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▐▓▓▌ ▒░ ░ ▓ ░░░░░░ Centropomus undecimalis ▓ ░ ░▒ ▐▓▓▌
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█▓▀▓▄▄ ▀▀ Proud To Present ▀▀ ▄▄▓▓▀▀
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▐▓▌▄▀▀▀▓ ▐▒▓░ ARTIST......: Carvan ▐▓▌▄▀▀▀▓ ▐▒▓░
▀█▄ ░ ▄█▀ TITLE.......: For Girls Who Grow Plump In The Night█▄ ░ ▄█▀
▐▌ ▀▀▄▄ ▀▀ LABEL.......: Mantra ▐▌ ▀▀▄▄ ▀▀
▀ ▄ ▀█▄ TYPE........: Album ▀ ▄ ▀█▄
▄█▀ ▄ ▐▒▓░░ ░ GENRE.......: Progressive Rock ▄█▀ ▄ ▐▒▓░░ ░
▐▓▌ ▀ ▄█▀ SOURCE......: CDDA ▐▓▌ ▀ ▄█▀
▀▓▄▀▀ TRACKS......: 07 ▀▓▄▀▀
▀▀▄ TIME........: 46:06 min ▀▀▄
▀ ▄ ▐▌ SIZE........: 66,10 MB ▀ ▄ ▐▌
▄▄▄▀▀ BiTRATE/MODE: avg. 204kbps / VBR ▄▄▄▀▀
▄█▀ ▄ ▀█▄ Encoder.....: LAME v3.97 -V2 --vbr-new ▄█▀ ▄ ▀█▄
▐▓▌▄▀▀▀▓ ▐▒▓░ URL.........: n/a ▐▓▌▄▀▀▀▓ ▐▒▓░
▀█▄ ░ ▄█▀ RIP DATE....: Feb.23.2011 ▀█▄ ░ ▄█▀
▐▌ ▀▀▄▄ ▀▀ STREET DATE.: 000.00.1990 ▐▌ ▀▀▄▄ ▀▀
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░░▓███▄▄▄ ▀█▓▀ ▀▀ TRACKLiST ▀▓ ▀▓█▀ ▄▄▄███▓░░
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▄▀▀ ▒▓ 01.Memory Lain, Hugh , Headloss 09:24 ▓▒ ▀▀▄
▄▀▀ ▒▓ 02.Hoedown 03:21 ▓▒ ▀▀▄
▄▀▀ ▒▓ 03.Surprise, Surprise 04:10 ▓▒ ▀▀▄
▄▀▀ ▒▓ 04.C'thlu Thlu 06:18 ▓▒ ▀▀▄
▄▀▀ ▒▓ 05.The Dog, The Dog, He's At It Again 06:02 ▓▒ ▀▀▄
▄▀▀ ▒▓ 06.Be All Right , Chance Of A Lifetime 06:40 ▓▒ ▀▀▄
▄▀▀ ▒▓ 07.L'auberge Du Sanglier , A Hunting We 10:11 ▓▒ ▀▀▄
▄▀▀ ▒▓ Shall Go , Pengola , Backwards , A Hunti ▓▒ ▀▀▄
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▀▀▀▓▀▀▀ ░░░░ RELEASE NOTES ▀▀▀▓▀▀▀
░▓██▒░ Info: This is the CD release of the original LP version. The ░▓██▓░
░▓██▒░ remastered version has bonus tracks. ░▓██▒░
░▓██▒░ ░▓██▒░
░▓██▒░ * ░▓██▒░
░▓██▒░ ░▓██▒░
░▓██▒░ After the musical uncertainty of Waterloo Lily, Caravan ░▓██▒░
░▓██▒░ returned with their most inspired recording since In the ░▓██▒░
░▓██▒░ Land of the Grey and Pink. The splendidly titled For Girls ░▓██▒░
░▓██▒░ Who Grow Plump in the Night is several steps ahead in terms ░▓██▒░
░▓██▒░ of fresh musical ideas that wholly incorporate the band's ░▓██▒░
░▓██▒░ trademark humor within the otherwise serious and challenging ░▓██▒░
░▓██▒░ sonic structures. Two of the more dominant reasons for the ░▓██▒░
░▓██▒░ change in Caravan's sound were the return of keyboardist ░▓██▒░
░▓██▒░ Dave Sinclair and the addition of violist Peter Geoffrey ░▓██▒░
░▓██▒░ Richardson. Die-hard fans gladly welcomed Sinclair back, ░▓██▒░
░▓██▒░ however, Richardson was met with heckles from enthusiasts ░▓██▒░
░▓██▒░ during live appearances. They were soon silenced as his ░▓██▒░
░▓██▒░ place on For Girls Who Grow Plump in the Night easily ranks ░▓██▒░
░▓██▒░ among Caravan's watershed moments. There are perhaps none ░▓██▒░
░▓██▒░ better than the mesmerizing counterpoint melodies he weaves ░▓██▒░
░▓██▒░ during the "L'Auberge Du Sanglier" suite. While not ░▓██▒░
░▓██▒░ completely abandoning their jazz leanings, For Girls Who ░▓██▒░
