Never turn your back on a friend by Budgie

My first encounter with Budgie was in the late 80′s while at college. My classmate knowing I was a hard core fan of the band Rush plays me a cassette full of assorted songs asking me to identify Rush. I jumped to the challenge. After a couple of songs the distinctive vocals of Geddy Lee confirmed to me it was Rush. But to my amazement I was wrong! Rush’s song was further down the list and instead I was staring at the cover of the cassette reading a song by the band Budgie. In fact on that cassette Budgie’s song sounded better than Rush’s.

Almost two decades later I am looking at Roder Dean’s artwork and I realise he also did work on several of Budgie’s albums. Our of sheer curiosity I check one of their hits, “Breadfan” and I dumbfounded with that similarity of the Geddy Lee like vocals and the sound. I dive into Budgie’s music and all I can get are gems. I am not surprised that so many heavy metal bands were covering their songs. Metallica, Van Halen, Iron Maiden, all heavy metal giants covering their songs, amazing!

Both Budgie and Rush were three member bands. In both the bands the lead vocals were offered by the bassist. In their early days members of Budgie even looked like the members of Rush. Both Geddy Lee (bassist/lead vocalist) of Rush and Burke Shelley (bassist/lead vocal) wore large rimmed glasses. However unlike Geddy Lee, Burke’s voice would eventually change over the years into a more coarser sound.

Budgie was one of the earliest of the heavy metal bands inspiring dozens of others including Metallica and The Melvins.

Released in 1973, Never turn your back on a friend was their third album. Roger Dean’s artwork on the cover of the album is impressive. Apart from Burke the other members of the band on this album are Ray Phillips on drums and Tony Bourge on lead guitar.

Now for a review of the songs.

1. Breadfan- The riff at the beginning is sure to impress you. No wonder bands such as Metallica covered it. Just  do a search on YouTube  for “Breadfan” and there are more Metallica videos covering this song than Budgie. Burke’s voice sounds more childish than Geddy Lee.  The singing style also strongly reminded me of the ubiquitous “Venkateswara Suprabatham”, a classical piece by India’s very own M.S Subbulakshmi. You could easily fool someone this was an early Rush song.

2. Baby, please don’t go- A cover of Big Joe Williams’ original song. What incredible bass playing and lead guitar work with Ray providing all the terrific drum support he can. Again very much Geddy Lee like vocals.

3. You know I’ll always love you – Lovely acoustic number with beautiful lyrics, sung so well. A small song compared to the rest but offering a nice break in between the heavier numbers.

4. You’re the biggest thing since powdered milk – The  second longest song after Parents.  Starts with a brisk solo from till 1:43 min. The line “Oh it helps/hurts me when I cry….” is really moving. At 5.20 just after the lovely solo with thundering bass comes a riff like Deep Purple‘s Pictures of Home but lovely in Budgie’s own original style; incredible bass and guitar work.

5. In the grip of a tyrefitter’s hand – Great bass playing. You are reminded of a a Tony Iommi’s solo at 3 min, and at 5 min. The song has some great riffs, bass lines and again, you could easily fool someone this was Rush.

6. Riding my nightmare- Another lovely acoustic number to soothe the brain after the heavy dose of exciting stuff you heard before, sung well.

7. Parents- There are no shortage of anthems when it comes to Budgie and here’s the anthem of this album and an incredible anthem to conclude. The incredible lines, sweet and innocent lyrics and one of the best I’ve heard about school and kids since “Need no education” from Pink Floyd and “School” from Supertramp. 

The lines of the song -

When I was a little boy,
They would say to me,
Don’t go in the world and play,
It’s bad company.
All the had was child and faith,
Let them grow and let them wait,
Just to find what it was to be free.

But now I’m over twenty one
Growing up I’ve had my fun
And I know it’s got to be.
Baby lying in a womb,
Are you free or in a tomb?
Let me in,I feel I want to cry.
Oh the road is there,
Oh that road is there,
Come on back,back!

Wash Your hands and up to bed,
Mind your manners or your dead,
Mind the cars cos you’ve got school on monday.
Put my trus in god
Who is he I know not what
Something mummy said to me one sunday.
Maybe love is life but life is not
something I need plenty of.

Oh I wished I’d never lived a day,
now there’s no one near me now,
tell me what to do and how.
Take me,let me sing my cares away!
Oh that road is there,
Oh that road is there,
Come on back,back!

