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Posts tagged David Paton
Andrew Powell – Ladyhawke (1984) (@192)
12 Sep 2007
(Review from allmusic.com, wikipedia)
In 1984, Andrew Powell composed the music for the film “Ladyhawke”. He was most well known for his work with the Alan Parsons Project. The film director Richard Donner stated in the liner notes that he had been location-scouting with a steady soundtrack of the Project’s albums, and so he married music style to pictures in his mind before the film was even begun. Powell wrote the score and approached Parsons to produce the music.
The score itself is a genuine rarity among movies, written and produced in a progressive rock idiom, electric instruments (especially guitars and keyboards) mixing freely with orchestral passages and creating a seductive otherworldly ambience, somewhat reminiscent (as is the movie for which it was written) of the scoring for Excalibur, though that relied on Wagnerian material to make its point. This is closer in spirit and execution to ’70s progressive rock, and very impressive in that context.
Totally instrumental, “Ladyhawke” successfully features the “orchestral” side of the Project.
Line-up:
* Andrew Powell – Composer, Conductor, Keyboards, Orchestration
* Ian Bairnson – Guitar
* Richard Cottle – Keyboards
* Stuart Elliott – Percussion, Drums
* David Paton – Bass
* Alan Parsons – Producer, Engineer
Track List:
01. Main Title
02. Phillippe’s Escape
03. The Search For Phillippe
04. Tavern Fight (Phillippe)
05. Tavern Fight (Navarre)
06. Pitou’s Woods
07. Phillippe Describes Isabeau
08. Bishop’s Procession
09. Wedding MUsic
10. Navarre’s Ambush
11. Imperius Removes Arrow
12. Chase / Fall / Transformation
13. Cezar’s Woods
14. She Was Sad At First
15. Navarre Returns To Aquila
16. Turret Chase / The Fall – Film Version
17. Wolf Trapped in Ice
18. Navarre And Isabeau’s Dual Transformation
19. Navarre And Marquet Duel
20. Marquet’s Death
21. Bishop’s Death
22. Final Reunion / End Title
Link in comments.
Keats – Keats (1984) (@224)
10 Sep 2007
(Review from amazon, allmusic.com)
Keats was an early-80′s Alan Parsons Project spinoff, featuring most of the musicians from the Project albums. The band consisted of long-time Project cohorts vocalist Colin Blunstone, guitarist Ian Bairnson, bassist David Paton, and drummer Stuart Elliott. The line-up was completed by keyboardist Pete Bardens, renowned for his fine work with Camel.
Most of the music is in a direction similar to some of Project’s more pop-oriented tracks. The songs are slicker than the more musically and lyrically adventurous Project albums. There aren’t a lot of orchestrations and “progressive” bombasts.
“Turn Your Heart Around” could have easily been a soundtrack for an action movie. “Avalanche” is a moving and melodic masterpiece. “Tragedy” is a frantic piece aptly named that conjures up images of desperation and then suddenly breaks into a tasty and mellow guitar solo before returning to mayhem. “How Can You Walk Away” sounds like the typical Project “airplay sound” with it’s moving beat and signature riffs.
A nice, easy listening album featuring the “popish” side of the Project.
Line-up:
* Ian Bairnson – Guitars, Bass, Piano, Back Vocals
* Peter Bardens – Keyboards
* Colin Blunstone – Vocals
* Richard Cottle – Synthesizer, Keyboards, Saxophone
* Stuart Elliott – Strings, Drums, Tambourine, Triangle, Xylophone, Cowbell, Guiro, Wood Block, Wind Chimes
* David Paton – Synthesizer, Bass, Vocals
* Alan Parsons – Producer, Engineer
Track List:
01. Heaven Knows
02. Tragedy
03. Fight To Win
04. Walking On Ice
05. How Can You Walk Away
06. Avalanche
07. Turn Your Heart Around
08. Hollywood Heart
09. Ask No Questions
10. Night Full Of Voices
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Alan Parsons Project – Stereotomy (1986) (@256)
09 Sep 2007
(Review from wikipedia, allmusic, progarchives.com)
The word ‘Stereotomy’ is taken from the writings of Edgar Allan Poe. It refers to the cutting of existing solid shapes into different forms; it is used as a metaphor for the way that famous people (singers, actors. etc.) are often ‘shaped’ by the demands of fame. On this album, the theme circles around the way in which the modern world molds the personality, the character, and the livelihood of the human being. People are but a slave to their lifestyle and their environment, and they are destined to be thrown into this situation at birth, with tolerance as an inevitability.
The Alan Parsons Project, being as they were a studio based “project” led by Eric Wolfson and Alan Parsons, had the luxury of being able to call upon guest vocals whom they felt would be appropriate for a particular track. This gave their albums the potential for great diversity, a facet they did not always exploit to the full. Too often, the various singers end up sounding similar to each other, overwhelmed by the everything but the kitchen sink approach adopted during production.
“Stereotomy” however is different. The chosen vocalists are individually strong, including as they do John Miles, Chris Rainbow, and the great Gary Brooker (Procol Harum). There is still the familiar APP pop sound, particularly on the lightweight tracks such as “Beujolais” and “In the real world” There is also the obligatory couple of instrumentals which always seem to sound the same, but there are also some more adventurous, well constructed pieces too.
The title track is a great upbeat opener, with the single word title being used to great phonetic effect (similar to the way Russ Ballard used to do so well on Argent tracks like “Liar” and “Tragedy”.)
