Moonmadness is my favorite Camel album by far. Breathless is aptly named, as it contains the breathtaking track "Echoes", and is worth picking up for that alone (though there are other good songs on there as well).
Moonmadness is my favorite Camel album by far. Breathless is aptly named, as it contains the breathtaking track "Echoes", and is worth picking up for that alone (though there are other good songs on there as well).
Excellent throughout their career, but the debut up through Raindances is where their identity was forged, especially Moonmadness, Mirage and The Snow Goose.
It's probably worth noting that they went through two major shifts personnel-wise that resulted in serious changes of direction for the band, the first being when original bassist Doug Ferguson left after Moonmadness and was replaced by Sinclair, and the second being the departure of Pete Bardens after Breathless. Since then it's been pretty much Andy Latimer's ball game, and the personnel surrounding him has changed frequently, save bassist/vocalist Colin Bass who has been a semi-permanent member since 1979.
Although Bardens was fundamental to Camel's sound, I'd go out on a limb and say that Ferguson was the real secret ingredient to their original chemistry. He was a meat-and-potatoes, bedrock kind of player that allowed plentiful space for the talents of the others to shine, and overall the band was more balanced with him in the lineup.
Hired on to work for Mr. Bill Cox, a-fixin' lawn mowers and what-not, since 1964.
"Arguing with an idiot is like playing chess with a pigeon. It'll just knock over all the pieces, shit on the board, and strut about like it's won anyway." Anonymous
“Never argue with an idiot. They will only bring you down to their level and beat you with experience.” George Carlin
Ferguson was a complete non-entity as a player.Could have been anybody that had played bass for a couple of months.
True that maybe his personality- and total lack of anything other than the utter bare minimum musically- in the band helped the chemistry and balance in those early albums though.
Yes, it's a chemistry thing. I think 'Rain Dances' and 'Breathless' are patchier than the earlier albums. Whether this was down to another writer coming in is open to debate, but certainly something like 'Down On The Farm' is totally unrelated to Camel's earlier sound and- as you'd expect- is far more in keeping with Caravan IMHO.
They also seemed to be going for some sort of fusion vibe on some songs in that period too- that dodgy jazz-funk 'One Of These Days...' and also 'The Sleeper' (which is much better). These albums do have a lot of charm but there's not really a direction.
'I Can See Your House From Here' saw Colin Bass enter the fray...with the exception of the iffy 'Remote Romance', it's a more even album- a slicker approach, but very good on those terms.
Last edited by JJ88; 09-20-2014 at 04:01 PM.
Camel: I really only like the debut album & Raindances & "Ice." Apart from those, I've tried so many times over the years to appreciate their other work & it just doesn't do it for me. But as a "Big 6" Prog fan & a Canterbury Sound enthusiast (the best Camel music lies somewhere in between, IMO), those three titles I listed above are mostly wonderful.
Mirage is my favourite; first-rate from start to finish. The Snow Goose is instrumental (or at least lyric-free) from start to finish, and is likewise excellent, featuring orchestrations from the late, great David Bedford. It has its commercial-ish moments, but I am extremely fond of Rain Dances, with “First Light/Metrognome,” “Unevensong” and “Skylines” being on my playlist of #1s. It’s a surprisingly varied and diverse album for them (and has the “ambient” track “Elke,” the Eno collaboration nobody ever talks about).
The rest of their output is...nice. The debut is probably the best of the others, followed by Moonmadness, which I find to be a bit patchy, but “Lunar Sea” is one of their most awe-inspiring instrumentals, a true must-hear! In fact, most of their others are patchy/mediocre with some breathtaking highlights, such as Breathless, which is for the most part quite dull, but “Echoes” is rightly considered one of the band’s classics.
I have an inordinate fondness for the usually panned I Can See Your House From Here, which proves that the band could write damn good pop songs when they put their mind to it (and “Remote Romance” is not one of them...seriously, Decca, the album contains “Wait” and “Your Love Is Stranger Than Mine,” and that is what you tap for a single?). High points: “Ice” (a splendid instrumental with a heart-rendingly emotional guitar solo), the Kit Watkins-penned “Eye of the Storm” and “Hymn to Her.” I am likewise fond of “Who We Are” and “Neon Magic” but not everyone agrees with me on that (to be fair, the vocals on the latter are just this side of horrid).
