener are mainly sadnhess and melancholy. It's a good thing. If music can give sensations the artist has hit the target. The sadness starts with the first track which is dedicated to Guy LeBlanc, former Nathan Mahl and partner of Colin Bass in Camel, who recently passed away. This song sets the mood, then what follows is a stripe of good songs, well composed, played and arranged. The only problem is that all of them are almost slow and sad. The rare rhythmic parts are lead by the bass more than by the drums. If you are in the right mood this is not a problem, but surely you can't play this album in a party, and this is sure not in Colin's intentions. Not being too catchy even if usually very melodic, the songs require attention to be fully appreciated. The listener will be rewarded by the closing track which is also the title track. There was no other place for this song than the album's closure. It's perfect and is the bigger hihglight of the album. It's also where there's a bit more rhythm and it's the song that leaves you with the wish of listening to it once more when it ends. Globally it doesn't reach the level of "An Outcast Of The Islands". It's a good album which deserves the three stars that I'm giving it and I could decide to increase this rating in the future (I've done the same with the mentioned "Outcast"). Of course, the presence of some Andy Latimer makes it a must for Camel fans. It's half of the current band.Colin is in these times the only fixed element of the band other than Andy. and this is perceivable even if all the compositions are by Colin. Three stars by now, but I could change idea.

When Will You Ever Learn?

Following 1999's An Outcast Of The Islands, Colin Bass released this second solo album in 2003. While the former was fairly described as a Crossover Prog album--mixing elements from Colin's day job in Camel (with Andy Latimer guesting on that album and all) with subtle World-Music influences--In The Meantime features a rather bland mixture of Folk Rock, Blues Rock, Jazz Rock, and Pop Rock, with hardly a single trace of anything progressive. Perhaps this could be compared to Steve Hackett's least progressive aspects, as Hackett too blended Folk-, Blues-, Jazz-, and Pop Rock, and the voice of Colin Bass is quite similar to that of Hackett. Needless to add, nothing here reminds even vaguely of Camel, and of course Latimer is not involved this time.

The quality of the song writing here is rather average, by no means embarrassingly bad or anything, just not memorable or in any way striking. Listening to this album is bearable, even occasionally pleasant, but it fails to leave any lasting impression on me. As such, it is a major let down after An Outcast Of The Islands. I am certain that fans of Camel and of progressive Rock in general are bound to feel the same about this album.

If you are curious about what Colin Bass has done outside of Camel, the aforementioned An Outcast Of the Islands and the live albums (one electric and one acoustic) he recorded for Polish radio when touring in support of that album are the releases to go for. In The Meantime is not a complete disaster or an utter embarrassment, but it is certainly an album only for hardcore fans and serious collectors. Fans of Camel and of progressive Rock can very safely pass by, you're not missing anything here!

Singer, oh singer!

Colin Bass is apparently very popular in Poland as he has no less than three different live releases all recorded in that country. Also, on all of these, as well as on his studio solo album An Outcast Of The Islands, he has Polish musicians participating. I am not sure in which direction the causal direction runs; that is, if he is popular in Poland because he uses Polish musicians, or if he utilized Polish musicians because he was antecedently popular there. Anyway, for the present live recording, Colin collaborated with keyboard player Józef Skrzek. I don't know the precise circumstances surrounding this concert, how it came about, etc. (Maybe it was some kind of charity gig or special event?)

With only the two of them on stage, this is naturally a very stripped-down performance. But even if Colin plays only acoustic guitar and sings, this is not an "unplugged" affair as Skrzek adds lots of spacy synthesisers to the mix. The material is divided about equally between Colin Bass songs and songs that I presume are by Józef Skrzek (whom I am not previously familiar with). Three songs are taken from Colin's An Outcast Of The Islands (Goodbye To Albion, As Far As I Can See, and Denpasar Moon), and there is one Camel song in Refugee (originally from 1984's Stationary Traveller; Colin has played this song live frequently both with Camel and on his solo shows). All of these songs are good and work rather well here, though I certainly prefer other versions.

