Author: Peter Podbrežnik
Artist: Caravan
Label: Pledge Music
Released: 2013
Running time: 49:53
Rating: 3.5/5
After a break of almost a decade, which is how many years it had been since they released »The Unauthorized Breakfast Item« (2003), Caravan, the legendary champions of the Canterbury progressive rock scene, headed back into the studio toward the end of 2013, to the surprise of plenty of fans. Most of their followers had long since given up hope of ever hearing new music from one of the most interesting and original bands in prog rock history, a band that won a lot of hearts in the seventies partly thanks to its peculiar, often cheeky and erotically spiced humor. The urge for a new studio effort had been smoldering in the band members for years, but various outside factors kept getting in the way of them making it to their Canterbury studio. One of the main reasons Caravan had been fairly inactive in recent years, apart from a few shorter tours that mostly took place on British soil, was the health problems of original drummer Richard Coughlan, who sadly passed away at the age of 66 on December 1, 2013, nineteen days before the release of »Paradise Filter«, which came out in digital form first. From February 14, 2014, the new Caravan album will also be available in physical form.
Coughlan’s death was of course a heavy blow for the band, since this drumming master had been an integral part of the Caravan sound since the very beginning and, alongside guitarist/vocalist Pye Hastings, was the only remaining original member. His live replacement since 2010 had been Australian drummer Mark Walker, and with him in the lineup, Hastings, violinist/violist/guitarist Geofferey Richardson, bassist/vocalist Jim Leverton and keyboardist Jan Schelhaas headed into the studio to prove to all their longtime followers that they’re still capable of putting together a thoroughly decent studio album. Any expectation that after all these years they might somehow pull off a masterpiece on the level of their seventies records is totally unrealistic these days. At their age, any above-average songwriting effort that at least partly recalls the ‘good old days’ deserves a deep bow.
Well, Caravan didn’t burden themselves much with their rich legacy on »Paradise Filter«, and although almost all the recognizable sonic trademarks are still here, namely Pye’s melodic vocal approach with its very distinctive tone, sparkling guitar escapades, plenty of instrumental jazz finesse, baroque violin passages, and even a bit of the cheeky humor here and there, though in their old age they’ve undoubtedly turned a lot, a lot more serious and overall this is one of their most melancholic outings, every track is dominated by a modern production with a dash of retro at the expense of the ‘old-timey’ sound of individual instruments, especially the Hammond organs and violin.
In terms of arrangements and improvisation, the individual pieces are nowhere near as complex as in the ‘golden seventies’, which won’t surprise anyone familiar with their two previous studio albums since their return to the scene in 1995. In fact, the album as a whole has more in common with pop than with traditional prog, which will honestly make quite a few purists squirm, while music gourmets will have no trouble enjoying a slightly more ‘commercial’ version of Caravan.
From the very first second, Walker proves a worthy replacement for Coughlan, although the difference between their approaches is audible right away. Both come out of the jazz drumming school, but the newest Caravan member has a bit less feel for improvisational forays on the cymbals than his legendary predecessor. Leverton’s much more ‘growly’ vocal approach serves as a good accompaniment to Hastings’ traditionally higher vocals, which are incredibly well preserved and have dropped by one octave at most over the years, though you can barely tell.
»Paradise Filter« opens with »All This Could Be Yours«, which, not just by its title but also by its structure, is a typical Caravan piece with a playful, cheerful mood. Thick layers of Hammond organ generously back a pleasant guitar melody, while Pye’s relaxed vocals bring an almost childlike exuberance. Mischievous violin passages further underline the retro seventies atmosphere, while the lyrics are quite reminiscent of those burlesque numbers from their best days. This is a track that instantly convinces longtime fans that the band members still have that youthful sparkle.
