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Review Like others of their ilk, in concert they were up for showboating on an epic scale as evidenced by Homage to the God of Light. Doors-like organ extrapolation and what sounds like the more accessible parts of Pink Floyd’s Ummagumma are stretched across a 19-minute flight of fancy.
Their real breakthrough was their 1975 concept album Music Inspired by The Snow Goose – a suite of tunes as English as a clotted cream tea and in places just as sweet. The truly cohesive nature of the work is slightly undermined here, being sliced and diced in a compilation. Best to check out the album’s most recent reissue to get the full effect.
Perhaps the obvious weakness in some of their early albums is the lack of a convincing vocal that’s the equal of their instrumental technique. Whilst Latimer’s vocals have an agreeable wistfulness, Bardens handles task with all the grace of a bloke who’s been pushed in front of a microphone because nobody else wanted the job. From 1977‘s Rain Dances (where Brian Eno makes a surprise cameo appearance) through to 1978‘s Breathless, this problem is solved to some extent with the recruitment of ex-Caravan/Hatfield and the North bassist and singer, Richard Sinclair.
With ex-King Crimson sax player Mel Collins also along for the ride the sparks really fly; Collins and Latimer were quite a force to be reckoned with. The examples here, culled from the expanded reissue of 1978’s A Live Record, have Camel sounding closer to the knotted jazz-rock musculature of Bundles-era Soft Machine than their whimsical reveries of yore.
Personnel difficulties and record company demands for commercial product eventually hobbled a group whose principal strengths lay in melodic anthems, romantic flourishes and good old-fashioned musicianship. Aside from a few previously unreleased tracks from BBC sessions, long-term fans will know all this anyway. Those new to Camel, though, will find Rainbow’s End to be an excellent and worthy primer.
--Sid Smith
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