░▓██▒░ Grow Plump In The Night is considerably focused back into ░▓██▒░
░▓██▒░ the rock genre. Ironically, the album also features some ░▓██▒░
░▓██▒░ rather elaborate orchestration. In context, it is quite ░▓██▒░
░▓██▒░ effective in creating emphasis -- especially on the leadoff ░▓██▒░
░▓██▒░ track "Memory Lain, Hugh," as well as the dreamy mid-tempo ░▓██▒░
░▓██▒░ "The Dog, The Dog, He's At It Again." The remastered CD also ░▓██▒░
░▓██▒░ includes five additional tracks. The first four are demos ░▓██▒░
░▓██▒░ featuring the band without orchestra and with some notable ░▓██▒░
░▓██▒░ differences, such as the distinct lead guitar opening to ░▓██▒░
░▓██▒░ "Memory Lain, Hugh." "Derek's Long Thing" is another ░▓██▒░
░▓██▒░ instrumental piece penned by keyboardist Derek Austin -- one ░▓██▒░
░▓██▒░ of the two transitional Caravan members chosen to replace ░▓██▒░
░▓██▒░ Steve Miller. A must-own for inclined parties. ░▓██▒░
░▓██▒░ ░▓██▒░
░▓██▒░ Lindsay Planer (AMG) ░▓██▒░
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░▓██▒░ -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ░▓██▒░
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░▓██▒░ Caravan Biography: ░▓██▒░
░▓██▒░ ░▓██▒░
░▓██▒░ Caravan was one of the more formidable progressive rock acts ░▓██▒░
░▓██▒░ to come out of England in the 1960s, though they were never ░▓██▒░
░▓██▒░ much more than a very successful cult band at home, and, ░▓██▒░
░▓██▒░ apart from a brief moment in 1975, barely a cult band ░▓██▒░
░▓██▒░ anywhere else in the world. They only ever charted one album ░▓██▒░
░▓██▒░ in their first six years of activity, but they made a lot of ░▓██▒░
░▓██▒░ noise in the English rock press, and their following has ░▓██▒░
░▓██▒░ been sufficiently loyal and wide to keep their work in print ░▓██▒░
░▓██▒░ for extended periods during the 1970s, the 1990s, and in the ░▓██▒░
░▓██▒░ new century. ░▓██▒░
░▓██▒░ ░▓██▒░
░▓██▒░ Caravan grew out of the breakup of the Wilde Flowers, a ░▓██▒░
░▓██▒░ Canterbury-based group formed in 1964 as an R&B-based outfit ░▓██▒░
░▓██▒░ with a jazzy-edge. The Wilde Flowers had a lineup of Brian ░▓██▒░
░▓██▒░ Hopper on guitar and saxophone, Richard Sinclair on rhythm ░▓██▒░
░▓██▒░ guitar, Hugh Hopper playing bass, and Robert Wyatt on the ░▓██▒░
░▓██▒░ drums. Kevin Ayers passed through the lineup as a singer, ░▓██▒░
░▓██▒░ and Richard Sinclair was succeeded on rhythm guitar by Pye ░▓██▒░
░▓██▒░ Hastings in 1965. Wyatt subsequently became the lead singer, ░▓██▒░
░▓██▒░ succeeded by Richard Coughlan on drums. Hugh Hopper left and ░▓██▒░
░▓██▒░ was replaced by Dave Lawrence then Richard Sinclair, and ░▓██▒░
░▓██▒░ Dave Sinclair, Richard's cousin, came in on keyboards. ░▓██▒░
░▓██▒░ Finally, in 1966, Wyatt and Ayers formed Soft Machine and ░▓██▒░
░▓██▒░ the Wilde Flowers dissolved. In the wake of the earlier ░▓██▒░
