Sasquatch - Camel - The Single Factor (Vinyl, LP, Album) download full album zip cd mp3 vinyl flac
Views Read Edit View history. Help Community portal Recent changes Upload file. Download as PDF Printable version. Hammersmith OdeonLondon. Progressive rock. A Live Record Selva 5. Lullabye 6. Sasquatch 7. Manic 8. Camelogue 9. Today's Goodbye A Heart's Desire. Condition :. This item is in Excellent condition or better unless it says otherwise in the above description. We buy items as close to Mint condition as possible and many will be unplayed and as close to new as you could hope to find.
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COM Ref No. Latimer was actually in a similar situation at this point being basically alone with some guests in creating this album hence the title The Single Factor. There are mostly shorter tunes on The Single Factor and it is a diverse album with several different styles being explored. Another similarity with Hackett's Cured is the presence of some poppy songs as well as some more progressive instrumentals.
The instrumental Sasquatch, for example, became a live favourite that was often played live by the band during the 80's and 90's. However, this is not quite as nice as Ice. For me personally both Cured and The Single Factor are actually more than decent albums though Cured is the better of the two!
Fans of progressive Rock usually fear the very word 'Pop', and for good reasons I hasten to add, but The Album) Factor should not be put together with Invisible Touch or This album is not a "sell out" by those standards.
Even if the songs are shorter here, these are hardly potential chart toppers. As a follow up to Nude, it is, of course, very disappointing indeed.
But Nude was, LP, after all, great! Overall, this album is quite soft, but Manic, with its dramatic organ, sounds almost like it could have been the soundtrack for some film! Lullaby is a Sasquatch - Camel - The Single Factor (Vinyl short but beautiful piano ballad with a very good vocal performance by Andy. The song A Heart's Desire is very nice but completely out of place here, I think.
It does not have a Camel feeling. This is largely due to Andy Latimer not singing it. This is certainly not a bad album even if it is one of Camel's least good ones. First of all, this is a lot more of an Andrew Latimer solo project than an official Camel LP.
The band as a cohesive, functioning entity had ceased to exist in '81 and Andy, being the sole remaining founder of said combo, was stuck with the daunting task of fulfilling the group's contract with the label as best he could. Latimer enlisted the capable skills of Tony Clark to co-produce, rounded up a handful of crackerjack musicians like Ant Phillips and bassist David Paton, booked time at the prestigious Album) Road studios and plunged ahead courageously.
Or so it's reported. One need only to notice the copyright date on the sleeve to cause any expectations of grandeur to dissipate like smoke and, frankly, to warrant a dread of the worst. Video may have killed the radio star but what it was doing to progressive rock was a fate more horrible than death. Add to that the eviscerating wounds that had been cruelly inflicted on the genre by the punk and New Wave movements of the latter 70s and prog was in the I.
If there had been a "do not resuscitate" order in effect we might not be talking today, kids. All this is intended to warn you that the opener, "No Easy Answer," is nothing more than a mealy ort of pop fluff solely intended to bore its way into the heads of Top 40 radio listeners and create a chart-topper if at all possible.
I suspect that the corporate honchos made Sasquatch - Camel - The Single Factor (Vinyl do it in hopes of recouping a fraction of their investment. It's no coincidence that it sounds remarkably like any number of the Alan Parsons Project hits for that very reason. It also gives Andy a chance to explain his dilemma up front. We feel ya, bro.
While that low-calorie ditty is far from being intolerable or an outright insult the next cut, "You Are the One," is a big improvement. The Hammond organ droning at the onset is as comforting as a warm blanket on a cold night but the droll mood it creates stands in stark contrast to the upbeat chorus that comes along like sunlight breaking through dark clouds. Success breeds imitation, what can I say?
Here Andy turns the singing duties over to the soprano warblings of his buddy David Paton and the boy delivers a smooth performance from the higher registers as well as providing some silky notes on the fretless bass underneath. Latimer's imaginative arrangement shows that, despite the song's obvious contemporary leanings, he hasn't completely abandoned his progressive roots.
You can take the lad out of prog country, you know. The instrumental "Selva" is a charming slice of pure prog, though. The Prophet synthesizer manned by Duncan Mackay provides a deep, rich backdrop for the guitars of Phillips and Latimer and the composition is beautiful beyond reason.
It conjures up serene, peaceful mental images and elevates this album to the next level. It's worth a whole star in itself. I'm a real sucker for songs under a minute in duration and "Lullabye" qualifies to be in that designation, coming in at a brisk 55 seconds. Not sure why, but short and sweet always gets me where I live no snide remarks, please. Speaking of instrumentals, "Sasquatch" is next and it has a lively, energetic groove that's irresistible.
