To everyone else, this is a very excellent addition to your prog rock music collection! It is a collection of songs recorded during the transition from Doug Ferguson to Richard Sinclair, so some tracks are performed by the first and some by the second.
Never Let Go is followed by about half of "Moonmadness". Song Within a Song and Lunar Sea are two of the best tracks ever released by Camel, and the first disc is closed by a decent version of their masterpiece Lady Fantasy. I say decent because I prefer the studio version. It would be enough, but the whole second disc is occupied by The Snow Goose.
I think all the Camel fans know about the first Camel's concept album and the only one fully instrumental. For those who are new to Camel, this is a single instrumental suite.
Don't look at the number of tracks of disc two, it's just a symphony. On other live albums they often played the second and third track, "Rhayader" and "Rhayader Goes To Town", so there are a lot of different versions.
This is the best live version even if also in this case I prefer the studio one. What to say? It's a great live album where the only negative thing is that the public seems too distant. I would have expected an explosion of applauses at the end of Never Let Go, but it's like there are few dozens of persons attending the gig.
It's their problem in any case. For me it's a five stars. I'll say one thing about the original LP. This album was released after 'Rain Dances' but the original track listing only includes one song from that album, Skylines.
While this is quite surprising, for a band who would probably want people to buy their latest record, it is a good thing they decided to do this, as it left more room for the amazing tracks heard on their first four records. Although the artwork is now quite out of date although what a cover it is! The first CD contains a range of great Camel songs taken from several concerts, all played beautifully. Whilst some of these are played faithfully, there are also some interesting variations.
My biggest disappointment was with Never Let Go from the debut 'Camel'. The beginning of the song is played like it was on the album, but with a funkier feel and a sax solo. Then at the instrumental, the band begins to break it down and have several different solos, until closing without finishing the song.
It's slightly unfullfilling, as Never Let Go is such a good song, but the track does show great on stage musicianship. There is just one song that is not taken from a studio album, Ligging at Louis'. This six and a half minute instrumental unfortunately suffers from the same symptoms as the other 'Six minute Camel instrumentals': it is very well played, but rather forgettable.
Still, it's good to include something unreleased on the live album. Lady Fantasy is played just as well as it is on the album, although the last section lacks some of the punch of the studio version.
This version is longer than the album version, and there's no points for guessing that the extended part lies in the guitar solo before the Saw you It would have been a travesty if this song were not on the album! It's brilliant to hear this wonderful song live, I wish I could have been there. Of course the second disc is devoted to 'The Snow Goose'. If you do not already have the album, then I strongly advise you get that before hearing this. The important thing about the live version is that the group are accompanied by none other than the London Symphony Orchestra.
They perfectly augment the band here, and really bring the album to life. Of course, hearing the entire album live allows you to reassess your thoughts about the studio version.
It's easy to enjoy even the duller parts of the album here, because there's just so satisfying about hearing the entire of something cough Never Let Go cough. The suite is played very faithfully to the studio version, with few surprises. There is however a big detour at Migration where the band perform something completely new before returning to the song. However, on this recorded version, I hear a lot more passion in the songs. For example, the end of Dunkirk is played spectacularly, and you can hear the band and the orchestra going crazy!
Not a note wrong either! Everything feels more exciting, and the quality of the recording is crystal clear. After hearing the studio version, I'd say this is how the album was meant to be heard. With so many great tracks being played beautifully, I'd say this album essential to any Camel fan. Being taken from several concerts over several years, this serves as a photo album to Camel's early years live.
We mustn't get ahead of ourselves though, this is a live album, and it's hard to say that live albums are essential although I'm sure there are a few essential ones.
Very good live album! Well, Camel's A Live Record is an album I've been meaning to review for a couple of years, due to my love for it, however for x or y reason I am writing until now, and i actually don't really have to add anything that has not said before, because this is well known and better loved album which has only one or two innocent detractors. So in , when the world was about to reach that so called 80s decade, and when progressive rock was about to suffer a metamorphosis, Camel offered this extraordinary performance which any progressive rock fan would have loved to witness.
