ZZ Top – Fandango (1975)

FrontCover1.jpgFandango! is the fourth album by the American blues rock band ZZ Top, released in 1975. Half the tracks are selections from live shows, the rest are new songs from the studio. A remastered and expanded edition of this album was released on February 28, 2006.

Fandango, from which the album gets its name, is a type of dance similar to flamenco.

In the late 1980s a digitally remixed version of the recording was released on CD and the original 1975 mix version was discontinued. The remix version created controversy among fans because it significantly changed the sound of the instruments, especially drums. The remix version was used on all early CD copies and was the only version available for over 20 years. A remastered and expanded edition of the album was released on February 28, 2006, containing three bonus live tracks. The 2006 edition is the first CD version to use Terry Manning’s original 1975 mix. The album was re-released in 2009 on 180 gram vinyl using the original master tapes. It appears exactly the same except that it had a 180 gram vinyl LP sticker, by Back to Vinyl records.

The only single released from the album was “Tush”. The single peaked at #20 on the US Billboard Hot 100, making it the band’s first top 40 single.

Tracks 1-3 (side A of the original LP) were recorded live at The Warehouse in New Orleans on April 12 1974, “captured as it came down-hot, spontaneous and presented to you honestly, without the assistance of studio gimmicks”. Tracks 4-9 (side B) were new studio recordings. (by wikipedia)


Blessed with their first full-fledged hit album, ZZ Top followed it up with Fandango!, a record split between a side of live tracks and a side of new studio cuts. In a way, this might have made sense, since they were a kick-ass live band, and they do sound good here, but it’s hard not to see this as a bit of a wasted opportunity in retrospect. Why? Because the studio side is a worthy successor to the all-fine Tres Hombres, driven by “Tush” and “Heard It on the X,” two of their greatest songs that build on that album by consolidating their sound and amplifying their humor. If they had sustained this energy and quality throughout a full studio album, it would have been their greatest, but instead the mood is broken by the live cuts. Now, these are really good live cuts — and “Backdoor Medley” and “Jailhouse Rock” were fine interpretations, making familiar songs sound utterly comfortable in their signature sound — and Fandango! remains one of their better albums, but it’s hard not to think that it could have been even better. (by Stephen Thomas Erlewine)


Frank Beard (drums, percussion)
Billy Gibbons – guitar, vocals)
Dusty Hill (bass, keyboards, background vocals, vocals on 02., “Balinese”, and “Tush”, co-lead vocals on “Backdoor Medley” and “Heard It on the X”



Side one (live):
01. Thunderbird (Gibbons/Hill/Beard) 4.10
02. Jailhouse Rock (Leiber/Stoller) 1.56
03. Backdoor Medley (9.25):
03.01. Backdoor Love Affair (Gibbons/Ham) 1.10
03.02. Mellow Down Easy (Dixon) 3.39
03.04. Backdoor Love Affair No. 2 (Gibbons) 2.05
03.04. Long Distance Boogie (Hooker) 2.32

Side two (in the studio):
04. Nasty Dogs And Funky Kings (Gibbons/Hill/Beard) 2.45
05. Blue Jean Blues (Gibbons/Hill/Beard) 4.45
06. Balinese (Gibbons/Hill/Beard) 2.38
07. Mexican Blackbird (Gibbons/Hill/Beard) 3.05
08. Heard It On The X (Gibbons/Hill/Beard) 2.23
09. Tush (Gibbons/Hill/Beard) 2.16



Dana Valery – Same (1975)

LPFrontCover1Dana Valery Catalano (born Fausta Dana Galli; 1944, Codogno) is an Italian-born South African-reared singer, actress, and television performer who started her career in the entertainment industry at the age of 16 in Johannesburg, South Africa where her family emigrated from Italy in 1947.

The Codogno-born singer has performed on television, radio, Broadway and in live concert performances worldwide, including major cities such as New York, London, Monte Carlo, Las Vegas, Atlantic City, and Johannesburg. She is the sister of singer and actor Sergio Franchi.

