Stray -

Stray was an English hard-rock band that released five albums between 1970 and 1974 on Transatlantic Records, followed by three 1975–76 albums on Pye. They were mainstays of the festival circuit with slots at the 1971–72 Reading Rock events.

Members: Steve Gadd (harmonica, guitar, vocals, percussion, 1966-74), Del Bromham (lead guitar, vocals, Mellotron, organ, harpsichord), Gary G. Giles (bass), Steve Crutchley (drums, 1966), Ritchie Cole (drums, percussion, 1966-77), Pete Dyer (guitar, vocals, 1974-77)

Formation

Stray was formed in 1966 by four teenage classmates at the Christopher Wren School in London: singer Steve Gadd, guitarist Del Bromham, bassist Gary Giles, and drummer Steve Crutchley, all age 14 at the time of inception. In 1968, the jazz-interested Crutchley cleared way for drummer Ritchie Cole.

During 1969, Stray gigged regularly at the Goldhawk Club in Shepherds Bush and the Middle Earth in Covent Garden. After a high-profile opening slot for the Groundhogs at the Southall Farx Club, Stray signed to Transatlantic Records in January 1970.

Stray

Stray released their self-titled debut album in June 1970 on Transatlantic Records.

The album introduces the Steve Gadd–Del Bromham–Gary Giles–Ritchie Cole lineup through extended electric arrangements and shorter vocal tracks.

“All in Your Mind” coils through a slow setup, then bolts into a chugging riff and unison-vocal refrain. “Taken All the Good Things” struts on a fuzzed guitar figure and slanted accents. “Around the World in Eighty Days” glides through a Spanish-tinged figure and a softer dream section. “Time Machine” churns through handclapped verses, chopped wah-wah figures, and a hard final descent.

“Only What You Make It” jolts from the first break and holds a blunt attack. “Yesterday’s Promises” drifts through a sultry pulse and softer dynamics. “Move On” stammers through clipped accents and a kinetic solo break. “In Reverse / Some Say” clenches the side with a tightly executed fuzz jam.

A1. “All In Your Mind” (9:15) – Bromham
A2. “Taken All the Good Things” (5:30) – Bromham
A3. “Around the World In Eighty Days” (3:35) – Bromham
A4. “Time Machine” (4:30) – Bromham

B1. “Only What You Make It” (3:59) – Bromham
B2. “Yesterday’s Promises” (4:15) – Gadd
B3. “Move On” (5:40) – Gadd, Bromham, Cole, Giles
B4. “In Reverse / Some Say” (8:55) – Gadd, Bromham, Cole, Giles

Sessions occurred in 1970 at Sound Techniques Studio in Chelsea, London, with producer Hugh Murphy and engineer Jerry Boys, who handled Stray amid work on albums by Fotheringay, Focus, and Steeleye Span.

Stray appeared in a die-cut gatefold sleeve designed by Hamish Grimes. Andrew Willis supplied the photography, and Gustav Karl Lorenz Schneeweiss-Moody handled the typography.

Transatlantic issued “Only What You Make It” as a May 1970 UK promo single (b/w “Time Machine”). In Italy, the label lifted “All In Your Mind” as a June 1971 single (b/w “Only What You Make It”).

Suicide

Stray released their second album, Suicide, on March 4, 1971, on Transatlantic Records.

Suicide retains the core four with added use of keyboards, fuzz bass, bells, and hand percussion.

“Son of the Father” unfolds from a martial hush, then erupts through a Mellotron-laced verse and hard riff changes. “Nature’s Way” grinds through compact fuzz figures and a busy middle break. “Where Do Our Children Belong” lingers on acoustic strums, close harmonies, and a late swell. “Jericho” careens through urgent vocal lines, shifting riff sequences, a dark dirge middle, and a descending climax.

“Run Mister Run” stomps on a cowbell-marked bass figure and chorus punches. “Dearest Eloise” softens into string-laden sentiment and harpsichord tint. “Do You Miss Me?” staggers its title chant, drops into heavier downer figures, then accelerates into a fast jam. “Suicide” plunges through foreboding fuzz chords, a dark bass progression, and a brief breakneck section.

