Caravan - Cunning Stunts 1975

Contrasting the clever spoonerism from which Cunning Stunts derives its name, Caravan is heard on what is arguably their most uninspired material to date. The effort is certainly far from a total loss, but nowhere nearly as creative as their former studio effort For Girls Who Grow Plump in the Night (1973) -- the likes of which sadly would not be equaled. Instead of commencing the affair with the aggression and spirit that informed previous LPs -- such as "Memory Lain, Hugh" or "Waterloo Lilly" -- which had christened their earlier albums, "The Show of Our Lives" comes off comparatively heavy and practically dirge-like. Caravan's trademark instrumental agility while perhaps temporarily mired, is not lost on Pye Hastings' uptempo rocker "Stuck in a Hole." Heavy-handed, superfluous orchestration -- possibly a residual effect of their New Symphonia project from late 1973 -- mars "No Backstage Pass" and the 18-minute "Dabsong Conshirtoe." There are a few trademarks and at times edgier passages, especially during the "Ben Karratt Rides Again" movement of the epic "Conshirtoe." Still, the orchestration is too slick sounding, as if it were teetering on the aural wallpaper that is (gasp!) Muzak. Caravan enthusiasts intent on including Cunning Stunts in their collections should be aware that the 2001 CD reissue contains a few choice supplementary selections. Chief among these is an unissued take on "Keeping Back My Love" -- which would ultimately be reworked three years later on Better by Far (1977). Here the band definitely displays signs and sounds of the Caravan of old. For that cut alone, the renovated offering can be sufficiently recommended. The other significant bonus track is a live "For Richard" recorded at Fairfield Hall in Croydon, England. Originally, it was included in the 1976 Canterbury Tales best-of but makes its digital debut here. AMG.

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Caravan - Waterloo Lily 1972

Before the recording of Waterloo Lily, David Sinclair departed Caravan to join forces with Soft Machine skinsman Robert Wyatt and form Matching Mole. With the subsequent arrival of former Delivery member Steve Miller and an overwhelming jazz influence, the edgier progressive rock and folk elements that were so prevalent on their previous albums are somewhat repressed. The band's performance level did not suffer in the transition. In fact, the addition of Miller only punctuates Caravan's previously honed improvisational skills. Beginning with Waterloo Lily's leadoff title track, there is a sound more akin to the jazzier efforts of Traffic. Miller's "Nothing at All" incorporates the jazz fusion even further as the long instrumental introduction more than hints at Steely Dan circa Katy Lied. The up-tempo staccato bop featuring Miller's electric piano accents, when juxtaposed with Pye Hastings' liquid-toned electric guitar could easily be mistaken for that of Walter Becker and Donald Fagan. The remainder of the album centers on a couple of pieces that evoke the sound and spirit of the previous Caravan outings. Most reminiscent of the classic sound is Hastings' epic "The Love in Your Eye" suite. The track recalls the laid-back intensity and phenomenal improvisational synergy of earlier tracks such as "For Richard" and "Where, but for Caravan Would I," while wisely incorporating Miller's formidable jazz chops to give the instrumental sections sustained substance throughout. The remastered CD offers three additional compositions circa the Waterloo Lily sessions. "Pye's June Thing" and "Ferdinand" are two of Hastings' acoustic demos. A considerably more complete "Looking Left, Looking Right" is a treasured recovery from the vaults. Originally vaulted due to the time limitations of vinyl, this track, along with "Pye's Loop" -- which acts as a coda to "Looking Left..." -- mark their debut release here. AMG.

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Caravan - For Girls Who Grow Plump In The Night 1973

