CAMEL

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*)

Review Nº 842

"Pressure Points" is the second live album of Camel and that was released in 1984. It was recorded at the Hammersmith Odeon, London, England, and was also released in the same year. Initially, the album was released only with ten tracks but in 2009 it was released as an expanded edition with sixteen tracks on a double CD. My review is about this last one.

I think we can see some clear similarities between "Pressure Points" and their sixth live album "Camel On The Road 1981". So, let's see why. Both live albums are divided into two distinct parts, the old tracks that belong to the 70's and the new tracks that belong to the 80's. However, while "Pressure Points" is an album more varied with songs from several Camel's studio albums, "Camel On The Road 1981" is essentially a live album based on their eighth studio album "Nude". Buy the other hand, "Pressure Points" is an official live album released in the same year that it was recorded, and "Camel On The Road 1981" is an official bootleg only released in 1997 when it was recorded in 1981.

The line up on "Pressure Points" is Andrew Latimer (vocals, guitar and flute), Ton Scherpenzeel (keyboards), Christopher Rainbow (vocals and keyboards), Richie Close (keyboards), Colin Bass (vocals and bass) and Paul Burgess (drums). Besides them, "Pressure Points" has also, and fortunately, the presence of two ex-members of the band, Mel Collins (saxophone) and their founding member Peter Bardens (organ). But they only appear on a few tracks.

So, my version of "Pressure Points" has sixteen tracks. The first thirteen tracks are the new tracks and the last three tracks are the old tracks. The album is divided into 2 Discs. Disc 1 has nine tracks: The first track "Pressure Points" was released on "Stationary Traveller". The second track "Drafted" was released on "Nude". The third track "Captured" was released on "Nude". The fourth track "Lies" was released on "Nude". The fifth track "Refugee" was released on "Stationary Traveller". The sixth track "Vopos" was released on "Stationary Traveller". The seventh track "Stationary Traveller" was released on "Stationary Traveller". The eighth track "West Berlin" was released on "Stationary Traveller". The ninth track "Fingertips" was released on "Stationary Traveller". Disc 2 has seven tracks: The first track "Sasquatch" was released on "The Single Factor". The second track "Wait" was released on "I Can See Your House From Here". The third track "Cloak And Dagger Man" was released on "Stationary Traveller". The fourth track "Long Goodbyes" was released on "Stationary Traveller". The fifth track "Rhayader" was released on "The Snow Goose". The sixth track "Rhayader Goes To Town" was released on "The Snow Goose". The seventh track "Lady Fantasy" was released on "Mirage".

This live album was the last sign of Camel's life until 1991. It mainly contains pieces from their 80's albums. Even if the majority of the material comes from the 80's, and as all we know, this wasn't exactly a high point in the band's career, a phase in which Camel's albums could no longer match the earlier classics, but the selection of songs is good enough to provide a very good and interesting listening, especially because and fortunately most of the songs are from their better albums of the 80's, especially "Nude" and "Stationary Traveller". Even from what is in general considered the weakest of all studio albums of Camel "The Single Factor", one of the few great tracks on that album is included with "Sasquatch". So, we have here almost all the respective highlights of Camel in the 80's united on one single live album, apart from some tracks from the classic era. The pieces are pretty close to the respective originals, but overall they seem to be played with a lot more pressure, especially Andrew Latimer's cutting guitar comes into its own better than in the studio recordings. The sound quality is good and the booklet contains an interesting outline of the band's history.

Conclusion: As I wrote above, "Pressure Points" has two distinct musical parts, the new and the old tracks. In relation to the new tracks I think we can see some similarity with "Camel On The Road 1981". All the live versions are good but they aren't as different as they should be, and in my humble opinion, they brought practically nothing new to this live album. The old tracks are three of my favourite tracks of Camel and I must confess that they're all great live versions. Here, we have also the participation of Mel Collins and Peter Bardens, which is a value added to this live show. "Rhayader" and "Rhayader Goes To Town" are absolutely great versions and where the main interesting thing on this live performance is the presence of the saxophone of Mel Collins. For me, this is the first time I can hear "Rhayader Goes To Town" performed with the sound of a saxophone. "Lady Fantasy", behind be one of the most beloved tracks of their fans, is the closing theme and is the highest point on this live performance. "Pressure Points" is, in my opinion, a better live album than "Camel On The Road 1981" is. However, it isn't as good to be rated with 4 stars. As happened with "Camel On The Road 1981" lacks to it some creativity, energy and capacity of improvisation. Yet, if you like, as me, of Camel's sound of the 80's and you need to have a live album from that period, "Pressure Points" is a good purchase.

Prog is my Ferrari. Jem Godfrey (Frost*)

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.