Holding this double LP in my hands all of my seventies values returned and I handled it with reverence, courtesy and respect. I am unaware if the vinyl is 180g though it feels quite heavy and a joy to behold. Artwork and the quality of the packaging is nothing short of fantastic. For an optically challenged fifty something such as me it is just magnificent.

Judging by the cover (which I know that you aren’t supposed to) I would guess that a message about climate change is held within. The four seasons are depicted on all aspects of the cover and reflected in some of the lyrics. Placing the first of the meaty records onto the turntable and kicking back my potpourri began to dance as “Edge Of The In-between” started as the rest of the album meant to go on. With raging musical athleticism at it’s very best. I was under no illusion that I would be best in shorts and running shoes whilst listening to the whole of this album.

A fresh and breezy start soon leads us to “Kamikaze”. Ryo Okumoto at his wildest extreme. I think the clue is in the title. This is not something to play whist mum is making dinner. There are some fantastic organ and synth sounds to be heard and I honestly believe Nick De Vigilio gives Mr Portnoy a run for his money here. “The Emperors New Clothes” fools you into thinking it could be a slow one judging by the subtle acoustic guitar intro. Not so, this is The Beatles go prog. There is some fine guitar/keyboard interplay in this song with some fabulous piano and mellotron sounds in the middle but I can’t help thinking “Sergeant Pepper.

Turning to side B heralds the first of two pieces that occupy the whole of one side of the album. “From The Darkness” is fast and at times sinister with some atmospheric breaks. As with some of the other songs here, there are some great harmonies to be heard and the whole piece leaves you windswept. Placing the second record into position brings you to “The Quiet house” and guess what? It isn’t!  This is Kiss with keyboards. Prog varnish totally worn away to reveal bare metal. Putting on the breaks only slowed the band down marginally for “The Man Behind The Curtain”. I was reminded of Marillion’s “Uninvited Guest” with much more American grandiose presentation played with aplomb. 

Arriving at side D brings the listener to “Jaws Of Heaven” which I have to admit is without doubt my favourite. Quite a somber start to yet another otherwise power tune. Caustic and gritty with some great keyboard sounds emanating from the barrage of guitar.  For the second time on the album real strings, French horn and trombone make a welcome augmentation amongst the electronica.  This menacing opus concludes with great style and panache a wonderful album.  Spock’s Beard skirt around the fringes of prog metal though pin their colour’s firmly to the mast reminding us all that by it’s very name and nature that prog must progress.

I often wonder if Spock’s Beard are a parody of prog, though listening to their tenth album I confirm that they are the real deal.  It occurred to me that most of X has been played by musicians with ten fingers on each hand.  As such, they have the enthusiasm of a college band yet the skill of finely honed and seasoned players. X is a must have item whether you buy it on CD or as I have on vinyl. The vinyl version is something very special and well worth seeking out. All that is needed to fully appreciate it is the time.

Well, what’s folk/rock got to do with progressive music I hear you say? I would have you say that Lehto & Wright escape the perimeters of folk despite the inclusion on the album of Dave Swarbrick and Martin Carthy versions of one song and an excerpt from Led Zeppelin’s The Rain Song, These two extraordinary musicians plow headlong into some compositions by Chick Corea. This sets the album apart from most things a have ever heard and whilst not being able to pigeon hole the band into any one genre suspect it is what makes them progressive.

I found this album to be a breath of fresh air. Steve Lehto along with John Wright really do cross a lot of boundaries on this superb musical adventure. Lovers of free form music will simply lap it up. There seems to be little to no constraint in technique or direction.

Very little is written about King Crimson at Progmeister, yet I can’t stress enough how important they were in the whole ethos of prog rock music. I bring this to your attention because I can’t stop thinking that this is what they would have sounded like had they added a folk element to their music. Steve Lehto bares all the hallmarks of the lamented Robert Fripp who could also reach from 0 to 60 miles per hour in three seconds on his guitar.