After the musical uncertainty of Waterloo Lily, Caravan returned with their most inspired recording since In the Land of the Grey and Pink. The splendidly titled For Girls Who Grow Plump in the Night is several steps ahead in terms of fresh musical ideas that wholly incorporate the band's trademark humor within the otherwise serious and challenging sonic structures. Two of the more dominant reasons for the change in Caravan's sound were the return of keyboardist Dave Sinclair and the addition of violist Peter Geoffrey Richardson. Die-hard fans gladly welcomed Sinclair back, however, Richardson was met with heckles from enthusiasts during live appearances. They were soon silenced as his place on For Girls Who Grow Plump in the Night easily ranks among Caravan's watershed moments. There are perhaps none better than the mesmerizing counterpoint melodies he weaves during the "L'Auberge Du Sanglier" suite. While not completely abandoning their jazz leanings, For Girls Who Grow Plump In The Night is considerably focused back into the rock genre. Ironically, the album also features some rather elaborate orchestration. In context, it is quite effective in creating emphasis -- especially on the leadoff track "Memory Lain, Hugh," as well as the dreamy mid-tempo "The Dog, The Dog, He's At It Again." The remastered CD also includes five additional tracks. The first four are demos featuring the band without orchestra and with some notable differences, such as the distinct lead guitar opening to "Memory Lain, Hugh." "Derek's Long Thing" is another instrumental piece penned by keyboardist Derek Austin -- one of the two transitional Caravan members chosen to replace Steve Miller. A must-own for inclined parties. AMG.

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Caravan - Caravan & The New Symphonia 1974

The newly mined creative energies that guided For Girls Who Grow Plump in the Night continued into the Caravan & the New Symphonia project. Fusing with a 39-piece orchestra is a daring move that pays off. The remastered CD includes over a half an hour of unissued material from Caravan, with and without the New Symphonia, during the same October 28, 1973 Theatre Royal concert. Subtitled "The Complete Concert," this performance captures Caravan at a creative zenith. The newly restored program commences with a brief introduction from BBC Radio's Alan Black. The band then presents three from For Girls Who Grow Plump in the Night: "Memory Lain, Hugh"/"Headloss" suite, "The Dog, the Dog, He's at It Again," and "Hoedown." This mini-set sparkles with the frenetic energy that a live audience will often provide. The intense interaction during the waning moments of "The Dog, the Dog, He's at It Again" allows Caravan to reach a whole different stratum. The second set features the orchestra with the band and commences with "Introduction," an orchestrated piece that leads into the very delicate preface of "The Love in Your Eye." The synergies truly begin to flow as the band weaves in and out of the orchestra. Pye Hastings composed two new pieces specifically for this recording: "Mirror for the Day" and the brilliant "Virgin on the Ridiculous"; the latter became a performance standard for Caravan. The remainder of the set features some of their most formidable performance numbers, including an emotive "For Richard." The newly restored encore, "A Hunting We Shall Go" is stunning in its scope and perfectly encapsulates what Caravan & the New Symphonia is really all about: allowing good music and good musicians the chance to be mutually superior. AMG.

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Caravan - Caravan 1968

For their first album, Caravan was surprisingly strong. While steeped in the same British psychedelia that informed bands such as Love Children, Pink Floyd, and Tomorrow, Caravan relates freedom of spirit and mischief along the lines of Giles, Giles & Fripp or Gong. The band's roots can be traced to a British blue-eyed soul combo called the Wilde Flowers. Among the luminaries to have passed through this Caravan precursor were Robert Wyatt, Kevin Ayers, and Hugh Hopper, and Brian Hopper (pre-Soft Machine, naturally). By the spring of 1968, Caravan had settled nicely into a quartet consisting of Pye Hastings (guitar/bass/vocals), Richard Coughlan (drums), David Sinclair (organ/vocals), and Richard Sinclair (bass/guitar/vocals). Inspired by the notoriety and acclaim that Soft Machine encountered during the burgeoning days of London's underground scene, Caravan began a residency at the Middle Earth club. Additionally, the band was shopping a homemade demo tape around to local record companies. Before long, entrepreneur Tony Cox worked out a deal for them to record on the newly founded U.K. division of the Verve label. Caravan's self-titled debut is equally as inventive and infinitely more subtle than the Soft Machine's Volume One or Pink Floyd's Piper at the Gates of Dawn. Two of the album's best tunes -- the ethereal "Place of My Own" was backed with the dreamlike "Magic Man" -- were issued as the band's first single. Those tracks accurately exemplify the subtle complexities that Caravan would hone to great effect on later recordings. The same can also be said for album cuts such as "Love Song With Flute" and the extended nine-minute "Where but for Caravan Would I?" The latter title aptly exemplifies Caravan's decidedly less than turgid attitude toward themselves -- a refreshing contrast from the temperamental and serious Art School approach adopted by Pink Floyd and the Moody Blues. The mono and stereo mixes of the long-player are striking in their disparities. The stereo mix is at times opaque and virtually swallows the vocals most specifically on the tracks "Policeman" and "Grandma's Lawn." Otherwise, there are numerous additional nuances that discern the two. The single version of "Hello Hello" is also included as a bonus. This track was the follow-up 45 to "Place of My Own" and would appear in a slightly different form on their next LP, If I Could Do It All Over Again, I'd Do It All Over You. Potential consumers should note that the sound quality on this package is indescribably better than the HTD Records 1996 CD pressing. AMG.

