Live in San Jose Center (Disc #1)  (43:59)
	01	Meddley - Earthrise - First Light - Rhayader - Unevensong						09:06
	02	Song Within A Song						06:42
	03	Sleeper						05:23
	04	Nimrodel						02:43
	05	Nimrodel - The Procession - The White Rider						07:49
	06	Tell Me						04:34
	07	Extract From "The Snow Goose" (Rhayader - Rhayader Goes To Town)						07:42
Live in San Jose Center (Disc #2)  (46:35)
	01	La Princesse Perdue						06:12
	02	Rainbow's End						03:03
	03	Echoes						07:59
	04	Never Let Go						11:23
	05	One Of These Days I'll Get An Early Night						08:34
	06	Lady Fantasy - Encounter - Smile For You - Lady Fantasy			This track recorded in the BBC			09:24

Japanese Bootleg - Live in San Jose Center - February 1979



Camel

Camel (1973)
Mirage (1974)
The Snow Goose (1975)
Moonmadness (1976)
Raindances (1977)
A Live Record (Live 1977)
Breathless (1978)
I Can See Your House from Here (1979)
Nude (1981)
The Single Factor (1982)
Pressure Points (Live 1984)
Stationary Traveler (1984)
Dust and Dreams (1992)
Never Let Go (Live 1993)
On the Road 72 (Live, Recorded 1972, Released 1993)
On the Road 82 (Live, Recorded 1982, Released 1994)
Harbour of Tears (1996)
Coming of Age (Live 1997)
On the Road 81 (Live, Recorded 1981, Released 1997)
Rajaz (1999)
The Paris Collection (Live 2001)
A Nod and a Wink (2002)

Compilations/Other Recordings
The Compact Collection (1986)
Landscapes (1991)
Echoes (1996)
God of Light 1971-1975 (2000)
Anthology (2001)

County Of Origin: England
Established: 1972
Styles: Symphonic

Biography

Camel certainly has reserved for them a special place in my music collection, being one of the first progressive rock groups I ever discovered, and their classic albums never fail to cast their subtle, melodic, magical spells every time I play them. The band seems to have gotten a relatively late start as far as the other great English bands were concerned, with the magnum opuses from the likes of Genesis, King Crimson, Van der Graaf Generator and Yes already having been released by the time Camel managed their first classic, Mirage, in 1974. Indeed, in hindsight, it seems that the group had a relatively small window in which to make their mark, and the fact that growing commercial disinterest in this style of music that began during their period of greatest creativity (1974-1976) goes a long way in explaining the band's perceived "second-tier" status in the English progressive rock hierarchy.

Camel was formed in 1972 when Andy Latimer, Andy Ward and Doug Ferguson hooked up with the older and more experienced Peter Bardens, formerly of a group called Them. Their first release was for MCA records, and showed a still maturing, but capable ensemble. After this album they signed a deal with Decca records, which would see them through their prime years. Over the next three years, the lineup would remain remarkably stable and churn out a trilogy of seminal progressive rock albums. The first of these, Mirage, is a stunning, instrumentally based prog tour-de-force. The album effectively establishes Camel as a major player, and innovator, in the scene. The next album, the all instrumental Snow Goose, which was based on a novel by Paul Gallico, was the band's breakthrough album commercially, reaching the top 30 on the British charts. This album in particular stands out today as perhaps the band's defining work, a brilliant, emotional album length piece that to some helps define the genre as a whole; undoubtedly an essential album. The next release, Moonmadness, is another that could contend as their finest, this time with more prevalent vocals, but no less of a somber and beautiful mood.

The first change in the band's lineup would occur here, and their real renaissance, for all intensive purposes, would draw to a close. Although the ousting of bassist Doug Ferguson would seem relatively minor, the situation was caused, and exacerbated by, an apparent rise in band tensions. The addition of former Caravan bassist Richard Sinclair must have seemed like a match made in heaven, as the band would finally posses a true vocalist as part of the package. The resulting album, Raindances, while certainly very good, takes an expectedly jazzier turn than their previous work, which in and of itself could have been great, but something holds the album back from standing solidly on the same high plateau as the three prior albums. This was unfortunately a sign of things to come.