In addition to Steve Lehto on all manner of guitars/vocals and John Wright on all manner of all things bass/vocals including pedals, there is Matt Jacobs who’s kick drum really does lend a dimension all of it’s own to the proceedings. Matt’s drumming really adds to the pace of many pieces on this album and really does provide a solid platform for the two key players.

Children’s songs comprises of four quality pieces “Wasn’t That A Time”, “The Broomfield Hill”, “Children’s Songs” and “Betsy Bell and Mary Gray”

By the clock on my aging digitalia I make this album out to be one hour and twelve minutes of barnstorming folk/rock at its very best. Lovers of Jethro Tull, Fairport Convention, Et al look no further.  With a drought of new output from such bands, this wonderful take on some traditional folk songs and some astounding musical excursions should not be overlooked.  Is it prog? I don’t know! But I like it.

Check out Lehto and Wright at

If so, a more fitting a revelation there will ever be. This is very much an album for the devout Camel fan and for those who know of their heritage and meaning. I count myself as being one of the fortunate. Time has been spent on making this crafted presentation a very special message. The key is in the title!

A Nod and a Wink is just that…A nod and a wink to all the musical forms and influences so enjoyed by the composer of these finely penned tunes and ditties. I hear them all. Genesis, Caravan, Jethro Tull. It really does reward the listener if time is spent becoming familiar with each composition and lyric on this album.

Unlike many Camel albums A Nod and A wink can be listened to piecemeal. Individual adventures for you all to savour.  Looking at the cover of this album it says everything. The silhouette of the composers faces the glance backwards at his childhood, the steam train moving forward through life and of course the sky.

On first hearing this album it give me a feeling of terminal inevitability. Dedicated to the world from someone who wanted to demonstrate their passion for their influence’s, loves and concerns to the need of composure and realization.

Loading this CD into your preferred method of delivery you will notice a more delicate feel about it. Every note on this album is played with conviction and meaning. It lays bare the soul of it’s creator and the intent to persuade the listener of its representation.

My personal view is that of an Enid Blyton children’s novel. Lashings of ginger beer and the famous five etc, of course, it’s all open to individual interpretation.  What this album does have in spades is magic.

Most unlike any other Camel album A Nod and A Wink Demonstrates a cheeky view of the world and not least the musical influences it alludes to. Beginning and ending with the sound of a steam engine drawing near and then in its conclusion moving away into silence.

Glockenspiel and slide guitar, not the usual ingredients for a Camel album but very enjoyable none the less.  Tearing a way through ZZ Top like slide guitar to reveal some timid synthesizer sounds from French Canadian boards man Guy Le Blanc the title track blazes it’s way to “Simple Pleasures” which is probably the most exhilarating song on the album.

“Simple Pleasures” demonstrates the benefit of HDCD encoding and is beautifully recorded. The weaving guitar in this song is bolstered by Colin Bass on fretless bass and the powerhouse drumming of Terry Carleton. It is with Terry Carleton’s huge tom toms that the track begins and thunders to a conclusion. It really is a treat.

“A Boy’s Life” begins in a very solemn mood though soon becomes a little more interesting with a little Roger Waters time sound effects and again some pyrotechnics from the drums. Finishing in rousing fashion this song possesses a huge sound stage. There is some nice acoustic guitar to be heard on this song too. I must admit to being unable to understand what this song is all about, though I would suspect it’s about childhood and how we take everything for granted at the age of fifteen yet there is always the boy in us until we die.

On a more equestrian theme the fabulous “Foxhill” is a right old romp and brings about a light hearted feel to the proceedings. A song about the joy of foxhunting! Could there be such a thing? Worry not young activists, because it’s a tale with a happy ending as the fox gets clean away. Genesis meets Jethro Tull here. Wonderful English feel to it this piece. It makes you want to take up riding. There is some fantastic guitar/keyboard interplay on display which is only to be expected. It is something at which Camel in their many forms excel at.

