The Camel archive continues the reboot with the under the radar excellence of Nude. Album #8 from ’81.

Release Date: 28th March 2025

Label: Esoteric / Cherry Red Records

Format: 2CD / Bluray

CHANGES AFOOT

As Esoteric/Cherry Red continue the Camel reissues/remasters, studio album #8 finds Camel in a period when the band personnel was in a state of flux. Some way removed from their earlier Seventies classic albums, Nude marked a bit of a turning point. Notable for being the last Camel album to date to feature original drummer Andy Ward and the last to feature more than one original member.

A concept yes. Not too surprising with their The Snow Goose already marking the band as worthy Prog challengers. One based on a famous and true story of a Japanese soldier- Hiroo Onoda – marooned on an island during World War 2 who does not realise that the war is over.

STEVEN SAYS

In 2008, the Right Honourable Steven Wilson writing in Classic Rock magazine, included Nude as one of “10 Mind-Blowing Concept Albums that may have slipped under your radar.” Praise indeed and in hindsight, while not up with the likes of other mind blowing concept albums such as Scenes From A Memory of The Lamb Lies Down…, it’s not a bad call.

Surprisingly, the story is conveyed by an album mainly comprising instrumentals; only a few of the fifteen tracks contain lyrics. The lyrics were written mostly by the wife of Camel mainman Andy Latimer, Susan Hoover. As far as concept albums go, Nude is more in the quirky bracket. Not (really) a dense subject matter given to recurring musical themes and dripping with technical prowess. Quirky might be the word and given the time period. The most obvious improvement in the remaster is the softening of the harsh and typically Eighties brightness of the drums.

PROGGY POP

Songs are bouncy and in the Proggy Pop vein, ie more commercially accessible. Lies the one that’s the track lifted form the album for the ‘best of’s with a Knopfler-esque lead lines and a latter period Floyd vibe. Drafted, an easy flowing reflection that matches the musings of the futility of war (nice guitar solo playout too), while Please Come Home might sound like Supertramp’s Dreamer is about to fly out the speakers given the opening chord. It’s more McCartney in the sentiment and melody.

Instrumentally, there may be a distinct lack of a display of dazzlingly technical prowess and long complex arrangement. All the better for it, allowing the feel and emotion to convey the message and provide Latimer with the canvas non which to paint his inevitably lyrical solos.

INSTRUMENTAL

Drawing comparison with some of the Prog peers, Docks is pure Floyd. All soaring slide guitar lines and dramatic washes of keyboard chords. Evolving into Beached, we head to a Hackett-like guitar led flourish and on to a gentle pastoral scenario set by the acoustic guitar/flute on landscapes and Pomp And Circumstance. Possibly the loveliest passage on the album and right Voyage Of The Acolyte territory. Kudos for bringing Mel Collins into the side for some airy flute and in advance of his wind contribution to Nude.

On the other hand, Changing Places is all busy tumbling percussion and Lion King pipes whilst Captured all drama and Wakeman-esque with synth fanfares taking the lead. Latimer steps up to the plate for the finale, on guitar solo duty for the finale of Nude’s Farewell. One that’s not dissimilar to the playout of Genesis’ All In A Mouses Night, the snare setting the gentle march tone.

An underrated little gem in the catalogue that set the scene for the next stage of the Camel story. A testament to Andy Latimer – justification for uttering his name in the same breath as Hackett and Gilmour.

Here’s Docks:

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