PART ONE: THE PROCESS, HISTORICALLY
Growing up in The Middle of Nowhere, Illinois as I did, it was hard enough finding a store that stocked the popular music of the day, much less the fringe releases I preferred, by such artists as the Bonzo Dog Doo-Dah Band, Captain Beefheart or Fireballet. The special order became a way of life for me, allowing me to be the only kid on my block to own the latest releases by Fanny or Osibisa or the odder-than-usual concept album, FLASH FEARLESS VERSUS THE ZORG WOMEN PARTS FIVE AND SIX; actually, I may have been the only kid on my block that wanted those albums… but, you get my point. Anyway, with all of that, the band Stackridge somehow slipped under my radar. Naturally, I was familiar with the name. After all, I could and did read a lot of music publications as a young impressionable pup (still can and do, as an old impressionable hound); it just seemed that there was always something that interested me more.
So, I said all of that so I could say this: I eventually did manage to get my grubby fingers on a Stackridge album – EXTRAVAGANZA, I believe – and I was hooked. I was ecstatic when England’s Angel Air Records began their painstakingly comprehensive reissue campaign of the band’s back catalog, along with a live album and a couple of collections peppered in among them. When I decided to get back into the review game, I knew that one of the things I wanted to do was an interview with the two-headed beast that led and continue to lead Stackridge: James Warren and Andy Davis. In early 2014, I contacted their manager, supplied him with a few questions via e-mail and awaited a reply. Fast forward approximately ten months and, I am finally in receipt of answers from Mister Warren. Fast forward another couple of months and, with no reply from Mister Davis, the decision was made to move ahead with a revamped format, using James’ answers. Now, nearly a full two years since my initial request, here – so to speak – is the finished product. There are several questions and answers that allude to the 45th anniversary of the band and the chances of them recording another album of new material, as well as an extensive mention of the Korgis (the other band fronted by Andy and James) that may sound redundant, but please keep in mind that questions were posed and answers were given in 2014. Following the interview, we’re gonna delve into some of the best from both Stackridge and the Korgis, so stick around.
PART TWO: JAMES WARREN, MOSTLY
THE MULE: The original band got together in 1969, making this your 45th anniversary. The current line-up still features both of the primary songwriters and vocalists of the various incarnations of the group. Aside from the occasional break-up or vacation from each other, to what do you attribute the longevity of Stackridge?
JAMES: I think the longevity is due to the fact that the repertoire is so stimulating and diverse. It’s great to be able to perform songs as varied as “Fish In a Glass,” “Anyone For Tennis,” “The Road To Venezuela” and “Something About the Beatles” all in the same set. I’ve never been in any other musical combination that offers anything as fun or challenging.
THE MULE: Aside from Andy Davis and yourself, who is involved in the current version of Stackridge? Are the musicians – comparatively speaking – young guns or do you all enjoy a certain advanced… uh… musical acuity. Can we get a feel of the players’ musical pedigree?
JAMES: So, we have Glenn Tommey on keyboards – we’ve known Glenn since 1978. He’s a multi-instrumentalist but, when we met him, he was a recording engineer who worked on the first Korgis album and even sang backing vocals on “If I Had You,” a top twenty hit for the band in the UK. Clare Lindley is on violin, acoustic guitar and backing vocals. We only met her around seven years ago but ,she’s a veteran of the folk and classical circuit. She’s from Aberdeen, in Scotland. Eddie John is on drums and has been a very well-known and respected player on the Bristol scene since the 1980s. Clare and Eddie are in their 40s, Glenn, myself and Andy have all made it beyond 60!
THE MULE: The last album of new material, A VICTORY FOR COMMON SENSE, was released in 2009, after a long lay-off from recording. That album featured two more original members, Michael “Mutter” Slater and Jim “Crun” Walter. How did the album come about? How was it to work with Crun and Mutter in the studio again?
JAMES: The album was produced by Chris Hughes, original drummer with Adam and the Ants and producer of Tears For Fears and we recorded it at his home studio just outside of Bath. We’d known Chris for many years and the idea was suggested at a birthday party we were all attending. Because both Crun and Mutter had full-time day jobs and Mutter had the additional problem of living about 40 miles away from Bath, at least 75% of the work was performed by Andy and I. Crun is a lovely bloke but wildly eccentric, so creating music with him is never easy-going – he continually suggested completely perverse and off-the-wall ideas that we had to try then, inevitably, discard – and Mutter hardly participated at all except to sing his songs. So, it was a very different situation to how we worked together in the 1970s.
