Origin of the Species: There are some who would have you believe that the best thing out of Wales is the M4 motorway. The more musically enlightened though may consider BUDGIE the best thing since powdered milk; a uniquely sounding trio with a penchant for an interesting turn of phrase and arguably the best bird based mascot ever to adorn multiple album covers, they formed initially as SIX TON BUDGIE as far back as 1967 with original members Burke Shelley (b/v), Tony Bourge (g/v) and Ray Phillips (d) all heralding from Tiger Bay in the principalities capital Cardiff.

Although seemingly destined to life alongside the likes of URIAH HEEP and WISHBONE ASH in the second tier of British rock behind the all-conquering ZEPPELIN, SABBATH and PURPLE, they were at their most inspired throughout the 70s and were another band for whom the legendary (and local) Rockfield Studios became a second home. Renewed notoriety came in the following decade as they were named as major influences on none other than IRON MAIDEN as well as a good number of NWOBHM upstarts. Their longevity has been aided further by METALLICA covering a couple of their finest moments on their covers album and introducing the pleasures of BUDGIE to further generations.

Still touring and releasing albums today, albeit after a 20 year break from 1982 and with only Shelley remaining from the founding three, they remain a band who should appear somewhere in every discerning rock fans collection. Let us explain.....

"BUDGIE", 1971: Like many debut records, "BUDGIE" only hints at what's to come. It does not quite live up to the greatness on the next three records. "Homicidal Suicidal" is probably the epic jam here and what most would cite as "the key track" however "Nude Disintegrating Parachutist Woman" certainly carries out the fine tradition of lengthy epics of this era (see "Uncle Harry's Last Freak Out" on the first PINK FAIRIES lp for clues). The Welsh trio manages to go the same speed as most 1971 heavy rock records did, hit the right notes, and are proficient, but beginners may want to hold out for the 1973/74 releases. Again, "Homicidal Suicidal" is a fine stomper of heavy rock

interstellar overdrive that hits the mark well. But overall, the album is like many debut records: Unfocused.

"Squawk", 1972: In a lot of ways, BUDGIE's second offering is even stronger than the first. While nothing on here quite matches the heaviness of "Nude Disintegrating Parachutist Woman," or "Homicidal Suicidal," tunes like "Drug Store Woman" and "Whiskey River" rock every bit as hard while showing a developing sense of song craft, and a more refined display of musicianship, especially from drummer Ray Phillips. The folky bits with which the band liked to pepper their music feel more like part of a greater whole than before, as well. "Rolling Home Again" fits alongside "Rocking Man" in a much less jarring fashion than "Everything in my Heart" and "Guts" did on the first album. Watch out

for "Hot as a Docker's Armpit": This amazing epic goes in every direction imaginable, and is one of the band's greatest early compositions.

"Never Turn Your Back on a Friend", 1973 - This is the final album with the original line-up of Shelley, Bourge and Phillips, yet what a send-off it is. Surely no one here is going to deny the greatness of opener "Breadfan", sporting one of the most crushing metal riffs ever devised matched with the somber acoustic interlude to which the OPETH guys owe their livelihood. Still, this album has so much more to offer. The blues rock standard "Baby Please Don't Go" may have been done countless times, but not with such an adventurous approach, as Bourge delivers a deep, reverberating rock sound greater than the Grand friggin' Canyon. The rhythm section is not to be outdone, though,

because the maniacal drum intro in "You're the Biggest Thing Since Powdered Milk" and smooth-as-silk bass groove in "In the Grip of a Tyrefitter's Hand" showcase how much talent was in this line-up as a whole. Beyond that, there's a profound sense of sincerity as proven by the two ballads ("You Know I'll Always Love You" and "Riding My Nightmare") and the powerful coming-of-age 10-minute opus "Parents". More than anything, this is an album that has aged extremely well, which is more than can be said for half the stuff shoved down listeners' throats on classic rock radio. Bottom line: "Never Turn Your Back on a Friend" is a mandatory purchase in every sense of the term, and the fact that it's not more widely accepted (or available) in the States isn't just tragic… it's downright criminal.