“Limelight”, the track featuring Gary Brooker’s voice stand head and shoulders above the other tracks. It is truly one of the APP’s defining moments. Admittedly Brooker could make any lyric sound emotional, but when he gets the right song, as he does here, the results can be stunning.
Line-up:
- David Paton / bass
- Stuart Elliott / drums & percussion
- Ian Bairnson / guitars
- Richard “Trix” Cottle / synths ans saxes
- Eric Woolfson, Alan Parsons / pianos & keyboards
- Steve Dye / backing vocals
- Andrew Powell / orchestra arrangements and conduction
Track List:
01. Stereotomy (7:15)
02. Beaujolais (4:27)
03. Urbania (4:34)
04. Limelight (4:39)
05. In The Real World (4:17)
06. Where’s The Walrus? (7:34)
07. Light Of The World (6:22)
08. Chinese Whispers (1:02)
09. Stereotomy Two (1:18)
Link in comments.
Alan Parsons Project – Vulture Culture (1985) (@256)
07 Sep 2007
(Review from progarchives.com, allmusic, wikipedia)
“Vulture Culture” offers more of the same from Alan Parsons, in the form of well produced melodic soft rock. The theme of the album is the fact that everyone lives in a parasitic society, where it’s every man for himself. Those who can’t fend for themselves simply won’t survive in a world where the kindness of the human spirit is rapidly deteriorating.
The album only contains one instrumental piece. Almost every song is a touchy and delicate ballad, no surprises in this aspect, but still they’re some which are slightly nostalgic and memorable.
The aptly named “Let’s Talk About Me” rolls out first and it perfectly epitomizes the narcissistic attitude of the 80s. It sets the tone for the entire album, being a mid-paced melodic rock song with a strong hook.
The sentimental, mellow and heartful ballad Days Are Numbers (The Traveller) stays as a top selection, among with the upbeat urban style of the tilte track, Vulture Culture. The other songs are also enjoyable and very melodic, you’ll enjoy Separate Lives, The Same Old Sun and Sooner Or Later, the three songs are fine ballads all sang by Woolfson. Also the paranoic but still delicate Somebody Out There, and the desert like, interlude instrumental Hawkeye are good.
Originally, the album was intended to be the second LP of a double album, with Ammonia Avenue being the first. This is the only Project album that does not feature the orchestration of Andrew Powell.
Line-up:
- David Paton / bass
- Stuart Elliott / drums & percussion
- Ian Bairnson / guitars
- Eric Woolfson / pianos
- Alan Parsons / fairlight prog.
- Richard “Trix” Cottle / synths & saxes
Track List:
01. Let’s Talk About Me (4:22)
02. Separate Lives (4:42)
03. Days Are Numbers (The Traveller) (4:02)
04. Sooner Or Later (4:26)
05. Vulture Culture (5:21)
06. Hawkeye (3:48)
07. Somebody Out There (4:56)
08. The Same Old Sun (5:24)
Link in comments.
Alan Parsons Project – Ammonia Avenue (1984) (@256)
07 Sep 2007
(Review from allmusic, wikipedia, progarchives.com)
One of the most interesting aspects about the Alan Parsons Project is the band’s ability to forge a main theme with each of its songs, while at the same time sounding extremely sharp and polished. Much of this formula is used in Ammonia Avenue, only this time the songs rise above Project’s overall message due to the sheer beauty of the lyrics partnered with the luster of the instruments.
Ammonia Avenue was originally intended to be released as a double album with their next album, Vulture Culture’s material forming the second record. The title of the album was inspired by Eric Woolfson’s visit to Imperial Chemical Industries (ICI) in Billingham England, where the first thing he saw was a street with miles of pipes, no people, no trees and a sign that said ‘Ammonia Avenue’. The album focused on the possible misunderstanding of industrial scientific developments from a public perspective and a lack of understanding of the public from a scientific perspective.
The enchanting saxophone of Mel Collins on “Don’t Answer Me” adds to its lonely atmosphere, while the briskness of Eric Woolfson’s wording throughout “Prime Time” makes it one of the Project’s best singles. On “You Don’t Believe,” the seriousness of the lyrics works well with the song’s energetic pace. The subtlety of the ballad comes to life on the elegant “Since the Last Goodbye,” which focuses on a failed attempt at a relationship. With Ammonia Avenue, the sum of the parts is greater than the whole product, which can’t be said for all of the Alan Parsons Project’s albums. Vocalists Eric Woolfson, Chris Rainbow, Lenny Zakatek, and Colin Blunstone equally shine, placing their talents above and beyond the album’s main idea.
Line-up:
- David Paton / bass
- Stuart Elliott / drums & percussion
- Ian Bairnson / guitars
- Eric Woolfson / keyboards
- Alan Parsons / fairlight prog.
- Mel Collins / saxophone
- Andrew Powell / orchestra arrangements and conduction
Track List:
01. Prime Time (5:03)
02. Let Me Go Home (3:20)
03. One Good Reason (3:36)
04. Since The Last Goodbye (4:33)
05. Don’t Answer Me (4:11)
06. Dancing On A Highwire (4:22)
07. You Don’t Believe (4:26)
08. Pipeline (3:56)
09. Ammonia Avenue (6:30)
Link in comments.
