The utter failure of Gary Wright's solo career precipitated the formation of Spooky Tooth Mk. 2, which, as it turned out, people cared for even less than Spooky Tooth Mk. 1, if you go by sheer record sales (or lack thereof). This version of the group released three albums in the space of a year, with three moderately different lineups, and then exited with a whimper. And yet, I find that these three albums are among the most intriguing the group released, and in some cases, more so than anything the classic lineup put out. First, matching Wright and Harrison together in the same band never failed to bring Wright's material some much needed life which Gary couldn't provide on his own. Second, and maybe more important, there was a method to the Spooky Tooth chaotic madness - was it that same predilection for adventure, non-commercialism, and overall craziness, that provided an extra edge to their music? Whatever the case, for this album, the lineup was essentially Wright, a couple of his cronies from "Wonderwheel" (Bryson Graham and future Foreigner leader Mick Jones - who assisted Wright immensely during his two solo albums), Chris Stewart, and of course, good ol' Mike Harrison. A major chunk of the original lineup would never return to the fold - Ridley was far gone in Humble Pie's mess (where they actually had money to squander), Grosvenor would hit the big time with Mott the Hoople - and even normal stalwart Mike Kellie would wait an album before returning to his customary seat behind the drum kit. So, Spooky Tooth Mk. 2, Version 1 started off things appropriately enough, by giving their new album a title which would scare any normal warm-blooded woman into buying an Alice Cooper album, even though the boys in the band must have thought it was funny, or something. Or maybe they had nothing to do with it, and it was the record company's idea. The aural contents within are another story, though. They basically take Wright's material from his two solo albums and put a ton more oomph behind it. Like, a big thick rhythm section, and Jones throwing in a bunch of powerful licks when he needs to, although, he is nowhere near as subtle and gifted as Grosvenor was. But who cares - the main thing is that they give Gary's material more angry power. And, well…he also has Mike Harrison to bounce his anger and spirituality off of, which is always a good thing. They sound like twin hurricanes on the dripping-with-sarcasm opener "Cotton Growing Man", which has really banal lyrics, but with Gary and Mike wailing combined with the power of the musicians, it's a tour de force and then some. But this combination works even better on the slower, ballad excursions. "Old As I Was Born" is a great song! The sentiment of the song is utterly depressing - to equate birth with death might be the ultimate conundrum, and this is coming from Gary Wright's brain? Somewhat astounding. And to somehow fit it in a dramatic musical framework containing these gorgeous harmonies and buildups and whatnot, might be even more so. Furthermore, the feat is duplicated, on "Self-Seeking Man", except this time Gary is smart enough to take a back seat and let Harrison be the star of this show, because he is definitely more suited to stand out on lines like "I tried so win/sometimes I'd gamble my own life/and anyone who'd cross my path/would never cross it twice". At times, they go overboard with this stuff - the piano-only accompaniments "Holy Water" and "Times Have Changed" are either too sentimental or too mushy to take at face value. Or, "Moriah", which is highly reminiscent of "Lost in a Dream" from the Spooky Two album, but with a vaguely positive tone and all these cheesy wind sound effects at the end of it. Under the circumstances, this is a better record that anyone should have expected, and it certainly reflects the flagging spirits of the times, that is for sure. And the next album would do it even one or two rungs better.