The remainder of the decade would be riddled by changing public taste, shuffling lineups and inconsistent output. Bardens would depart after Breathless, and though the band would be complemented at one point by superstar keyboardist Kit Watkins of Happy the Man, they failed in the ultimate end of producing a great album. The next important album of the band's career would probably be 1981's Nude, which was a slight return to form. In 1982, Andy Ward broke his hand and was forced to step down, leaving Latimer as the only founding member. After a number of albums that flirted with slicker structures and formats, Camel became embroiled in a tenuous legal struggle with their former manager, halting the release of any new music until the late 80s. After winning their lawsuit, the band founded their own label, Camel Productions, and have since reentered a stage of dramatic productivity. Their more recent albums, 1991's Dust and Dreams, 1996's Harbour of Tears, 1999's Rajaz, and their latest, 2002's A Nod and a Wink, have been accompanied by numerous archival live releases and a slew of compilations, illustrating a definite resurgence of interest in the group. After some 30 years, Camel are still in the business of making progressive rock without compromise, one of the few members of the old guard that can attest to such an accomplishment . - Greg Northrup [October 2001]
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The Snow Goose (1975)

This is an all instrumental album, but being that Camel has always been mostly instrumentally based, The Snow Goose comes across as a totally singular, natural and flowing classic of progressive rock. There is definitely something intangible and inherently wonderful about Camel's music. You won't pick it up on first listen, I didn't. But after a while, their music penetrates you.

This is a concept piece based on a book by one Paul Gallico, the 16 tracks on the album apparently reflecting various points or themes throughout the story, although picking up on the actual plot is obviously impossible without lyrical clues. "Rhyander" is an achingly beautiful ditty that reminds me why progressive rock is so great. The delicate flute melody gives me goose bumps literally every time I listen to it. The rest of the album is no worse. The absence of vocals and the changes in mood to a sometimes near silence require a pretty healthy attention span, which is why this album probably hasn't sustained my interest quite as much as Moonmadness or even Mirage, but this is definitely another real classic from this band. - Greg Northrup [2001]
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Moonmadness (1976)

This was really the first Camel album I purchased, and rivals Mirage as my favorite album by this classic band. The album is wonderful from beginning to end. They decided to add vocals, and in fact they are seemingly more prominent than on any of the earlier albums. However, the addition of vocals is in no way detrimental, and the sparkling atmospheres of Snow Goose are carried over and arguably even still intact. The keyboard melodies weave in and out with the guitar in a magical synthesis. The title, cover and lyrics, plus the music itself, give off a very spaced out and dreamy image. The prominence of vocals contribute to the whole dreamy affect, they are very ethereal as usual.

The album leaves me spellbound every time I listen to it, though it definitely took me a few listens to really get into it. Once I began to anticipate everything, the music clicked and took on a special significance, I've never been able to get enough Camel since. This is a great starting place for prospective fans. - Greg Northrup [2001]
--------------------------------------------------------------------------------

Rain Dances (1977)

With Raindances, we see the first of many Camel line-up changes with the departure of founding bassist Doug Ferguson and the addition of Canterbury stalwart Richard Sinclair. As can be expected, there is more of a jazz influence, and this is what the band was looking for when they added Sinclair, whose satirical lyrical slant is felt immediately when looking at song titles like "Metrognome" and "One of These Days I'll Get an Early Night". The slight shift in direction is also evident with the addition of saxophonist Mel Collins as a full-time member. Along with the added jazz slant, Raindances is much more atmospheric and synth driven than the previous albums. It is also the starting point for the band's quest after a hit single due to record company pressure, as is evident in a few songs.

Raindances is a very vocal heavy album in comparison to the past works of the band, with duties split between Latimer and Sinclair. This highlights the more mainstream direction the band would pursue in the following years. Despite the more streamlined aspects of this album, there is plenty of the signature Camel sound evident; lush melodic passages, Latimer's evocative guitar playing and Barden's strong keyboard presence. "First Light", "Skylines" and the title track are all good examples of the prime Camel instrumental sound. Brian Eno makes a cameo appearance on the beautifully haunting "Elke", playing synths. Despite being the beginning of a shift the band would take towards becoming a more pop oriented band, this is still a strong album and should definitely be pursued by fans. For those just getting into Camel, stick with Mirage, The Snowgoose or Moonmadness. - Mike Prete [March 2001]
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A Live Record (1977)

A double live release documenting the band's history to that point in 1978, A Live Record features songs from both lineups, including a full live performance of The Snow Goose with the London Symphony Orchestra. Included are songs from each album, including the appreciated addition of "Lady Fantasy". The sound quality varies form track to track, as most of the songs have been recorded at different venues and varying dates. There is also the previously unreleased "Ligging at Louis" which was originally a Pete Bardens composition. Not a necessary addition, as no song really outshines its studio counterpart, although the live rendition of The Snow Goose with an orchestral backing is an enticing reason to pick this one up. - Mike Prete [2001]
--------------------------------------------------------------------------------

Nude (1981)

1981 saw a return to form for Camel, after multiple personnel shifts. Following up on the success of their last concept album, The Snow Goose, Andy Latimer and company set down the concept path once again, this one being the story of a Japanese soldier stranded on a deserted island during World War II, who stayed there, oblivious to the outside world, for 29 years before being discovered and unsuccessfully integrated back into society.