Alan Parsons Project – Turn of a Friendly Card (1980) (@256)
06 Sep 2007
(Review from progarchives.com, wikipedia, allmusic.com)
Project’s fifth album “Turn of a Friendly Card” focuses on gambling, and loosely tells the tale of a middle-aged man who grows restless and takes a chance by going to a casino and betting all he has, only to lose it all.
This time the album doesn’t lead off with a spacey instrumental. Instead “May Be a Price to Pay” introduces the notion of playing as an exercise in trangression with an air of symphonic solemnity in the opening bars, leading us to a lighter, somewhat poppier further development, always keeping a symphonic twist.
On “Games People Play”, vocalist Lenny Zakatek sounds compelling and focused, giving the song a seriousness that aids in realization of the album’s concept. Zakatek returns a short while later on the similar “I don’t want to go home”.
The ballad-like “Time” is a typical Project mellow mood piece, and also marks the first time Eric Woolfson was given the microphone for the lead vocals. Woolfson often recorded vocals in the studio during early recording sessions, but was usually replaced with a featured singer in the final cuts. This album was recorded in France and they didn’t have anyone else available at the time, so Woolfson laid down the final cut. The success of “Time” led to many other lead vocals of Woolfson in their next albums.
Side two opens with what effectively serves as a prelude to the title suite. “The gold bug” is a typical Project instrumental featuring some fine saxophone and melodic vocalisation.
The minute “The turn of friendly card” starts, it is clear that the quality control has suddenly been turned up significantly. This is due in no small part to the distinctive vocals of Chris Rainbow (one time of Camel, but also a notable solo artist). Rainbow sings on all but one of the sections, “Nothing left to lose” which sees Eric Woolfson make his second vocal contribution to the album. The theme of the piece looks at the futility of gambling, although it has to be said that any examination of this heavy topic here is very superficial.
The orchestration which features throughout the suite comes to the fore on “The ace of swords”, an effective instrumental passage. The following “Nothing left to lose” has some of the strongest melodies on the album. Eric Woolfson offers a wonderful vocal performance to complement the reflective lyrics. The track develops through a brief reprise of the “Snake eyes” theme into one Ian Bairnson’s most aggressive guitar solos and a reprise of the title song to close the album. The final instrumental passage provides a wonderful coda to this superb piece.
Line-up:
- Eric Woolfson, Alan Parsons / keyboards
- David Paton / bass
- Stuart Elliott / drums & percussions
- Ian Bairnson / guitars
- Andrew Powell / orchestra & choir arrangements and conduction
Track List:
01. May Be A Price To Pay (4:52)
02. Games People Play (4:17)
03. Time (5:05)
04. I Don’t Wanna Go Home (4:54)
05. The Gold Bug (4:28)
06. The Turn Of A Friendly Card
- Part One (2:39)
- Snake Eyes (3:17)
- The Ace Of Swords (2:58)
- Nothing Left To Lose (4:03)
- Part Two (3:12)
Link in comments.
Alan Parsons Project – Eve (1979) (@256)
04 Sep 2007
(Review from progarchives.com)
“Eve” is a pretty good outing for the prolific Alan Parsons Project, with a good selection of guests, and some nice instrumental work. This is the only Project album to feature female lead vocalists.
The usual melodic pop prog is here, with strong melodies and fine performances. The Moody Blues, Barclay James Harvest, and later Renaissance all offer indications of the type of music to expect. The progressive influences, which were at their strongest on the first album (“Tales of Mystery and Imagination”) have all but dried up with the tracks all being shorter, individual pieces.
“Lucifer” is a truly wonderful instrumental, dominated by orchestrations and John Leach’s dulcimer and zither (they are actually a cimbalom and kantele, respectively). “Damned if I Do” was the minor hit on the album, a rocking number with orchestration with vocals from Lenny Zakatek. “I’d Rather Be a Man” and “You Lie Down with Dogs” are more rocking numbers, but there are some ballads too, like “You Won’t Be There”, and “If I Could Change Your Mind”.
It tends to be when they do ballads that Alan Parsons Project really shine, and in this case, “If I could change your mind” is the standout track. Vastly underrated singer Lesley Duncan takes the lead vocals on this track. This makes for a beautiful contrast with the normally male dominated vocals.
Line-up:
- David Paton / bass
- Stuart Elliott / drums & percussion
- Ian Bairnson / acoustic & electric guitars
- Eric Woolfson, Duncan MacKay / keyboards
- Alan Parsons, Eric Woolfson / miscellaneous
- Lesley Duncan, David Paton, Chris Rainbow, Clare Torry, Dave Townsend, Lenny Zaketek / vocals
- Andrew Powell / orchestra & choir arrangements and conduction
- The Orchestra of the Munich Chamber Opera
Track List:
01. Lucifer (5:09)
02. You Lie Down With Dogs (3:42)
03. I’d Rather Be A Man (3:52)
04. You Won’t Be There (3:37)
05. Winding Me Up (4:00)
06. Damned If I Do (4:50)
07. Don’t Hold Back (3:36)
08. Secret Garden (4:40)
09. If I Could Change Your Mind (5:49)
Link in comments.
Alan Parsons Project – I Robot (1977) (@256)
04 Sep 2007
(Review from progarchives.com)
After the huge, somewhat unexpected success of the “Tales of Mystery and Imagination” album; the duo went for another concept, based on Isaac Asimov’s “I, Robot”, a somber perspective of the conflictive relationship between humans and robots, with the former divided between their roles as masters and dominated, and the latter gaining some kind of self-awareness that motivates them to toy with the idea of becoming autonomous once and for all.
