Camel ~ England

Stationary Traveller (1984)

Yet another Camel album I hadn't heard before. I recall seeing it in the import bins during the 80s, but instincts told me to avoid it. Certainly the right move for the time. I would have immediately dismissed it as a pop record, and not the kind of prog rock I was looking for.

At this point, Camel is something of an Andy Latimer solo effort with industry veterans (Kayak, Alan Parsons Project, King Crimson) backing him up. The album starts off promisingly enough with an instrumental featuring the Fairlight synthesizer and Latimer's excellent guitar. After this, the music is defiantly 80s styled AOR, with a prog sensibility. If listening to music like this with the same lens as the Canadian band Saga, then it works better than expecting the next Mirage to come through your speakers. There are four instrumentals overall which also helps balance the boom boom bash of the pop oriented tracks. Without a doubt it's Latimer's guitar that brings life to Stationary Traveller. I think this is one of those albums that could be classified as "good for 1984, especially from an established UK prog band". Overall a solid pop progger, with excellent instrumental work, though not something I need to keep. 

Curiously, Stationary Traveller is one of their higher rated albums on RYM, and their best since Moonmadness. I think it's a bit of madness to rate this higher than Rain Dances, but OK. ProgArchives isn't quite as optimistic, but still rated higher than Breathless, which I won't agree to either.

Source: 1984 Decca Netherlands (LP)

8/26/26 (review)
 

The Single Factor (1982)

Another one of those albums I could have sworn I wrote about, but guess not. It was only seven 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; 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; 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.

First copy: 1978 Arista (LP). Acquired in 1984.

1984; 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)

Dragon ~ New Zealand

Scented Gardens for the Blind (1975)

One of my better scores from the "early days of ebay", when folks were still dumping vinyl but the well-heeled buyers had yet to discover the internet. The stunning cover is a fixture of my "wall of albums", though low enough so I can reach to play it on occasion. Which of course I rarely do. One of the charter members of my Yacht Prog designation, New Zealand's Dragon play a sophisticated form of melodic progressive rock with commercial sensibilities. Similar to Sebastian Hardie, later Fruupp, and Kestrel. Dragon went on to become pop stars in Australia and released many albums which I've not heard. It's easy to see the band crossing over to that realm, as there's evidence of that sound here.

Ownership: 1975 Vertigo Australia (LP).

Not reissued as of 3/31/25.

4/30/94 (first listen); 2002; 4/6/23 (review)

Universal Radio (1974)

Dragon's debut came at the twilight of the early Hammond organ fueled progressive rock of the early 1970s with the more sophisticated AOR styled album that was about to dominate the FM landscape in the mid 70s. Universal Radio is definitely more the former, and also possesses a strong Latin fusion/rock component as well as a bit of space rock. Guideposts include fellow countrymen Ragnarok and Living Force, along with bands such as Kestrel (England) and Fruupp (Northern Ireland). Only three short years from their debut, Dragon were to become pop stars in neighboring Australia, and you can hear hints of that future sound on the track 'Going Slow' (though with progressive oriented breaks still in place). The album peaks on the splendid multi-layered epic 'Patina'. Bonus track 'Black Magic Woman' demonstrates a lingering Santana influence that was to be shed on their next opus Scented Gardens For the Blind, which is arguably an even better album. As it stands though, hard to imagine fans of early 1970s progressive rock not enjoying Universal Radio. There are a lot of ideas packed into this recording, so the relistenability factor charts high. Strongly recommended.

Ownership: 2009 Aztec (CD). Triple fold-out digi-pak with an extensive history, photos, and three bonus tracks (though two are from a solo effort by band leader Marc Hunter and is a debatable addition). The release was taken from vinyl indicating the masters are lost (or in poor condition), but still sounds excellent. 

1//09 (first listen); 9/1/15 (review)

9/1/15 (new entry)

Kestrel. 1975 England

In listening to the CD this past week, I had a +1 listen. Which is pretty extraordinary, since it's already close to the very pinnacle. The older I get, the more music like this resonates with me. I had some notes over at RYM, but for some reason never published here. I tidied those up and here they are:

Kestrel's sole album contains some of the most beautiful songwriting ever committed to vinyl. The piano and mellotron are exemplary here. It's typically lumped in with the progressive rock scene, and it is somewhat - but only tangentially so. I can hear parallels with Fruupp's Modern Masquerades, Sebastian Hardie's Four Moments, and Dragon's Scented Gardens for the Blind - a certain sophisticated AOR sound that is very hard to describe, but you know it when you hear it! Yacht Prog? And this is the best of that lot. This is one of those albums that doesn't sound good on paper, but if you have any tolerance at all for a commercially oriented sound, then Kestrel is a must listen.

