Stray Mudanzas CD

1973's tellingly named Mudanzas (which means "changes" in Spanish) was where it all started to go pear-shaped for England's Stray. Frustrated with the British media's dismissive attitude toward their first three albums, and eager to expand their following beyond a loyal stable of heavy prog diehards, the quartet enlisted producer Andrew Powell to embellish many songs on Mudanzas with loads of brass and string arrangements, perplexing many consumers, as well as media professionals. At least none could fault the size of the band's "cojones" (might as well stick with the Spanish theme here, right?) when faced with the western movie soundtracking of instrumental opener "Changes," or bite-sized symphony "Come on Over," with its ambitious emulation of Electric Light Orchestra. Equally daring were the album's many tracks enhanced with horn sections: "Gambler" was an upbeat saxophone-laden single; "I Believe It" an elegiac number crowned with a guitar solo reminiscent, in key, to "Stairway to Heaven"; and "Pretty Things" more urgent, with room for blistering six-string work from Del Bromham. The guitarist did away entirely with these frills on more stripped-down, fan-familiar hard rock efforts like the Quadrophenia-esque "It's Alright Ma!" and the Status Quo-styled boogie rock of "Hallelujah," then led the group down distinctly Beatles-ish roads on "Oil Fumes and Sea Air" and "Soon as You've Grown," with its soothing, McCartney-like vocals and what might be synthesizers or real oboes rounding out the Sgt. Pepper feel. In the end, though, it was a credit to Stray's formidable talents that they even managed to keep all of this variety together in any shape or form, but Mudanzas nevertheless failed to take them to the next level of commercial success, and alienated many members of their dedicated hard rock fan base. ~ Eduardo Rivadavia

1973's tellingly named Mudanzas (which means "changes" in Spanish) was where it all started to go pear-shaped for England's Stray. Frustrated with the British media's dismissive attitude toward their first three albums, and eager to expand their following beyond a loyal stable of heavy prog diehards, the quartet enlisted producer Andrew Powell to embellish many songs on Mudanzas with loads of brass and string arrangements, perplexing many consumers, as well as media professionals. At least none could fault the size of the band's "cojones" (might as well stick with the Spanish theme here, right?) when faced with the western movie soundtracking of instrumental opener "Changes," or bite-sized symphony "Come on Over," with its ambitious emulation of Electric Light Orchestra. Equally daring were the album's many tracks enhanced with horn sections: "Gambler" was an upbeat saxophone-laden single; "I Believe It" an elegiac number crowned with a guitar solo reminiscent, in key, to "Stairway to Heaven"; and "Pretty Things" more urgent, with room for blistering six-string work from Del Bromham. The guitarist did away entirely with these frills on more stripped-down, fan-familiar hard rock efforts like the Quadrophenia-esque "It's Alright Ma!" and the Status Quo-styled boogie rock of "Hallelujah," then led the group down distinctly Beatles-ish roads on "Oil Fumes and Sea Air" and "Soon as You've Grown," with its soothing, McCartney-like vocals and what might be synthesizers or real oboes rounding out the Sgt. Pepper feel. In the end, though, it was a credit to Stray's formidable talents that they even managed to keep all of this variety together in any shape or form, but Mudanzas nevertheless failed to take them to the next level of commercial success, and aliena

One of the most consistent and popular bands of the 70s, Stray trod a fine line between Hard Rock, Prog, and harmony-driven Boogie, their powerful playing, hook-laden melodies and accomplished harmonies appealing equally to all three audiences. Formed in 1966 by guitarist Del Bromham, who still fronts the band today, they were originally a Mod combo, inspir