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BUDGIE

Prog Related • United Kingdom


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Budgie biography
Originating from Cardiff, Wales, UK, Budgie first formed in 1967 under the guise of ' Hills Contemporary Grass'. This name was shortlived however and by 1968 they had renamed themselves Budgie, which still remains this to the current day, although line ups have changed from time to time. The original members were Burke Shelley (b.1947) on bass and vocals, Tony Bourge (b.1948) on guitars and vocals and Ray Phillips (b.1949)on drums.

As was often the case with debut albums from the late sixties and early seventies, "Budgie" 1971 was a mixed bag of hard rock combined with a strong dose of blues. Produced by Black Sabbath producer Roger Bain. " Squawk" 1972 and " Never Turn Your Back On A Friend" 1973 were further studio albums following in quick succession. The latter probably being the most well known of Budgie work." In For The Kill" followed in 1974 and by now the line up changes began with Ray Phillips departure and replacement by the soon departing Pete Boot. The band experienced further membership changes and in 1978 Tony Bourge moved on and in stepped John Thomas who also later worked with Glenn Hughes.

Classifying Budgie is no easy feat hence it being in the Prog related category but the blues rock influences are ever present especially up to the close of the 70's.Sometimes described as pioneers in metal, Burke Shelley's voice often compared to Geddy Lee of Rush and the progressive influences are particularly evident in " Squawk", " Never Turn Your Back On a Friend" and 1975's " Bandolier". Budgie became less active in the latter parts of the 80's and ceased live tours in 1988. The 90's saw a revival of the band and further studio albums ensued, the last being in 2006 called " Your'e All Living In Cuckoo Land". Line up changes remained unabbated but one thing remains is that Budgie continue to play high energy rock, progressive at times, bluesy and plain solid metal to a high standard. Metallica have had notable success doing versions of their work " Breadfan" being one song and " Crash Course In Brain Surgery" the other, Judas Priest being another band influenced by the outfit from Wales.

Two live shows of note were in 1982 when Budgie headlined the Reading festival and Live In San Antonio ( 2002).Recommended albums would be 1972's " Squawk", " Never Turn Your Back On a Friend" from 1973 and 1978's "Impeckable". Founder member and drummer Ray Phillips is scheduled to release his first solo album in the first half of 2009.

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BudgieBudgie
Extra tracks · Import · Remastered
Noteworthy Prod. UK 2007
Audio CD$14.33
$24.23 (used)
Very Best ofVery Best of
Extra tracks · Import
Half Moon UK 1999
Audio CD$2.94
$4.15 (used)
Never Turn Your Back on a FriendNever Turn Your Back on a Friend
Extra tracks · Import · Remastered
MSI:NOTEWORTHY 2006
Audio CD$14.31
$14.30 (used)
ImpeckableImpeckable
Import
Repertoire A&M 1998
Audio CD$63.99
$25.99 (used)
If Swallowed Do Not Induce VomitingIf Swallowed Do Not Induce Vomiting
Import
Ais 2012
Audio CD$8.04
$8.03 (used)
In for the KillIn for the Kill
Extra tracks · Import · Remastered
Noteworthy Prod. UK 2007
Audio CD$13.76
$12.99 (used)
SquawkSquawk
Extra tracks · Import · Remastered
Noteworthy Prod. UK 2006
Audio CD$14.32
$14.31 (used)
If I Were Brittania I'd Waive The RulesIf I Were Brittania I'd Waive The Rules
Import
Repertoire 1997
Audio CD$59.94
$10.00 (used)
BandolierBandolier
Extra tracks · Import · Remastered
Noteworthy Prod. UK 2005
Audio CD$14.31
$14.30 (used)
Live In Milwaukee 1978Live In Milwaukee 1978
Import
On The Air
Audio CD$21.99
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BUDGIE discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

BUDGIE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.69 | 91 ratings
Budgie
1971
3.24 | 87 ratings
Squawk
1972
4.17 | 143 ratings
Never Turn Your Back On A Friend
1973
3.70 | 97 ratings
In For The Kill!
1974
3.12 | 94 ratings
Bandolier
1975
3.11 | 62 ratings
If I Were Brittania I'd Waive the Rules
1976
3.11 | 53 ratings
Impeckable
1978
2.33 | 49 ratings
Power Supply
1980
3.57 | 46 ratings
NightFlight
1981
3.06 | 41 ratings
Deliver Us from Evil
1982
2.60 | 31 ratings
You're All Living in Cuckooland
2006