“I Robot” is a synth-heavy album. Many of you are familiar with “I Wouldn’t Want to Be Like You” and “Breakdown” which radio stations still continue to play to this day, but there’s some other great stuff as well. Like the title cut, which tends to be heavily electronic, with lots of great synths, as well as a cimbalom (Hungarian dulcimer) and kantele (Finnish zither) being used, courtesy of John Leach.
This album also premiers the vocals of Lenny Zakatek, as demonstrated on “I Wouldn’t Want To Be Like You”. The largely acoustic “Some Other Time” is truly amazing, and definately overlooked, especially by radio programmers. “The Voice” has that nice repetitive bass line, great string synths, and a great funky solo in the middle. Then there’s the ambient experiment “Nucleus” which then segues in to “Day After Day (The Show Must Go On)”, a great ballad. Then it segues in to “Total Eclipse”, which is orchestra’s turn to shine. This piece is downright creepy, complete with sinister voices and equally sinister strings. Then the album closes with “Genesis Ch. 1 V.32″, it’s another heavily electronic instrumental cut that’s very similar to the title track.
Line-up:
- Alan Parsons / acoustic guitar, keyboards, projectron and vocoder, additional vocals
- Eric Woolfson / keyboards, projectron and vocoder, additional vocals
with
- David Paton / bass, acoustic guitar, additional vocals
- Stuart Tosh / drums and percussion, additional vocals
- Ian Bairnson / electric & acoustic guitar, additional vocals
- Duncan Mackay / keyboards
- B.J. Cole / steel guitar
- John Leach / cimbalom and kantele
and
- Allan Clarke, Steve Harley, Jack Harris, Peter Straker and Jaki Whitren, Dave Townsend, Lenny Zakatek / vocals
- Hilary Western, Smokey Parsons, Tony Rivers, John Perry, Stuart Calver, The English Chorale and the New Philharmonia Chorus / additional vocals
Track List:
01. I Robot
02. I Wouldn’t Want To Be Like You
03. Some Other Time
04. Breakdown
05. Don’t Let It Show
06. The Voice
07. Nucleus
08. Day After Day (Show Must Go On)
09. Total Eclipse
10. Genesis Ch. 1 V. 32
11. Boules (Bonus I Robot Experiment)
12. Breakdown (Bonus Demo)
13. I Wouldn’t Want To Be Like You (Bonus Rough Mix)
14. Day After Day (Bonus Rough Mix)
Links in comments.
Alan Parsons Project – Tales of Mystery and Imagination (1976) (@256)
28 Aug 2007
(Review from wikipedia, progarchives.com)
During the summer of 1974, Alan Parsons met Eric Woolfson in the canteen of Abbey Road Studios. Parsons had recently engineered Pink Floyd’s Dark Side of the Moon and had already produced a number of acts. During that time, Woolfson had been working as a session pianist, but he was also a songwriter and had already composed material for a concept album idea based on the work of Edgar Allan Poe.
Parsons asked Woolfson to become his manager and Woolfson managed Parsons’s career as a producer/engineer through a string of successes including Pilot, Steve Harley, Cockney Rebel, John Miles, Al Stewart, Ambrosia and The Hollies. Parsons commented at the time that he felt frustrated in having to accommodate the views of some of the artists which he felt interfered with his production.
Recalling his earlier Edgar Allan Poe material, Woolfson saw a way to combine his and Parsons’ respective talents — Parsons would produce and engineer songs written by the two. Although the true core of the Project have always been the duo of Parsons and Woolfson, only Parsons’ name was chosen for the band because of his “fame” as the top engineer at Abbey Road. Thus Alan Parsons Project was born.
As the album name implies this is a concept album about a writer Edgar Allan Poe (1809 – 1849) whom at end of his life, exactly on October 3, 1849, in mysterious circumstances he is discovered unconscious and is taken to hospital and he dies four days later. The album kicks off with a narration by Orson Welles that remarks the first track “A Dream within a Dream” (4:13) with some orchestration. The music enters with bass lines and drum work in repetitive notes followed with nice keyboard work and guitar. The music moves in crescendo with drum sound and it slowly fades out maintaining only the bass guitar to keep the beat. “The Raven” (3:57) enters beautifully with EMI vocoder voice line combined with orchestra and real Parsons’ voice. It’s a good track combining clean vocal, stunning guitar solo and orchestra.
“The Tell-tale Heart” (4:38) is a rockier track performed in an operatic singing style accompanied with a melodic arrangements of guitar, keyboard, bass guitar and drumming. At the background, the orchestra enriches the music textures especially during quiet passages. “The Cask of Amontillado” (4:33) is a song-oriented music with powerful melody that is really tasty to most ears, performed with excellent vocal and orchestration. This is my favorite APP track because I love the melody very much. The orchestration part is really good and I urge you to play it outloud with your stereo set. “(The System of) Doctor Tarr and Professor Fether” (4:20) brings the music into uplifting emotion with a combination of electric guitar solo, soaring keyboard sound and voice line.
The album features an instrumental epic “The Fall of the House of Usher” that comprises five parts: Prelude (7:02), Arrival (2:39) , Intermezzo (1:00), Pavane (4:36), and Fall (0:51). The epic is exploratory in nature and it contains excellent orchestration work. It finally concludes with a ballad “To One in Paradise” (4:46) using acoustic guitar and backing vocals as main rhythm section.