THE MULE: Did the Angel Air reissue program rekindle a kind of warm fuzzy spot for you regarding the group? Did it tempt you to reform some version of the band and get out on the boards and into the studio again? Have the reissues raised the public awareness of Stackridge, bringing along new fans? Or, is it just geezers like me looking to upgrade from that scratchy old vinyl?
JAMES: I think we never wanted to rule out the thought of a reformation. A handful of new fans have appeared but, to be honest, it’s essentially the “old guard” re-living their youth!
THE MULE: Can we expect to see new Stackridge music soon… or ever? If so, who will be involved in the project? Are you and Andy game to play with the “old guys” again?
JAMES: Sadly, I have to report that September 2015 will see the farewell tour of Stackridge. We’ve now pretty much exhausted the back catalogue in a live performance situation and it no longer makes any economic sense to record new material. There just isn’t sufficient demand for Stackridge music in the modern world! So, come and see us for the last time in 2015!
THE MULE: The group’s sound has always been the epitome of British “outsider” music, taking in bits of free jazz, traditional folk, Northern Soul, Beatles pop, the Incredible String Band and Frank Zappa. How have your musical tastes and influences changed over the years? When you are on holiday or have down time, what can we generally find you listening to?
JAMES: My wife, Clare, and I have sixteen year old twins, so when I do the school run in the mornings, me and the kids always listen to CD compilations of the latest top 20 hits – so I’m right up-to-date with contemporary pop! And I like a lot of it. Clean Bandit are one of my current favourites. I hate the typical middle-age attitude of only being able to appreciate the music you grew up with – I’m not sentimental about past musical eras in that way. I still adore and listen to the Beatles; don’t listen to the Incredibles any more, but THE HANGMAN’S BEAUTIFUL DAUGHTER will always be a work of genius for me. I listen to a lot more classical and jazz these days. I’m especially fascinated by 20th century composers like Stravinsky, Ravel and Satie. One of my treasured possessions is a 22-CD box set of STRAVINSKY CONDUCTING STRAVINSKY.
THE MULE: Your fans were and are, if not legion, very loyal. What is the profile of the standard Stack-fan? Do they now tend to bring along the kiddies (or grand-kids), to introduce them to the music of their youth?
JAMES: Don’t think there is a standard profile – they come in all shapes and sizes. It’s rare to see youngsters in the audience, although there are a few. I know when I was a teenager I wouldn’t be seen dead going to a concert of music my parents were into!
THE MULE: Forty-five years in, what keeps bringing you back to Stackridge? Is it the musical intricacies, the fans or some other intangible?
JAMES: I can’t improve on the answer I gave to your first question. The Stackridge repertoire is so wonderfully diverse and challenging so it’s like a musical holiday to go out and perform that stuff.
THE MULE: Certainly, over the years – particularly the first run – you have released some great albums (FRIENDLINESS, THE MAN WITH THE BOWLER HAT) and some very memorable tunes. Do you have any favorites, individual tracks or full albums? How about least favorites? Are there some albums or tracks that you thought were great at the outset but have since come to loathe?
JAMES: The first album (STACKRIDGE) is a problem for me. I can’t listen to most of it any more. My singing is so fragile and under-confident, especially the falsetto bits and, most of the lyrics are painfully adolescent in a ridiculously self-indulgent sense. But, it was 1971 and I was only 20 so that explains a lot. I think there are some lovely tunes on FRIENDLINESS; the title track, “There Is No Refuge,” “Father Frankenstein,” “Lummy Days.” …BOWLER HAT still holds up well except for “To the Sun and Moon” (because of my singing). I think “Venezuela,” “Galloping Gaucho,” “Humiliation” and “Fundamentally Yours” are great. And “God Speed the Plough” is an absolute classic. I like almost all the tracks on EXTRAVAGANZA and MISTER MICK. SOMETHING FOR THE WEEKEND I still love. It’s more whacky and harks back to the original Stackridge mainly due to my extensive collaboration with John Miller, an incredibly eccentric keyboard player full of brilliant unconventional ideas. Wish I hadn’t lost touch with him.
