Camel over the course of their history came to define
progressive melodic rock. Starting out of a band called ‘The Brew’
who were more of a straight forward rock trio, upon the addition of
Peter Bardens on keyboards the trio from ‘Brew’, Andy Latimer on
guitars and flute, Doug Ferguson on bass and vocals, and Andy Ward on
drums, became the mighty beast that is ‘Camel’ with their first gig
as support to ‘Wishbone Ash’ in 1971.
But it was not until 1973 that their first self
titled album was released, and although attracting a little critical
attention, did little else. Listening to it now it is hardly surprising
as it is a little twee.
The second album got them all the publicity they
wanted, but mostly not for musical reasons. Mirage (1974) came in an
album cover replicating a packet of Camel cigarettes, which got them
sued by Camel cigarettes in America. But then the tables were turned and
they received an endorsement from Camel cigarettes Europe, giving away
free packets of five Camels to all the audience members at all their
European gigs of that tour. So they ended up with enormous hassles in
the States and had to change their album covers, and in Europe were
hated by the anti-smoking league forever.
Because of this their next album, the all
instrumental album based on Paul Gallico’s Snow Goose, had to be
called ‘Music inspired by the Snow Goose’ due to the author’s
abhorrence to all things nicotine. Nevertheless, Snow Goose was
Camel’s breakthrough album, opening up the world market to the band.
Due to the record company’s (Decca) horror at having put out an all
instrumental album last time, the band’s next effort,
‘Moonmadness’ (1975), was a bit of a compromise between band and
record executives with all the songs having actual words, choruses and
verses.
By now the sound of the Camel had moved far away from
the rock ‘n’ roll roots of ‘The Brew’, and after the tour too
promote ‘Moonmadness’ Doug Ferguson decided to hang up his camel
saddle and move on. Famed session saxophonist Mel Collins had toured
with the band on the last tour and was now keen to carry on his
association with the band. He was to be an unofficial member of the band
for all further albums and tours for the next decade.
But a new bass player and vocalist had to be found.
Top of the list was original founding member of both ‘Caravan’ and
‘Hatfield and The North’, Richard Sinclair, who just happened to be
arriving back from his holidays that had helped him recuperate after the
termination of his last band ‘Hatfield and The North’. One telephone
call was all it took and Richard Sinclair packed up his bags in
Canterbury and joined the dromedary cause.
This gave Camel much more artillery under it’s
hump. Richard Sinclair was blessed with very distinctive vocal chords,
far superior to anything the band had in their armoury before. Mel
Collins, being full time available to the band, meant much more space to
stretch out in the long instrumental sections of the Camel material
(Does that make Camelhair?). Whilst Andy Ward on the drums was much more
comfortable with Richard Sinclair’s more jazzy bass style than the
straight ahead rock style of the previous incumbent.
The new album ‘Rain Dances’ (1977) was waited for
with great anticipation by the massed ranks of Camel fans. They were not
disappointed. The album opens up with a bright instrumental titled
‘First Light’ which would have been far more aptly titled
‘Introducing Mel and Richard’. The first three minutes of the song
are taken up by some pretty impressive musical jousting between the
keyboard work of Peter Bardens and Andy Latimer’s guitar. As they
quiet down it is left to the nifty bass work of Richard Sinclair to take
the next section of the song onwards before handing over to Mel Collins
who brings this musical section to a rousing conclusion with a rasping
saxophone solo. A very satisfying beginning.
After this the album is split into two halves: the
next four songs having vocals, whilst the remaining four are
instrumentals. (This copy has got the single version of ‘Highways of
the Sun’ tagged onto the end, completely unnecessary as it is only the
original version with a thirty second section chopped out of the
middle.) ‘Metrognome’ is a good Camel song where you feel that the
new band are getting acquainted. ‘Tell Me’ is an emotional ballad
written by Latimer and Bardens, but giving full reign to the voice and
bass work of Richard Sinclair. On ‘Highway Of The Sun’ Camel almost
get carried away with themselves, with its driving marching keyboard
driven beat and chirpy vocals, why this was not a hit single at the time
is beyond me.
‘Uneven song’ follows in equally upbeat mood,
showing why Camel were such a class act. Crammed into its five minutes
thirty three seconds are well sung verses, crystal clear solos from each
member of the band, giving you a complete saga in its allotted time.
The instrumentals are all extremely well executed,
each with its own distinctive flavour. The wonderfully titled ‘One Of
These Days I’ll Get An Early Night’, the only title credited to
every member of the band, is a vicious slab of fusion jazz/rock, with
each soloist elbowing his way to the front of the instrumental stage to
have his share of the limelight, grabbing on literally with two hands
and giving their instruments a real shake.
‘Elke’ is a slowly burning piece written by Andy
Latimer reminding you of his Scottish heritage, and featuring Andy’s
haunting flute work, underpinned by some sympathetic keyboards from
Peter Bardens. ‘Skylines shakes you out of your reverie with its funky
beat and jaunty attitude, Richard Sinclair’s bass work again excels.
The album closes with the title track which lulls you along to its
conclusion on a very comfortable cushion of sound.
Camel found themselves with another huge hit on their
hands and soon set out on another world tour to promote the album,
recording a lot of the concerts along the way for their next album, a
double live vinyl affair wittily titled ‘A Live Record’. It has
recently been re-released with lots of bonus material on it bringing the
total playing time up to over two and a half hours.
The success of these albums by Camel is all the more
remarkable by the fact that these songs of grace and dignity were
released whilst punk rock was sweeping all before them. Most bands of
Camel’s ilk never stood a chance and were blown away, but the Camel is
a sturdy animal and made great commercial progress, filling concert
halls and selling albums wherever it went.
1976, 1977, and 1978 were to be the Camel’s finest
years; unfortunately disaster was only just around the corner, but for
now sit back and enjoy the beast at its best.
Mott’s CD review: Camel - Rain Dances
4
Stars ****