The album set the Alan Parsons Project on their way, and gave them instant success. After the success of their first album, “Tales of Mystery and Imagination”, Arista Records signed them for further albums.
Line-up:
- Eric Woolfson / keyboards, organ, backing vocals
- Alan Parsons / projectron & synths, recorders, backing vocals
with
- David Paton / bass, guitars, backing vocals
- Ian Bairnson / guitars
- Andrew Powell / orchestral arrangements and conduction, organ
- Francis Monkman / harpsichord, organ
- John Leach / cimbalom & kantele
- Hugo D’Alton / mandolin
- Billy Lyall / keyboards, recorders
- Christopher North / keyboards
- Stuart Tosh / percussion
- Burleigh Drummond / percussion
- David Pack / guitars
- John Miles / guitars
- Joe Puerta / bass
- Les Hurdle / bass
- Darryl Runswick / string bass
- Laurence Juber / acoustic guitars
- Kevin Peek / acoustic guitars
- Orson Welles, Leonard Whiting / narration
- Jack Harris / backing vocals
- Terry Sylvester / backing vocals
- Jane Powell / backing vocals
- Bob Howes and The English Chorale / backing choir
- Westminster City School Boys Choir / backing choir
Track List:
01. A Dream within a Dream (4:13)
02. The Raven (3:57)
03. The Tell-tale Heart (4:38)
04. The Cask of Amontillado (4:33)
05. (The System of) Doctor Tarr and Professor Fether (4:20)
06. The fall of the House of Usher
- Prelude (7:02)
- Arrival (2:39)
- Intermezzo (1:00)
- Pavane (4:36)
- Fall (0:51)
07. To One in Paradise (4:46)
Link in comments.
Alan Parsons Project – Pyramid (1978) (@256)
25 Jul 2007
(Review from progarchives.com)
Alan Parsons Project’s third album references to pyramid power and ancient Egypt surface repeatedly, the album is called “a view of yesterday through the eyes of today”. The theme of rise and fall is prominent throughout.
One of the highlights in Alan Parsons Project’s career, ‘Pyramid’ establishes a fusion of both their previous albums : The idea is not cloning themselves for the sake of it, but mainly reaffirming their own signature sound, by managing to write and produce a repertoire that flows solidly from beginning to end, although there’s not a continuous link between all nine tracks.
‘Voyager’ kicks off the album as a reflective starter, leading to ‘What Goes Up…’ (a meditation on the futility of all earthly things), then leading to ‘The Eagle Will Rise Again’ (a final melancholy thought upon determination for resurgence): the threesome are really very well integrated, thus stating the duality of ups and downs as the central point of ‘Pyramid’. Next, ‘One More River’ reincides on the strength of determination in a pop-rock context, only to be segued into ‘Can’t Take It With You’, which reminds us that by our time of dying, we shall leave all the things we struggled for behind us – the opening whistling feels quite creepy, actually. ‘In the Lap of the Gods’ is the most splendorous number in the album, a dazzling manifestation of symphonic progressive where the orchestra, choir, and rock band interact with full majesty. Its abrupt end is followed a couple of seconds later by the bang of a gong, which is where the funny ‘Pyramania’ starts (something like Alan Parsons Project’s version of Supertramp’s ‘Dreamer’): its folly ambience is accurate for the lyrics, which mock at the new age pseudo-mystical stuff. ‘Hyper-Gamma-Spaces’ shows APP drawing closer to the electronic ambiences of J-M Jarre and Kraftwerk, while getting “rockier” than the former and not as “robotic” as the latter. This lush electronic exercise seems to be a celebration of the cosmic powers of creation and regeneration, but before things get too exulting, here comes ‘Shadow of a Lonely Man’. This overwhelming symphonic ballad is nothing but a self-pitying, dramatic portrait of riches to rags, which serves as a reminder of the fact that all men and all things, no matter how grandiose, share a common fate of death and oblivion.
All things must pass, and ‘Pyramid’ states it beautifully.
Line-up:
- Stuart Elliott / drums, percussion
- Ian Bairnson / guitars
- David Paton / guitars, bass, vocals
- Alan Parsons / acoustic guitar, keyboards, vocals
- Eric Woolfson / keyboards
- Duncan MacKay / keyboards
- Andrew Powell / orchestra & choir arranger and conductor
- Colin Blunstone / vocals
- Dean Ford / vocals
- David Paton / vocals
- Lenny Zakatek / vocals
- Jack Harris / vocals
- John Miles / vocals
Track List:
01. Voyager (2:24)
02. What Goes Up… (3:31)
03. The Eagle Will Rise Again (4:20)
04. One More River (4:15)
05. Can’t Take It With You (5:06)
06. In The Lap Of The Gods (5:27)
07. Pyramania (2:45)
08. Hyper-Gamma-Spaces (4:19)
09. Shadow Of A Lonely Man (5:34)
Link in comments.
Camel – Harbour Of Tears (1996) (@320)
11 Jun 2007
(Review from progarchives.com)
“How can mere mortals make such beautiful music?” is the question I ask myself every time I listen to “Harbour of Tears”. It is a most exquisite concept album that tells the story of an Irish family who emigrates to the U.S. in order to start over – its musical themes are so convincing they manage to convey a nostalgia for places we’ve never even been to. ‘Harbour of Tears” is also very moody, even more so than “Dust & Dreams”, but that’s what makes it most poignant and exactly the way I like my Camel: with full-bodied arrangements and stunningly beautiful melodies.