In returning to the type of musical narrative that typified earlier releases, most of the story is told through instrumental means, which is what makes this album of interest to fans of the band's earlier work. Of particular interest are: "Docks", "Beached", "Landscape", "Captured" and "The Homecoming", the latter sounding similar to the procession in "Nimrodel". The album flows together as a whole very well, despite the presence of some more pop oriented tracks.

Among the more progressive tracks are typical songs that would come to the forefront of "The Andy Latimer Project" (three members of the Alan Parsons project would constitute the majority of the Camel lineup for the next three albums). While not a rehashing of the traditional Snow Goose sound, there is plenty to satisfy fans of early Camel in this solid, yet unspectacular release. - Mike Prete [2001]
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Rajaz (1999)

Camel is one of the leading lights of British progressive rock. Unlike Yes, ELP or Genesis, they never "sold out" to become a more commercially viable product. Staying true to their sound, the band released several albums of consistently high quality during the 1970s and 1980s (excepting Stationary Traveler), despite a band lineup that was constantly in flux. Then Andy Latimer, the band's sole original member, packed up for the United States and recorded two albums of lush, symphonic rock during the nineties (Dust and Dreams and Harbour of Tears). At the end of the nineties, Camel released Rajaz and it is one of the band's finest albums. All the ingredients that make Camel so special are included on this CD; Andy Latimer's beautiful, weepy guitar solos, the symphonic keyboards as well as memorable compositions that rank with the band's best.

Rajaz opens with "Three Wishes", a gorgeous instrumental in which the spacey, Pink Floydish intro gives way to a passionate Latimer guitar flight. This piece is highly reminiscent of the band's Moonmadness album. "The Final Encore" is another highlight, and as with the rest of album is fused with an Eastern theme, which conjures images of the vastness of an Arabian desert. Incredible stuff!! The title track is also quite lovely, opening with acoustic guitar and a sweetly melancholic melody sung by Latimer, after which he performs a bluesy guitar solo. A couple of folksy acoustic guitar ballads follow before the album closes with a pair of emotional tracks-the instrumental "Sahara" and "Lawrence". Both tracks have plenty of great guitar solos and keyboard breaks.

Though Rajaz is generally mellow, a la Dust and Dreams, this album has much more of a band feel to it. Whereas Dust and Dreams and Harbour of Tears sound very studio crafted and, at times, too cinematic for their own good, Rajaz has a looser, earthier "live" quality that is much appreciated. In general, the keyboards serve as a backdrop for Andy Latimer's copious guitar solos and warm voice, which is fine by me. I was slightly disappointed in the cold, artificial digital keyboards on the last two CDs and was therefore very pleasantly surprised with Rajaz. This is an altogether terrific album. - Steve Pettengill [October 2001]




1973 Camel MCA
1974 Mirage Janus
1975 The Snow Goose Janus
1976 Moonmadness Janus
1977 Rain Dances Deram
1978 Breathless Arista
1978 A Live Record Decca
1979 I Can See Your House from Here Deram
1981 Nude Decca
1982 The Single Factor Passport
1984 Pressure Points: Live in Concert London
1984 Stationary Traveller Decca
1986 Compact Compilation Rhino
1991 Dust and Dreams Camel
1993 Echoes: The Retrospective PolyGram
1993 Never Let Go Camel
1996 Harbour of Tears Camel
1999 Rajaz Camel
1999 Coming of Age [live] Camel


Camel Discography
-----------------
Version 0.2.1
30/10/95

This discography is not complete - some albums don't have song lists, and
a bootleg list is missing. I allowed myself to give some description of
each album, in order to help you find what you're looking for. The opinions
expressed here are mine, so if you find them unrelevant please ignore them, or
write me about it.
Your questions, information, ideas, and flames are welcome.
Ofir Zwebner 26/11/93
e-mail: ofirz1@ccsg.tau.ac.il
-----------------------------------------------------------------------------
Albums by Camel:

Camel
Mirage
The Snow Goose
Moonmadness
Rain Dances
A Live Record
Breathless
I Can See Your House From Here
Nude
Chameleon
The Single Factor
Stationary Traveller
Pressure Points
A Compact Compillation
Landscapes
Dust and Dreams
Camel On The Road 1972
Echoes
Never Let Go

Appendix A: Getting in touch with Camel Production
Appendix B: Techincal Info
--------------------------------------------------------------------------------
1973 - Camel

Slow yourself down ***
Mystic queen *
Six ate
Separation ***
Never let go **
Curiosity *
Arubaluba

Andy Ward: Drums and percussion
Doug Ferguson: Bass and vocals*
Peter Bardens: Organ, mellotron, piano, VCS3 synthesizer and vocals**
Andy Latimer: Guitar and vocals ***

Camel's debut album is probably one of their best. Very similar in sound and
production to their second release, Mirage. Never got the success it should
have had.
The cover has a picture of a camel mixed with a train (?), with tears coming
from the camel's eyes and turning to stars. Back cover has a black & yellow
picture of the band.
It was available on LP by MCA records, now available by Camel Production on
CD. The CD has a lyrics sheet.
--------------------------------------------------------------------------------
1974 - Mirage

Freefall
Supertwister
Nimrodel / The Procession / The white rider
Earthrise
Lady Fantasy:
Encounter
Smiles for you
Lady Fantasy

Doug Ferguson: Bass
Andy Ward: Drums, cans, bottles & body mist
Peter Bardens: Organ, piano, celeste, mini Moog, mellotron & vocals
Andy Latimer: Guitar, flute & vocals

A superb album, featuring lots of rythm changes and organ/guitar solos.
Third track is based on Tolkien's "Lord of the Rings". Mirage reached number
149 on the US Billboard charts, and was followed with a massive tour over the
US.
The cover features a distorted version of the CAMEL cigarettes pack, with
the same CAMEL logo. The US version has the picture of the camel from the
first album only now it has a dragon's body, and it's eating strange crystal
pieces on a desert surface on some distant planet.
Available on CD and LP. CD version has inner notes by John Tracy.


--------------------------------------------------------------------------------
1975 - The Snow Goose

The great marsh
Rhayader
Rhayader goes to town
Sanctuary
Fritha
The snow goose
Friendship
Migration
Rhayader alone
Flight of the snow goose
Preparation
Dunkirk
Epitaph
Fritha alone
La princesse Perdue
The great marsh

Andy Ward: Drums, vibes, varispeed percussion
Doug Ferguson: Bass and duffle coat
Peter Bardens: Organ, mini Moog, electric piano, pipe organ, acoustic piano,
ARP Odyssey
Andy Latimer: Electric, acoustic and slide guitars, flute, vocals

Camel's most accessive album. Recommended for starters, and for everybody...
Based on the novella "The Snow Goose" by Paul Gallico. It took Latimer and
Bardens two weeks of intense work in a solitude cottage away from the world,
in order to write this masterpiece. The Snow Goose reached 22 in the UK charts
following a major success worldwide. The Snow Goose features an orchestra on
some parts. There are Two vocal parts, but without any lyrics - This album is
completely instrumental.
Cover has the CAMEL cigarette logo with picture of a snow goose in white,
blue and gold. Few versions has a short description of the story on the back
cover, in reference to each song. It is said there is a double-fold version
of the LP but I've never seen one.
Available on LP, Cassette and CD. The CD release has some more inner notes by
John Tracy.

--------------------------------------------------------------------------------
1976 - Moonmadness

Aristillus
Song within a song
Chord change
Spirit of the water
Another night
Air born
Lunar sea

Doug Ferguson: Bass, lead vocal Song Within A Song
Andy Ward: Drums, Percussion, voice on Aristillus
Peter Bardens: Keyboards, vocal on Spirit of the Water
Andy Latimer: Guitars, flute, vocal on Song Within A Song, Another Night,
Air Born

This album is very bombastic, most of it has a "Spacy" kind of music. Very
strong rythem parts, Spacy guitars and lots of synthesisers. The sound of this
one is completely different than the first two, a classic progressive album.
It even tends, somewhat, to fusion.
Cover has a bright picture of a woman (man?) sitting by a rock looking at the
moon above. No more cigarette logos. It is said there's another double-fold
version of the cover where the picture is in the inside while there's
something else (what?) on the outside.
Available on both CD and LP.