░▓██▒░ group's dissolution, Hastings, Richard Sinclair, Dave ░▓██▒░
░▓██▒░ Sinclair, and Richard Coughlan formed Caravan in January of ░▓██▒░
░▓██▒░ 1968. ░▓██▒░
░▓██▒░ ░▓██▒░
░▓██▒░ The group stood at first somewhat in the shadow of Soft ░▓██▒░
░▓██▒░ Machine, which became an immediate favorite on the London ░▓██▒░
░▓██▒░ club scene and in the press. This worked in Caravan's favor, ░▓██▒░
░▓██▒░ however, as the press and club owners began taking a long ░▓██▒░
░▓██▒░ look at them because of the members' previous connections. A ░▓██▒░
░▓██▒░ gig at the Middle Earth Club in London led to their being ░▓██▒░
░▓██▒░ spotted by a music publishing executive named Ian Ralfini, ░▓██▒░
░▓██▒░ which resulted in a publishing deal with Robbins Music and ░▓██▒░
░▓██▒░ then, by extension, a recording contract with MGM Records on ░▓██▒░
░▓██▒░ their Verve Records imprint, which the American label was ░▓██▒░
░▓██▒░ trying to establish in England. Their self-titled debut ░▓██▒░
░▓██▒░ album was a hybrid of jazz and psychedelia, but also enough ░▓██▒░
░▓██▒░ of a virtuoso effort to rate as a serious progressive rock ░▓██▒░
░▓██▒░ album at a time when that genre wasn't yet fully ░▓██▒░
░▓██▒░ established; along with the the Nice albums on Immediate and ░▓██▒░
░▓██▒░ The Cheerful Insanity of Giles, Giles & Fripp, it planted ░▓██▒░
░▓██▒░ the roots of progressive rock. ░▓██▒░
░▓██▒░ ░▓██▒░
░▓██▒░ The Caravan album never sold in serious numbers, and for ░▓██▒░
░▓██▒░ much of 1968 and early 1969, the members were barely able to ░▓██▒░
░▓██▒░ survive -- at one point they were literally living in tents. ░▓██▒░
░▓██▒░ And then, to add insult to injury, the record disappeared as ░▓██▒░
░▓██▒░ MGM's British operation shut down in late 1968. Out of that ░▓██▒░
░▓██▒░ chaos, however, the group got a new manager in Terry King ░▓██▒░
░▓██▒░ and, with the help of a fledgling producer named David ░▓██▒░
░▓██▒░ Hitchcock (who'd seen the band in concert), a contract with ░▓██▒░
░▓██▒░ England's Decca Records, which was a major label at the ░▓██▒░
░▓██▒░ time. Their Decca debut album, If I Could Do It All Over ░▓██▒░
░▓██▒░ Again, I'd Do It All Over You, released in early 1970, was a ░▓██▒░
░▓██▒░ major step forward and, indeed, a milestone in their ░▓██▒░
░▓██▒░ history, establishing the mix of humor and progressive ░▓██▒░
░▓██▒░ sounds, including classical, jazz, and traditional English ░▓██▒░
░▓██▒░ influences that would characterize the best of their work ░▓██▒░
░▓██▒░ over the next six years. Moreover, with Decca's ░▓██▒░
░▓██▒░ then-formidable distribution behind it, the album got into ░▓██▒░
░▓██▒░ stores and was heard and even sold well on university ░▓██▒░
░▓██▒░ campuses. ░▓██▒░
░▓██▒░ ░▓██▒░
░▓██▒░ Suddenly, Caravan was an up-and-coming success on the ░▓██▒░
░▓██▒░ college concert circuit, even making an appearance on ░▓██▒░
░▓██▒░ British television's Top of the Pops. With national exposure ░▓██▒░
