Camel [1979] I Can See Your House From Here

[01] Wait
[02] Your Love Is Stranger Than Mine
[03] Eye Of The Storm
[04] Who We Are
[05] Survival
[06] Hymn To Her
[07] Neon Magic
[08] Remote Romance
[09] Ice



amg: Although not an honest representation of the band's character, this is undoubtedly their most popular work. The one-time addition of American Kit Watkins produces some fine keyboard lead work. Rupert Hine's resourceful production and appearances by Phil Collins and Mel Collins round out this strong import release. "Survival" and "Who We Are" feature some fine orchestrations, and guitarist Latimer delivers some exceptional lead work on the album's closer, "Ice."
(amg 9/10)

Cheap Trick [1979] Cheap Trick At Budokan - The Complete Concert

[101] Hello There
[102] Come On, Come On
[103] Elo Kiddies
[104] Speak Now Or Forever Hold Your Peace
[105] Big Eyes
[106] Lookout
[107] Downed
[108] Can't Hold On
[109] Oh Caroline
[110] Surrender
[111] Auf Wiedersehen
[201] Need Your Love
[202] High Roller
[203] Southern Girls
[204] I Want You To Want Me
[205] California Man
[206] Goodnight
[207] Ain't That A Shame
[208] Clock Strikes Ten



amg: At Budokan was the pivotal album for Cheap Trick, the one that made them stars. The louder, harder-rocking versions of such Rick Nielsen classics as "I Want You to Want Me" and "Come On, Come On" connected with a wide audience in a way the studio recordings didn't, and the record consequently became a smash. Given its enduring popularity, it wasn't surprising that Epic and Cheap Trick celebrated its 20th anniversary by releasing The Complete Concert, a double-disc set that contains all of the 19 songs the band had performed. Much of this material was released on Budokan II, but this set restores all the music to its original running order, making it an entirely unique album in its own right. There's no question that the music is terrific and it certainly is interesting to hear all of this the way it was actually performed, but The Complete Concert doesn't have the punch of the original album, which hit hard at only ten tracks. The length of this set might make it frustrating for some fans, but any hardcore Trick fan will need this comprehensive, detailed document of the band's most celebrated concert.
(amg 10/10)

Camel [1978] Breathless

[01] Breathless
[02] Echoes
[03] Wing And A Prayer
[04] Down On The Farm
[05] Starlight Ride
[06] Summer Lightning
[07] You Make Me Smile
[08] The Sleeper
[09] Rainbow's End



amg: With Rain Dances, Camel began exploring shorter, more concise songs, but it wasn't until its follow-up, Breathless, that they truly made a stab at writing pop songs. Although they didn't completely abandon improvisational prog rock — there are several fine, jazzy interludes — most of the record is comprised of shorter songs designed for radio play. While the group didn't quite achieve that goal, Breathless is nevertheless a more accessible record than Camel's other albums, which tend to focus on instrumentals. Here, they try to be a straightforward prog rock band, and while the results are occasionally a little muddled, it is on the whole surprisingly successful.
(amg 9/10)

Camel [1976] Moonmadness

[01] Aristillus
[02] Song Within A Song
[03] Chord Change
[04] Spirit Of The Water
[05] Another Night
[06] Air Born
[07] Lunar Sea



amg: Abandoning the lovely soundscapes of Snow Goose, Camel delved into layered guitar and synthesizers similar to those of Pink Floyd's Wish You Were Here on the impressive Moonmadness. Part of the reason behind the shift in musical direction was the label's insistence that Camel venture into more commercial territory after the experimental Snow Goose, and it is true that the music on Moonmadness is more akin to traditional English progressive rock, even though it does occasionally dip into jazz-fusion territory with syncopated rhythms and shimmering keyboards. Furthermore, the songs are a little more concise and accessible than those of its predecessor. That doesn't mean Camel has abandoned art. Moonmadness is indeed a concept album, based loosely on the personalities of each member — "Chord Change" is Peter Bardens, "Air Born" is Andy Latimer, "Lunar Sea" is Andy Ward and "Another Night" is Doug Ferguson. Certainly, it's a concept that is considerably less defined than that of Snow Goose, and the music isn't quite as challenging, yet that doesn't mean that Moonmadness is devoid of pleasure. In fact, with its long stretches of atmospheric instrumentals and spacy solos, it's quite rewarding.
(amg 6/10)

Caravan [1976] Blind Dog At St. Dunstan's

[01] Here Am I
[02] Chiefs And Indians
[03] A Very Smelly Grubby Little Oik
[04] Bobbing Wide
[05] Come On Back
[06] Oik (Reprise)
[07] Jack And Jill
[08] Can You Hear Me
[09] All The Way



amg: After the surprisingly warm reception of Cunning Stunts, it looked like Caravan could do no wrong. Unfortunately, the band's next release was a major turn for the worse. New keyboard player Jan Schelhaas was part of the reason - his jazzy, up-tempo playing on every song regardless of the intended mood is one of the major problems here. It doesn't help that the material here is generally weaker, lacking either compelling lyrics or interesting song structures. Only the opening "Here Am I" is up to the standard of their older material and played with any kind of finesse. What is missing on this album is the character that made Caravan something more than just another technically proficient band. The critical and popular reaction was devastating. Blind Dog at St. Dunstan's took a career that was headed for the big time and brought it firmly back to ground.
(amg 3/10)

Caravan [1975] Cunning Stunts

[01] The Show Of Our Lives
[02] Stuck In A Hole
[03] Lover
[04] No Backstage Pass
[05] Welcome The Day
[06] Dabsong Conshirtoe
[07] The Fear And Loathing In Tollington Park Rag
[08] Stuck In A Hole (Single Version)
[09] Keeping Back My Love
[10] For Richard (Live)



amg: Contrasting the clever spoonerism from which Cunning Stunts derives its name, Caravan are heard on what is arguably their most uninspired material to date. The effort is certainly far from a total loss, but nowhere nearly as creative as their former studio effort For Girls Who Grow Plump in the Night (1973) — the likes of which sadly would not be equalled. Instead of commencing the affair with the aggression and spirit that informed previous LPs — such as "Memory Lain, Hugh" or "Waterloo Lilly" — which had christened their earlier albums, "The Show of Our Lives" comes off comparatively heavy and practically dirge-like. Caravan's trademark instrumental agility while perhaps temporarily mired, is not lost on Pye Hastings' uptempo rocker "Stuck in a Hole." Heavy-handed, superfluous orchestration — possibly a residual effect of their New Symphonia project from late 1973 — mars "No Backstage Pass" and the 18-minute "Dabsong Conshirtoe." There are a few trademark and at times edgier passages, especially during the "Ben Karratt Rides Again" movement of the epic "Conshirtoe." Still, the orchestration is too slick sounding, as if it were teetering on the aural wallpaper that is (gasp!) Muzak. Caravan enthusiasts intent on including Cunning Stunts in their collections should be aware that the 2001 CD reissue contains a few choice supplementary selections. Chief among these is an unissued take of "Keeping Back My Love" — which would ultimately be reworked three years later on Better by Far (1977). Here the band definitely display signs and sounds of the Caravan of old. For that cut alone, the renovated offering can be sufficiently recommended. The other significant bonus track is a live "For Richard" recorded at Fairfield Hall in Croydon, England. Originally, it was included on the 1976 Canterbury Tales best-of, but makes its digital debut here.
(amg 6/10)