Valery starred in three productions of the South African musical revue Wait A Minim!: The Original 1962 South African production; The 1964 London production; and the Broadway production which ran for 456 performances at the John Golden Theatre from 7 March 1966 – 15 April 1967. Miss Valery recorded Original Cast Albums of all three productions.


In 1965, she appeared on the British television series called Ladybirds for ITV Southern England. In the programme, interviewers Shaw Taylor and Terence Carroll attempt to find out about the individual behind the image. She appeared on several different television shows in the United States in the 1960s and 1970s. One such appearance was as a panellist on the episode of the television game show, What’s My Line? that featured then-Governor of Georgia, Jimmy Carter, as a contestant.

Dana Catalano made a career change later in life to become a healer. Her areas of expertise include Reiki and hypnotherapy. Her main practice is based in New York.

She is married to Peter Catalano who has worked both as a musician, trained at the Brooklyn Conservatory of Music, and as an architect.

DanaValery02The couple founded a company dedicating its efforts to good health and meaningful relationships. They have hosted the New York radio talk show, Natural Harmony which is dedicated to these ideals.

Valery’s first USA album was an RCA collaboration album with Al Hirt and Boots Randolph. Her solo debut album in the United States was called Dana Valery. The cover artwork shows her wearing black against a black background, resulting in a cameo-like effect. This album can still be found on Internet record stores and auction sites. This album was issued on RCA’s custom label – Phantom. She recorded ten LP albums, two EPs, and a number of singles in South Africa prior to going abroad. In Johannesburg, Dana won two SARIE awards in (1964 and 1965) for Best Female Vocalist (by wikipedia)

And here´s her rare album for Phantom Records … produced by the one and only Leslie West !

This 1975 album by female vocalist Dana Valery  is a very underrated, must be heard classic. Italian-born Dana had been singing for well over a decade , cutting her first records in , of all places, South Africa. There she recorded for Columbia, and had several 45’s released in the US also, including her soulful version of Paul Simon’s “You Don´t Know Where Your Interest lies”. She also had played on the stage, made TV appearances and cut other singles as well. She also is the sister to the late singer Sergio Franchi. Her first US album was in 1972 with the Soul label, Brunswick, “Not The Flower But The Root”. In 1975, she worked with ex-Mountain guitarist/vocalist/songwriter Leslie West on his album, “The Great Fatsby” , and also on this, her self-titled 2nd album. Both Dana’s and West’s albums may have been been recorded simaltaneously, as both came out in 1975, have the same musicians playing on both albums and were released on Phantom Records.

“Dana Valery” is a great album of both rock, and some rock ballads. She’s got an excellent voice that can sing out with power, or softer with restraint. Her version of the Lobo  hit “I’d Love You To Want Me” is a perfect song for her, with acoustic guitars that build up as her voice carries the song to new heights. Neil Sedaka’s “Solitaire” is also in the same vein, another great take that stands apart from other versions. Biggest surprise is her version of The Rolling Stones’ “Play With Fire”. The production is a mix of powerful lead & background vocals, guitars and an atmospheric production. Sort of conjures up mysticism, and expands the short Stones version into a longer rock jam. Leslie West surrounds Dana with production and playing that does not get in the way of the main attraction, her voice.
A mix of rock with some noteworthy ballads make this album a consistent listening experience. Other rockers include “Power To All Our Friends”,  “To Be Alive”, and “Music And My Man”, the latter 2 songs of which Dana co-wrote with Leslie and others . The more acoustic ballad oriented songs include the exquisite Paul Williams-Roger Nichols penned “I Never Had It So Good” and Jimmy Cliff’s “Many Rivers To Cross”. The Beatles’ “Ob-La-Di, Ob-La-Da” is a fun version that opens up Side 2.
This is a great, initially overlooked album that is being listened to today more than when it was released. Coupled with West’s “The Great Fatsby”, on which Dana contributed many lead & background vocals, this has some excellent music that stands the test of time. (by melomanodiscos.blogspot)


