Posts tagged Colin Bass

(Review from progreviews.com, prog4you.com)

The artwork, almost like an illustration in a children’s book, strongly evokes the wistful and reflective mood of the album. In the cover, a boy is walking along, gazing upwards against a heavenly figure in a twilight landscape with archetypally drawn figures such as a horse, crescent moon, and flying figures that look half-way in-between birds and bats. The figure in the sky appears to be sleeping, or perhaps dreaming that he is the boy walking along. The background silhouette at first glance looks like a row of houses with the chimney of one blowing smoke into the air, but in actually it is a moving train blowing musical notes. Interestingly, on the back insert of the CD, this scenario is reversed: it is a man walking along, with a boy’s countenance in the sky either sleeping or dreaming.

It is these symbols, of progression, of memory, and of illusions and parallels, that underlie the album’s music and lyrics. Opening with the sounds of a train beginning to move, the title track is the album’s showpiece. The tick-tock melodies and lyrics, somewhat reminiscent of a gentler version of The Strawbs’ “Ghosts,” are a parent singing a lullaby to their child, encouraging their dreamworld journey in slumber. The lyrics also work on another, more emotional level, also suggesting a departed loved one communicating to a living relative (i.e., as could be another interpretation of the album cover). The introspective “A Boy’s Life” is another highlight of the disc, with the train sounds a recurring theme. The brief lyrical introduction at first suggests a tiff between couples (“I try to see through your eyes…are we so unalike?”) but further reveals itself to be Latimer addressing his adolescent self. From here, the song builds into a sad-sweet vista of slide guitar and mellotron-like keys, culminating into a majestic passage of ecstasy and liberated spirit that sounds — yes it sounds crazy, but it’s true — about as close to what Popol Vuh circa their Einsjäger and Letzte Tage – Letzte Nächte years might have sounded like in 2002.

“Fox Hill”, attempts some comic relief while clearly continuing the album’s theme of childhood innocence. Unfortunately, it is a bit too close for comfort to Gabriel-era Genesis, complete with wobbily “Slipperman” organ riffs and purposefully twee British accent that is nonetheless laid on a bit too thick for me to enjoy. Still, the musical segments that the song winds through are quite good. “Squigely Fair,” a largely instrumental with a brief dash of similarly exaggerated Brit carnival barking, is more pleasing.

Cordoning itself off from prog rock territory, “Simple Pleasures” goes for a laid back, respectable Dire Straits sound. “For Today”, an elegy to September 11th, follows a similar mode, and though moving with glacial pacing, features some heartfelt, definably Latimerian guitar at the end. The album ends suitably with the train chugging off into the distance.

Camel’s “A Nod and a Wink” marks a major milestone for the band and a great many of their fans. Camel is celebrating thirty years of musical excellence, adding another fine album to their substantial library. Even more amazing than the longevity is that the essential magic that is Camel has survived the time and the changes with an undiminished style, and having produced numerous albums without a clinker in the lot.

Line-up:
- Andrew Latimer / guitars, flute, keyboards, vocals
- Guy LeBlanc / keyboards, backing vocals
- Colin Bass / bass, backing vocals
- Terry Carleton / drums (tracks 2,6), percussion and backing vocals (track 7)
- Denis Clement / drums
- Susan Hoover / lyrics
- JR Johnston / backing vocals (track 7)

Track List:
01. A Nod and a Wink (11:16)
02. Simple Pleasures (5:31)
03. A Boy’s Life (7:20)
04. Fox Hill (9:09)
05. The Miller’s Tale (3:34)
06. Squigley Fair (8:02)
07. For Today (10:40)

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