Stackridge
Band members Related acts
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line up 1 (1970-73) - Billy Bent ( aka Billy Sparkle) -- drums, percussion - Andy Davis (aka Andy Cresswell-Davis -- guitar, keyboards, vocals - Mike Evans - violin, vocals - Mike "Mutter" Slater -- flute, vocals - Jim "Crun" Walter -- bass - James Warren -- guitar, vocals
line up 1 (1970-73) - Andy Davis (aka Andy Cresswell-Davis -- guitar, keyboards, vocals NEW - Keith Gemmell -- sax, clarinet (replaced Mike Slater) NEW - Paul Karas -- bass (replaced Jim Walter) NEW - Roy Morgan -- drums, percussion (replaced Billy Bent)
- Rod Bowkett -- keyboards - Andy Davis -- vocals, keyboards, rhythm guitar, mellotron - Keith Gemmell -- sax, clarinet, flute - Paul Karas -- vocals, bass - Mike 'Mutter' Slater -- vocals, flute - Roy Morgan -- drums, percussion
line up x (1976-77) - Andy Davis -- vocals, keyboards, rhythm guitar - Keith Gemmell -- sax, clarinet, flute - Dave Lawson -- keyboards NEW - Mike 'Mutter' Slater -- vocals, flute - Peter Van Hooke -- drums, percussion NEW - Jim 'Crun' Walter -- bass, lead guitar
line up x (1989-) - Mike Evans -- violin, cello - Jim 'Crun' Walter -- bass, lead guitar - James Warren -- vocals, lead guitar, bass
line up x (1999) - Mike Evans -- violin, vocals NEW - John Miller -- keyboards, vocals - Tim Robinson -- drums, percussion - Richard Stubbings -- flute, accordion, keyboards, guitar, vocals - Jim "Crun" Walter -- bass - James Warren -- guitar, vocals
line up x (2000) - Mike Evans -- violin, vocals - John Miller -- keyboards, vocals - Tim Robinson -- drums, percussion - Richard Stubbings -- flute, accordion, keyboards, guitar, vocals NEW - Ian Towers -- keyboards, vocals, guitar (replaced John Miller) - Jim "Crun" Walter -- bass - James Warren -- guitar, vocals
Billy "Sparkle" Bent (drums, 1970-73), Mike "Mutter" Slater (flute, vocals, 1970-73, 1974-76), James Warren (guitar, vocals, 1970-73, 1998-present), Mike Evans (violin, vocals, 1970-73, 1998-present), Andy Davis (guitar, keyboards, vocals, 1970-76), Jim "Crun" Walter (bass, 1971-73, 1974-76, 1998-present), Rod Bowkett (keyboards, 1973-74), Keith Gemmell (saxophone, clarinet, flute, 1973-76), Gordon Haskell (bass, vocals, 1974), Roy Morgan (drums, 1974), Paul Karas (bass, vocals, 1974), Dave Lawson (keyboards, 1974-76), John White (drums, 1974-76), Peter Van Hooke (drums, 1974-76), John Miller (keyboards, vocals, 1998-2000), Richard Stubbings (flute, accordion, keyboards, guitar, penny whistle, vocals, 1998-present), Tim Robinson (drums, 1998-present), Ian Towers (keyboards, vocals, 2000-present)
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- Audience (Keith Gemmell) - Kim Beacon and the Serenaders (Andy Davis) - Los 3 Caballeros (Andy Davis) - Andy Davis (solo efforts - Dumbwaiters (Andy Davis and James Warren) - Greenslade (Dave Kawson) - Gryptight Thynne (Andy Davis and James Warren) - Little Dixie (Mutter Slater) - President President (Rod Bowkett) - The Pump Room Trio - The Quarks (Rod Bowkett) - Rare Bird (Paul Karas) - Rave To the Grave (Mutter Slater) - Sammy (Keith Gemmell) - The Mutter Slater Band (Mutter Slater) - Slow Twitch Fibers (Andy Davis) - Smegmakovitch (Mutter Slater) - James Warren (solo efforts) - The Westlanders (Mike Evans) |
Genre: progressive Rating: **** (4 stars) Title: Friendliness Company: MCA Catalog: MCA-308 Year: 1972 Country/State: Bristol, UK Grade (cover/record): VG/VG Comments: minor ring wear on cover Available: 1 Catalog ID: 4879 Price: $20.00
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I've always found it interesting that this talented English outfit couldn't even get arrested in the States. This is probably way simplistic, but my take on their lack of American success (not that they sold zillions in the UK), was that they were simply too talented and too eclectic (in a very British fashion) for major labels to deal with. Makes you wonder how the Fab Four would have done had they come to the forefront in the early 1970s.