Cleverly, they made it a two-CD album that can be easier to listen and dig, though listening to both CD's in a row, will make your day. What will you find here? Name it Canterbury, symphonic, jazz, etc. For live albums and compilations I don't use to review track by track, as I normally do, so I will only mention some important things.
CD one consists on one of the best concert openers I've ever listened: an extraordinary version of "Never let go" with Mel Collins on sax. Once you listen to it, you would not want it to end. On this minute first CD you will also listen to fabulous songs and fabulously performed such as "Song Within a Song", "Lunar Sea", and of course, the unique "Lady Fantasy", closing what you could call the first half of the record.
In the second CD, you will listen to the whole "Snow Goose" album, yes, all the sixteen tracks featured in the original studio album. So if you love that album like me then you will have a feast here, you will have a great time, believe me. Though most of the songs are played as in the album, some others were extended, with new sounds and arrangements, not an improvisation, but well-structured and thought changes.
So, I invite you to listen to this piece of gold. As you guess, my final grade will be five stars. Enjoy it! The big gaping problem is that the songs seem so devoid of life. I don't regard Camel as the most dynamic group on Planet Earth, but they can create energy and excitement in the studio. On this live album, Sinclair seems to be the only one putting some vitality into the performances; everyone else sounds so cold and deadpan that it ruins the experience.
I'm half asleep throughout the whole album. Many of the other songs from their classic period suffer the same thing, but with terribly muffled vocals. I don't enjoy live albums in general. I don't get a thrill out of finding ''the definitive version'' of a song simply because I usually go after studio albums, and the studio songs are usually the first times I hear the songs and I base my opinion off them.
Hearing another live version is only going to tilt my head if the song has anything noticeably different. This album sounds poorly recorded, and I can't make out the vocals half the time. Camel did well in the studio; seek out those albums and come here only if you're a diehard fan. Reviewing the CD re-issue with bonus tracks.
The Good: Great setlist, great performances, solid production, pretty much all you could ask for really. Whilst I usually find The Snow Goose to be slightly tame and just a bit bland, this version, with the addition of live orchestra and subtle improvisation make it a more enjoyable experience than its studio counterpart.
The Bad: Hearing tracks taken from different studio albums all grouped together makes me realise how formulaic the structure of Camel's compositions can be. In addition the Lady Fantasy guitar solo was another lukewarm anti-climax, I have yet to hear a live recording which manages to captures the fuse-blowing energy of the studio version. The Verdict: If you want Camel and you want them live then look no further. I've grown on Mel Collins' saxophone work in particular, which means I'm especially appreciative of the performances of older material from the Rain Dances tour, with rearrangements of these classic Camel tracks performed to add in Mel's saxophone.
Even in the old edition, of course, disc two was a Camel fan's delight - a complete performance of the classic Snow Goose album, backed by the London Symphony Orchestra. The band are never upstaged by the orchestra, who are present mainly to add texture, and the occasional flourishes Latimer and Bardens slip into their performances make this an intriguing alternate version of the album for fans.
So I'd revise my old mark for this from three stars to five, provided you retain the extra tracks offered on the superb recent remaster of this set. It was originally released as a double vinyl disk with recordings taken from three different live tours of the group.
The first disk, features recordings taken from their second studio album 'Mirage' released in , when they toured the album and from their fifth studio album 'Rain Dances' released in when they toured this album too. The first track 'Never Let Go' originally recorded on Camel in and the second track 'Song Within A Song' originally recorded on 'Moonmadness' in , were recorded at the Hammersmith Odeon, London, in October and were taken from the 'Rain Dances' live tour.
The third track 'Lunar Sea' also originally recorded on 'Moonmadness' was recorded at the Colston Hall, Bristol in October and was also taken from the 'Rain Dances' live tour. The fourth track 'Skylines' originally recorded on 'Rain Dances' in was recorded at Leeds University, Leeds, also in October , and was also taken from the 'Rain Dances' live tour. The second disk is devoted to a complete live performance of the band's instrumental conceptual album 'The Snow Goose' released in , during the live tour of the album made in and was performed with the London Symphony Orchestra at the Royal Albert Hall in London.
