Caravan
Band members Related acts
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line up 1 (1968-71) - Richard Coughlan -- drums, percussion - Pye Hastings -- vocals, lead guitar - David Sinclair -- keyboards, synthesizers - Richard Sinclair -- vocals, bass
supporting musicians: - Jimmy Hastings -- flute - Brian Hopper -- horns
line up 2 (1971-73) - Richard Coughlan -- drums, percussion - Pye Hastings -- vocals, lead guitar NEW - Steve Miller -- keyboards (replaced David Sinclair) - Richard Sinclair -- vocals, bass
line up 3 (1973) - Richard Coughlan -- drums, percussion - Pye Hastings -- vocals, lead guitar NEW - John Perry -- bass, percussion, backing vocals (replaced Richard Sinclair) - Peter Geoff Richardson -- viola NEW - David Sinclair -- keyboards, synthesizers (replaced Steve Miller)
supporting musicians:1972 - Paul Buckmasyer -- electric cello - Rupert Hine -- synthesizers - Jill Pryor -- layrix - Frank Ricotti -- percussion
line up 3 (1973) - Richard Coughlan -- drums, percussion - Pye Hastings -- vocals, lead guitar - Peter Geoff Richardson -- viola, guitar, flute - David Sinclair -- keyboards, synthesizers (replaced Steve Miller) NEW - Mike Wedgwood -- bass, percussion, vocals (replaced John Perry)
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- Camel (Richard Sinclair) - Curved Air (Mike Wedgewood) - Dybill. Coxhill and the Miller Brothers (Steve Miller - Carol Grimes and Delivery (Steve Miller) - Hatfield and the North (Richard Sinclair) - JIm Lewton and Geoffrey Richardson - The Loving Kind - Matching Mole (David Sinclair) - The Steve Miller Trio (Steve Miller) - Steve Miller and Lol Coxon - National Head Band (JIm Schelhass) - Penguin Cafe Orchestra - Richard Sinclair (solo efforts) - Spreadeagle (John Perry) - Daryl Way's Wolfe - The Wilde Flowers (Richard Coughlan, Pye Hastings and Richard Sinclair)
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Genre: progressive Rating: 3 stars *** Title: Waterloo Lily Company: London Catalog: XPS
615 Country/State: Canterbury, UK Grade (cover/record): VG+/VG+ Comments: US pressing; gatefold sleeve Available: 1 Catalog ID: 5620 Price: $25.00
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1972's David
Hitchcock produced "Waterloo Lily"
was released in the wake of a personnel change that saw original keyboardist
David Sinclair hook up with former Wilde Flower band mates Kevin Ayers and
Richard Wyatt in Matching Mole. He was quickly replaced by former
Delivery member Steve Miller (brother of Matching Mole's Phil Miller - not
the US Steve Miller of 'The Joker' fame). Even to a casual fan like
myself, it was obvious that Miller brought a distinctive change to the
band's sound. While they remained firmly entrenched in the progressive
genre, Miller's keyboards gave material like the title track and the
instrumental 'Nothing At All (reprise)' a distinctive blues and
Even though the album was quite good, it did little to improve commercially sales which led to internal frictions among the members. Miller promptly left and in an ironic turn of events was replaced by David Sinclair who'd recently quit Matching Mole. Richard Sinclair also headed out the door, reappearing with Hatfield and the North.
"Waterloo
Lily" track listing: 1.) Waterloo Lily (Richard Coughlan - Pye Hastings - Richard Sinclair) - 6:47 2.) Nothing At All (instrumental) (Richard Coughlan - Pye Hastings - Richard Sinclair) - 10:25 i.) It's Coming Soon (Steve Miller) - ii.) Nothing At All (reprise) (Richard Coughlan - Pye Hastings - Richard Sinclair) 3.) Songs and Signs (Steve Miller) - 3:39
(side
2) 2.) The Love In You Eye (Richard Coughlan - Pye Hastings - Richard Sinclair) - 12:29 i.) To Catch Me a Brother (Richard Coughlan - Pye Hastings - Richard Sinclair) ii.) Subsultus (Richard Coughlan - Pye Hastings - Richard Sinclair) iii.) Deboughements (Richard Coughlan - Pye Hastings - Richard Sinclair) iv.) Tilbury Kecks (Richard Coughlan - Pye Hastings - Richard Sinclair) - 3.) The World Is Yours (Richard Coughlan - Pye Hastings - Richard Sinclair) - 3:38
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Genre: progressive Rating: 4 stars **** Title: For Girls Who Grow Plump In the Night Company: London Catalog: XPS
637 Country/State: Canterbury, UK Grade (cover/record): VG+/VG+ Comments: US pressing; gatefold sleeve; minor ring wear Available: 1 Catalog ID: 2622 Price: $25.00
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The release of
1973's "For Girls Who Grow Plump In the
Night" came on the heels of major personnel chances that
saw Steve Miller replaced by keyboardist Dave Sinclair (returning for his
second tour of duty with the band after a short stint with Robert Wyatt and
Matchin
Caravan fans can seldom agree on anything, but I'll step up and say that in spite if a couple of missteps (the closing suite), this is my favorite Caravan album (extra half star for the great album title and packaging which they were forced to revamp when London marketing rejected the original photo of a naked pregnant woman).