--------------------------------------------------------------------------------
1977 - Rain Dances

First Light
Metrognome
Highways of the sun
Unevensong
One these days I'll get an early night
Elke
Skylines
Rain dances

Andrew Latimer: 6/12 string guitars, pan pipes, fretless bass, flute,
acoustic guitar, electric & acoustic pianos, mini moog,
"string synthesiser", glockenspiel, treated guitars
Peter Bardens: Mini moog, string synth, electric piano, organ, acoustic
piano, car horns
Andy Ward: Drums, Nocarina, Teeth, Cheek, Turkish Ring, Money,
Percussion, Finger cymbals, glockenspiel, liquid boo bams,
rototoms, talking drum, smurd, swanee whistle, tunisian
clay drums
Richard Sinclair: Bass, vocals
Mel Collins: Saxophones, bass & concert flutes, clarinet, bass clarinet
Eno: Mini moog, electric & acoustic pianos, bells, random notes
Fiona Hibbert: Harp
Martin Drover: Flugel horn
Malcolm Griffiths: Trombone

Ferguson left, Sinclair joined, bringing a much Jazzy attitude to the music
of Camel. Still very progressive. Mel Collins in not a member of the group
yet. A good album for those who tend toward fusion / jazz rock.
Cover features a boy standing behind a window with rain dropping and two
women jumping to the sides. Back cover has a picture of the band (no
Collins). Available on CD and LP.


--------------------------------------------------------------------------------
1978 - A Live Record

Never let go
Song within a song
Lunar sea
Skylines
Ligging at louis'
Lady fantasy
The Snow Goose:
The great marsh
Rhayader
Rhayader goes to town
Sanctuary
Fritha
The snow goose
Friendship
Migration
Rhayader alone
Flight of the snow goose
Preparation
Dunkirk
Epitaph
Fritha alone
La princesse Perdue
The great marsh

Peter Bardens: Keyboards
Andrew Latimer: Guitars, flutes, vocal
Andy Ward: Drums and Percussion
Mel Collins: Saxophones and flute
Richard Sinclair: Bass on first 4 track, vocals on 2 first tracks
Doug Ferguson: Bass on the rest of the tracks.

A double live album, with very good sound and playing, although one may
prefer the studio version of "The Snow Goose" which has a nice live
performance (with an orchestra!) but not as accurate and impressive as the
original album. Camel usualy play good live shows and this album is very
recommended for all those who liked their first albums. "Liggin at Louis'" is a jazzy
track from 1974. Collins is now a formal member of the band.
Cover is black with a robot's finger shooting a lightning into a red record
floating in the air. Available on LP and CD.


--------------------------------------------------------------------------------
1978 - Breathless

Breathless
Echoes
Wing and a prayer
Down on the farm
Starlight ride
Summer Lightning
You make me smile
The sleeper
Rainbow's end

Andrew Latimer: Guitar, CS80/50, Vocals
Peter Bardens: Keyboards
Andy Ward: Drums, Percussion
Richard Sinclair: Bass, Vocals
Mel Collins: Flute, Saxes

Camel becoming poppier - this tendency will become stronger with the years.
Sinclair wrote Down on the farm, featuring blechs and other stupid voices.
During the sessions it was clear that Bardens was leaving the band when the
recording was done.
Cover has picture of a camel, on a mountain skyline background. There's also
an inner sleve with pictures of the members. Available on LP.


--------------------------------------------------------------------------------
1979 - I Can See Your House From Here

Wait
Your love is stranger than mine
Eye of the storm
Who we are
Survival
Hymn to her
Neon magic
Remote romance
Ice

Andy Latimer: Guitar, Vocals, Backing Vocals
Andy Ward: Drums, Percussion
Colin Bass: Bass, Vocals
Kit Watkins: Keyboards, Flute, Clavinet
Jan Schelhaas: Keyboards
J McBurnie: Lyrics
Viv McAuliffe: Lyrics
Mel Collins: Alto sax on "Your Love is Stranger than Mine"

Peter Bardens left the band. Some songs are good, and Ice is a very strong
piece (11 minutes).
Cover has a picture of the earth viewed from space, with a floating
astronout nailed to a cross. Available on CD and LP.