If proggers had a TV station this would be the theme for the evening news program hosted by the inimitable and charismatic anchorman Iain Lemming and no one would complain. Andy's expert guitar work is superb, Camel keyboard guru Peter Bardens in his only appearance on this disc turns in a delightfully airy but inspired mini-moog solo and the whole thing has a dynamic, electrified atmosphere that can't be ignored.
Well, done Mr. The same can't be said for the follow-up, "Manic," though. Andy's stab at getting heavy- handed fails to make the grade.
His Ozzy-ish vocal is woefully underpowered, causing the whole endeavor to cave in on itself. At least he introduces a somewhat proggy, spacious interlude toward the end to break the monotony but it's a case of too little too late. It's not a total embarrassment due mainly to the quality guitar work but it's also far from being memorable. While Susan Hoover his wife-to-be penned the words it's easy to connect the dots to Andy's own career predicament.
It's really just a power ballad but it works for me, especially the contagious chorus that gets stuck in my brain for days on end. Latimer's echoing slide guitar doesn't hurt, either. And the way it slides effortlessly into the instrumental 2nd half is very gratifying to this old prog dog. Andy and Ant combine to present a gorgeous piece of music that's like a slice of heaven and the "shimmering" fade out sends a shiver up my spine.
And that's no little feat to turn your nose up at. Andrew Latimer could've gone into the studio for a couple of days and churned out 8 or 9 tracks of dromedary manure to fulfill the requirements of Camel's contract with Gama Records and not given a hoot for the band's legacy. Other artists have done just that in similar circumstances. Yet it's what a man does when faced with adversity that defines his character, not when he's surrounded by talented cohorts riding the crest of popularity and acceptance.
I expected to have a few heartless chuckles over "The Single Factor" but what I came away with was a newfound admiration for Andy. There are several low points to be navigated around, to be sure, but the occasional heights he attains are well worth the price of admission. Just goes to show that you never know for certain about an album until you lend an ear. Some songs like You Are The One start with strong verses but are entirely ruined by blatantly commercial and cheesy choruses.
Most songs are cheesy all the way through. There are moments like Selva that are as good as Twin Peaks soundtrack would be but that do not offer much we didn't hear yet from Camel. There's one song I really like though and that's Camelogueit's equally commercial as anything else but if this album wanted to be pop music then at least it was successful with this track.
The following album would accomplish what I think they wanted to achieve here. Easily Camel's worst. UPDATE: OK, after trying to revisit the album and give it an honest try, I still can't think any better of it - however, having done a bit of background research, I can at least understand why it is the way it is. You see, this is the first album after longtime drummer Andy Ward left Camel, and what wasn't generally known at the time and has only become apparent in later years with the blessing of all concerned is that Andy's departure was precipitated by his attempting suicide, after his struggles with drugs, alcohol, and the stresses of life on the road had a terrible effect on his mental health.
Under the circumstances, I can see why songwriting for a new Camel album would have been the absolute last thing on the mind of Andy Latimer or any of the other friends and relations of the band who came together to make this album - but not only did the record label seem disinclined to give them any time off, they actually demanded that Latimer set his sights on producing a hit single!
I can't really blame Latimer for turning out this weird collection of nonsense under such circumstances - particularly since there didn't seem to be a single, stable Camel lineup at this point all the songs are performed by slightly different lineups, with at least one being a Latimer solo piece - and it's perhaps fairest not to hold The Single Factor against Camel.
I owned the vinyl around or so. I confess, my memory of some tracks has faded badly, but I presume those I don't remember would only be the most insignificant and classless. The closing, tender song 'A Heart's Desire' is sung by Chris Rainbow and is followed seamlessly by a beautiful iinstrumental tail.
These tracks unfortunately don't save the whole album from being the all-time low in Camel's career. But compared to many other prog artists' all-time lows released at the early or mid-eighties such as Steve Hackett this is frankly better. Many progheads dislike also the following Stationary Traveller, which I actually enjoy if I totally ignore its worst tracks. But when the highlights or the majority of material are concerned, its quality is miles above this one.
I presume most of them regret this. Did I say I don't like this album at all? I forget. Is this album bad? While it clearly shows in some parts that Latimer was trying too hard to compose and to record commercial Pop Rock songs to please the record label, the album as a whole has some quality, with his guitar playing being very good.
The eighites were hard times for some Progressive Rock bands like CAMEL, with them trying to please their record labels "new musical ideas for the new decade". This led to CAMEL to finally end their relationship with that record label inand to try to survive making the music they liked in an more independent way. A harder way to follow, but maybe more satisfying for themselves in musical terms.
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