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In the Land of Grey and Pink by Caravan

21-08-2026 08:00

FrancescoProg

Canterbury Scene, ESSENTIAL, caravan, dave-sinclair, richard-sinclair, richard-coughlan, pye-hastings, jimmy-hastings,

In the Land of Grey and Pink by Caravan

In the Land of Grey and Pink An absolute masterpiece by Caravan, from 1971 and an essential album in any prog collection, one of the most ...

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In the Land of Grey and Pink Absolute masterpiece by Caravan, from 1971 and an essential album in any prog collection, one of the most representative works of the Canterbury scene; indeed I consider it the quintessence of Canterbury progressive rock and one of the best progressive albums of all time.

 

A huge album, the one marking the artistic maturity of Caravan, a leap forward compared to the already beautiful If I Could Do It All Over Again, I'd Do It All Over You.

It’s mandatory to remember that Richard Sinclair, Richard Coughlan, Pye Hastings and Dave Sinclair were, with other illustrious members, part of the Wilde Flowers, the Canterbury band that “created” the sound of the Canterbury scene.

 

Outstanding are the voices of Pye Hastings and Richard Sinclair, and the horn solos by Pye’s brother, Jimmy Hastings, which give the album a fairy-tale, dreamy character.

 

There’s a wonderful contribution from Paul Beecham, who opens Golf Girl on trombone, and from sound engineer Dave Grinstead with the synthesizer that recreates the sound of a cannon, a bell and a wind instrument on Nine Feet Underground.

 

Golf Girl and the title track are written by Richard Sinclair, ironic songs that will become essential for this band. 

And then there’s the Caravan masterpiece, the suite Nine Feet Underground written by David Sinclair, with a spectacular organ that always stirs different emotions and “plays” with Pye Hastings’ beautiful guitar, with Richard Sinclair’s bass and Richard Coughlan’s great drums, and it flows into splendid jazz-rock. 

Beautiful David’s piano solo in Winter Wine.

 

In this beautiful remastered version there are five bonus tracks.

 

I Don't Know Its Name, a beautiful previously unreleased track, with a splendid melody, a fantastic sax solo, a very, very moving piece that at the end offers an exceptional keyboard solo. Great composition. 

 

Disassociation / 100% Proof is an improved mix of the same pieces that appear in the Nine Feet Underground suite; the keyboards are boosted, maybe too much, and in this version the track has a less sunny, lighter mood. Still, the balance between the instruments is nice. Pieces that were and remain great even in this version.

 

Aristocracy is a track made during the original sessions and then included on the following Waterloo Lily. A nice rhythmic piece with a sunny atmosphere, a good overall groove. A piece of impressive modernity. Great chorus, backing vocals, guitar solo and performance. A real hit.

 

Next are two demos: I like demos—you can tell how the band was steering a piece that still had no name and no lyrics; it thrills me to listen as the song takes shape, as the solos get defined in the key parts, the artists themselves in dusty studios, between a beer and a coffee and a discussion, creating while they rehearse and invent something that, once refined and defined, will remain eternal. I played a lot in the past and the rehearsal room was life; working on songs in the studio or live was the technical part. The two together are music. 

 

It's Likely to Have a Name Next Week is a beautiful rehearsal demo of Winter Wine, sung with simple vocalises, very atmospheric and played with a simplicity that doesn’t give up precision. Nice!

 

Group Girl  is a beautiful rehearsal demo of Golf Girl; also in this case it’s played, in my view, mainly to complete or give structure to the song and it lacks virtuosity, the solos are sketched and the breaks very scholastic; it remains enjoyable and nice to listen to. The drums lay down predictable rolls. It sounds like a cover. But these musicians managed to excel even when there was only a need to lay down a base without working on the finishing touches. Great.  

 

After this record came David Sinclair’s departure from the group; he joined Matching Mole, led by Robert Wyatt (another Wilde Flowers member), then later returned and left the band several times.

 

David Sinclair’s keyboard solos give this album its prog, its jazz and psychedelic moments.  Nine Feet Underground, with its 22 minutes, is an epic, unmatched track. 

 

Note that production was handled by the same producer as Genesis, David Hitchcock. 

 

“Long story short”: a perfect album, a must-have in any collection.

 

My Version

Label: Klimt Records – MJJ352
Format: 2 x Vinyl, LP, Album, Reissue, Unofficial Release, Pink/Grey Splatter, Gatefold
Country: France
Released: 18 Feb 2013

 

Tracklist

Original tracks on this version

1. Golf Girl (5:05)

2. Winter Wine (7:46)

3. Love to Love You (and Tonight Pigs Will Fly) (3:06)

4. In the Land of Grey and Pink (4:51)

5. Nine Feet Underground (22:40) :

- Nigel Blows a Tune

- Love's a Friend

- Make It 76

- Dance of the Seven Paper Hankies

- Hold Grandad by the Nose

- Honest I Did!

- Disassociation

- 100% Proof

Duration:  43:28

 

These are the bonus tracks:

 I Don't Know Its Name (6:12) previously unreleased version

Disassociation / 100% Proof (new mix) (8:35)

Aristocracy (3:42) previously unreleased version

It's Likely to Have a Name Next Week (7:48) previously unreleased instrumental version of Winter Wine

Group Girl (5:04) first version of Golf Girl with different lyrics, previously unreleased

 

Lineup

- Pye Hastings - electric and acoustic guitar, vocals (3,5)

- David Sinclair - organ, piano, Mellotron, vocal harmonies

- Richard Sinclair - bass, acoustic guitar, vocals (1,2,4,5)

- Richard Coughlan - drums, percussion

With:

- Jimmy Hastings - flute and piccolo, tenor saxophone

- John Beecham - trombone (uncredited)

- Dave Grinsted - sound effects, engineer

 

Note: All links to the musicians’ works are in the TAGS under the article title or on the "Artists" page

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