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I am not sure if it was intentional or not but Matt Cattell’s new album ‘The Bedroom Demos’, which has been a work in progress for a considerable amount of time, was released at end of Mental Health Awareness Week. Mental awareness being quite significant to this project.

You see, by his own admission, Matt has had more than his fair share of issues. And this album has all the hallmarks of those demons being faced head on and placed into song. And now those songs have been released and to be heard by the greater public.

The first thing to say is that Matt’s lyrics undoubtedly draw you in. They are powerful and feel as though Matt has cleansed his very soul. But that’s not to say that they are all born out of frustration. As to be expected the album is reflective. But that is balanced by positivity. It even throws open the prospect of looking to the future. From a listener’s perspective, it does all hang together to great effect.

Forgetting the subject matter of the lyrics for a while, the music is eye openly good. With all things being equal, the potential here is for a couple of major anthems. If these songs, can permeate into the greater publics psyche, who knows where this project could go. With each listen to this album I really do get an image of several of these songs being sung by the masses in some huge field somewhere.

Matt is an ardent and very hard-working performer on the open mic circuit. He played, in excess, of 75 gigs alone during 2018 growing his support. And hearing Matt on a recent radio interview he explained how he practices his songs every day, so he never lets himself down while on stage.

When asked if he gets nervous before a performance Matt’s response was a confident ‘never’. Matt seems to thrive on the whole performing thing, never getting fazed putting himself out there. The adrenaline it all creates gives him an amazing buzz.

Even funnier was hearing Matt explain how he gets himself ‘into the zone’. And while in that place of concentration, and despite being on stage in full flow, how people still try to talk to him or even pull on his microphone.

‘The Bedroom Demos’ contain two discs and you get 26 songs in total. 13 recorded plugged and the same 13 unplugged. Whatever way your mood takes you. Included is the single, ‘Trouble’, released toward the end of 2018 along with an accompanying video.

As the album title suggests, the songs were written and produced in Matt’s bedroom studio where he performed, arranged, mixed and mastered the entire project.

Thankfully, Matt appears to be on a good footing now and is facing the prospect of a more optimistic future. The foundations have been laid for his music. So long as the momentum is continued then I can only predict good things for Matt.

Should any physical albums still be available, and I hear it sold rather well, then they can be purchased on eBay. Alternatively, the album is downloadable via iTunes, Spotify, Amazon, Google Play and YouTube.

I have heard it mentioned many times before that rock and roll is a young man’s game. Bucking that trend right now is singer songwriter Tim Bowness. Since turning 50, Tim has produced a series of albums under his own name that has given him an identity and a recognition of his own. Age it seems, is no longer a barrier.

For me however, whatever Tim Bowness was going release as a follow up to the incredible ‘Lost in the Ghostlight’, was going to be received with a very critical ear. Not daring to compare the two musically, but in my mind, this was a similar moment to how I remember Pink Floyd following up their master piece ‘Dark Side of the Wall’.

Of course, ‘Wish you were Here’ was rightfully applauded as the great album that it has since become. But not before it had run the gauntlet of being the difficult follow up to its legendary predecessor.

And I admit to maybe not wanting to enjoy Tim’s latest release ‘Flowers at the Scene’ because it just happened to be the follow up to one of my favourite albums of the last decade or so. And after one play I simply dismissed it.

After realising I was being totally unreasonable, I went back to the album. And, after a few tracks in, I found myself drawn in, by, of all things, a lyric that went ‘Spaghetti on the floor’. It did make me smile and set visions off in my mind.

The line introduces you to the heartbreakingly beautiful tune titled ‘Not Married Anymore’. It really got to me, and I was in. And, I can honestly say, that I cannot remember hearing the word ‘spaghetti’ being used in a lyric before.

Unlike Tim’s other releases there does not appear to be an overriding theme. It is a collection of situational and very moving songs. Some of the songs have been revived into life from the past while some are new to this project. But all the songs are ‘thinkers’ in as much that, typical of Tim’s writing, they evoke a keen sense of sadness and regret. But at the same time, recognising that life also moves forward.