THE MULE: I think that my favorites probably mirror those of most fans: “Dora the Female Explorer,” “Slark,” “Syracuse the Elephant.” The list could go on but, for brevity’s sake, what are your memories regarding the writing and recording processes of these fan favorites? Were they kinda instant favorites or do you remember them slowly taking on a life of their own to eventually become essential?
JAMES: “Dora… ,” “Slark” and “Syracuse… ” were “first generation” Stackridge compositions. Andy and Crun had the basic ideas then we would rehearse and rehearse to hammer out the arrangements. It was tremendous fun. The FRIENDLINESS songs I contributed were pretty much already mapped-out before I introduced them to the band but, then again, with …BOWLER HAT and beyond we would work hard as a unit to make a finished track from one person’s basic idea. I think the “favourites” sounded special from the outset.
THE MULE: You are one of the few bands, aside from the Beatles, to boast a production job by Sir George Martin. What was it like to work with him? How much – before, during and after THE MAN IN THE BOWLER HAT – has his work been an influence to you, personally, and the band, as a whole?
JAMES: It was fantastic working with George. I’m happy to report he was as gentlemanly and effortlessly competent as one expected him to be. The …BOWLER HAT experience was very brief (about three weeks) but very intense. It’s a wonderful production. Even now I love and am influenced by his very simple but strong arrangement style.
THE MULE: Through the years, Andy and you have both worked on projects outside of Stackridge, both during the band’s heyday and following the original break-up. Did you use those instances – your solo album, Andy’s work on John Lennon’s IMAGINE, the Korgis, – to refresh the batteries, so to speak, or as a chance to branch out into something completely different from Stackridge? Can we expect to see something coming from either of you soon, outside of the usual Stackridge lunacy and the Korgis reunion gigs?
JAMES: Can’t speak for Andy but, our various alternative projects are, for me, both a refreshment process and an opportunity to investigate something completely different. I think Andy has been working on an album, whereas I’ve just been trying to come up with “coverable” commercial material.
THE MULE: Speaking of the Korgis, the other band that you have both been with since the beginning, is celebrating its 35th anniversary this year, as well. The Korgis have been called “the pop side of Stackridge.” How do you view the Korgis, in comparison to the “mother” group?
JAMES: The Korgis is a way of expressing a more distilled, “radio-friendly” type of songwriting. I’m quite excited by the prospect of performing that material live. It’ll be the first time we’ve done it and, you never know, the project might “have legs” and lead on to an interesting new path.
THE MULE: Over the years, you’ve been able to slip out of one band and into the other rather seamlessly. How much of that ability to switch gears has to do with the dynamics of and differences in the musical styles?
JAMES: We used to love the Kinks, the Hollies, 10CC – and it’s just easier to come up with and produce that kind of thing when it’s just the two of you, rather than having to take account of the whims and preferences of a whole band. Hence the need for the Korgis project.
THE MULE: A Korgis tour has been announced, the first in a while. Is it hard to get into a “Korgis state of mind” after such a long time off? What can fans expect to see from the Korgis as they celebrate their 35th anniversary?
JAMES: We’re about to start rehearsals, in January 2015. Basically we’ll be making the show up as we rehearse. But we’ll be aiming to provide an evening of dynamic and scintillating pure poptasticness!
THE MULE: Are there plans beyond this tour for more Korgis? A new album or more touring? Will you simply return to Stackridge to continue that group’s string of successful tours and live releases?
JAMES: As I mentioned above, we’ll be putting Stackridge to bed after September 2015. We’ll just have to see if there’s a public appetite for the Korgis. If there is, then I’m sure we’ll be inspired to record new material. We’ll just have to wait and see.
Thank you, James, for taking the time to fill us in on Stackridge, the Korgis and your plans for the future.
