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Stackridge were a British progressive rock/folk rock group which had their greatest success in the early 1970s.

Key Information

History

[edit]

Classic period

[edit]

Stackridge Lemon were formed from the remains of a previous band, Grytpype Thynne, by Andy Davis and James "Crun" Walter during 1969 in the Bristol/Bath area of South West England.[3] After initial experimentation, the word Lemon was dropped from the band's name.[3] The band played their first London gig at The Temple in Wardour Street on 6 February 1970. They were the opening and closing act at the first Glastonbury Festival between 19 September and 20 September 1970.[4] During 1970, the members of the band shared a communal flat as their headquarters at 32, West Mall in Clifton, Bristol, the address of which Davis and Warren later used as the title of a song, which appeared on the debut album, Stackridge (1971).

During 1971, Stackridge began serious gigging, although Crun left to take up bricklaying. Davis, Warren, Bent, Evans, and Slater embarked on a UK tour supporting Wishbone Ash. Later in the year they signed to MCA Records and recorded their first album, Stackridge, at De Lane Lea Studios, London.[3] They toured the UK as headliners with Renaissance supporting and played their first John Peel session for the BBC, which included a version of the Beatles' "Norwegian Wood (This Bird Has Flown)".

The group continued on a year of touring, again with Wishbone Ash and also Forever More. On 30 September they supported Lindisfarne at Newcastle City Hall.[5] The second album, Friendliness, was quickly recorded in August 1972, and released in November with some songs that had started life in pre-Stackridge days.[3] By this time Crun had rejoined the band which consisted of Davis, Warren, Slater, Evans, Walter and Billy Sparkle.

In February 1973, the band made their first television appearance on BBC2's The Old Grey Whistle Test. They then toured during February and March with Camel in support. The third album, The Man in the Bowler Hat, was recorded during 1973 at AIR Studios, London, with producer George Martin.[3] The album was released in February 1974 to excellent reviews, but failed to sell in large quantities. This was the highest-charting Stackridge album in the UK Albums Chart, reaching no. 23. A different version of the album was released in the U.S. under the title Pinafore Days and became their only U.S. chart entry, peaking at no. 191, although a US tour never materialised. Almost as soon as the album was finished, the band were joined by Keith Gemmell from Audience; and shortly thereafter Evans, Slater, Sparkle, Walter, and Warren all departed the band and were replaced by Rod Bowkett (keyboards), Rare Bird member Paul Karas (bass), and Roy Morgan (drums), as Davis took full control of the band.[3] The group that went on tour to support the album sounded quite different from the one on the record.

The fourth album, Extravaganza, on Elton John's record label The Rocket Record Company,[3] was recorded at AIR Studios with Tony Ashton producing and Rod Bowkett joining to contribute to the songwriting. The band now consisted of Davis, Bowkett, Gemmell, Karas and Morgan, along with the returning Slater, Evans, and Walter. Non-Stackridge written songs and cover versions became more prevalent. With more touring and an appearance at Wembley Stadium concert with Elton John and the Beach Boys, 1975 saw the recording of the band's fifth outing in the studio, the concept album Mr. Mick.[3] It was based on stories/poems by Steve Augarde and was eventually recorded at Ramport Studios, Putney, with the revised line-up of Davis, Slater, Walter, Gemmell plus the addition of ex-Greenslade Dave Lawson on keyboards and Peter Van Hooke on drums.

The Rocket Record Company, the group's record label, performed considerable editing on Mr. Mick, and insisted on the inclusion of a Beatles cover song, "Hold Me Tight". The album received some good press, but some shows were abandoned on the grounds that the stages were too small. Stackridge performed a final show in April 1976, and shortly afterwards the band disintegrated.[3] MCA Records released the compilation Do the Stanley late in 1976. It contained songs from the first three albums along with singles and a previously unreleased song, "Let There Be Lids", taken from live performances.

Stackridge officially announced in 1977 that they had disbanded; James Warren and Andy Cresswell-Davis formed the Korgis a few years later, and had some commercial success in the early 1980s.[3]

Revival period

[edit]

BBC Radio 1 Live In Concert, released by Windsong in July 1992, raised renewed interest in the band. John Sherry, Roy Morgan and Rod Lynton proposed a reunion tour but this never materialized. The album was re-issued by Strange Fruit in 1996.

During 1996, talks were held between original members about possible reunion and recording started. The following year, 1997 Stackridge – The Radio One Sessions was released by Strange Fruit Records.

By June 1999, the Come Back To Front UK tour was under way and June that year saw Something for the Weekend released, featuring the line-up of James Warren, Jim "Crun" Walter, Mike Evans, Richard Stubbings, John Miller, and Tim Robinson. This album featured "Something about the Beatles". Then in 2001, Pick Of The Crop and The Original Mr. Mick were released on Stackridge's own DAP Records. Mike and Jennie Evans were responsible for re-marketing the band, including setting up a website. There were infrequent live guest appearances by Mike 'Mutter' Slater. However, further turmoil within the band occurred as attempts to reunite the original band led to the Evans falling out with Warren, Walter and Slater as Davis came back to the fold; leading to Evans' departure and Slater's full-time return to the band.

2005 saw the release of the album Sex and Flags on Angel Air Records, a collection comprising many songs from Something for the Weekend, all six songs from the fan release only limited edition Lemon CD in 2002, and two Andy Davis demo recordings. The album was the first since 1973 (apart from the Lemon mini CD) to feature the core foursome of Warren, Davis, Walter and Slater. Stackridge signed up with reissue experts Angel Air in 2005. All the CDs have extensive sleeve notes, pictures of memorabilia and bonus tracks and two, Mr Mick and Forbidden City are double CD sets.

A spring 2007 tour was announced featuring this line-up, along with additional musicians. A show at The Rondo Theatre, Bath, on 1 April 2007, was filmed for a DVD, released under the title Forbidden City (also available as a CD release). The band continued to perform during 2008.

In 2008 it returned to the Glastonbury Festival to play the acoustic stage on Sunday afternoon.[6] They also appeared at the 2008 Rhythm Festival in Bedford and at Fairport's Cropredy Convention.

An album (A Victory for Common Sense—including a rework of the Korgis's "Boots and Shoes") was released on 13 July 2009 on Helium Records.[7]

Playing the Acoustic Stage at the 2008 Glastonbury Festival.

