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Swathed in shadows and Cold War intrigue, Camel’s ‘Stationary Traveller’ tapped into the paranoia of the mid-80s and is well worthy of reappraisal.

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Having held their ground during the tornado of punk, Surrey prog-rock stalwarts Camel began the 80s in style with Nude : an ambitious concept LP based on the true story of Japanese soldier Hiroo Onoda, who believed World War II was still ongoing when he was rescued from a remote Philippine island in 1974. It would not be the last time Camel tackled political and emotional turmoil in the 80s, as 1984’s Stationary Traveller would go on to show.

Listen to Stationary Traveller now .

Nude broached the UK Top 40, but Camel’s original drummer, Andy Ward, quit in its wake and the band duly splintered. Under pressure from Decca Records for a hit single, Camel’s prime mover, Andy Latimer, responded by recording the atypically pop-oriented The Single Factor with an array of talented sessioneers including ex- Genesis guitarist Anthony Phillips and Kenny Everett/Alan Parsons Project collaborator Chris Rainbow. The album entered the lower reaches of the UK charts and Camel embarked on a successful 10th-anniversary tour with a line-up including vocalist Rainbow, bassist David Paton, drummer Stuart Tosh and returning late 70s keyboard player Kit Watkins.

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Released on April 13, 1984, the band’s tenth LP, Stationary Traveller , was also recorded in a state of flux, with the nucleus of Latimer and Paton joined by versatile keyboardist Ton Scherpenzeel (ex-Dutch progsters Kayak) and a new full-time drummer, Paul Burgess. However, while the album broadly continued in the same vein as its predecessor, delivering concisely structured, four- or five-minute pop songs, Stationary Traveller was a tad more adventurous and certainly the more fully realized of the two.

If not a “concept” LP in the strictest sense, Stationary Traveller ’s 10 tracks shared a common theme in that they all related to the trauma that East German citizens faced when leaving their families and attempting to cross the notorious Berlin Wall to the “freedom” of democratic Western society. With the Iron Curtain still dividing Europe, the Wall remained an oppressive physical (and psychological) presence in the mid-80s and, as late as January ’89, GDR leader Erich Honecker warned it could still be standing for another 50 years.

Swathed in shadows and Cold War intrigue, Stationary Traveller adroitly tapped into the paranoia of the time, not least on the yearning, evocative “West Berlin” and the dense, synth-led noir of “Vopos.” Elsewhere, however, a radio-friendly balance was redressed by accessible, guitar-driven tracks such as the Supertramp -like “Refugee” and the edgy, New Wave-esque “Cloak & Dagger Man,” while the swooning ballad “Long Goodbyes” (“Though I hate to go, I know it’s for the better”) provided a dignified, but suitably emotional, finale.

Chiming with The Single Factor ’s commercial performance, Stationary Traveller proved a minor UK chart hit and the band’s subsequent tour bequeathed an equally decent live LP, Pressure Points . Both remain releases worthy of reappraisal, though by the time Camel returned with 1991’s John Steinbeck-inspired Dust And Dreams , the fall of the Berlin Wall and the break-up of the old USSR had already consigned Stationary Traveller ’s lyrical concerns to the four winds of history.

Stationary Traveller can be bought here .

David Isner

April 17, 2020 at 2:36 pm

Stationary Traveler is still my favorite Camel Album. There’s been criticism that there’s too much drum machines and the like. That may be so, but I think even that was masterly done. I do wonder what it would sound like if humans played all of the instruments.

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Review: Camel – Stationary Traveller (1984)

Stationary Traveller is Camel’s 10th studio album.

The 70s and 80s were a difficult time for many progressive bands, and so it was for Camel, founded in 1973. The band lost two of its founding members in the late 70s, which at least to some extent contributed to a decline in the quality of the music. First bassist Doug Ferguson left in 1977 and the very next year keyboard player Peter Bardens made the same decision. Breathless (1978) and I Can See Your House from Here (1979) were, at best, uneven albums groping for a lost direction and the subsequent concept album Nude (1981) was not much better. The real collapse in standards came with 1982’s The Single Factor . At this point, drummer Andy Ward was also out of the picture with substance abuse and mental health problems, and lone guitarist/vocalist Andrew Latimer , left on his own, tried desperately to keep the camel on the trail and, under pressure from the label, took the band in a more commercial direction. With little success. Built with studio musicians, The Single Factor sounded more like b-grade The Alan Parsons Project than Camel and sold no better than the band’s previous albums.