PART THREE: STACKRIDGE, ESSENTIALLY
When exploring adventurous music, it may be prudent to start with a “greatest hits” or “best of… ” collection. Even though most of Stackridge’s proper albums are definitely worth adding to your own personal collection, you may want to heed the above maxim and check out…
PURPLE SPACESHIPS OVER YATTON – BEST OF…
(ANGEL AIR RECORDS; 2006)
The 2006 Angel Air Records release features fifteen essentials from four of the band’s first five releases (not even “Spin ‘Round the Room,” the single from EXTRAVAGANZA made the cut) and heralded in the label’s brilliant reissue program of the band’s catalog. The collection was reissued in 2008 as ANYONE FOR TENNIS?, part of Angel Air’s Sound and Vision series, coupled with a DVD of the band’s April 1, 2007 show (25 songs, the audio of which has also been released as a double CD called THE FORBIDDEN CITY… got all of that?). The only flaw with this release is the exclusion of one of Stackridge’s best known and most loved tunes, “Slark.” But, we’ll be addressing that one later. The accompanying booklet for PURPLE SPACESHIPS… features a fine essay from author Michael Heatley (as do the subsequent reissue titles), archival photos and complete lyrics. The music itself is chock full of just-left-of-center fan favorites like “Dora, the Female Explorer,” “Do the Stanley,” “Fish In a Glass,” “Syracuse the Elephant” and a rerecorded version of the title track (originally a non-album B-side to the “Slark” single), all magnificently remastered under the watchful eyes (hearful ears?) of James Warren and Andy Davis. Having listened to this impressive sampler (in one of its various forms or another), you will undoubtedly want to check out the original albums to hear the tunes in their natural habitat, so to speak. Of course, that is best accomplished by re-starting at the beginning with…
(MCA RECORDS; 1971)
In 1971, everyone wanted to be the Beatles. James, Andy and the other members of Stackridge were no different. Well… maybe they were a little different; they also wanted to be Frank Zappa… and Bob Dylan… and King Crimson… and the Incredible String Band. The quintet of progressive folkies (or is that folky progressives?) are out of the gate with what must be declared “an instant classic,” with nine tracks of mesmerizing pop and rambunctious rock, including at least four that should be required listening.
The album kicks off with the elegant, ambitious “Grande Piano,” which features a great bass part from Warren (original bassist Jim “Crun” Walter, by the time the band began recording, had opted for a more reasonable career as a bricklayer before returning to the fold for FRIENDLINESS) and a memorable – dare I say, “grand?” – piano part from Davis. “Dora the Female Explorer” is the only song on the debut album credited to the entire band; with it’s bouncing, reeling music – highlighted by Michael Evans’ violin – and oddly engaging vocal melody, the tune has stood the test of time as well as any of the tracks from STACKRIDGE. “Dora… ” is followed by the instrumental “Essence of Porphyry,” an eight minute piece with several distinct movements, all of them quite operatic in their scope (despite the lack of lyrics). Evans’ violin is again a featured instrument, along with Michael “Mutter” Slater’s flute. The entire affair has an air of Zappa about it, the final section a prog rocker’s dream, evoking RED-era Crimson and Brian Eno’s Roxy Music. The centerpiece of the album (if not the career) is “Slark,” a fourteen plus minute “monster” that plays beautifully off the theme and melody of Grieg’s “In the Hall of the Mountain King,” and led once again by Davis’ piano, Mutter’s flute and Evans’ violin. The lyrics suggest a lonely “monster” looking for acceptance and love but, being rejected because he isn’t like everyone else. The other tunes on STACKRIDGE are all pleasant progressive folk numbers, with just enough oddball charm and sweet melodies to make the album, in its entirety, indispensable. Angel Air’s reissue apends a stomping, rousing traditional reel called “Let There Be Lids,” a B-side from an unreleased 1973 single, as well as the single version of “Slark,” to the original album.
(MCA RECORDS; 1972)
As essential as the band’s debut is, it is, perhaps, their second release that offers the absolute best of what Stackridge aspired to be: A traditional English folk band with progressive and slightly loopy leanings. The opening track, “Lummy Days,” is rollicking, rolling sort of instrumental reel featuring some impressively heavy drumming from Billy Bent, now calling himself “Billy Sparkle.” What surely would have been a dancehall fixture in the early-to-mid 1920s, “Anyone For Tennis” shows the boys’ affinity for the oblique. At nearly nine minutes, “Syracuse the Elephant” would appear to be the band’s attempt to recreate the mini-operatic feel of the first album’s “Slark.” The tune, however, is a majestic piece of childlike progressivity, the tale of a forlorn elephant, raised in captivity and wanting nothing more than to live out his days in the company of his trainer, eating his favorite herbs.
