Some music is resplendent and perfect.
Some music is beautiful and unique.
Music Inspired by The Snow Goose is all those things and more, and has remained the pinnacle of their career ever since 1975 when it was first released.
Those great curators of classic rock and prog at Cherry Red Records have recently re-released this iconic album in a stylish clamshell box, including a booklet with interesting notes. This release comprises 2 CDs and additional Blu-ray. The CDs feature remasters of the original 1975 mix on one disc, and on the second disc much more recent stereo mixes by Stephen W Tayler, both with bonus tracks. The main attraction for Camel fans and audiophiles is probably the Blu-ray disc with High Resolution 5.1 Surround Sound and Stereo mixes. The regal elegance of this album, synthesising a highly talented progressive rock band with a world class orchestra, is the perfect soundscape to be heard through the 5.1 surround sound approach.
This iconic album has been re-released previously, most notably the excellent Decca ‘Deluxe edition’ of 2009, which included the BBC Radio One ‘In Concert’ recording and their BBC TV ‘Old Grey Whistle Test’ performance in 1975.
In that context is it worth investing in this re-release?
Like so many questions, the answer rather depends on various things.
However, before we consider that question let’s delve back into the history of this album. There are conceivably readers who have either never heard this album, or have heard it but do not really know or understand the background and the story behind this release so let’s start there.
Camel had achieved growing success with their first two albums, but for their next release bassist Doug Ferguson suggested they create music based on a concept because he felt the Tolkein-based White Rider suite on their previous album Mirage had been successful. Various band members suggested books they liked as the subject matter for their next opus. Keyboardist Pete Bardens was keen on recording music based on the Herman Hesse novel, ‘Siddhartha’. Initially they did start writing music related to that story, but they abandoned that idea as it was not coming together. The bonus track Riverman on this release is the only fragment to have survived from those aborted sessions and features some vocals. It is a small insight into an unfinished idea but pleasant as it is, hearing it now one can understand why the band felt that they needed to find a different and more engaging narrative vehicle for their inspiration. Ferguson eventually suggested the 1941 short story by American author Paul Gallico called ‘The Snow Goose’. This more concise and beautifully poetic story, with only two main characters and the Snow Goose, was an excellent musical palette upon which Camel could create compelling themes and melodies to evoke the different characters, their dramatic journey and the free spirit of the Snow Goose.
(WARNING: Plot Spoilers!!) The story focuses on the reclusive Philip Rhayader, a disabled artist who lived in a lighthouse painting the wildlife of the Essex marshes, and his unorthodox friendship with the teenage girl, Fritha. Their relationship develops when Fritha finds an injured Snow Goose on the marsh and brings it to Rhayader’s lighthouse. They develop a bond through nursing the bird back to health together, and the Snow Goose returns regularly over the next few years when migrating. In 1940 Rhayader answers the call to take his small boat across the channel to help evacuate Allied soldiers off the Dunkirk beaches, and the Snow Goose flies above his boat into the combat zone. Sadly, Rhayader is eventually killed at Dunkirk, and the Snow Goose flies back to Fritha on the Essex marshes. Fritha interprets the Snow Goose’s return as a sign of Rhayader’s soul being released from this world. It is a simple but touching story, and crucially it turned out to be ideal for Camel to express their musical ideas in sweeping passages of stirring music full of emotion and drama.
However, it could have been rather different!
Apparently, around the time Camel were writing and recording this album, the author Gallico had sold the rights of the story to composer Ed Welch, with narration by the eccentric British comic actor and writer Spike Milligan. Therefore, Gallico was not best pleased to hear that there was another imminent musical project based on his book, and he threatened legal action if Camel did not change the album title – hence why the official title of this album remains ‘Music inspired by The Snow Goose’… although these days you nearly need a magnifying glass to see the words ‘music inspired by’!
Another consequence following Gallico’s response to their project is that Camel dropped their original intention of having narration and possibly lyrics interweaved with the music. It is strange that sometimes out of unexpected and seemingly adverse events creativity takes another more imaginative path. Camel focused upon conveying the narrative and characters solely through their instruments and music… and they successfully achieved this feat with gloriously evocative music! (Thanks Mr Gallico… and whilst Camel’s album has become regarded as THE ‘Snow Goose’ album with a legendary status, the other officially endorsed ‘Snow Goose’ album has been more or less forgotten and is now just a footnote in musical history.)