In June 2010, it was announced that Mutter Slater had resigned from Stackridge. The stated reason was that, because of his full-time job, he could not always accept weekday bookings without taking a day out of his holiday entitlement. The announcement concluded "The rest of the band are very sorry to see him go, but will continue as a seven piece at least until the end of the year. Rehearsals will take place over the next two months to create a new direction, ready for Autumn/Winter gigs."

On 14 March 2011, the band performed live on The Late Late Show with Craig Ferguson performing "The Last Plimsoll".

In April 2014, The Scotsman columnist Euan McColm suggested that UK Labour Party leader Ed Miliband was "more Stackridge than Beatles."[8]

In late 2014, Stackridge took a break from touring, and in early 2015 the band embarked on a UK tour as the Korgis. Around this time, the group announced that the last ever Stackridge tour would take place in autumn 2015, called "The Final Bow", at Fiddlers Club in Bristol. It commented on Twitter: "We have decided that our Autumn Tour will be our last gigs. We don't want the gigs to be sad events but a celebration of all we have done".[9]

Former member Keith Gemmell died from throat cancer on 24 July 2016.[10]

Musical style

[edit]

Stackridge were described by The Guardian as "prog rock and folk rock without the self-regarding pomposity of the former and the high seriousness of the latter at their worst".[1] They have also been described as a precursor to Britpop.[11]

Personnel

[edit]

Members

[edit]

Touring musicians

[edit]
  • Ruth Evans – violin, backing vocals (1999–2000)
  • Nina Smith – violin, backing vocals (1999–2000)
  • Glenn Tommey – keyboards, trombone, vocals, sticks, flute, ukulele (2007–2015)
  • Sarah Mitchell – violin, vocals, keyboards, whistle, tambourine (2007–2011)
  • Rachel Hall – violin (2007–2009)
  • Andy "Codge" Marsden – drums (2007–2008)
  • Eddie John – drums, ukulele (2007, 2008–2015)
  • Nigel Newton – lead guitars (2007)
  • Katy Salvidge – violin (2007)
  • Clare Lindley – violin, guitar, ukulele, vocals (2009–2015)

Lineups

[edit]
1969–1971 1971–1972 1972–1973 1973
  • Billy "Sparkle" Bent – drums
  • Andy Cresswell-Davis – lead guitars, keyboards, vocals
  • Mike Evans – violin, vocals
  • Mike "Mutter" Slater – flute, vocals
  • Jim "Crun" Walter – bass
  • James Warren – guitars, vocals
  • Billy "Sparkle" Bent – drums
  • Andy Cresswell-Davis – lead guitars, keyboards, vocals
  • Mike Evans – violin, vocals
  • Mike "Mutter" Slater – flute, vocals
  • James Warren – bass, guitars, vocals
  • Billy "Sparkle" Bent – drums
  • Andy Cresswell-Davis – lead guitars, keyboards, vocals
  • Mike Evans – violin, vocals
  • Mike "Mutter" Slater – flute, vocals
  • James Warren – guitars, vocals
  • Jim "Crun" Walter – bass
  • Billy "Sparkle" Bent – drums
  • Andy Cresswell-Davis – lead guitars, keyboards, vocals
  • Mike Evans – violin, vocals
  • Mike "Mutter" Slater – flute, vocals
  • James Warren – guitars, vocals
  • Jim "Crun" Walter – bass
  • Keith Gemmell – saxophone, clarinet, flute
1973–1974 1974–1975 1975–1976 1976–1999
  • Andy Cresswell-Davis – lead guitars, keyboards, vocals
  • Keith Gemmell – saxophone, clarinet, flute
  • Rod Bowkett – keyboards
  • Paul Karas – bass, vocals
  • Roy Morgan – drums
  • Andy Cresswell-Davis – lead guitars, keyboards, vocals
  • Keith Gemmell – saxophone, clarinet, flute
  • Rod Bowkett – keyboards
  • Paul Karas – bass, vocals
  • Roy Morgan – drums
  • Mike Evans – violin, vocals
  • Mike "Mutter" Slater – flute, vocals
  • Jim "Crun" Walter – bass
  • Andy Cresswell-Davis – lead guitars, keyboards, vocals
  • Keith Gemmell – saxophone, clarinet, flute
  • Mike "Mutter" Slater – flute, vocals
  • Jim "Crun" Walter – bass
  • Dave Lawson – keyboards
  • Peter Van Hooke – drums

Disbanded

1999–2000 2000–2002 2002 2002–2010
  • Mike Evans – violin, vocals
  • Jim "Crun" Walter – bass
  • James Warren – guitars, vocals
  • John Miller – keyboards, vocals
  • Tim Robinson – drums
  • Richard Stubbings – flute, accordion, keyboards, guitar, penny whistle, vocals, whistling
  • Mike Evans – violin, vocals
  • Jim "Crun" Walter – bass
  • James Warren – guitars, vocals
  • Tim Robinson – drums
  • Richard Stubbings – flute, accordion, keyboards, guitar, penny whistle, vocals, whistling
  • Ian Towers – keyboards, vocals, guitars
  • Mike Evans – violin, vocals
  • Jim "Crun" Walter – bass
  • James Warren – guitars, vocals
  • Tim Robinson – drums
  • Richard Stubbings – flute, accordion, keyboards, guitar, penny whistle, vocals, whistling
  • Ian Towers – keyboards, vocals, guitars
  • Andy Cresswell-Davis – lead guitars, keyboards, vocals
  • Jim "Crun" Walter – bass
  • James Warren – guitars, vocals
  • Andy Cresswell-Davis – lead guitars, keyboards, vocals
  • Mike "Mutter" Slater – flute, vocals
2010–2012 2012–2015
  • Jim "Crun" Walter – bass
  • James Warren – guitars, vocals
  • Andy Cresswell-Davis – lead guitars, keyboards, vocals
  • James Warren – bass, vocals
  • Andy Cresswell-Davis – lead guitars, keyboards, vocals

Timeline

[edit]

Discography

[edit]

Singles

[edit]

Studio albums

[edit]