BUDGIE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.27 | 6 ratings
Heavier than air - Rarest eggs
1998
2.50 | 2 ratings
Life in San Antonio
2002

BUDGIE Videos (DVD, Blu-ray, VHS etc)

BUDGIE Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.26 | 8 ratings
The Best of Budgie
1975
4.00 | 7 ratings
An Ecstasy of Fumbling: The Definitive Anthology
1996
4.09 | 11 ratings
The Best of Budgie
1997
2.67 | 3 ratings
The Last Stage
2004

BUDGIE Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.00 | 1 ratings
Crash Course In Brain Surgery
1971
3.38 | 8 ratings
If Swallowed Do Not Induce Vomiting
1980

BUDGIE Reviews


Showing last 10 reviews only
 Budgie by BUDGIE album cover Studio Album, 1971
3.69 | 91 ratings

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Budgie
Budgie Prog Related

Review by sukmytoe

4 stars I adore this band, there is just something about the music that grabs me and holds tight although I can't really decipher what it is - I just go with the flow without trying to analyse the music and what it is that makes me a full on band fan. The vocals, to me, are what a Budgie would sound like if it could sing rock music. Back in 1971 Budgie made up one of the five bands that were the core of what really made my music world start to swing - Budgie, Black Sabbath, Uriah Heep, Grand Funk Railroad and Deep Purple.

"Guts" - A hard rock riff throughout drives a solid track of early head-banging pleasure. Burke Shelley reminds me of a budgie on steroids with his voice.

"Everything in my Heart" - short, nice, soft acoustic interlude from the band.

"The Author" - Starts off softly almost in the vein of the previous track before rocking out a third of the way in. Very "Led Zeppelinish" in places.

"Nude Disintegrating Parachutist Woman" - Slow heavy rock to start before soaring into speedier hard rock pyrotechnic territory just before the halfway mark. I love the Shelley vocal harmonising with the lead guitar section. Very reminiscent of some later Deep Purple live jams. Tony Bourge on lead throughout this track blows my mind.

"Rape of the Locks" - A way of describing an unwanted haircut I suppose. Lead guitar noodling to start before morphing into hard blues rock. At this point in the album I can pick up just how influential Budgie was relating to the rock music scene - maybe almost invisibly influential but massively influential all the same.

"All Night Petrol" - Interesting hard rock number. Shelley on bass is very prominent throughout.

"You and I" - Ballad from the band, beautifully done. The acoustic guitar and the vocals shine on this one.

" Homicidal Suicidal" - The hardest rock edged track on the album.

I'm really torn as to how to rate this album - if it were for pure love purposes I would give it a solid 5 however there are stronger Budgie albums after this one and this is the first studio release from the band. As this is a prog music site I am disposed towards a 3 rating but that would also not really be fair as although these guys aren't progressive here as I understand progressive to be they were obviously extremely influential. Settling on a 4 rating is the answer I guess being a 3.5 rated up to 4 however prog purists be warned this is not necessarily an album for you - it is an album for anyone who loved the early 70's Black Sabbath, Led Zeppelin, Grand Funk, Uriah Heep, Deep Purple musical whirlwind.

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 Deliver Us from Evil by BUDGIE album cover Studio Album, 1982
3.06 | 41 ratings

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Deliver Us from Evil
Budgie Prog Related