Released by MCA, 1972's "Friendliness" served as the band's American debut. Co-produced by the band and Vic Gamm, the resulting 11 tracks were reportedly recorded and mixed over the course of about 100 studio hours. Musically it may not have been their creative zenith, but to my ears it's their most consistent and rewarding album. With singer/multi-instrumentalist Andy Davis and singer/guitarist James Warren responsible for the majority of the material, the album showcased the band's unique mixture of commercial sensibilities, British humor and willingness to experiment with diverse musical genres. On tracks like the lead off instrumental 'Lummy Days' multiple styles were often incorporated into a single composition. Certainly an overused comparison, but in some ways this one really did stand up to comparisons with The Beatles' "White Album". The dual version title track offered up a near-perfect angelic ballad that should have provided the band with an enormous hit. 'Anyone for Tennis' perfectly captured Paul McCartney's affection for 1920s English musical hall stylings. Clocking in at over eight minutes the melotron-propelled 'Syracuse the Elephant' was either an early animal rights track, or an English joke that didn't translate very well. Regardless, it included a nice little sitar-propelled section. Want an early touch of reggae? Got it - even though 'Amazingly Agnes' is apparently a love song to a cow. Admittedly it sounded completely disjointed, but somehow holds together. Not that it mattered in the States. With MCA proving itself clueless as to how to market the band to an American audience, the album was released with little promotion or support, quickly ending up in US cutout bins.
"Friendliness" track listing: 1.) Lummy Days (instrumental) (Andy Davis) - 2.) Friendliness 1 (James Warren) - 3.) Anyone for Tennis (James Warren) - 4.) Oh 5.) There Is No Refuge (James Warren) - 6.) Syracuse the Elephant (James Warren - Andy Davis) -
(side
2) 2.) Father Frankenstein Is Behind Your Pillow (James Warren) - 3.) Story of My Heart (instrumental) (Mutter Slater) - 4.) Keep On Clucking (James Warren - Andy Davis) - 5.) Friendliness 2 (James Warren) - 6.)
Teatime (James Warren - Andy Davis)
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Genre: progressive Rating: *** (3 stars) Title: Extravaganza Company: Sire Catalog: SASD 7509 Year: 1975 Country/State: Bristol, UK Grade (cover/record): VG+/VG+ Comments: gatefold sleeve Available: 1 Catalog ID: -- Price: $20.00
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Stackridge - studio album number four
Amidst
band infighting, by the time Stckridge regrouped to begin recording their
fourth album, the band hand undergone a major shift in personnel.
Under the leadership of carryover members Andy Davis
(singer/multi-instrumentalist) and singer/flute player Mutter Slater
(vocals/fkute), the revamped line-up featured keyboardist Rod Bowkett,
former Audience sax player Keith Gemmell, ex-Rare Bird bassist Paul Karas
and drummer Roy Morgan. Co-produced by the band and Tony Ashton,
1975's "Extravaganza" was perhaps best described as
being eccentric. Exemplified by tracks like 'Grease
Paint Smiles' and 'Benjamin's
Giant Onion' it may be one of the mo
By the way this was another Stackridge collections where the original UK release differed from the subsequent US edition. The UK version included the songs 'Spin 'Round the Room' and 'Highway Incident' (previously entitled 'One Rainy July Morning). Since those two songs had appeared on the US album "Pinafore Days" Sire substituted two older tracks - the UK single 'Do the Stanley' and 'The Indifferent Hedgehog' which had previously appeared on the UK album "The Man with the Bowler Hat" which was modified for release in the States as "Pinafore Days." Was it worth the additional effort and costs? Not really. Everyone confused?