Ownership: CD: 2001 Victor (Japan); CD: 2015 Esoteric. For whatever reason, Kestrel's reissues have been the sole provenance of Japan (probably license related). My first copy was the 1989 CD that didn't even have the backplate! The 2001 version is a mini-LP, though as far as these things go, the packaging is pretty dull (though I do admit to liking the goofy cover). The Esoteric CD is a recent acquisition, and is the definitive reissue. I've been curious about the bonus tracks since Belle Antique's 2013 reissue, but advance word suggested it wasn't worth the extra splurge. Having heard them, I would have to agree, though it is great to have two new tracks to digest (both excellent). So when the Esoteric CD became available at a discount, it was too tempting to pass up. Especially when considering the thorough liner notes in addition to the bonus. And while Esoteric has a reputation - at least in recent years - of screwing up the mastering, I have to say the Kestrel sounded really great to my ears. Best I've heard to date. I've never heard the original, and probably never will, so I don't have much to compare it to. I'm keeping the mini as well, as they don't take up much space, and it's a favorite album.

2/28/11 (RYM); 5/10/20 (new entry)

Fruupp ~ Northern Ireland

Seven Secrets (1974)

Seven Secrets is the second album from Northern Ireland's favorite sons Fruupp. As you will often read, this album has something of a bad reputation and is to be avoided (even 1 star reviews, suggesting it's awful). But honestly I feel it's unwarranted. The first two tracks totaling near 16 minutes are great - very much in line with the 1973 progressive rock landscape. Certainly not as heavy as their debut Future Legends, but then again Fruupp never did go back to that type of sound, similar to Gravy Train and Jonesy in that way. I enjoy 'White Eyes' as well, a bit too orchestrated perhaps, but nonetheless a solid entry. Side 2 kicks off with 'Garden Lady' and yet another nine minute excellent progressive rock track is presented, following in the footsteps of 'Wise of Wisdom'. And then... it breaks down. But not terrible by any means, just more of an ordinary rock sound with folk and Baroque elements. To my ears, they were foreshadowing their next work The Prince of Heaven's Eyes, which in my mind is the weakest of the Fruupp quartet of albums. 'The Seventh Secret' is a throwaway closer, not that dissimilar from many a duff closing moment that talented artists felt compelled to do - for no known reason. As I have mentioned many times in the past, you will find albums that close poorly (and in this case the last 15 minutes), are more likely to receive a negative reaction than those that finish strong - no matter what the contents prior were (Tarkus anyone?). Last impressions I guess.

I see Seven Secrets as a solid effort, with close to 25 minutes of excellent material, and the other 20 as good to very good.

Ownership: 

1974 Dawn (LP). Textured cover. Acquired in 1990.

2004 Arcangelo (CD). Papersleeve. Part of the Disk Union box set. Acquired in 2004.

1990; 1997; 2004; 7/18/19 (review)

Modern Masquerades (1975)

There are a couple of ways at reviewing Modern Masquerades. The normal way would be to go down the path of saying it's the 4th album by the Northern Irish progressive rock band Fruupp, and they've run out of interesting ideas, Side 2 blows, etc...

Or... Or....

You could look at this as a pioneering album by about one or two years. The back cover of the album gives the game away, for all of you that actually own the LP or CD. 

Anyway.... Back in the 90's I called this style "High-Ball Rock". 20 years later, it turns out I was on the right track, but they (the ever present they) gave it another name. Yacht Rock. OK, I like that even better - same idea, but yea, Yacht Rock indeed. Checkmate on that. Sure, it's still progressive rock. Some Yacht Rock albums actually are. In fact, I'm now calling it Yacht Prog.

Me? I like it. It is in this scenario you discover that 'Sheba's Song' is brilliant. You can file this album right next to Kestrel's awesome one album, though it's not quite that good.

Ownership: 1975 Dawn (LP). Lyric insert. Acquired in 1990.

10//90; 1996; 10/22/07; 7/4/15 (review); 3/21/26

Also own: Future Legends; The Prince Of Heaven's Eyes

7/4/15 (new entry)