Don Kretmar (bass)
Corky Laing (drums, percussion)
Dana Valery (vocals)
Frank Vicari (saxophone, flute)
Sredni Vollmer (harmonica, percussion)
Leslie West (guitar, background vocals)
Howie Wyeth (keyboards, mellotron)


01. I’d Love You To Want Me (Lobo) 2.45
02. Solitaire (Sedaka) 3.01
03. Play With Fire (Jagger/Richards) 3.32
04. Power To All Our Friends (Flett/Fletcher) 2.28
05. I Never Had It So Good (Williams/Nichols) 4.21
06. Ob-La-Di, Ob-La-Da (Lennon/McCartney) 2.41
07. On Fire For You (Elliot) 3.20
08. To Be Alive (Valery/I.Stone/M.Stone/West) 2.10
09. Music And My Man (Valery/West/Saunders) 2.43
10. Many Rivers To Cross (Cliff) 2.19



Outlaws – Same (1975)

LPFrontCover1Southern rock unit the Outlaws were formed in Tampa, Florida, in 1972 by singers/guitarists Hughie Thomasson and Henry Paul, bassist Frank O’Keefe, and drummer Monte Yoho. With the 1973 addition of guitarist Billy Jones, the lineup was complete, and after a year of intense touring the band became the first act signed to Arista under Clive Davis; the Outlaws’ self-titled 1975 album spotlighted their Eagles-influenced harmonies and Allman Brothers-like guitar attack, yielding the Top 40 hit “There Goes Another Love Song.”

In the wake of 1977’s Bill Szymczyk-produced Hurry Sundown, both Paul and O’Keefe exited, with guitarist Freddie Salem, bassist Harvey Dalton Arnold, and second drummer David Dix signing on for the 1978 concert set Bring It Back Alive and the studio effort Playin’ to Win. The lineup shuffles continued when Arnold announced his departure following 1979’s In the Eye of the Storm, with bassist Rick Cua recruited for the next year’s Ghost Riders in the Sky, which netted a Top 40 entry with its title track, a rendition of the Vaughn Monroe favorite. Yoho left to rejoin Henry Paul soon after, and with the subsequent exit of Jones, only Thomasson remained from the original Outlaws roster — not surprisingly, the group disbanded upon completing 1982’s Los Hombres Malo.

A year later Thomasson and Paul formed a new Outlaws lineup, adding guitarist Chris Hicks, bassist Barry Borden, and drummer Jeff Howell; after issuing 1986’s Soldiers of Fortune, Paul again quit the band, with the remaining quartet returning in 1993 with Hittin’ the Road. While Paul resurfaced in 1994 in the chart-topping contemporary country band Blackhawk, Thomasson later toured with the re-formed Lynyrd Skynyrd while continuing to lead the Outlaws, releasing So Low in 2000.


Sadly, Jones and O’Keefe died within three weeks of one another in early 1995. In 2005, original members Thomasson, Paul, Yoho, and David Dix reunited as the Outlaws, rounding out the lineup with three members of Blackhawk, guitarist Chris Anderson, bassist Randy Threet, and keyboardist Dave Robbins. Paul and Robbins departed a year later to concentrate again on Blackhawk, while Thomasson, the only original member of the Outlaws to make it through all of the band’s configurations, kept things going, reportedly finishing a new studio album, Once an Outlaw, before his death from a heart attack in 2007. (by Jason Ankeny)