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Caravan - Waterloo Lily 1972

Before the recording of Waterloo Lily, David Sinclair departed Caravan to join forces with Soft Machine skinsman Robert Wyatt and form Matching Mole. With the subsequent arrival of former Delivery member Steve Miller and an overwhelming jazz influence, the edgier progressive rock and folk elements that were so prevalent on their previous albums are somewhat repressed. The band's performance level did not suffer in the transition. In fact, the addition of Miller only punctuates Caravan's previously honed improvisational skills. Beginning with Waterloo Lily's leadoff title track, there is a sound more akin to the jazzier efforts of Traffic. Miller's "Nothing at All" incorporates the jazz fusion even further as the long instrumental introduction more than hints at Steely Dan circa Katy Lied. The up-tempo staccato bop featuring Miller's electric piano accents, when juxtaposed with Pye Hastings' liquid-toned electric guitar could easily be mistaken for that of Walter Becker and Donald Fagan. The remainder of the album centers on a couple of pieces that evoke the sound and spirit of the previous Caravan outings. Most reminiscent of the classic sound is Hastings' epic "The Love in Your Eye" suite. The track recalls the laid-back intensity and phenomenal improvisational synergy of earlier tracks such as "For Richard" and "Where, but for Caravan Would I," while wisely incorporating Miller's formidable jazz chops to give the instrumental sections sustained substance throughout. The remastered CD offers three additional compositions circa the Waterloo Lily sessions. "Pye's June Thing" and "Ferdinand" are two of Hastings' acoustic demos. A considerably more complete "Looking Left, Looking Right" is a treasured recovery from the vaults. Originally vaulted due to the time limitations of vinyl, this track, along with "Pye's Loop" -- which acts as a coda to "Looking Left..." -- mark their debut release here. AMG.

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Caravan - Blind Dog At St. Dunstan's 1976

After the surprisingly warm reception of Cunning Stunts, it looked like Caravan could do no wrong. Unfortunately, the band's next release was a major turn for the worse. New keyboard player Jan Schelhaas was part of the reason - his jazzy, up-tempo playing on every song regardless of the intended mood is one of the major problems here. It doesn't help that the material here is generally weaker, lacking either compelling lyrics or interesting song structures. Only the opening "Here Am I" is up to the standard of their older material and played with any kind of finesse. What is missing on this album is the character that made Caravan something more than just another technically proficient band. The critical and popular reaction was devastating. Blind Dog at St. Dunstan's took a career that was headed for the big time and brought it firmly back to ground. AMG.

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Caravan - If I Could Do It All Over Again, I'd Do It All Over You 1970

Caravan followed up their eponymous debut with the cryptically titled If I Could Do It All Over Again I'd Do It All Over You in the fall of 1970. If I Could Do It All Over Again contains significant progressions over the first album. These include the intricacy with which compositions are sculpted around some of the finest instrumental improvisation in British rock at the time -- or arguably since. Caravan's uncanny ability to create a montage that effortlessly maneuvers through acoustic folk and electric progressive rock is best exemplified on the "With an Ear to the Ground" suite. The extended instrumental passages weave in and out of each other, creating a hypnotic and otherwise psychedelic soundscape that would become a trademark of the European progressive rock movement. Another epic, "For Richard" quickly found solid standing as the Caravan live performance closer for decades after first appearing on this album. Juxtaposed against these pieces are several shorter works, which in essence clear the palette for the longer ones. The title track, as well as "Hello, Hello" are perfect examples of how Caravan was able to one-up many of their progressive contemporaries, creating shorter and more accessible songs for radio airplay -- resulting in a guest appearance on BBC TV's Top of the Pops program. AMG. listen here