1.) Memory Lain, Hugh / Headloss (Pye Hastings) - 9:14 rating: **** stars For anyone who thought these guys were just a bunch of shaggy-haired pretentious blowhards, I suggest they check out the stunningly commercial 'Memory Lain, Hugh'. Penned by Hastings, this song managed to blend a surprisingly commercial melody, some of the prettiest progressive moves you've ever heard, and some meaty rock moves - kudos to new bassist Perry and long time drummer Richard Coughlan for their pounding performances on the track. Actually the second part of the opening medley, 'Headloss' was even more commercial, complete with harmony vocals, one of Hasting's best lead solos, and a distinctive top-40 flavored sheen. Hum, imagining Caravan on the top-40 play list was certainly an odd picture. 2.) Hoedown (Pye Hastings) - 3:18 rating: **** stars - Opening up with an immediately arresting Pye guitar riff and cowbell percussion courtesy of Rank Ricotti, 'Hoedown' was about as close to an outright pop number as these guys could come without exploding. Surprisingly Richardson's country-tinged violin solo made the song even better. 3.) Surprise, Surprise (Pye Hastings) - 4:05 rating: **** stars With bassist Perry handling lead vocal (?) 'Surprise Surprise' was a pretty, breezy mid-tempo number with some amazingly chirpy vocal harmonies. Every time I hear it I have to scratch myself to make sure I'm listening to a Caravan performance. 4.) C'thlu (Pye Hastings) - 6:12 rating: **** stars Apparently based on the H.P. Lovecraft's short story "The Call of Cthulhu", 'C'thlu' opened up with John Perry's bass giving the song a dark, ominous feel. David Sinclair's wailing ARP synthesizers underscored the weird feel. And then the song suddenly hit the upbeat, poppy chorus. Strange, but one of my favorite songs on the album.
(side
2) I cant really explain it, but occasionally a song just sounds like it came out of a certain timeframe and that was definitely the case for 'The Dog, the Dog, He's At It Again'. It may have been recorded in 1973, but had a distinctive mid-1960s feel (at least until Sinclair's ARP kicked in), that recalled such perennial favorites as Brian Wilson and The Fab Four. Instantly engaging with some stunning layered vocals and another album highlight with a wonderfully quirky lyric. 2.) Be Alright / Chance of a Lifetime (Pye Hastings) - 6:35 rating: **** stars Kicked along by a first-rate Pye solo, 'Be Alright' was interesting for showing these guys could actually belt out a true rock song. Another performance that would probably shock anyone who came to the band through their jazz-rock, or progressive moves. I love it. - 'Chance of a Lifetime' shifted gears into a pretty, acoustic ballad. Sinclair's synthesizer added a nice edge to the track, with Pye turning in his prettiest solo. Richardson's violin solo not so much ... 3.). L'auberge du Sanglier - 10:05 'L'auberge du Sanglier' was a ten minute, four part suite that found the band returning to their earlier progressive roots, i.) A Hunting We Shall Go (instrumental) (Pye Hastings) rating: **** stars A Hunting We Shall Go' was a hard edged instrumental with a great rock edge that turned even better when Pye's guitar solo kicked in. Richardson's distinguished himself on this one with a true rock violin solo. ii.) Pengola (instrumental) (Pye Hastings) rating: ** stars iii.) Backwards (John Perry) rating: ** stars Showcasing Sinclair on keyboards and synthesizers (yes, his opportunity to grab the spotlight), 'Pengola' started out as a stark, atmospheric ballad. Quite pretty, though the impact was lost when the track morphed into the 'Backwards' segment where heavy instrumental backing kicked in reducing it to what sounded like incidental music out of a 'B' flick soundtrack.