A1. “Son of the Father” (5:45) – Bromham
A2. “Nature’s Way” (3:26) – Bromham
A3. “Where Do Our Children Belong” (3:35) – Bromham
A4. “Jericho” (4:51) – Bromham

B1. “Run Mister Run” (3:52) – Bromham
B2. “Dearest Eloise” (2:26) – Gadd
B3. “Do You Miss Me?” (6:25) – Bromham
B4. “Suicide” (7:34) – Bromham

Sessions occurred at Olympic Studios in London with Murphy and Boys, the sound team from Stray.

Suicide appeared in a Grahame Berney and Keith Davis sleeve with photography by Keith Morris. Berney and Davis also worked on early-seventies sleeves for Mainhorse, Keith Christmas, Gypsy, and the 1971 Velvet Underground compilation Andy Warhol’s Velvet Underground Featuring Nico.

Saturday Morning Pictures

Stray released their third album, Saturday Morning Pictures, in November 1971 on Transatlantic Records.

Saturday Morning Pictures keeps the original lineup for the third album. Harmonica player Andy Bearne, Stackridge violinist Mike Evans, and executive engineer Keith Bleasby extend the session personnel. Barry St. John, Kay Garner, Liza Strike, and P.P. Arnold form the backing-vocal group.

“Our Song” unfolds from acoustic-led verses into blocky power chords, backing-vocal replies, and a broad chorus. “After the Storm” sways through rain-soaked effects, then struts on a heavy shuffle and wah-wah guitar pressure. “Sister Mary” careens through quick acoustic strums and stacked harmonies. “Move That Wigwam” jolts through doubled-vocal lines and brisk section turns.

“Leave It Out” mixes a country-tinged fiddle line with slide accents and a firm refrain. “How Could I Forget You?” alternates fuzzed leads with quieter vocal passages and blues-country inflection. “Queen of the Sea” crests through lead passages and a closing refrain.

A1. “Our Song” (5:58) – Bromham, Giles, Cole, Gadd
A2. “After the Storm” (6:42) – Bromham
A3. “Sister Mary” (4:15) – Bromham
A4. “Move That Wigwam” (5:18) – Bromham

B1. “Leave It Out” (4:30) – Bromham, Gadd
B2. “How Could I Forget You?” (6:45) – Bromham
B3. “Mr. Hobo” (2:37) – Gadd
B4. “Queen of the Sea” (6:00) – Bromham

Sessions occurred in September and October 1971 at De Lane Lea Studios in Kingsway, London, with producers Stray and Martin Birch. Birch engineered the album, Keith Bleasby served as executive engineer, and Chris “Mouth” Burrows worked as tape operator. Birch handled Saturday Morning Pictures between De Lane Lea projects by Deep Purple and Fleetwood Mac.

Saturday Morning Pictures appeared in a gatefold sleeve conceived and designed by Hipgnosis. The firm also supplied contemporary sleeves for Pink Floyd, T. Rex, and the Pretty Things.

Mudanzas

Stray released their fourth album, Mudanzas, in June 1973 on Transatlantic Records.

Mudanzas places Stray inside a larger arrangement frame. Andrew Powell adds brass and strings around the group.

“Changes” glimmers through acoustic figures and string swells. “Come On Over” crashes through thick chords and orchestral overlays. “Alright Ma!” snaps from hard opening figures into a smoother chorus and echoed guitar break. “Oil Fumes and Sea Air” settles into close vocal lines and a lighter refrain. “Gambler” skips through brass jabs, harmonica figures, and an upbeat saxophone break. “Hallelujah” stomps through a straight chug and blunt refrain.

“I Believe It” lingers on an elegiac verse, string pressure, and a long lead solo. “Pretty Things” surges through urgent verses, clipped brass, and a big chorus. “Soon as You’ve Grown” softens into rounded vocal lines and oboe-like color. “Leave It Down to Us” skips through quick vocal phrases and an upbeat refrain.

A1. “Changes” (1:04) – Gadd
A2. “Come On Over” (4:08) – Bromham, Gadd
A3. “Alright Ma!” (3:08) – Bromham, Gadd
A4. “Oil Fumes and Sea Air” (4:56) – Bromham
A5. “Gambler” (3:34) – Gadd
A6. “Hallelujah” (3:27) – Bromham

B1. “I Believe It” (6:45) – Bromham
B2. “Pretty Things” (5:40) – Bromham, Gadd, Cole, Giles
B3. “Soon As You’ve Grown” (2:41) – Bromham
B4. “Leave It Down to Us” (5:05) – Bromham
B5. “Brand New Day” (3:11) – Bromham

Sessions occurred in January and February 1973 at Olympic Studios in London with producer Wilf Pine and engineer Alan O’Duffy. Pine took over Stray’s production on Mudanzas and continued for their next four albums.

