***** 5 Stars Rating
Stackridge was a collection of like-minded English West
Country eccentrics comprising a former timber yard labourer, a bookshop
assistant, a cleaner in a birdseed factory, a bricklayer, a bus conductor
and a professional inventor, whose musical influences encompass everything
from “Mozart to Road Drills”. They had built up a very solid dedicated
live following and released two albums, the second of which,
“Friendliness”, had delighted the critics and hardcore fans, but had
continued to bemuse the listening public at large, leaving the band’s
quest for world musical dominance rather hanging out in the wind.
But in mid 1973 the band’s record label, MCA Record
ensconced them in London’s Air Studios with ex-Beatles producer George
Martin (Stackridge was the first band that Martin worked with after “The
Beatles”, whose influence can be heard here on all the songs on this
fine album “Man In The Bowler Hat”).
On the stage Stackridge split into two definite
factions, the serious minded of the band, shall we say the working
musicians Warren, Walter and Sparkle, whilst the other three - let’s
just call them the Nutters - down the front. Stage shows included lots of
ludicrously easy repetitive dance steps (“Do The Stanley”), the
bashing together of giant dustbin lids (“Let There Be Lids”), general
chaos and mayhem, mass audience participation singing, clapping, stomping,
with some loony like Sandilands down the front leaping about with a giant
leek. Great fun. No wonder they were probably the most popular band on the
college circuit in the early seventies.
But “The Man In The Bowler Hat” was definitely
“make or break” time. In the studio the two factions of the live show
would join forces and each member made an equal contribution, and with
Martin as producer the band was definitely concentrating on making their
“Magnum Opus”. Working on the melodic and rhythmic patterns and in
particular the harmonies, the resultant album, which was released in
February 1974, whilst full of recognizable Stackridge trademarks (strong
beat, massive use of instrument not normally associated with Rock ‘n’
Roll, and plenty of extravagant titles) had strong echoes of the Fab Four
and marked the artistic and creative peak of the band on record, including
“The Galloping Gaucho” and the ambitious “God Speed The Plough”.
Unfortunately, after this it all went dramatically
pear-shaped with Mutter Slater being the first to leave, hating the idea
of trying to create this album on stage amid the chaos of their live show.
Within six months only Andy Davis was left from this line up. Today their
music still exudes and evokes warmth, joy, happiness, and a welter of
memories, real and imagined, and therein lays their lasting success, the
ability to stand out from the crowd and create clever songs with witty
lyrics and highly original arrangements.
Goodbye Stackridge, it was a blast. And all together
now
“C’mon and Stanley
Lets all do the Stanley now”.
Musicians
Andy Davis - guitars, keyboards, percussion, singing
Mutter Slater - flute, keyboards, percussion, singing
Mike Evans - violin, singing
Billy Sparkle - drums
James Warren - guitars, singing
Crun Walter - bass guitar
Track Listing
1. Fundamentally Yours
2. Pinafore Days
3. The Last Plimsoll
4. To The Sun And The Moon
5. The Road To Venezuela
6. The Galloping Gaucho
7. Humiliation
8. Dangerous Bacon
9. The Indifferent Hedgehog
10. God Speed The Plough
11. Do The Stanley
12. C’est La Vie
13. Let There Be Lids