The line up of Camel on this live album is Andrew Latimer lead vocals, guitars and flutes , Peter Bardens keyboards , Doug Fergusson bass , Andy Ward drums and percussion , Mel Collins saxophones and flute and Richard Sinclair vocals and bass. Sinclair, an ex-member of Caravan, replaced Doug Fergusson who was the original bassist and founding member of the band that left Camel in the early of , after the release of the band's fourth studio album, 'Moonmadness'.
Collins joined the group at the same time of Sinclair and both participated on the Camel's fifth studio album 'Rain Dances' as band members. Given the recording sessions correspond to different years in different stages, between and , and the group had two different bass players, Sinclair plays on tracks one, two, three and four of the first CD and Fergusson plays on tracks five and six of the same CD and throughout all the second CD.
Collins plays on the same tracks that Sinclair plays, namely on tracks one, two, three and four of the first CD. About the performance, the album opens with 'Never Let Go' that sounds completely different from the original version from their debut. Click here to do a search for software related to burning your own CDs. When you have all of the software you need, it's time to gather some songs. You may want to take songs directly from your CD collection. To do this, you need to " rip " the songs -- copy them from your CD to your computer's hard drive.
You'll need an extraction program to do this. Essentially, the program will play the song and re-record it into a usable data format. It's legal to make copies of songs you own, as long as the CD is only for your personal use.
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Most are illegal copies, however, and it is a copyright violation to download them and burn them onto a CD. To search for MP3-related Web sites, click here. MP3s are compressed files , and you must expand decode them in order to burn them onto a CD. Standard music-management programs can decode these files. If you don't have the right software, there are a number of decoding programs that you can download over the Internet. Once you've gathered the songs, you can use your music manager to arrange them in the order you want.
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Before you return your burner, try out some other programs and see if they yield better results. Since MP3s are compressed files, you can fit a lot more of them on a single disc, which means you can make a longer mix.
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Computer Peripherals. How CD Burners Work. An external writable CD drive, also called a CD burner, lets you take music or data files from your computer and make your own CDs. CD Basics: The Bumps " ".
A CD has a long, spiraled data track. If you were to unwind this track, it would extend out 3. This content is not compatible on this device. Reading CDs " ". Writing CDs In response to this demand, electronics manufacturers introduced an alternative sort of CD that could be encoded in a few easy steps. Burning CDs: Laser Assembly " ". Burning CDs: Write Laser " ". The machinery in a CD burner looks pretty much the same as the machinery in any CD player.
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Photo courtesy Yamaha Electronics Corporation. Fortunately, this wasn't Camel's last hoorah, and they finally chose to break the concept album streak to release what I consider to be one of the most underrated prog albums of all time. After a seven-year hiatus marred by legal troubles, guitarist Andrew Latimer would usher in a new era of Camel music that would persist until the band's last studio album to date in Starting up his own record label Camel Productions, Latimer now had unprecedented creative freedom to make whatever music he felt like making, a stark contrast to the forced material seen in the band's more commercial 's albums.
This change in scenery would inspire the album "Dust and Dreams", yet another concept album this time focusing on the Dust Bowl and Great Depression, with a loose theme based on John Steinbeck's "Grapes of Wrath", a monumental novel in American literature lauded for its stunning depiction of the migrant workers who fled the Great Plains seeking fortune in 's California. The lineup for this album is reminiscent of the band's 80's albums, with Latimer still being the sole original member of the band.
Opening up with a solemn and atmospheric introduction, "Go West" properly introduces the theme of the album, and highlights the terrible dust storms which peppered the American heartland, destroying crops and resulting in catastrophe for those living in states such as Oklahoma and Texas. The lyrics are complimented with minimalist piano notes with a slow build up, culminating in the first of many Latimer guitar solos.
Another song of note is the emotional "Rose of Sharon", which features guest vocals of former Camel bassist David Paton and Mae McKenna, and both perform a duet of sorts that follows a steady build up that erupts into perhaps the best guitar solo of the album.