Other albums

[edit]
  • Do the Stanley (1976, compilation, one previously unreleased track "Let There Be Lids") (original vinyl; UK MCA - no US issue)
  • BBC Radio 1 In Concert (originally Windsong WINCD 019, 1992) (re-issued 1996) Strange Fruit SFRSCD 032
  • The Radio 1 Sessions (1996) Strange Fruit SFRSCD 40
  • More (4 alternative 'Something for the Weekend' mixes) (1998, fan club only CD)
  • Pick of the Crop : Official Bootleg No. 1 (2000, live at Cropredy Festival, 12 August 2000) Dap 104CD
  • CD-Romp: The Official Stackridge Bootleg No. 2 (2001) Dap 105CD
  • Lemon 2002 (2002; fan club only; no label)
  • Sex and Flags (2005, compilation of most of Something for the Weekend, all of Lemon 2002 plus two Andy Davis demos) Angel Air SJPCD 205
  • Purple Spaceships Over Yatton: The Best Of (2006, 19 track compilation, with new recording of title track, October 2006) Angel Air SJPCD 228
  • The Forbidden City (2008, live at Rondo Theatre, Bath, 1 April 2007) Angel Air SJPCD 251
  • Anyone For Tennis (CD and DVD set, combining Purple Spaceships Over Yatton: Best of CD and Forbidden City DVD with new photos and new, extensive sleevenotes, September 2008) Angel Air SJPCD 271
  • The Final Bow, Bristol 2015 (2019, live in Bristol)
  • Lost and Found - The Reunion Years 1999-2015 (2024, 4 x CD Box Set, a combination of Something for the Weekend (1999), A Victory for Common Sense (2009) & The Final Bow, Bristol 2015 (2019, live in Bristol)

DVD

[edit]
  • The Forbidden City (July 2007 - live at the Rondo Theatre, Bath - 1 April 2007) Angel Air NJPDVD 630
  • 4x4 (2009)[13]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Stackridge

View on Grokipedia
from Grokipedia
Stackridge was an English and band formed in in 1969, known for their eclectic, whimsical sound that blended rock, folk, classical influences, and theatrical British humor. The group achieved cult following in the early 1970s with a series of innovative albums, including their self-titled debut (1971), Friendliness (1972), and the George Martin-produced The Man in the Bowler Hat (1974), before disbanding in 1976 amid shifting musical tastes. Core members Andy Davis and James Warren later found pop success as in 1979, with hits like "." The band's origins trace back to the remnants of the short-lived group Griptyght Thynn (also known as Grytpype Thynne), when multi-instrumentalist Andy Davis (born Andrew Creswell-Davis) and bassist Jim "Crun" Walter experimented in Davis's family home, soon recruiting singer-songwriter James Warren, drummer "Mutter" Slater, and others to form Stackridge Lemon, which shortened to Stackridge by late 1970. Their early sets featured extended, narrative-driven songs like "Slark" and "Teatime," drawing comparisons to contemporaries such as Genesis and for their progressive ambition and humor. Signing with , Stackridge toured extensively in the UK, building a dedicated audience through BBC sessions and festival appearances, though commercial success remained elusive despite critical praise for their inventive songcraft. Following their 1976 split after releasing (1975) and Mr. Mick (1976) on Elton John's Rocket Records, the band members pursued various projects, with Davis and Warren's achieving international recognition in the new wave era. A partial reunion in the late led by Warren, Walter, and drummer Mike Evans resulted in the album Something for the Weekend (1999), but the classic lineup of Davis, Warren, Slater, and Walter reconvened in 2006 for live performances and new material. This revival culminated in the studio album A Victory for Common Sense (2009), produced by former collaborator , and a farewell tour in 2015 that included sold-out shows and a performance in . Posthumous releases include the live album The Final Bow: 2015 (2019) and the box set Lost & Found: The Reunion Years 1999–2015 (2024). Stackridge's enduring legacy lies in their influence on progressive and , celebrated for pioneering a uniquely playful approach that anticipated the quirkiness of later acts like and the .

History

Formation and early career

Stackridge formed in , , in August 1969, emerging from the remnants of the short-lived band Griptyght Thynn (also spelled Grytpype Thynne in some accounts). Guitarist and Andy Davis and James "Crun" Walter were the primary founders, soon joined by and vocalist James Warren, with the group initially operating under names like Griptape or Stackridge Lemon before settling on Stackridge. The early lineup underwent several changes as the band honed its sound. Drummer Billy Sparkle (Bill Bent) and violinist Mike Evans joined initially, but the configuration stabilized in January 1970 with the addition of flautist and vocalist Mike "Mutter" Slater, who brought a distinctive woodwind element to their whimsical, progressive folk-rock style. These core members—Davis, Warren, Walter, Slater, and Evans—formed the basis for their debut performances, starting with local gigs at venues like The Old Granary in and clubs in . Their first London show occurred on 6 February 1970 at The Temple, marking an expansion beyond the . A breakthrough came in September 1970, when Stackridge opened the inaugural at the Bath and West Showground, performing the event's opening and closing sets alongside acts like and Keith Christmas; the two-day event drew about 1,500 attendees the day after Jimi Hendrix's death. Following these live milestones, Stackridge signed with in late 1970 after A&R representative attended a concert at the Victoria Rooms and was impressed by their set, which typically featured extended pieces like "Slark," "Dora the Female Explorer," and "Purple Spaceships Over Yatton." The band recorded their self-titled debut at in between March and April 1971, produced by Fritz Fryer (credited as Friar) on 16-track equipment. Released in August 1971 as one of MCA's earliest UK albums, Stackridge showcased their eclectic blend of pop, folk, and progressive elements, highlighted by the 14-minute closing track "Slark"—a surreal conceived by Walter about a monstrous entity. Initial critical reception praised the band's originality but faulted the album's production for feeling disjointed and failing to capture their energetic live dynamic, with some reviewers viewing it as overly self-indulgent. This release laid the groundwork for their rising profile in the early progressive scene.