When it comes to the other songs, I must say that it is a mixed bag. The show opens with almost nine minute instrumental called Star Overture consisting of acoustic guitar and atmospheric/electronic keyboards. This one is pleasant enough and functions well to set the mood for the show. Skrzek is a good keyboard player, but (I'm sorry to say) an awful vocalist. The songs on which Skrzek takes to the microphone are difficult to bear. He has a weak voice and he sings in English with a strong Polish accent. The repetitive and clichéd lyrics don't help things along either with trite lines such as "Babe, I love you" and "Freedom, I love freedom" being repeated over and over. It would have been much better to let Colin sing all the songs, or just keep them instrumental.

I think that this concert could have been much better with a full band backing up the two men. With the addition of a rhythm section and some electric guitars, the sound could be a lot more interesting. As it stands, it feels a bit "naked" and leaves a lot to be desired. If you are interested in Colin Bass live, I strongly recommend you to start instead with the much better double-disc set called Live At Polskie Radio 3. That album includes full band versions of all of the Colin Bass songs also present on this album plus many more, including several more Camel songs.

Don't let it slip through your fingertips

Colin Bass had no less than two of his live performances in Poland recorded by a Polish radio station; one electric and one acoustic performance. The former was released as a double-disc set called Live At Polskie Radio 3, while the latter became this single CD called Live Vol. 2 - Acoustic Songs. Many of the same songs appear on both albums including some that Colin originally performed with Camel in the 80's and several from his first solo album An Outcast Of The Islands. The latter album had featured many Polish musicians as well as guest performances by Andy Latimer.

Being an "unplugged" affair, these performances are naturally stripped-down, featuring predominantly lead vocals, acoustic guitar, and piano. Flutes are added to several songs to great effect. The set starts out in full-on singer-songwriter style with what I think are a couple of cover songs. Camel's Refugee (from the Stationary Traveller album from 1984) is interestingly performed with Jethro Tull-like flute embellishments. City Life and Drafted (both from 1981's Nude; sung by Colin on the original album) are both pleasant as well in these versions, but somewhat less interesting. I prefer the electric versions on Live At Polskie Radio 3. Later on in the set there is one further Camel song that was not performed in the electric concert: Fingertips (also from Stationary Traveller). This one is the best of the four Camel songs included here and works very well in this acoustic version.

As Far As I Can See, Goodbye To Albion, and Denpasar Moon (all from An Outcast Of The Islands), lend themselves well to the acoustic treatment. The highlight of these is Goodbye To Albion which has a strongly Celtic sound and sounds better here than anywhere else. Reap What You Sow is less memorable and is again deeply into plain singer-songwriter territory.

Starting with Fingertips, which I have already mentioned, and with the exception of the utterly embarrassing Blues rocker Poznan Pie (which unfortunately is included on both the electric and the acoustic sets), the best songs come at the end of the disc. The Water Is Wide, The River And The Sea, Sailing Home, and The Parting Glass are a series of Folk songs that work really well here. These intimate performances are very nice, reminding me of acoustic Strawbs.

I somewhat regret giving this rather pleasant folky, singer-songwriter performance a rating of only two stars. But it is of minimal interest to fans of Progressive Rock. If, on the other hand, you happen to be a fan of both folky singer-songwriters and of late 70's/early 80's Camel, then this is for you.

Avoid the pie!

Colin Bass is best known around these parts for being a member of Camel from the late 70's to the present day (with only a short break between 1981 and 1984 when they did The Single Factor which was effectively an Andy Latimer solo album in all but name). In 1999 Bass released an album under his own name entitled An Outcast Of The Islands (on which Latimer guested on guitar). The present double-disc set features a live recording done for Polish radio (Polskie Radio 3) in 2000. But don't be misled into thinking that this is one of those live-in-the-studio affairs; no, this is a real live band performance with an audience and all. And the audience is very appreciative, and the band--which features Dave Stewart (drummer for Camel in the late 90's) and many Polish musicians--seems to enjoy themselves on stage. Bass plays the bass (obviously!), some acoustic guitar, as well as sings lead vocals--all of which he does very well.