This is the kind of deeply emotional and provocative work that we have come to expect from Camel albums, and I feel like Latimer delivers in conveying the proper feelings to the listener.
Where "Rose of Sharon" conveys passive hopefulness, "End of the Line" conveys dread, based upon the economic toil of the migrants as they realize that employment was just as scarce in the Golden State as it was in the states they fled.
The general atmosphere of this song is one of depression and hopelessness, and once again, Camel succeeds in engaging the listener. And with "End of the Line", that's the end of the vocals on this track. The entire second half of "Dust and Dreams" is instrumental work, with modern rock themes that still remain progressive in nature.
The interplay between Latimer and the rest of his band is fine but I really didn't take anything away of note from the rest of the musicians; a continuing trend from "Stationary Traveller".
Perhaps that's the biggest problem with modern Camel; it has become more of the Andrew Latimer band than the band which saw contributions come from at least one member. All songs are written by Latimer, with some lyrical contributions by his wife. I see a lot of people comparing this era of Camel to the solo work of Pink Floyd guitarist David Gilmour, but I just struggle to find any correlation besides the reality that they like doing guitar solos.
Where Gilmour is more flashy and exotic in his work, Latimer is more emotive, and more prone to writing albums that follow a story. It's definitely produced with the intention of satisfying a prog listener, and all of the songs are well-composed and link to one another, but in the context of Camel's entire discography it's easily forgettable. There's only a few tracks that really are taken away here and they are hardly seminal compositions.
This album is explicitly designed to be listened to in one go, but songs like "Mother Road" or "End of the Line" can be listened to on their own. In terms of a rating, this album is the definition of good, but non- essential. It easily becomes lost in the mix of the band's history alongside its cousin "Harbour of Tears" which would be released five years later.
Following 's "The Single Factor" and its critical failure, it's more than likely that record label Decca gave guitarist Andrew Latimer and "his band" Camel more creative control over their next album. With drummer Andy Ward now effectively retired from music following a failed suicide attempt onset by drug addiction, the band took off before returning with roughly the same lineup as before.
This is Camel's most political album, although it is by no means controversial in its criticism of the GDR's totalitarianism, and is a continuation of Camel's melancholic approach to storytelling, a dynamic which seems to be in Latimer's wheelhouse. Musically, the mood of this album is dark and pessimistic, reflective of the situation at the time in the divided Germany, and really sets this album apart from the rest of the band's 80's material, despite not really being any different instrumentally from "The Single Factor" or "Nude".
You can tell that Camel had a much more organized and calculated approach to this album as opposed to the frantically put together nature of "The Single Factor". Everything seems to gel, and the tracks are sequenced in a way that makes sense.
The opening instrumental "Pressure Points" sets the tone for the album, with a bleak and minimalistic synth lead that gives way to a broad Latimer guitar solo. On future remasters of this album, this track is sometimes replaced with a ballad titled "In the Arms of Waltzing Frauleins", featuring vocals from Chris Rainbow.
This song seems to be designed to segue the end of the Second World War and the Cold War in the context of the album's concept, and it is definitely an emotive song, but its exclusion from the original issue does not bother me. If I had to choose however, I am fine with omitting "Pressure Points", as I feel "In the Arms" transitions better into the first conventional song "Refugee", which is a pretty typical 80's rock song, but unlike much of the material from "The Single Factor", it's done right, conveying a political message to contrast a very professional and smooth sound straight out of the APP.
The tone of the album only gets darker from here, with the longer track "Vopos" short for Volkspolizei, the East German secret police taking a pretty unique turn for Camel, with some haunting lyrics, and an slow and prodding exposition that opens up into a chill guitar solo.
The next track, "Cloak and Dagger Man" is the most obvious singles track from the album, with a lot of eighties synth and glitz that makes for an okay yet dated song where Rainbow really shows off his impressive vocal range. While Rainbow and Latimer share vocal duties on this album, their respective inclusions on songs make sense, with Latimer taking the helm on the more depressing and low-key tracks and Rainbow hitting those more dynamic and upbeat songs.