The Single Factor was an experiment in which success was sought by making an album consisting solely of songs with single potential. When this failed, Latimer decided to take Camel in a slightly more ambitious direction and Stationary Traveller was, like many of the band’s earlier albums, built as a concept album. The album’s theme evokes the loss of freedom caused by the Berlin Wall and the paranoia of authoritarian East Germany during the Cold War. The lyrics are mainly written by Susan Hoover , girlfriend of guitarist Latimer, the only original member of the band at this stage.

Like The Single Factory (1982), Stationary Traveller is for the most part a pure pop record that only occasionally veers towards progressive rock, but this time the song material is of higher quality and the pop influences blend more naturally with the familiar Camel style. The theme that unites the songs also adds a certain poise and a certain common thread.

Read also: Review: Rush – Grace Under Pressure (1984)

The songs on The Single Factor were made with varying combinations of studio musicians, but for Stationary Traveller Latimer assembled a real band with a few guests . Haydn Bendall (operating Fairlight CMI, borrowed from Kate Bush ) and Ton Scherpenzeel , formerly of Dutch prog band Kayak , were responsible for the synthesizers. The rhythm section is led by bassist David Paton and drummer Paul Burgess . Officially, the band at this point included only Scherpenzeel and Burgess, along with Latimer.

Stationary Traveller will also feature guests Mel Collins on saxophone and vocalist Chris Rainbow . Rainbow sings the few songs that Latimer himself couldn’t quite manage.

Stationary Traveller has a rather sombre and melancholic atmosphere, in keeping with its subject matter, but it cannot be described as dark. A significant part of the songs are quite upbeat and the very 80’s sounds bring an upbeat lightness. There’s humour in there too. Mostly unintentional. If you suffer from a severe allergy to 80’s sounds Stationary Traveller can be a bit of a shock, but I think the sounds work surprisingly well in context. The mood is sometimes cheesy, but almost always entertainingly so. The sound is generally dominated by Scherpenzeel’s synthesizers, Latimer’s melodic guitar, dryly declarative vocals, and drums with a steady rhythm and a bit lifeless sound. The description may not sound particularly appealing, but somehow the combination works in the case of Stationary Traveller and the atmosphere of the album is quite unique, even if it is partly made up of rather clichéd 80s production techniques.

Stationary Traveller successfully balances somewhere between progressive rock and synth-pop, but leaning more towards the latter. The most successful moments of the album are the songs that move on the side of straight pop.

Of the pop songs, ”Refugee”, ”Clock And Dagger Man” and ”West Berlin” are particularly successful.

”Refugee” is an elegant mid-tempo song that sounds a bit like Dire Straits with its guitar picking. This impression is not diminished by Latimer’s laconic vocal style.

”Cloak And Dagger Man”, on the other hand, is the most raucous track on the album. It’s a really entertaining synthesizer-driven romp where Scherpenzeel’s wild synthesizer runs towards the end of the song are absolutely amazing to listen to in all their irreverence. Chris Rainbow’s wider vocal range on ”Cloak And Dagger Man” brings a nice change of pace from Latimer’s declarative style that largely dominates the rest of the album.

”West Berlin” is an absolute highlight of Stationary Traveller . This excellent song manages to capture the story of the protagonist’s defiant and wistful dream of freedom that comes when he finally manages to defect to the other side of the wall in West Berlin. Pounding along with steadily synthesised drums, the song features a truly stirring chorus. Latimer again sings in a passionlessly declarative way, which you might think would be the wrong approach for this story, but somehow the result works. There’s a strange charm to ”West Berlin” that I can’t explain because for all its simplicity, this kind of music doesn’t usually appeal to me.

