Tag Archives: John G. Perry

Caravan – 1973 – For Girls Who Grow Plump In The Night

For Girls Who Grow Plump In The Night is the fifth album by Canterbury scene band Caravan and was released in 1973 on Decca’s Deram Records label.

Production

The album was recorded between April and August in 1973 at Decca TollingtonPark Studios and Chipping Norton Studios in London. Engineers were Kevin Fuller and Derek Varnals from Decca and David Grinstead from Chipping Norton. Producer was David Hitchcock. In a 2010 interview with Prog Sphere, frontman Pye Hastings had the following to say about the album.

 

Pye: Dave agreed to record “Plump in the Night” as a session player for a fee because he didn’t want to re-join the band at the time and needed some quick cash. We had previously recorded the album without keyboards with the intention of adding them later. Dave obliged but the recording lacked feeling and commitment. In the meantime we had a tour to do which again Dave agreed to do for a fee. Upon return we recorded the same numbers immediately, having ironed out all the bits that weren’t working, and got the backing tracks done in one take. Clearly this was the way forward. Great fun. I have never stopped writing and had this batch of songs ready as soon as Richard and Steve left the band. Something positive usually comes from a disruption, like line up change.

>> Source

 

Track listing

[cc_full_width_col background_color=”f1f1f1″ shadow_color=”888888″ radius=”6″]All songs written by Caravan except Backwards.

Side A

  1. Memory Lain, Hugh (4:54)
    • Pye Hastings
  2. Headloss (3:25)
    • Pye Hastings
  3. Hoedown (3:10)
    • Pye Hastings
  4. Surprise, Surprise (3:45)
    • Pye Hastings
  5. C’thlu Thlu (6:10)
    • Pye Hastings

Side B

  1. The Dog, the Dog, He’s at It Again (5:53)
    • Pye Hastings
  2. a. Be All Right/b. Chance of a Lifetime (6:38)
    • Pye Hastings
  3. a. L’Auberge Du Sanglier (1:00) / b. A Hunting We Shall Go (2:45) / c. Pengola (0:35) / d. Backwards (4:54) / e. A Hunting We Shall Go (Reprise) (0:32) [total: 9:46]
    • a. Pye Hastings / b. Pye Hastings / c. John G. Perry / d. Mike Ratledge / e. Pye Hastings

Note that later CD releases typically have bonus tracks in addition to the 7 tracks from the original release.

Personnel

[cc_half_col_left background_color=”f1f1f1″ radius=”6″ shadow_color=”888888″]Guest Musicians

  • Rupert Hine
    • A. R. P. Synthesizer [tracks A1/A2/B2a] / Congas [B2b]
  • Frank Ricotti
    • Congas [A2/A3/B1]
  • Jill Pryor
    • Voice [A5]
  • Paul Buckmaster
    • Electric Cello [B2a]
  • Jimmy Hastings
    • Flute / brass Arrangement & conductor [A1]
  • Tony Coe
    • Clarinet / Tenor Sax [A1]
  • Tommy Whittle
    • Clarinet / Tenor Sax [A1]
  • Harry Klein
    • Clarinet / Baritone Sax [A1]
  • Pete King
    • Flute / Alto Sax [A1]
  • Barry Robinson
    • Flute / Piccolo Flute [A1]
  • Henry Lowther
    • Trumpet [A1]
  • Chris Pyne
    • Trombone [A1]

Orchestra arranged by John Bell and Martyn Ford and conducted by Martyn Ford[/cc_half_col_left]

[cc_half_col_right background_color=”f1f1f1″ radius=”6″ shadow_color=”888888″]Caravan

  • Pye Hastings
    • Vocals / Acoustic Guitar / Electric Guitar
  • Geoff Richardson
    • Viola
  • David Sinclair
    • Organ [Tracks A1/A2/A5/B2b/B3] / Piano [B3d] / Electric Piano [A3-B1] / A. R. P Synthesizer [A2] / Davoli Synthesizer [B1/B2a/B3d]
  • John G Perry
    • Bass Guitar, Vocals [A3/A4/B2a] / Percussion
  • Richard Coughlan
    • Drums[/cc_half_col_right]

