{"id":7706,"date":"2022-04-03T20:43:24","date_gmt":"2022-04-04T00:43:24","guid":{"rendered":"https:\/\/heavensmetalmagazine.com\/?p=7706"},"modified":"2022-08-19T18:30:52","modified_gmt":"2022-08-19T22:30:52","slug":"deliverance-camelot-in-smithereens-redux","status":"publish","type":"post","link":"https:\/\/heavensmetalmagazine.com\/index.php\/2022\/04\/03\/deliverance-camelot-in-smithereens-redux\/","title":{"rendered":"DELIVERANCE: Camelot in Smithereens Redux"},"content":{"rendered":"\n
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Truth Be Told<\/strong><\/h2>\n\n\n\n

I probably won\u2019t be the first Deliverance fan to confess that when Camelot in Smithereens<\/em> was originally released on Intense Records in 1995 that I was a bit confused and less than enthusiastic. With the 3 releases prior to Camelot<\/em>, Jimmy P. Brown, II and company had covered a wide array of styles, catapulting Deliverance out of the narrow niche of thrash metal into a wider, more progressive musical world.<\/p>\n\n\n\n

Stay of Execution<\/em> <\/a>(1992) was a powerful and effective transition album \u2013 one revered by fans as heavy-hitting, yet freshly progressive. Learn<\/em> (1993), on the other hand, slowed things down a bit, the focus on lurching, heavy grooves and pounding rhythms, haunting melodies and some of the most poignant, beautifully crafted Deliverance lyrics (to date) from Jimmy. Then, seemingly out of nowhere, came River Disturbance<\/a><\/em> with its more alternative and polished approach.<\/p>\n\n\n\n

Why the synopsis of those releases? Because it appeared that with the release of Camelot<\/em> in 1995, Jimmy was trying to take the next step in the progression of Deliverance \u2013 combine all the elements that had made the last 3 records great into a massive concept metal piece with detailed storyline to boot. <\/p>\n\n\n\n

Only problem? \u2026 the label wasn\u2019t biting on the idea. Add a rushed production and the fact that most fans didn\u2019t really understand what Camelot<\/em> was supposed to be about and the end result, not surprisingly, was a somewhat disjointed collection of songs without a printed storyline to follow.<\/p>\n\n\n\n

Regardless, Camelot in Smithereens<\/em> 1995 was a grower of an album \u2013 one that after many listens had enough brilliance in its parts to be appreciated in time by the Deliverance faithful and the wider progressive metal audience in general. (More thoughts on the 1995 release to follow \u2013 see below)<\/p>\n\n\n\n

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Crux of the Redux<\/strong><\/h2>\n\n\n\n

Not surprisingly, (as he explains in detail in the DVD documentary included with the Deluxe Book edition) Jimmy was never satisfied with the original release on multiple levels. Hence, fast-forward some mere 26 years (recalling the lyrics to \u201cTime\u201d) and we stand witness to the revitalization (redux) of Camelot in Smithereens<\/em>. <\/p>\n\n\n\n

Only this \u201cCamelot 2021\u201d version represents, in essence, a true birth<\/em> and not just a reworking or \u201cremastering\u201d of its predecessor. Redux<\/em> is a realization of what Jimmy originally envisioned for Camelot<\/em>, complete with a full story, song interlude tracks and a radically different and improved sound.<\/p>\n\n\n\n

Other than his faithful, long-time compadre on bass, Manny Morales, the contributing musicians this time around represent a mixture of old and new faces. Nuncio Tucci (guitars) and Phil Borerro (drums) have replaced Marcus Colon and Jeff Mason from the 1995 sessions. Additionally, George Ochoa, Mike Phillips, Glenn Rogers and Larry Farkas each contribute guitar solos. Add the 5 voice actors and Redux<\/em> has blossomed into a totally different musical production with epic magnitude \u2013 one which certainly eclipses the original in terms of sound quality, cohesion and clarity.<\/p>\n\n\n\n

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Redux Multi-Variants<\/strong><\/h2>\n\n\n\n

