| Musical Style: Metal/Hard Rock | Produced By: Jimmy P. Brown II |
| Record Label: Retroactive Records | Country Of Origin: USA |
| Year Released: 2022 | Artist Website: |
| Tracks: 16 | Rating: 85% |
| Running Time: 51:21 |
It had to happen. Deliverance re-recorded its 1995 Intense Records seventh full-length album Camelot In Smithereens and therefore brought it up to current production standards, realizing in the process the albums original intention and vision. As a conceptual work, ‘the albums nine cuts focus around a character named Lindsey, her life experiences and how they are influenced by her interactions within the church’, as cited by founding member and lead vocalist/rhythm guitarist Jimmy P. Brown II from an interview back in the day. Brown accordingly wanted a paperback novel to accompany the initial release but ‘because of big business sloppiness and bureaucracy, we were not able to present it’.
That is until now when acknowledging the March of 2022 Retroactive Records release to the re-recorded version to the album under the new title Camelot In Smithereens Redux to include the original nine tracks and seven shorter ‘voice theatric’ interlude pieces to help tie the storyline together. Most importantly is how the Camelot In Smithereens Redux Deluxe Edition encompasses the re-recorded and original versions to the album, a DVD and said novel in the form of a 32 page expanded booklet that further expounds upon the albums theme. Further details from the groups press material:
‘Camelot… tackles some courageous and vulnerable subject matter, like depression, sexual misconduct, questioning of one's faith, and seeking God. The songs sort of have an emotional ebb & flow that begins with posing the question of "Where are you?" to God followed by a recounting of some negative things going on in the protagonist's life. (This is ensued) by a series of songs talking about the daily struggle between purity & sin, and wrapping up with an ending that takes the approach that no matter what comes in life, we are to look to God for hope, answers, and ultimately salvation.’
I identify with the Intense Records packaging to include orange tinted cover art and liner notes with legible lyrics over a plain white background as good but unremarkable. That said the Retroactive version takes things to the next level with eye catching cover art aligning with the conceptual theme (noting the work of Robert Steel) and detailed booklet to feature an extensive write up from Brown (Scott Waters of No Life Til Metal Graphics).
Retroactive production also represents an upgrade. Yes, the Intense version sounds fine for its time, but Camelot Redux provides a cleaner and more polished mix highlighting a better balance of instrumentation, revealed in crisply defined guitars and concise low end in which bass literally breathes in the backdrop. When listened alongside, the Retroactive re-recording accents added fine details and intricate nuances to extent it is like adding a coal of polish to an old, worn out paint job.
Opener “Sombre Theme” offers a good indicator of the mid-period ‘technical metal’ Deliverance sound, although guitars - and accept this as neutral observation and not critique - bring a hard rock feel as opposed to the metal sheen on predecessors Stay Of Execution (1992) and Learn (1993). Song otherwise trays true to an upbeat timbre, consigning added layers of vehemence (compared to the original) to play up Phil Borerro’s furious timekeeping and George Ochoa’s ablaze soloing. Lyric snippet:
“Lindsey” slows tempo and elevates heaviness as near mesmerizing rhythms accompany athletic bass. A moody if not swarthy vibe befalls, made plain in sedate verse sections to highlight Brown’s even but plainspoken mid-register vocal delivery - often described as a combining of Eric Clayton (Savior Machine) and Geoff Tate (Queensryche) - and somber elegance to its candid refrain. Larry Farkas lends a bluesy element with his gritty soloing.
A mirthful feel on “Not2Good4Me” as tempo elevates to manifest decisive elements in which rhythm guitar and bass interplay make front to back defining statements. As with many songs here, a darker resonance rises to the surface but not to the point of monotonous or detracting from the group’s signature sense of accessibility. In keeping with the Deliverance guitarist alumni themes, Mike Phillips provides the skillfully done (and shredding) leads. Lyric snippet:
“Anymore” represents one of albums lightest and delicate but also most pensive. It begins to a beating heart ahead of drifting through its instrumental opening minute and half to portent guitars and feedback, the ominous overtures continuing to the end as doleful vocals build upon the mournful setting. All the while, a purposeful melody allows for a defining statement.
Hard rock territory revisits on “The Book Ends”, albums lone epic at seven minutes to reach for a light progressiveness, a Deliverance staple. Song intersperses between amiable moments to see genteel bass underline courtly harmonies and those on the candid side in embodying intractable momentum and tense guitars. Again, Deliverance does not forsake in the process its focus on sizable melody nor instrumental flair, as new guitarist Nuncio Tucci leads the way with his dynamic soloing.
On David Bowie cover “Beauty & The Beast”, Deliverance stays true to the original in taking a ‘rock’ heading as opposed to its customary metal and hard rock. Piano, feedback and offbeat side effects get things going before Brown, whom has received apt comparison vocally to Bowie, steps forward with his emotive vocals in helping set the outside the box tone. Camelot Redux version as a result stands out that much further than the original rendering to extent you can tell the guys had a great deal of fun recording it!
Keyboards to start “Make My Bed In Hell” lend creative foreshadowing to the industrial direction Deliverance would take on 2001 follow up effort Assimilation. A mildly chaotic scene prevails accordingly, as slightly distorted vocals sorrowfully plead and the refrain cries out with desperate hooks as near Gothic territory also prevails. Similar to “Beauty & The Beast” the creativity is taken to the next level in distancing from the original.
Deliverance turns “The Red Roof” into blues-rock paradise, as guitars take a gritty tone and overall frame walks a fine line between the disconsolate and invigorating. Yet, as song nears its conclusion it uplifts into heavier rocking territory in once more separating from the original rendering to allow the group to imbue it with that much more personality and character.
“In-U” closes album in moody and mid-paced form. It gradually fades in over its first minute atmospheric and dreamy only to transition at once to a more earnest mode, bounding ahead as stately guitars elevate the upstanding scene only to have the bottom drop out to a more reticent level. Song transitions back and forth and back and forth again until it gradually fades out over its final minute in similar introspective form.
It would be an understatement to suggest that Camelot Redux is superior to the initial Intense Records release. It is not my intention to denigrate the original version - it deserves respect within context of the mid-nineties periodic in which it came out - but Deliverance also deserves credit for the Camelot Redux advancements in terms of production and performance. In the process, we have an improved take on the album in which several songs are taken in completely different directions. If a fan of the album in its original form and are interested in a highly upgraded version, then make Camelot In Smithereens Redux a priority purchase.
Review by Andrew Rockwell
Track Listing: “Somber Theme (Where Are You)” (5:13), “Lindsey” (5:02), “Not Too Good 4 Me” (5:29), “Anymore” (4:30), “Book Ends” (7:14), “Beauty & The Beast” (3:45), “Make My Bed In Hell” (4:28), “The Red Roof” (4:34), “In-U” (5:40)
Musicians
Jimmy P. Brown II - Lead Vocals, Rhythm & Lead Guitars, Keyboards
Nuncio Tucci - Lead & Rhythm Guitars
Manny Morales - Bass
Phil Borerro - Drums & Percussion
Additional Musicians
George Ochoa - Lead Guitar
Mike Phillips - Lead Guitar
Glenn Rogers - Lead Guitar
Larry Farkas - Lead Guitar
Reference List
McCabe, Ginny. “Deliverance.” HM 58 (1996): 26.