1970s classic period

Stackridge's second album, Friendliness, was released in October 1972 on , marking the band's initial foray into a more structured studio recording following their debut. Produced by the band alongside Vic Gamm and recorded at and Sound Techniques in during August 1972, the album showcased tracks like James Warren's "Anyone for Tennis?" and the Davis-Walter composition "Syracuse the Elephant," emphasizing the group's whimsical, pastoral sound. Despite positive critical reception for its organic production and eclectic songwriting, Friendliness achieved limited commercial success, failing to chart significantly in the UK. Shortly after the release of Friendliness, drummer Billy "Sparkle" Bent departed the band in 1972, prompting a lineup adjustment as Stackridge continued their intensive touring schedule. The core quintet of Andy Davis (guitar, keyboards, vocals), James Warren (guitar, vocals), Jim "Crun" Walter (bass), Michael "Mutter" Slater (flute, vocals), and Mike Evans (violin) pressed on, supporting established acts such as and on tours, which helped build their reputation in the progressive rock circuit despite ongoing commercial challenges. These performances highlighted the band's live energy and theatrical flair, though they did little to boost album sales. The band's third album, The Man in the Bowler Hat, represented a pivotal shift toward a more polished, pop-oriented sound, recorded over 10 days in July–September 1973 at AIR Studios in with renowned producer . Martin's involvement, including orchestral arrangements and engineering by and Bill Price, elevated the production to a level reminiscent of his work, featuring tracks like "Dangerous Bacon" and "Pinafore Days" that blended influences with progressive elements. Released in February 1974 on in the UK, the album peaked at No. 23 on the [UK Albums Chart](/page/UK_Albums Chart), the band's highest charting position, earning acclaim for its innovative studio craft but still struggling with broader commercial breakthrough due to the era's shifting tastes. For the US market, the album was retitled Pinafore Days and released in October 1974 on , with adjusted track listings that omitted "To the Sun and Moon" and "The Indifferent Hedgehog" in favor of "Spin Round the Room" and "One Ink." The cover art remained similar, but inner photos reflected emerging lineup changes, and it became Stackridge's only entry on the , underscoring modest international interest in their pastoral, whimsical style. Post-release, reed player Keith Gemmell joined the band, adding and to enhance their eclectic arrangements during ongoing UK tours. However, internal tensions escalated as Warren and Walter left in summer 1974, citing creative differences, which forced further reconfiguration. Following the departures in summer 1974, bassist Paul Karas (formerly of ) and drummer joined Stackridge, stabilizing the rhythm section amid the departures and contributing to the band's evolving sound. Seeking a fresh start, the group signed with 's newly established Rocket Records in 1975, becoming one of the label's first acts and distributed through MCA, a move intended to leverage John's promotional clout for greater visibility. This period saw over 70 performances, including a high-profile slot at Stadium's Midsummer Music festival in June 1975 alongside and , as well as appearances on BBC's . Despite the exposure, commercial struggles persisted, with critics praising the band's inventive prog but sales remaining low amid rising punk influences. The fourth album, Extravaganza, captured this transitional phase, recorded in late 1974 at AIR Studios with production by Tony Ashton, who balanced studio sessions with nearby pub visits for a relaxed yet focused approach, engineered by Geoff Emerick, Gary Edwards, and Peter Swettenham. Featuring the lineup of Davis, Slater, Gemmell, Karas, Morgan, and keyboardist Rod Bowkett, plus guest vocals from Gordon Haskell on "No One's More Important Than the Earthworm," the album leaned into jazz-rock and R&B elements, diverging from earlier folk-prog roots. Released in January 1975 on Rocket Records (with some sources noting a UK push into 1976), it received critical nods for its boldness but failed to chart, exacerbating financial pressures from extensive touring. By 1975, keyboardist and drummer joined, further reshaping the band for their final 1970s efforts and injecting fresh dynamics into live sets. However, mounting internal conflicts over artistic direction—particularly pressures to chase commercial viability amid punk's ascent and public indifference—culminated in the group's disbandment in 1976, following the release of Mr. Mick and after approximately 300 gigs that yielded critical praise but scant financial reward. This era solidified Stackridge's cult status for their whimsical, English pastoral sound, though low chart performance beyond The Man in the Bowler Hat highlighted their niche appeal.

Hiatus and individual projects

Stackridge disbanded in 1976 following the release of their album Mr. Mick, which failed commercially and exacerbated internal tensions stemming from frequent lineup changes, creative differences over the band's direction, and mismanagement by their label Rocket Records and new management team. The group's whimsical progressive and folk-rock style also suffered from the broader shift in toward , which diminished the appeal of more elaborate, genre-blending acts like Stackridge during the late . These factors, combined with frustrations over in recordings and personnel conflicts—such as difficulties with drummer John White—led co-founder Andy Davis and vocalist Mutter Slater to effectively end the band. Former reed player Keith Gemmell died from throat cancer on July 24, 2016. During the ensuing hiatus from 1976 to 1999, band members pursued varied individual paths, often diverging from their collective sound. Guitarist and vocalist James Warren relocated to Bath, where he created demos and collaborated with producer David Lord before releasing his solo album Burning Questions in 1986. Warren and Andy Davis, who had co-led Stackridge, reunited creatively by forming the pop band in 1978; the group achieved commercial success with singles like "If I Had You" (UK No. 13 in 1979) and "Everybody's Got to Learn Sometime" (UK No. 5 in 1980), though they continued releasing albums until disbanding in 1982 amid further internal disputes. Davis, meanwhile, explored more introspective work, releasing his debut solo album Clevedon Pier in 1989, a sparse collection of elegiac songs co-produced with . Mutter Slater stepped away from music entirely for much of the hiatus, taking a regular job and pursuing piano lessons after declining a solo offer from Rocket Records, citing personal challenges and the band's lack of breakthrough success. He later engaged in soul-based rock 'n' roll projects with local bands in Dorset, though these remained low-profile. Jim "Crun" Walter contributed to and soul ensembles, while violinist Mike Evans focused on classical and performances. Reunion efforts during the hiatus were sporadic and largely unsuccessful. Informal discussions and partial collaborations occurred in the 1980s, but logistical challenges and lingering differences prevented progress. A more concrete attempt in 1992 involved Warren, Walter, and Evans, but it faltered due to issues, setting the stage for a fuller in 1999. Throughout the and , Stackridge's grew steadily, sustained by reissues of their catalog and emerging online fan communities that highlighted the band's eccentric charm amid changing musical landscapes.

Reformation and final activities

Stackridge in the summer of 1999 with a lineup comprising James Warren, Crun Walter, Mike Evans, Richard Stubbings, John Miller, and Keith Higgs, initially for festival appearances including , , and . This revival culminated in the release of their first new studio album in over two decades, Something for the Weekend, on October 12, 1999, via Angel Air Records. The album featured a mix of new compositions and re-recorded classics, marking a return to their whimsical sound. In 2006, the band achieved a full reunion of its original core members—Andy Davis, James Warren, Mutter Slater, and Crun Walter—leading to renewed touring activity and creative output. This lineup performed a notable concert at the Rondo Theatre in Bath on April 1, 2007, captured in the live release The Forbidden City, which showcased their classic material and was reissued as a 2CD + DVD box set by Esoteric Recordings on April 26, 2024. The reunion era also included festival slots at Cropredy in 2008 and Trowbridge, alongside the 2009 studio album A Victory for Common Sense, produced by Chris Hughes and praised for its sophisticated songcraft. Following A Victory for Common Sense, Stackridge produced no further original studio material, shifting focus to live performances and archival releases, such as the three-CD retrospective box set '50' Recordings 1971-2021, issued by Angel Air on October 1, 2021, to commemorate five decades of the band's history. The group announced its retirement with the farewell tour "The Final Bow" in 2015, including sold-out UK shows and performances in Tokyo, culminating in a final concert on December 19, 2015, at the Fiddlers Club in Bristol; the recording was later released as The Final Bow in 2017. Subsequent activities saw members like Warren and Davis pursue solo endeavors and collaborations. The band's legacy endured through reissues, including the 2024 The Forbidden City edition, and reflections in a 2025 interview with Warren, where he discussed their innovative yet commercially elusive path in progressive rock.