There is one more factor on this album which raised it on to a completely different level. Composer and arranger David Bedford, who had worked with Kevin Ayers and most notably with Mike Oldfield on an orchestral version of Tubular Bells amongst other things, was brought into write the beautifully intuitive orchestral arrangements, performed by one of the top orchestras in the world, the London Symphony Orchestra. Bedford’s previous work with rock musicians was crucial in his understanding of fusing the power and dynamics of a rock band with the sweeping majesty and subtlety of an orchestra. Some attempts by other bands to combine those two musical forms had been far from successful, but Bedford’s arrangements of the orchestral accompaniment with Andy Latimer’s guitars, Pete Bardens’ keyboards and their talented rhythm section of Andy Ward and Doug Ferguson is judged to perfection. It is also a mark of the maturity and insight of the band, and their lack of ego, that they seemed quite comfortable at times to take a back seat and let the London Symphony Orchestra paint the musical scenes at points. The Snow Goose may well be one of the finest examples ever of the fusion of a rock band with an orchestra.
So that’s the background, let’s get back to the earlier question:
Is it worth investing in this re-release?
Firstly, if for some strange reason you have never heard or owned a copy of this album, the answer is very simple… just go and buy it. Take it home, pour a drink of whatever takes your fancy, sit back and marvel at the pastoral and melodic charm of this wonderfully evocative musical narrative.
It is an absolute ‘must buy’ for any self-respecting Progressive Rock fan. Indeed, I envy someone hearing this new for the first time. If it does not grab your attention and enchant your heart, then check for a pulse or consult your physician!
That’s the simple answer, but it is likely that most punters thinking of buying this re-release will already be familiar with this album, and may need more information on whether it is worth getting it again. There is an interesting essay in the CD booklet by the very knowledgeable Mark Powell, which is enlightening to read. Powell wrote a similar essay for the 2009 deluxe edition, although this latest edition is in more detail. Unlike the 2009 Deluxe edition release there are no additional live concert tracks. The additional bonus tracks for this release are limited to two previously released single versions of Flight of the Snow Goose and Rhayader. Alongside them is the aforementioned Riverman out-take from the abandoned Siddhartha project. This rarity may engender some curiosity, but alone as a previously unheard track it may feel rather underwhelming in all honesty.
What else is there to recommend this re-released album?
The original producer, David Hitchcock, a veteran of albums by prog greats Genesis, Renaissance and Caravan amongst others, did a very good job with the original production so this is not an album originally plagued by poor or muddy production or mastering. Nevertheless, Steven W Tayler’s new remix does enhance some of the elements of the album. What is immediately noticeable is that the orchestral accompaniment is more to the fore at times when perhaps it had previously been rather buried in the mix. This mix does generally freshen up the sound to some extent and give it rather more of a polish. However, to be fair to David Hitchcock’s original production, this version is not really revelatory as a remix, (unlike the recent deluxe re-release of Marillion’s Fugazi which did such a great job at improving the poorly produced and rushed original album.)
Nevertheless, there is definitely one element of this re-release which is the main attraction – it is undoubtedly the Blu-ray containing the 5.1 Surround Sound & Stereo Mixes, also by Stephen W Tayler. Hearing this much-loved album through a 5.1 system is such a joy, raising a brilliant piece of music to an even higher level. The orchestral contributions are more pronounced, and the band sounds crisper. This 5.1 mix also highlights the skill of Andy Ward on drums, particularly on the propulsive but finely judged initial avalanche of Rhayader Goes to Town. Andy Latimer’s glorious guitars really resonate and echo on the pastoral jewel that is Sanctuary. Similarly, Pete Barden’s synth play on Fritha stands out as it spirals delicately around the main theme – I had not really ever noticed that before this version. The Snow Goose track is a delightful showcase for Latimer’s elegant, graceful guitar playing, taken to new heights in 5.1. David Bedford’s arrangement and the London Symphony Orchestra’s woodwind section particularly shine in the enchanting Friendship, which feels more organic or alive in this format. Rhayader Alone is starkly melancholic with Latimer’s delicate guitar, clear and resplendent over a beautiful keyboard backing from Bardens, proving sometimes ‘less is more.’