By the mid-’70s, Southern bands seemed be making a last stand for rock & roll, with two- and three-guitar lineups and not a keyboard in sight. The Outlaws’ self-titled debut was released in 1975, a few years after the Allman Brothers Band’s greatest glories and a couple of years before the untimely demise of the original Lynyrd Skynyrd. The Outlaws latched onto their Southern heritage by way of Florida, threw in some harmony by way of the Eagles, and then wrote a number of songs that played to their strengths. The result was — and is — a good classic rock & roll album. Several of The Outlaws’ best songs are present here, including “There Goes Another Love Song,” “Green Grass and High Tides,” and “Song for You.” Hughie Thomasson only sings lead on these three songs, but since two of them were the best-known Outlaw songs, it is his voice that is most associated with the band. It’s fun to hear cuts like “Song for You” and “Knoxville Girl,” which never received a lot of radio play. “Keep Prayin’,” sung by Henry Paul and Billy Jones, is a fine piece of Southern boogie with high soaring harmony on the chorus. Although “Green Grass and High Tides” has been played a million and six times on album-oriented rock stations, it nonetheless deserves mention. Created in the tradition of the Allman Brothers Band’s “Dreams” and Lynyrd Skynyrd’s “Free Bird,” the song still sounds fresh in the context of the album, and doesn’t feel long at its nearly ten-minute length. The Outlaws’ debut blew a fresh blast of rock & roll onto a scene increasingly dominated by synthesizers and dance music. It will leave the listener singing along and dreaming about the good ol’ days. (by Ronnie D. Lankford, Jr. )

And the last song of this album, “Green Grass And High Tides” is another highlight in the history of Southern Rock !!!


Billy Jones (guitar, vocals)
Frank O’Keefe (bass)
Henry Paul (guitar, vocals)
Hughie Thomasson (guitar, vocals)
Monte Yoho (drums)
J.D. Souther (background vocals on 04.)


01. There Goes Another Love Song (Thomasson/Yoho) 3.03
02. Song For You (Jones/Thomasson) 3.30
03. Song In The Breeze (Paul) 3.03
04. It Follows From Your Heart (Jones) 5.19
05. Cry No More (Jones)4.17
06. Waterhole (Tomasson/Jones/Yoho/O’Keefe/Paul) 2.03
07. Stay With Me (Paul) 3.28
08. Keep Prayin’ (O’Keefe) 2.42
09. Knoxville Girl (Paul) 3.29
10. Green Grass And High Tides (Thomasson) 9.46




Scorpions – In Trance (1975)

FrontCover1.jpgIn Trance is the third studio album by German rock band Scorpions, released by RCA Records in 1975. The album’s music was a complete departure from the progressive krautrock of the two previous albums in favor of a hard rock sound of shorter and tighter arrangements with which the band would achieve their later global success and fame; extended suites in the vein of songs such as “Lonesome Crow” and “Fly to the Rainbow” are absent altogether. It is the first album by the band to contain the now-famous logo and controversial artwork.

The original version of the album cover, photographed by Michael von Gimbut,[4] was censored for clearly showing the cover model’s exposed breast hanging down towards the guitar. Later releases have the breast blacked out so that it is not visible. This is the first of many Scorpions album covers that have been censored. The band’s former lead guitarist Uli Jon Roth claimed he may have come up with the “idea to do the thing with the guitar for the cover of In Trance”.

However, in a 2008 interview Roth claimed that early Scorpions album covers in general were “the record company’s idea, but we certainly didn’t object. And so shame on us. Those covers were probably the most embarrassing thing I’ve ever been involved with.” He did, though, classify the In Trance cover as “borderline”.


The White Stratocaster shown on the cover belonged to Roth and he can be seen playing the same guitar on the cover of the Electric Sun album Fire Wind. This is the guitar that Roth used on all subsequent Scorpions and Electric Sun albums on which he played.