The second side of the original album features such oddball fare as “Amazingly Agnes,” about a mule lamenting the fact that she is, in fact, a mule. That one is followed by the ballad, “Doctor Frankenstein Is Behind Your Pillow,” an apparent leftover from the first record, and the Beatles-esque rocker, “Keep On Clucking,” which features a killer backwards guitar solo from Crun toward the end. The final track, “Teatime,” would not sound out of place on Jethro Tull’s MINSTREL IN THE GALLERY or SONGS FROM THE WOODS; it starts as a rather pastoral madrigal before erupting in frenzied progressive blues, with Evans’ flute front and center throughout. The Angel Air reissue features the bonus tracks “Everyman,” the B-side to the “Flora, the Female Explorer” single; the chaotic, occasionally dissonant “Slark” B-side, the previously alluded to “Purple Spaceship Over Yatton,” one of the single greatest progressive tracks ever put to tape; the single-only release, “Do the Stanley,” a non-dancecraze inducing stomper, and it’s accompanying B-side, the beautiful, lilting “C’est La Vie.”
THE MAN IN THE BOWLER HAT
(MCA RECORDS; 1974)
The third Stackridge album, the intended title of which was THE ROAD TO VENEZUELA (and was renamed PINAFORE DAYS – with a very different track listing – for consumption in North America), was something of a dream come true for the sextet, as legendary (even then!) Beatles producer George Martin came on board (with engineer Geoff Emerick in tow) to lead the lads to new heights. The group was particularly disappointed with the sound quality of the first two records; along with Martin and Emerick came Sir George’s (such is his current title) state-of-the-art Air Studios in London and the sparkling, vibrant production quality and the brilliant arrangements and orchestrations that was nearly as important as the music on those highly revered Beatles sides. The difference is immediately heard, with the opening track, the poppy romp “Fundamentally Yours,” with Martin adding some well-placed piano.
As with the Beatles’ albums, Martin’s handprints are all over the remaining nine tracks of …BOWLER HAT, as well, adding piano here and there, bringing in orchestration elsewhere and generally giving the lads the benefit of his vast knowledge and experience in musical arrangements and production. The essential cuts include “Pinafore Days,” with its somehow Victorian sounding waltz and lyrics that would not seem out of place in a Monty Python sketch; released as a single in advance of the album, “The Galloping Guacho” opened side two, with a swirling calliope of carnival music that would not have been out of place on a late-period Beatles offering; the sparkling pop of “Dangerous Bacon” features a galloping drum pattern, a great guitar solo and a guest spot from Roxy Music’s sax man, Andy Mackay; a shot of Andy Davis whimsy, “The Indifferent Hedgehog,” leads into the majestically orchestrated instrumental, “God Speed the Plough,” which again highlights the flute of Mutter and violin of Mike Evans to great effect. Unfortunately, Martin’s involvement with …BOWLER HAT did not result in increased sales. Equally regrettable is the fact that the recording session seems to have included only the ten tracks featured here, as both singles from the period (the second was “Dangerous Bacon”), as well as their respective B-sides (“Fundamentally Yours” and “The Last Plimsoll”), come from the album; as a result, this is the first Angel Air reissue to not feature bonus material.
(THE ROCKET RECORD COMPANY; 1974)
With a move to Elton John’s new vanity label and Tony Ashton (late of Ashton, Gardner and Dyke and a brief stint in Family) in tow as producer, Andy Davis and Mutter Slater (Mike Evans appears briefly, performing the solo on “The Volunteer”) introduced a radically reconfigured group to the stalwart Stackridge fans. Not that there was an appreciable change in the music, although, without James Warren’s charming compositional skills, Davis and Slater tended to lean toward the more cabaret-esque side of the Stackridge spectrum; the pair also seems to have abdicated their newly-minted leadership to Rod Bowkett, the band’s new keyboardist, who wrote or co-wrote seven of the record’s ten tracks. The album opens with Bowkett’s 1920s dancehall-styled single, “Spin ‘Round the Room.” Considering the prevailing musical climate in the United Kingdom, I find it virtually incomprehensible that neither this nor the pair of …BOWLER HAT singles were radio or chart hits. It isn’t until the third track, “The Volunteer,” that we here a song from Davis, one of three co-songwriting credits on EXTRAVAGANZA. The song moves between a somber waltz and a rollicking sort of reel, one of the very few tunes that harken back to the original Stackridgian joie de vivre.