Musical style

Core elements and songwriting

Stackridge's music is characterized by a distinctive blend of , folk, and pop elements, often infused with whimsical and that evoke the English countryside and everyday eccentricity. The band's compositions frequently feature quirky narratives and satirical undertones, such as the humorous title and storyline of "Slark," which draws on absurd, lighthearted scenarios rather than grandiose themes. This approach prioritized concise, melodic structures over the extended epics common in , emphasizing accessibility and charm while incorporating subtle complexities. Central to their songwriting was the collaborative partnership between primary composers Andy Davis and James Warren, who merged Davis's blues-influenced, Beatles-esque melodies with Warren's multi-movement, genre-mashing arrangements. Their process involved mashing together diverse styles, resulting in songs that shifted fluidly between rock, folk, and pop, often borrowing from classical motifs like Rachmaninov in tracks such as "If I Had You." Instrumentation played a key role in this , with prominent flute lines from Mike "Mutter" Slater, solos by Mike Evans, acoustic guitars, and intricate multi-part vocal harmonies adding texture and depth to the pastoral idylls and eccentric tales. Production styles evolved across their catalog, reflecting shifts in sonic polish. Early MCA releases, like the 1971 debut album, captured a raw, unpolished energy that highlighted the band's organic instrumentation and whimsical delivery. In contrast, their 1974 album The Man in the Bowler Hat, produced by George Martin at AIR Studios with engineering by Geoff Emerick, introduced a refined sheen through added string sections and meticulous arrangements, enhancing the melodic sophistication without diluting the core quirkiness.

Influences and evolution

Stackridge's musical influences drew heavily from British folk traditions, complexity, pop songcraft, and humor. Founding members like Mike Evans had roots in traditional folk groups such as The Westlanders and The Moonshiners, infusing the band's early sound with acoustic-driven arrangements reminiscent of the folk-rock movement. Progressive elements were evident in guitar and organ parts that echoed the intricate structures of Genesis, contributing to the band's layered compositions. The connection to was amplified through producer George Martin's involvement, lending a polished pop sensibility and orchestral flourishes to their work. Additionally, humor inspired by and traditions—evoking Gilbert and Sullivan's whimsical narratives—permeated their lyrics and arrangements, adding a theatrical eccentricity. The band's style evolved notably during the , transitioning from a folk-prog hybrid to more orchestral and pop-oriented territory. Their 1972 album Friendliness emphasized humanistic, offbeat songs with a raw, personal edge rooted in folk influences, though production limitations somewhat muted its impact. By 1974's The Man in the (released as Pinafore Days in the U.S.), the sound shifted toward elaborate, Beatles-esque arrangements under George Martin's guidance, incorporating symphonic swells and complex instrumentation that heightened the progressive complexity but occasionally overwhelmed the material's simplicity. Band members like Andy Davis later reflected that this era marked a maturation, blending their folk-prog base with broader pop melodicism absorbed from the era's vibrant scene. During the late 1970s hiatus, core members Andy Davis and James Warren pursued pop-leaning projects, notably forming in 1978, which emphasized concise, commercial song structures and harmonies that contrasted Stackridge's more experimental bent. These solo-era explorations influenced the band's 2000s reformation, where reunion albums like A Victory for Common Sense (2009) featured streamlined arrangements that retained the core whimsy while adopting cleaner, modern production techniques for broader accessibility. Stackridge experienced a cult revival in the 1990s amid growing prog nostalgia, gaining appreciation from fans rediscovering eccentric British acts. Critics often compared them to XTC for their quirky English songcraft and melodic invention, and to Supertramp for the blend of prog ambition with pop accessibility, yet viewed them as underrated due to their non-conformist, whimsical image that resisted mainstream categorization. This perception underscored their enduring appeal as a uniquely British outfit, prioritizing playful innovation over commercial conformity.

Personnel

Core members

Andy Davis was a co-founder of Stackridge, forming the band in 1969 in alongside bassist Jim Walter from the remnants of their previous group, Grytpype Thynne. As the band's , Davis handled vocals, guitar, and keyboards, serving as a primary songwriter whose compositions like "Slark" and "The Volunteer" exemplified the group's blend of , folk, and influences. His contributions extended to the original 1970s albums, including playing on three tracks of John Lennon's Imagine in 1971, and he remained involved through the 2007 reformation, co-writing songs for A Victory for Common Sense (2009). Davis's quirky, Beatles-inspired style helped define Stackridge's eccentric sound and stage presence. James Warren joined Stackridge in autumn 1970 as a guitarist and vocalist, quickly becoming a key songwriter and frontman alongside Davis. His melodic contributions, such as "" and "Three-Legged Table," brought a pop sensibility to the band's progressive framework, drawing from influences like and . Warren participated in the classic 1970s period, contributing to albums like Friendliness (1972) and The Man in the Bowler Hat (1974), the latter produced by and marking the band's commercial peak. He led the late-1990s revival with Something for the Weekend (1999) alongside Walter and Evans, and the 2007 reunion tours, maintaining the group's whimsical English character despite internal tensions. Mike "Mutter" Slater, whose nickname derived from his school days, joined shortly after the band's inception, providing , keyboards, and vocals that became iconic for introducing woodwind and folk elements to Stackridge's arrangements. Slater's playful antics, including props like dustbin lids and rhubarb sticks, enhanced the live shows, while his songwriting credits included "Pinafore Days" and co-writing tracks on Mr. Mick. As a frontman by 1973, he acted as a ringmaster for the band's flair, contributing to early albums like Stackridge (1971) and Friendliness (1972). Slater participated in the original era until 1974, and rejoined for the 2007–2010 reunion activities before departing. Jim "Crun" Walter, co-founder with Davis in 1969 and nicknamed after a Goons character, anchored the band on bass and vocals, offering a steady rhythmic foundation amid the group's stylistic shifts. His imaginative songwriting, such as "Syracuse the Elephant" and "The Vegan's Hatred of Fish," infused Stackridge with surreal humor and eccentricity, appearing on albums including The Man in the (1974) and later revivals. Walter's tenure spanned the 1970s classic period with intermittent exits and returns, providing continuity through the 1990s Something for the Weekend and the 2007–2011 final activities. Billy Bent (also known as Billy Sparkle) served as the original drummer from 1969 to 1974, joining as a founding member and laying the rhythmic groundwork for Stackridge's debut album Stackridge (1971), Friendliness (1972), and The Man in the Bowler Hat (1974) as well as early tours. His tenure supported the band's initial folk-rock experiments before he departed, prompting lineup adjustments that influenced subsequent recordings like (1975). Mike Evans joined in 1970 as violinist and , contributing to the classic early sound on Stackridge (1971) and Friendliness (1972), and providing string arrangements that enhanced the progressive elements until his departure around 1974. He co-led the 1999 partial reunion with Warren and Walter.

