Author: Peter Podbrežnik
Artist: Caravan
Label: Kingdom Records
Released: 1980
Length: 53:15
Rating: 2.5/5
The cult Canterbury good-time lads Caravan survived the punk invasion and made it into the eighties without any drastic stylistic changes, which is a rare feat in itself for members of the prog rock pioneers, most of whom broke up at the end of the seventies or went through a drastic sonic transformation (they usually ‘mutated’ into pop rock or AOR). Still, even the champions of the Canterbury scene didn’t get off without some big changes, since the previous album »Better By Far« (1977) already marked a noticeably simpler and more commercial approach compared to their rather complex, unpredictable and experimental past. In all honesty, the band was trying to somehow please two completely different bases of (potential) fans, old and new, which brought very mixed results, if not downright songwriting letdowns.
»The Album«, whose thoroughly uninspired title nicely hints that the band was slowly running out of real drive for innovative compositional feats that would at least come close to their former quality, had even simpler arrangements than the aforementioned predecessor. On it, Caravan made even more sonic compromises that weren’t to the taste of most of their remaining fans, while among lovers of new wave and pop rock they were by then already seen as ‘dinosaurs from the grey, distant past’, so they really couldn’t have been in a more awkward spot. On the other hand, they burned with a huge desire to ‘stay afloat’ at all costs and somehow make it through an era that was rather unfriendly to prog rock from a commercial standpoint (it didn’t work out, but they held on until 1982).
The best songs on »The Album« are, predictably, the ones that carry the vocal and songwriting stamp of founding singer and guitarist Pye Hastings, since they come closest to the ‘good old days’ and at least somewhat rescue this effort, which is awfully average by usual Caravan standards. An honorable mention goes to longtime violist/flutist/guitarist Geoffrey Richardson, only a guest member on this album, who with his pastoral arrangements, teamed up with Pye, conjured at least some of that distinctive Caravan atmosphere.
Pye’s guitar was pushed a bit further to the front than usual in the production of »The Album«, while Richardson’s viola, which once had an important solo role, was moved into the background, which was yet another blow to the classic, symphonic Caravan sound. The rhythm section became far more passive compared to past achievements, though Richard Coughlan still occasionally shows off his trademark cymbal runs. On the other hand, the good news was that founding member and keyboard wizard David Sinclair (ex-Matching Mole, Robert Wyatt, Camel) returned for this album (for a short time), replacing Jan Schelhaas, his old acquaintance from the brief period when the two were members of Camel at the same time.
Some of their trademark humor, which was a pretty important factor on past Caravan classics, survived on »The Album« too, so they were still real intellectuals compared to most of their prog rock peers, who were going through ‘brain cell fragmentation’ at the time. Then again, almost nobody will get that feeling from the opening »Heartbreaker«, an extremely minimalist and compact number by usual Caravan standards, though it doesn’t lack a melodic chorus with Pye’s distinctive vocal touch. Caravan are still recognizable, but this song is clear proof that most of the material on »The Album« has been stripped of the symphonic arrangements and complex improvisations that had made Caravan one of the most exciting acts of the Canterbury scene in the past.
The decidedly commercial »Corner Of Me Eye« even picks up faint disco influences, especially in the rhythmic nuances and the backing vocal harmonies in the chorus, while bassist Derek Messecar relieves Pye of lead vocal duties here. All the longtime Caravan fans were surely appalled by all this ‘holy simplicity’, though not everything on the album is that bad. But we’re talking about a legendary band that once held very high songwriting standards. »Watcha Gonna Tell Me« is one of the few compositions on »The Album« that, thanks to the flute and Pye’s distinctive vocal approach, at least partly recalls classic Caravan, or rather one of the few moments on the album where you can talk about prog rock in the true sense of the word, as Dave Sinclair also surprises with a hugely entertaining electric piano improvisation.
Dave shines on the ethereal ballad »Piano Player« too, where, as the title itself says, the classical piano is front and center. The symphonic arrangements blend beautifully with Pye’s high-flying vocal ‘cooing’, making this another »The Album« creation that won’t just fade into oblivion. »Make Yourself At Home« has some of that distinctive Caravan humor that thrilled in the past, while the cheerful main arrangement likewise recalls some past standards. Apart from the ingratiating chorus and a handful of sparkling improvisations, though, it sadly lacks that tragicomic drama that in Caravan’s past separated the classics from the average stuff.
The dismal »Golden Mile« is easily one of the worst creations in Caravan history and is barely worth a mention: repetitive funky rhythms and a nondescript chorus that, to top it all off, sounds completely drained of energy. On the solid »Bright Shiny Day«, one of the few bright spots on this album, Pye goes for a bluesy approach in the intro, weeping through his guitar passages. His ethereal vocal during the calmer section once again revives some of the ambient magic of the past, and the same goes for the pastoral flute variations, but the lack of greater rhythmic movement means this is yet another piece that doesn’t quite use up its full potential. The ill-fated commercial gimmick »Clear Blue Sky«, with its ska/reggae rhythmic nuances, sounds like a bad imitation of The Police, which makes it plain that this is a second-rate piece with practically nothing left of classic Caravan. Luckily, at least »Keepin’ Up the Fences« closes the album in honest style, and with its playful variations and Pye’s excellently upbeat singing it will still please loyal fans today, being one of the few songs that bring back a bit of the ambient magic of the past, even if there’s no talk of a possible classic here either.
»The Album« captured the sound of creatively pretty worn-out Canterbury scene legends, who were trying to survive by any means at a time when their stylistic approach was deeply unpopular and they were losing fans with every passing day. It’s questionable how many members of the current version of the band even still listen to this (by their usual standards) extremely average effort. They tried to force a turnaround of the negative trend by reviving the original/classic Caravan lineup, but the system simply didn’t work anymore, as their last album before the (temporary) breakup, »Back to Front« (1982), also proved. Luckily, they didn’t give up even then, and in the mid-nineties they came back to the scene when nobody expected it least.
Line-up
Pye Hastings – vocals, guitar
Geoff Richardson – guitar, viola, flute, vocals
Dave Sinclair – organ, piano, electric piano, synthesizer
Dek Messecar – bass guitar, vocals
Richard Coughlan – drums
Production
Caravan
Track list
1. Heartbreaker (3:06)
2. Corner of Me Eye (3:37)
3. Watcha Gonna Tell Me (4:48)
4. Piano Player (5:24)
5. Make Yourself at Home (3:26)
6. Golden Mile (3:12)
7. Bright Shiny Day (6:17)
8. Clear Blue Sky (6:25)
9. Keepin’ Up the Fences (5:17)
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