After the lavishly produced
The Man in the Bowler Hat
, it seemed that
Stackridge
might have blown their best chance of a commercial breakthrough. Just to make sure they did so good and proper, however, they promptly embarked upon the first of a series of bitter internal disputes that meant any fans turning up to a gig did so wondering who'd be playing and who'd be sat at home nursing a grudge. Whichever way you look at it, though,
Extravaganza
was a pretty odd follow-up, and one that must have left their new label --
Elton John
's
Rocket Records
-- seething with frustration. By now it must have been clear that expecting
to focus their energies on a single musical direction was an exercise in futility, and in any case totally contrary to the spirit of the band. But with
Andy Davis
now calling most of the shots, he and new members
Rod Bowkett
,
Paul Karas
, and
Keith Gemmell
(who replaced
Mutter Slater
James Warren
Mike Evans
) set about cultivating a
Zappa-ish
tendency that, though it had been there from the very beginning, had never before dominated proceedings as it did here.
contained no fewer than three (admittedly delightful) intricate
jazz-rock
instrumentals that recalled the heyday of
Hot Rats
. Hardly the thing to woo customers attracted by the more
pop
-friendly
Bowler Hat
. But of greater concern was the shortage of strong original songs.
"The Volunteer"
and
"Happy in the Lord"
(both sung by an uncredited
Slater
) are classic
-- warmly melodic and wryly humorous. But
"No One's More Important Than the Earthworm"
(written by ex-
King Crimson
member
Gordon Haskell
during a lightning-fast passage through the band's ranks),
"Benjamin's Giant Onion,"
"Highbury Incident,"
"Greasepaint Smiles"
are pretty pedestrian fare. Small wonder, then, that for all its good points
enjoys a reputation as
's most unloved -- and least frequently reissued -- album ~ Christopher Evans