ATC
01-28-2006, 07:10 PM
Camel are:
Andrew Latimer - guitar, vocals, flute, recorder (1972-)
Colin Bass - bass guitar, vocals (1979-1981, 1991-)
Doug Ferguson - bass (May 1972-1977)
Peter Bardens - keyboards (1972-1978)
Andy Ward - drums, percussion (1972-1982)
Richard Sinclair - bass, vocals (1977-1979)
Mel Collins - saxophones, flute (1977-1979)
Jan Schelhaas - keyboards (1978-1980)
Kit Watkins - keyboards, flute (1979-1980)
Dave Stewart - drums, percussion (1997-2000)
A kind of 'funky' animal, finding its way through the desert inspired one of prog rock's greatest bands- Camel, according to Andy Latimer, guitarist and songwriter. Known almost instantly in prog circles for their beautiful instrumentals and emotional guitar and flute playing, Camel managed to mix classical elements into their music to create vast atmospheric soundscapes. In faraway England of yore, brothers Andy and Ian Latimer formed The Phantom Four with Alan Butcher and Richard Over rounding them out. A couple of line-up changes and a name-change to Strange Brew later, further disaster struck this then cover band. Ian Latimer quit the band to get married and believing shortening their name to be the better part of valor, they became The Brew. Only after the 14 year old Andy Ward joined the Brew replacing Alan Butcher were The Brew able to reach the next level. After a short tour, they recorded their first demo 'Crossroads'. After playing as a backing band for Philip Goodhand-Tait, Camel decided to add a keyboard player to strengthen their sound. A young but already prolific Peter Bardens responded to their advert in the Melody Maker and the original line-up was born. The band further shortened their name and became Camel.
The band performed their first gig at Waltham Forest Technical College supporting Wishbone ash and soon released their first album with MCA Records in 1972. The first Camel album, however, was the 1973 self-titled. It was a great debut from the band and despite its rather complex progressive nature was well-received. The band was told by their producer that they couldn't sing but after many auditions realized that 50 other aspirants couldn't sing either and decided to sing themselves, but very sparingly. Arubaluba is often mentioned as the classic track from this album and shows Peter Bardens at his best. Camel then recorded their second album, Mirage with Decca in 1974 and it was a commercial breakthrough, even in America where the band now toured with Wishbone Ash. On this extended tour, they played with such bands as KISS and Steppenwolf. Lady Fantasy, the single off the album, is often considered a prog classic. This was the first album with Andy Latimer playing the flute, something he would do more often on later albums.
What does a band on the verge of their breakthrough do? Go the other way and release an instrumental concept album on a children's fairy tale. Considered by many to be their magnum opus, it brings the tale to life through the music alone. Despite its unconventional nature, its surprisingly accessible but betrays their penchant for concept albums. It would later go gold. Camel now entered their most successful era where they released Moonmadness and Rain Dances, two albums that are essential 70s prog listening. 1974's Moonmadness was a concept album based on the personalities of the band members. Chord changes was meant to portray Peter Barden's volatile personality the way Lunar Sea showed Andy Ward's jazzy nature. This modern-day classic was the last with the original line-up with Doug Ferguson leaving, replaced by Richard Sinclair of Caravan, yet another influential progressive band of the 70s. 1977's Rain Dances was a step away from the their more experimental side with shorter, more commercial songs that show all their sides while staying more focussed. This is my favorite album from the 70s Camel. Songs like Unevensong and One of these days distils 70s prog into its essential elements bringing together the sound of other acts like Pink Floyd and Caravan into the Camel sound. Instruments like the soprano saxophone, Tunisian clay drums, the flugelhorn are among the many crazy instruments used.
Camel began their middle period with 1978's Breathless, apparently a more commercial album that was more song-driven and one of the few without a central concept. This album also marked the departure of Richard Sinclair and Peter Bardens and was notable for the in-fighting involved in its release. The next album, I can see your house from here, was notable only for a few things: the minor controversy that the album cover of a crucified astronaut looking down on the earth generated and the lovely instrumental Ice. The defining song of the middle period, Ice is a long emotional song featuring arguably one of the movement's best solos. This was the only highlight on an otherwise mediocre album and was followed by the concept album Nude in 1981 about an isolated Japanese soldier 'Nude' on a deserted island who was unaware that the war was over who was unable to come to terms with the world he came home to on his rescue. This was their last album with Andy Ward, who by this time had been devastated by drug and alcohol abuse and had even attempted suicide on their tour. The tour was cancelled and the band dissolved, leaving Andy Latimer as the only original member. The departure of Andy Ward after his attempted suicide left him unable to play caused the production of Camel's weakest album, The Single Factor, an allusion to Latimer's aloneness at the helm and record company pressures to produce more singles. The new line-up included David Paton and Chris Rainbow of the Alan Parsons Project among other musicians. Peter Bardens returned to guest on the instrumental Sasquatch. The next album and the last of the middle period, 1984's The Stationary Traveller, a concept album about divided Berlin was no better in quality and while it was marginally better was unsatisfactory enough for Camel to go to ground for 7 years. The 7 year hiatus was marked by lawsuits by and against Camel and at their conclusion, Camel left their record company and with his partner Susan Hoover, Andy left Britain to make a fresh start in America.