"Friendliness" track listing: 1.) The Volunteer (Andy Davis - Smegmakovitch) - 5:03 rating: ** stars 'The Vounteer' featured Slater on lead vocals. Even if the anti-war plotline (apparently inspired by the English experience in Crimea) was mildly entertaining, English music hall isn't a genre that does a great deal for my ears. Accordingly, the tune seemed painful and never ending. Taken from a 2007 appearance at Bath's Rondo Theatre, YouTube has a live performance of the tune: Stackridge 'The Volunteer' 2007 (youtube.com) By the way, I finally discovered 'Smegmakovitch' was a pseudonym for the songwriting team of Slater, Crun Walter and James Warren. 2.) Rufus T. Firefly (instrumental) (Rod Bowkett) - 4:44 rating: *** stars One of xx tunes contributed by new keyboardist Rod Bowkett, 'Rufus T. Firefly' was an odd jazz-rock instrumental. The melody bounced all over the place and was actually kind of interesting. Easy to imagine this one as background music being played while you are on hold waiting to talk to someone about your internet issues. 3.) No Ones More Important Than The Earthworm (Gordon Haskell) - 5:09 rating: **** stars Stackridge recruited former King Crimson singer Gordon Haskell and he apparently considered accepting the offer. Haskell even spent some time rehearsing with the group, but ultimately declined the offer. The brief collaboration resulted in the band recording Haskell's 'Worms.' (For anyone curious, the song appeared on Haskell's 1971 album "It Is and It Isn't".) In standard Stackridge style, the song was re-titled 'No Ones More Important Than The Earthworm.' With new bassist Karas handling lead vocals, this was one of the album's most conventional and radio-friendly efforts. Kind of a David Gilmour 'Comfortable Numb' vibe on this one. Taped for a 1975 appearance on the BBC's The Old Grey Whistle Test, YouTube has a live performance of the tune: Stackridge - No One's More Important Than The Earthworm - Live BBC TV 1975 (Remastered) (youtube.com) 4.) Grease Paint Smiles (Rod Bowkett - Bathbos) - 4:02 rating: ** stars Apparently inspired by Alain Weill's circus-styled album cover, the ballad 'Grease Paint Smile' found the band returning to English music hall influences. With Davis handling lead vocals, the performance was a little on the rough side. 5.)
Happy In the Lord (Phil Welton) - 3:47 rating:
**** stars
(side
2) Geez, what the world was this one about? A farmer who grows large onions? As if the plotline weren't odd enough, the melody sounded like Peter Gabriel era Genesis writing a musical hall theme song. Gemmell's sax solo added a bit of Cantebury styled jazz-rock fusion to the mix. 2.) Pocket Billiards (instrumetal) (Rod Bowkett) - 4:01 rating: *** stars 'Pocket Billiards' was another Bowkett-penned jazz-rock fusion instrumental. Technically it was impressive giving the various members a shot at the spotlight, but I can't say that I found it particularly endearing, or memorable. 3.) The Indifferent Hedgehog (Andy Davis - Smith) - 3:15 rating: **** stars Produced by George Martin and one of two "replacement "songs on the US release, 'The Indifferent Hedgehog' was a pretty keyboard-powered ballad. The treated vocals were an irritant, but the melody was sweet and the lyrics entertaining. 4.) Do The Stanley (W. Sleeve) - 3:00 rating: ** stars Another song off of the "Friendliness" LP, 'Do the Stanley' was another tune built on a typical English music hall, drinking melody. To my ears if recalled something that might have been included on a Monty Python soundtrack. And like some Monty Python humor, it didn't translate very well to American audiences. There's a 1975 interview with Trouser Press where Mutter talked about the song's inceptions: " It was, in a very obviously tongue-in-cheek way. It was just one of those conversations you have in the van going to a booking, you were sort of thinking back to the days in 1960 and “The Twist.” You’d think, “We used to do the Shake and the Twist, there used to be dances coming out every week.” You thought, “There don’t seem to be any these days.” It was just one of those fleeting conversations, and I was thinking about it, and I came out with this tune on the train. I got back and played it on the piano, and I thought, “Ah, yes, that could be a dance.” And I thought, “Right, what can I do now for the name of a dance?” I thought, “I’ll just call it a human name,” and, lo and behold, “Do the Stanley.” A lyric that referenced the Queen ensured the single got little airplay when it was tapped as a single:
- 1973's 'Do the Stanley' b/w 'C'est la Vie' (MCA catalog number MUS 1182)
YouTube has another live clip from a 2007 performance at Bath's Rondo Theatre: Stackridge 'Do The Stanley' 2007 (youtube.com)
5.) Who's That Up There With Bill Stokes? (instrumental) (Rod Bowett - Andy Davis) - 4:33 rating: *** stars The album's third and most commercial Bowkett instrumental, the oddly titled 'Who's That Up There With Bill Stokes?' gave most of the band a moment in the spotlight. It actually sounded like something that might have been composed for a film soundtrack.
© Scott R. Blackerby October, 2024
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Genre: pop Rating: *** (3 stars) Title: Pinafore Days Company: Sire Catalog: SASD 7503 Year: 1975 Country/State: Bristol, UK Grade (cover/record): VG+/VG+ Comments: gatefold sleeve Available: 1 Catalog ID: 6084 Price: $15.00
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Released as "The Man with the Bowler Hat" in the UK, it was easy to see why Sire decided on a title change in the States. That said, when it was finally released domestically in 1975, "Pinafore Days" stood as an odd title choice for the US market. Even more difficult to understand was Sire's decision to monkey around with the track listing. Dropped from the original UK release were 'To the Sun and the Moon' and 'The Indifferent Hedgehog', Those tracks were replaced by 'Spin Round the Room' from the group's fourth studio album "Extravaganza"
Produced by George Martin, this is an album I've tried to like for years. As a gigantic fan of 1960s British psych, and mid-1970s bands like 10cc this should have been right up my alley and I can certainly appreciate large parts of the album. As you'd expect, Martin gave the band a glossy, highly commercial sheen and as exemplified by tracks like 'Fundamentally Yours', 'The Last Plimsoll' and 'The Road To Venezuela' much of the album was quite melodic and commercial. Still, I have to admit parts of the collection were just too cutesy, too clever, and perhaps just too English for my tastes (the operatic title track's always left me stone cold). Most of the songs were apparently group written, but cryptically reflected co-writing credits to 'Smegmakovitch' ... Anyone got the scoop ?
Enjoyable, but seriously flawed ... this is still a good place to start checking out the band's catalog.
"Pinafore
Days" track listing: 1.) Fundamentally Yours (Andy Davis - Smegmakovitch) - 2:30 rating: **** stars 'Fundamentally Yours' opened the album with a glistening slice of power pop ... With a fantastic Beatlesque melody and some wonderful vocals, this was the kind of track bands like Badfinger, or The Raspberries would have killed to get their hands on. Hard to understand how radio ignored this one. 2.) Pinafore Days (Mike Slater - Smegmakovitch) - 2:35 rating: ** stars 'Pinafore Days' sounded like something they'd ripped off of a Gilbert and Sullivan opera. I know lots of folks love this one, but I just don't get it ... The song was tapped as a single in the States: - 1975's 'The Last Plimsoll' b/w 'The Last Plimsoll' (Sire catalog number SAA 717) rating: 3.) The Last Plimsoll (Andy Davis - Smegmakovitch) - 4:32 rating: **** stars One of the album's standout performances, 'The Last Plimsoll' stood as another Beatlesque number. Hard to accurate describe, but this one had that unique mix of great melody, interesting arrangement, and cryptic lyrics that characterized the best of Lennon and McCartney's work. 4.) Spin Round the Room (Vernon Bowkett) - 2:35 rating: ** stars As mentioned, Spin Round the Room was pulled from the group's fourth English studio set "Extravaganza". Sounding like a Paul McCartney throwaway tune, the song literally dripped of English music hall influences. As such it was one of those songs you either found cute, or completely repulsive. I'm in the latter category this time out. It certainly made you wonder what Sire was thinking when they made the substitution. 5.) The Road To Venezuela (Andy Davis - Smegmakovitch) - 4:54 rating: *** stars From a musical standpoint 'The Road To Venezuela' was an interesting pop track mixing a catchy melody with some South American influences. The problem is the lyrics left me wondering if they were trying to play it straight, or if this was meant to be a Monty Python-styled kiss off ...