"In For The Kill", 1974: The title track opens with relentless and reckless abandon. A noisy squeal somewhat reminiscent to CACTUS’s cover of “Long Tall Sally” is the well-tested perennial pounce of pinched guitar harmonics that’s pretty much obligatory for shit hot rock. The following riffs are not unlike BLACK SABBATH’s bongo/conga accompanied “Master Of Reality”-era sludge. Two minutes in, the pace changes to an all-out rock-a-thon that lasts slightly over two minutes. (It’s hard to imagine BUCKCHERRY not having heard this stuff - the vocals are eerily similar.) After a flanged-out guitar break the original riff/progression comes back leading us into the song’s

conclusion. It’s like we get two songs in one. “Crash Couse In Brain Surgery” (later covered by METALLICA) rocks but lacks the energy of the first tune, it's zenith being the guitar / bass gallop toward the end. Things pick up with the anthem power rock jams and minor key signature of “Zoom Club”. With it’s catchy chorus I would envision this as the single if it were not 10 friggin’ minutes long. “Hammer And Tongs” should be renamed “Hammer Of The Gods” because it’s so close to “Dazed and Confused” it appears to be a homage. The bridge at the end it turns into an instrumental “I Can’t Quit You Baby” affair. “Running From My Soul” practically packs the entire history of blues-rock into a laundry bag. The closing “Living On Your Own” has an entire middle section that just kills a la THE WHO’s “Live At Leeds” starting with another flanged guitar break. The vocal melody makes me think of “Midnight At The Oasis” strangely enough (in the best possible way of course). The giant guitar/bass/drums unison riff at the end is nothing short of stunning; "In For the Kill" is BUDGIE in peak form.

"Bandolier", 1975: After four consistently enjoyable, and oftentimes brilliant, records, cracks in the BUDGIE armor finally begin to show on this record. "Bandolier" starts and ends in true BUDGIE fashion. Album opener "Breaking All the House Rules" is a catchy, up-tempo riffer that would find a home in the BUDGIE live set list for years to come. The title "Napoleon Bona- Part One and Part Two," might be silly even for BUDGIE standards, but this epic is the perfect closer, ending the album in grandiose style. New drummer Steve Williams steps in seamlessly, providing a more stable rhythmic foundation for Shelly and Bourge. As strong as these points might be, the middle of the record marks

the beginnings of the band's dalliances into the folk/funk hell that would mar many of their later records. Comparatively limp-wristed tracks like "Slipaway," "Who Do You Want For Your Love," and the cover of Andy Fairweather-Low's "I Ain't No Mountain," give us a blueprint for structurally unstable records to follow.

"If I Were Britannia I'd Waive The Rules", 1976: Six albums in six years is enough to stretch anybodies creative abilities and whilst "If I Were Britannia..." shows some signs of wear and tear on the Welsh three piece it's not without merit even if it does lack some of the bombast of the earlier albums. Opener "Anna Neggen" is a decent slice of STATUS QUO style boogie-rock, "Sky High Percentage" vies with the epic "Black Velvet Stallion" as the albums highlight despite sounding like something of a "Breadfan" retread in places, "Quacktor And Bureaucats" benefits from some understated but superbly dirty guitar licks and the title track demonstrates that the knack for coming up with a catchy lyric

has diminished little. The subdued "You're Opening Doors" fares less well though. It and the grandiose "Heaven Knows Our Name" big factors in ensuring the album falls short of classic status.

"Impeckable", 1978: The lumbering rock/funk hybrid proves an interesting balance for 1978's "Impeckable". “Melt The Ice Away” starts with a guitar/bass unison riff that rips the roof. This is what these guys do best, like the greatest AEROSMITH riff mixed with delayed vocals (recalling JANES ADDICTION a bit). The double bass drums and cowbell that come in from the middle towards the end of this tune really take it to the next level. “Love For You And Me” has that same “Toys In The Attic” vibe to it, not to mention MONTROSE. “All At Sea” shows the band has improved its ballad writing skills quite dramatically. “Dish It Up” funks it up a bit more not entirely unlike FOGHAT or

PAT TRAVERS. The ending is very dramatic - very BUDGIE. “Pyramids” has the dragging bass drum and positive vibe. It’s different from everything thus far, yet the same in so many ways. It’s what makes these records a pleasure to hear. The band can be diverse yet still retain it’s identity. The tune picks up in the middle and keeps on. The energy is there in spades. “Smile Boy Smile” has it. “I’m A Faker” does to. With all the other great rock records of the late ‘70’s, it was an amazing achievement that BUDGIE could still put out something that stood apart on it’s own. “Don’t Dilute The Water” closes “Impeckable” with power, precision and passion - tons to spare.

