SYMPHONIC PROG

If I had to describe the music in one word, that word would be "fun". The songs on the album explore a wide range of musical genres, from folk rock to classic rock to catch jazz to pure psychedelia. With such a delicious first effort, it's no surprise their next three follow-up albums have rated so well.

The album blends various styles, from the high-energy opener Realize I ? Escape from the Ancient to the moving Mortal Game, showcasing Jake Livgren's powerful vocals and Bristow's expressive sax. The epic Platforms of Illusion stands out, a 20-minute prog masterpiece that combines intricate time changes and stunning musicianship, reminiscent of Kansas and Spock's Beard. The album also features standout tracks like the single Ice Thinning, with its modern Kansas-like sound, and No Thanks to You, which leans towards hard rock.

With fantastic guitar work from Seth Hankerson and contributions from guest musicians, Motion Carries offers an exciting mix of styles and emotions, filled with soaring melodies and stunning instrumental passages. This album is a must for any progressive rock fan (especially in the green vinyl).

Released: January 19, 2024 Order from Bandcamp: Motion Carries | Emerald City Council Signed copies: Emerald City Council Online Store

"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*)

The adventurous "Sendebud Fra Vest" elegantly unveils a bucolic setting, guided by some masterful acoustic guitars, organ underpinning, a delicate flute joining in perfectly, combine to entrance the listener into an ethereal universe. When the swaying bass and the drums kick into gear, its only to establish the platform for a prolonged and shimmering electric guitar solo. The transition to a rather unexpected Japanese sounding theme stimulates the mood further, violin orchestrations taking over diligently, a perfect Celtic variation for another protracted fretboard incursion, synths allied in the effort, and crashing cymbals notwithstanding. Acoustic guitar resumes the initial medieval thematic that just keeps rising to a higher plane, influenced by a pushy organ, a rousing Larsen bass intrusion and a swerving synthesizer melody that unites them all. Brother Anton ups the ante on the percussive side, leading the arrangement into a mellow jazzy ride, the bass and piano in full regalia before finalizing this epic 17 minute+ ride with a final pastoral curtsy.

Scandinavian folk involves a fair amount of mythical forest creatures and "Huldras Hale" beginning cautiously and naively perhaps with some sweet low-key meanderings, the seductive keyboards carrying most of the load. Its just the opening stages of a spirited adventure that seems to explode out of nowhere, a communion of spirits that expands into that broiling organ sound once again, the jolting rhythm picking up steam, hauntingly crisp and magical like the Norse winds. The electric guitar smoothly enters the discourse, restrained at first as it seeks to construct a build-up of emotions, confiding in the piano and the rhythmic pulse to move forward. The stirred-up organ seems to be the catalyst for the more rousing outcomes, ultimately passing the baton to a sprinting synth line that hauls the others along for the ride. The elastic bass and lavish piano work in tandem to shift into a different sidebar, a melancholic pool of feudal revelry, at times forlorn and taciturn, a classic Norse characteristic if there ever was one. A riveting guitar solo finally screeches in through the clouds to simply slay the beast. Tragically beautiful music.

The aural camera keeps filming in the deepest forest on "Den Dype Skogen", an astute collage of contrasts, the cold and warm realms that only Mother Nature can create in all her glory. Cottony softness, velvet layers and satin sheen are delivered through a variety of acoustic elements, a church organ blending in to veer the atmosphere towards a more solemn reality, where the percussive side percolates, the burly bass slicing into stormier gales, and more complex movements abound. When the exuberant Bakken guitar decides to screech, it does so unapologetically. This collision of heavy and light is utterly fascinating throughout the composition, even when the transitions forge new pathways through the lush timberland. The expert orchestrations excel in creating the springboards necessary to keep the flow unremitting. Both the organ and guitar underline the melody that was there all along, blossoming finally into a pipe organ flourish to settle the score.

Kornmo opts for a more experimental mission on "Altets Hav", a 9 minute+ keyboard festival that chains together a plethora of vintage sounds, the spotlight on synthesizer and churning organ carving out the melody, repeated by the guitar and violin resonances. Ultimately, the mood gets chaotic, almost dissonant, frenetic and almost schizoid before falling back on a jazz lounge feel that showcases the opposite extreme, verging on a serenade. Electric guitar rages just enough to keep the tension on full alert, before sweeping into a fluttering synthesizer extension that had classic Camel all over it.

Like any worthy epilogue, "Ly (Vuggesang)" retraces the rustic sense that opened the curtain on this magnificent ride. Acoustic guitar and organ connect their efforts to evoke a distant past, a time when longships unleashed their sails and sent the valiant Norsemen on their epic oceanic voyages around the globe. Effortlessly melodic, imaginative beyond the normal prog boundaries, the flute sounds submit the soul to profound introspection, the guitar caressing the heart, the orchestrations laying down the foundations to search for dreamland. A much- needed panacea in our current, unusually troubled world. One of the most soothing tracks I have heard in many a decade.

Instrumental music played by gifted and passionate performers, who let their musical tools do all the messaging needed. 4.5 Glittering auroras