Wash your hands and up to bed,
Mind your manners or your dead,
mind the cars cos you’ve got school on monday.

Black ik black and white is white,
Witch to choose and witch is right,
Guide me to a place where I was stay,
Wrap me up and keep me warm,
Hide myself far from the storm,
Sleep and love will keep my mind at rest.
Only now I realise why my parents had to try,
Love you all and keep you all my life.
Oh that road is there,
Oh the road is there,
Come on back,back!

The line – “come on back” is sung beautifully. Song comes with terrific solos from Tony and with the sounds of the wailing birds in the background towards the end of the song lends it a very unique creative touch.

All the songs from the album can be  listened to on YouTube. Enjoy this great album!

Desert Rain by Indian Ocean

This is my first live album review and it feels great that I am reviewing an album by a band from India.

Honestly the cover of the album sucks but I was in for a treat when I listened to the music. As of this writing one of the original band mates Asheem Chakravarty who used to play the Tabla, percussion and offer his vocals is no longer alive.

This is the  debut album of one of India’s premier rock bands. They were fortunate to have their DAT recorder switched on while playing live on New Year’s Day 1997 at The SAHMAT concert at Mandi House, Delhi. The recording has become a record of sorts as there was no company to promote or sell the album. A company had to be formed to do so.

One gripe is the not-so-perfect quality of the recording. Another gripe is the singing which is more of the chant and bhajan type. However the singing has improved considerably over the subsequent albums. However the originality and the beauty fo the music is undeniable.

At the time of this recording the band comprised Rahul Ram on bass and vocals, Susmet Sen on guitar, Aseem Chakravarty on Tabla, percussion and vocals and Amit Kilam on drums and percussion.

Now a review of the songs -

Boll Weevil – 5.20 – Bass starts the song with tabla and guitar joining in soon. Drums join in and the song moves on beautifully.  Susmet takes over and smoothly guides the guitar beautifully. At 2min.08sec vocals are heard and we are back with the music at 3.59 till its completion.

Desert rain – 5.36 – I wonder if it is the jew’s harp at the beginning or some other traditional Indian. Little singing and lyrics resembling more of chanting.  Susmet does his bit on the guitar. Could have been a better song if only the singing was better with more lyrics than chants.

Euphoria – 6.02 – Till 2.35 till the vocals interrupt this is a beautiful song; some drums and percussion join in with the vocals and they go on for a while till u get sick of it; at 4.13 vocals disappear and we are back to the music. Again Susmet shines on his guitar.

From the ruins – 7.59 – Begins with a sad and dark music being played by guitar joined by bass. Susmet’s guitar playing is beautiful. At 3.49 the irritating vocals commence, this time chanting Hari Om and Sanskrit slokas; more drums heard during this time and beyond. At 6;10 vocals stops and we are back to the music with some more sloka shouting towards the end.

Going to Ito – 3.33 – Smallest of the songs but beautiful with lovely bass and guitar play and very little vocal.

Melancholic Ecstacy (7.58) - True to its name the song is a gem. The longest of the album at almost 8  minutes and Susmet lets the guitar sing and it is joy to listen to such a beautiful composition. You’ll be amazed at just what the guitar, tabla and bass can do. At 4 min the pace changes and quickens. Drums joins only sporadically but from 6 min onwards it can be heard more prominently. 

Village Damsel 6.49 – Begins as a cheerful number.  At 2.00 min singing starts. I think the language is Bengali (correct me if I am wrong). At 3.25 it is back to the music and vocals and then vocals gradually giving away to the music with Rahul’s bass taking the limelight. Music reminded me of Ananda Shankar’s instrumentals too.

My only complaint with the engineering behind the album is the quality of the recording which could have been made better.  A little re-mastering would have bettered the recording in a long way.

You can listen to the album for free here at hummaa.

Dire Straits did release an EP (Extended Play), LP record (predecessor to the cassette) called ExtendedancePlay (read that slowly). The UK release had 3 songs on it and the U.S version 4. The songs, “Twisting by the pool”, “Two Young lovers”, “Badges, Posters, T-shirts” and Stickers” and this sweet number called “If I had You”. Songs from this album were rarely played live but they appear on compilation and hits albums. Wikipedia says it is called ExtendedancEPlay. When I heard it in 1988 on a cassette tape it was an album called Twisting by the pool which according to Wikipedia was also how the album was called after the first song on the album.