“A Millers Tale” and the following piece “Squigely Fair” seem to fit nicely side by side as if the latter was a continuation. “A Millers Tale” begins with some full bodied acoustic guitar and appears very dark and moody. This is further enforced by the rasping cello and oboe samples and invoking a Lord Of The Rings type atmosphere. “Squigely Fair does much the same, though in a happier more breezy type of way. All the fun of a fair is here in spades. And all thee rides and attractions are represented by the multitude of talent playing guitars, flute and some great percussion. A fitting high on which to end and allow the Ice like tones of the concluding and thought provoking “For Today” begin.

To me this beautiful piece of music is almost hymn–like. When you consider it’s subject matter which I believe to be the tragedy that befell the world in September 11^th 2001, you realize that it is probably the post powerful and emotional song that Camel have ever recorded. Should this album indeed be the bands swan song it is a fitting one. With an eerie message the song climbs from its subtle piano intro into to burning guitar crescendo backed with a chorus “never give a day away, always live for today”. Stirring stuff. A fitting conclusion to what may as yet me the last Camel album. The guitar sound on this song could easily be mistaken for Pink Floyd should you be unaware of whom you were listening to.

I was also very pleased to see that a dedication had been given to the late and very great Peter Bardens on the CD booklet.

Many of Camel’s albums however were to be taken a little more seriously, None more so than

A brief synopsis of the tale portrayed is to be found on the back CD cover. It tells of a deep water port in

From the opening traditional Gaelic lament of “Irish Air” to the haunting conclusion of rolling waves at it’s conclusion,

Following such a wonderful opening the story is told in very concise terms in the title song. Singing in descant messrs Latimer and Bass describe the sorrow of a passenger setting sale and his father on the quayside bidding them farewell, very eloquently done.

Moving into the next piece “Cobh”, Mickey Simmonds with his talent for timbre and motive brings about the first of a few symphonic elements to this fabulous opus and leads in quirky fashion to the jaunty and almost shanty-like “Send Home the Slates”, sung with aplomb by David Paton and Andrew Latimer  which sets the nautical feel for the remainder of the album.

“Watching The Bobbins” is very much in blues tempo which gives way for some of Andy’s most soulful guitar playing and stirring keyboard orchestration. “Last Eyes Of Ireland is the beginning of perhaps the most powerful and emotional segments of the album and at one stage gets eerily close to sounding like Genesis.

Last of the songs on this what I now consider to be a masterpiece is “End Of The Day”. It is a tranquil lament, this time with the more masculine tones of Andy Latimer himself.  Coming of age is Camel at their best with the distinctive signature that gives the essence of what they are all about. Drama, poise and excitement are all contained herein.

Which brings me to the concluding piece, “The Hour Candle”? Something tells me that although this blistering guitar tells not only the tale of heartache and sorrow for the people portrayed in the story, but of the grieving of a musician who at the time had lost his father Stan to whom the song is dedicated. This beguiling suite is further augmented by the inclusion of the afore mentioned sounds of the ocean lapping at the shore. A fitting end methinks.

I have mentioned not a jot about the supporting musicians on this album of which there were many. The two people that by now had become the nucleus of Camel, Andrew Latimer and Colin Bass who were ably joined by the extremely talented Mickey Simmonds on keyboards, David Paton/bass (Pilot/Alan Parsons Project) and John Xepoleas on drums. As well as some snappy dudes on Violins, Cello, Oboe, Sax, French horn and Harmonium, I think you get the picture? For further information buy the album and read it for yourself!

I would describe Harbour f Tears as Camel’s most organic album, and you really must get within its skin to enjoy it. It’s about mood, atmosphere and passion unlike any other Camel record. It represents the struggle and suffering of the many people in the story and to a huge degree the feelings at that time of its author.

Over the years I have heard so many Camel fans list this excellent album so far down their list of favourites it leaves me baffled.  I am always loathed to express a favourite Camel album and I have to say that Harbour of Tears hold its own in the company of the rest. With the benefit of maturity and a healthy appreciation of life, health and a broader understanding, I would consider this a must have Camel album. But then again, aren’t they all