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On-site Reviews

External links

 

Caravan – 1973 – For Girls Who Grow Plump in the Night

Cover Album Art for For Girls Who Grow Plump In The Night (1973)

After the release of Caravan’s Canterbury landmark album In the Land of Grey and Pink, creative differences in the group started pulling the band apart. First to leave was keyboardist David Sinclair to be replaced by Steve Miller. On the band’s fourth album from 1972, the band was basically split into two working pairs, Richard Sinclair and Steve Miller doing their more jazz inspired thing and Pye Hastings with Richard Coughlan writing more of the kind of rock tunes Caravan were known for. As a result, the band’s fourth album, Waterloo Lily, didn’t feel entirely cohesive and after it’s completion, Richard and Steve would leave Caravan and go on to other projects like Delivery and (for Richard) Hatfield and the North.

On For Girls Who Grow Plump in the Night, keyboardist David Sinclair was asked to participate and agreed to (re)join (after a short stint with Matching Mole) as a paid session player as he was in need of some cash. Also joining the ranks were John G. Perry on bass and shared vocal duty and multi-instrumentalist Peter Geoffrey “Geoff” Richardson on viola who has stayed with the band since. The man at the helm was, once again, singer and self-proclaimed chord basher Pye Hastings who wrote the vast majority of the music.

Album review

The result, For Girls Who Grow Plump in the Night from 1973, is a much more cohesive effort than their previous album, Waterloo Lily. With the jazzy experiments of Sinclair and Miller gone, the band adopted a rockier and more guitar dominated sound with various other noticeable instrumental differences such as the lovely addition of Geoff’s viola. The music they play is remarkably seductive and peppered throughout with feelgood sounds and lyrics on topics like love and sunshine. It may sound a bit wishy washy, but they managed to pull it off remarkably well and the whole album is full of hooks. A good example of the catchy feelgood music you’ll find on the album (and perhaps the song which is likely to first get stuck on a first time listener’s mind) is Caravan’s classic The Dog, The Dog, He’s At It Again, Pye’s tribute to sex – which I promise you is more charming than it sounds.

ttp://www.youtube.com/watch?v=LeGbAz8Ri1U

I consider the last half of the album to be the strongest and, as we get close to the end, the band plays along with an orchestra for an epic finish; a medley of beautiful instrumental pieces including Soft Machine keyboardist Mike Ratledge’s wonderful composition Backwards. If only Caravan and the New Symphonia sounded this good!

Final words

Not every song reaches the same level of excellence, but there really isn’t a bad track on here. To me, the album has great replayability as I find myself returning to this more than any other in the band’s discography. I suspect some Canterbury enthusiasts well versed in the avantgarde may initially consider this batch of Caravan’s later rock sounds to not be experimental enough for their liking. For their sake, I hope not because they’d be missing out. Like John G. Perry said in his interview with Aymeric from Calyx, I consider this album to be almost on par with the band’s classic In the Land of Grey and Pink. Depending on my mood, it may even be my favourite!

[rating:5] (5/5)

John G. Perry – Sunset Wading (1976)

Sunset Wading is the debut album of musician and bass player John G. Perry. Aside from John G. Perry, the band features performances by several musicians, among them ex-fellow Caravan member Geoff Richardson and Elio D’Anna and Corrado Rusticci from the Italian band Nova.

[cc_full_width_col background_color=”f1f1f1″ shadow_color=”888888″ radius=”6″]John G. Perry on Sunset Wading :

It was really just a solo project, though, we had no plans for it to do any touring or anything else like that. Just a collection of musicians who I wanted to actually work with, I sort of wrote all the framework of it, but I wanted to give them the room to express themselves. So all the parts weren’t written, we all knew each other, and I could give them a lot of freedom within a sort of… structured framework of the story of “Sunset Wading”.

Source : Calyx

Production

The album was recorded in late 1975 and early 1976 at Decca Studios in West Hampstead. Producer was Rupert Hine.

Track listing

[cc_full_width_col background_color=”f1f1f1″ shadow_color=”888888″ radius=”6″]

  1. I Wait My Friend (2:24)
    • John G. Perry
  2. How Goes The Night ? (0:15)
    • John G. Perry
  3. Devoke Water (4:51)
    • John G. Perry, Michael Giles, Rupert Hine, Simon Jeffes
  4. Birds And Small Furry Beasts (3:19)
    • John G. Perry, Elio D’Anna, Rupert Hine, Corrado Rusticci
  5. As Clouds Gather (3:45)
    • John G. Perry
  6. Storm (2:59)
    • John G. Perry
  7. Ah Well, You Can Only Get Wet! (1:56)
    • John G. Perry, Michael Giles, Ruper Hine, Morris Pert, Corrado Rusticci
  8. Dawn (7:05)
    • John G. Perry, Michael Giles, Rupert Hine, Simon Jeffes
  9. Morning Song (3:09)
    • John G. Perry, Michael Giles, Rupert Hine, Simon Jeffes
  10. On The Moor (3:09)
    • John G. Perry, Elio D’Anna, Michael Giles, Rupert Hine, Morris Pert, Corrado Rusticci
  11. Roundelay (0:51)
    • John G. Perry
  12. Etude (3:33)
    • John G. Perry
  13. A Rhythmic Stroll (1:12)
    • John G. Perry, Elio d’Anna, Michael Giles, Rupert Hine, Morris Pert, Corrado Rusticci
  14. Sunset Wading (2:35)
    • John G. Perry, Rupert Hine

Personnel

[cc_half_col_left background_color=”f1f1f1″ radius=”6″ shadow_color=”888888″]Band

  • John G. Perry
    • Bass, vocals, piano [2, 12]
  • Corrado Rusticci
    • Guitar
  • Elio D’Anna
    • Alto saxophone, soprano saxophone, flute [4]
  • Geoff Richardson
    • Viola, flute [1, 3, 11]
  • Rupert Hine
    • Piano, electric piano, celeste, moog, backing vocals
  • Michael Giles
    • Drums
  • Morris Pert
    • Marimba, vibes, percussion[/cc_half_col_left]

[cc_half_col_right background_color=”f1f1f1″ radius=”6″ shadow_color=”888888″]Guest musicians

    • Beryl Streeter
      • Vocals
    • Roger Glover
      • A.R.P. synthesizer
    • Gavyn Wright
      • 1st violin
    • Steve Rowlinson
      • 2nd violin
    • Levine Andradi
      • Viola
    • Helen Liebman
      • Cello[/cc_half_col_right]
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Caravan – 1973 – For Girls Who Grow Plump in the Night

For girls who grow plump in the night

(Deram 1973)

  1. Memory Lain, Hugh / Headloss
  2. Hoedown
  3. Surprise, surprise
  4. C’thlu thlu
  5. The dog, the dog, he’s at it again
  6. Be alright / Chance of a lifetime
  7. L’auberge du Sanglier / A hunting we shall go / Pengola / Backwards / A hunting we shall go (reprise)

Remember what I said in my introduction, about Caravan being a nice bunch of meek and nerdy dudes, not at all aspiring on getting between the sheets? Well, scratch that! If the album name and cover, making us voyeuringan innocent sleeping girl in progress of pregnancy, alone won’t convince you, then perhaps the knowledge of the original intent of her being nude will. And at least one of the songs is approaching almost Zappaesque heights of naughtiness. Have I intrigued you enough? Good!

By this time things started to move about in the Caravan camp; Our old friend Richard Sinclair decided to quit and explore the depths of the Canterbury sound in Hatfield & The North and became replaced by some bearded hipster named John G. Perry on da bass. Plus, they expanded the lineup with a viola handled by Geoff Richardson, and guess what: Dave Sinclair is back! The scene is set, how about that!

But it’s not really the change of personell that makes this record stand out. It’s that Pye has really seized his chance to prove himself a worthy guitar player. The whole record reeks of catchy, occasionally even heavy, riffs and tasteful solos on courtesy of himself, sometimes intertwined with Richardson’s viola, all of which make for a truly intriguing listen. It becomes obvious from the very start with “Memory Lain, Hugh” greeting us with a really tricky guitar riff over a thumping rythm on which they harmonize an airy melody in the best Caravan tradition. The flute break thereafter is really memorable, as is the transition into “Headloss” which suddenly creeps up just as you think the song is about to end. Now the whole thing transforms into a bouncy shuffle with a looping structure very similar to Yes’s “All good people”, expanding the track into being the best opener on a Caravan album ever. It rules! The following “Hoedown” is the weakest track on here though, being a very rushed exercise in pseudo-country in 7/8 which just sounds forced. Thankfully it’s also the shortest so it doesn’t manage to do much harm.

But then we’re back on track again with “Surprise, surprise”. A laid back folksy groove peppered with great harmonies once again, and what seems to be a pedal steel that makes it sound almost like Zeppelin in folk-mode. “Suddenly sunshine” they sing, and indeed it is. It simply rules! Then we switch gears completely with “C’thlu thlu”, boasting really heavy riffs, that Pye obviously nicked from Robert Fripp’s backpack during recession. Watch out for that guitar break after the second chorus, very much in the style of “Larks’ tounge in aspic”-era Crimson. The creeping, almost gothic, verses with their theatrical atmosphere reminding of early Alice Cooper, are juxtaposed with strangely upbeat and jolly choruses in a way that in the hands of a less talented band would just sound out of place. But here, it rules! “The dog, the dog, he’s at it again” is yet another typical Caravan popster that makes remarkably good use of its looping chord sequence on which they build catchy and clever melodies that toward the climactic ending climb upon each other in an ingenious way. And David really shines on that sci-fi synthesizer break in the middle. And oh, this is the one with the infamous lyrics, celebrating the joy of copulation in such a filthy way it’s just pure fun! Have you seen them perform this? With Pye completely straight-faced announcing that “he’s got something that he’d like you to hold”? How the h*ll did he manage to pull that off without cracking up? Or could he have been so desperate in trying to get laid that he actually was serious? I don’t know and I don’t care. It’s a true pop masterpiece and I needn’t tell you that it rules!

Off we are to “Be alright/Chance of a lifetime” in which that Perry dude proves himself to be a very good successor to Sinclair not only on bass but in taking the lead vocals as well. It’s built on a great guitar/viola interplay culminating in a catchy descending chorus line which all make it sound a lot like Kansas, except that it’s better. After all, Caravan wasn’t Kansas which is always an advantage and besides, Kansas was yet to be formed. Only to let you know who were first and who were just a bunch of rednecky copycats. And Kansas surely couldn’t have pulled off such a beautiful and contemplative second part as on here. Did I mention yet that it rules? And we’re still to be blown away by the grand finale “A hunting we shall go”. Yet another viola/guitar assault that shakes the house down, albeit even more profound this time. Now they’re reaching almost Gentle Giantish heights of dexterity, trading solos over the looping riff as if to convince you of the very origins of prog metal. Then it all dies down with a slowly emerging orchestral suite, constantly building up to a symphonic climax that segues into a reprise of the main part in which each and every instrument play in unison until it all ends with a bang (literally). It freakin’ ru – wait for it – les!

Now, I know I said that Caravan isn’t really designed to blow you away, but if there is anywhere to look for that kind of thing then this is your best bet. “For girls who grow plump in the night” is the album that finally and firmly places Caravan among the league of prog supermen. Of course, the saga isn’t over yet, but it’s quite obvious that it just had to go downward from here, even if ever so slightly.