Review by DeepPurplePL

3 stars Budgie. One of the most underrated among hard rocking and heavy metal bands on this planet. "Deliver Us from Evil" had been their last effort before the project was on hiatus for more than two decades? The album starts with a solid rocker "Bored With Russia" and this is a promising opener. Unfortunately next three tracks are of very poor musical quality. The band seem to try to follow NWOBHM standards, however, they are far behind Iron Maiden, Leppard and Saxon (to name a few) abilities to produce at least decent tracks. I would say, a relegation zone of the second division regarding NWOBHM at that time. The last song of the 1st side of the Lp is much better though; "Flowers in the Attic", a nice tune, comparable to "Bored With Russia". The second side of the vinyl is somewhat better. "N.O.R.A.D.", one of my favourite ones on the album. "Give Me The Truth" and "Finger On The Button" are poor again and easily forgotten. "Alison" is a quite controversial one for Budgie, more a pop song than a power ballad. Personally, I like it, and, surprise, surprise? I can hear a bit of John Lennon in it (hence his name at the back of the cover?). And finally, another Budgie classic and absolutely epic one ? "Hold On To Love". Fast pace reminds me a bit "Hard Loving Man" of Deep Purple. I hesitated between two and three stars for the album. Eventually for I am a fan of the Welsh trio I tipped the scale toward three stars. I am very pleased to add, that there is a short text at the back of the cover in Polish. "We would like to thank veeeeeeeery much to those in poland who came to see us live. You are the best audience we have ever played for. Budgie." The band was nearly as popular as Black Sabbath in my country (Yes, I am Polish). Why? There was no regular record market behind the iron curtain and courtesy of Piotr Kaczkowski, a radio DJ, me and legions of rock fans are familiar with the impressing flight of Welsh budgies.

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 Bandolier by BUDGIE album cover Studio Album, 1975
3.12 | 94 ratings

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Bandolier
Budgie Prog Related

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

3 stars Budgie first came to my ears with their big Box set, the definitive anthology, 'An Ecstasy Of Fumbling', featuring a massive 29 tracks taken from albums during 1971-1982. This lead me to chack out some other Budgie albums and the first on my list was one that was recommended to me by Budgie fans, 'Bandolier'. This is perhaps their most popular album, certainly featuring some of their best songs and coolest guitar riffs, though it is inconsistent in terms of quality songs. The band revel in riffs that lock in with outstanding rhythmic 70s classic rock. 1975 was one of the great years for Prog and 'Bandolier' features the classic incarnation of the band; bassist/singer Burke Shelley and guitarist Tony Bourge, along with drummer Steve "Syco Steve" Williams, arguably their proggiest lineup before they turned to hard rock and AOR.

The album opens with the dynamic 'Breaking all the House Rules', a terrific sledge hammer attack of crashing riffs and very well executed vocals. The structure of the song detours into many directions and even changes feel in the middle sounding like a different song until it returns to the main riff.

'Slipaway' is next with gentle acoustics, followed by Bad Company sounds on 'Who Do You Want For Your Love' with a bluesy shuffle. There is more blues with 'I Can't See My Feelings' that has nice guitar licks but is nothing special really. After these rather lacklustre numbers it hots up with the wonderful cover by Andy Fairweather-Lowe from Amen Corner, 'I Ain't No Mountain'.

They save the best for last with the outstanding 'Napoleon Bona, Pts 1 & 2' that begins very slowly with gentle guitar and ambient swirls. Shelley's vocals are quiet, sounding like a bluesy version of Geddy Lee. When the distorted guitars crunch in with the chugging riff the song really picks up, especially the way the riff descends strangely giving it a dark feel. The lead break is always amazing, and Bourge blasts away with speed trills up and down the scales and high end string breaking bends. At 6 mins in there is a weird effect that muffles the sound and then it releases for more lead work.

Not many would disagree that the best Budgie stems from the early 70s years with "Squawk," "In for the Kill", "If I Were Britannia" and of course 'Bandolier'. These are the proggy innovative Budgie years, and 'Bandolier' is certainly one to hunt down for sheer hard rock riffing excellence with prog elements sprinkled thereabout.

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 Never Turn Your Back On A Friend by BUDGIE album cover Studio Album, 1973
4.17 | 143 ratings

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Never Turn Your Back On A Friend
Budgie Prog Related

