FOR GIRLS WHO GROW PLUMP IN THE NIGHT

There had been major ructions within the Caravan camp over musical direction after the more jazz orientated approach of previous album Waterloo Lily. This resulted in the loss of Richard Sinclair who was in favour of this more jazzy style to Hatfield And The North. Keyboard player Steve Miller who was brought in to replace David Sinclair after only one album with the band was also to go. Fortunately for their next album, For Girls Who Grow Plump In The Night David Sinclair would return. In also is John G Perry on bass and on viola Geoff Richardson joining Pye Hastings and Richard Coughlan.

Pye Hastings desire to steer the band back to a more rock based style was to produce one of the bands best and most accessible albums.

Memory Lain, Hugh gets things off to a fine start and it's immediately apparent that Hastings guitar is taking more of a front seat on this straight forward rocker. It's straight into Headloss and then Hoedown for more of the same, though more up tempo. Less whimsical than early days but still recognisably Caravan, but harder hitting than anything previously.

Surprise Surprise takes things down a notch, a lovely tune more in keeping with older Caravan. The album keeps throwing great songs at us being consistent from start to finish. Continuing this run of excellent tracks is C'thlu thlu though a change of mood and tack is present being a darker sounding piece. Sinclair really makes his stamp here with an excellent keyboard solo.

Caravan continues their tradition of coming up with great song titles on The Dog, The Dog He's At It Again, full of their humour and a strong melody too. Two songs in one next, Be Alright and Chance Of A Lifetime make a pairing of another straight and hard hitting rocker (vocals from Perry on the first part) with a more laid back groove to finish.

The final piece L'auberge Du Sanglier consists of a number of named parts as one. A Hunting We Shall Go into Pengola, Backwards and a reprise of Hunting. Richardson's viola really makes its presence felt on this instrumental tour de force, the track ranging from the bombastic to sublime and effective use is made of orchestration too.

Regarded by many as a return to form after the jazz inflected Waterloo Lily, an album incidentally that I enjoy very much, For Girls Who Grow Plump In The Night is a very immediate and enjoyable release and would make a great starting point for anyone just starting to explore their back catalogue.