--------------------------------------------------------------------------------
1981 - Nude

City life
Nude
Drafted
Docks
Beached
Landscapes
Changing places
Pomp & circumstance
Please come home
Reflections
Captured
The homecoming
Lies
The last farewell
The birthday cake
Nude's return

Andrew Latimer: Guitars, vocals, flute, koto & various keyboards
Andy Ward: Drums & percussion
Colin Bass: Bass & vocals
Mel Collins: Flute, piccolo & saxophones
Duncan Mackay: Keyboards
Jan Schelhaas: Piano on "The Last Farewell"
Chris Green: Cello
Gasper Lawal: All percussions on "Changing places"
Herbie Flowers: Tuba

Camel re-forming with lots of players. This is a very good albums, with great
sound, lots of instrumentals (most of them very strong). Doesn't sound like
the early band's concept-progressive albums but still very good. Based on a
concept story by Susan Hoover who will from now on write lyrics for the
band and provide general ideas for concepts.
Herbie Flowers was a member of Sky at that time (... read further...)
Cover has a picture of a man's suit with no person in them standing on a rock
in the middle of a sea, with a mountain in the background.
Available on CD and LP. CD release feature the story of nude, I think the LP
has only the lyrics.


--------------------------------------------------------------------------------
1982 - Chameleon (Best of Camel)

Echoes
Rhayader
Rhayader goes to town
Song within a song
Remote romance
Nude
Drafted
Lies
Supertwister
Uneven song
Rainbow's end

A collection. Cover is completely white with a shade of a chameleon shape.
Available on LP but deleted from the catalog.


--------------------------------------------------------------------------------
1982 - The Single Factor

No easy answer
You are the one
Heroes
Selva
Lullabye
Sasquatch
Manic
Camelogue
Today's goodbye
A heart's desire
End peace

Andy Latimer: Guitars, piano, vocals, keyboards, organ, mellotron, bass
David Paton: Bass, fretless bass, vocals
Graham Jarvis: Drums
Duncan Mackay: Prophet synth
Chris Rainbow: Backing vocals, lead on "A heart's desire" and "End piece"
Francis Monkman: Harpsichord-synclavier
Anthony Phillips: Grand Piano, organ, classical and 12 strings guitar, poly
moog, ARP 2600, Marimba
Pete Bardens: Organ, mini moog on Sasquatch
Hydne Bendall: Yamaha CS-80
Tristian Fry: Glockenspeil
Jack Emblow: Accordion

A popish record with much resemblence to Alan Parsons Project. (No wonder:
same people on both groups: Chris Rainbow, David Paton). Lots of guest
appearances: Peter Bardens on one track, Fry and Monkman were members of Sky
at that time and both bands shared the same producer and engineer (Tony Clark
and Haydn Bendall)
Cover is grey/blue "computerized" picture of a face (andy?). The back cover is
slightly different, but same idea. Available on LP and CD. Some LP pressing
are not fold out and have no inner notes/lyrics.


--------------------------------------------------------------------------------
1984 - Stationary Traveller

Pressure points
Refugee
Vopos
Cloak and dagger man
Stationary traveller
West Berlin
Fingertips
Missing
After words
Long goodbyes

Andy Latimer: 12 strings, acoustic, classic and electric Guitars, flute,
bass, piano, PPG, Juno 60, Yamaha CS-60, Drumulator,
pan pipes, vocals
Paul Burgess: Drums
Ton Scherpenzeel: Yamaha CS-80, Grand piano, PPG, prophet, accordion, Juno 60
Hyden Bendall: PPG voices, Fairlight
David Paton: Bass, fretless bass
Chris Rainbow: vocals
Mel Collins: Saxophone

This one is even more Alan Parsons than Alan Parsons... Obscure concept by
Susan Hoover about both sides of the Berlin Wall (now X - Wall).
The cover has a b/w picture of woman standing on a street (in Berlin?...
there are signs in German). The back cover is the same only the woman now
stand backwards. same idea in the inner sleve where a woman stands on a road
with buildings in the background. Inner sleve has lyrics and information.
Available on CD and LP, maybe on cassette.


--------------------------------------------------------------------------------
1985 - Pressure Points: Live in Concert

Pressure points
Drafted
Captured
Lies
Sasquatch
West Berlin
Fingertips
Wait
Rhayader
Rhayader goes to town

Andy Latimer: Lead guitar and vocals
Colin Bass: Bass guitar and vocals
Ton Scherpenzeel: Lead keyboards
Chris Rainbow: Vocals and keyboards
Richie Close: Keyboards
Paul Burgess: Drums and percussion
guest appearances:
Mel Collins: Sax on Fingertips
Peter Bardens: Organ

Camel's second live record is a very good performance of their (even weaker)
songs on stage. Note Bardens playing with them the two songs from "The Snow
Goose".
The cover is dark, strange face flooded with light with marks all over it
(ie pressure points). All this is in a box on a skyline background. Back
cover has pictures from the show. Available on CD and LP.