Although the lyrics set the stage, it is the music that mesmerizes. It starts ever so delicately, with a simple a capella female singing an Irish air, something reminiscent of the eerie soundtrack of the movie ‘Titanic’ (and I don’t mean the Céline Dion tune). Next, the oboe picks up the theme and then Latimer’s guitar, the keyboards and the rest of the band step in, giving the album its first full Camel flavour. The third track, which develops the theme further still, introduces Latimer on vocals. Then comes this incredible short track entitled “Cobh”, one of those divine pieces that unmistakenly bring on the legendary lump in the throat, so familiar to Camel lovers. From here on, the album picks up the pace and gets better and better with every track. Among the best are the bluesy rocker “Watching the Bobbins”, the whirly/flighty “Running from Paradise”, the joyful “Coming of Age”, the whole thing culminating in “The Hour Candle” which features one of Latimer’s most heart-wrenghing blues guitar solos ever. The album ends with the sound of waves splashing on a lonely shore, leaving the listener with a strong, lingering feeling of homesickness
Line-up:
- Andrew Latimer / guitars, flutes, keyboards, penny whistles, vocals
- Colin Bass / bass guitar, vocals
- Mickey Simmonds / keyboards
- David Patton / bass, vocals
- Mae Mckenna / capella vocal
- John Xepoleas / drums
- Neil Panton / oboe, soprano saxophone, harmonium
- John Burton / French horn
- Barry Phillips / cello
- Karen Bentley / violin
- Anita Stoneham / violin
Track List:
01. Irish Air (0:57)
02. Irish Air (instrumental Reprise) (1:57)
03. Harbour Of Tears (3:13)
04. Cobh (0:51)
05. Send Home The Slates (4:23)
06. Under The Moon (1:16)
07. Watching The Bobbins (7:14)
08. Generations (1:02)
09. Eyes Of Ireland (3:09)
10. Running From Paradise (5:21)
11. End Of The Day (2:29)
12. Coming Of Age (7:22)
13. The Hour Candle (A Song For My Father (23:00)
Links in comments.
Camel – Dust and Dreams (1991) (@256)
09 Jun 2007
(Review from progarchives.com)
During a six year hiatus, Latimer was fighting with lawyers to get some due royalties and to evacuate the problems with their former manager.
Changes in their record company (Decca) made it clear that Camel had to try and put an end to their contract. Both amically agreed to do so on April tenth, 1985. Latimer, who had already started a new project (which will become “Dust & Dreams”) was free to sign with another label. He got contacts with EG but after six months of useless talks Latimer put an end to the negotiations when he was asked why Peter Frampton had left the band.
Latimer decided to sell his London house and he settled to the US in 1988. At this time, he decided to re-write the second half of “Dust and Dreams”. He used the money from the sales of his house to build a small studio where “Dust and Dreams” was recorded and produced. After an improductive attempt with Virgin, Latimer used the money which was left to setup his own production firm : Camel Productions. With sales that took off, the company organized a world tour and got the license to release old Camel works to CD. Their first album reaching the bins at the same time as “Dust and Dreams” on a CD format.
The largely instrumental “Dust and Dreams” marked the revival of Camel. Latimer with Bass, Burgess, Scherpenzeel and seven guests recorded a musical evocation of John Steinbeck’s classic novel The Grapes of Wrath.
It starts with the prying wind theme “The Dust Bowl” that turns into a vocal manifesto of the family’s unrelenting hope “Go West”. Then we have a short symphonic masterpiece “Dusted Out” whose dramatic performance shows the drama of the Okies being kicked out of their homes. “Mother Road” brings another important message namely that you and the road you are traveling along are the one thing. The next instrumental piece is “Needles”, the city on the Joads’ way to the milk ‘n’ honey land, a quite nice transition to a beautiful and heartfelt song “Rose Of Sharon” which is even more sentimental in pitch than the book itself. The last vocal number is called “End Of The Line” which touches the problem of loneliness and helplessness among the trackers whose desperation increases steadily to the point of unutterable anger masterly expressed by the one of the final tracks “Hopeless Anger” in which Latimer`s guitar solo tears your heart apart. And at last the Joads are free to decide which way to go and what they left behind belongs to the past now, and the heavy rain drops bring relief and hope for a change.
“Dust and Dreams” is a great concept album from Camel, with nice melodies and good compositions. Celestial and emotional moments : we are brought back to the early Camel. What a nice comeback!