iv.) A Hunting We Shall Go (reprise) (Mike Ratledge).
rating:
** stars
For hardcore fans the album was remastered in 2001, adding five bonus tracks (DERAM catalog number 8829802). With the exception of the instrumental 'Derek's Long Thing', these tracks reflected earlier demo versions of material on the original album; occasionally with different working titles and different personnel line ups. I've only heard it once and don't recall any of it being essential.
bonus tracks: 1.) Memory Lain, Hugh / Headloss (US mix) (Pye Hastings) - 9:18 2.) No! ('Be Alright') / Waffle ('Chance of a Lifetime') (Pye Hastings) - 5:10 3.) He Who Smelt It Dealt It ('Memory Lain, Hugh) (Pye Hastings) - 4:43 4.) Surprise, Surprise (Pye Hastings) - 3:15 5.) Derek's Long Thing (instrumental) - 11:00
© Scott R. Blackerby November, 2024
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Genre: progressive Rating: 4 stars **** Title: Cunning Stunts Company: BTM Catalog: BTM
5000 Country/State: Canterbury, UK Grade (cover/record): VG+/VG+ Comments: cut top right corner Available: 1 Catalog ID: -- Price: $15.00
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Caravan had spent most of the 1973-early '74 timeframe on the road. With their record label bring pressure for new material, following the replacement of \John Perry with former Curved Air bass player Mike Wedgwood, they went into the studio with producer David Hitchock (the band co-producing). Compared to their earlier releases, their sixth studio set "Cunning Stunts" found the band shifting their sound toward a more contemporary and popular sound. With songwriting chores spread across singer/guitarist Pye Hastings, multi-instrumentalist Geoffrey Richardson, keyboardist Dave Sinclair (and partner John Murphy) and new bassist Mike Wedgwood, the majority of side one featured a mixture of short, commercially viable ballads and pop-rock efforts. The band's longtime fans probably weren't thrilled to hear material like the single 'Stuck In a Hole', the funky 'Welcome the Day', or 'No Backstage Pass' but the tunes were melodic and at least mildly enjoyable, if not particularly original. Nah, the side long, six part suite 'The Dabsong Conshirtoe' wasn't going to be mistaken for Bad Company, but it at least pointed the band back in a progressive direction. Over the song's eighteen minute playing time they tapped into a broad array of genres including pop, jazz, rock and even a bit of progressive movement. Hardcore progressive fans were likely appalled, but for a casual listener it was painless.
Gawd only knows why, but the UK and US releases featured a slightly different running order. On the UK album the brief instrumental 'Fear and Loathing in Tollington Park Rag' appeared at the end of side two. It was the final song on side one of the US pressing. Wonder how much time the marketing people spent discussing the change ...
"Cunning
Stunts" track listing: 1.) The Show of Our Lives (John Murphy - Dave Sinclair) - 5:47 rating: **** stars Opening with a pretty David Sinclair keyboard pattern, 'The Show of Our Lives' served as a nice showcase for Pye Hasting sweet voice. One of the prettiest melodies in their recording catalog, the track added more and more instrumentation and energy as it rolled along. It also highlighted Geoff Richardson''s chunky, melodic electric guitar. Complete with bells, the choral ending was unexpected, but lovely. Always liked the lyrics comparing a concert to an overview of one's life. That must be the reason the pastoral melody frequently pops into my head when I go to a concert. 2.) Stuck in a Hole (Pye Hastings) - 3:09 rating: **** stars I can imagine the band's progressive fans freaking out hearing a slice of top-40 pop-rock like 'STuck In a Hole' ... Featuring Hastings on lead vocals, for a band tagged as "progressive" the song showed these guys could write and effortlessly perform a top-40 rocker along with the best of them. Besides, how could you not like a song that featured a couple of gloriously cheesy David Sinclair synthesizer solos. Hey, more cowbell !!! Easy to see why it was released as a single:
- 1975's 'Stuck In a Hole' b/w 'Lover' (BTM catalog number BTM 800)
3.) Lover (Mike Wedgwood) - 5:06 rating: ** stars Written and sung by new bassist Mike Wedgwood, 'Lover' was another surprisingly commercial effort. Of course one needs to remember commercial doesn't necessarily equate to good. That's certainly the case with this saccharine piece of schmaltz. Docked another star for Wedgwood's tentative vocals. He sounded like he was about to break out into tears. Not sure I've ever said anything like this before in a review, but Geoff Richardson's viola solo proved the song's standout component. 4.) No Backstage Pass (Pye Hastings) - 4:34 rating: *** stars The sweet ballad 'No Backstage Pass' moved back towards the band's progressive roots, but retained a commercial edge, 5.) Welcome the Day (Mike Wedgwood - 4:01 rating: **** stars Wedgwood's second composition, the bass powered 'Welcome the Day' sported a surprisingly jazz-funk flavor. Was this really a Caravan album? Geez, Hastings actually cut loose with a blazing guitar solo, followed by SInclair on synthesizers. 6.) Fear and Loathing in Tollington Park Rag (instrumental) (Geoffrey Richardson) - 1:10 rating: ** stars The brief ragtime-ish instrumental 'Fear and Loathing in Tollington Park Rag' was Geoff Richardson's only contribution to the songwriting chores. Cute, but forgettable and very brief.