Apart from fully detailed lyrics, the sleeve notes are sparse. They kind of hide the fact that there is a stellar cast of musicians contributing to this album. That said, Tim’s unique delivery of song is still very evident.

Interestingly though, the production has been credited to No-man. This appears to mean that Steven Wilson has had major involvement in the album. As an aside, and on a tweet released earlier in the year, Steven mentions that the pair (he and Tim) are ‘gradually edging towards releasing some new no-man music at some time in the not too distant future’. Couple that with an interview from 2018 where Tim mentions that, while making ‘Flowers’, a recording session did take place, but it is unlike anything they have released previously – does make for a tantalising prospect.

Until then though, I am rightfully giving ‘Flowers at the Scene’ the kind of respect that this wonderful album fully deserves.

For those with long memories, I am guessing you can remember exactly where you were, when man first landed on the moon during July 1969. I personally, can remember being transfixed by this incredible voyage of exploration made by Neil Armstrong, Buzz Aldrin and Michael Collins. The entire mission lasted just over eight days from its launch date of 16th July to when it splashed down on the 24th.

Of course, not everyone was convinced that the moon landings were for real. I can still hear my Mum telling us how it was all fake and being staged in a desert somewhere. And of course, soon after, there was a film with a similar storyline.

But what else was going on at that time? I’m sure there will be others reviving memories as to what was being shown on the TV and cinema back then, along with other events. But thought I would revisit, and try to capture, the music scene both locally and nationally.

On the evening of the blast off you could find Derek Brimstone performing at the Drumbeat Club held at the Globe Hotel in Warwick.

The following day, the 17th July, saw Magna Carta at The Biggin Hall Folk Club on the Binley Road. And Friday 18th there was a visit of Jackie and Bridie (Jacqueline McDonald and Bridie O’Donnell) to the Mercers Arms.

The highlight of the Saturday evening, as far as my research took me, was a band called Life who were appearing at The Sportsman’s Arms. However, on the evening of the landing, Sunday 20th July, you had a choice of seeing either Roger Williamson at the City Arms Folk Club in Earlsdon or Black Velvet at The Mercers Arms.

Monday 21st gave you the opportunity of seeing The Mike Cotton Sound who were on at the Chesford Grange. This was followed by 60s-star Tommy Bruce who was appearing, in city centre on Tuesday 22nd, at the 40 Thieves, later known as Busters.

It was back down to the Drumbeat Club, Warwick on the 23rd for a visit by Colin Scott. And finally, splashing down at the Biggin Hall Folk Club on the 24th July was Gerry Loughran.

Nationally, the UK singles chart for 16th July looked like this:

1. Something in the Air – Thunderclap Newman

2. In the Ghetto – Elvis Presley

3. Honky Tonk Women – The Rolling Stones

The chart altered slightly for the week of 23rd July when ‘Give Peace a Chance’ by the Plastic Ono Band appeared at number 2 and Thunderclap Newman and The Rolling Stones swapped positions. Top album in the UK during this entire duration of the Apollo 11 mission was Jim Reeves with ‘According to my Heart’. It was eventually dislodged by Jethro Tull during early August. Perhaps influenced by events, the soundtrack to ‘2001 a Space Odyssey’ began to make a rapid re-entry to the chart during this time.

Other prominent singles that were getting airplay on the radio, and youth clubs, included The Beatles with ‘The Ballad of John and Yoko’, ‘Time is Tight’ by Booker T and the MGs, ‘Gimme Gimme Good Lovin’’ by Crazy Elephant and ‘It Mek’ by Desmond Dekker.

Over in America it was the original soundtrack to ‘Hair’ that had peaked in the album charts. While topping the billboard singles charts throughout the entire moon landing period was ‘In the Year 2525’ by Zager and Evans.

