CARAVAN
Canterbury Scene • United Kingdom
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Formed in 1968 in Canterbury, UK - Disbanded in 1978 - Reformed several times (1980-85, 90-92 and since 1995)
CARAVAN were the other half of the WILDE FLOWERS - the SOFT MACHINE being the other - that originated in Canterbury, Kent. The band itself was originally formed in early 1968 by guitarist/vocalist Pye HASTINGS, keyboardist Dave SINCLAIR , bassist/vocalist Richard SINCLAIR (later of HATFIELD & THE NORTH, NATIONAL HEALTH, etc.), and drummer Richard COUGHLAN. All four members of CARAVAN were, at one time or another, in that band. They were a leading exponent of what became known as "the Canterbury sound".
The band's 1968 self-titled debut was a hybrid of jazz and psychedelia. Things became serious with the second album, "If I Could Do It All Over Again,I'd Do It All Over You" and would mark the start of their classic period. The material was a very original mixture of styles including classical, jazz, and traditional English influences. A MILESTONE IN THEIR HISTORY. This recipe was used to great success on the next album, "In the Land of Grey and Pink". This album was a perfect blend between simple northern-English pop and complex progressive rock. Quite simply one of the greatest progressive rock classics. The style dominated the next album, "Waterloo Lily", released in May of 1972, which marked a clear step towards jazz. Yet, Richard SINCLAIR's influence was clearly apparent on the first side. "For Girls Who Grow Plump in the Night" marked another change in the band's sound, this time towards a more streamlined symphonic approach. This album is not a bad album taken by itself, but the classic Canterbury sound stopped here. For a more representative look at CARAVAN in their prime, check out the preceding three albums. This lineup also recorded the live album "Caravan and the New Symphonia", a live 1973 performance accompanied by a full orchestra.
"Cunning Stunts" (1975) marked the beginning of a series of mediocre releases and lineup changes, eventually leading to the reunion of the original members on "Back to Front". Many different compilations and live albums were released in the intervening twelve years before a new studio album, "Battle...read more
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CARAVAN discography
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CARAVAN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
3.70 | 612 ratings
Caravan 1968 |
4.25 | 1187 ratings
If I Could Do It All Over Again, I'd Do It All Over You 1970 |
4.32 | 2016 ratings
In the Land of Grey and Pink 1971 |
3.77 | 664 ratings
Waterloo Lily 1972 |
4.19 | 881 ratings
For Girls Who Grow Plump in the Night 1973 |
3.22 | 418 ratings
Cunning Stunts 1975 |
3.30 | 305 ratings
Blind Dog At St. Dunstans 1976 |
2.90 | 193 ratings
Better by Far 1977 |
2.32 | 156 ratings
The Album 1980 |
2.61 | 154 ratings
Back to Front 1982 |
2.87 | 156 ratings
The Battle of Hastings 1995 |
3.39 | 154 ratings
The Unauthorised Breakfast Item 2003 |
3.18 | 122 ratings
Paradise Filter 2013 |
3.00 | 24 ratings
The Back Catalogue Songs 2014 |
3.23 | 69 ratings
It's None of Your Business 2021 |
CARAVAN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)
CARAVAN Videos (DVD, Blu-ray, VHS etc)
3.39 | 27 ratings
Classic Rock Legends (DVD) 2001 |
2.39 | 14 ratings
A Knight In London 2003 |
3.80 | 22 ratings
A Night's Tale: Live In The USA 2004 |
4.00 | 18 ratings
Caravan - The 35th Anniversary Concert 2005 |
2.90 | 10 ratings
The Anthology/The Ultimate Anthology 2007 |
3.17 | 6 ratings
Classic Rock Legends: Caravan Live At Metropolis Studios 2011 |
2.80 | 5 ratings
Live At Rosfest Gettysburg USA 2014 |
CARAVAN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)
4.20 | 5 ratings
The Best Of Caravan: From 1970-1974 1974 |
4.00 | 5 ratings
This Is Caravan 1974 |
3.50 | 4 ratings
Dos 1976 |
4.22 | 28 ratings
Canterbury Tales - The Best of Caravan 1976 |
3.00 | 2 ratings
Caravan (Compilation) 1979 |
2.09 | 6 ratings
The Canterbury Collection 1984 |
4.00 | 2 ratings
And I Wish I Were Stoned Don't Worry 1985 |
3.00 | 2 ratings
Songs And Signs 1991 |
4.05 | 9 ratings
The Best Of Caravan 1993 |
3.77 | 40 ratings
Canterbury Tales: The Best Of Caravan 1968-1975 1994 |
2.48 | 30 ratings
Cool Water 1994 |
3.15 | 28 ratings
All Over You 1997 |
3.00 | 6 ratings
Travelling Man 1998 |
3.31 | 22 ratings
Songs For Oblivion Fishermen 1998 |
3.44 | 26 ratings
All Over You ... Too 1999 |
3.04 | 5 ratings
Headloss 1999 |
3.00 | 4 ratings