One of the more interesting pieces on the album is also »I’m On My Way«, whose central guitar phrase leans a little toward the Montrose classic »I’ve Got the Fire«, but that’s the only similarity, since in every respect it’s yet another fairly traditionalist Caravan composition with plenty of symphonic and jazz elements. Here Leverton joins Hastings on vocals and together they create a really lovely multi-part chorus, while an inventive guitar solo proves that Pye is nowhere near having said his last word as a cult guitar virtuoso.
»Fingers In The Till« is a melancholic ballad with a distinctly melodic chorus, the kind that turned up on almost every previous Caravan album, and it also features a highly subtle piano arrangement. The spirited »This Is What We Are« boasts a much darker mood compared to the rest of the album, as well as an unusually punchy guitar phrase, while the central melody is this time conducted by mighty layers of organ, over which Pye’s bravura vocals are laid. »Dead Man Walking« is steeped in an unusual bluesy feel, courtesy of melancholic guitar passages, ‘saloon’ piano and the sound of a harmonica, though the beefed-up bass lines quickly make sure that toward the end the whole thing swings into a more complex, improvisational direction. »Farewell My Old Friend«, another piano-driven ballad, is dedicated to the memory of Richard Coughlan. Pye shines here with a tender vocal performance, generously supported by solemn piano arrangements, which means the band has created a very beautiful and heartfelt tribute to their departed comrade.
»Pain In The Arse« announces with its title alone that this will be a cheeky, witty composition with mischievous organ passages and grooving bass lines, while Pye’s vocals, thanks in part to the burlesque lyrics in perfectly characteristic style, recall some unbridled youngster. »Trust Me I Am a Doctor« is another cheerful, jokey little number with solemn arrangements on acoustic guitar and organ and a multi-part vocal approach. The love ballad »I’ll Be There For You«, ruled by pastoral arrangements, is a distinctly serene piece, which means that toward the end the album ‘nods off a bit’ in terms of atmosphere and the band perhaps indulges in a touch too much old-age sentimentality, even if everything is still played at an enviable level. The title track, yet another pastoral ballad, with bassist Leverton taking the lead vocals and doing so with distinction, is steeped in a markedly nostalgic atmosphere, especially thanks to the orchestral curtains, so that the ‘antique-English’ Caravan magic is present throughout.
»Paradise Filter« is a seriously solid effort from prog-rock icons whom hardly any fan expected or demanded new music from, though the decision to head back into the studio ultimately proved the right one. Prog purists will surely turn up their noses at the new album at least a little, since this time Caravan opted for a much simpler songwriting approach than most people are used to from their seventies work, and yet in their case the decision to go for a somewhat more minimalist and melodic approach with shorter songs didn’t turn out to be a bad move. Often it’s actually much harder to create a quality pop rocker with hit potential than, say, a twenty-minute progressive rock epic with wild improvisational passages. The fact that Caravan are still capable of writing compositions with a hit pedigree, ones that might even bring commercial success to a much younger band, is just one more proof of their timelessness.
Note: this review is dedicated to Richard Coughlan (1947-2013).
Lineup
Pye Hastings – vocals, guitar
Geoffrey Richardson – viola, banjo, acoustic guitar, backing vocals
Jan Schelhaas – keyboards, backing vocals
Jim Leverton – bass guitar, backing vocals
Mark Walker – drums
GUEST MUSICIANS:
Brian Johnson – backing vocals (4)
Michael Maher – backing vocals, tambourine (4)
Rufus Gordon-Hastings – percussion (6)
Mark McCormack – vibraslap (7)
Marc Morgan – radiator (5)
Production
Caravan
Track list
1. All This Could Be Yours (4:30)
2. I’m On My Way (4:27)
3. Fingers In The Till (4:45)
4. This Is What We Are (4:11)
5. Dead Man Walking (5:59)
6. Farewell My Old Friend (4:07)
7. Pain In The Arse (4:30)
8. Trust Me I Am A Doctor (4:28)
9. I’ll Be There For You (6:14)
10. The Paradise Filter (6:0)