(side
2) a. The Mad Dabsong - 2:15 Provided any of them actually made it through side one, Caravan's progressive fans probably breathed a sigh of relief seeing side two featured an eighteen minute, six part suite. No idea what the title referred to, but showcasing Sinclair's light synthesizer washes 'The Mad Dabsong' started out with a gentle melody that was almost as commercial as the single 'Stuck In the Hole.' Listening to it again, it would have actually made a better single since it had a stronger melody. For goodness sakes, it reminds me of something by David Pack and Ambrosia. Even Sinclair's synthesizers remind me of an Ambrosia performance. b. Ben Karratt Rides Again - 2:42 'Ben Karratt Rides Again' shifted into a tougher, but equally attractive melody. c. Pro's and Con's - 2:29 'Pro's and Con's upped the rock quotient and added horns to the arrangement. d. Wraiks and Ladders (instrumental) - 0:58 An abrupt shift found the brief instrumental 'Wraiks and Ladders' trotting out something that sounded like ELP, or perhaps Focus recording a piece intended for a church memorial service. e. Sneaking out the Bare Quare (instrumental) - 4:25 Spotlighting in sequence Richardson's flute, SInclair's electric piano, Hasting's guitar, Sinclair's synthesizers and Richardson's viola, the instrumental 'Sneaking out the Bare Quare' had a pleasant new age jazzy vibe. It would have made a nice soundtrack for a travel commercial. f. All Sorts of Unmentionable Things - 5:11 Funny, powered by Hastings wah-wah guitar 'Sneaking out the Bare Quare' reminded me of something off an Issac Hayes album. Well, at least until the song devolved into a weird sound collage and a breif reprise of 'The Show of Our Lives' melody. No idea what the background spoken word conversations and sound effects were about .. The end of the world? Some Caravan scholar will know.
© Scott R. Blackerby November, 2024
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jazz
vibe. The one notable exception to the new direction was the side two
suite 'The Love In Your Eye'. Penned by drummer Richard
Coughlan, guitarist Pye Hastings, and bassist Richard Sinclair,
the twelve minute composition harkened back to their earlier improvisational
moves (complete with Jimmy Hastings flute solo and some killer lead guitar
from Pye). Longtime fans apparently weren't all that thrilled
with the changes, but to my ears it sounded pretty good in that even the
extended jam sessions managed to go by quickly - something that in my
estimation sinks a lot of progressive bands. The other revelation came
in the form of bassist Sinclair. On earlier albums Sinclair had been
relegated to a supporting role, but throughout this set he was featured way
up front, his bass patterns occasionally challenging Pye Hastings lead
guitar (check out 'It's Coming Soon'). The other thing I've always
found kind of funny about Caravan has been their ability to construct highly
commercial, radio friendly material. In this case Miller's 'Songs and
Signs', 'Aristocracy', and 'The World Is Yours' all could have been FM
hits. Not a claim many progressive bands could make ...
g Mole), Richard Sinclair replaced by former Spreadeagle bassist John
Perry and the addition of viola player Geoff Richardson to the line
up. Produced by David Hitchcock, the album saw another change in
musical direction with singer/lead guitarist Pye Hastings stepping back into
the creative forefront. With Hastings responsible for 90% of the
album, tracks like 'Memory Lain, Hugh'' and 'Surprise, Surprise' saw the
band moving away from the previous set's jazz-rock moves to a more
mainstream rock attack. That shift in direction was tempered to some
degree by Richardson's cello and violin which occasionally recalled the
"Waterloo Lily" jazz moves (check out the ten minute closing suite
'L'auberge du Sanglier'). Still, this made for one of the band's most
accessible collections which probably ticked off loads of prog heads.