Line-up:
- Andrew Latimer / guitars, flute, vocals, keyboards
- Colin Bass / bass
- Ton Scherpenzeel / keyboards
- Don Harriss / keyboards
- Paul Burgess / drums
- Christopher Bock / drums
- Neil Panton / oboe
- Kim Venaas / timpani, harmonica
- John Burton / french horn
- David Paton / vocals
- Mae McKenna / vocals
Track List:
01. Dust Bowl (1:54)
02. Go West (3:42)
03. Dusted Out (1:35)
04. Mother Road (4:15)
05. Needles (2:34)
06. Rose of Sharon (4:48)
07. Milk n’ Honey (3:30)
08. End Of The Line (6:52)
09. Storm Clouds (2:06)
10. Cotton Camp (2:55)
11. Broken Banks (0:34)
12. Sheet Rain (2:14)
13. Whispers (0:52)
14. Little Rivers And Little Rose (1:56)
15. Hopeless Anger (4:57)
16. Whispers in the Rain (2:54)
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Camel – Stationary Traveller (1984) (@256)
06 Jun 2007
(Review from progarchives.com)
This version of Camel sounds slightly different than the band of the seventies. Since the release of Nude the songs are mainly built on the splendid guitar melodies of Latimer. He uses his position as de facto leader to showcase his guitar prowess. Kayak’s Ton Scherpenzeel joins Camel on keyboards. Throughout the album the influence of Scherpenzeel is noticeable as he puts some colour to the music. He even wrote one little instrumental which fits in perfectly. Chris Rainbow takes lead vocals on a couple of the tracks.
The cover art of this album takes you back to Berlin at the time when the wall was built. Stationary traveller may be a concept album but its concept isn’t dominating the music. You can easily listen to the fine songs separately without digging deep into the lyrics, although the lyrics explain why there isn?t an uplifting mood.
The result is an excellent album by any standards. Once again, we have one of Camel’s striking opening themes, with a brief but dramatic lead guitar piece instantly grabbing the listeners attention and setting the mood for the rest of album.
Stationary Traveller is probably one of the most underrated albums of the eighties. Unfortunately it would be the last Camel album for the decade.
Line-up:
- Andy Latimer / flute, guitar, vocals
- Ton Scherpenzeel / organ, synthesizer, piano, keyboards, mellophonium, vocals
- David Paton / bass, vocals
- Paul Burgess / percussion, drums
- Mel Collins / sax
- Chris Rainbow / vocals
Track List:
01. Pressure Points (instrumental) (2:10)
02. Refugee (3:47)
03. Vopos (5:32)
04. Cloak and Dagger Man (3:55)
05. Stationary Traveller (instrumental) (5:34)
06. West Berlin (5:10)
07. Fingertips (4:29)
08. Missing (instrumental) (4:22)
09. After Words (instrumental) (2:01)
10. Long Goodbyes (5:14)
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Camel – On the Road 1982 (@256)
06 Jun 2007
(Info from The Nature of the Beast)
Camel’s third official bootleg was recorded live to celebrate the band’s then 10-year anniversary in 13 June 1982.
Originally intended for broadcast by a Dutch radio station, the master had been destroyed, and this album was mastered from a tape recorded by the sound engineer Pete Ward. Latimer consider this source “less then desirable” from a production standpoint, as “the bass end is not quite up to scratch because it was recorded directly through the mixing desk and this tends to lose the live ambience you get in the hall. But the gig itself was great fun and I think that shows.”.
Recorded just after the release of “Single Factor”, the concert features the same line-up. The set list was compiled from The Single Factor, I Can See Your House From Here, Rain Dances and Nude.
Three other songs which were performed at that night, Remote Romance, Rhayader Goes to Town and No Easy Answer were beyond salvage and do not appear on the album. Otherwise, the concert is as it was on the night, no dubs.
Line-up:
- Andy Latimer / guitars, vocals, keyboards
- David Paton / bass
- Chris Rainbow / vocals
- Kit Watkins / keyboards
- Stuart Tosh / drums
- Andy Dalby / back-up guitar
Track List:
01. Sasquatch (4:30)
02. Highways Of The Sun (4:38)
03. Hymn To Her (5:23)
04. Neon Magic (4:04)
05. You Are The One (5:21)
06. Drafted (4:01)
07. Lies (5:10)
08. Captured (3:19)
09. A Heart’s Desire – End Peace (4:34)
10. Heroes (5:36)
11. Who We Are (6:21)
12. Manic (4:11)
13. Wait (4:49)
14. Never Let Go (6:44)
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Camel – The Single Factor (1982) (@192)
04 Jun 2007
(Review from progarchives.com)
I am not sure if the title is a reference to the generally more commercial nature of the tracks here, but it is certainly appropriate. While there is nothing which immediately comes across as having the potential to be a huge hit single, the tracks are virtually all short and direct.
This was the first album without drummer Andy Ward who according to the sleeve- notes had suffered a serious injury to his hand. He had of course previously suffered at the hands of drink and drugs, especially around the time of the ‘Nude’ album. This meant that of the original band members, only Andy Latimer remained.
On the plus side, the appearance of David Paton and Chris Rainbow on vocals instantly addresses the weary criticism which Camel have always suffered in that department. Paton’s delivery on tracks such as the emotive ‘Heroes’, one of the album’s highlights, is superb. The presence of these vocalists, coupled with the generally lighter nature of the music can make this sound more like an Alan Parsons Project album than a Camel one. Other notable guests were Sky members Tristan Fry and Francis Monkman (ex-Curved Air), and early Genesis member Anthony Phillips. Latimer’s partner Susan Hoover provides the bulk of the lyrics for the album, with only the first two tracks and the very brief “Lullabye” featuring Latimer’s own words.
Latimer does not surrender vocal duties completely by any means though, the opening “No easy answer” being a pop structured song with his lead vocal, and accompanying la las by Rainbow and Paton. The following “You are the one” initially sounds like it is to be a bluesy dirge until the lightweight upbeat chorus bursts in, sounding as out of place as a prog song in the Eurovision song contest.