Released to coincide with the Apollo 11 mission was David Bowie’s ‘Space Oddity’. Released during July 1969 it took a little time to climb the chart but by September it had touched down at number 5. The single was far more successful on its re-release during 1975 when it hit number 1.

While most of us were glued to the screen for the return of the Command Module as it made its splashdown into the Pacific, Pink Floyd were actually jamming to it during an interlude for a live, late night broadcast, on the BBC. The tune, never released but is widely available on youtube. Titled ‘Moonhead’, it is a remarkably atmospheric bluesy piece by a band just on the up after a period in the doldrums.

Time and money are commodities that some folk could do with a bit more of…..I guess that we could all make a case for it.

But I am thinking more of those in the music business and particularly those who are without the backing of a major label. On one hand they maybe juggling a day job, but on the other, they still carry that burning desire to create music. For those in that situation it really is a labour of love a and devotion to their art.

Coventry’s very own Stylusboy, a major and relatively untapped talent in my opinion, for me fits squarely into the above category.

Looking back, it is quite surprising when you realise that is now ten years since Stylusboy first released his self-produced debut EP, ‘Fingerprint’.

This was followed by a host of other releases that included ‘The Whole Picture’ a 6 track EP released on Lazy Acre Records during 2011 and his 10-track debut album for Wild Sound Recordings along with the Lantern EP both released during 2013

That album, ‘Hope for Happiness’ contained some exceptional tunes including ‘Hold My Hand’, ‘Eyes Form Tears’ and ‘Love’s Tale’ and was a very well-received release. And some of the songs from it have recently been re-recorded for a ‘pay what you feel’ downloadable EP.

However, since that time, things have gone relatively quiet on the recordings front. Of course, Stylusboy didn’t disappear completely. He has featured at various festivals and in some sell out gigs, particularly in London throughout that period. But, in general, Stylusboy has slowed things down and taken stock.

2016 saw the beginning of the process of writing a whole new selection of songs. But this time, rather than rush them out, Stylusboy has given them more time to develop. 2017 saw the songs, at long last, being taken into the studio. As you can tell, the new album, titled ‘Routes’ has been an ongoing project for some time now. But there is now light at the end of the tunnel and a taster track from the forthcoming album has recently been allowed to fly out on an EP.

This long awaited second album will be released on his own, appropriately named, Tortoise label. And Stylusboy wants to get the new album to the best possible position he can. September is the target month for its release and there is talk of a launch gig complete with a full band for the same month.

The opening track on the new EP titled ‘Out Upon the Ocean’ is a tune bearing the same title. And the first thing I was struck by immediately was its depth and clarity of sound. To these ears at least, this appears to be a vast improvement on previous releases.

Alongside Stylusboy has been Tim Bowes, drums and percussion and John Parker on double bass who both contributed to his previous album. I also noted, from the sleeve notes for the EP, that the glorious vocal harmony you hear is that of the very talented Holly Hewitt.

The tune includes a verse that begins with the line ‘It’s been so long’. It all seems strangely fitting somehow.

A pair of albums that have given me immense pleasure over the years, one now over 50 years old and the other fast approaching, are ‘This Was’ and ‘Stand Up’. Both releases were by Jethro Tull and, together, they still get regular outings on my audio devices.

Jethro Tull had been regulars at the prestigious Marquee Club in London throughout 1968 and even featured at their festival, The National Jazz and Blues Festival in Sunbury during August of that year, where they proved to be a huge hit. September 1968 saw the release of the band’s first Island single ‘Song for Jeffrey’.

Prior to ‘This Was’ being recorded, associates of the band, advised Ian Anderson to forget the flute which he had only recently taken up. How wrong he was to prove them. Upon its release, John Peel enthused about it, becoming an early advocate, and gave the album huge airplay. It seemed to catch the music business by complete surprise.

‘This Was’, entered the album chart at number 23 during October 1968 peaking at number 10 mid-November, and was a more than impressive debut record. It was blues-based and featured the line-up of Ian Anderson, flute/vocals, Mick Abrahams, guitar, Glenn Cornick, bass and Clive Bunker on drums.

