Camel ~ England

The Single Factor (1982)

Another one of those albums I could have sworn I wrote about, but guess not. It was only 7 years ago I found a copy in my early days of thrifting around town. Didn't hear any redeeming qualities and off it went.

This was part of the newly acquired collection, and a super nice copy at that. So let's get some virtual pen to paper here. Most certainly the title of this album is what you would call a clue. Those first two tracks are nothing more than radio bait. When I think of Camel, I think of quality songwriting. So, honestly, they probably should have made a dent in the corporate FM scene. Perhaps they were too far into their career to have any mojo left by 1982. The third song begins to show their progressive past, but in an Alan Parsons Project way. Since the vocalist is none other than David Paton, then that should prove to be no surprise. This is followed by a mellow and soothing instrumental. Andy Latimer definitely adds some soul to his guitar playing. This side closes with the even more mellow only-on-the-right-speaker 'Lullabye'. Side two starts off promisingly with another instrumental, more upbeat this time with fine keyboards from Peter Bardens (oh, there you are). B2 is arguably the heaviest track here, and even Mr. Mellow himself, Anthony Phillips, is participating on keyboards. After this, they ran out of ideas and threw in two pop rock hopefuls. B4 is pretty bad honestly. They close side 2 in a soft manner similar to the flip.

The Single Factor did indeed prove to be better than my initial impression. Though not even close to shelf space I'm afraid.

Source: 1982 Passport (LP). Lyric inner bag that also informs us that drummer Andy Ward does not appear because of a serious injury to his hand (though that was obfuscating the truth).

8/2/19; 1/23/26 (review)
 

A Live Record (1978)

I hadn't heard this prior, and rarely these days do I have the patience to sit through two albums worth of live material that I'm largely already familiar with. A Live Record passed the key test: Is it unique enough from the studio versions for repeat visits? And I'd submit yes it is. Solid representation from their five previous studio albums, with one album dedicated to The Snow Goose suite.

Ownership: 1978 Decca Europe (2xLP). Gatefold. Acquired in 2024.

6/24/24 (review)

Rain Dances (1977)

Rain Dances, Camel's 5th album, is where Camel wandered over the line from all-in progressive rock to that of AOR / FM music. Well sort of. They could be considered what is now known as Yacht Rock, or even more to the point, Yacht Prog. So yes, you can place Camel now in the company of Fruupp, Kestrel, Sebastian Hardie, and the rest of them. Latimer gives the game away on the back cover, though they are a bit scruffy to allow on the boat it would seem. Maybe they can work in the steam room?

If we're honest, Camel had always leaned in to the melodic side of the house. Herky-jerky rhythms and impossible compositions were never their forte. They just mastered their craft better here. And I have to think Latimer spent a little time digesting some of Santana's guitar licks before heading into the studio. Adding Canterbury stalwart Richard Sinclair was the right move at the right time. One of the few British singers who actually sounds like he lives there, his soothing tone is perfect for the soundscapes Camel are painting. There are a couple of overt plays for radio that didn't really stick (I can't recall ever hearing Camel on the radio growing up in the late 70s), but they aren't soaked in saccharine pathetic whining, like so many of their peers were prone to do. They were to dive deeper into these waters on the also excellent Breathless, but even more brazenly commercial than here. The deal is, Camel were just damned good songwriters and musicians, so they were able to pull it off. I'd submit much better than Genesis did, though the latter clearly captured the corporate market far better. There's no accounting for good taste, now is there?

Ownership: Deram (CD). With historical retrospective and one single edit bonus track. Acquired in 1996.

1996 (first listen); 2004; 6/14/20; 3/9/24 (review)

Mirage (1974)

The other day I was talking with local collector and friend Dr. Boom about Camel, and he indicated that he wasn't too enamored with them. "Too lightweight for me" he opined. That's unfortunately a common perception and criticism that Camel gets tagged with. Even for myself, when I think about Camel, it does occur to me they are on the softer end of the progressive rock spectrum. But are they really? I think Snow Goose and their later works adds to this notion. My introduction to Camel was via this LP, and thank goodness for that. For me it's a foundational album to my overall appreciation of music. I suggested to him that he at least revisit Mirage. Especially side 2. I think you'll walk away with a different experience. We'll see if he takes me up on that suggestion.

For my tastes, Mirage is in my Top 50, and maybe even Top 25. 'Supertwister' seems to represent half of my late 70s and early 80s instrumental Continental European prog collection, such was the impact it had on a global scale. Though, in retrospect, it would appear they were influenced here by none other than Tonton Macoute. This track is not from the Jethro Tull school of flute driven prog. As noted prior, all of Side 2 is a barnburner. 'Lady Fantasy' is absolutely bonkers, and closes the album with the stereo in flames. Nothing lightweight about Camel here.

Ownership: 

1974 Janus (LP). This is one of the very rare times where I prefer the US artwork to the European original when they are different. Acquired in 1984.

1974 Deram UK (LP). Acquired in 2015.

2002 Deram UK (CD) With liner notes and four live bonus cuts that total ~29 minutes. Acquired in 2002.

1984 (first listen); 2002; 1//05; 6/23/06; 1/15/14; 1/19/24 (review)

Breathless (1978)

Continuing the transition found on Rain Dances, Breathless is even more geared toward a commercial sound. In retrospect though, there's plenty of thoughtful progressions within the tight confines of their pop songs. Vestiges of their progressive rock past can be found here as well, in particular 'The Sleeper'. 'Summer Lightning' sounds like an updated and disco'd up 'Winter Wine' from Caravan's classic In the Land of Grey and Pink. Of course, now having Richard Sinclair on board has a lot to do with that perception. 

Ownership: 1978 London Japan (LP). With giant poster. Acquired in 2020.

1984 (first listen); 12/10/20 (review) 

Other albums I own and need to review: Camel (1973); The Snow Goose; Moonmadness; I Can See Your House From Here; Nude

1/6/23 (new entry)