Mudanzas appeared in a gatefold sleeve with center-spread photography by Eddie Reed. Tony McPhee wrote the sleeve notes.

Transatlantic issued “Hallelujah” as a 1973 single (b/w “Brand New Day”).

Move It

Stray released their fifth album, Move It, in May 1974 on Transatlantic Records.

Move It returns Stray to a smaller studio frame after the orchestral expansion on Mudanzas. Guest brass, backing vocals, and strings appear on selected tracks.

“Tap” opens as a drum solo feature. “Move It” pounds the Cliff Richard source into a thicker chord cycle and extended lead break. “Hey Domino” jabs with brass accents and a brisk refrain. “Customs Man” leans on comic vocal phrasing and a lighter verse.

“Mystic Lady” brightens through jangly lines and close harmonies. “Somebody Called You” circles a mid-paced guitar figure and occasional string color. “Right from the Start” softens through added strings and a slower vocal pull. “Our Plea” closes on a social-comment lyric and restrained cadence.

A1. “Tap” (1:20) – Cole
A2. “Move It” (6:27) – Samwell
A3. “Hey Domino” (4:50) – Bromham
A4. “Customs Man” (3:35) – Helms
A5. “Mystic Lady” (3:58) – Gadd
A6. “Somebody Called You” (4:06) – Bromham

B1. “Give It Up” (5:09) – Bromham, Gadd
B2. “Like a Dream” (3:39) – Bromham, Gadd
B3. “Don’t Look Back” (4:18) – Bromham, Gadd
B4. “Right From the Start” (5:07) – Bromham, Gadd
B5. “Our Plea” (3:21) – Gadd

Sessions occurred in 1974 at Syncron Sound Studios in Wallingford, Connecticut, with producer Wilf Pine. Stray recorded the album during a three-week American studio booking after Mudanzas.

Move It appeared in a die-cut sleeve with art direction and design by Fabio Nicoli Associates. Gered Mankowitz supplied the photography and shared the art-direction credit. Mankowitz, a London rock photographer, also worked on contemporary sleeves and portrait sessions for Slade and Suzi Quatro.

Transatlantic issued “Move It” as a 1973 single (b/w “Crazy People”).

Stand Up and Be Counted

Stray released their sixth album, Stand Up and Be Counted, in July 1975 on Dawn.

Stand Up and Be Counted introduces Pete Dyer as Steve Gadd’s replacement. Dyer joins Del Bromham at the front line, while Gary Giles and Ritchie Cole retain the rhythm-section link to the original lineup.

“Stand Up and Be Counted” rallies through a filled-out two-guitar arrangement and firm chorus. “For the People” surges through harder riff work and a long central guitar solo. “Precious Love” grinds through a compact hard-edged run with slide figures in front.

“Smile” brightens through two-voice harmony and a brisk chorus. “Woolie” clips the side with short slide-guitar phrases. “Everyday” twists wah-wah lines through the verse pattern. “The End” closes with fuzzed wah-wah pressure and a drawn-out coda.

A1. “Stand Up and Be Counted” (4:17) – Bromham
A2. “For the People” (5:28) – Bromham, Giles, Cole, Dyer
A3. “As Long As You Feel Good” (3:49) – Bromham
A4. “Waiting for the Big Break” (4:12) – Bromham
A5. “Precious Love” (3:37) – Bromham

B1. “Smile” (5:09) – Bromham
B2. “Maybe You Do” (4:00) – Bromham
B3. “Down, Down, Down” (4:32) – Bromham
B4. “Woolie” (2:46) – Bromham
B5. “Everyday of My Life” (3:09) – Bromham
B6. “The End” (5:18) – Bromham

Wilf Pine produced Stand Up and Be Counted. Richard Manwaring appears as engineer and coordinator. Pine completed his third consecutive Stray studio album after Mudanzas and Move It.

Stand Up and Be Counted appeared in a Martin Cropper sleeve with illustration by Alun Hood and lettering by Sue Evans. Cropper continued with Stray on the Pye-period sleeves for Houdini and Hearts of Fire.

Dawn issued “Precious Love” as a January 31, 1975 single (b/w “Recover”). Dawn issued “Smile” as an August 1, 1975 single (b/w “Stand Up and Be Counted”).