(side
2) 'The Galloping Gaucho' was another weird number that sounded like a cross between music hall, circus music, and a Monty Python ditty. Hard to believe this one was tapped as a single in the UK. - 1974's 'Galloping Gaucho' b/w 'Fundamentally Yours' (MCA catalog number ME 1224) 2.) Humiliation (James Warren) - 3:32 rating: ** stars 'Humiliation' sounded like a third-rate stab at 'Eleanor Rigby' sentimentality. Pretty, but vapid. 3.) Dangerous Bacon (James Warren - Smegmakovitch) - 2:41 rating: **** stars The album's second UK single, 'Dangerous Bacon' was a nifty rocker that sounded like a slice mid-1970s glam-meets the Beach Boys. Roxy Music's Andy MacKay turned in the sax solo. My choice for the album's best song. - 1974's 'Dangerous Bacon' b/w 'The Last Plimsoll' (MCA catalog number MC 124) 4.) One Rainy July Morning (Andy Davis - Vernon Bowkett - Mike Slater) - 4:02 rating: *** stars 'One Rainy July Morning' was a pop song that served to showcase their knack for mixing commercial and eclectic ... very 10cc-ish. 5.) God Speed the Plough (instrumental) (Warbadaw Sleeve) - 5:30 rating: ** stars Closing out the album, the instrumental 'God Speed the Plough' sounded like a piece of incidental music crafted for a film about wild horses ... It was pretty, but again, sounded like something tacked on to the album to pad the running time.
Even though there was no American tour, decent reviews saw the album make the US charts where it peaked at # 191. That was followed by a massive personnel upheaval that left Andy Davis as the sole remaining original member.
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Genre: prop Rating: *** (3 stars) Title: Mr. Mick Company: Rocket Catalog: OC 062-97512 Year: 1976 Country/State: Bristol, UK Grade (cover/record): VG+/VG+ Comments: UK pressing Available: 1 Catalog ID: 6074 Price: $30.00
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Having
recorded four impressive studio albums in a five year period, 1976's
"Mr. Mick" w
Due to the album's complexity plans to tour in support of the album were abandoned and the critical and commercial and indifference that greeted the album proved the end of the band ... at least for twenty one years.
For anyone truly interested, the album was reissued by the Angel Air label in 2001 as "The Original Mr. Mick (catalog number SJPCD 234)" A double CD package, the reissue included the original abbreviated Rocket release, as well as a second CD reflecting the original unedited album.
"Mr. Mick" track listing: 1.) Hold Me Tight (John Lennon - Paul McCartney) - 3:25 rating: *** stars It takes some gumption for a band to do a Beatles cover; let alone to reinterpret a track like 'Hold Me Tight' as a breezy reggae number. Definitely a weird way to start an album and given it didn;t seem to have anything to do with the rest of the concept album, may have been a last minute stab at commercial appeal. Kicked along by a great clarinet riff, it was actually kind of charming once it got rolling. The song was tapped as the UK single:
- 1976's 'Hold Me Tight' b/w Breakfast with Werner Von Braun (instrumental) (Rocket catalog ROKN 507) 2.) Breakfast with Werner Von Braun (instrumental) (Andy Davis) - 3:54 rating: **** stars I've always liked Stackridge's quirky edge and the instrumental 'Breakfast with Werner Von Braun' was a perfect example of that side of the band. Complete with Arabic influences (courtesy of Keith Gemmell), and gorgeous background harmony vocals, this stood as one of the album's most stunning performances. I'd love to know what it was actually about ... Weird. So weird. 3.) narrative interlude rating: ** stars The first narrative section set the stage for the old geezer (Mick) wandering out of his apartment to the local dump. 4.) Steam Radio Song (Andy Davis - Steve Augarde) - 3:13 rating: *** stars A bluesy rocker, 'Steam Radio Song' was literally a song about an old radio's life ... It sounds like a weird premise and it was, but it rocked out with quite a bit of energy and once I got my head around the topic, I found it kind of inventive (in a 10cc fashion). 5.) The Dump (instrumental) (Andy Davis) - 1:44 rating: ** stars With Mutter Slater providing brief spoken word introduction and ending narration, The Dump' offered up a brief, discordant instrumental that set the stage for Mick's further discoveries. Easy for me to picture it as part of the soundtrack for some Pixar animated film. 6.) Save a Red Face (Andy Davis - Steve Augarde) - 3:16 rating: *** stars With an English music hall feel and Andy Davis Cockney-flavored vocals, 'Save a Red Face' featured the reminiscences of a cotton reel (which I gather was some sort of sewing implement). Yeah, hearing this after a couple of cold beers might help.
(side
2) A pretty waltz that showcased Slater's keyboards, Keith Gemmell's clarinet, and guest singer Joanna Karlin, 'The Slater's Waltz' was was a forlorn ballad seemingly centered on a discarded pair of ballet slippers. 2.) narrative interlude 3.) Coniston Water (instrumental) (Mike Slater) - 5:41 rating: ** stars I know there's a lake the same name in England's Lake District. How that fits into the plotline with 'Coniston Water' is another mystery to me. As a song, it was a pretty, if inconsequential keyboard-powered instrumental that served to transition the album to the next major song - 'Hey Good Looking'. Kind of a motel lounge act feel to this one. 4.) narrative interlude 5.) Hey Good Looking (Andy Davis - James Warren) - 4:09 rating: ** stars For some reason tons of mid-1970s English bands felt the need to dabble in reggae and Stackridge were no exception to the rule - witness 'Hey Good Looking'. Imagine a weaker 10cc track like ''Bloody Tourists and you'll know what to expect on this one. For some reason the female voice has always reminded me of Noosha Fox from the band Fox. 6.) Fish In a Glass (Andy Davis - James Warren) - 7:04 rating: ** stars At least to my ears, the most distinguishing feature about 'Fish In a Glass' was how much Andy Davis and crew sounded like late-inning 10cc or Supertramp at their prime. Too cute and clever by half ... For anyone intrested, YouTube has a surprisingly impressive 2007 performance recorded at the Rondo Theatre, Bath: Stackridge 'Fish In A Glass' 2007 (youtube.com)
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Genre: progressive Rating: *** (4 stars) Title: Do the Stanley Company: MCA/EMI Catalog: MCF 2747 Year: 1972 Country/State: Bristol, UK Grade (cover/record): VG/VG Comments: minor ring wear on cover Available: 1 Catalog ID: 30004 Price: $25.00
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An apparent effort to squeeze every last possible dollar out of the Stackridge's audience, MCA released a posthumous Stackridge collection in 1976. The twelve track retrospective pulled together a host of tracks from their first three studio sets, along with some non-LP sides and one previously unreleased track - the live instrumental 'Let There Be Lids'. As far as posthumous compilations went, "Do the Stanley" wasn't bad. The liner notes included a brief band biography and the collection was fairly generous with twelve songs. Obviously every Stackridge fan would have picked a different selection of material, but for someone who had never heard the band, or was only a casual fan, this wasn't a bad place to start. Hearing these songs all together is also kind of interesting in terms of getting a good idea why these guys never had a chance in the States. Much of the music was commercial, but not in ways that would have appealed to American ears. Paul McCartney styled Vaudeville ('Anyone for Tennis'), English music hall ('Do the Stanley') and bizarro Latin-esque road trip 'The Road to Venezuela' simply weren't going to catch American ears. In fact, given the band's lack of American success, MCA didn't bother with a US release.