░▓██▒░ and a growing audience, the group was at a make-or-break ░▓██▒░
░▓██▒░ moment in their history. They rose to the occasion with ░▓██▒░
░▓██▒░ their second Decca LP, In the Land of Grey and Pink, which ░▓██▒░
░▓██▒░ showed off a keen melodic sense, a subtly droll wit, and a ░▓██▒░
░▓██▒░ seductively smooth mix of hard rock, folk, classical, and ░▓██▒░
░▓██▒░ jazz, intermingled with elements of Tolkien-esque fantasy. ░▓██▒░
░▓██▒░ The songs ranged from light, easy-to-absorb pieces such as ░▓██▒░
░▓██▒░ "Golf Girl" to the quietly majestic "Nine Feet Underground," ░▓██▒░
░▓██▒░ a 23-minute suite that filled the side of an LP. One of the ░▓██▒░
░▓██▒░ hardest-rocking yet musically daring extended pieces to come ░▓██▒░
░▓██▒░ out of the early progressive rock era, "Nine Feet ░▓██▒░
░▓██▒░ Underground" didn't seem half as long as its 23 minutes and ░▓██▒░
░▓██▒░ it was a dazzling showcase for Pye Hastings' searing lead ░▓██▒░
░▓██▒░ guitar and Dave Sinclair's soaring organ and piano work. ░▓██▒░
░▓██▒░ Although few observers realized it at the time, the suite's ░▓██▒░
░▓██▒░ length pointed up a problem that the group faced fairly ░▓██▒░
░▓██▒░ consistently -- in contrast to most progressive rock outfits ░▓██▒░
░▓██▒░ of the era, Caravan was inventive enough to justify ░▓██▒░
░▓██▒░ extending even the relatively simple songs in their ░▓██▒░
░▓██▒░ repertory to running times of six or seven minutes, and they ░▓██▒░
░▓██▒░ were also extremely prolific. Those two situations meant ░▓██▒░
░▓██▒░ that they were frequently forced to leave perfectly good ░▓██▒░
░▓██▒░ songs off their albums and to edit those that they did ░▓██▒░
░▓██▒░ issue. Most listeners didn't find this out until a wave of ░▓██▒░
░▓██▒░ Caravan reissues arrived in 2001 with their running times ░▓██▒░
░▓██▒░ extended 10-25 minutes each by the presence of perfectly ░▓██▒░
░▓██▒░ good, previously unissued songs and unedited masters of ░▓██▒░
░▓██▒░ previously released songs. ░▓██▒░
░▓██▒░ ░▓██▒░
░▓██▒░ Keyboard player and singer Dave Sinclair left the group's ░▓██▒░
░▓██▒░ lineup in 1971, joining his ex-Wilde Flowers bandmate Robert ░▓██▒░
░▓██▒░ Wyatt in the latter's new group, Matching Mole, and he was ░▓██▒░
░▓██▒░ succeeded by Stephen Miller of the jazz-based band Delivery, ░▓██▒░
░▓██▒░ who lasted through one album, Waterloo Lily (1972), moving ░▓██▒░
░▓██▒░ them in a much more bluesy direction. Friction between the ░▓██▒░
░▓██▒░ members resulted in Miller's departure and the exit of ░▓██▒░
░▓██▒░ Richard Sinclair, who subsequently put together Hatfield and ░▓██▒░
░▓██▒░ the North. When the smoke cleared, Caravan was back as a ░▓██▒░
░▓██▒░ five-piece which included Geoff Richardson on the electric ░▓██▒░
░▓██▒░ viola, which added a new and rich timbre to their overall ░▓██▒░
░▓██▒░ sound. By the time they cut their next album, For Girls Who ░▓██▒░