 Check out this beautiful sweet song with the usual hooks, licks and the typical sounds of the keys from Mark Knopfler and his band.

“Camarade Coma” by Megaphone Ou La Mort

Once in a while I am contacted by members of a band who have been reading my blog and it makes me feel happy that there are readers who appreciate the thing I am doing via great-anonymous-albums.com. I return the favour by reviewing their music.

Megaphone Ou La Mort is a five piece band from Spain.  They call themselves “a multicultural rock band”. This is evident from the lyrics of the songs as they are both in English and French. Though I cannot understand the French lyrics the music and tunes speak for themselves.  Another reason why I jumped to listen to their music was the use of twin lead guitars. Though not on the lines of the pioneers of the technique by progressive rock band Wishbone Ash, I am open to listen to any band that uses twin-lead guitars.

And although I have a criteria for including album reviews here I do think Megaphone Ou La Mort deserve a break for the music they make. I was blown by the freshness of their sound and music. I couldn’t help playing some of their songs in a loop on the first listen. Most of the songs are short and sweet with only one exceeding the five minute mark. As for their sound I would say they are a mix of U2′s harmonies and the freshness of The Arctic Monkeys but Megaphone Ou La Mort have an identity of their own.

Now for the detailed review of the songs.

1. La Poésie du Travail- A good opener showcasing the skills of vocalist John Martinez and the the instrumentalists, Fer Marti on bass, Sergio Sorace on drums (like the drummer of The Arctic Monkeys, he uses only one Tom, check the video link below) and Diego and Correcto on guitars.

2. Pina Pellicer – Not as impressive as the opener but a quicker small song doesn’t hurt.

3.  Nuit Sans Nuances - Acoustic number reminding me sometimes of the chords of “Kiss Me” by the band Sixpence none the richer. 

4.  Cherie – Lovely song, sounds like U2′s “I will follow” but can I say, “Even Better than the U2 song”? Loved the bass, drums and guitars on this one.

5. Sunday Kid- My favourite from the album for its lovely guitar(s) solo. It starts sounding like “Love song” by 311 but then you know soon it is a Megaphone Ou La Mort original. Diego and Correcto shine here with a beautiful guitar piece. The guitar solo is so lovely I couldn’t help playing the song over and over again after the very first listening. Lead solo also did remind me of the harmony of the lead guitar on Toad and the Wet Rocket’s “All I want” and the heavier and stronger guitar lead in the song “My Coco” from Stella Star but Megaphone Ou La Mart’s solo is impressive in its own way. John’s singing was lovely too and so was the bass and drums support from Fer Marti and Sergio Sorrace. Loved the way John sang the line ”…please forgive this young man’s soul….”.

6. Party Doll – Liked the line “love me for my mind” in this song.

7. Dolce Vita - Lively song with a nice rhythm and I am reminded heavily of Eddy Grant’s guitars on his song “Boys in the street”.

8. ESQUISSE D´UN HOMME PRÉCAIRE- The longest song but it does get my approval for a good ballad even though it is not in English. I am reminded of the bass and rythm of A R Rahman’s song ”Ada” for the movie “Taj Mahal” but then again this is another Megaphone Ou La Mort original.

9. Le Garçon Rêvé – Another acoustic number with violin used along with the guitar.

10. Wasted – A mini guitar solo is laced in-between with more licks and techniques towards the end.

11. City Song- A touch of sadness, with the violin (or is it the guitar made to sound like the violin) and another notable song. I am reminded of Bono’s singing here but again John Martinez’s vocal is not a copy of the U2 front-man.

12. Lutter- An Ok number to conclude. The YouTube video of the song is here.

I certainly expected more music from the instrumentalists but let us wait and see what they have to offer in the next album that Megaphone Ou La Mart has planned in 2010.

You may download the full album using the link http://www.megaupload.com/?d=CKW85REO

or if you don’t have the time to download listen to the best of the album here at http://www.facebook.com/pages/Megaphone-ou-la-mort/55495315700?ref=ts

The recording of the album is good. One thing I noticed is a postman’s bicycle like bell like sound that you can hear. Wonder if it is part of the percussion but I clearly thought my postman was ringing his bell.

Megaphone Ou La Mort is certainly no U2 clone like the band Coldplay and certainly deserve a listen.