Houdini

Stray released their eighth album, Houdini, in March 1976 on Pye.

Houdini continues the Bromham–Dyer–Giles–Cole lineup from Stand Up and Be Counted. Keyboards enter selected arrangements.

“Feel Like I’ve Been Here Before” surges through echoed vocals, hard chord pressure, and repeated lead breaks. “Houdini” punches through riff-heavy verses, wah-wah streaks, and a driving beat. “Wait Another Day” gleams with reverb-laced lines, close harmonies, and a muted-trumpet turn. “Fire and Glass” coils through a building beat and fuzzed wah-wah figures.

“Take It Easy” kicks through a compact guitar riff and bright vocal lift. “Didn’t We Love” softens through acoustic-driven passages and keyboard figures. “Gonna Have a Party” pivots around slide figures and a blunt party refrain. “Percy the Pimp” closes on a mid-track solo break and extended instrumental coda.

A1. “Feel Like I’ve Been Here Before” (4:18) – Bromham
A2. “Houdini” (3:29) – Bromham
A3. “Wait Another Day” (5:01) – Bromham, Dyer
A4. “Fire and Glass” (4:14) – Bromham, Dyer
A5. “Everybody’s Song” (3:11) – Bromham

B1. “Take It Easy” (3:41) – Bromham
B2. “Give a Little Bit” (3:10) – Bromham
B3. “Didn’t We Love” (3:44) – Bromham
B4. “Gonna Have a Party” (4:12) – Bromham
B5. “Percy the Pimp” (4:55) – Bromham

Sessions occurred in November and December 1975 at Pye Studios in London with Wilf Pine and engineer Terry Evennett. Pine worked in sequence on Stray albums from Mudanzas through Houdini. Evennett handled the album during a Pye Studios run that also included Paul Brett’s Sage and Johnny Wakelin projects.

Houdini appeared in a Martin Cropper sleeve with photography by Jerry Mason. Cropper worked through Design Machine on the contemporary Pye sleeves for Prelude Back Into the Light and the Stan Butcher project Birds and Brass. Mason, a photographer and photo-book editor, also appears on 1976 Pye sleeve credits for Birds and Brass and The Best of James Last.

Pye issued “Take It Easy” as a February 6, 1976 single (b/w “Fire and Glass”).

Hearts of Fire

Stray released their seventh album, Hearts of Fire, in December 1976 on Pye.

Hearts of Fire keeps the Pye-era quartet. Dyer takes three lead-vocal spots, and the album retains the direct band format from Houdini.

“Buying Time” climbs through a building beat and ends on a wah-wah-laden solo. “Knocking at Your Door” eases into gentler vocal phrasing and restrained lead lines. “Mister Wind” charges up a climbing beat and thick chord pressure.

“Live Wire” anchors a heavy guitar figure against close harmonies and marked time changes. “Take a Life” drives on paired-lead lines and hard riff movement. “Lonely Road” eases through gentler verses before a late lead break. “Lady” lingers on restrained vocal phrases and a low-pressure cadence. “One Night in Texas” starts from a lone bass figure, locks the band into place, and exits through a hard coda.

A1. “Buying Time” (4:29) – Bromham
A2. “Knocking at Your Door” (3:32) – Bromham
A3. “You Went Away” (3:40) – Bromham
A4. “I Wanna Be Free” (4:57) – Bromham
A5. “Mister Wind” (5:20) – Bromham

B1. “Live Wire” (4:35) – Bromham
B2. “Take a Life” (3:15) – Bromham, Giles, Cole
B3. “Lonely Road” (3:41) – Bromham
B4. “Lady” (3:32) – Bromham
B5. “One Night in Texas” (6:13) – Bromham
B6. “Johnny” (2:37) – Bromham

Sessions occurred at Pye Studios in London with producer Neil Slaven and engineers Ross Cullum, Steve Nye, Steve Prestage, and Terry Evennett. Slaven worked on earlier Decca/Deram albums by Egg, Khan, Keef Hartley Band, Chicken Shack, Pink Fairies, and Savoy Brown.

Hearts of Fire appeared in a Martin Cropper sleeve with art by Tim White, who later proliferated as a science-fiction and fantasy illustrator with books covers for Isaac Asimov, Arthur C. Clarke, and Robert A. Heinlein.

Pye issued “You Went Away” as a November 5, 1976 single (b/w “Take a Life”).

Discography: