Camel

Camel never matched the broad commercial reach of other British progressive rock acts such as the Alan Parsons Project, yet the group steadily built a loyal cult audience. Throughout repeated lineup shifts across the decades, Andrew Latimer consistently served as the band’s guiding force.

The quartet came together in Surrey in 1971, with Latimer handling guitar, flute, and vocals alongside drummer Andy Ward, bassist Doug Ferguson, and keyboardist Peter Bardens, formerly of Them. By late 1973 the musicians had secured a deal with MCA and issued their self-titled first album. The following year they moved to Decca’s Gama imprint and delivered Mirage. Their profile rose sharply in 1975 with the release of The Snow Goose, which entered the British Top 30. Although Moonmadness in 1976 lost ground at home, it fared better stateside, peaking at number 118—the band’s strongest American showing. After that album Ferguson departed; Richard Sinclair, late of Caravan, took over bass duties while saxophonist Mel Collins joined the lineup. Friction between Latimer and Bardens surfaced during the sessions for 1977’s Rain Dances and intensified while making 1978’s Breathless, prompting Bardens to exit once the record was finished. To prepare the next project Camel added keyboardists Kit Watkins of Happy the Man and Jim Schelhaas of Caravan, while Colin Bass replaced Sinclair.

By the time I Can See Your House From Here appeared in 1979, punk had altered the musical landscape, reducing coverage and sales for progressive rock; the album consequently drew less notice than any Camel release since the debut. Latimer resumed his interest in thematic works with the 1981 album Nude. Severe hand damage forced Andy Ward to leave in 1982. That same year’s The Single Factor adopted a smoother, more radio-friendly approach yet failed to chart. Stationary Traveller followed in 1984 and again took conceptual form.

After issuing the 1984 concert set Pressure Points, Camel entered an extended hiatus that continued into the early nineties. Decca dropped the band in 1985, and Latimer struggled to secure another contract while locked in litigation with former manager Geoff Jukes; the suit was finally resolved in Camel’s favor by the close of the decade. No new recordings emerged during those years. In 1988 Latimer sold his English residence, relocated to California, and established the independent Camel Productions label. When the group finally returned to the studio in the early nineties it functioned essentially as Latimer supported by session players. Dust and Dreams, released in 1991, became the first title on the new imprint. PolyGram issued the double-disc anthology Echoes in 1993. Harbour of Tears arrived in early 1996.