Genre: progressive
Rating: 4 stars ****
Title:  For Girls Who Grow Plump In the Night
Company: London
Catalog: XPS 637
Year: 1972
Country/State: Canterbury, UK
Grade (cover/record): VG+ / VG+
Comments: US pressing; gatefold sleeve; minor ring wear
Available: 1
Catalog ID: 6199
Price: $25.00

The release of 1973's "For Girls Who Grow Plump In the Night" came on the heels of major personnel chances that saw Steve Miller replaced by keyboardist Dave Sinclair (returning for his second tour of duty with the band after a short stint with Robert Wyatt and Matching Mole), Richard Sinclair replaced by former Spreadeagle bassist John Perry and the addition of viola player Geoff Richardson to the line up. Produced by David Hitchcock, the album saw another change in musical direction with singer/lead guitarist Pye Hastings stepping back into the creative forefront. With Hastings responsible for 90% of the album, tracks like 'Memory Lain, Hugh'' and 'Surprise, Surprise' saw the band moving away from the previous set's jazz-rock moves to a more mainstream rock attack. That shift in direction was tempered to some degree by Richardson's cello and violin which occasionally recalled the "Waterloo Lily" jazz moves (check out the ten minute closing suite 'L'auberge du Sanglier'). Still, this made for one of the band's most accessible collections which probably ticked off loads of prog heads.

- For anyone who thought these guys were just a bunch of shaggy-haired pretentious blowhards, I suggest they check out the stunningly commercial 'Memory Lain, Hugh'. Penned by Hastings, this song managed to blend a surprisingly commercial melody, some of the prettiest progressive moves you've ever heard, and some meaty rock moves - kudos to new bassist Perry and long time drummer Richard Coughlan for their pounding performances on the track. rating: **** stars
- Actually the second part of the opening medley, 'Headloss' was even more commercial, complete with harmony vocals, one of Hasting's best lead solos, and a distinctive top-40 flavored sheen. Hum, imagining Caravan on the top-40 play list was certainly an odd picture. rating: *** stars
- Opening up with an immediately arresting Pye guitar riff and cowbell percussion courtesy of Rank Ricotti, 'Hoedown' was about as close to an outright pop number as these guys could come without exploding. Surprisingly Richardson's country-tinged violin solo made the song even better. rating: **** stars
- With bassist Perry handling lead vocal (?) 'Surprise Surprise' was a pretty, breezy mid-tempo number with some amazingly chirpy vocal harmonies. Every time I hear it I have to scratch myself to make sure I'm listening to a Caravan performance. rating: **** stars
- Apparently based on the H.P. Lovecraft's short story "The Call of Cthulhu", 'C'thlu' opened up with John Perry's bass giving the song a dark, ominous feel. David Sinclair's wailing ARP synthesizers underscored the weird feel. And then the song suddenly hit the upbeat, poppy chorus. Strange, but one of my favorite songs on the album. rating: **** stars
- I cant really explain it, but occasionally a song just sounds like it came out of a certain timeframe and that was definitely the case for 'The Dog, the Dog, He's At It Again'. It may have been recorded in 1973, but had a distinctive mid-1960s feel (at least until Sinclair's ARP kicked in), that recalled such perennial favorites as Brian Wilson and The Fab Four. Instantly engaging with some stunning layered vocals and another album highlight with a wonderfully quirky lyric. rating: ***** stars
- Kicked along by a first-rate Pye solo, 'Be Alright' was interesting for showing these guys could actually belt out a true rock song. Another performance that would probably shock anyone who came to the band through their jazz-rock, or progressive moves. I love it. rating: **** stars
- 'Chance of a Lifetime' shifted gears into a pretty, acoustic ballad. Sinclair's synthesizer added a nice edge to the track, with Pye turning in his prettiest solo. Richardson's violin solo not so much ... rating: *** stars
- 'L'auberge du Sanglier' was a ten minute, four part suite that found the band returning to their earlier progressive roots,
- 'A Hunting We Shall Go' was a hard edged instrumental with a great rock edge that turned even better when Pye's guitar solo kicked in. Richardson's distinguished himself on this one with a true rock violin solo. rating: **** stars
- Showcasing Sinclair on keyboards and synthesizers (yes, his opportunity to grab the spotlight), 'Pengola' started out as a stark, atmospheric ballad. Quite pretty, though the impact was lost when the track morphed into the 'Backwards' segment where heavy instrumental backing kicked in reducing it to what sounded like incidental music out of a 'B' flick soundtrack. rating: ** stars
- The brief 'A Hunting We Shall Go' reprise was nice enough, though I'm not sure what the closing explosion sound effect had to do with it all. rating: ** stars

Caravan fans can seldom agree on anything, but I'll step up and say that in spite if a couple of missteps (the closing suite), this is my favorite Caravan album (extra half star for the great album title and packaging which they were forced to revamp when London marketing rejected the original photo of a naked pregnant woman).

"For Girls Who Grow Plump In the Night" track listing:
(side 1)
1.) Memory Lain, Hugh / Headloss (Pye Hastings) - 9:14
2.) Hoedown (Pye Hastings) - 3:18
3.) Surprise, Surprise (Pye Hastings) - 4:05
4.) C'thlu (Pye Hastings) - 6:12

(side 2)
1.) The Dog, the Dog, He's At It Again (Pye Hastings) - 5:38
2.) Be Alright / Chance of a Lifetime (Pye Hastings) - 6:35
3.). L'auberge du Sanglier - 10:05
i.) A Hunting We Shall Go (instrumental) (Pye Hastings)
ii.) Pengola (instrumental) (Pye Hastings)
iii.) Backwards (John Perry)
iv.) A Hunting We Shall Go (reprise) (Mike Ratledge)