MOONMADNESS

For some fans, Camel's 'Moonmadness' is the epitome of the band's early sound, while for others, this is the first misstep along their path, and what is undoubtedly true, is that out of the four classic albums released by the original lineup, 'Moonmadess' is the least exciting and characteristic one. Following the success of 'The Snow Goose', an entirely instrumental record, Camel return to a more familiar presentation, with an album that is stylistically more similar to 'Mirage' yet features a good amount of long, complex, atmospheric instrumentals that are also filled with breathtaking guitar solos, which is definitively one of the recognizable elements of symphonic prog. The long-form compositions on this album are indeed quite well thought out and can get very dreamy and aloof, but there is an element of unbridled melancholy and an overall lack of personality that render 'Moonmadness' somewhat of a tedious listen. Other classic prog album that work in a similar way have to be 'Trespass' and 'Tormato'.

Here the set opens with a short and spacey instrumental theme that gives way to the symphonic ballad 'Song Within a Song', a piece that features lush textures, some fine flutes by Andrew Latimer, and a gorgeous melody that is taken up and explored in-depth later on in the instrumental section. The second and final part of this song is also quite interesting, with Peter Bardens taking the lead with his more intricate and a bit Canterbury-esque synth playing. The instrumental 'Chord Change' is enjoyable and the jazz drumming really adds something new to the mix, but the overall feel here is of nothing exceptional happening, which almost certainly also applies to the short Bardens piece 'Spirit of the Water', one of the most sorrowful episodes on 'Moonmadness'. And the conclusion of side one brings back the familiar problem with the vocal department in Camel, which has perhaps always been lackluster and the main reason for the band's lack of characteristic personality.

Side two of 'Moonmadness', on the other hand, is significantly better - just three longer pieces, these mini-suits explore different textures that are more pertinent to the band's style from earlier albums like the debut or 'Mirage', with the focus here being on the instrumental parts. The splendid soloing and the beautiful melodies persist, with 'Another Night' being one of the high points on the album. The closing instrumental piece 'Lunar Sea' might as well be treated as the signature piece off the record, a semi-prog exercise that offers some great keyboard sounds. And as much as this record happens to be the most uneventful and uninspiring of the first four Camel LPs, it also marks the end of the classic era of the band, with excellent bassist Doug Ferguson leaving the band after its release.

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