“Highbury Incident (Rainy July Morning)” follows, a jaunty little piece of Beatles-like pop written by Davis, Bowkett and Mutter, highlighted by rather Crimsonesque work (consider Ian McDonald’s work on IN THE COURT OF THE CRIMSON KING) from new woodwinds player Keith Gemmell. Side two of the original vinyl took a decidedly jazzy swerve into – cover your ears… uh… eyes, children, as I type that word that should never be typed – fusion territory with, incomprehensibly, three cuts out of four being instrumentals. Former King Crimson (there’s that name again!) bassist Gordon Haskell walked in the front door, dropping off “No One’s More Important Than the Earthworm,” the most progressive tune here (go figure, huh?), on his way out the back door, leaving the bass duties to Paul Karas, formerly of Rare Bird. The three instrumentals are adventurous but, aside from “Pocket Billiards,” sound out of place here. “Rufus T Firefly,” the side’s opening track, is mentioned here because… well… Groucho Marx! Like …BOWLER HAT, Angel Air’s reissue of EXTRAVAGANZA features no bonus material. The album isn’t terrible; it just doesn’t come off as a proper Stackridge record.
(THE ROCKET RCORDING COMPANY; 1976)
The fifth Stackridge full-length comes with an oddly familiar history behind it: Their record company didn’t like the concept and demanded changes be made. The record started life as a concept album, following the life of a cranky old man, with Mutter adding odd bits of dialogue – written by then-unknown children’s author, Steve Augarde – to move the story along. Rocket Records sent them back to the drawing board, basically telling the boys to “lose all this talking stuff, cut these songs and, by the way, where’s the single?” The resultant product looked and sounded quite different than the original, as did the band as Andy and Mutter welcomed back Crun Walter on the bass, with Keith Gemmell the only holdover from the EXTRAVAGANZA band; the lineup was completed with drummer Peter Van Hooke and former Greensalde member Dave Lawson adding synthesizer textures. As much as Stackridge had known a bit of success on the singles chart, it must have been quite humorous to be told, “We don’t hear a single. We need a single.” Another trip to the studio and the band had a single, a sort of Caribbean (or, if you rather, psuedo-Reggae) take on the Beatles’ “Hold Me Tight,” which was released several months before the MISTER MICK album. Rocket Records were immediately rewarded with a release that seemed to disappear from existence virtually before it was released due to a surging apathy for anything that could not be considered punk.
The reorganized and partially rerecorded version of the album featured a sound that owed more to 10CC, than it did to any of the original Stackridge’s influences or, indeed, to any of the previous four Stackridge records. Having missed the mark (chart-wise) with the band’s Beatles cover, Rocket decided to cut their losses and open their version of MISTER MICK with “Hold Me Tight.” This version really isn’t too bad but, with the more standard progressive pop featured throughout the remaining nine cuts, sounds very much out of place. Possibly, the most adventurous piece on the album is the B-side to “Hold Me Tight,” “Breakfast With Werner Von Braun,” a holdover from the original sessions, which could best be described as a Bedouin waltz. The incongruities rear their ugly heads rather quickly, as “The Steam Radio Song” features the accompanying narrative thread (written by then-unknown children’s author, Steve Augarde and delivered by Mutter) from the original recording; as sequenced by the record company, this bit of dialogue shows up about four tracks too soon. While the official version of MISTER MICK has its flaws, there are still enough nice moments to make it listenable, including the original album’s opening track, “Hey! Good Looking” and the Beatles-esque “Fish In a Glass,” also from the original, Stackridge version of the record. The Angel Air reissue pairs the Rocket Records release with the original, rejected twelve track version, which previously saw release as THE ORIGINAL MISTER MICK in 2000. Comparisons prove there are now stunning differences between the two but, with only seven overlapping tunes, the double disc release gives you five previously unheard (or, at least, very rarely heard) tracks.