This was the band’s first album to feature the band’s name written in the now-familiar font used on nearly all subsequent album covers, as well as their first collaboration with producer Dieter Dierks. (by wikipedia)


The Scorpions’ third release, In Trance, continues to display their high-energy music, which is impossible to ignore. With the eyebrow-lifting “Dark Lady” as the opening track, the album immediately captures the listener’s attention and keeps it all the way until the end. The interesting title track is clearly the best song of the album, but singles such as the fast-paced “Robot Man” and the hard-rocking “Top of the Bill” also stand out as highlights. Excellent singing and powerful music make this the best Scorpions recording working with Uli Jon Roth. (by Barry Weber)


Francis Buchholz (bass, background vocals)
Rudy Lenners (drums, percussion)
Klaus Meine (vocals)
Uli Jon Roth – lead guitar, background vocals, vocals on 01. + 08.)
Rudolf Schenker (guitar, background vocals)
Achim Kirschning (keyboards)

01. Dark Lady (Roth) 3.29
02. In Trance (Schenker/Meine 4.45
03. Life’s Like A River (Roth/Schenker/Fortmann) 3.51
04. Top Of The Bill (Schenker/Meine) 3.24
05. Living And Dying (Schenker/Meine) 3.22
06. Robot Man (Schenker/Meine) 2.45
07. Evening Wind (Roth) 5.05
08. Sun In My Hand (Roth) 4.23
09. Longing For Fire (Schenker/Roth) 2.45
10. Night Lights (Instrumental) (Roth) 3.13



Agnes Strange – Same (Strange Flavour) (1975)

FrontCover1Sometimes, albums become far more interesting because of their back story. Case in point: Agnes Strange. This heavy trio from Southampton, England, led by singer-guitarist John Westwood, somehow didn’t make a splash on the early ’70s boogie circuit despite their obvious similarities to beloved acts like the Groundhogs, Budgie and the almighty Status Quo. Despite some heavy names in their corner, including management company DJM (led by Dick James, who had made a mint off the Beatles’ publishing) and A&R folks at Pye Records, some bad luck and inexplicable business decisions led them off course. Foremost among these was a fundamental misunderstanding of the term “pub rock,” which led Pye to release Strange Flavour on a one-off label called Birdsnest, which was affiliated with a chain of theme pubs of the same name, owned by the beer manufacturer Watney’s. The existing heavy rock audience at the time reacted much as straight-edge punks would if McDonald’s and Sony BMG joined forced to release a hardcore album available only at fast food restaurants, and Strange Flavour disappeared without trace, as did Agnes Strange.

Agnes Strange01

Funny thing, though: it turns out that Strange Flavour is actually pretty good. Produced by Dave Travis, whose remarkably cheesy country albums from the ’60s are much beloved by Anglo-kitsch collectors, and engineered by Colin Thurston, who was about a half decade away from his heyday as a name post-punk and new romantic producer, Strange Flavour is comfortably pitched between the old and the new, or at least the new iterations of the old. “Clever Fool” is a basic bluesy shuffle that would sound right at home on one of Dave Edmunds’ Rockpile-era albums, while “Motorway Rebel” is tailor-made for the Foghat crowd, with its faux bluesy riffage and a hackneyed opening line “Well, I been to New York City/You know I been to L.A.” delivered in a voice that screams that its owner has never been further west than Liverpool.


On side two, things get a lot spacier, culminating in the epic freak-out “Children of the Absurd,” complete with Pink Floyd-style sonar guitar pings and rampant wah-wah abuse. Westwood and his compatriots, bassist Alan Green and drummer Dave Rodwell, may not have been able to solidify a trademark Agnes Strange sound, but the “see if it works” variety and generally tasteful playing makes Strange Flavour an interesting listen for rock obscurantists and old boogie fans alike. This reissue features remastered sound, full liner notes of the whole odd story and four bonus tracks including the punchier 45 single mix of the anthemic opening track “Give Yourself a Chance.” (by Stewart Mason)

Hey boys … where are you now ???


