CARAVAN

Flawless album. The lyrics and the songs, both great! Caravan's In The Land of Grey And Pink is overrated here in PA, but it deserves. The Canterbury music scene is highly influenced by jazz and psychedelia, but in a calm way. Sinclair's voice is the best voice for my ears, I feel totally relaxed. Chill out...

Golf Girl is, no more no less, a classic song for any classic rock fan. It's the opening track and it makes you wonder what will come, it's the key to this wondergul Land of Grey And Pink. So, the second track, the first masterpiece. Sounds strange, I know, but I always felt shiver when I heard Richard's singing "Carry me with you...", and then the whole band starts to play. Winter Wine is one of the most beautiful songs that I ever heard. It starts slowly. The song follow a dreamer to an epic dream, and you know, "dreams are always ending far to soon". Love To Love You (And Tonight Pigs Will Fly) is the third track, starring Hastings on vocals, and the song called In The Land of Grey And Pink is the next, similar to Golf Girl in the guitar rhytms and another great track. And we have the B side: Nine Feet Underground. This is so catchy that I use to play this song intro in my own mind, unconsciously, almost everyday. Beautiful keyboards here. Beautiful everything. The song is divided into 8 parts, and I love them all. This is real music!

Yes, it brings it all back to me.

The year 1968 unknowingly ushered in a new style of British psych-pop later to be dubbed ''Cantebury''. The Soft Machine and Caravan both emerged from the demise of the obscure Wilde Flowers to have critical acclaim in the progressive rock world. Neither got off to the greatest of starts, but thankfully for both bands, they still had the best left in them.

If you are discovering the album CARAVAN as I am, you have likely heard other Caravan albums before this one, so the review has a more retroactive approach. Those of us that have are quick to point out that the production isn't as stellar as what the future has to offer. It's often fuzzy and thin, usually resulting in unintelligible vocals. That's disappointing considering that Caravan often employs whimsical English humour, particularly on the tracks in which bassist Richard Sinclair sings lead (''Policeman'' and ''Grandma's Lawn''). And to add, the bonus edition has a mono version of the album as well as stereo, which makes me ask the question, ''Why would I want to listen to mono when the stereo option is right there?''.

There are some delightfully fun psych-pop tracks on the first half, notably ''Love Song With Flute'' and ''Place of My Own''. ''Cecil Rons'' is a bit different as it goes more angry and heavy (for the band), yet still pulls off that joy that one expects from Caravan knowing the future. The rest of the poppier songs (particularly the first two tracks on the second side) sound muddled and struggle through lightweight and tiring melodies.

Then the track that might set the course for the band's future progress comes at the end of the album, well in time for the listener to breathe a sigh of relief. ''Where but for Caravan Would I'' brings the band's sound into full focus, mostly swelling the organ into tightly constructed solos. The vocal melodies are quite perfect, especially Sinclair's that comes halfway into the track. I actually think the best part of the song is Pye Hastings's guitar; the jangly chords under all that heavy organ and drums provide a stable foundation for the solo section and makes the song that much better. I don't think Hastings gets enough credit for his guitar playing.

Caravan would go on to record better produced albums, so this is pretty non-essential. But it is still a good Caravan album, and if you're a fan, if you like the Hammond organ, CARAVAN is ecstasy. And watch out for the ferocious drum pounding of Richard Coughlin.

When a band grows old and doesn't have any ambition of escalating the charts two things can happen: retirement or an album of this kind. The Caravan sound was dated and their attempts to make some pop music during the punk age were quite pathetic. I mean things like "The Album" or "Back To Front", but in the new century, after the little rebirth of prog, has a new flavor, maybe nostalgic.

The album starts with a pop tune, or better, it would have been a pop tune 30 years before. "Smoking Gun" it's just a nice easy song. It's good hearing Pye's vocals again which are still a band's trademark. "Revenge" is another typical Caravan easy song with some Jimmy Hastings in the background and just a bit more rock than usual. It has made me remember "Stuck In A Hole", but the coda features an excellent solo by Jan Schelhaas.

The title track sounds like it was from the Waterloo Lily age. Up to now it's a pleasant album, not even comparable with the rubbish releases of the 80s, but honestly not special. What I think is remarkable is that even using "modern" keyboards and guitar effects their sound is still unmistakable.

"Tell Me Why" is another typical easy song. Catchy enough to have the possibility of a radio passage also in those days, but it's "It's Getting A whole Lot Better" which makes me cry to the masterpiece. It's a slow jazzy and atmospheric track which values the price for the whole album. It recalls some of the atmospheres of the early albums, I think to"If I Can Do...". The very hot voice of Pye Hastings fits perfectly into the jazzy mood and the guitar riff,for the sound used, seems belonging more to Camel than to Caravan. This is Pye Hastings at his best, but also brother Jimmy plays a very good sax on it. This track is so good that makes "Head Above The Clouds" appear as just a pop song (and it's not). This song has a low volume instrumental intro before becoming a typical Caravan song, belonging more to the "Plump in the Night" period.

"Straight To The Heart" is the song I like less. Like a pop song of the late 60s it's not bad on its own, but it's just a melodic pop song, nothing more. That bit of nostalgic flavor that it has saves it, anyway. It can't be considered really a lowlight.

Geoff Richardson's viola opens "Wild West Street". He was unlucky to join the band when it was starting its decline. This track, built for his viola, is not bad. It's just a bit "misplaced". Too different from the rest of the album, I would have put it as closer, instead.

"Nowhere to Hide" sees Dave Sinclair back with his former band. Piano and viola open it. I don't think the vocalist is Pye here. The chords are easy, everything but challenging, but the song puts me in a mood that I'm used to call "blue effect". It's not easy to explain, I mean blue as colour, not as feeling. I would have just expected a bit more effort from Dave Sinclair, but he mainly plays a solo in the three minutes coda which seems to have been tied to the normal end of the song. Three excellent jazzy minutes, anyway. The most "Canterbury" part of the album.

"Linders Field" closes probably the whole Caravan's story. Acoustic guitar, flute and congas give us some minutes of relaxing and dreaming instrumental music. After two minutes the flute is replaced by a clean electric piano and a bit of electric guitar plays long notes in the background. It's not a typical Caravan's track, probably the best way to close the career of this historical band: like saying "hey guys, we could have made more of this stuff for the next years, this is what you are going to miss".

It's honestly a non-essential album, but it's the final act of a great band which has lost itself for a long time. It's the last, and I don't think anybody would complain if I add a star for the career. It's the best Caravan's album since from the 70s.

Thank you Caravan for you fantastic music, weird but just a little, mostly amazing and very nice. What I like so much is the bright feeling and the happy distinct guitar. This is the third record I acquire and it gets my thumbs up. Caravan is such a prog band even not-proggers can enjoy beacuse of its nice bright melodies but they were also very obscure, far away from top hits and rock star levels.

My favourite tracks here is: "And I wish I were stoned don't worry", "As I feel I die" and "Cant belong now/Francoise/For Richard/Warlock". I think these tracks show us real magic and a perfect harmony between obsession, virtuosity and love. What they could have developed and what they had done on their next album was strong melodies that carry the music forwards. On this plate the feeling of jams is something annoying. But this is undeniably feel-good music for every prog lover. For me this record is a 8/10 or even a 9/10 but not a masterpiece. Caravans music shows the world what you can do if your music mind is open for take rock music to another level. Also I think this is the band that fits the genre Canterbury best. It's not symphonic, not space-[&*!#], not folk, not metal and not too experimental but little jazzy, soft avante-garde and has a bunch of crossover tendencies.

Sometimes, an album can come with a bad omen before the first listen. Take Caravan's sixth studio album, CUNNING STUNTS. When I first put on the record after I get home, I find that my copy got the pressing all screwed up and switched the two side labels around.

That's just my bad experience with one item. The actual musical content of the record is about as head-scratching. From the band that had delighted fans with a unique concoction of jazz, prog, pop and psychedelia, and the band that really rebounded its career with FOR GIRLS WHO GROW PLUMP IN THE NIGHT, to begin the album with something that wouldn't sound too out of place on a Billy Joel or Elton John record is frightening. ''The Show of Our Lives'' has extremely little of Caravan's usual pizzazz; instead, it opts to crack open in an American market that I assume never heard it.

I hate to sound harsh, but if there is a good reason why CUNNING STUNTS has been obscured in comparison to other Caravan records, it's that most of the album sounds like very lightweight, generic '70s soft rock. What made Caravan Caravan is nearly nonexistent on the first side, save for a little Pye Hastings dry humour. New bassist (the third bassist in three albums) Mike Wedgewood isn't helping any as his two tracks (''Lover'', ''Welcome the Day'') sound awkward and never really fit Caravan's style. They sound like they're trying to be ''Caravan, the band, the musical'', and for this band it doesn't work. Also, on the previous album, I enjoyed the fresh sound Geoff Richardson's viola brought to the band; here, I forget he's in the band until about the fifth song.

The only song that at least has somewhat of a lasting impression is ''The Dabsong Conshirto'', another attempt by David Sinclair to bring the band back into epic status. For CUNNING STUNTS, it's decent enough, but it's too clustered to be in ''Nine Feet Underground'' territory. For some reason, Hastings actually goes for the highest notes in his range early in the epic with mixed results. And ending with a reprise of ''The Show of Our Lives'' isn't a welcome conclusion in my book.

For whatever reasons, CUNNING STUNTS is a huge disappointment of an album that Caravan hasn't quite rebounded from. The songs sound like clockwork and the band doesn't seem to gel like they have before. Speaking of unable to gel, Dave Sinclair exited the band again after this record.

Caravan - st (1968)

Perhaps Caravan is the progband that allows us to be a child again, just for a short moment.

The transitional period, as a prog 'nd psych collector a man's got to love it. Canterbury classic Caravan emerged from the 'Wilde Flowers', whereas other members from that band went on to form the Soft Machine. Both bands recorded a debut in '68 that was dwelled in the sixties echo- psych sound, pre-Canterbury style organsounds, gentle yet dopey vocals and extremely catchy songwriting.

Actually, I was suprised how much fun this record turned out to be. Don't come here seeking your developed and technical prog, it's just the sheer vibe and feel that make this a great records to listen to. Songs like 'Place of my Own', 'Ride' and 'Magic Man' just make you feel like a happy sensitive child. 'Cecil Runs' was a bit hard to understand at first, but this song has a great construction and some nice heavy psychedelic screams. 'Where but for Caravan would I be' is a longer and slightly more darker track and is perhaps the most progressive effort. The organ themes mght have inspired the not yet recording VdGG a bit here.

The only thing the record does not have is a totally unproblemetic recording. Whilst it sounds brilliantlly bright and warm during small arangements (got to love the vocals on 'Ride'), it sounds like a garage take during heavier parts. This normally puts me a bit off, but I can't help to fall in love with the songs here.

Conclusion. Here the birth of a progressive movement, yet it is like the other sixties debuts (think of Soft Machine, VdGG and Procol Harum) a record that has its roots deep in the psychedelic rock scene. Perhaps a bit of Frank Zappa if you will. If you like me happen to find psych really nice and like the development of the progressive genre, this is safe buy. Four happy children.

A lovely debut album from the zany Canterbury pop brigade. Despite being a Canterbury band, Caravan had never strayed too far into jazz-rock territory; the reluctant leader Pye Hastings has always made sure that the pop sensibility was always there. The band's humour and lightness is like a breath of fresh air in the often too serious world of prog. This LP isn't as talked about as the next two masterpieces by the classic lineup of Hastings/Sinclair/Sinclair/Coughlan (+ Brother Jim), but for me it's almost as great. The quirky melodies and funny lyrics are already there, although the guys would polish up their songwriting skills consideralby by 1970's "If I Could Do It...".

Consisting mostly of Pye's compositions Caravan's first is still drenched in psychedelic atmosphere - this is one of those 68/69 albums where you can clearly hear how psychedelia morphed into prog. The echoey production hasn't aged too well, I'm afraid, but the songs themselves are nothing short of great. Be it the catchy opener "Place of My Own", the lovely "Love song with Flute", or the two Richard Sinclair contributions, where his carrollian whimsy comes to the fore. (On a sidenote: his voice is nothing short of angelic! clearly the best vocalist in British prog! and one more thing, the Hastings/Sinclair high/low vocal interplay does remind one of the similar Wyatt/Ayers combination on Soft Machines first LP, doesn't it?) As many other bands of the time, the guys leave the best for last: the long closer "Where but for Caravan Would I?" is up there with Caravan's other classic long tunes. At first listen it may not be as striking as "For Richard" or "Nine Feet Underground", but the lazy, pastoral atmosphere is simply wonderful. Really makes you want to go out and lie in the grass, looking at sunlight pouring in from between the tree branches (Sorry, got a bit carried away, it's cherry blossom season here in Japan). The apocaliptic ending is great too.