PART FOUR: THE KORGIS, COLLECTIVELY
The Korgis, Andy’s and James’ other band, like Stackridge, got the “best of” treatment from Angel Air, first with 2005’s KOLLECTION, which, like a lot of Angel Air releases showed up a little later on in a Sound and Vision version as SOMETHING ABOUT THE KORGIS (a demo called “Make a Fuss About Us” was replaced with a new version of the Stackridge tune “Something About the Beatles”). The recent release of a much different package called …BY APPOINTMENT weeds out a few of the lesser tracks from KOLLECTION and adds a few cuts from an acoustic release called – naturally – UNPLUGGED. For essential music from the Korgis, I humbly suggest…
THE KORGIS… BY APPOINTMENT
(ANGEL AIR RECORDS; 2015)
After the MISTER MICK debacle, Andy Davis and Mutter Slater laid Stackridge to rest. Shortly thereafter, Andy and James Warren made nice and formed the Korgis, with violinist Stuart Gordon and keyboard player Phil Harrison along for the ride. The eponymous first album was released within two years of the demise of the mother band and garnered Warren and Davis something that had alluded them throughout the seven year career of Stackridge: An actual charting single… a hit, in the form of “If I Had You.”
The gently rocking “If I Had You” opens …BY APPOINTMENT, sounding for all the world like a George Harrison outtake. The group’s biggest hit, “Everybody’s Got To Learn Sometime,” follows; the languorous lead single from the second Korgis album, DUMB WAITERS, hit number five in the UK and was Top 20 in the States. The next single, the Beach Boys-lite of “If It’s Alright With You Baby,” barely nudged its way into the British charts, the last release from the group to see any such action. THE KORGIS… BY APPOINTMENT – by my calculations, the tenth compilation package from the group – features a mix of single releases and album tracks, rerecorded for this release, though a few are culled from 2005’s UNPLUGGED record; Andy and James are joined by long-time collaborator, John Baker. Highlights include the oddly appealing “True Life Confessions,” which is a bizarre combination of Mariachi horns, English pop and Caribbean percussion… truly an embracing of the “world music” vibe; a taught, tense “Lines,” from UNPLUGGED; the anthemic “One Life,” with its brilliant lead and harmony vocals, charging percussion track and massive organ leading the way.
The second half of the collection features “Mount Everest Sings the Blues,” a blast of old time rock ‘n’ roll and boogie-woogie; a beautiful, lush remake of “Something About the Beatles,” from the late-90s Warren-led Stackridge reunion (SOMETHING FOR THE WEEKEND also featured original members Crun Walter on bass and Michael Evans on violin); a cool version of the Korgis’ first single, “Young ‘n’ Russian,” from UNPLUGGED; a weird, faux-jazz Andy Davis tune called “Art School Annexe.” While the final half of …BY APPOINTMENT is more easy listening than the first half, overall, this is a solid introduction to the Korgis and their music.
PART FIVE: THE LAST WORD, FINALLY
With Stackridge calling it a career and Angel Air Records reissuing the original albums (with plenty of bonus material), now is definitely the time to jump on this band’s wagon. As mentioned above, a great starting place is the “best of” collection, PURPLE SPACESHIP OVER YATTON but, you really can’t go wrong with the group’s original run of albums (STACKRIDGE through to MISTER MICK). Other recorded highlights from the band’s reformative years include SOMETHING FOR THE WEEKEND (1999), THE FORBIDDEN CITY (2008’s double CD of the group’s April Fool’s Day show from the previous year) and their final album, A VICTORY FOR COMMON SENSE (2009). Any or all (as well as any of the Korgis collections – UNPLUGGED and …BY APPOINTMENT being personal favorites – and various James Warren and Andy Davis solo projects) are worthy of your attention.
UPDATE: Stackridge took their final bow in their hometown of Bristol on December 19, 2015. A film of that last show will be edited and released on DVD sometime in 2016. Of course, we know that – like comic book characters – rock bands never truly die and, sometime when we least expect it, Stackridge will mount another comeback. I’ll be waiting.