That leaves Nude and Stationary Traveller. The former is sort of an attempt to do a Snow Goose for the 80s, albeit with less success (it definitely does have its moments, such as “Docks/Beached”). The latter is seriously 80s-sounding, with tons of digi-keys and drum machines, and I can’t really think of any saving graces on that one (save maybe the short version of “Pressure Points,” which became a vehicle for an extended Latimer guitar solo live).
I haven’t heard the others. The Single Factor is generally regarded as Camel’s nadir, Anthony Phillips collaboration notwithstanding. Of the 90s and later albums, Rajaz and A Nod and a Wink are the ones I usually see recommendations for.
As a singer as well, the man seemed to have no personality and he sounded bored any time he stepped up to the mic. To be fair, the band never really had a competent singer until Richard Sinclair entered the picture. I get the feeling they originally wanted to be strictly instrumental, but MCA/Decca pressured them into singing.Originally Posted by Watanabe
Last edited by Progbear; 09-20-2014 at 10:46 PM.
Confirmed Bachelors: the dramedy hit of 1883...
Slightly off-topic here: I searched the board and the internet and still cannot be sure...is the live version of Snow Goose on "A Live Record" a different performance than the live version on disc 2 of "Snow Goose Deluxe Edition?" I believe it is...the latter says "from the BBC 1975" and the former was from "Albert Hall, October 1975."
Does anyone know for sure?
A quick google learns me it was recorded at The Marquee and some parts are from TOGWT. At least, that's what I found ...
HuGo"Very, very nice," said a man in the crowd,
When the golden voice appeared.
She was gold alright, but then so is rust.
"Such a shame about the beard."
Thanks!
'Nude' has always been my favourite. There's something so moving about that album for me. I almost wish they'd called it a day with that album- not intended as a slight on the two which followed (although they are indeed weaker albums IMHO) but it's just so perfect as a 'last will and testament'. It's like a last hurrah for the sort of conceptual, mostly instrumental music they made in a vastly changed early 80s musical landscape.
I share Progbear's fondness for '...House From Here'. 'Remote Romance' aside- a dubious attempt at a 'New Wave' track- it hangs together fairly well and is more sonically unified than either of the Richard Sinclair albums. 'Ice' is absolutely immense, but I think 'Eye Of The Storm', 'Who We Are' and 'Hymn To Her' are real gems as well- 'Who We Are' especially I remember playing a lot when I first got into this album, it's a beautiful song. 'Neon Magic' is let down by the 'edgy' lead vocal, but that long ethereal instrumental section in the middle is great!
I like pretty much everything.
Forcing a band to stay within a tiny box of a specific musical style kills it. I welcome experimentation, new members, new ideas, and new genres.
[QUOTE=Progbear;310318 To be fair, the band never really had a competent singer until Richard Sinclair entered the picture.[/QUOTE]
That didn't change things at all; if anything, it made them worse. Sinclair should never be allowed anywhere near a microphone.
Don't hold back, tell us how you really feel about Richard Sinclair.
We are the grandchildren of apes, not angels
But only we are gifted with the eyes to see
On days without FEAR, when our heads are clear
That angels, we could be
(Marillion 2016)
I don't understand a single word of this post.
flute juice
can you say cur-mud-geon?
Why is it whenever someone mentions an artist that was clearly progressive (yet not the Symph weenie definition of Prog) do certain people feel compelled to snort "thats not Prog" like a whiny 5th grader?
Surprising, as it appears that you speak English. The two albums in question are instrumentally similar to Mirage & Moonmadness, but for a short(thankfully)time, Camel downgraded to the abysmal vocals of R. Sinclair. The OP was intrigued by the possibilities, and I informed him it wasn't necessary on his part. If that's not clear enough, I suggest a course in remedial English.
thanks for the 'ignore' function!
Why is it whenever someone mentions an artist that was clearly progressive (yet not the Symph weenie definition of Prog) do certain people feel compelled to snort "thats not Prog" like a whiny 5th grader?
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