Flight of the Snow Goose kicks off the second part (or ‘side 2’ in old money) in exhilarating style with the whole band intertwining perfectly to convey the thrill of the airborne experience. Preparation combines Latimer’s delicate flights of flute with the orchestra, and then Barden’s mysterious synth passage to give a more contemplative feel. This underpins some ethereal female wordless vocalisations, which are a little reminiscent of Clare Torry’s contributions to Pink Floyd’s Great Gig in the Sky, which had only been released a year or so previously. However, curiously Andy Latimer later had to admit he was somewhat embarrassed that having employed this session singer to sing so beautifully on this song that no-one had noted down her name at the time or could remember it, so this unknown vocalist’s part in this album is wholly uncredited!
The 5.1 version of Preparation does enhance the sound effects as our hero prepares to sail to the dangerous waters of Dunkirk. The band and orchestra combine to brilliant effect to convey the drama of this passage, particularly during the climactic battle scene with Ward on drums and the orchestra all pounding away explosively. In contrast Epitaph is sonorous and mournful, conveyed subtly by soft synths and weird percussive sounds – sometimes you really do not need words. Fritha Alone similarly communicates such feeling with Barden’s fragile, crystalline piano to the fore. The wonderful climax of the album is the joyful and ascendant La Princesse Perdue, which emerges out of the musical mists, recapitulating some themes from Flight of the Snow Goose. The production is clear and crisp with Ward’s drums splashing and skittering around before Latimer’s guitar takes wing, borne aloft by the lush orchestration – band and orchestra in perfect accord. The album comes full circle as it recedes eerily into The Great Marsh where it began… a pretty much perfect album Camel would never surpass.
This is a high-quality re-release from Camel, curated in the usual sensitive manner by Cherry Red Records. If you have never heard or owned The Snow Goose then there is nowhere better to take flight with this album. If you already know it or own a previous edition but want to hear a truly outstanding classic album with a new freshness, particularly in the 5.1 surround sound version, then it’s a bit of a no brainer either. I have loved this album for close on 50 years and never grow tired of hearing it, and this new edition re-affirms that love for one of the GREAT progressive rock albums.
TRACK LISTING
CD One: The original Mixes Remastered
01. The Great Marsh (2:04)
02. Rhayader (3:02)
03. Rhayader Goes to Town (5:20)
04. Sanctuary (1:06)
05. Fritha (1:20)
06. The Snow Goose (3:12)
07. Friendship (1:45)
08. Migration (2:01)
09. Rhayader Alone (1:54)
10. Flight of the Snow Goose (2:42)
11. Preparation (3:55)
12. Dunkirk (5:25)
13. Epitaph (2:08)
14. Fritha Alone (1:31)
15. La Princesse Perdue (4:56)
16. The Great Marsh (1:19)
~ Bonus tracks:
17. Riverman (1974 Mix) (3:41)
18. Flight of the Snow Goose (Single version) (2:07)
19. Rhayader (Single version) (3:13)
Total Time – 52:31
CD Two: The Stephen W Tayler Stereo Mixes
Tracks 1 – 17 same titles as CD One
Blu-Ray: 5.1 Surround Sound & Stereo Mixes by Stephen W Tayler
Tracks 1 – 17 same titles as CD One
MUSICIANS
Peter Bardens – Organ, Minimoog, Elecric Piano, Pipe Organ, Piano, ARP Odyssesy
Andrew Latimer – Electric & Slide Guitars, Flute, Vocals
Doug Ferguson – Bass Guitar & Duffel Coat
Andy Ward – Drums, Vibes & Varispeed Percussion
~ With:
David Bedford – London Symphony Orchestra (Conductor)
Unknown Female Vocalist (Uncredited) – Vocals (11)
ADDITIONAL INFO
Record Label: Cherry Red Records | Esoteric Recordings
Country of Origin: UK
Date of Release: 27th June 2025
DISCOGRAPHY
– Camel (1973)
– Mirage (1974)
– Music Inspired by The Snow Goose (1975)
– The Snow Goose (2013 Version)
– Moonmadness (1976)
– Rain Dances (1977)
– Breathless (1978)
– I Can See Your House from Here (1979)
– Nude (1981)
– The Single Factor (1982)
– Stationary Traveller (1984)
– Dust and Dreams (1991)
– Harbour of Tears (1996)
– Rajaz (1999)
– A Nod And A Wink (2002)
LINKS
Camel – Website | Facebook | Info at Cherry Red Records | YouTube | X