The final recording of ‘This Was’ was far from perfect but, in their defence, Jethro Tull had not got the weight of a label behind them during its creation. That only came later. A Melody Maker review ‘thoroughly recommended’ the album. It reached number 10 in the charts.

Jethro Tull played Coventry a couple of times during 1968 either side of the release of ‘This Was’.

Early 1969 and Mick Abrahams left Jethro Tull to form Blodwyn Pig. An uneasy alliance had grown as to the direction of the band with Mick wanting to follow the previously embarked bluesy path. Ian Anderson had other ideas however and was becoming more influenced by the more progressive sounds that were springing up at that time.

Securing the services of ex Lanchester Polytechnic student, Martin Barre, the band began their first tour of the U.S. soon afterwards. While in the States, the band quickly picked up a sizeable following.

Jethro Tull’s fourth 45 rpm single, and their first recording with Martin Barre, ‘Living in the Past’, entered the charts at number 41 during May 1969 steadily rising to number 3 over a 6 week or so period.

A second album, the quite brilliant ‘Stand Up’, entered the charts at number 1 during August 1969. At around the same time ‘This Was’ was re-entering the lower reaches.

Ian Anderson, complete with his wild eyes and one-legged stance (a position adopted from his harmonica playing days) along with various other postures and poses, was now in total control of band.

‘Stand Up’ was, I think, still a bluesy album but undoubtedly Jethro Tull were beginning to expand and find their own niche. Some great songs took the album into a host of wonderful directions. Take a listen to ‘We Used to Know’, from ‘Stand Up’ and see if it reminds you of a familiar tune from the mid to late 1970s. Incredibly both bands toured with each other during the early 70s. A further two tunes, ‘Sweet Dream’ and ‘The Witch’s Promise’ kept the band in the singles chart, reaching number 7 and 4 respectively.

The next album up was ‘Benefit’ which entered the chart at number 7 during May 1970, rising to number 3, before dropping down again quickly. ‘Benefit’ was, again, a change in style. It felt more loosely put together in feel with the introduction of piano and organ enabled this. Despite selling over a million copies the critics were not enamoured by it.

‘Benefit’ would be the last album with the Anderson / Barre / Cornick / Bunker line up. Although they still had time, complete with John Evan on keyboards, to appear at the Isle of Wight festival on 30 August 1970 Isle of Wight.

From all accounts Jethro Tull’s performance at the Isle of Wight was impressive from the outset on that final day of the festival. The band were said to have delivered a powerful and charismatic gig. The set included a version of ‘My God’ which featured on the ‘Aqualung’ album, the first album to feature Jeffrey Hammond on bass guitar and vocals.

Incidentally, Ian Anderson, Glenn Cornick and Jeffrey Hammond had been members of the John Evan Band prior to the formation of Jethro Tull. Anderson even wrote a trio of songs, across those first three albums, about Jeffrey Hammonds peculiar behaviours.

Jethro Tull went on to make many wonderful and amazing albums. And some of the lyrics found within those lyrics have a touch of genius. The band still tour today. But those early days of the Tull, along with all the new and exciting sounds being discovered, made them very special indeed.

I first came across guitarist Snowy White at a Pink Floyd concert at Stafford Bingley Hall during 1977. Pink Floyd, had until then, normally performed as a four piece so it was intriguing to see this ‘fifth’ member of the band on stage bolstering the sound.

It turned out that Snowy had been recommended to Pink Floyd by a former manager of Kate Bush. A year or so after that gig, and after buying a copy of Richard Wright’s solo album ‘Wet Dream’ I noticed that Snowy had been a guest musician.

Snowy also appeared on the next major Pink Floyd tour where they performed The Wall. That enormous extravaganza appeared at Earls Court in the consecutive years of 1980 and 1981. Snowy was on stage for the 1980 gigs but not on the 1981 shows. Possibly because, at around the same time, Snowy had also became a member of Thin Lizzy, and the two activities maybe clashed.