"Do the
Stanley" track listing: 1.) Dora the Female Explorer (Andy Davis - James Warren - Mike Slater - Mike Evans - Billy Bent) - rating: **** stars Released as Stackridge's first single, 'Dora the Explorer' was a hyper-catchy, singalong country-tinged rocker. It's hard to believe the 45 never attracted any radio attention. Always wondered if the PBS kids show was inspired by this one.
UK pressing: - 1971's 'Dora the Explorer' b/w 'Everyman' (MCA catalog number MKS 5056) US pressing: - 1971's 'Dora the Explorer' b/w 'Grande Piano' (Decca catalog number MKS 32923) 2.) Everyman (Andy Davis - James Warren) - rating: *** stars Showcasing Warren's pretty voice over an acoustic arrangement, 'Everyman' was a fragile, pastoral ballad. The song appeared as the flip side to their 'Dora the Explorer' single. 3.) Percy the Penguin (Andy Davis - James Warren) - rating: *** stars Lifted from the debut album, 'Percy the Penquin' was another pretty ballad, but a bit too cute and fey for my tastes. For some reason the track has always reminded me of something NRBQ might have released. 4.) Slark (Andy Davis - James Warren) - rating: **** stars Featured on their debut album, 'Slark' was the band's third single, though the 45 featured a different mix than the original album version. Musically the song found the band delving into English folk-rock. Showcasing another laconic, pastoral melody, the tune's always reminded me a bit of something out of The Fairport Convention catalog. Always wondered what the tune was about - the lyrics are lost on my American sensibilities..
- 1973's 'Slark' b/w 'Purple Spaceships Over Yatoon" (MCA catalog number MKS 5019)
4.) Anyone for Tennis (James Warren) - rating: *** stars 'Anyone for Tennis sounded like one of those Vaudevillian melodies Paul McCartney so effortlessly tossed off. Hard to not to picture the Empire's halycon 1920s and easy to see why it was a great single for a British audience, though it would have been too strange for the US market. Pulled from their second album, the song also served as the band's second single:
- 1972's 'Anyone for Tennis' b/w 'Amazingly Agnes' (MCA catalog number MKS 5103) 5.) Amazingly Agnes (James Warren) - rating: *** stars I'm guessing the reggae stumble melody that propelled 'Amazingly Agnes' was pretty unique when recorded in 1973. Today it sounds sort of routine - lmagine 10cc's 'Bloody Tourists'. The song also served as the "B" side to their 'Anyone for Tennis' 45. 6.) Purple Spaceships Over Yatoon (Andy Davis - James Warren) - rating: **** stars 'Purple Spaceships Over Yatoon' was another example where English sensibilities were a mystery to American ears. One of their more rock-oriented performances (the opening guitar has always reminded me of something from a Pink Floyd album), the song featured another pretty melody but once again the movie soundtrack narrative left me clueless as to what the song was about.
(side 2) 1.) Do the Stanley (Sleeve) - rating: *** stars Another tune off of the "Friendliness" LP, 'Do the Stanley' was another song with a typical English music hall, drinking melody. To my ears if recalled something that might have been included on a Monty Python soundtrack. A lyric that referenced the Queen ensured the single got little airplay when it was tapped as a single:
- 1973's 'Do the Stanley' b/w 'C'est la Vie' (MCA catalog number MUS 1182)
2.) The Road to Venezuela (Andy Davis - Smegmakovitch) - rating: *** stars From a musical standpoint 'The Road To Venezuela' was an interesting pop track mixing a catchy melody with some South American influences. The problem is the lyrics left me wondering if they were trying to play it straight, or if this was meant to be a Monty Python-styled kiss off ... 3.) Dangerous Bacon (James Warren - Smegmakovitch) - rating: **** stars The second UK single from "The Man with the Bowler Hat" LP, 'Dangerous Bacon' was a nifty rocker that sounded like a slice mid-1970s glam-meets the Beach Boys. Roxy Music's Andy MacKay turned in the sax solo. My choice for the album's best song. The song was released as a single in the UK and Italy:
- 1973's 'Dangerous Bacon' b/w 'The Last Plimsoll' (MCA catalog number MCA 124) 4.) Lummy Days (Andy Davis) - rating: ** stars Another tune featuring an English folk-rock sound. Didn't do all that much for me. 5.) The Galloping Gaucho (Mutter Slater - Smegmakovitch) rating: *** stars
'The Galloping Gaucho' was another weird
number that sounded like a cross between music hall, circus music,
Andy Partridge and
a Monty Python ditty. Hard to believe this one was tapped as a single
in the UK.