Touring and guest musicians

During Stackridge's formative period, the band's live performances relied on a series of drummers who provided the rhythmic foundation before the lineup stabilized. Billy Bent served as the original drummer from 1969 to 1974, contributing to early gigs that helped establish the group's whimsical sound in Bristol's local scene. Following Bent's departure, joined in 1974 as drummer and remained through 1975, bringing a technically proficient style that supported the band's evolving compositions during tours promoting albums like . Morgan's tenure coincided with intensified live activity, including dates that showcased Stackridge's blend of humor and virtuosity. In 1975, Peter Van Hooke took over drumming duties, filling in temporarily before becoming a key part of the final 1970s configuration until 1976. Van Hooke, previously with bands like Van Morrison's group, added a polished, session-oriented precision to Stackridge's remaining tours, including appearances that preceded the band's initial breakup; his work is evident on the live energy of the Mr. Mick sessions and related performances. On bass, Paul Karas provided steady support from 1974 to 1975, often doubling on vocals to enhance the band's harmonious live sets. A native with prior experience in , Karas's arrival followed auditions and injected a robust, melodic presence into tours, particularly those aligned with , where his interplay with the core songwriters drove the group's stage dynamics. Keith Gemmell joined in 1974 on , , and , contributing to the later 1970s albums Extravaganza (1975) and Mr. Mick (1976), adding wind instrument layers to live performances and recordings. Rod Bowkett provided keyboards and piano from 1974 to 1975, supporting the transitional lineup during Extravaganza sessions and related tours. Guest contributors occasionally bolstered Stackridge's recordings and select live outings without joining as full members. Keyboardist , formerly of , appeared on the 1975–1976 album Mr. Mick, supplying and layers that enriched the conceptual tracks during promotional tours; his involvement was limited to studio support rather than extended touring. Similarly, , known from Ashton, Gardner & Dyke, produced in 1975 and contributed parts to standout tracks like "The Last Plasterer," adding a soulful edge to live renditions of the material on Rocket Records showcases. In the revival era starting in the late 1990s, Stackridge incorporated additional musicians for tours to expand their sound. Violinist Clare Lindley joined in 2010 and performed through the band's 2015 farewell, providing melodic strings and backing vocals on albums like A Delightful Dalliance and during the extensive "Final Bow" tour across the ; her folk-infused style complemented the group's pastoral elements in appearances and theater shows.

Lineups

Stackridge underwent numerous lineup changes during its existence, often driven by creative differences and management issues, with Andy Davis and James Warren serving as key constants in multiple eras. The band's configurations ranged from a stable in its formative years to more augmented ensembles during reunions, as detailed in the following table. These lineups are associated with specific recordings and live activities, reflecting the group's evolution from to later live-oriented performances.
PeriodLineupRolesAssociated Albums/Tours
1969–1974Andy Davis, James Warren, Mutter Slater, Crun Walter, Billy Bent (aka Billy Sparkle), Mike EvansDavis: guitar, keyboards, vocals; Warren: guitar, vocals; Slater: flute, keyboards, vocals; Walter: bass; Bent: drums; Evans: violin, vocalsStackridge (1971), Friendliness (1972), The Man in the Bowler Hat (1974); UK and Ireland tours, Glastonbury Festival (1970)
1974–1975Andy Davis, Mutter Slater, Paul Karas, Roy Morgan, Keith Gemmell, Rod BowkettDavis: guitar, keyboards, vocals; Slater: flute, keyboards, vocals; Karas: bass, vocals; Morgan: drums; Gemmell: saxophone, flute, clarinet; Bowkett: keyboardsExtravaganza (1975); Transition from MCA to Rocket Records; European tours
1975–1976Andy Davis, Mutter Slater, Dave Lawson, Peter Van Hooke, Keith Gemmell, Crun WalterDavis: guitar, keyboards, vocals; Slater: flute, keyboards, vocals; Lawson: keyboards, vocals; Van Hooke: drums; Gemmell: saxophone, flute, clarinet; Walter: bassMr. Mick (1976); Tours supporting Elton John and Jethro Tull
1999–2006 (partial)James Warren, Crun Walter, Mike Evans, Richard Stubbings, John Miller, Tim RobinsonWarren: guitar, vocals; Walter: bass; Evans: violin, vocals; Stubbings: guitar, flute, accordion; Miller: bass; Robinson: drumsSomething for the Weekend (1999); Sporadic live appearances
2007–2015Original quartet (Andy Davis, James Warren, Mutter Slater, Crun Walter) plus Clare Lindley and others (e.g., Glenn Tommey: keyboards; Andy Marsden: guitar; Rachel Hall: violin/cello 2007–2010, replaced by Lindley 2010)Davis: guitar, keyboards, vocals; Warren: guitar, vocals; Slater: flute, vocals (until 2010); Walter: bass (until 2012); Lindley: violin, vocals; others for live supportA Victory for Common Sense (2009); UK tours, Glastonbury (2009), Cropredy Festival; final shows in 2015