The HTD Years 2000 |
3.21 | 15 ratings
Where But For Caravan Would I? 2000 |
2.29 | 10 ratings
Travelling Ways 2002 |
4.87 | 38 ratings
The World Is Yours - The Anthology 1968-1976 2010 |
3.00 | 4 ratings
Place of My Own: The Collection 2014 |
CARAVAN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)
3.17 | 10 ratings
Place of My Own 1969 |
3.64 | 11 ratings
Hello, Hello 1970 |
3.43 | 7 ratings
If I Could Do It All Over Again I'd Do It All Over You 1970 |
3.40 | 15 ratings
Golf Girl 1971 |
3.44 | 9 ratings
Love to Love You 1971 |
3.67 | 6 ratings
A Hunting We Shall Go 1974 |
3.20 | 5 ratings
Headloss 1974 |
3.00 | 7 ratings
Stuck in a Hole 1975 |
3.00 | 4 ratings
All The Way 1976 |
2.00 | 6 ratings
Better By Far 1977 |
2.20 | 5 ratings
Heartbreaker 1980 |
2.00 | 4 ratings
Keepin' Up De Fences 1980 |
CARAVAN Reviews
Showing last 10 reviews only
Caravan Canterbury Scene
Review by alainPP
5. Nine Feet Underground for side B, yes we get up, we change the LP, the K7 and we settle down again; beautiful jazz rock intro with Jimmy on sax, a progressive drift in the vein of future CAMEL; the soulful, cool, swirling atmosphere, a pleasant struggle between the different instruments highlighting themselves one after the other; 8 drawers for this long title, a real medley where everything stacks up; dissecting it no, but talking about it in a more subjective way yes; it's with the languid flute, it's really Camelian, it's also on the marshmallow candy that I like to refer to on Robert WYATT, the kind of thing you sink into; the finale goes up a notch and launches prog drifts into all directions and thus shows that prog blood can hide in a musical tune without there being the prog stamp... Well at the time there was no didn't have the stamp yet!!! (3.5)
Caravan Canterbury Scene
Review by Argentinfonico
Caravan Canterbury Scene
Review by Boi_da_boi_124
I bought this album on vinyl just because it was not accessible to me anywhere else: not on Youtube or Spotify, not on streaming platforms anywhere to what I could find. So, after listening to 'In the Land of Grey and Pink' until I loved it, I realized I had to get my hands on more Caravan material. And this is what I found. 'Memory Lain, Hugh/Headloss' felt unusually rocky and Pink Floyd-esque for Caravan. At this point, I was concerned I wouldn't like this album. But I still enjoyed this song quite a bit. Some woodwinds and brass gave me some of that Canterbury feel I expected and needed. A guitar solo rips through at some point, reminding me of 'Nine Feet Underground - Medley'. I felt I needed a bit more angelic Pye Hastings vocals, like in "In The Land". 'Hoedown' feels like a callback to 'Golf Girl' or 'Love to Love You(And Tonight Pigs Will Fly)'. 'Surprise, Surprise' finally fulfilled my desire for angelic Pye Hastings vocals. A nice Peter Geoffrey Richardson viola solo ends the song. 'C'thulu' sounded magical to me at first listen. One of my favorite Caravan songs ever. It sounds so impossibly fun to record. It reminded me a wee bit of Frank Zappa's 'Stinkfoot' and of brother band The Soft Machine's 'Facelift'. Kicking off side two is 'The Dog, The Dog, He's At It Again'. I don't really know how to describe it, but it's quite beautiful and great. It has some tasty little harmonies somewhere inside of it. After a while of harmonies, the music explodes into this future-jazzy keyboard solo in one of the best parts of this entire album. Then the music slows down and the harmonies pick up again to end the song. Another one of my favorite Caravan songs. 'Be All Right/Chance of a Lifetime' sounded eerily familiar to me at first listen. I still don't know why. The song picks up very quickly, jumping right into the rocky atmosphere and a short guitar solo. It is songs like this one and 'Surprise, Surprise' when I realize that the introduction of a viola player was quite critical to the sound of this album, even though it's a little odd. I say this because of the freaking bad-ass viola solo in this song. Prog on, Peter. Ending the album is 'L'auberge Du Sanglier/A Hunting We Shall Go/Backwards/A Hunting We Shall Go - Reprise'. (God save my fingers after typing that title!) This starts like a Yes song or something like that. This ends and a delicate piano solo plays. Other instruments follow until before you know it a beautiful symphony is unfolding before your very eyes. Absolutely heart-wrenching and tear-jerking. Maybe in the running for the best prog album-closer of all time. Maybe I'll run a poll. Who knows? The places this album can take you...
