CARAVAN

One hazy Sunday in May 1980, myself and some friends went to a pub in Herne Bay (about 10 miles from Canterbury) for Sunday lunch and a beer. With the 'strange' licensing laws back then we were finishing up and about to leave at 2pm but the landlady said 'have another if you want boys am locking the doors'. Now I have asked my bestie who was with me and we cannot remember if the name above the door was Mrs Hastings or Mrs Sinclair but her offspring and another Caravaner were sat in the corner and when we cottoned on we went over and had a wonderful hours chat (mostly about how punk had finished them off and they couldn't get arrested now) and it is nice to meet your 'heros' sometimes!

I of course have the full studio output (I didn't back then!)...and the contrarian in me has as his 3 fav. albums the 3 with the lowest, or at least 2 of them, ratings...so I thought it best to go with one of my all time, across my whole collection, live recordings. It goes without saying then that I see/hear this as a band at their peak. About this time I believe they were touted by parts of the musical press as 'probably the next big thing'....but 'critics' bands always had/have a habit of not hitting the spot with enough of the public/music listeners ...and of course they remained strictly second division...but not for those of us in the know! The tracks should be familiar to most who read this. The slight melancholia of the vocal/s, if not an acquired taste, will never bring a joyous celebratory mood out in you but that was not who they were. The arrangements of songs had that 'matured and improved on the road' from the studio versions that the best bands developed. The audience, assuming no messing in the studio, were polite yet enthusiastic. And I will ignore the aforementioned besties view that 'Caravan were the ultimate Grammar School boys band'....for those non UK readers it translates as nice/middle class young gentlemen (he actually likes them!). So it was never going to be rock n roll! I have tried self edits as it is way too long for my purpose...but this version of 'For Richard' I would have wanted played at my funeral. It has that profound effect every time I hear it as in stirs the emotions. Unfortunately, in the bands time line, they came up with Cunning Stunts and Blind Dog At St Dunstans as their next 2 studio efforts...both of which I really rate but most here do not and neither did the record buying public in 1975 and '76 which underscores that this is indeed their peak.

I raise another 'lock in' glass to the 3 I met, what 6 years after this, and thank them.

For Girls Who Grow Plump in the Night is the fifth studio album released by Caravan. The album features

Pye Hastings - guitars and lead vocals

Geoff Richardson - viola

David Sinclair - Organs, keyboards, piano and synthesizers

John G Perry - Bass

Richard Coughlan - Drums

and many additional musicians...

I really enjoyed this album. There are many memorable songs. The first three songs (Memory Lain, Hugh, Headloss and Hoedown) flow well into one another and Pye Hastings vocals on "Memory Lain Hugh" are awesome. The riff for "Memory lain Hugh" was stuck in my head for days its very catchy. I love the fuzzy guitar tone found throughout the album especially on "C'thlu Thlu". That is definitely a standout track. My favorite song on the album by far is "The Dog, the Dog, He's at It Again". I can't really explain why it's my favorite it's just a fun song to listen to and captivating. Side A evokes fun canterbury moments with more standard rock-oriented songs with many delightful progressive moments. While side 2 is definitely more progressive in sound. The album really starts to become spectacular from C'thlu Thlu until the end of the album in my opinion. That stretch of tracks is perfect. Song after song it was magical. Overall, I enjoyed this album very much. It is a great addition to any prog collection and a great Canterbury Scene record by a great Canterbury Band.

I give them album 4/5 stars. It's an excellent addition to any prog rock music collection.

With a compositional sophistication on full display and an array of compelling tunes, right after being signed by a new label, Caravan released their second studio album 'If I Could Do It All Over Again...' in September of 1970, with the record becoming one of the all-time classics of the Canterbury scene. Following up on the band's playful psychedelic-pop debut, this release seems much more like an ode to innocence and boyhood perhaps, yet it exhibits a much more progressive approach to the various pieces of music on here, ranging from minute-long interludes to long and winding jazz-rock instrumental bonanzas. Of course, there is an eclecticism and an ingenuity to this album, as it all seems quite experimental, daring and somewhat provisional, with the music here paving the way for future recordings like 'Nine Feet Underground' or 'L'Auberge du Sanglier'. Narrowing down the psychedelic elements and expanding their musical vocabulary with jazzy tropes, Caravan had delivered a promising and expansive work very early on in their career.

