Author: Peter Podbrežnik
Artist: Camel
Label: Decca Records
Release: 1978
Rating: 4/5
Camel were already showing the first signs of a shift toward somewhat shorter, more commercially accessible material on “Rain Dances” (1977). With “Breathless,” though, they made the full switch in that direction for the first time and really started writing songs that leaned on pop rock. The turn was simply inevitable, and Camel did what most of their prog rock peers at the time did: tried to earn a few more quid by adapting their music to the masses, in an era when progressive rock was seen as something “played out.” The songs got a bit simpler and more commercially friendly, then. Luckily they didn’t abandon their trademark improvisational, symphonic prog rock entirely, with that ever-present jazz rock fusion undertone still there, but most of the album is made up of shorter pieces that you can tell were built for radio play. Even though the band didn’t quite pull that off, “Breathless” is, for the wider audience, one of their most accessible albums. For the first time, the instrumentals gave way to shorter songs with vocals. The romantic-tinged voice of the excellent bassist and singer Richard Sinclair is practically made for hits, and most of the vocals on the album are his work. Vocally, “Breathless” is without a doubt one of the band’s strongest albums, but some people may be bothered by exactly this: Sinclair’s voice brings some of the songs suspiciously close to his former band Caravan. Fans of those guys will be more than thrilled, of course. Even though they put compactness ahead of complexity this time, Camel are still strong in the instrumental sections, and even when they’re not fusing, they venture into some uncharted territory. The band’s two main geniuses, guitarist/singer/flutist Andy Latimer and keyboardist Peter Bardens, are once again unsurpassed, even if every fan will miss the good old Hammond organ and Moog synthesizer a little. It’s hard to believe this is the band’s last album with the maestro Bardens in the lineup, because his contribution here is as thrilling as ever. The Sinclair/Ward jazz rock rhythm section runs like a well-oiled machine and lays down a solid foundation for all kinds of ambient and other passages from the band’s two main creators. The wind arrangements, once again the work of Mr. Mel Collins, are by tradition very good and add extra depth and a romantic pulse to individual pieces.
The opening “Breathless,” with its cheerful, simple rhythm and Richard’s crystal-clear, romantic, melodic voice, plus its seemingly simple and slightly naive lyrics, shows a new face of the band. The choruses are exceptionally catchy, the rhythm is simple, and the improvisations are pushed way into the background, there more or less just for decoration. The excellent “Echoes” is one of the album’s peaks, reviving the Camel most of their fans remember. That means an extensive set of subtle riffs and solos from Latimer’s guitar, Bardens’ antics on the synthesizers and a rumbling rhythm section. For the first time on the album, the listener can enjoy their trademark longer instrumental passages and improvisations, which build an incredible atmosphere over a melodic foundation that never lets up. From the instrumental setup, the song shifts in its final stretch, via Latimer’s vocals, into a many-colored section marked by a wide palette of improvisational elements. With “Wing And a Prayer,” where they flirt with funk and a “Hawaiian” rhythm in places, they return to the new direction. This radio-friendly piece is an interesting mix of progressive rock and pop. The average listener’s first reaction to the offbeat, goofy “Down On The Farm” will probably be: what the heck is a Caravan song doing on a Camel album? The resemblance to most of the work of the Canterbury champions is more than obvious this time. All the recognizable Caravan elements are here: a playful funky rhythm with jazzy spices, and lyrics you can’t stay serious through even if you try (chickens clucking, the farmer driving a tractor and taking a leak in the bushes while his daughter hangs out her underwear). Tractor sounds and barnyard animal noises season the whole thing even more. It’s the least typical Camel piece on the album and the closest they ever came to Canterbury. Luckily they never tried anything like it again, since it doesn’t suit them at all, even if this one experiment was hugely fun and interesting, because it showed them for the first time as musical humorists. With “Starlight Ride” the band “gets serious” again, returns to its recognizable sound and serves up high romance. What stands out here are the troubadour-style flute arrangements, the acoustic guitar and Andy’s unmistakably dreamy vocals. “Summer Lightning” is one of the best pieces on the album and probably the most interesting too, since Camel even toy with disco here. The result is surprisingly thrilling. It’s honestly incredible how well they managed to merge their traditional prog rock tricks with a disco pulse. Latimer’s emotional slide guitar solos sit on a rhythm line that smoothly moves from jazz rock to disco, while Bardens’ keyboard arrangements bring in their trademark symphonic touch and spacey ambient. Sinclair, in top form here, is joined by excellent “Heep-style” backing vocals that create an amazing atmosphere. The piece is packed with real magic and grabs you again and again from start to finish. “You Make Me Smile” is another fairly simple one for the band, with naively romantic lyrics that more than obviously flirt with AOR rock, though the colorful rhythm line and Bardens’ wonderfully inventive synthesizer solos make sure it gains at least a bit of seriousness and depth. The spacey instrumental “Sleeper” is another peak of the album and a moment that will win over all fans of their classic work again. Here Camel are back in all their symphonic prog rock glory, with the trademark magical duel between Latimer’s guitar and Bardens’ keyboards and a closing jam in jazz rock fusion waters. The closing ballad “Rainbow’s End” is one more moment of high romance, where Andy shows off all his vocal potential and hits the highest vocal register of his entire career in the choruses. An exceptionally beautiful and more than fitting end to the album, leaving the listener wanting to hear it all over again. The production is once again crystal clear and ahead of its time.
On “Breathless,” Camel tried for the first time to be a progressive rock band that would be accessible and appealing to the masses too, and started flirting seriously with AOR rock and pop, which would come out even more strongly on their next albums. Even though most of those who only know their early, classic albums will probably be disappointed on first listen by the loss of so many improvisational elements, the end result is surprisingly successful. “Breathless” isn’t one of their better albums and in places marks the band’s temporary farewell to its classic sound, but it’s undoubtedly one of their most interesting and charming, winning you over with a healthy dose of classics as well as pieces where they add a touch of pop charm to traditional prog rock elements. Its true value only showed itself many years after its release.
Lineup
Andy Latimer – guitar, flute, vocals
Richard Sinclair – bass guitar, vocals
Peter Bardens – organ, synthesizer, piano, keyboards, mellophonium, backing vocals
Andy Ward – drums, percussion
Mel Collins – saxophone
Production
Camel and Mick Glossop
Track list
1. Breathless (4:16)
2. Echoes (7:22)
3. Wing and Prayer (4:41)
4. Down on the Farm (4:20)
5. Starlight Ride (3:20)
6. Summer Lightening (6:03)
7. You Make me Smile (4:13)
8. The Sleeper (7:02)
9. Rainbow’s End (3:00)
Album length: 44:17
