Camel's 5th album gets a third "Deluxe Edition" release on the Decca label, this time sporting 16 digitally remastered tracks. Originally released in 1977 (following on from 'Camel' in 1973, 'Mirage' in 1974, 'The Snow Goose' in 1975 and 'Moonmadness' in 1976), this edition contain all the original tracks plus the single version of 'Highways of the Sun' and an additional 6 songs recorded live for the BBC's 'In Concert' radio show. The cd also contains a booklet allegedly containing rare & never-before-seen photographs of the band.
The band sound as good as always: the multi-talented Andrew Latimer weaving his usual magic on guitar, flute and vocals, with some piano thrown in here and there for good measure! Peter Bardens is superb on keyboards; Andy Ward, for so long the thriving engine room of the band alongside Latimer, on drums. New arrival Richard Sinclair replaces Doug Ferguson on bass and support vocals - and the wonderful Mel Collins appears on saxophone. Supporting this amazing group of dynamic and creative musicians are Brian Eno (acoustic and electric piano, Mini Moog), Martin Drover on trumpet and Fiona Hibbert on harp.
Indeed, the line-up, combined with the sheer diversity of musical instruments being called upon, tell you everything you need to know about this long neglected classic. Rain Dances marks a turn of pace from the driving energy of the previous albums and marks an evolution in Camel's 'sound' which is partly reflected again in I Can See Your House From Here (1979) and then more particularly Stationary Traveller (1984). This is a more mellow sound, a fusion of jazz, prog, layers of careful arrangements and a more technical approach to the song writing. The results are spectacular: Highways of the Sun is a long established concert favourite, while Unevensong dazzles with its constant change of timings, rhythm and emphasis. In between these you have Latimer experimenting with changing beats (Metrognome) and some orchestral sounding chill-outs (Tell Me, Elke).
The brilliance of this album is precisely the willingness to play with different beats, to experiment with diverse musical sounds - and yet to keep the emerging signature Camel sound throughout it all. Moonmadness and Snow Goose may get all the attention - but this is no less a fine Camel classic in its own right; a mellow, calmer incarnation of the Camel genius which lays the foundations for a lot of albums which follow from it.
As a final note, I think it is a shame that after so many years Camel Productions appears to have been unable to wrest the rights for this album off Decca. We can only hope for the day when all of Camel's archives belong to the care and stewardship of Andrew Latimer and the CP stable.