The aforementioned “Heroes” starts with an instrumental which sounds for all the world like it has been lifted straight from “The Snowgoose”. It really is a beautiful piece, which understandably could easily be mistaken for the aforementioned APP. The song is followed by an emotional lead guitar instrumental “Selva” where Latimer’s fine Gilmouresque lead guitar work is backed by the classical guitar of Anthony Phillips and the synthesiser of Duncan MacKay.
The instrumental track ‘Sasquatch’ (the Red Indian word for ‘Big Foot’, allegedly referring to Andy Latimer’s feet!) which opens side two is interesting, as it features former band member (the now sadly departed) Peter Bardens on keyboards. We return to more pop based territory for the surprisingly rock based “Manic”, one of the heaviest songs Camel have ever recorded. “Camelogue” reflects on the painful break-up of the original line up of the band, Hoover’s lyrics clearly reflecting Latimer’s own feelings well. The following “Today’s goodbye”, while on the face of it telling the tale of a romantic break up, may well also relate to the difficulties within the band.
The wonderful vocals of (Glasgow born) Chris Rainbow finally take centre stage on the two part closing track “A heart’s desire/End Peace”. Ironically, there’s a “Local hero” (film) feel to Andy Latimer’s guitar work here, Anthony Phillips’ keyboard landscapes providing the perfect backdrop for this emotionally charged performance.
“The Single Factor” tends to get a bad press because it is often perceived to be something of a sell out album. While there are undoubtedly some worryingly commercial aspects to some of the songs, scratch the surface a bit further and there is actually a significant proportion of quality material. The problem, if there is one, is that the album is inconsistent. Worth exploring for fans of the band though.
Line-up:
- Andy Latimer / guitar, piano, vocal
- Graham Jarvis / drums
- Peter Bardens / organ, Mini moog
- David Paton / bass, vocal
- Chris Rainbow / vocal
- Dave Mattacks / drums
- Haydn Bendall / keyboard
- Duncan Mackay / keyboard
- Simon Phillips / drums
- Francis Monkman / keyboard
- Anthony Phillips / keyboards
- Tristan Fry / glockenspeil
- Jack Emblow / accordian
Track List:
01. No Easy Answer
02. You Are the One
03. Heroes
04. Selva
05. Lullabye
06. Sasquatch
07. Manic
08. Camelogue
09. Today’s Goodbye
10. A Heart Desire
11. End Peace
12. You Are The One (Bonus Single Edit)
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Alan Parsons Project – Eye in the Sky (1982) (@256)
22 Apr 2007
(Review from seaoftranquility.org)
Once you hear the familar sounds of Alan Parsons’ fairlight and layered synths from Eric Woolfson & Haydn Bendall on the opening “Sirius”, a classic Alan Parsons Project instrumental piece that became a familiar theme to many sporting events, so begins the popular 1982 release Eye In the Sky.
The title track was a big hit on FM rock radio back when the album was originally released, a lush pop/prog song with Woolfson’s emotional vocals and swirling Wurlitzer, complemented nicely by Ian Bairnson’s tasty guitar work, who is a vastly underrated player. The engaging “Children of the Moon”, which features plenty of proggy keyboards from Woolfson and a soulful vocal from bassist David Patton. Check out the soaring choir and orchestra on this one, as well as some jazzy piccolo trumpet from John Wallace. The layers of vocals on the quirky “Gemini” almost remind of Gentle Giant with a Pink Floyd edge, while the somber yet catchy “Silence and I” is a 7+ minute piece with lush keyboards and orchestra, plus another solid vocal from Woolfson. About mid-way through the song things pick up quite a bit, and it actually turns into a bombastic classical flavored rocker, with a tasty guitar solo from Bairnson to close things out.
“You’re Gonna Get Your Fingers Burned” is a funky rocker, very typical of early 80′s AOR material, littered with tight keyboard work from Parsons, crunchy guitar riffs, and plenty of catchy vocal melodies. The popular “Psychobabble” is a proggy yet funky track with plenty of hooks and classy instrumentation, while “Mammagamma” is a futuristic sounding instrumental not unlike some of the Tangerine Dream output of the same era. Expect loads of synths, delayed guitar riffs, and electronic drum programming on this one. ‘Step By Step” is a fairly generic funk rocker, easily the weakest track on the album, and the closing “Old and Wise” sees the band return to dreamy, orchestral progressive rock, complete with emotional vocals, layers of keys, strings, brass, and reeds. The sax solo from former King Crimson member Mel Collins is especially noteworthy on this one.
Line-up:
* Alan Parsons – keyboards, fairlight programming
* Eric Woolfson – keyboards, vocals
* Andrew Powell – keyboards, orchestral arrangements
* Ian Bairnson – guitar
* Mel Collins – saxophone
* David Paton – bass, vocals
* Stuart Elliott – drums & percussion
* Chris Rainbow – vocals
* Lenny Zakatek – vocals
* Elmer Gantry – vocals
* Colin Blunstone – vocals
Track List:
01. Sirius (1:48)
02. Eye In The Sky (4:33)
03. Children Of The Moon (4:49)
04. Gemini (2:09)
05. Silence And I (7:17)
06. You’re Gonna Get Your Fingers Burned (4:50)
07. Psychobabble (4:50)
08. Mammagamma (3:34)
09. Step By Step (3:52)
10. Old And Wise (4:52)
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