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