"Dodge City", 1978 : Contrary to what the name suggests, this is actually two concerts condensed on one release: one in Milwaukee, and one in Los Angeles, both recorded in mid '78. Most of the disc is comprised of the Milwaukee set, and while it's not the worst live recording ever unearthed, don't expect "Live at Budokan". Curiously, Shelley sounds far more Rod Stewart than Geddy Lee for most of these songs. Bourge's guitar, on the other hand, is just as confident as in the studio. The selection of songs may be small, but it does a fair job of representing the straight-forward rock they'd done up to this point, as such BUDGIE favorites as "Breadfan", "Breaking All the House Rules"

and "In for the Kill" are replicated in worthy fashion. The LA mix is slightly more stable, though a lot of the grit has been muffled out. At the very least, Shelley does have a better night vocally on these tracks. The problem, of course, is that the four songs included from the LA concert have already been represented in the Milwaukee set. Now while it may be intriguing to hear these songs performed and recorded in different ways, it would have made for a far more worthwhile release to have instead included… um… more songs, perhaps? As it stands, most BUDGIE discographies don't even recognize this release, which is not a good sign for folks wanting a complete collection. Of course, for the true BUDGIE fanatic, availability and sound quality really shouldn't be an issue.

"If Swallowed Do Not Induce Vomiting" EP, 1980: Tony Bourge's exit makes a dramatic difference; BUDGIE are keeping up with the Joneses at this point. The record comes in a generi-sleeve typical of metal/hard rock records from the time period. Even the title is far from the spaced-out stoner titles they once sported. In contrast to the ponderous, heavy plod-rock made the band so interesting in the mid 70s, the EP is an example of going thru the latest motions. All in all, "If Swallowed..." doesn't provide much that makes it anything but "one for the die-hards". Perhaps there are some people who really really dug that period from 79 - 84 when lots of seventies bands tried to "get with

it"? If such a fan base exists, grab this EP post haste.

"Power Supply", 1980: While 1980s "Power Supply" may not measure up favorably in some eyes to their classic albums of yesteryear, set it against albums others released in this period and its a fine disc. "Forearm Smash" is a scene setting, no-nonsense heavy rocker blessed with some impressive work from incoming guitarist "Big" John Thomas, "Gunslinger" a catchy stomper that builds to epic proportions and "Time To Remember", a supremely classy slower number, the only break from the solid riffing that would have perhaps been hailed "NWOBHM classic" if borne of a new band at that time. By that comment it's clear that it's not entirely original sounding stuff then, BUDGIE by this time

following rather than setting trends. "Crime Against The World" owes much to AC/DC's "Rock 'n Roll Damnation" for instance, but its power chord heaven improved further on later CD reissue's with the addition of the "If Swallowed Do Not Induce Vomiting" EP tracks including the wonderful "Panzer Division Destroyed".

"Nightflight", 1981: After a brief resurgence of energy on "Power Supply," the band returns one final time to beat a dead bird on "Nightflight." The bands desperation is audible. You can hear that everyone in the band knows that "Nightflight" is a last grab for some kind of notoriety after a long career short of superstardom. Seconds into the full-blown power ballad that starts (!) the album, "I Turned to Stone," you know what is in store. At best, a lot of these songs sound like lethargic castoffs from JUDAS PRIEST's "Point of Entry." "Superstar" is probably the lowest moment on here, sounding like a hard rock version of DEVO's "Whip It." Sadly, the great bird leaves us with a whimper,

not a squawk.

"Deliver Us From Evil", 1982: Their last disc until their unlikely strong 2006 revival, “Deliver Us from Evil,” finds a band lost in corporate wasteland, searching desperately for a beacon home. After their strong performance at Reading Festival 1980, BUDGIE was hailed as the godfathers of the NWOBHM. Unfortunately, that still didn’t translate into definable sales. “Deliver Us from Evil,” finds the band making one last stab at commercial acceptance. While songs like “Don’t Cry,” “Truth Drug,” and “Hold on to Love,” each have their moments, there’s really little here to hold the package together. With 1980’s RUSH as a template and a keyboardist thrown into the mix, the album is so overly-produced

that the band is unrecognizable. All the rough edges that made the early albums so essential have been sanded down and smoothed away. Songs like “Bored with Russia,” “Alison” and the atrocious “Young Girl,” find the band aiming for an FM pleasing prog-pop vibe, but ended up sounding like a second-rate, pomp-rock ZON. Perhaps it’s telling that the back cover features the only band photo of Burke Shelley without his trademark coke-bottle glasses; this album misses so wide of the mark you’ve got to wonder what they were actually looking at.

"We Came, We Saw", 1997: After being all but completely ignored through the ‘70’s, BUDGIE found the most unlikely renaissance at the Reading Festival in 1980. With NWOBHM riding high, BUDGIE took to the stage Sunday August 24th, after such NWOBHM bands as TYGERS OF PAN TANG and GIRL and before DEF LEPPARD and headliner WHITESNAKE and the boys simply cleaned house. Suddenly, everything they’d been doing for the last decade made sense and they were propelled to the esteemed status of the Godfathers of NWOBHM. One listen to this 2-disc CD set made up of BUDGIE’s 1980 and later 1982 Reading appearances, and it’s easy to see why. Always a great live band,

the boys tore it up. Great live versions of early classics “Breaking All the House Rules,” and “Breadfan,” sit comfortably with newer material like “Forearm Smash,” and “Panzer Division Destroyed,” For my taste, the vocal is little low in the mix, but that’s a minor complaint. If you ever wanted to hear the concert that made BUDGIE’s reputation, this is it. Just as pleasing is the 1982 Reading appearance on disc two. While any denim wearing BUDGIE fan will tell you that BUDGIE’s last three albums were their weakest, the material still sounds great when the boys play it live. Just listen to the lukewarm reception “Truth Drug,” gets when introduced by Shelley, then the massive ovation after the boys pummel it through the crowd. Other later material like “Superstar,” and “I Turned to Stone,” all sound great when blasted through the Reading speakers. As the first official document of these two crucial shows, this CD shouldn’t be missed.

"Heavier Than Air: Rarest Eggs", 1998:The first of a few archive collections assembled from the exhaustive BBC archives "Heavier Than Air" is a must buy even if the sound quality isn't always one hundred percent. Starting with an "In Concert" four song set from 1972, through a couple of mid-seventies tracks on the legendary John Peel show to a three song '81 Friday Rock Show session disc one it forms three snapshots charting the evolution of the band. "Rape Of The Locks" is just raw power, "Young Is The Word" a song of ZEPPELIN stature, "Sky High Percentage" possibly superior to its vinyl incarnation and the Rock Show threesome comparable to much of what was around at that time.

The final offering of an earlier four song Peel Session tops all however offering with the thunderous "Hot As A Docker's Armpit" and part SABBATH heavy/part WISHBONE ASH intricacy of "Nude Disintegrating Parachutist Woman" as demonstrations of a band on the rise. Disc two has a couple of versions of the mighty "Breadfan" to savour, one forming the finale to an outstanding Los Angeles concert recording notable for a mid-set medley that couples "In For The Kill" with the snappily titled "You're The Best Thing Since Powdered Milk". Essential collector fare or impressive introduction, it works either way.

"The Last Stage", 2004: Good thing for us it wasn't. BUDGIE's 2004 gathering represents one of their toughest discs to tolerate. “Love Is When You Love” is metal-tinged power pop. It’s appeal is apparent, yet it sounds tired. The rest of this record follows that path, unfortunately. “The House Of A Sinner” could be later BAD COMPANY (this is not really a good thing). Instead of blazing rock music with tiny hints of AOR lameness we get the opposite. “Same Old Sad Affair” fares better than most of the 16 tracks here, but it does not touch the quality rock of the '73-'74 era. Same goes for “Hard Luck” (interesting middle section), “Living With Another Man”, “Sweet Fast Talker”, “Nut Brush City Limits”

and “Can’t Get Up In The Morning” (the strongest track here). Good (but not great) tuneage is what we get for less than half of what’s here. “Signed Your Own Fate” just plainly sucks out loud. “You Ain’t Got Love” is every bit as cheesy as “Addicted To Love” era ROBERT PALMER. It’s also the first song here to introduce horrid 80’s keyboards into the mix. It’s like they decided halfway through the making of this album that the lameness factor needed to be upped a notch. “Renegade” is absolutely atrocious. “My love is a hungry cat, what do you think about that” is the definitive line here. This is butt rock at it’s worst, and the guitar solos are all hair metal shred. Hey, did that sausage dangler Joe Lyn Turner have something to do with the production on this thing?

"The BBC Recordings", 2006: A compilation of live performances, “The BBC Recordings” takes material off the previously released “Heavier Than Air,” and the Reading Festival recordings from “We Came, We Saw…” and distills them down to a two-disc set. Disc one takes four songs from a 1972 concert and adds them to the entire 1980 Reading Festival appearance. The earlier recordings show a band still noodling away in early heavy psychedelia, not quite having established their sound, and are readily forgettable. Still, the live version of “Hot as a Docker’s Armpit,” shouldn’t be missed. The Reading Festival, of course, was BUDGIE’s defining moment and well worth the listen. Disc two adds nice

versions of a 1976 Peel Show performance of the rarely heard “Sky High Percentage,” and “In the Grip of a Tyrefitters Hand,” three songs from 1980 Friday Rock Show debut of Power Supply,” and marries these to the complete 1982 Reading Festival recording, another can’t miss BUDGIE moment. As such, the BBC Recordings is probably all the live BUDGIE the casual fan will ever need. The BUDGIE fanatic, however, will not want to miss out on the extra rare tracks from “Heavier Than Air,” and would be better off buying this with “We Came, We Saw…” to get the complete BUDGIE experience.

"You're All Living In Cuckooland", 2006: A full 24 years after their last full-length, "Deliver Us from Evil," BUDGIE finally released a studio album with all original material. Burke Shelley is the lone survivor from the BUDGIE of old, but his support proves more than capable, especially guitarist Simon Lees. Need to strip the paint off the ol' tool shed? The shredding at the end of "Don't Want to Find that Girl" should do the trick. Of course, much like what we've come to expect from this outfit, there is a fair share of surprises to be had. For one, there's the production, which has an inexplicable cyber-80s influence not too far removed from "Turbo" era JUDAS PRIEST. For another, the album's

filled with snazzy solos but sometimes it's not easy to discern between synthesizer and heavily processed guitar (particularly "Justice" and "Falling"). It hardly matters, though, because these songs are as well-composed as anything else the band has ever done. Tracks like "Tell Me Tell Me" , "Dead Men Don't Talk" and the aforementioned "Falling" pack some serious heaviness, and are well complemented by a handful of genuinely emotive ballads ("Captain", "Love is Enough" and the folk-infused "We're All Living in Cuckooland") that are worthy to stand alongside "You Know I'll Always Love You". And of course there's the star attraction, the 8+ minute "I'm Compressing the Comb on a Cockerel's Head" which makes just about everything else the band has done up to this point seem normal. It's a shame that Lees has recently left the band (he helped write half this album), but at least he's had a major hand in waking up a sleeping giant.

Final thoughts: Not unlike SWANS, VOIVOD, MIND OVER FOUR and a few others, these guys unleashed a surprising number of quality releases despite the lack of mainstream acceptance. BUDGIE's elephant-stomping riffs and trippy interludes may have been too exotic or bizarre for mainstream acceptance in the 70s and 80s, but the impressive body of work above demands a few titles find their way into your hands. No matter how much ZEP, PURPLE, and PRIEST you acquire, without any of Bourge and Shelley's masterpieces, your collection is...well, for the birds (sorry). 'Til next time...

- Peacedogman Staff

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