Timeline

YearEventActive MembersAssociated Releases
1969Formation of the band originally as Stackridge Lemon in Bristol, England.Andy Davis (guitar, keyboards, vocals), James "Crun" Walter (bass), Billy Bent (drums), and others including James Warren (guitar, bass, vocals) and Mutter Slater who joined soon after; Mike Evans joined 1970.None (pre-debut).
1974Drummer Billy Bent leaves the band following The Man in the Bowler Hat.Andy Davis, James Warren (until mid-1974), Mutter Slater, Mike Evans (until 1974), Jim "Crun" Walter (intermittent).The Man in the Bowler Hat released, produced by George Martin.
1974Paul Karas (bass, vocals), Roy Morgan (drums), Keith Gemmell (saxophone, flute, clarinet), and Rod Bowkett (keyboards) join following changes.Andy Davis, Mutter Slater, Paul Karas, Roy Morgan, Keith Gemmell, Rod Bowkett.Extravaganza recorded and released in 1975.
1976The band disbands after internal tensions and final performances.Varied lineup including Dave Lawson (keyboards) and Peter Van Hooke (drums) in later stages, with Crun Walter returning.Mr. Mick released as the final studio album of the classic period.
1999Partial reunion with some original members.James Warren, Jim "Crun" Walter, Mike Evans, and new members Richard Stubbings (guitar), John Miller (bass), Tim Robinson (drums).Something for the Weekend released.
2007Full original lineup reforms for touring and recording.Andy Davis, James Warren, Mike "Mutter" Slater, Jim "Crun" Walter, with support musicians.Preparation for re-releases and live performances; A Victory for Common Sense in 2009.
2015The band announces retirement after a farewell concert and tour.Core members including Andy Davis and James Warren, with Clare Lindley.The Final Bow live recording released from 2015 performances.

Discography

Studio albums

Stackridge's studio discography spans their original output and later reunion efforts, showcasing a blend of , folk, and pop elements across multiple labels. The band's debut marked the start of a prolific period with , transitioning to Elton John's Rocket Records for their final pre-hiatus releases. Revival albums in the late and reflected a matured sound while retaining core whimsical songwriting. The eponymous debut album, Stackridge, was released in August 1971 on (catalog MDKS 8002 in the UK). Self-produced with engineering by , it featured quirky tracks such as "Slark" and "Dora the Female Explorer," establishing the band's eccentric style. Friendliness, their second album, followed in November 1972 on MCA (MKPS 2025). Produced by the band with assistance from , it highlighted songs like "Syracuse the Elephant" and explored more orchestral arrangements. The third release, The Man in the Bowler Hat (also known as Pinafore Days in the edition), appeared in 1974 on MCA (MCG 3501). Notably produced by , who contributed orchestration and piano on select tracks, it included highlights such as "Pinafore Days," "The Last Plimsoll," and "God Speed the Plough," blending folk influences with sophisticated production. The version on altered the tracklist, omitting some songs and adding previews from the next album. Extravaganza came out in January 1975 on Records (PIGL 11), marking the band's first release on the label founded by . Produced by the band with , it featured progressive tracks like "Highbury Incident (Rainy July Morning)" and emphasized theatrical elements in their compositions. The final original-era album, Mr. Mick, was issued in March 1976 on (ROLL 3). Self-produced, it showcased songs including "Fish in a Glass" and "Hey! Good Looking," wrapping up the band's initial run with a mix of rock and balladry. Following a hiatus, the band reformed and released Something for the Weekend in May 1999 on DAP Records (DAP101CD). Produced by the reunited core members, it included nostalgic tracks like "Something About ." Later reunion efforts included the limited-edition mini- Lemon in December 2002 (no label, fans-only release), featuring tracks such as "Big Baby" and "The First Name of Love." followed in July 2009 on Heliotrope (HeCD005), a with expansive tracks such as "Purple Spaceships over Yatton." These releases maintained Stackridge's playful ethos while incorporating contemporary production.
AlbumRelease DateLabelProducerKey Tracks
StackridgeAugust 1971MCABand/"Slark", "Dora the Female Explorer"
FriendlinessNovember 1972MCABand/"Syracuse the Elephant"
The Man in the Bowler HatFebruary 1974MCA"Pinafore Days", "The Last Plimsoll"
ExtravaganzaJanuary 1975Band/"Highbury Incident (Rainy July Morning)"
Mr. Mick 1976Band"Fish in a Glass"
Something for the WeekendMay 1999DAPBand"Something About "
LemonDecember 2002No labelBand"Big Baby"
A Victory for Common Sense 2009HeliotropeBand"Purple Spaceships over Yatton"

Singles

Stackridge issued a modest number of singles during their initial active period in the 1970s, primarily through , with later releases on other labels during their 1976–1977 stint with Elton John's Rocket Records and sporadic promotional efforts in the band's 1999–2015 reunion era. None of these singles entered the Top 40, though several received radio airplay and supported album promotions, reflecting the band's in progressive and folk-rock circles rather than mainstream pop success. The band's singles often featured whimsical, narrative-driven tracks with eclectic instrumentation, mirroring their album style, and were typically backed by non-album or album-oriented B-sides. Below is a comprehensive list of their official single releases:
YearA-SideB-SideLabelFormatNotes
1971Dora, the Female Explorer24 HoursMCA Records7"Debut single, promoting self-titled album; whimsical explorer-themed track.
1972SlarkTeakwood AirshipMCA Records7"Abbreviated version from Friendliness album; folk-prog epic with airplay on BBC Radio.
1972Anyone for Tennis?Purple Spaceships Over YattonMCA Records7"Humorous vaudeville-style track; B-side later re-recorded for album.
1973Do the StanleyC'est La VieMCA Records7"Non-album dance novelty; promoted live shows.
1973Galloping GauchoThe Road to VenezuelaMCA Records7"Satirical glam-rock parody from The Man in the Bowler Hat; George Martin-produced album tie-in.
1974Dangerous BaconThe Last PlimsollMCA Records7"Quirky food-themed single from Extravaganza; limited commercial push.
1974The Last PlimsollThe Last Plimsoll (mono/stereo)Sire Records7"Maritime narrative track from The Man in the Bowler Hat; US promo single.
1975Spin 'Round the RoomPocket BilliardsThe Rocket Record Company7"Transitional single post-MCA; Elton John association.
1976Hold Me TightBreakfast with Werner von BraunThe Rocket Record Company7"Cover of Beatles track backed by original sci-fi themed song from Mr. Mick.
1998More... Something for the Weekend(None listed)Not On LabelCDrPromotional single for reunion album; limited distribution.
2009North St. Grande ("Dancing Together By Christmas Time")Seek And You Will FindHelium RecordsCDHoliday-themed single from A Victory for Common Sense album; revival-era release.
Early singles like "Dora, the Female Explorer" and "Slark" established Stackridge's reputation for quirky, storybook-like compositions, garnering niche radio play but failing to break commercially amid the dominant glam and scenes. By 1973–1974, releases such as "Galloping Gaucho" and "Dangerous Bacon" leaned into satirical elements, tying directly to George Martin-produced albums and live tours, yet still eluded chart traction. The 1975–1976 Rocket singles marked a brief shift toward more accessible pop covers and originals, benefiting from Elton John's promotional network but yielding no hits before the band's initial disbandment. In the reunion years starting in 1999, singles were rare and promotional in nature, with the 2009 "North St. Grande" serving as a festive to their final studio , emphasizing the band's enduring whimsical style for a dedicated fanbase rather than broad market appeal.

