Author: Peter Podbrežnik
Artist: Camel
Label: MCA Records
Release: 1973
Rating: 5/5
Why Camel, one of the most original and creative bands in symphonic prog rock, remains the most overlooked band of the genre will never be completely clear to me. Even though they made phenomenal music practically their whole career, they never tasted the commercial success or attention of the likes of Yes, Genesis, Pink Floyd, Jethro Tull or ELP. Could it be because their first album, simply called “Camel”, with the cover showing a crying camel on a train, came out relatively late, right when the prog rock scene was at the peak of its popularity? Camel did start playing actively back in 1971, but their first album only came out two years later, at a time when the place was already crawling with all sorts of prog masterpieces like “Larks’ Tongues In Aspic” (King Crimson), “Tales From Topographic Oceans” (Yes), “Selling England By The Pound” (Genesis), “Brain Salad Surgery” (ELP), and so on.
Unlike most bands in this genre, Camel were a stable lineup in their early days. They blended symphonic sweep, some jazz elements, virtuosity and melody. Add to that their humble attitude and their steering clear of the media attention that followed most similar bands. And that’s exactly how they earned their cult status and the loyalty of the devoted fans who still follow them today. I can say this is one of the few old, legendary bands where I haven’t heard a single bad album in the discography, or even a single “moment of weakness” in their career. Sure, they made their best work in the 70s too, but they never sold out their sound or their integrity. They never allowed themselves that, not even at the price of possible bigger commercial success and recognition.
Even back then, Camel surprised with their freshness, originality, their own sound and musical building blocks, despite the occasional parallels between the guitar (and vocal) approach of guitarist and singer Andrew Latimer and David Gilmour (Pink Floyd). Though always leaning a bit more toward symphonic prog than Canterbury, Camel basically sat right on the border between the two. The three vocalists on this record (Latimer, keyboardist Peter Bardens and bassist Doug Ferguson) were never “first-league” singers or charismatic in the style of Peter Gabriel (Genesis) or Peter Hammill (Van Der Graaf Generator), but they still fit the musical concept perfectly. All three also had highly melodic, recognizable voices. Most of the vocals, though, were usually sung by guitarist (and later flutist) Andy Latimer. In general, it’s one of their trademarks that vocals were never plentiful, and they preferred long instrumental stretches.
“Slow Yourself Down,” which opens the record, sounds almost like jazz fusion. It even reminds me a bit of early, non-commercial Santana. It sounds quite un-British, even slightly exotic, tropical. And that’s exactly the quality that set Camel apart from the other British symphonic prog rock bands. At the same time, they too had plenty of Celtic magic in them, along with the typical melancholy of similar bands. Right on this track, Camel show they’re outstanding musicians. Drummer Andy Ward, barely 18 at the time, shows off his jazzy knack for fast, punchy, breathtaking drum fills. He combines brilliant technique with power. Andy Latimer (also on vocals on this track), whose solos and original riffs are pure perfection throughout the whole album, follows his rhythm, which is complemented by Ferguson’s bouncy bass and Bardens’ “wizardry” on Mellotron and organ.
“Mystic Queen” is an epic ballad. It’s sung by bassist Doug Ferguson. Latimer’s solo in its middle section, I have to mention, really does sound very “Floyd-ish” this time, as if he and Gilmour sat in the same school bench. This is something that’s simply a fact, and what I mentioned at the start: people loved comparing Latimer, precisely because of his similar guitar technique (and vocals too), to Gilmour, and Camel to Pink Floyd (“cooled-down” Pink Floyd). Which speaks vividly to the quality of this brilliant and overlooked guitarist. In my opinion, Latimer is simply the most underrated prog guitarist ever. The sadly late Peter Bardens is likewise a master (his solo legacy is worth your attention), who will take your breath away with his exceptional orchestral harmonies (at this stage he also liked using the VCS3 synthesizer, which, among others, was also “liked” by Peter Sinfield (ex-King Crimson, ELP) and the aforementioned Pink Floyd). “Mystic Queen” sounds truly very mystic.
Next comes the excellent instrumental “Six Ate,” where the previously mentioned technical excellence, the band’s exceptional ear for melody and the combination of the two really come into their own. Camel could rattle off incredibly fast solos and inventive riffs from under their fingers, yet still craft a great instrumental that makes sense from start to finish. Latimer shows off some of the most original and witty riffs I’ve ever heard here. And Bardens’ organ work and Mellotron are pure fairy tale. The band sounds as tight here as few rock bands I’ve ever heard, much more like a jazz fusion band, which is no wonder, since Camel’s rhythm section is completely jazzy. There are few bands that can boast an instrumental this good on their very first album.