Alan Green (bass, vocals)
Dave Rodwell (drums, vocals)
John Westwood (guitar, vocals)
Colin Thurston (background vocals)
Dave Travis (guitar, slide guitar, harmonica, vocals)


01. Give Yourself A Chance (single mix) (Westwood/Green) 3.29
02. Clever Fool (Westwood) 3.23
03. Motorway Rebel (previously unreleased) (Westwood) 4.04
04. Traveling (previously unreleased) (Travis) 2.54
05. Strange Flavour (Westwood/Green/Rodwell) 3.56
06 Alberta (Travis) 5.44
07. Loved One (Green) 6.00
08. Failure (Rodwell) 5.18
09. Children Of The Absurd (Rodwell/Green/Barber) 7.48
10. Odd Man Out (Westwood) 3.54
11. Highway Blues (Westwood) 5.31
12. Granny Don’t Like Rock ‘n’ Roll (Westwood) 5.22
13. Interference (Travixs) 1.44
14. Give Yourself A Chance (LP mix) (Westwood/Green)






Various Artists – Night Of The Mayas – Music of Silvestre Revueltas (1994)

FrontCover1Silvestre Revueltas Sánchez (December 31, 1899 – October 5, 1940) was a Mexican composer of classical music, a violinist and a conductor.

Revueltas was born in Santiago Papasquiaro in Durango, and studied at the National Conservatory in Mexico City, St. Edward’s University in Austin, Texas, and the Chicago College of Music. He gave violin recitals and in 1929 was invited by Carlos Chávez to become assistant conductor of the National Symphony Orchestra of Mexico, a post he held until 1935. He and Chávez did much to promote contemporary Mexican music. It was around this time that Revueltas began to compose in earnest. He began his first film score, Redes, in 1934, a commission which resulted in Revueltas and Chávez falling out. Chávez had originally expected to write the score, but political changes led to him losing his job in the Ministry of Education, which was behind the film project Revueltas left Chávez’ orchestra in 1935 to be the principal conductor of a newly created and short-lived rival orchestra, the Orquesta Sinfónica Nacional.

He was part of a family of artists, a number of whom were also famous and recognized in Mexico: his brother Fermín (1901–1935) and sister Consuelo (born before 1908, died before 1999) were painters, sister Rosaura (ca. 1909–1996) was an actress and dancer, and younger brother José Revueltas (1914–1976) was a noted writer. His daughter from his first marriage to Jules Klarecy (née Hlavacek), Romano Carmen (later Montoya and Peers), enjoyed a successful career as a dancer, taught ballet and flamenco in New York, and died on November 13, 1995, at age 73, in Athens, Greece. She is survived by three sons, and two kindred creative female heirs in Oceanside, California. His daughter from his second marriage, Eugenia (born November 15, 1934), is an essayist. His nephew Román Revueltas Retes, son of José, is a violinist, journalist, painter and conductor of the Orquesta Sinfónica de Aguascalientes (OSA).


In 1937 Revueltas went to Spain during the Spanish Civil War, as part of a tour organized by the leftist organization Liga de Escritores y Artistas Revolucionarios (LEAR);[2] upon Francisco Franco’s victory, he returned to Mexico. He earned little, and fell into poverty and alcoholism. He died in Mexico City of pneumonia (complicated by alcoholism), at the age of 40 on October 5, 1940, the day his ballet El renacuajo paseador, written four years earlier, was premièred. His remains are kept at the Rotonda de los Hombres Ilustres in Mexico City.

Revueltas wrote film music, chamber music, songs, and a number of other works. His best-known work is a suite by José Ives Limantour drawn from his film score for La Noche de los Mayas, although some dissenting opinions hold that the orchestral work Sensemayá is better known. In any case, it is Sensemayá that is considered Revueltas’s masterpiece.


