Camino Real

If back in 1990, when I was mourning the then-recent breakup of CVB, someone had told me that we would get two great Camper albums in 2013 and 2014, I would not have dared to believe them. But, here we are, and less than a year and a half after the wonderful La Costa Perdida, we get another CVB album. Much of this material comes from the same songwriting session as that album, which I admit made me slightly nervous before actually hearing this album--albums made of leftovers often end up being less-than-stellar. But, here's the thing: this material wasn't leftover. CVB noticed a lyrical and musical thread running through some of the stuff they were working on, and that became the mellow, sublime and Northern California-oriented La Costa Perdida. The remaining material, which tended to be harder-rocking and denser, ended up taking on a Southern California-oriented lyrical theme, and wound up on this album.As a result, one of the really cool things about this album is that it's totally different from its predecessor--absolutely not LCP pt. II. The first 5 songs, which have already become one of my favorite sequence of songs ever on a CVB record, comprise the rawest, hardest-rocking stuff the band has ever done. The guitars are loud, the violin is present on every song but mixed a bit lower, and the bass is loud and growling--an eye-opening performance from bassist Victor Krummenacher. The CVB musical exoticism is a bit toned-down here, but there is still plenty of it--my favorite example being the weird guitar line in "The Ultimate Solution" that is based on the Japanese train announcement melody that opens the track. If I had to put a label on the first half of the record, it would be 'prog-punk'--an odd combination, but it works brilliantly here.Meanwhile, David Lowery is at the top of his lyrical game--topics include LA multiculturalism, the So-Cal industrial-military complex, polluted oceans, decadent LA parties, and another agonizing portrait of a soldier on the song "Camp Pendleton." With the exception of that song, the lyrics here have the trademark CVB humor, albeit darker, and with a cryptic nature that rivals early Blue Oyster Cult. One comment that Lowery has made about this album is that while in La Costa Perdida, songs like "Come Down the Coast," and "Northern California Girls" portrayed the sea as a benevolent, feminine force, on El Camino Real the sea is an ominous presence. A good example is "Dockweiler Beach," where a surfer dude waits for a "rogue wave" that took his lover to return her body, all while imagining a sea full of chemicals and submarines, while airplanes fly overhead and gas flares burn from natural gas refineries--a splendidly weird and dark lyric.The second half of the record is quieter and more influenced by country and (occasionally) Mexican music, but the band still works up a major head of steam several times--the roaring "I Live in LA," Greg Lisher's epic solo in the instrumental "Goldbase," and the swirling guitar/violin interplay in the mid-section of "Out Like a Lion," which closely resembles the epic instrumental break in the previous record's "Summer Days." Overall, the record's mid-section isn't quite as strong as the first five tracks, but the record ends with two of its greatest songs--the rueful country tune "Darken Your Door," which features some nice interplay between Lisher (who seemingly switches to pedal steel in the instrumental break) and Jonathan Segel on mandolin, and the hushed, prayerful ballad "Grasshopper," which musically recalls a more organic version of the last record's closer "A Love for All time." Here again, we get the record's lyrical darkness: a California surfer drifting around in Baja California, Mexico, meeting a local woman, getting involved in her family's drug-smuggling business, having a child, and praying for safety and long life--I find the line "got a baby girl and she looks like Mom. Dark curly hair and a devil's smile. Federales know what we take up North. Lord let me live until I'm old and grey" to be particularly affecting.The really cool thing about this album for me is that while it has plenty of CVB signatures, it's also totally unlike any of their other albums--with the lyrical darkness, mix of hard-rocking tunes and slower, rootsier songs, and progressive-rock instrumental prowess, it reminds me most of "Key Lime Pie" and "New Roman Times," but it really sounds like the band is reinventing itself once again, with no great debts to the past. There are trivial things I could complain about (no ska beats, for example), as well as untrivial (while drummer Michael Urbano does a great job, it's too bad that they couldn't, for the first time since 1986, get any drumming by the mighty Chris Pederson, who lives in Australia and often can't make it to the band's recording sessions and tours anymore). But the great thing is that unlike many 80's bands, CVB is still pushing the boundaries and apparently feels no need to record a stereotypical CVB song, let alone a whole record. They are still exploring the wonderful and unique chemistry that exists between Lowery, Krummenacher, Segel and Lisher and letting their muse take them where it will.I don't expect we'll get another new CVB record nearly so soon next time, but these two totally different yet totally wonderful and forward-looking records should keep us fans plenty occupied in the meantime.

"Soviet spy swims upstream disguised as trout."As you can tell from the oath, I'm a long-time devotee to all things Camper Van Beethoven, so yes I'm going to say that I love this album. But I do and my immediate reaction is that this is the most enjoyable collection CVB have put out since Key Lime Pie. La Costa Perdida (2013) has some tremendous songs, both darker songs and softer songs than much of the fare here, but on the whole El Camino Real sounds even better. I highly recommend it. It's not a return in any direct sense to anything past for CVB, but it does have a lot of energy which might appeal to those who like their CVB played faster.

"El Camino Real" starts off magnificently--great hooks in the first two songs "The Ultimate Solution" and "It Was Like That When We Got Here," followed by the inventive "Classy Dames and Able Gents" and the lovely "Camp Pendleton." While there's not a bad song on this album, the middle has a slight drop-off; Dockweiler Beach at times features David Lowery's delivery in a sort of monotone, but otherwise has some good movement, and "Out Like a Lion" is a somewhat interesting change of pace, a little slower, almost plodding, but has some good moments. "Sugar Town" is a gentle, pretty song, with some nice touches. "I Live in L.A.," the instrumental "Goldbase," the country-like "Darken Your Door," and the lovely Grasshopper are all solid, enjoyable tunes.Only one minor complaint: Too bad on the CD version they left out "City of Industry," which I think is pretty good and fits in with the rest of the album.Amazing band, taking their music on this album in a totally different direction from their albums long past and even from their more recent albums. In this one, the violin is still featured, but not as prominent as on other albums--all great music anyway!

I fell in love with "Our Beloved Revolutionary Sweetheart" in '87. Then "Kerosene Hat" in '93. Now they've gotten older and married. David Lowery, like Charles Thompson and a few others, is one of the most prolific and distinctive artists out there. The band is gellin' and they are liking it- and it shows. Please don't stop again.

With El Camino Real and La Costa Perdida, CVB isn't recreating their early stuff, but they are still true to the heart and soul of their style. Solid stuff.

This is a great CD, particularly "It was like that when we got here"

Recommended for Cracker and David Lowery fans. Every piece of his work is original and great.

A very enjoyable release which does not disappoint.

I prefer this album to last year's La Costa Perida, there are some great songs on this release, my favourates are "It was like that when we got here" "Camp Pendleton"& "Darken your door". CVB fans wont be disappointed.

CvB-Scheibe. Nicht unbedingt neu und originell, aber hervorragend gemacht, was man von dieser Gruppe eben erwartet, das ist ja auch etwas. Mir gefällts.

A very solid effort by Camper Van Beethoven. All the songs are good.

Very solid, very listenable album. God, I love these guys.