--------------------------------------------------------------------------------
1986 - A Compact Compillation

?
The collection is from Mirage, The Snow Goose, Moonmadness and Rain Dances.
No new stuff and no new versions.
The cover is generally blue, with a picture of the band (with Ferguson).
Available on CD and LP.


--------------------------------------------------------------------------------
1991 - Landscapes

?
Another compilation?


--------------------------------------------------------------------------------
1993 - Camel on the Road 1972

Lady fantasy
Six ate
White rider
God of light

Andy Latimer: (Guitar?)
Peter Bardens: (Keyboards?)
Andy Ward: (Drums?)
David Ferguson: (Bass?)

The first "official" bootleg by Camel Production. It features material by the
first Camel lineup.


--------------------------------------------------------------------------------
1993 - Echoes

?
An Anthology of Camel from PolyGram Record, (a box set?) including material
from Camel to Dust and Dreams.

--------------------------------------------------------------------------------
1993 - Never Let Go

Never Let Go
Earthrise
Rhayader
Rhayader goes to town
Spirit of the water
Unevensong
Echoes
Ice
City life
Drafted
Dust and Dreams
Dust bowl
Go west
Dusted out
Mother road
Needles
Rose of Sharon
Milk n' honey
End of the line
Storm clouds
Cotton camp
Broken banks
Sheet rain
Whispers
Little rivers and little rose
Hopeless anger
Whispers in the rain
Sasquatch
Lady Fantasy

Andy Latimer - Guitars, flute, keyboards, vocals
Colin Bass - Bass, bass pedals, keyboards, vocals
Mickey Simmonds - Keyboards
Paul Burgess - Drums, octopad, bells, tambourine

A live performance - the second "official" bootleg by Camel Production.
This is a two-disks set containing a complete live performance that took
place in Enschede, Holland, September 5th, 1992. Great sound quality and a
good performance. Availalble on CD.


19?? - Greasy Truckers

?
A compilation of 2 record set, with one side by camel.



--------------------------------------------------------------------------------
Appendix A - Getting in touch with Camel Production

This is very easy: Simply write something to Camel Production, P.O. Box 4876,
Mt. View, CA 94040, USA. You can buy Dust and Dreams, Camel, Camel on the
Road, and Never Let Go from them. You will also recieve their newsletter
entitled "The Nature of the Beast...". CP tells that most of their other
CDs are available from PROGTRON, P.O. Box 10151, San Jose, CA 95157-1151 USA


--------------------------------------------------------------------------------
Appendix B - Technical Info

This is the best I could find: (not much really)

Camel
LP: MCA 250 634-1, MCA MUPS 473. Released in February 1973
CD: CP-002CD

Mirage
LP: Passport PB 9855, Janus JXS 7009, SML 1107. Released in March 1st 1974, UK
CD: Deram 820 613-2

The Snow Goose
LP: Passport PB 9856, Janus 7016, Decca SKL-R 5207. Released in April 1975
CD: Deram 800 080-2


Moonmadness
LP: Passport PB 9857
CD: London 810 879-2

Rain Dances
LP: Passport PB 9858

A Live Record
LP: London 820 727-1

Nude
LP: Passport PB 6008
CD: London 810 880-2

The Single Factor
LP: Passport PB 8013

Stationary Traveller
LP: Polydor/Metronome 821 504-1
MC: Polydor/Metronome 821 504-4

Pressure Points
LP: Decca SKL 5338 (820 166-1)
MC: Decca KSKC 5338

Dust and Dreams
CD: CP-001CD

Camel on the Road
CD: CP-003CD (?)

Never Let Go
CD: CP-004CD


Appendix C - Singles
John Tracy claims that Camel released only 4 singles.

Flight of the Snow Goose/Rhayader - F-R 13581 Released May 16th, 1975

....?







Camel on the Road
Ton Scherpenzeel (Kayak, Camel)
When I was asked to share my thoughts in DPRP's 'Vision Pit' I couldn't help wondering with what 'vision' I should possibly bother its esteemed readers. After all, since the demise of Kayak in 1981 I haven't been overly active in the musical field that this site is dedicated to, and I also haven't really tried to keep up with any developments in the 'progrock' scene since then. Anyone visiting this site probably knows the genre better than myself.