Caravan Canterbury Scene
Review by Boi_da_boi_124
Caravan's wonderful masterpiece, 'In The Land of Grey and Pink'. A beautiful record, full of surprises. Relatively far from other Canterbury Scene masterpieces like The Soft Machine's 'Third', but great in its own way. I did not like this at all, but it required only multiple listens and undying hope for me to finally enjoy this masterwork. The album starts off with 'Golf Girl', a pretty little love song with the classic Canterbury twist. This is the song that allowed me to keep hope for this album. My second favorite Caravan song, just below "Nine Feet". Then is 'Winter Wine', a soft, soothing song about - guess what - Wine! This track has some brilliant lyrics. 'Love to Love You(And Tonight Pigs Will Fly)' is another fun little love song with some great lyrics and a beautiful flute solo somewhere within it. The last song on Side One is the title track, with even more wonderful lyrics (seems to be a recurring theme in this album) and folky undertones. Then is- Haha. Haha. Hahaha hahaha! The beautiful, the hypnotic, the mesmerizing, the perfect 'Nine Feet Underground - Medley'. Full of delicious jazz interludes, delicate vocals and lyrics, and intense jamming. My favorite song of all the progressive groups to arise from Canterbury from my favorite album of all the progressive groups to arise out of Canterbury. A wonderful record. Worth infinite listens.
Caravan Canterbury Scene
Review by
Warthur
Prog Reviewer
Not, however, their lighter side - there's an extra shot of energy here. It's not Caravan going heavy metal (or even hard rock) by any stretch of the imagination, but there's just a bit more oomph to proceedings, making this a striking contrast from the fairly laid-back approach they have taken in their recent history.
Caravan Canterbury Scene
Review by
Warthur
Prog Reviewer
For a good long while - at least since the mid-to-late 1970s, I'd argue - Caravan have been more interested in cultivating their poppy soft rock side than their prog side; they still play their old prog standards in concert, but they show little inclination to produce new ones, instead producing mellow, grown-up pop-rock with Canterbury accents. For some listeners, that probably sounds terrible - but those listeners likely jumped off the Caravan bandwagon back around Better By Far. If, on the other hand, you don't mind Caravan's poppier moments, this will likely be a pleasing continuation of that direction.
For the most part, the album is fairly mellow, though there are some pieces like Dead Man Walking which incorporate enough drama and foreboding to be exciting even if they aren't that complex, so as far as Caravan's pop album goes, it's one of the more adventurous in terms of mood and tone.
Caravan Canterbury Scene
Review by
Warthur
Prog Reviewer
That said, the set comes perilously close to going wrong. The original issue of this was through Concert Live, who also were responsible for the recording. Concert Live's schtick is "instant live recording" - they take the soundboard feed and use it to knock out a live album right there on the spot, burning the first few CDs in time for punters at the concert to buy on their way out. This is a fun gimmick in theory, but in practice it means that there really isn't any time for any care and attention to be given to adjusting the mix or performing any of the other functions which can make a live recording sound better. In addition, it seems like their technology didn't work perfectly this time - other reviewers have reported glitches on the original CD issue of this live set, including one of the songs (Why? Why? Why?/And I Wish I Were Stoned) cutting out at 1:16.
