FOR GIRLS WHO GROW PLUMP IN THE NIGHT

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*)

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