Back to the world of the Camel for another collection of songs.
“Camel Hump” is a track from‘Benson & Farrell’ an album co-led by American guitarist George Benson and jazz saxophonist and flutist Joe Farrell first released in 1995; both artists had previously released several albums on the CTI label and had also contributed to several other albums.
“Camel” is a track from ‘Los Angeles’ the second studio album by American electronic music producer producer Flying Lotus, released in July 2008 by Warp Records The cover was designed by British graphic design agency Build featuring photography by Timothy Saccenti, and the album title is named after Flying Lotus’ place of birth. Flying Lotus sampled The Aynsley Dubar Retaliation’s Watch’n Chain on this track.
“Lunar Camel ” is the name of a song performed by Siouxsie Sioux with the Banshees, for the 1980 album Kaleidoscope. The album was produced by Nigel Gray. Their third album saw the Banshees exploring new musical territories with the use of other instruments like synthesizers, sitars and drum machines. The group initially had a concept of making each song sound completely different, without regard to whether or not the material could be performed in concert. They particularly experimented in electronic music on a couple of tracks: the electro-dance minimalism of “Red Light” and the atmospheric, synth-based piece “Lunar Camel”.
“Sand Castles and Glass Camels” is a song by the Grateful Dead. It was first released on their album ‘Blues For Allah’ in September 1975. Sand Castles And Glass Camels is the name used on the Blues For Allah album for the middle part of the Blues For Allah suite. The title is not used elsewhere. The Dead performed the song live five times, all in 1975.
“It Must Be A Camel” remains Frank Zappa’s singular most breathtaking work, showcasing his genius as a composer and arranger of music, as well as a master of combining the talents of a few musicians into a coherent original recording and a tour de force. Frank Zappa was 29 years old when he recorded the album Hot Rats, of which It Must Be A Camel is the final track. It is the eighth album of his career, a jazz-rock album of instrumental music that features long jams and solos, interspersed with unconventional and neo-classical instrumental arrangements performed by jazz, rock, and classically trained musicians. At five and half minutes in length, is the one track on the album that successfully manages to merge all of the previous styles in one go; it is neither a neo-classical arrangement, nor a jam track, but rather a perfect melding of all of Zappa’s knowledge, interests, and abilities into one single composition and recording. The melody has elements of avant garde, classical, and jazz music, and yet there is an abundance of improvisation on display by the musicians, as well as a keynote thirty-two bar improvised guitar solo by Zappa that for the most part defies any easy definition.