As far as tracks being cut off, the latest rerelease of this live set as part of the Who Do You Think We Are? box corrects this, so perhaps a corrected standalone release is on the cards. Still, there's the odd bit of feedback and other technical glitches which are still here, and which largely seem to be artifacts of the way Concert Live's recording practices don't really leave much room for later corrections.
Interesting though it is to have Mark Walker playing on some of these tracks, the fact is that as far as the vast majority of this set goes, there's already plenty of better live recordings of the songs - and the newer material isn't enough to make this one a keeper. Perhaps a more polished presentation would help, but the speed-over-quality approach of Concert Live dooms this one.
Caravan Canterbury Scene
Review by
Aussie-Byrd-Brother
Special Collaborator Honorary Collaborator
An instant plus for the album is long-serving member Geoffrey Richardson's viola and the returning Jimmy Hastings on flute (in particular, his contributions immensely lift much of the disc and call to mind fleeting memories of the Caravan of old). Richardson's instrument of choice drifts stirringly through sedately strolling opener `Down from London', and swoons dramatically throughout `Ready or Not'. The encouraging `I'll Reach Out for You' is enlivened by warmly quivering Hammond organ, Mark Walker's peppy drumming and Geoff's ringing mandolin, its eight minutes allowing for a little longer of an instrumental reach-out.
`Wishing You Were Here' benefits from a couple of heavier up-tempo bursts (cool little Hammond run from Jan Schelhaas too, though it should have been triple the length!), `Spare a Thought' is a sweetly chiming acoustic ballad with breezy flute, and `Every Precious Little Thing' a strident acoustic rocker with trilling organ percolating in the background.
`If I Was to Fly' is one of the best foot-tapping clap-along ballads with a lovely melody, dreamy lyrics and a positive vocal, and the delicately melancholic `There Is You' holds a thoughtful longing. Both of these tracks could have slotted in sweetly on many of the classic earlier albums.
Special mention needs to go to the near ten-minute, two-part title-track `It's None of Your Business'. It may not quite reach the much-cherished heights of `Memory Lain, Hugh/Headloss' or `I Wish I Were Stoned/Don't Worry' of past Caravan eras, but there;s so much good still contained within this one! A brisk tempo, spirited acoustic strums, confident piano runs, Lee Pomeroy's busily murmuring bass and a sprightly Pye vocal weave together, before a brief ambient middle then joyfully romantic finale. The longer length means the band takes the opportunity to work in a number of extended instrumental flourishes, and it's likely to be the standout favourite among listeners here.
The album closes on a haunting and mysterious instrumental `Luna's Tuna', with crystalline synth shivers, aching viola and sparkling piano ringings evoking memories of the more sedate parts of `Better by Far's `The Last Unicorn;. It's a shame that it's just over three minutes, but it does close the LP in a very evocative and elegant fashion.
Yes, there's a bit of blandness that creeps in, the band is pretty much operating on nostalgic goodwill these days, and they certainly sound their age, but...real fans of the group know that whimsical moods, cheery ditties and thoughtful tunes were just as much `trademark' touches of the classic Caravan era as the dynamic keyboard workouts were (and the increase again of flute and viola helps bridge that gap a little more here). The album also proves to be a charming grower after plenty of listens.
Expect a constant prog-blowout and you'll be sorely disappointed, but go in with a soft heart and listen closer for those `other' Caravan trademarks, and an undemanding and pleasing listen with hints of the old magic can still be found here.
Three stars.
Caravan Canterbury Scene
Review by
VianaProghead
Prog Reviewer
Caravan was formed in the Canterbury Province in UK and was disbanded in 1978. However, Caravan was reformed by several times all over their very extensive musical career. Actually, for all bands that emerged in Canterbury, and despite be reformed by several times, Caravan was the most consistent of all and is also the band that lasted longer.
"For Girls Who Grow Plump In The Night" is the fifth studio album of Caravan and was released in 1973. Richard Sinclair and Steve Miller left the band prior to the recording of this album. They were replaced by John G. Perry and the returning of David Sinclair. Geoff Richardson was added to the band. Thus, the line up on the album is Pye Hastings (vocals and guitars), Geoff Richardson (viola), David Sinclair (organ, piano, electric piano, Davoli synthesizer and ARP synthesizer), John G. Perry (vocals, bass and percussion) and Richard Coughlan (drums, percussion and timpani). The album had also the participation of Jill Pryor (vocals), Rupert Hine (ARP synthesizer), Jimmy Hastings (flute), Paul Buckmaster (electric cello), Tony Coe (clarinet and tenor saxophone), Pete King (flute and alto saxophone), Harry Klein (clarinet and baritone saxophone), Tom Whittle (clarinet and tenor saxophone), Henry Lowther (trumpet), Chris Pyne (trombone), Barry Robinson (piccolo) and Frank Ricotti (congas). We have also here the New Symphonia Orchestra.