In California, Andy and Susan formed their company, Camel productions and released Dust and Dreams, based on a John Steinbeck story. A very powerful and gripping piece of music, it showed Camel abandoning their 80s sound for a softer, more symphonic return to their roots and the album was well-received and provoked a world tour. With new musicians Colin Bass, Paul Burgess and Mickey Simmonds, Camel found itself in a more stable place. Camel released three official bootlegs during this period before their opus, Harbour of Tears, a concept album about Irish immigrants in America having to go through the Harbour of Tears. Inspired by the death of his father, Andy's revisitation of his roots led to this beautiful, almost-Celtic album. Moody and bittersweet, it's notable for the epic Watching the Bobbins. With a new line-up, they toured in support of the album and released another official bootleg before their 1999 magnum opus, Rajaz. Rajaz, in Arab tradition, refers to the rythm of the camel's footsteps as it leads the travelers home, set to music. With a decidedly world music feel, this is easily the most beautiful of their later works. The guitarwork is once again at its best with Lawrence and Straight to my heart, filled with moving musicianship. I am officially in love with his guitar tone in this album. The tour, while successful, was marked by injuries to many within the Camel camp and Camel's Y2K tour came to an end in 2001. Meanwhile, Peter Bardens, one of the classic members, was diagnosed with and succumbed to cancer. In response, the album A nod and a wink, dedicated to him, was released, very referential and in effect a nod and a wink to the 70s and progressive music at the time. The Farewell tour was again well-received but was again marked by health and family troubles.
In 2004, Andrew Latimer and Susan Hoover decided to return to England. A new Camel album is said to be in the works.
Studio Discography
1973 - Camel
1974 - Mirage
1975 - The Snow Goose
1976 - Moonmadness
1977 - Raindances
1978 - Breathless
1979 - I Can See Your House From Here
1981 - Nude
1982 - The Single Factor
1984 - Stationary Traveller
1991 - Dust And Dreams
1996 - Harbour Of Tears
1999 - Rajaz
2002 - A Nod and a Wink
I plan to send out Raindances and Rajaz to anyone that's interested in the band and leaves their email in the thread, to give them an overview of the band and it's sound.
Andrew Latimer - guitar, vocals, flute, recorder (1972-)
Colin Bass - bass guitar, vocals (1979-1981, 1991-)
Doug Ferguson - bass (May 1972-1977)
Peter Bardens - keyboards (1972-1978)
Andy Ward - drums, percussion (1972-1982)
Richard Sinclair - bass, vocals (1977-1979)
Mel Collins - saxophones, flute (1977-1979)
Jan Schelhaas - keyboards (1978-1980)
Kit Watkins - keyboards, flute (1979-1980)
Dave Stewart - drums, percussion (1997-2000)
A kind of 'funky' animal, finding its way through the desert inspired one of prog rock's greatest bands- Camel, according to Andy Latimer, guitarist and songwriter. Known almost instantly in prog circles for their beautiful instrumentals and emotional guitar and flute playing, Camel managed to mix classical elements into their music to create vast atmospheric soundscapes. In faraway England of yore, brothers Andy and Ian Latimer formed The Phantom Four with Alan Butcher and Richard Over rounding them out. A couple of line-up changes and a name-change to Strange Brew later, further disaster struck this then cover band. Ian Latimer quit the band to get married and believing shortening their name to be the better part of valor, they became The Brew. Only after the 14 year old Andy Ward joined the Brew replacing Alan Butcher were The Brew able to reach the next level. After a short tour, they recorded their first demo 'Crossroads'. After playing as a backing band for Philip Goodhand-Tait, Camel decided to add a keyboard player to strengthen their sound. A young but already prolific Peter Bardens responded to their advert in the Melody Maker and the original line-up was born. The band further shortened their name and became Camel.
The band performed their first gig at Waltham Forest Technical College supporting Wishbone ash and soon released their first album with MCA Records in 1972. The first Camel album, however, was the 1973 self-titled. It was a great debut from the band and despite its rather complex progressive nature was well-received. The band was told by their producer that they couldn't sing but after many auditions realized that 50 other aspirants couldn't sing either and decided to sing themselves, but very sparingly. Arubaluba is often mentioned as the classic track from this album and shows Peter Bardens at his best. Camel then recorded their second album, Mirage with Decca in 1974 and it was a commercial breakthrough, even in America where the band now toured with Wishbone Ash. On this extended tour, they played with such bands as KISS and Steppenwolf. Lady Fantasy, the single off the album, is often considered a prog classic. This was the first album with Andy Latimer playing the flute, something he would do more often on later albums.