1983 saw Snowy White make the top 10 of the UK singles charts with the timeless classic ‘Bird of Paradise’, which came from his own debut solo album release ‘White Flames’. I remember buying this LP particularly well as, at that time, I was taking a break in Spain and Portugal, and a record shop I popped into stocked it. The style of the ‘White Flames’ album set the scene for Snowy’s initial album releases, solid laid-back rock tunes where Snowy took up lead vocals.

The late 1980s saw a distinct change of direction for Snowy, with the formation of the Blues Agency. With the clue in the name, the emphasis, was now on the blues. During this period this band played live at the Tic Toc club Coventry (now known as the Kasbah) during 1990. In addition to Snowy on guitar, the Blues Agency included Graham Bell on vocals, Kuma Harada on bass and Jeff Allen on drums.

From then on, and for the following quarter century, there was a steady release of a dozen or more excellent and varied blues-based albums, from Snowy, under band names such as White Flames and the Blues Project. Additionally, for these albums, Snowy White had once again resumed the lead vocal as well as introduce the wider world to a Dutch -Indonesian rhythm section – Drummer Juan Van Emmerloot and bass player Walter Latupeirissa – that remained the cornerstone of most of those albums during this period.

Interspersed within these releases Snowy’s talents were still in high demand. He was invited to perform alongside Roger Waters at high profile gigs such as The Wall concert in Berlin 1990 and the Pink Floyd association continued with many prestigious tours, with Roger, between 1999 and 2013.

Throughout his entire recording career, including some sessions with Peter Green during the early 1970s, Snowy played an iconic 1957 Gibson Les Paul Goldtop guitar which he acquired during 1969. During those 45 years, the Goldtop had been played almost every day. As such the guitar was sold ‘as scene’ with no apology for its condition. The guitar was auctioned on 28 February 2015. It raised a cool $93,750 US.

I remember thinking that maybe Snowy was finished with music. His last album, prior to the sale of the guitar, was released during 2011. Titled ‘Realistic’ this album was one of my personal favourites from that year and appeared to wrap up, what I thought, to be a wonderful legacy.

How wrong I was. Snowy went and bought a new Goldtop Gibson and has since recorded a further three albums, ‘Released’, ‘Reunited’ and his most recent album ‘The Situation’ issued April 2019.

Each of these albums has seen Snowy team up once again with long time musical associates such as drummers Jeff Allen, Richard Bailey and Juan Van Emmerloot. bass players Kuma Harada and Walter Latupeirissa, piano player Max Middleton and keyboard player John ‘Rabbit’ Bundrick amongst many others.

Snowy White has built a career on near-anonymity. Deliberately it seems. ‘It is my nature,’ he explains in an interview I once read. ‘If the spotlight hits me, my inclination is to step out of it. I’m actually quite a private person.’ And this possibly explains why his own gigs in support of his own music have been few and far between. It could also be possibly due to commitments elsewhere. But if it’s some refreshing and beautiful bluesy music you are after, then check out Snowy White.

It is always pleasing to hear about somebody who has achieved goals that they may have set themselves. So, it was particularly good to hear that Coventry drummer Rick Medlock had successfully accomplished his aim of touring as a professional drummer once again.

After years away from music, Rick’s passion returned several years ago. And since getting back behind a kit Rick went on to appear in bands such as Cupids Inspiration, SixOne20s, The Mosquitos and Honky Tonk Rose to name a few.

Rick is incredibly dedicated towards any task he sets himself. And hopes for the same in return. As such, he believed he still had it in him to complete a nationwide tour.

Rick’s break came toward the end of 2018. An invitation from guitarist, an old band mate from Smackee days, Michael Smitham, led to Rick stepping into The Fortunes to cover for Glenn Taylor. This included a three month 60s tour of the UK including a sell-out date at the Symphony Hall, Birmingham. Thankfully Glenn made a full recovery and has returned to the band.

With Rick’s other bands, such as Honky Tonk Rose, being on hold, due to bass player Horace Panter’s commitments with The Specials, the turn of the new year, musically speaking, looked bleak for Rick as he faced the prospect of no work for the foreseeable future. How quickly that all changed.

With the unavailability of Vanity Fare drummer, Graham Walker due to illness, a 30 date Solid Silver 60s Show tour beckoned. Vanity Fare had been on the previous 60s tour and knew of Rick’s capabilities so invited him to tour with them. Once again Rick was thrown in at the deep end with only three days of rehearsal. But before that, a further opportunity cropped up. And that was a few dates with the original Tremeloes. The down side was that there was no time for any rehearsal. So hastily was Rick rushed in, in fact, that while on stage lead singer Chip Hawkes kept turning around trying to figure out who the drummer was.

The Solid Silver 60s tour spanned the country. From Aberdeen to Swansea, Torquay to Southend concluding at the prestigious Liverpool Philharmonic.

The format of the show was two one-hour sets. Vanity Fare opened the show with several of their numbers followed by a set by Brian Poole whose final tour this was to be. The second half of the show began with Dave Berry and finished with Peter Noone. As to be expected, nuances and preferences came with each of the artists.

Brian Poole requested a slow tempo, not too fast. He is 77 don’t forget. Dave Berry was great fun to be around. Dave loved Rick’s drum fills and gave him a solo in his set. Peter Noone, at just 71 wanted nothing fancy. No fills, just keep the right beat except for the odd hi-hat sound to lift and move on to the next section. And Rick seemed to have impressed all round.

The artists that Rick was working with are, without doubt, all giants of the 1960s music scene. And judging by the audience sizes and venues, still draw a lot of people who are fans of the 60s music. These legends are still more than capable of attracting a huge and loyal following.

Rick returned to Coventry enthused and very impressed by the management company who organised the tour. They had provided Rick with a drum kit, a road crew and a sound engineer who also doubled as a drum tech. So, no lugging around of his own equipment. The only preference Rick had was for his own snare drum and some of his own cymbals.

A lasting and overriding memory Rick has of the tour was a deeper appreciation for the musicians who originally appeared on, and recorded, the songs played. ‘Their musicianship, particularly their timing, was immaculate’, Rick says.

With contacts now made, fingers crossed for more work to follow. Who knows what the future holds. 

July 2018 and, after seeing them play live at the Old Grammar School, they left me feeling convinced that it was only a matter of time until Callum Pickard and the Third Look would gain a far wider audience and get far greater attention.

However, within weeks of that gig and to my disbelief, the band were no-more, and it was all over for the Third Look.

But now, after several months away, Callum Pickard has re-emerged and is playing live once again. Gone is the dreamy pop and in comes a whole new direction. The improvisation has been replaced by planned and more premeditated, but not predictable, song structures.

For this new venture Callum has built a new band around the familiar faces from each of his previous bands. And it is clear he still enjoys hearing some brass in the mix. Although this time the band make a greater use of programming and sequencing.

From the Third Look you have the familiar faces of Laurence Pettit – Synths, Acoustic Guitar and backing vocals and Jon Pudge – Flugelhorn and Trumpet.

Then, from his earlier band, the now ironically named ‘For Absent Friends’, you have Chris Lings on Drums, Matty Wishart, Guitar and Dan Grealy on Bass. Completing this exciting new septet is Bill Cameron on Saxophone.

In his time away from the live scene Callum has not been idle. Far from it in fact. He has, for at least the last six months, been busy immersing himself in an album which still has some way to go until it can be released. As I understand, though, the album will comprise of new songs and reworkings of old ones. But with guest appearances by members of ‘War on Drugs’ and ‘The 1975’, this alone should certainly focus some attentions when it does see the light of day.

Additionally, Callum has been increasing his skill set by adding drums to a growing list of instruments he is prepared to improve upon.