Naturally the set list features many of the songs from the An Outcast Of The Islands album, but also no less than six Camel numbers; two each from the albums I Can See Your House From Here (1979), Nude (1981), and Stationary Traveller (1984). From the first of these albums come Hymn To Her and Your Love Is Stranger Than Mine. The latter was co-written by Bass, and is here performed in a version that I like better than the original, featuring a great addition of flute. From Nude comes City Life and Drafted, both of which were sung by Bass on the original album. Finally, from Stationary Traveller come Refugee and Cloak & Dagger Man; tracks that Bass has performed live with Camel since the tour in support of that album in 1984 (as can be heard and seen on the Pressure Points live album and videos). Apparently, the song Denpasar Moon was first written and recorded by Bass under the name Sabah Habas Mustapha and became a very big hit in Indonesia in the mid-90's (before it was re-recorded for An Outcast Of The Islands)!

The whole of the first disc of this live album is very strong and the lion's share of the second disc is similarly very enjoyable. However, towards the end it begins to drag a little, and there is the misplaced and (lyrically and musically) embarrassing Blues rocker Poznan Pie which is best avoided altogether. Overall, this is a good Crossover Prog live album and a very worthy companion to An Outcast Of The Islands (or a very good introduction to Colin Bass). Despite the absence of Andy Latimer, I actually prefer many of these live versions of the An Outcast Of The Islands material to the studio versions (though both have their charms).

A strong three stars

More pleasant than expected, but hardly sensational.

My introduction to Colin Bass was via that disastrous CAMEL release "I Can See Your House From Here". Ditto for Kit Watkins of HAPPY THE MAN fame. Both contributors were filed away as of little - if any - interest in the future.

Later, I've seen footage of CAMEL with Mr Bass on bass and his lukewarm, almost indifferent attitude didn't really impress. Sure, he had some very big shoes to fill in CAMEL after Doug Ferguson's great riffs and Richard Sinclair's groovy Canterbury approach. Instead, he chose to decline the challenge and remain mediocre, not unlike a hired hand. Basically he suited Latimer's obsession with bittersweet concept themes that border on sorrow and misery without breaking, or maintaining musical grounds.

Having read some recent reviews of this album left me somewhat intrigues, so I've decided to check it out - after all. Firstly, I agree that Crossover is an appropriate genre for it as it's pleasant enough to be listed, but one that's lacking any "grunt" associated with Prog basics.

One can hear some bass for a change and the vocals are undoubtedly nice. Latimer - who's always been a great guitar player - is continuing his Gilmour inspired elegance of post- Bardens CAMEL and this comes off nicely. Flutes, orchestral arrangements add a nice touch, evoking comparisons with Latimer's CAMEL's better moments.

This album is far from great, but quite reasonable in Crossover territory. Has it made me more interested in Colin Bass? Probably not, but in all fairness, I could put it on repeat without being irritated by it. These days it's almost a plus...!

A 3.5 rating may be appropriate - unless you have plenty of more inspired works - like I have - in your collection to listen to. Excellent it isn't, only pleasant enough for a lazy Sunday afternoon with friends by the pool, in place of absolute commercial crap.

For over ten years I got this CD, I was recommended to be a inexhaustible follower of Camel. It is an exquisite music, at least for my taste in music. Some will find it mellow, but also has powerful parts.

Colin is fabulously supported by colleagues from Camel, Quidam and Abraxas. All musicians are more than acceptable, no amateurs, which is clearly reflected in each piece. Of course, perceived the great contribution of Latimer, on topics such as Macassar, As Far As I Can See, The Straits of Malacca.