He appeared briefly as a bar piano player in the movie ¡Vámonos con Pancho Villa! (Let’s Go With Pancho Villa, Mexico, 1935), for which he composed the music. When shooting breaks out in the bar while he is playing “La Cucaracha”, he holds up a sign reading “Se suplica no tirarle al pianista” (“Please don’t shoot at the piano player”). (by wikipedia)
The music of Revueltas is too often overlooked and that is a shame. Only 41 years old when he died, he was not only Mexico’s greatest composer but an innovator combining native Indian music with traditional classical forms and instrumentations. The music is, indeed, “fiery and passionate” while evoking scenes of danger and horror. It will provide you with a wonderful journey, and this performance by the Orquestra Sinfonica de Jalapa under the direction of Luis Herrera de la Fuente is that experience. (by Robert Jager)

Tracks 1 to 2: recorded in Walthamstow Town Hall, London, in November 1975. Tracks 3 to 8: recorded in London in November 1979. Tracks 9 to 12: recorded in Sala Nezahualcoyotl, México D.F., in September 1980.


London Sinfonietta Orchestra conducted by David Atherton  (03. – 08.)
New Philharmonia Orchestra conducted by Eduardo Mata  (01. + 02.)
Orquesta Sinfónica De Jalapa conducted by Luis Herrera de la Fuente (09. – 12.)


01. Homenaje A Federico García Lorca 10.52
02. Sensemaya 5.57
03. Ocho X Radio 5.08
04. Toccata 3.34

Alcancías (10.07):
05. Allegro 3.05
06. Andantino 3.19
07. Allegro Vivo 3.38
08. Planos 7.34

La Noche De Los Mayas (25.24):
09. I. La Noche De Los Mayas 5.53
10. II. La Noche De Jaranas 4.59
11. III. La Noche De Yucatàn 6.42
12. IV. La Noche De Encantamiento 7.40

Composed by Silvestre Revueltas



SilvestreRevueltas4Silvestre Revueltas Sánchez
(December 31, 1899 – October 5, 1940)

Camel – The Snow Goose (Deluxe Edition) (1975)

FrontCover1The Snow Goose is the third studio album by the band Camel, released in 1975. The critical success[2] of “The White Rider” suite (based on J. R. R. Tolkien’s The Lord of the Rings and appearing on the band’s previous 1974 album, Mirage), inspired the group to write more novel-inspired conceptual suites.

The band considered several novels on which to base their next album. For a time they settled on Siddhartha, by Hermann Hesse, and some songs were written before the idea was abandoned in favour of Paul Gallico’s novella The Snow Goose. The album’s name, originally The Snow Goose was altered to Music Inspired by The Snow Goose to accommodate legal protests by Paul Gallico. The album was originally due to feature lyrics based on Gallico’s text, but this was abandoned due to the copyright objections. The music was mostly written over a fortnight in a cottage in Devon, England

Recording began in January 1975 at Island Studios in London with producer David Hitchcock and engineer Rhett Davies. Later overdubs were recorded at Decca Studios and engineered by John Burns. The London Symphony Orchestra participated in the recording, with David Bedford supplying the arrangements.

The ‘duffle coat’ on the album’s credits was used by Andrew Latimer and Doug Ferguson on “Epitaph” to simulate a flapping of wings by waving it in the air.

The album was released in April 1975, eventually reaching number 22 in UK album chart that summer. It spent 13 weeks on chart and was certified silver. In the US, the album was released in July and reached No. 162. It was critically successful and sold well in Europe and Japan. and in 2014 was voted no. 31 in the Top 100 Prog Albums of All Time by readers of Prog magazine.


The Snow Goose was re-recorded in May 2013 and released that November (dropping the “Music Inspired By” from the title) as a tribute to the original line-up by founder Andrew Latimer, remaining close to the original arrangement.

The album’s success led to a sell out concert at the Royal Albert Hall, London, with the London Symphony Orchestra in October 1975, which was later released as part of the live double album A Live Record (1978). The Melody Maker magazine to declare Camel to be Britain’s “Brightest Hope”, leading to an appearance on BBC’s The Old Grey Whistle Test, (where the band performed with a woodwind section a medley of “Snow Goose” themes) and Radio One In Concert programme. To promote the album Decca decided to release an edited version of “Flight of the Snow Goose/Rhayader” as a single in May.