Side one is concluded with the title track, which is a chilling and melancholic instrumental with a strong Latimer guitar solo, which is right in Camel's wheelhouse and done to perfection. Side two opens up with an uncharacteristically upbeat song for this album, "West Berlin". I really like how the band makes this very subtle good vs evil contrast between the West and East, with songs focusing on the East being dark and melancholic, while songs about the West are cheerful, hopeful, and emotional.
This is one of those small features that really makes for a good album. This song is one of my favorites on the album, with a very strong pop chorus and soulful lyrics where Latimer's vocals seem much more refined than they have been on past Camel albums. There is then a flawless transition into the surprisingly emotional "Fingertips", a mellow and intimate song which is capped off by a beautiful Mel Collins saxophone solo.
Grade-A work right here in pulling at the heartstrings, especially with the theme of perhaps one of the hardest decisions a person can make in risking their live in trying to flee to freedom, and the apprehension of perhaps never having an opportunity to escape again. We then enter the instrumental portion of the album, with the songs "Missing" and "After Words".
This to me is the lowest point of the album, although the musicianship isn't bad, it's just forgettable in the context of the album. A lot of emphasis is put on the work of Scherpenzeel, with the latter song being a short piano interlude that sets us up for the album closer, "Long Goodbyes".
There perhaps isn't any better way to cap off this album than with a song like this, which is in the vein of "Drafted" and "Heroes" from the band's previous two albums in terms of sound and structure. Chris Rainbow's vocals are a tad bit suppressed here as he is in a lower register, where I would expect Latimer to be, but where this composition really strikes is in the transition to the final guitar solo.
Believe me when I say Andrew Latimer saved the best for last, with a tearful performance that is the kind of stuff that would make a grown man cry.
This is 's Camel, and neo-prog in general, at its very best. I firmly believe "Stationary Traveller" is Camel's best album of the 's, and is a return to the quality songwriting and musicianship that we received from to While the album is not as progressive as Camel's most famous works, it should still be respected for being thoughtfully produced and listenable 's synth-pop. At the most carnal level, this album evokes emotions better than "The Snow Goose", while retaining a contemporary sound that fits in with the times.
The only real glaring issue is that much of the album is dependent on Latimer's guitar work, and there really isn't much inspiring contribution from people such as Burgess, Scherpenzeel, or Paton. In reality, you could have put any generic musician behind Latimer and received the same effect, so in a way the album can be seen as one-dimensional from the standpoint of musical virtuosity, and of course that is a criticism of this album, but personally this is one of my favorite Camel works.
While not essential, I think this is a wonderful album to flesh out a 's prog album collection. Camel would sit out the rest of the 's following this album, as the band faced legal challenges which you can read more about on the band's website. Fortunately, Andrew Latimer was able to win the lawsuits and keep control of the band, all while moving to the beautiful state of California, which would be the focus of the next Camel album, 's "Dust and Dreams", free of Decca's creative control.
Copyright Prog Archives, All rights reserved. Please consider supporting us by giving monthly PayPal donations and help keep PA fast-loading and ad-free forever. In their first period CAMEL releases four albums, the self titled debut, which was received with limited enthusiasm by the public, which lead to the change of label from MCA Who didn't wanted to take risks to Decca, with whom they stayed for 10 years. From this point the lineups constantly changes but the band still releases seven more albums received with different degrees of acceptance, until the last studio album "A Nod And a Wink" sees the light in the same year Pete Bardens passes away completing a large discography of 14 studio releases, 9 live albums, 7 DVD's and several box sets.
If I had to choose one album from their prolific discography, my choice would be "Moonmadness" but others such as "Snow Goose" or "Mirage" are beloved by those who love good music.
Insert the disc into your disc drive. If an autoplay option appears, ignore it or exit out of it. Open Windows Media Player. Either search for it from the Start menu or enter the wmplayer command in the Run dialog box. Go to the Folders list and select the music disc. The CD might be called Unknown album or something else, but either way, it is represented by a small disc icon. Select the format for the copied music. The options vary from computer to computer but can range from 48 Kbps which will make files with the smallest size to as high as Kbps this is the best quality but produces the largest file sizes.
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