Live recordings and compilations

Stackridge's live recordings primarily capture the band's energetic performances from radio sessions and reunion concerts, offering fans insight into their evolving sound beyond studio productions. The earliest official live release, BBC Radio 1 Live in Concert, was issued in July 1992 by Windsong Records (WINCD 019), compiling a 1972 performance recorded at the Paris Theatre in . This features 13 tracks, including staples like "God Speed The Plough," "," and "Syracuse The Elephant," showcasing the original lineup's whimsical prog-folk style during their early career peak. In 1997, Strange Fruit Records released The Radio 1 Sessions (SFRSCD 040), a collection of six tracks from four sessions spanning 1972 to 1975, such as "Slark," "The Road To ," and "The Galloping Gaucho." These recordings highlight Stackridge's tight instrumentation and humorous lyrics in a raw, audience-free format, making them a valuable archival piece for enthusiasts tracing the band's radio . The 2007 double album The Forbidden City (Angel Air), recorded live at the Rondo in Bath, , in April 2007, reunites core members for a career-spanning set including "Lummy Days" and "The Last Plimsoll." This release was reissued in 2024 as a 2CD/DVD by Esoteric Recordings (ECLEC32869), adding multi-region video footage and new , enhancing its appeal to collectors with visual context of the reunion era's nostalgic energy. Later live efforts include The Final Bow, Bristol 2015 (2017, Krown Electric Records), documenting the band's farewell concert at Bristol's Anson Rooms, with tracks like "Teatime" and "Amazingly Agnes" reflecting their enduring charm. This album was remastered and incorporated into the 2021 '50': Recordings 1971-2021 by Angel Air (SJPCD645), a three-disc compilation featuring two CDs of career-spanning studio selections plus a full live disc from that 2015 show, including an unreleased intro track The set celebrates the band's 50th anniversary with remastered audio, underscoring its importance for fans seeking a comprehensive . Compilation albums provide curated overviews of Stackridge's catalog, often bridging their output with later material. Do The Stanley, released in December 1976 by (MCF 2747), draws from the first three studio albums plus singles and an unreleased track, featuring hits like "" and "The Road To " to consolidate their early MCA era amid the band's initial disbandment. In 2005, Angel Air issued Sex and Flags (SJPCD205), a single-disc compilation blending tracks from reunion albums Something for the Weekend (1999), A Sideman's Journey (2004), and Lemon Pie (2002), including "It's A Fascinating World" and "The Final Bow," which helped reintroduce to newer audiences during their reformation. The 2006 best-of Purple Spaceships Over Yatton (Angel Air SJPCD228) compiles 15 key tracks from 1971 to 2007, such as "Dangerous Bacon" and a newly recorded version of the title song, serving as an accessible entry point with bonus historical notes. The 2024 Lost and Found: The Reunion Years 1999-2015 four-CD box set by Esoteric Recordings further expands on live and compilation elements, remastering reunion studio albums Something for the Weekend (1999), the Lemon mini-album (2002), and A Victory for Common Sense (2009) alongside bonus tracks and the full The Final Bow concert, plus rarities from the period. This release, alongside Esoteric's 2023 remastered editions of the 1970s studio albums (each expanded to two CDs with bonus material), addresses long-standing demand for high-quality archival audio, with the live inclusions prized by fans for capturing Stackridge's joyful, improvisational live dynamic. These compilations and reissues, often limited in initial pressing, remain sought after in prog rock circles for preserving the band's quirky legacy.

Video and box set releases

Stackridge's official video releases center on live performance documentation, with the band's 2007 reunion concert serving as the cornerstone. The Forbidden City, a DVD capturing the group at the Rondo Theatre in Bath on 1 April 2007, features original members Andy Davis, James Warren, Mutter Slater, and Crun Walters alongside later additions, performing a setlist spanning their catalog including tracks like "Slark" and "The Last Ploughman." Originally released in 2007 by MSI Entertainment as a standalone DVD, it provides high-quality visual footage of the band's whimsical stage presence and intricate arrangements. In April 2024, Esoteric Recordings reissued in a deluxe clamshell format, pairing the concert video with a two-CD audio edition of the performance, enhanced by new from band members. This multi-format release, limited to a pressing of 1,000 copies, restores the out-of-print material and emphasizes the visual elements of the show, such as the ensemble's theatrical elements. The audio tracks from this DVD have been integrated into broader live compilations, offering synchronized viewing options for fans. Beyond standalone videos, Stackridge's releases in the have bundled archival material, though primarily audio-focused with supplementary visuals. The Stackridge 50: Recordings 1971-2021, issued by Angel Air to mark the band's half-century milestone, comprises three CDs with 51 tracks spanning their career, a 12-page booklet of rare photos, and the unreleased instrumental "" from early sessions. Limited to 500 numbered copies, it highlights the band's evolution without video components. Esoteric Recordings continued this archival effort in September 2024 with Lost and Found: The Reunion Years 1999-2015, a four-CD remastered clamshell box set compiling the band's post-reformation albums Something for the Weekend (1999), Lemon (2002 mini-album), A Victory for Common Sense (2009), and the live album The Final Bow: Bristol 2015 (2017). Also limited to 1,000 copies, it includes bonus tracks and extensive liner notes but no dedicated video, focusing instead on audio preservation of their later progressive folk output. Official promotional videos remain scarce, with early 1970s appearances—such as a 1973 broadcast and a 1975 performance—preserved in archival footage rather than commercial releases. These clips, featuring songs like "No One's More Important Than the Earthworm," offer glimpses of the band's vaudevillian style but are not bundled in official video products. Post-2020, limited editions from Esoteric and Angel Air have sold out quickly through specialist retailers, while select excerpts from The Forbidden City have appeared on official channels for streaming access.

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