While we are all tired of Covid-19 variants at this point, who doesn\u2019t love multiple versions of their favorite music? As might be anticipated, Redux<\/em> was a complex project to release \u2013 one which almost didn\u2019t happen due to crowd underfunding \u2013 but fans can be reassured that with the help of Retroactive Records, Deliverance has \u201cdelivered the goods\u201d in terms of physical product.<\/p>\n\n\n\n

There is the CD jewel kit version (RRCD1625<\/a>) with 12-page booklet (includes silver foil trading card #63), the Deluxe Book 2CD\/DVD version (RRB1625<\/a>) with 32-page booklet, the Limited Run Vinyl version (RRV1625<\/a>) with all 16 tracks included on single LP, and the Red Cassette version (RRT1625<\/a>).<\/p>\n\n\n\n

I would also mention, that in conjunction with the release of Redux<\/em>, Retroactive has released the LRV remastered version (RRV1627<\/a>) of the original 1995 recording for the first time ever on vinyl. Additionally worth noting is that the remastered CD version of the 1995 recording is only available, currently, in the Limited Book version.<\/p>\n\n\n\n

Needless to say, I have endeavored to examine all these “variants” within the scope of this review.<\/p>\n\n\n\n

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Deluxe Book<\/figcaption><\/figure>\n<\/div>\n\n\n
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Deluxe Book<\/strong><\/h2>\n\n\n\n

For those who want it all \u2013 Redux<\/em>, the full story, the documentary and the bonus 1995 remaster on CD \u2013 the beautiful 8-panel digi-wallet Deluxe Book is essential. Not only is the artwork and layout stunning, but the content alone is also well-worth the extra money.  [Please note that the Limited Book version does NOT contain a trading card]<\/p>\n\n\n\n

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Camelot in Smithereens Redux <\/em>(CD 1)<\/strong> (51:21)<\/h3>\n\n\n\n
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1. the glass asylum (1:02)<\/p>\n\n\n\n

2. SOMBRE THEME (5:13)<\/p>\n\n\n\n

3. enter… (0:43)<\/p>\n\n\n\n

4. LYNDSAY (5:02)<\/p>\n\n\n\n

5. temptation (0:13)<\/p>\n\n\n\n

6. NOT2GOOD4ME (5:29)<\/p>\n\n\n\n

7. ANYMORE (4:30)<\/p>\n\n\n\n

8. the foreward (1:16)<\/p>\n\n\n\n

9. THE BOOK ENDS (7:14)<\/p>\n\n\n\n

10. BEAUTY & THE BEAST (3:45)<\/p>\n\n\n\n

11. the fear (0:27)<\/p>\n\n\n\n

12. MAKE MY BED IN HELL (4:28)<\/p>\n\n\n\n

13. onto the\u2026 (0:27)<\/p>\n\n\n\n

14. THE RED ROOF (4:34)<\/p>\n\n\n\n

15. rest now… (1:18)<\/p>\n\n\n\n

16. In-U (5:40)<\/p>\n\n\n\n

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Redux<\/em> is comprised of 16 tracks \u2013 9 songs and 7 interlude tracks. Not surprisingly, Redux<\/em> is roughly 6-minutes longer than the \u201995 version. These interlude tracks basically serve as \u201cintros\u201d to the 7 songs they preface. As can be seen from the track listing (above) \u201cNOT2GOOD4ME\u201d\/\u201dANYMORE\u201d and \u201cTHE BOOK ENDS\u201d\/\u201dBEAUTY & THE BEAST\u201d directly segue into each other so this is why we don\u2019t have 9 interlude tracks. But these interludes (some of their elements present on the original release) have been modified and expanded and now represent separate tracks with their own titles.<\/p>\n\n\n\n

In addition to the modifications noted above in the music, there are differences in the presentation of song titles as well, both in terms of spelling and format. For example, Lyndsay is spelled with a “y” and \u201ca\u201d on Redux<\/em>, and \u201cNOT2GOOD4ME\u201d appears as such compared to \u201cNot Too Good 4 Me\u201d from the \u201995 version, and \u201cSOMBRE THEME\u201d now instead of \u201cSomber Theme (Where are You).” This was purposeful \u2013 these are not typos. Furthermore, the interludes appear in lower case and the lyric songs in all-CAPS.<\/p>\n\n\n\n

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