Camel embarked on a brief tour in autumn 2013, performing The Snow Goose for the first time since the Royal Albert Hall show in 1975. Andrew Latimer was joined by Colin Bass, Denis Clement, Guy LeBlanc and Jason Hart for the tour, which marked the first time the band had played since their farewell tour.

Camel02A statement from the band for the initial show said: “The evening pays tribute to former band member Peter Bardens, who died of cancer at the same time as frontman Latimer was battling a terminal illness. Ten years later, Latimer has regained health and is willing to celebrate a career that spans over four decades. This two-set show will also embrace compositions recorded throughout those years in a personal covenant of appreciation for a deeply rewarding life of music.” (by wikipedia)

Camel’s classic period started with The Snow Goose, an instrumental concept album based on a novella by Paul Gallico. Although there are no lyrics on the album — two songs feature wordless vocals — the music follows the emotional arc of the novella’s story, which is about a lonely man named Rhayader who helps nurse a wounded snow goose back to health with the help of a young girl called Fritha he recently befriended. Once the goose is healed, it is set free, but Fritha no longer visits the man because the goose is gone. Later, Rhayader is killed in battle during the evacuation of Dunkirk. The goose returned during the battle, and it is then named La Princesse Perdue, symbolizing the hopes that can still survive even during the evils of war. With such a complex fable to tell, it is no surprise that Camel keep their improvisational tendencies reined in, deciding to concentrate on surging, intricate soundscapes that telegraph the emotion of the piece without a single word. And even though The Snow Goose is an instrumental album, it is far more accessible than some of Camel’s later work, since it relies on beautiful sonic textures instead of musical experimentation. (by Stephen Thomas Erlewine)

Beautifully composed, sensitively interpreted and elegantly played.This musical opus from Camel is undoubtedly their finest hour and despite some great albums after this nothing quite ever managed to recapture the standards of delivery and musical excellence of this superb recording.Telling the story of the snow goose to music it has it all, soft sensual passages, dreamy sequences and some upbeat rocking numbers…All in all it combines to make a magnificent album of outstanding presence and imagination. (by Steve Smith)


Peter Bardens (keyboards, synthesizer)
Doug Ferguson (bass)
Andrew Latimer (guitar, flute, vocals
Andy Ward (drums, vibraphone, percussion)


01. The Great Marsh 2.02
02. Rhayader 3.01
03. Rhayader Goes To Town 5.19
04. Sanctuary 1.05
05. Fritha 1.19
06. The Snow Goose 3.11
07. Friendship 1.43
08. Migration 2.01
09. Rhayader Alone 1.50
10. Flight Of The Snow Goose 2.40
11. Preparation 3.58
12. Dunkirk 5.19
13. Epitaph 2.07
14. Fritha Alone 1.40
15. La Princesse Perdue 4.43
16. The Great Marsh 1.20
17. Flight Of The Snow Goose (Single version) 2.05
18. Rhayader (Single version) 3.09
19. Rhayader Goes To Town” (Recorded live at The Marquee Club) 5.07
20. The Snow Goose/Freefall (Recorded live at The Marquee Club) 11.01
Recorded live from 1975 BBC Radio One concert
21. Rhayader Goes To Town 5.08
22. Sanctuary 1.12
23. The Snow Goose 3.03
24. Migration 3.31
25. Rhayader Alone 1.43
26. Flight Of The Snow Goose 2.56
27. Preparation 2.04
28. Dunkirk 5.10
29. Epitaph 1.16
30. La Princesse Perdue 4.40
31. The Great Marsh 1.57
32. Selections from The Snow Goose (BBC 2 The Old Grey Whistle Test 1975) 9.39
32.1. The Snow Goose
32.2. Friendship
32.3. Rhayader Goes To Town

All songs written by Peter Bardens and Andrew Latimer




Peter Bardens (19 June 1944 – 22 January 2002)