So, forget about the 'vision', I will simply restrain myself to the 'pit' and concentrate on Camel and my contribution (however modest) to the new album, 'Rajaz'. Maybe, in a few months time, I'll get the chance to scribble a few words about the possible return of Kayak, the band that I've played keyboards in and wrote the majority of songs for from 1972 till 1981. For now, I will stick to the subject of Camel.

First of all, how did I get involved with Camel? Quite simply, early 1983 guitarist Andrew Latimer contacted me and asked if I would be interested. He knew of me as I knew of him, because back in the 70s, Camel and Kayak had had the same recordlabel in the USA (Janus), and this label's very active manager always sent both bands eachother's new efforts. I even went to see a Camel concert in Amsterdam once, though we didn't get to meet eachother then. I never imagined that some years later I'd play in that band myself. But, as my post-Kayak project (Europe) hadn't quite worked out the way I was hoping for, Camel's offer came at the right moment. I could keep on working on a professional level in a musical style that was very much my own, with musicians I greatly respected- but for the first time in years I didn't have the full responsability of a band on my shoulders, but could just concentrate on playing.

I enjoyed that period, short as it may have been: in 1983-84 we recorded 'Stationary Traveller' and 'Pressure Points', the last one being a live album. The big difference between the two was that, when I arrived in London to play my parts on the first one, a lot of keys had already been done by Andrew himself. The live one gave a better indication of how well (I think) Andrew's and my musical style could blend and supplement eachother, when given the chance.

Sometimes I did feel a little bit the foreigner in the band, I must admit. When Camel set off for the continental leg of the European tour and left England, I went 'home', as it were, the other guys went 'abroad'. Every now and then I felt like being in the middle of a Monty Python-sketch, especially when we crossed the border of Germany. No offence meant of course, but this event seemed to trigger a strange phenomenom in the band that I call the Adolf Syndrome: the moment we set foot on German soil, I found these otherwise quite serious chaps suddenly talking in a funny accent we all know from series like 'Allo, Allo' and having enormous trouble to keep their right arm down at the wrong moments. A comb or black sticky tape, in combination with a certain coiffure, repeatedly transformed a surprising number of my collegues into the stunning likeness of a certain dictator. Especially the remarkable impersonations done by singer Chris Rainbow deserve mentioning here. But as soon as we left the country, things became normal again. Or did they?...

One hilarious moment I remember (although possibly a case of 'you had to be there') was when we travelled by train from Stockholm to Oslo. The band's touring van had broken down, so we had to leave at half past six in the morning (after last night's gig) by rail to make it in time to the next concert. To pass the time I introduced a game that is now known in Holland as 'Wie Ben Ik' ('Who Am I'). It means that your adversaries stick a little note to your forehead, which has the name of a well known figure, alive or dead, written on it. The 'victim' doesn't know what's on the note, so he has to guess 'who he is' by asking questions to the others that can only be answered by 'yes' or 'no'. The lack of sticky tape (probably all used up in Germany) forced us to think of something else that would press the notes to our forehead. The problem was quickly solved: at the top of each chair (we had a private cabine in the train) we found these head protectors- a little white cap, normally used to rest your head against when sleeping- an item, much resembling a shower cap. This was just what we needed! The band, keen as ever at the possibility of dressing up, instantly looked like a bunch of idiots out on parole, but the game could commence...- yet the sight of 6 grown men, with white chaircaps on their heads and visible notes stuck on their foreheads, must have given the surprised customs officer, who suddenly opened the cabinedoor when we reached the Swedish-Norwegian border, food for much thought. It was a scene I'll never forget, anyway.

A few years later, Andrew Latimer and Susan Hoover moved to America. I did play some keys on 'Dust and Dreams', but the mere distance between us kept us from working together any further. Untill there was digital recording: Andrew sent me a CD-rom with rough mixes of the songs he wanted me to play keyboards on. Via the Internet Andrew and I kept in contact, sending back and forth audiofiles for feedback and ideas. I recorded my keyboardparts in my own studio in Holland, and copied the data to CD-rom. This again was linked to the mastertape in America- et voila. I did record much more than was needed, so Andrew could choose what he liked best in the mixes. Of course it's not quite the same as working in the same studio together. But for now, it's the next best thing. And it has encouraged Andrew and me to work together more often in the future.

Ton Scherpenzeel - Kayak, Camel