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In Camera [Extra tracks, Original recording remastered, Import]

Peter HammillAudio CD
4.4 out of 5 stars  See all reviews (7 customer reviews)

Price: $12.69 & FREE Shipping on orders over $35. Details
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In Camera + Silent Corner & The Empty Stage + Chameleon in the Shadow of the Night
Price for all three: $42.00

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Product Details

  • Audio CD (September 25, 2006)
  • Original Release Date: 2006
  • Number of Discs: 1
  • Format: Extra tracks, Original recording remastered, Import
  • Label: EMI Europe Generic
  • ASIN: B000H309PG
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #164,284 in Music (See Top 100 in Music)

1. Ferret & Featherbird
2. (No More) The Sub Mariner
3. Tapeworm
4. Again
5. Faint Heart & The Sermon
6. Comet, The Course, The Tail
7. Gog Magog (In Bromine Chambers)
8. Emperor In His War Room
9. Faint Heart & The Sermom
10. (No More) The Sub Mariner

Editorial Reviews

2006 issued digitally remastered edtion of Hammill's third solo album that was originally released in 1974. The original 7 tracks have been augmented with three more that didn't appear on the original LP issue: "Emperor In His War Room", "Faint Heart & The Sermon" and "(No More) The Sub Mariner".

Customer Reviews

Most Helpful Customer Reviews
6 of 6 people found the following review helpful
5.0 out of 5 stars One of Hammill's finest solo albums April 9, 2007
Format:Audio CD
During the period of VdGG's 1972-1975 hiatus, Peter Hammill gave use four solo albums, many of them with help from various VdGG members, Chameleon in the Shadow of the Night (1973), The Silent Corner and The Empty Stage (1974), and Nadir's Big Chance (1975). Of course sandwiched between The Silent Corner and Nadir's is In Camera, released in 1974.

This album featured Chris Judge Smith and Guy Evans (both ex-VdGG), plus Paul Whitehead (album cover artist best known for the Genesis and VdGG album covers), and David Hentschel (Trident Studio engineer, future Genesis producer and the guy who played the monster ARP 2500 synthesizer on Elton John's "Funeral For a Friend"). It needs to be said that Paul Whitehead was unaware he participated on the album, and was more likely Hammill borrowed some tracks from him, after all it was by this time that Whitehead had left the U.K. for the U.S. (he preferred the sunnier skies of L.A. to that of London) (this explained why Foxtrot was the last Genesis album to feature his artwork). This is less a VdGG album than Hammill's predecessor, The Silent Corner, simply because you don't have Hugh Banton's organ or David Jackson's sax and flute. Instead you have Peter Hammill handling all vocal, guitar, piano, Mellotron, and harmonium, with David Hentschel providing the ARP synth programming, and the rest of the guys playing drums on various tracks. I suspect the ARP synth being used is indeed the ARP 2500, as many of the synth passages sound too elaborate for the smaller, more user-friendly ARP 2600 to do, not to mention it was David Hentschel who used that beast on Elton John's "Funeral For a Friend".
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3 of 3 people found the following review helpful
5.0 out of 5 stars a great example of his early career January 10, 2008
Format:Audio CD
I own a lot of Peter Hammill's albums and so far I have never heard one that I didn't really like, including his most recent one "Singularity" (Granted, I have been hesitant to delve into his mid-80's to 90's period, which most on-line reviewers describe as spotty). "In Camera" continues to be one of my favorites.

All of the traits which appeal to me in Peter Hammill's music are present here. Hammill's skill and versatility as a singer are at their peak here. The material is all high quality, and it's all well-paced as a whole. Even if "Again" is not a particularly outstanding or profound song, it's a pleasant interlude that fits in well between heavier, more intense tracks. The last piece, the musique concrete (noise) of "Magog" is disparaged by many reviewers who don't have a taste for that kind of stuff. I'm not going to say that this is one of Hammill's greatest compositions, but in the context of the rest of the album it works well, coming after the fire and brimstone of "Magog", and credit needs to be given because not many rock artists had done that kind of stuff at the time.

The lyrics explore many of the familiar Hammill topics. One recurring theme is an individual's struggle to maintain his identity in a harsh world, and the seemingly inevitable corrupting effect of the passage of time. "No more the Submariner" laments the loss of childhood dreams. "Tapeworm", "Faint Heart and Sermon", and "Comet, the Course, the Tail" all deal with some sort of impeding (nasty) fate. One of his recurring themes is the mixing of religious and scientific metaphors (right back to the Van der Graaf Generator name itself), and the implication is that both ultimately let down. The comet is an astronomical phennomenom, but also a messenger of doom.
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3 of 3 people found the following review helpful
5.0 out of 5 stars Esto es rock progresivo November 22, 2007
Format:Audio CD
Quizás uno de los mejores cinco discos de Hammill.
Los cinco primeros temas (lo que alguna vez fue el lado A del vinilo original) son una pequeña obra de arte por si mismos, como conjunto.
Y bueno... los dos últimos temas... bueno, agarrate porque te van a desflecar la peluca
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1 of 1 people found the following review helpful
5.0 out of 5 stars In Camera -- A Classic of the Progressive 70's March 24, 2007
Format:Audio CD
In Camera has always been my favorite Peter Hammill album. In fact, it has been one of my all time favorite albums.

Peter Hammill is the lead singer in the group Van der Graaf Generator, a british rock group that peaked in the 70's and was considered to be in the same genre as King Crimson and Genesis (of the Peter Gabriel era). What separated Van der Graaf from the other groups in this genre was Peter Hammill's distinctive vocals. Van der Graaf, like the other british "prog" groups of this era like Yes and Genesis, began with a style that developed from 60's pop rock. The early 70's saw these groups gradually evolving into a new genre. Indeed, by 1974 all the groups in this genre were breaking new ground and beginning to define new styles of musical expression that resulted in a high water mark yet to be exceeded. These groups were playing there instruments with more expression, and writing material with more instrumental depth and compositional devices such as key, tempo and dynamics changes. Van der Graaf Generator was a principle example of such a group. Their classic 70's album, Pawn Hearts, sounds drastically different from, and more advanced than, their 60s-rock album Aerosol Grey Machine. In the case of Van der Graaf Generator, the evolution of their music was most prominent in Hammill's vocals. The singing on their first album, Aerosol Grey Machine, had been soft, melodic and generally beautiful. With each successive album Hammill's vocals were increasing in expressiveness. By the album Pawn Hearts, Hammill had a unique, if not definitive, vocal style that ranged in form from a delicate falssetto to a loud, bloodshot-eyes, in-your-face kind of singing. Peter Hammill's style was more than just different. It was impressive.
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