Author: Peter Podbrežnik
Artist: Caravan
Label: Repertoire Records
Release: 1976
Runtime: 46:20
Rating: 4/5
»Blind Dog at St. Dunstans’« was the seventh studio outing from British prog rock heavyweights Caravan, the unforgettable champions of the so-called Canterbury scene, and their first album with keyboardist Jan Schelhaas (ex-National Head Band, Gary Moore, later Camel) in the lineup. Schelhaas brought a much more rock-flavored style of working the keys than his classically trained predecessor, keyboard maestro Dave Sinclair, who was famous for constantly drifting back to and away from his “home” band.
The comical title and the cover art itself, with its caricature of canine civilization, make it clear that Caravan, at a time when their biggest artistic triumphs were already behind them, hadn’t eased up one bit on their trademark wordplay humor and bitter English self-mockery, mixed with a thoroughly distinctive musical artistry. The album title is actually an allusion to the city of Canterbury and a popular, naturally, as is “fitting” for Caravan, sexually tinged joke. Saint Dunstan was a blind archbishop of Canterbury, and a local shelter for the blind is named after him. Based on that shelter, the story went around that a child once saw two dogs, one mounting the other from behind, and asked their mother what on earth those two furballs were doing. The mother defused the sudden awkwardness in a heartbeat and explained that the first dog is blind, so the second one is pushing it along toward the shelter for the blind, that is, toward St. Dunstan’s.
Stylistically, »Blind Dog at St. Dunstans’ was once again a somewhat more jazz-fusion-leaning album, which was one of the reasons for Sinclair’s renewed departure, since he, a big fan of classical music, was never all that keen on jazz, unlike his cousin Richard. The jazzier direction is also signaled by more wind arrangements than usual, courtesy of longtime guest flutist/saxophonist Jimmy Hastings and Geoffrey Richardson, who once again shines brightest on viola. The overall atmosphere has also become a touch more “poppy” and light compared to previous Caravan studio efforts, partly because guitarist/vocalist Pye Hastings, the band’s unofficial chieftain, wrote and sang eight of the album’s nine tracks, and partly because Schelhaas swapped his predecessor’s organ for a heavier dose of synths and piano. The backing female vocal harmonies of guest duo Chanter Sisters are also a radical departure from the usual Caravan standards, but still an interesting and successful experiment.
The end result was relatively mixed; some compositions on the album were downright superb, up there with their best days, while others fell a bit below the expected standard, yet still had all the ingredients that turned Caravan into one of the most singular progressive rock bands of all time. Among the album’s happier moments is definitely the opening energy catalyst »Here I Am«, which creates a positive vibe from the very first second, with symphonic arrangements in perfect symbiosis with jazzy rhythmic nuances. Pye’s melodic singing is accompanied by excellent backing harmonies, while Richardson’s viola adds a pleasant dose of rusticity from some distant, baroque past. »Chiefs and Indians«, written by bassist Mike Wedgwood, is a somewhat jazzier creation with plenty of witty piano and wind arrangements, and its mocking lyrics once again don’t lack social satire. Wedgwood’s vocal (the only moment on the album where he sings) is backed by lovely symphonic passages with a dominant synth up front, while an irritated electric guitar tone quickly sweeps the track through more spirited rhythmic shades.
»A Very Smelly, Grubby Little Oik«, a tale of a dust man, is another humor-laced tune brimming with boundless positivity, drowning under the weight of countless complex rhythmic nuances and fun solo capers, but it’s the relaxed, uplifting chorus that wins you over most. »Bobbing Wide« is a short instrumental with a vocal harmony programmed on a synth and gentle flute and piano arrangements. This instrumental is really the overture to »Come On Back«, yet another classic Caravan piece with plenty of jazz-seasoned piano passages, witty sax touches and a soothingly melodic chorus of the kind only Pye’s voice can conjure up. »Oik (Reprise)« is a re-arranged continuation of the dust man’s story, with spirited female vocal harmonies from the Chanter Sisters, who also add a few interesting, unexpected cabaret elements to this short, playful number.
»Jack And Jill«, another authentic Caravan classic, opens with witty, almost drunken-sounding bass lines that, alongside plenty of cheeky piano, guitar and string passages, make for a seriously fun backdrop to Pye’s angelic vocal. The somewhat controversial ending, with its almost annoyingly repeated word and a dog barking over cheeky flute sounds, maybe wasn’t the best move, but with these eternal jokers you have to be more forgiving of that kind of “switched-off” sonic experiment. »Can You Hear Me?« goes for a slick, sped-up tempo and an ultra-melodic chorus, which means that, despite plenty of complex time changes with string solo improvisations in between, this pleasant tune is easy to love even for “less demanding listeners”.
The closing masterpiece »All The Way (With John Wayne’s Single Handed Liberation Of Paris)«, which tells you right from the title that it’s a satire and at the same time a romantic nod to Hollywood heroes who take out an army of enemies with their left hand and ride off into the sunset with the girl in their arms, can also be declared a Caravan evergreen. It’s worth mentioning that the legendary actor John Wayne was still alive when this song was written (he died in 1979), so it’s by no means a posthumous satire of his film career, as some might think. It opens with a haunting synth motif that sets a romantic mood until Pye’s magical vocal kicks in and carries this complex song on the wings of sparkling string arrangements and elegant piano through melodic meanders toward a triumphant chorus. It’s still a superb piece today, packed with all the best Caravan sonic elements that made them famous as the most interesting representatives of the Canterbury genre.
»Blind Dog at St. Dunstans’« was the sign that Caravan were slowly starting to slide past their artistic peak, though there’s still a fair few brilliant moments on it that instantly remind you why these eternal clowns used to rank among the most inventive names in British progressive rock. Interestingly, of the lineup that recorded this in every respect very good album, every member except bassist Wedgwood is still active today, although drummer Richard Coughlan is often absent from live shows due to health problems.
Lineup
Pye Hastings – electric and acoustic guitar, vocals
Richard Coughlan – drums
Jan Schelhaas – keyboards
Mike Wedgwood – bass guitar, vocals
Geoffery Richardson – viola, electric guitar, flute, recorder
GUEST MUSICIANS:
Jimmy Hastings – flute, alto saxophone, tenor saxophone, clarinet
Chanter Sisters – backing vocals
Production
David Hitchcock
Tracklist
1. Here I Am
2. Chiefs And Indians
3. A Very Smelly, Grubby Little Oik
4. Bobbing Wide
5. Come On Back
6. Oik (reprise)
7. Jack And Jill
8. Can You Har Me?
9. All The Way (With John Wayne’s Single Handed Liberation Of Paris)