“Separation” is once again a different kind of track. It sounds much more hard rock-oriented, with even some metal riffs. Latimer’s vocals are very solid and expressive here and even allow themselves a bit of drama. His guitar riffs are a special story in themselves here. And here comes my slightly snarky remark at the expense of a certain famous band. Let me say that a very famous and important metal band “borrowed” here, or at least got the idea for the main motif, both the riff and the rhythm, for their song “Phantom of the Opera.” If you don’t believe me, listen to the second part of “Separation.” I was shocked myself when I first noticed the considerable similarity. Only Camel play and wrap up the whole thing a notch faster. Heh, if I may be a bit cheeky, like Iron Maiden on jazz!
Next up is their anthem “Never Let Go,” which has a brilliant, mystic intro and is sung by keyboardist Peter Bardens. It also came out as their first single and has all the qualities of a brilliant progressive mini epic. It has a wonderful chorus and a brilliant Latimer riff. The best part comes at the end, when Latimer’s mystic riff returns, met by Bardens’ dramatic Mellotron. Then, to top it all off, there’s one more short, monumental metal solo that neither Dave Murray (Iron Maiden) nor Brian May (Queen) would be ashamed of. Phenomenal! A brilliant finish. Without a doubt one of their best songs and a classic, one that became an integral part of their concerts.
The drama eases off again a bit with “Curiosity,” which is again a little more jazz-tinged. I really like Latimer’s mystic and dreamy chorus before his and Bardens’ solos kick in. Likewise, Ferguson’s dreamy and mystic vocal is a fitting choice for this song, which really sounds like some kind of symphony from a dream.
“Arubaluba” is an excellent instrumental and probably the peak of the whole record. Bardens’ VCS3 synth backing (which, by the way, creates the sounds of waves and rippling water) makes for a tasteful sonic curtain, joined by the speedy, dead-tight charge of the rest of the band.
God, I can’t get over Ward’s drumming. The cymbals just get blown away. Intelligent and punchy at the same time. As for Latimer’s acrobatics on this track, all I’ll say is that you have to hear them with your own ears, because they can’t be put into words. A master is a master. And let me not forget Ferguson’s melodic approach to bass. He’s no Chris Squire (Yes), but he’s still the kind of bassist every prog band would want to have. Bardens on organ also shows, in my opinion, his best moments on the record here, right up there with the greatest keyboardists of the time. Honestly, with “Arubaluba” you can picture, no problem, oases in the middle of the desert where a herd of camels is grazing, even though I still don’t know what the title means and would love to find out one day.
Let me add that the production on this latest remaster from 2002 is truly excellent and a huge leap over the original recording. The jump in production is enormous and helped me finally hear this record in its proper light, as the masterpiece it undoubtedly is.
Of course, the bonus tracks are worth mentioning too, and unlike on most similar reissues, they deserve your full attention. First there’s the single version of the excellent “Never Let Go,” which is of course a different version, since it’s shortened for single purposes.
The 19-minute instrumental composition “Homage To The God of Light,” a Bardens solo creation from his solo record of the time (meaning it never came out on any Camel record), is certainly the best thing this excellent remaster has to offer. This instrumental epic, played live on October 29, 1974, at London’s Marquee Club, is a real treat for all fans of Camel, symphonic prog, Canterbury and jazz fusion, and a one-of-a-kind gem that also shows how the band played a long, varied and engaging epic as if it were nothing, one that never lets the listener’s attention wander for a second. Camel never created another epic of similar length, but this Bardens solo piece was the exception and certainly the highlight of the band’s live shows at the time.
“Camel,” a record still completely overlooked even by prog fans, is thus one of the best debuts in prog rock, a masterpiece by one of the most unjustly underrated rock bands of all time. A must-buy for all fans of symphonic prog and Canterbury too. Those of you who haven’t heard it yet have no idea what you’re missing.
Lineup
Andy Latimer – guitar, vocals (1 & 4)
Doug Ferguson – bass guitar, vocals (2 & 6)
Peter Bardens – keyboards, vocals (5)
Andy Ward – drums, percussion
Production
Dave Williams
Track list
1. Slow Yourself Down (4:45)
2. Mystic Queen (5:53)
3. Six Ate (5:57)
4. Separation (4:54)
5. Never Let Go (6:20)
6. Curiosity (5:52)
7. Arubaluda (6:26)
Album length: 40:07
The 2002 remastered edition includes two bonus tracks:
8. Never Let Go (single version) (3:36)
9. Homage To The God Of Light (Live 10-29-1974) (19:01)