"For Girls Who Grow Plump In The Night" has seven tracks. The first track is divided into two sections, "Memory Lain, Hugh" and "Headloss". It's the track that gives the initial kick to the album. This is a dynamic track that contains a great sound nuance. It has an excellent beat, a well developed and acrobatic guitar work, a bass that not only marks but imposes itself in great lines. The flute raids give the song a more pastoral atmosphere and the brass splatters some jazzy reminiscences. Caravan is a band that, while at the same time sounding sweet, also adds a vigorous sound to their songs. This is a good example of that. The second track "Hoedown" keeps the same idea as "Headloss", but with a faster cadence. The guitar solo is certainly the biggest highlight here. The third track "Surprise, Surprise" reminds the listener of what the band had done on the previous albums. It's a ballad with a beautiful melody. It starts with guitar and voice, so when the band comes in, the very creative bass line stands out. The chorus has great vocal harmonies and the drums are quite energetic. The lyrics are upbeat and nostalgic. Again another great guitar solo enhances the music. The fourth track "C'Thlu Thlu" couldn't have a sound that contrasted more with the previous tracks. A change of mood and a darker atmosphere starting with guitar riffs, mostly at a walking pace. Nevertheless, it has a lighter and livelier chorus. The lyrics are kind of scary. Sinclair's organ solo puts a dark cover on the song. The fifth track "The Dog, The Dog, He's At It Again" has a sincere and optimistic tone that is very much in line with the characteristic style of the band. The track has some good guitar riffs. The synthesizer solo in the middle of the song is amazing. The use of some clapping in the background is cool and creative. But, an interesting thing is that although the band has never been known for making good vocal arrangements, there is one exception here, and the complexity found can be compared even to found in Gentle Giant's creations, which isn't a small feat. The sixth track is divided into two sections, "Be Alright" and "Chance Of A Lifetime". It starts with another interesting riff and introduces the listener at a slightly heavy moment. It has a performative violin piece and a great guitar solo. After a few verses and choruses the sound of the song drops to a softer line. Once again we have the beautiful supporting vocal harmonies. Electric guitars come back again before another guitar solo that grows in music until it calms down again in Pye's vocals. The seventh track is divided into five sections, "L'Auberge Du Sanglier", "A Hunting We Shall Go", "Pengola", "Backwards" and "A Hunting We Shall Go (reprise)". It closes the album with a golden key, a beautiful and masterful epic with a lot of orchestral sound. It starts smoothly with a guitar before a sound explosion takes us to the main section, having distorted organ and guitar taking on the lead role, while the electric guitar plays the music. This is an excellent way to close the album.
Conclusion: I remain a staunch advocate of "If I Could Do It All OverAgain, I'd Do It All Over You" and "In The Land Of Grey And Pink" as the quintessential Caravan's albums, not least because a Caravan without both Sinclair cousins just isn't quite the real deal for me. But, for evidence of their principal songwriter at his naughty, esoteric and consistent best, "For Girls Who Grow Plump In The Night" is an essential addition to your collection. So, this is overall an excellent album with great musical quality in its compositions and the flow with which it unfolds turns your listening into an extremely pleasurable experience. To my ears, this is a better album than "Waterloo Lily". Most of the piano and jazz influences were gone, and the band had added both synths and violin to their sound. I really think this worked very well. It's a great album, but you should start with "In The Land Of Grey And Pink" if you aren't familiar with Caravan yet.
Prog is my Ferrari. Jem Godfrey (Frost*)
Caravan Canterbury Scene
Review by
VianaProghead
Prog Reviewer
For many aficionados of the creative progressive rock music that surfaced in the heady days of the end of the 60's and the beginning of the 70's, the bands who surfaced from the English provincial city of Canterbury released some of the most consistently interesting progressive rock music of that period. And of all the great bands that emerged from the so-called Canterbury Scene, in my opinion, none of them was so original, so unique and as enduring as Caravan was.