Review by stefro
Prog Reviewer

4 stars Budgie's inclusion in the annals of ProgArchives may well raise a few eyebrows(not least by the group themselves who have on at least one occasional included the phrase 'We're not progressive' on their album notes) and their subsequent post-seventies career showcases a rather straight, proto-metal outfit more in love with sharp riffing than complex instrumental arrangements. However, whilst the bulk of their material tends to eschew progressive aesthetics, this 1974 album goes gloriously against the grain. Undoubtedly the high watermark of the Welsh power-trio's lengthy career, 'Never Turn Your Back On A Friend' is the group's most expansive, inventive and eclectic work, featuring a selection of crisp rockers, a charming ballad and the superlative Budgie signature piece 'Parents'. A fan favourite, 'Parents' finds Budgie taking rare strides into progressive territory as lead vocalist Burke Shelley gently recounts a bittersweet tale of parental guidance. Its a marvellous ten-minute epic with a strangely maudlin tone, featuring cleverly used acoustic guitars and some poignant lyrical statements regarding how the people who bring us up usually know best, even if we doubt it at the time of our growing up. Yet whilst 'Parents' may well be the album's stand-out number, elsewhere on the album you have the muscular 'Breadfan' - a track famously covered by Metallica no less - the groovy, steel- riffed funk-rock number 'In The Grip Of A Tyrefitters Hand' and the dreamy acoustic ballad 'You Know I'll Always Love You', three very different tracks that help make 'Never Turn Your Back On A Friend' a truly remarkable album. They may not be a genuine progressive rock outfit, yet for a brief moment Budgie's star shone super bright with this prog-tinged proto-metal classic. A real surprise; a fantastic album. STEFAN TURNER, STOKE NEWINGTON, 2012

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 Bandolier by BUDGIE album cover Studio Album, 1975
3.12 | 94 ratings

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Bandolier
Budgie Prog Related

Review by Gatot
Special Collaborator Honorary Collaborator

3 stars I only knew Budgie when they released this album in 1975 as one song from this album (I Ain't No Mountain) was featured in local cassette compilation titled as Rock Vibration. The song really blew me away at first listen as I liked the riffs as well as guitar solo. My first impression was that this band was more into the kind of Led Zeppelin music in its simpler form. But that song really created curiosity to me as I wanted to know who the band was until I finally knew that this song was taken from Bandolier album - the band's fifth album. Pity me, I was not aware there was this band until they produced their fifth album! Looking back finally I salute the band as they released their album every year - it's a very productive. The band itself was already established in 1967 and it reached recording deal with MCA for their first five albums.

The way I see the band's music is somewhat like a power trio with practically simple composition and straight forward in style. So, it's basically not a prog band. 'Breaking All the House Rules' (7:23) opens the album in a style that represents a trade mark of Budgie music where the straight composition of three instruments : bass, guitar and drums featuring vocal. 'Slipaway' (4:02) continues the style of previous track. The fourth track 'I Can't See My Feelings' (5:54) was quite known and covered by Iron Maiden as B side of their single. In fact, I would say that Iron Maiden developed their style heavily influenced by Budgie. Look at the ending track 'Napoleon Bona Part 1 & 2 ' where the rhythm section was then followed by Iron Maiden in most of their songs.

Overall, this is a good album of straight rock music. Keep on proggin' ...!

Peace on earth and mercy mild - GW

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 Squawk by BUDGIE album cover Studio Album, 1972
3.24 | 87 ratings

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Squawk
Budgie Prog Related

Review by Gatot
Special Collaborator Honorary Collaborator

3 stars This is another seventies band that I rarely paid attention at that time as I always compared it with another rock trio like Triumph, Grand Funk and Rush because in general they were alike in terms of instrument components: drum, guitar and bass. Of course I could not compare with ELP as it's drums - bass - keyboard. At first listen I was associated directly to the kind of Triumph music as the music they made was quite straight forward. I only knew this band when one of their song I Ain't No Mountain was one of rock favorites in my city of Madiun, Indonesia. Later I knew their other popular track like Breadfan.

This album offers similar in term of style what the band has typically made, i.e power rock trio that rely in itself in guitar solo backed with basslines and drumming. The second track Rocking Man is an interesting rock instrumental with good combination of guitar, bass and drums for most part of the track and only having vocal line at the ending part. Hot as a Docker's Armpit is also another good track.

Even though it's not something proggy, this band was one of the rock acts in the seventies that had their own fans base. For some reason I was much liking Triumph than this band. But it's OK for a change - sometimes. Keep on proggin' ...!