What does a band on the verge of their breakthrough do? Go the other way and release an instrumental concept album on a children's fairy tale. Considered by many to be their magnum opus, it brings the tale to life through the music alone. Despite its unconventional nature, its surprisingly accessible but betrays their penchant for concept albums. It would later go gold. Camel now entered their most successful era where they released Moonmadness and Rain Dances, two albums that are essential 70s prog listening. 1974's Moonmadness was a concept album based on the personalities of the band members. Chord changes was meant to portray Peter Barden's volatile personality the way Lunar Sea showed Andy Ward's jazzy nature. This modern-day classic was the last with the original line-up with Doug Ferguson leaving, replaced by Richard Sinclair of Caravan, yet another influential progressive band of the 70s. 1977's Rain Dances was a step away from the their more experimental side with shorter, more commercial songs that show all their sides while staying more focussed. This is my favorite album from the 70s Camel. Songs like Unevensong and One of these days distils 70s prog into its essential elements bringing together the sound of other acts like Pink Floyd and Caravan into the Camel sound. Instruments like the soprano saxophone, Tunisian clay drums, the flugelhorn are among the many crazy instruments used.
Camel began their middle period with 1978's Breathless, apparently a more commercial album that was more song-driven and one of the few without a central concept. This album also marked the departure of Richard Sinclair and Peter Bardens and was notable for the in-fighting involved in its release. The next album, I can see your house from here, was notable only for a few things: the minor controversy that the album cover of a crucified astronaut looking down on the earth generated and the lovely instrumental Ice. The defining song of the middle period, Ice is a long emotional song featuring arguably one of the movement's best solos. This was the only highlight on an otherwise mediocre album and was followed by the concept album Nude in 1981 about an isolated Japanese soldier 'Nude' on a deserted island who was unaware that the war was over who was unable to come to terms with the world he came home to on his rescue. This was their last album with Andy Ward, who by this time had been devastated by drug and alcohol abuse and had even attempted suicide on their tour. The tour was cancelled and the band dissolved, leaving Andy Latimer as the only original member. The departure of Andy Ward after his attempted suicide left him unable to play caused the production of Camel's weakest album, The Single Factor, an allusion to Latimer's aloneness at the helm and record company pressures to produce more singles. The new line-up included David Paton and Chris Rainbow of the Alan Parsons Project among other musicians. Peter Bardens returned to guest on the instrumental Sasquatch. The next album and the last of the middle period, 1984's The Stationary Traveller, a concept album about divided Berlin was no better in quality and while it was marginally better was unsatisfactory enough for Camel to go to ground for 7 years. The 7 year hiatus was marked by lawsuits by and against Camel and at their conclusion, Camel left their record company and with his partner Susan Hoover, Andy left Britain to make a fresh start in America.
In California, Andy and Susan formed their company, Camel productions and released Dust and Dreams, based on a John Steinbeck story. A very powerful and gripping piece of music, it showed Camel abandoning their 80s sound for a softer, more symphonic return to their roots and the album was well-received and provoked a world tour. With new musicians Colin Bass, Paul Burgess and Mickey Simmonds, Camel found itself in a more stable place. Camel released three official bootlegs during this period before their opus, Harbour of Tears, a concept album about Irish immigrants in America having to go through the Harbour of Tears. Inspired by the death of his father, Andy's revisitation of his roots led to this beautiful, almost-Celtic album. Moody and bittersweet, it's notable for the epic Watching the Bobbins. With a new line-up, they toured in support of the album and released another official bootleg before their 1999 magnum opus, Rajaz. Rajaz, in Arab tradition, refers to the rythm of the camel's footsteps as it leads the travelers home, set to music. With a decidedly world music feel, this is easily the most beautiful of their later works. The guitarwork is once again at its best with Lawrence and Straight to my heart, filled with moving musicianship. I am officially in love with his guitar tone in this album. The tour, while successful, was marked by injuries to many within the Camel camp and Camel's Y2K tour came to an end in 2001. Meanwhile, Peter Bardens, one of the classic members, was diagnosed with and succumbed to cancer. In response, the album A nod and a wink, dedicated to him, was released, very referential and in effect a nod and a wink to the 70s and progressive music at the time. The Farewell tour was again well-received but was again marked by health and family troubles.
In 2004, Andrew Latimer and Susan Hoover decided to return to England. A new Camel album is said to be in the works.
Studio Discography
1973 - Camel
1974 - Mirage
1975 - The Snow Goose
1976 - Moonmadness
1977 - Raindances
1978 - Breathless
1979 - I Can See Your House From Here
1981 - Nude
1982 - The Single Factor
1984 - Stationary Traveller
1991 - Dust And Dreams
1996 - Harbour Of Tears
1999 - Rajaz
2002 - A Nod and a Wink
I plan to send out Raindances and Rajaz to anyone that's interested in the band and leaves their email in the thread, to give them an overview of the band and it's sound.