For Sunday’s Sound: in bloom gig ‘an evening of brand new music’ held at The Tin, Callum and the band more than rose to the occasion by presenting four new songs. Bar Key, Follow the Sign, Time Lies and Translated Radio. And how well they came across. To these ears at least the band felt comfortable, they appeared to enjoy themselves and any rehearsals had certainly paid dividends as the music flowed effortlessly.

And this new-found confidence may also yield a spin off as there is also some talk of resurrecting ‘For Absent Friends’ for a one-off gig. The dusting off, of some old tunes, just for old time’s sake.

Rock band Caravan continue to celebrate their 50th year of existence. You may remember them for their 14 wonderful and varied studio albums and the rather splendid live recording with the New Symphonia Orchestra.

Caravan’s music was initially influenced by a loose form of jazzy rhythms but that disappeared as the band developed. Textured harmonies and, at times, extended and complicated work outs became a staple. Their songs can be catchy, sometimes display humour yet, at the same time, be deep and abstract.

The last twenty years has seen Caravan’s discography produce an abundance of live, demos, re-recordings and other, unused material. Some of the releases have been outstanding, some of them not so.

For anyone remotely interested in Caravan, they did have a large underground following, and who has yet to hear this stuff, I have listed below a selection of what I consider essential listens. Almost as important, in my opinion, as the bands original studio albums.

All Over You (1997) – Completely new and, it must be said, a brilliant set of re-workings of some of Caravan’s finest moments such as ‘Place of my Own’ and ‘For Richard’ in an almost acoustic format. The band at this point was Pye Hastings, Geoffrey Richardson, David Sinclair, Jimmy Hastings and Richard Coughlan.

All Over You…Too (2000) – A similar project to above but featured the reformed band of 1999 that included, Doug Boyle on lead guitar and Jim Leverton on bass. The energy and vibrancy, contained within these versions, is quite startling. Even a track like ‘Ride’ from the first album has been given a complete transformation.

Songs For Oblivion Fishermen (1998) – A live album containing archive BBC recordings that spanned the period 1970 to 1974 and was mastered from original archive tapes. As for the album’s title, Pye Hastings explained: ‘I have always been intrigued by misunderstandings and Chinese whispers and the title is an example of this. It stems from a conversation I heard in my local pub about these Bolivian street musicians – obviously I misheard’.

Ether Way (1998) – Another set of live recordings from archive BBC recordings that spanned the period 1975 to 1977 and featuring the band line ups from the ‘Cunning Stunts’, ‘Blind Dog’ and ‘Better by Far’ album period.

Green Bottles For Marjorie (2002), (‘Green Bottles for Marjorie’ was, as I understand, the early working title for what became ‘If I Could Do it All Over Again, I’d Do it All Over You’ tune) – This album contains Top Gear sessions from 1968 along with an In Concert recording from 1971 and a track recorded on the John Peel show in 1972.

Live at the Fairfield Hall 1974 (2002) – Originally released as a double LP in Germany and France under the title of ‘The Best of Caravan Live’, this concert remained unreleased in the UK until its CD release during 2002. This concert was performed by the line-up that released the Cunning Stunts album.

In addition, I would also recommend that you check out the various re-issues of official studio albums, for the bonus songs that they contain. Each of the 2001 CD releases contain at least three extra tracks of demo’s or working titles from the period of the main album they feature on.

Finally, Steven Wilson’s 40th anniversary deluxe 2011 release of ‘In the Land of Grey and Pink’ album. In addition to the main event it also contains recording sessions, archival stuff from Sounds of the Seventies and a Paris Theatre concert hosted by John Peel.

The above CD’s I mentioned CD’s may be quite difficult to locate. However, with the number of digital outlets available nowadays, I am sure they would not take much time to track down on the ether.

I admit that it may seem strange have, in some cases, multiple versions of the same songs but the thing about Caravan, is that they never played to a script. Each version of every song Caravan perform, brings with it, its own uniqueness.

2019 sees Caravan appearing in selective gigs that continue the celebration of the bands 50 years of existence. Who knows how many more years exist. But one thing is for sure. Their legacy will live on forevermore.