When their previous third studio album 'In The Land Of Grey And Pink' was released, it was received enthusiastically by both, critics and the Caravan faithful fans. Its unique fusion of folk, jazz and rock created an album that, nearly thirty years later, is still highly regarded whilst some other albums of that era are looked upon with derision by some critics. It's usually regarded as their best and most fine album and considered one of the best albums of the Canterbury Scene.
'Waterloo Lily' is the only album of Caravan with Steve Miller as the keyboard player. The keyboardist Dave Sinclair had left the band and was replaced by Steve Miller, a guy who obviously preferred the piano instead of organ. So, the piano was a substitute for the powerful organ. Miller brought a jazzier feel to the sound of Caravan than had been heard on the previous album through his stylings on the Wurlitzer piano rather than the Hammond organ favored by previous keyboardist Dave Sinclair. However and in my humble opinion, the album is ok but is a bit weaker than the two previous albums. A lot of the classic early sound of Caravan was gone too. Anyway, it remains for me as an excellent album too.
So, 'Waterloo Lily' is the fourth studio album of Caravan and was released in 1972. The line up on the album is Pye Hastings (vocals and guitars), Steve Miller (Wurlitzer electric piano, grand piano, Hammond organ and electric harpsichord), Richard Sinclair (vocals and bass) and Richard Coughlan (drums). The album had also the participation of Lol Coxhill (soprano saxophone), Phil Miller (2nd lead guitar), Jimmy Hastings (flute), Mike Cotton (trumpet) and Barry Robinson (oboe).
'Waterloo Lily' has six tracks. The first track is the title track 'Waterloo Lily'. The title track is an obvious highlight. It has a set of really hard rockin' riffs, a vocal melody that defines 'catchiness', and Hastings' ever improving vocals. Here we have an instrumental section where Miller uses sharp, shrill organ tones with his wah-wah pedal. I love when a jazz musician employs the wah-wah pedal on his organ. The second track 'Nothing At All/It's Coming Soon/Nothing At All (Reprise)' is just a blues rock jam. It's very good with imaginative guitar parts, moody blues piano, and a great bass line to hang it all upon. In the middle it goes into the beautiful 'It's Coming Soon' piano interlude for a couple of minutes. Maybe they could have made it a couple minutes shorter, but I'm not really complaining when the music still functions as first rate background music. The third track 'Songs And Signs' has less than four minutes long, opens with very quiet, mellow vocals and a fairly bare musical backing. But, a certain musical atmosphere is created. It's not a song packed with thrills or melody but it does withstand repeated listening, and actually gains from such listening. The fourth track 'Aristocracy' is a nice little piece of funky playing and in fact it would have made a great album's opener, if it was the case. It has indicated a change of style and pace but it doesn't alienate the usual fans of the previous albums of Caravan. The fifth track 'The Love In Your Eye/To Catch Me A Brother/Subsultus/Debouchement/Tilbury Kecks' is a suite with twelve minutes long. It opens with some nice string parts around very quiet and mellow vocals. The bass comes in and with the drums the song picks up pace whilst remaining nicely mellow. The strings add to the track rather than become an unnecessary embellishment. This is an enjoyable listening. It does descend slightly towards a jam to close it. The sixth track 'The World Is Yours' actually becomes a true highlight of the entire album. This is a lot simpler in structure than much else of what is contained on the album. It has a nice melody and comes across as charming within well played instrumental parts rather than relying on well played instrumental parts to carry the track alone.
Conclusion: It's quite interesting how far removed this album is from its preceding album 'In The Land Of Grey And Pink'. Still, 'Waterloo Lily' is another highly competent offering following on from their two previous offerings. The title track has become one of Caravan's most celebrated tracks. The album adopts a jazzier oriented outlook which they cleverly transform into the progressive rock music genre very well. It's complex and not an easy album overall to take too but once you become involved and appreciate the approach it evolves to become a very rewarding, well constructed and satisfying musical offering indeed with some first class musical interplay around the vocals. So, we have here good stuff, indeed. It's true that it isn't as good as the two previous albums and it isn't my personal favourite Caravan's album but it's indeed a very good package full of strong material. Still there is plenty here for the prog fan.
Prog is my Ferrari. Jem Godfrey (Frost*)