And I’m looking out over West Berlin Feeling freer now than I’ve ever been When the sun sets over West Berlin I’ll be leaving, I can’t come back again And I’m looking out over West Berlin West Berlin

The track ”Fingertrips”, which follows ”West Berlin”, is also an excellent case, despite its really anemic rhythm track. However, the song’s wistful melody and Paton’s tasty fretless bass compensate sufficiently and the chorus of this song is also great. Collins’ skilful saxophone solo is a little lacklustre, yet remains just on the right side of good taste.

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The album also features four instrumental songs interspersed between the sung tracks. The most delicious of these is the delicate and slightly new age title track, which features Latimer’s acoustic guitar strumming over a synthesizer backdrop, a subtle waft of panpipes and a determined electric guitar solo at the end. The album-opening, airy and airy ”Pressure Points” serves as a stylish intro to all that is to come, but the album-closing ”Missing” and ”After Words” remain somewhat uninteresting background music.

Not all the songs on Stationary Traveller are really hits, but sometimes the atmosphere is a bit stilted. The biggest weakness of the album is its extremely simplistic drum tracks, which work in some songs, but sometimes make the music seem stale and monotonous. Despite this, the album is quite pleasant to listen to throughout its duration. In fact, Stationary Traveller is easily the best Camel album since 1976’s Moonmadness , in my opinion.

Wrapped in stylish sepia-toned covers, the Stationary Traveller , despite its pop spirit, was not commercially successful. Latimer was more or less forced to put the band on ice until the 90s. Having lost their record deal, the band returned as a home-grown, self-run project with rather anaemic results.

Best tracks: ”Refugee”, ”Vopos”, ”West Berlin”, ”Stationary Traveller”, ”Cloak And Dagger Man”, ”Fingertips”

Author: JANNE YLIRUUSI

Read also: review: u.k. – danger money (1979).

• Pressure Points 2:09
• Refugee 3:47
• Cloak and Dagger Man 3:55
• Stationary Traveller 5:34
• West Berlin 5:10
• Fingertips 4:29
• Missing 4:22
• After Words 2:01
• Long Goodbyes 5:14

Andy Latimer: electric guitar, acoustic guitar, 12-string guitar, bass guitar, synthesizers, piano, drum synthesizer, pan flute, vocals Ton Scherpenzeel : organ, grand piano, Prophet synthesizer, Yamaha CS-80, Juno 60, Korg, PPG, accordion Paul Burgess: drums

David Paton: bass guitar (3, 4), untaped bass guitar (7, 10), backing vocals Chris Rainbow: vocals (A 4, 10) Mel Collins: saxophone (7) Haydn Bendall: Fairlight CMI (1, 3), PPG synthesizer (8)

Producer: Andrew Latimer

Label: decca.

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Stationary Traveller

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Stationary Traveller

Reis rmst ed., reissued, import, extra tracks, remastered.

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Digitally remastered and expanded edition of this 1984 album from British Progressive Rock act including two bonus tracks. The enhanced packaging contains many rare and previously unseen photographs and sleeve notes. 12 tracks. Esoteric. 2009.

Product details

• Is Discontinued By Manufacturer ‏ : ‎ No
• Product Dimensions ‏ : ‎ 5.55 x 4.92 x 0.47 inches; 3.25 ounces
• Manufacturer ‏ : ‎ Esoteric
• Item model number ‏ : ‎ 17920
• Original Release Date ‏ : ‎ 2009
• SPARS Code ‏ : ‎ DDD
• Date First Available ‏ : ‎ July 30, 2009
• Label ‏ : ‎ Esoteric
• ASIN ‏ : ‎ B002JIOO76
• Number of discs ‏ : ‎ 1
• #150 in Progressive Rock
• #2,880 in Pop (CDs & Vinyl)

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Stationary Traveller (2023 Remastered & Expanded Edition)

April 13, 1984 12 Songs, 50 minutes A Decca Records release; ℗ 2023 Decca Music Group Limited

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