On a humor level, it quickly overstayed its welcome, I agree. And it ridiculed a great song with a somber-melancholic vibe. BÖC took it in good humor though and didn't become a whining Winger complaining that Beavis & Butthead ruined their career.
Doomie, Captin Beyond always had an appetite for self-destruction AND percussion, my guess is that their initial drummer and co-mastermind Bobby Caldwell liked added percussion, but as he had to concentrate on real drums live, someone else had to do it (though the Englishman wasn't especially adept at it). By their second album, they had Guille Garcia (from an Englishman to a Cuban, definitely a rhythmic improvement) on congas/timbales/percussion (who would go on to play with Chicago)
PLUS Marty Rodriguez on drums & backing vocals (Caldwell having joined Derringer though he would return for later Captain Beyond line-ups). Captain Beyond's excellent second album Sufficiently Breathless had enough percussion on it/was rhythm-drenched enough to put any Santana record to shame:
Underrated band. I like Evans' work with them better than what he did with DP Mk I. But a genre label like Capricorn was definitely the wrong record company for them, anybody expecting something akin to Southern Rock from this Iron Butterfly/Johnny Winter/Deep Purple spin-off, could only be confused. Thanks to Rod Evans' voice they didn't even sound American, much less Southern.
Those two Captain Beyond albums with Evans rate among the strongest and most interesting material recorded by any ex-DP while on leave from the mothership.