The lineup featured here is the same as on the band's debut album, yet the musicianship and the chemistry between the band members seems ameliorated by far, as one could tell while inhabiting the headspace of the gorgeous arrangements here, always sufficiently elaborate but never really technically pretentious or overindulgent. There are also several catchier tunes, the "remnants" of that brilliant debut album - just breathe in the laid-back euphemisms of the opening title track. An interesting song lulls gently for eight good minutes in the face of 'And I Wish I Were Stoned', while the organ-heavy 'As I Feel I Die' works excellently and still sounds quite cerebral, as opposed to the outdated soundscapes of the preceding song. A 10-minute mini-suite closes off side one, this one is a less successful patchwork of sounds. 'Hello Hello' by Richard Sinclair is a fairly good pop number, while the centerpiece here is the gargantuan 14-minute jazz-rock suite 'Can't Be Long Now', simply capturing the band at their most extravagant and forward-thinking. Needless to say, 'Limits' is a lovely little closing piece, on an album that sounds impressive and adventurous for 1970, with its jazzy swindles and carefree pop tunes, just a fantastic LP.

A vastly mature psychedelic pop-prog graces the two sides of the self-titled debut album by English band Caravan, with the Canterbury scene innovators releasing their very first work as early as September of 1968, which is rather incredible to think about, as this timing is right around the dawn of the progressive movement and the steady, gentle fade of the psychedelic rock craze. With a strong, ostensible inspiration coming from Pink Floyd's 'Piper' without a doubt, as well as throwing in a couple of references to The Doors, 'Caravan' is a delightful treasure of an album and a great precursor to the excellent fusion-y music the band would go on to explore during the 70s, and while this rather short (and imperfect) studio recording only gives us frail traits of the mighty Canterbury scene, it remains an interesting glimpse into that transitional period of the late 60s, for its proto-progressive blueprints.

With the songs centered around the protruding Hammond organ sounds as well as the strong melodies and vocal harmonies, 'Caravan' is a record that is much in the style of the early Soft Machine 'Volumes' as well as some of those Cream and Floyd-ish exploratory pop tunes. The band's very own debut album already positions Caravan as a band aware of their fine songwriting capabilities, as they explore them quite interestingly and present a lush collection of moods and tones, with some songs being whimsical and uplifting, while others are being more pensive and even gloomy. Album opener 'Place of My Own' is melancholic and distantly menacing, a great song, while 'Ride' might turn out to be too trippy for some tastes. A string of three absolutely excellent numbers follow on side one, and the already impression of the album is of a very consistent, well-organized work. Just three songs on side two, among which the 9-minute closing suite 'Where but for Caravan Would I?' stands out as the first really impressive piece with more complex, challenging arrangements from Caravan. And as poor as the mixing is, and as distracting as this can be, 'Caravan' is a worthy anticipator of the Canterbury scene and a fine late 60s work that still echoes the tastes of The Wilde Flowers and the entire psychedelic rock ooze.

I wonder why I like this class album so much. Maybe it's because all the tracks sound like 1 track as a whole, like a concept album. Or because it's simply a lovely progressive effort: very cleverly structured, elegant "Canterbury", performed in a loose, groovy manner. Delicate vocals, perfectly timed guitar, swirling organ throughout and exactly there we have THE Caravan characteristic: the organ weaves it into a woolen hip(pie) sweater, worn on a moisturized early morning walk through an ancient British forest in midsummer...then, all of a sudden, you stumble upon 4 lads, not quite sure whether it's the '60 or the '70 they're living in. You are grasped by music reaching your ears and rolling along with David, Pye, Richard & Richard within the timeless Caravan capsule. They would then roll all the way to the Land of Grey and Pink.

4.0

While this album offers moments of undeniable charm, it struggles to fully commit to a cohesive identity. The album starts strong with Waterloo Lily?catchy guitar riffs and bright melodies prove it's a solid opener. The second track isn't bad either: it takes a sharp turn into jazz-rock territory with bold experimental shifts. The issue begins later: from the third track onward, the band retreats to their comfort zone. The melodies grow repetitive, the rhythms turn predictable, and while their playful charm remains, it lacks freshness. Yet amidst these inconsistencies shines "The Love in Your Eye," a sprawling epic whose emotional resonance arguably ranks among Caravan's finest compositions. All in all, this isn't a disappointing album. In fact, its bold fusion-jazz experimentation?ironically?even overshadows the remaining tracks, which, while still pleasant, feel comparatively ordinary. Its high standard overall, along with the fragmented brilliance still justifies a solid four-star rating. For listeners open to jazz, this remains to be a album that's worth a listen.

Pure 1970s gold for anyone who loves rock that's smart but never stuffy. Caravan mixes jazzy basslines, trippy guitar riffs, and flutes that sound like they're dancing (Hello Hello is a straight-up joyride). As I Feel I Die shows their magic?crazy sax solos crash into gentle melodies without missing a beat, like a garage band that accidentally wrote a symphony. The whole album feels raw in the best way: fuzzy recordings, loose jams, and playful lyrics. Sure, it's "prog-rock," but forget the fancy labels?this is just great music that's aged like a weird vintage wine. Fifty years later, it's still the kind of album you'll want to play "all over again". 4.5 rounding up to 5.

Definitely one of the best albums of Caravan. Mostly constituted by instrumental pieces, this album lays less stress on vocal parts, which may be the reason why it is sometimes eclipsed by former albums like "the land...". But it's still an indeed masterpiece that may even reach new heights in the essence of being a Canterbury Scene with all the superb performances made mainly by keyboard or drum. In particular, "memory lain"features truly uplifting passages and "surprise, surprise"is a real surprise as well. The combination of viola and strings also add a distinctive texture to this album, which can be highlighted the most in "a hunting...".

Made in 1971 as the third edition of the Canterbury scene band caravans discography this album presents a strand of fast paced tracks such as "Winter Wine" and "Nine Feet Underground" The brothers Sinclair, David and Richard create a great crisp sound that Many may like The starting song "Golf girl" sets very English vocals with a heavy British accent and side of a steady beat and keyboards to fill the air. The lyricism presents a soft love story of two at a golf course sitting under the tree and hearing a story such as this backed up by good music is a great thing. track 2: Winter Wine being my favorite song on the album was also the song that introduced me to caravan and this album the song offers great guitar work by Pye Hastings and the solo he performs makes the song in my opinion. Track 3 and 4 are also good but pave the way for the 22 minute epic "Nine Feet Underground" The epic conclusion to this great album is phenomenal, it presents fast paced jazz elements that make me recommend this album to anyone reading

Let's go to Canterbury and check out the scene! Caravan is one of the primary examples of the Canterbury prog style. I am quite familiar with the title track, but not much else, so I'll say I'm a level one here.

Track 1 - Golf Girl

We begin with a trombone solo (I know right!?!) The band is playing a bouncy rhythm underneath as the vocals join in. Richard Sinclair's vocals are very British indeed. I like the whimsical instrumental but that follows. The trombone joins back in. As far as I can recall, this is the first song to feature trombone out of 65 albums I have listened to thus far. The beat is fun and remains bouncy as now we have a flute solo. The trombone is by John Beecham, and the flute is by Jimmy Hastings, who will apparently provide more woodwinds as we proceed. Fun track, I like it.

Track 2 - Winter Wine

We begin with clean strummed electric guitar and Richard Sinclair again on vocals. It begins with a ballady feel, but the rhythm section kicks in and the tempo increases. There is a nice dynamic shift at around the 3-minute mark. There is what I believe to be a keyboard solo at around the 4-minute mark, but it has a tone that could be a fuzz guitar to it. Cool panned wah-wah effect just before the 5-minute point. The rhythm section is very tight behind this extended solo. The vocals return around 5:55 and there are great harmonies at around 6:20. Great track.

Track 3 - Love to Love You (And Tonight Pigs Will Fly)

This one begins with a Hang on Sloopy type of riff and "more cowbell," but in a 7-4 time. Love the guitar tones at around 55 seconds in provided by Pye Hastings who is also the lead vocalist on this one. This is a very cool track, it sounds happy and poppy, but that 7-4 puts a twist on it. Excellent!

Track 4 - In the Land of Grey & Pink

As mentioned, I know this one quite well. Back to Richard Sinclair's vocals here. The beat is similar to Golf Girl. The lyrics are very trippy. We have a piano solo just before the 2-minute mark. The keyboard tone used in Winter wine is back here. (David Sinclair is the keyboardist but would leave for about a decade following this album.) There are some funny vocal parts that sound like they have puckered lips and are wiggling their fingers in a way that moves the lips while holding a note. Don't know how else to describe it, but I think we all played with that sound as kids. Fun song.

Track 5 - Nine Feet Underground (Medley)

And we have a sidelong closing epic of nearly 23 minutes to close out the album. There are several sections as listed below (cut & pasted from Wikipedia):

"Nine Feet Underground"

a. "Nigel Blows a Tune"

b. "Love's a Friend"

c. "Make It 76"

d. "Dance of the Seven Paper Hankies"

e. "Hold Grandad by the Nose"

f. "Honest I Did!"

g. "Disassociation"

h. "100% Proof"

Part b is sung by Pye Hastings, while part g is sung by Richard Sinclair. The rest are instrumental segments. According to my minor research, this track came about because David Sinclair had several instrumental ideas that he wanted to pull them together into a medley. The band liked the idea, and all contributed in bringing it together.

The track begins with "fuzz organ" with the rhythm section underneath. This is the tone I've been hearing on previous tracks. The organ is joined by guitar briefly, before the sax takes over, played by the previously mentioned Jimmy Hastings (Pye's Brother). David Sinclair has a truly unique sound as he uses wah-wah and fuzz effects on his organ. I believe we are transitioning to part b at around 5:55. Yep, vocals join in around 6:15. Richard Coughlan has some nice drum fills on this one. More organ soloing as we reach the 8-minute mark. I like the backing vocals at around 8:45, they add a nice touch. We transition to part c I believe at around 9 minutes in. David Sinclair is a good soloist, but I'd like to hear more from Pye Hastings. The next transition to part d seems to happen at around 10:45. This section is more mellow. Next change occurs at around 11:55 as the rhythm changes to presumably part e. Richard Sinclair is playing a wonderful bassline here. The next transition happens at 14:10 to what I believe is part f, if I'm keeping count correctly. A slower, but steady, tempo happens here. Things change again at 16:10 to part g and the vocals begin, so I must be on track. This part gives Moody Blues vibes. Things get rocking at around 19:30 for section h. This one reminds me of Rare Earth's version of "Get Ready." Richard Sinclair is quite a bassist, he seems a bit unsung as prog is known for having some of the greatest bassists of all time, and Richard Coughlin holds down the groove nicely. The track ends with a bit of a crash of cacophony.

OVERALL IMPRESSIONS:

This is a very enjoyable album. It's very fun and whimsical for much of it. The songs on side one are each quite good. The epic on side two is also good but feels more like an extended jam session for much of it. I believe that is due to how it was pieced together. As mentioned above, there doesn't seem to be much of an opportunity for Pye Hastings to be featured on guitar, as most, if not all, of the solos are played by David Sinclair on the organ. I like it quite a bit, but I don't think it reaches the heights of some of the other albums on the list. I'll give this a 4 out of 5 stars.