- 1974's 'Galloping Gaucho' b/w 'Fundamentally Yours' (MCA catalog number ME 1224)
6.) C'est La Via (Andy Davis - James Warren) - rating: *** stars 'The Galloping Gaucho' was another weird number that sounded like a cross be The flip side to their "Do the Stanley" 45 ... Another pretty featuring Warren on lead vocals. 7.) Let There Be Lids (instrumental) (traditional - arranged by Evans) - rating: ** stars Imagine waking up an Irish bar and there's a band still on stage. 'Let There Be lids' was basically an opportunity for Mike Evans to showcase his fiddle. Nothing special for my ears.
Davis and Warrent continued their partnership with the band The Korgis. Davis subsequently released a solo album - 1989's "Clevedon Pier". Warren also released a solo set - 1986's "Burning Questions".
In 1998 Evans, Walter and Warren decided to rehabilitate the Stackridge nameplate.
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st
"English" albums I've ever heard. As an American, imagine
seeing Monty Python for the first time ... the themes and cultural
references are obscure. To my mind Monty Python humor made a good
analogy to these ten songs. No idea if there was a concept here, but
the set bounced all over the musical spectrum
- English music hall ('The Volunteer'), rock - a cover of Gordon Haskell's
'Worms'), pop (a cover of Fat Grappel's 'Happy
In the Lord') and jazz-rock fusion (the
instrumental 'Rufus T.
Firefly').
For whatever reason the album included three odd jazz-rock instrumentals -
'Rufus T. Firefly', 'Pocket
Billiards' and the album closer 'Who's That Up There With Bill
Stokes?' I've seen these tracks compared to something out of the Frank
Zappa catalog, but to my ears they were far too conventional and commercial
for that comparison. Not to imply they were album highlights, rather
struck me as sounding like album filler. Far from my favorite
Stackridge release and probably one I'd hold off on until I'd had a chance
to explore some of their earlier offerings.
as the
album that finally killed Stackridge. Released in the wake of another
round of personnel changes that saw the return of singer/flute player
Mike Slatter and bassist Jim Walter, the revamped band
originally conceived the album as a concept piece with a plotline seemingly
based on a childrens book penned by
English author Steve Augarde. That's underscored by the fact Augarde
received co-writing credits on three of the tracks. I've never
read it, but "Mr. Mick" seemingly had something to do with a senior citizen (Mr. Mick) cast off to a
mystical garbage dump where he spent his time reminiscing about life while all
the refuse in the dump had a story of their own to tell (like the
old man).
I know you're thinking I had to have made that up ...
I didn't. Unfortunately, in
an age of disco madness and punk aggression, Rocket management wanted nothing to do
with an extended concept piece. The end result was that when the album
actually hit UK stores (it never saw an American release), most of the
narrative content had been cut out, as were several of the songs. That
essentially gutted the 'concept' and left it nearly impossible to figure out what the hell was
going on.
The decision to open the album with a throwaway Beatles cover ('Hold Me
Tight') may have been intended as a marketing effort to increase the set's
commercial content, but did little to further the storyline. Shame
Rocket wrecked the original concept since what was left made little sense on
its own. It's one of those albums that's going to have a limited
audience, but anyone who liked 10cc's quirkier endeavors was likely to find
this one kind of cool. I certainly did.
