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CARAVAN

Musically inventive progressive rock band that came out of the Canterbury scene with a gift for melody as well as imaginative improvisation. Caravan were 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. 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 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.

"WATERLOO LILY"

<reissue, originally published 1972>
Produced by David Hitchcock
LP     DERAM RECORDS      STEREO   SDL-R 8
MADE IN ENGLAND    MID-70s REPRESSING UNLAMINATED GATEFOLD COVER
NOTES: The earliest press Waterloo Lily had brown / white labels. THIS ONE is the earliest 2nd pressing. Later 2nd pressing with "Aristrocrat Music" on Side 2 on two lines, much thinner text (especially on the song credits).
Barcode and Other Identifiers Barcode: none
LABEL: DERAM -  RED/WHITE LABEL - BLACK TEXT (White on top side of label)
Catalog on cover: SDL-R 8 Catalog on labels: SDL-R 8  ZAL 11258P / SDL-R 8  ZAL 11259P
Matrix / Runout (Side A, Stamped): ZAL-11258.P-3W  CU  3D Matrix / Runout (Side B, Stamped): ZAL-11259.P-3W  CD  1
On labels: rim text reads "All rights.......prohibited"
Made in England       The Decca Record Co Ltd ℗ 1972
On Inside Panels: Produced by David Hitchcock for Gruggy Woof Recorded and mixed at Tollington Park Studios © 1972 The Decca Record Company Limited, London. Sleeve printed in England by Robert Stace. Made in England.
tracklisting Side A: 1. WATERLOO LILY - 2. NOTHING AT ALL / IT'S COMING SOON / NOTHING AT ALL (Reprise) 3. SONGS AND SIGNS
Side B: 1. ARISTOCRACY 2. THE LOVE IN YOUR EYE / TO CATCH ME A BROTHER / SUBSULTS / DEBOUCHEMENT / TILBURY KECKS 3. THE WORLD IS YOURS
grading RECORD EX but (please, read above description) SLEEVE VG+ but (please, see pictures and read above description)

Before the recording of Waterloo Lily, David Sinclair departed Caravan to join forces with Soft Machine skinsman Robert Wyatt and form Matching Mole. With the subsequent arrival of former Delivery member Steve Miller and an overwhelming jazz influence, the edgier progressive rock and folk elements that were so prevalent on their previous albums are somewhat repressed. The band's performance level did not suffer in the transition. In fact, the addition of Miller only punctuates Caravan's previously honed improvisational skills. Beginning with Waterloo Lily's leadoff title track, there is a sound more akin to the jazzier efforts of Traffic. Miller's "Nothing at All" incorporates the jazz fusion even further as the long instrumental introduction more than hints at Steely Dan circa Katy Lied. The up-tempo staccato bop featuring Miller's electric piano accents, when juxtaposed with Pye Hastings' liquid-toned electric guitar could easily be mistaken for that of Walter Becker and Donald Fagan. The remainder of the album centers on a couple of pieces that evoke the sound and spirit of the previous Caravan outings. Most reminiscent of the classic sound is Hastings' epic "The Love in Your Eye" suite. The track recalls the laid-back intensity and phenomenal improvisational synergy of earlier tracks such as "For Richard" and "Where, but for Caravan Would I," while wisely incorporating Miller's formidable jazz chops to give the instrumental sections sustained substance throughout...(AllMusic)