There are good contributions from the flute performed by Jacek Zasada of Quidam and drums by Dave Stewart. Also add color parts of violin and orchestra in specific sections. Abraxas keyboardist and guitarist do a good job too.

Colin's work is seen mainly in the vocals and composition, along with the proper performance of his bass guitar. Aissa is the only song (instrumental) focused on his instrument.

The rest of the songs I did not mention, are enjoyable and suit well with the rest.

It is not a masterpiece from a progressive analysis, but it is a very good selection of music, with style and quality.

It's probably because I really like Colin Bass and his "An Outcast to the Island" as some of the songs of that album are played in this live, also Jozef Skrzek is the keyboardist of the Polish S.B.B. that's a band that I like. I think this is a great live.

It sounds like an unplugged, because there are only Skrzek and Bass on stage and Bass is often playing acoustic guitar.

The gig is opened by "Star Ouverture". A keyboard's carpet with Colin playing what I think is an "ovation" as it sounds like a classical guitar amplified. Then the keyboards volume raises up giving the track more than a touch of Krautrock. Here Bass demonstrates a quite good guitar skill.

Same instruments for "Eli", but this time Colin sings. "Baby I love you" is not a great example of poetry. Imagine a Jon Anderson's song of the kind of the A side of Jon and Vangelis' Private Collection.

"Goodbye To Albion" is a simple song, but one that I really love. I have listened to it tons of times, probably since when I have left "Albion". In this version it looses something of the good original arrangement because it's just played by a duo, but Jozef makes great things with his keyboards while Colin is just playing rhythm guitar and singing.

"Singer, Oh Singer" starts very melodic with some dissonances, more similar to "errors", on a live it can happen. This song is too mellow and musically trivial, maybe with a different arrangement it could sound better. I'm used to skip this song. It can cause diabetes.

"Freedom With Us" is more interesting. Everything would be, effectively. However the guitar makes a lot of work while the keyboard provides the bass and the background. This is Krautrock...a very hypnotic sequence of echoes and major chords with a hammering bass behind. Sometimes reminding of the instrumental part of "Alan's Psychedelic Breakfast", I mean the part with nothing frying. Colin starts singing after about 5 fantastic minutes, then some minor chords enter in the sequence. Listening better, the chords are the same of Prince's "Purple Rain", but this song appears to be more intense. Great vocal work.

Then it comes "As Far As I Can See", another song from An Outcast To The Island. Being a song largely based on acoustic guitar it's not so different from the original. Initially it's only Colin with his guitar and voice. Jozef adds background vocals on the chorus, then some keyboard background work that's his personal touch to the song. Very melodic but non- trivial. This live version of the song is at least as good as the original if not better.

"The Golden Harp" is a great song. I don't know if it's an SBB track or a Skrzek solo effort. It's a very good song, still melodic, with good passages but I can't compare it with the original version if any.

"Denpasar Moon" is again from Outcast, but it's from an Indonesian author: Sabah Habas Mustapha. If you have ever been on the island of Bali you can understand it better.

"Wish" makes me think to "Pete Bardens" on Seen One Earth. There's along section, maybe a bit too long, made of two keyboard's chords (A- / E) that are very useful to jam on, since Santana. Just a long jam. The two should have had some fun playing it. Not sure about the public.

"I Bid You Goodnight" is a country song. I don't know if it's a traditional or they just wanted to make a western song. The piano part is very good and the song is funny.

Finally a nice version of a Camel's classic. At least classic of the Bass era. From Stationary Traveller, a song that played in Poland is more significant. The keyboard part is totally different, but effectively Ton Scherpenzeel has played it in the early 80s.

I think I can forgive the duo for a creamy song and a country joke. The rest of the songs are good. It's a very good live that sounds like an unplugged. To be not missed by Camel's fans, an excellent addition for all the others.