░▓██▒░ Grow Plump in the Night, Dave Sinclair was back on ░▓██▒░
░▓██▒░ keyboards. The album was a success, as was its follow-up, ░▓██▒░
░▓██▒░ Caravan & the New Symphonia, a live 1973 performance ░▓██▒░
░▓██▒░ accompanied by a full orchestra, released the following ░▓██▒░
░▓██▒░ year. ░▓██▒░
░▓██▒░ ░▓██▒░
░▓██▒░ The group was poised to try for a breakthrough in America ░▓██▒░
░▓██▒░ and, toward that end, took on Miles Copeland as their ░▓██▒░
░▓██▒░ manager. They ended up on a 50-date tour of the United ░▓██▒░
░▓██▒░ States and Canada where the response was positive. They also ░▓██▒░
░▓██▒░ released a new album, Cunning Stunts, that became their ░▓██▒░
░▓██▒░ first chart LP, not only in England but also in America ░▓██▒░
░▓██▒░ (albeit at number 124) and most of Europe as well. ░▓██▒░
░▓██▒░ Unfortunately, Cunning Stunts, for all of its sales success, ░▓██▒░
░▓██▒░ was an ending rather than a new beginning -- the group ░▓██▒░
░▓██▒░ parted company with Decca Records after its release. They ░▓██▒░
░▓██▒░ recorded Blind Dog at St. Dunstan's for the Copeland-owned ░▓██▒░
░▓██▒░ BTM Records the following year, and Better by Far for the ░▓██▒░
░▓██▒░ Arista label the year after that, but by that time, their ░▓██▒░
░▓██▒░ moment seemed to have passed, and they seemed increasingly ░▓██▒░
░▓██▒░ out-of-step with the burgeoning punk rock boom. Caravan ░▓██▒░
░▓██▒░ ceased activity in the early '80s, following the release of ░▓██▒░
░▓██▒░ The Album and Back to Front, both recorded for Kingdom ░▓██▒░
░▓██▒░ Records, owned by their former manager Terry King. ░▓██▒░
░▓██▒░ ░▓██▒░
░▓██▒░ Their history seemed to have ended, and then in 1990, the ░▓██▒░
░▓██▒░ original quartet of Pye Hastings, Richard Sinclair, Dave ░▓██▒░
░▓██▒░ Sinclair, and Richard Coughlan were reunited for what was ░▓██▒░
░▓██▒░ supposed to be a one-off concert for a television special. ░▓██▒░
░▓██▒░ The performance and the sales of an accompanying live album ░▓██▒░
░▓██▒░ proved so encouraging that Caravan came together once more ░▓██▒░
░▓██▒░ for a second career. The group has been back together in one ░▓██▒░
░▓██▒░ lineup or another ever since, (mostly filled out by ░▓██▒░
░▓██▒░ ex-members of Camel, among other latter-day personnel), with ░▓██▒░
░▓██▒░ new recordings emerging steadily. Equally important, someone ░▓██▒░
░▓██▒░ at English Decca (by then part of Polygram, which became ░▓██▒░
░▓██▒░ part of MCA) took it upon themselves to raid the vaults in ░▓██▒░
░▓██▒░ 1999-2000 and prepare vastly expanded reissues of the ░▓██▒░
░▓██▒░ group's entire Verve/Decca catalogs. The result was the ░▓██▒░
░▓██▒░ availability of more Caravan music and more of their classic ░▓██▒░
░▓██▒░ '60s and '70s recordings than had been in print at any time ░▓██▒░
░▓██▒░ in their history. ~ Bruce Eder, All Music Guide ░▓██▒░
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