The start of the Caravan journey was really promising, things would only get better from here (until 1972 at least).

'In the Land of Gray and Pink' was my first venture into the Canterbury Scene sub-genre. After many extensive listens I've come to the conclusion that this is simply an average album. I don't mean this in a bad way at all; in fact, pretty much all of it is great music. It's just that nothing stands out, it just plows along. The best example of this is in the epic 22-minute 'Nine Feet Underground.' The song has some great melodies, but it is too reliant on jamming over a repetitive rhythm.

The remaining songs have a fun mix of pop and prog, especially the cheery 'Golf Girl' and 'Love to Love You,' the latter of which does an amazing job of hiding it's 7/4 time signature. 'Winter Wine' and the title track are also great of course, but nothing really stands out.

Perhaps the best way to sum up what I think about this album is that it is consistently good, but lacks variety and punch. In this way, I am not excited by this album, nor am I disappointed.

6/10

This is a bit of a weird one. While this album often gets held up as the quintessential Caravan album, I personally think that the sound of the album is too schizophrenic to really be compared to the two excellent albums that bookend it in Caravan's discography. Where "If I Could Do It All Over Again?" and "Girls Who Grow Plump In The Night" successfully merged Canterbury jazz and pop to create a satisfying and extremely accessible (while still very unique) sound, "In the Land of Grey and Pink" seems more or less content to have a pop half and a prog half.

Some may call that claim a little too harsh; there are still instrumental breaks in the shorter songs that keep them from coming across as pure bubblegum, but of the first four songs, "Golf Girl," "Love To Love You," and "In The Land of Grey and Pink" fall firmly on the pop side of the spectrum. "Winter Wine" straddles the divide a little more, but it's still a far cry from the excellent genre-crossing of, say, "The Dog, The Dog, He's At It Again" off of "Girls Who Grow Plump?"

That's merely my opinion, of course. And don't get me wrong, they're good songs (especially the title track). The sense of whimsy and cheeriness that flows throughout is an extremely welcome sound in the often dark-and-doom-laden progressive landscape, and all three of the primarily pop tracks are undoubtedly catchy as all get-out. The playing is still excellent on them and there are still some really awesome instrumental bits. My problem is just that this album doesn't flow nearly as well for me as the other two I've mentioned. "Love To Love You" especially is a fun little track, but it just can't stand up to the rest of the tracks and as a result the album feels unbalanced (this is the same problem I have with a lot of ELP).

So that's the first half. What about the second? Well, there's no question that "Nine Feet Underground" is an absolute monster. There are a lot of excellent sections, and there's wonderful thematic balance throughout, but at a whopping 22 minutes it's still a bit underwhelming, in my opinion, compared to other Caravan epics. Compare the 20+ minues of "Nine Feet Underground" to what Caravan was able to do in 14 on the "For Richard Suite" or in only 9 on "L'Auberge Du Sanglier" and, to my ears, "Nine Feet Underground" is going to come up short (long?) every time.

Of course, if you're a big Caravan fan, (or even if you're not) you'll still probably enjoy this album. I just don't think it's the place to start if you're new to the Canterbury scene or to Caravan in particular. In this reviewer's humble opinion, both "If I Could Do It Again?" and "Girls Who Grow Plump?" offer far better primers into the genre and the band, presenting far more balanced composition and flow. Check those out first, and if you're starved for more Caravan after that, come back to this one. It's a worthy addition even if it's not a great foundation.

3/5

The thing with box-sets is that they either attract those already addicted or puts off those who are interested but are put off by the enormous wealth of out-takes and other stuff, generally of importance only to those already familiar with the originals. Well, generally speaking anyway. Accordingly it's hard rating box-sets because of that. But there are exceptions. Camel's "Rainbow's end"-box and this, "The world is yours", are both splendid examples of the ultimate box-sets. They attract both those already familiar and those interested, without alienating either. A box containing 32 songs is bound to have the odd track you don't like, as with all compilations. Nevertheless I'm bound giving it 5 stars, simply because it is such an astounding compilation, housed in a beautiful cover. There's simply no other rating available. If you're new to Caravan, this is actually not a bad way to start. And if you're a Caravan-fan already, like me, it's quite a treat to own and dissect this wonderful compilation of studio- tracks, both previously released and some unreleased, and live recordings. It's the cream of prog-rock from one of the most endearing, most brilliant, most english of prog-bands. I love it!