Peace on earth and mercy mild - GW

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 Power Supply by BUDGIE album cover Studio Album, 1980
2.33 | 49 ratings

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Power Supply
Budgie Prog Related

Review by presdoug

3 stars With 1980's heavy metal onslaught Power Supply, Budgie stamp their authority on the new, expansive, highly competitive heavy metal scene of the early to mid eighties in an riveting and exciting way that left a lot of those other bands eating their dust. This album is just about the heaviest the band would ever produce, and leaves no doubt to the listener that this band just wouldn't die, and could still hang tough and create music that still mattered.

From the opening chords of Forearm Smash to the end of Crime Against The World, for me, this record gets to the heart of what made metal something not to be ignored, and must have been great music to hear live, like maybe at Budgie's first headlining gig at the 1980 Reading Festival, where they went down fantastically, and were supporting Power Supply at the time.

At the time of Power Supply's release, as an adolescent living in Canada, i had no way of getting to Reading, but this album has such an almost live sounding freshness and excitement to it, well, it is like being there, really. Alas, things were to change with their subsequent two studio albums, both good efforts, but not quite Power Supply. Well, what really was?

If you are looking for more progressive leanings, try elsewhere, like Impeckable or If I We're Britannia, I'd Waive The Rules, but if you want something heavy and in your face, but refreshingly positive in the same breath, this record is for you. I give it only three stars, because it is not the band's most progressive, and this is PA, after all, but if you want the best of the New Wave of British Heavy Metal, this is it.

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 Bandolier by BUDGIE album cover Studio Album, 1975
3.12 | 94 ratings

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Bandolier
Budgie Prog Related

Review by Warthur
Prog Reviewer

2 stars Opening with the barnstorming Breaking All the House Rules, Bandolier kicks off well, but unfortunately Budgie were never the most consistent of bands and this is only underlined by Slipaway (A Parrot Fashion Ball), a horrible experiment in mixing acoustic soft rock with a little bit of blue-eyed soul. This is followed up with a similarly limp track in the form of What Do You Want For Your Love, which captures Burke Shelley doing an unconvincing Robert Plant impersonation in a horrible funk-tinged soft rock piece, reminiscent of a bad cover of The Crunge from Led Zep's Houses of the Holy with only a rather generic guitar solo or two to remind us that we're still at the edge of metal territory.

The album perks up on the second side with I Can't See My Feelings (featuring some honest to goodness cowbell), but slumps again with the simplistic singalong I Ain't No Mountain. The closing Napoleon Bona Parts 1 and 2 is padded out with uninteresting acoustic filler (such as the overlong intro) and doesn't stand up to Budgie epics from previous albums.

The bottom line is that on this album Budgie watered down their distinctive proto-speed metal sound with all the other influences third-string hard rock groups from the mid-1970s were dabbling in, with the result that the album ends up sounding anonymous, cliched, and at points downright dull. By the end of the decade Budgie would be regularly blown out of the water by far heavier and far more distinctive groups like Judas Priest and Iron Maiden; they should be remembered for more influential and important albums than this one.

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 In For The Kill! by BUDGIE album cover Studio Album, 1974
3.70 | 97 ratings

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In For The Kill!
Budgie Prog Related

Review by Warthur
Prog Reviewer

3 stars Budgie's fourth album, whilst not quite so groundbreaking as their debut or Never Turn Your Back On A Friend, sees the band continuing to be at the forefront of the early heavy metal scene. The power trio seem more confident than in previous outings, which makes the diverse range of styles they play an engaging listen. Running From My Soul, for example, is a heavy take on fairly traditional rock and roll, whilst thunderous album closer Living On Your Own is a slower, doomier, Sabbath-inspired number.

The album also includes an updated version of Crash Course in Brain Surgery, a track the group had previously released as a single - a pounding piece of proto-speed metal which particularly showcases the skills of Burke Shelley, the group's bassist and vocalist. Shelley's bass style for this album is harder and heavier than ever, at points reaching hypnotic intensities comparable to the sort of performances Lemmy was dishing out in Hawkwind at the time.

At the same time, the album doesn't quite hang together as well as Never Turn Your Back On a Friend. It was churned out rapidly in the space between two intense tours, and whilst the process of touring had clearly made Budgie a tighter unit, they also feel a little bit more conventional - like they're beginnign to compromise here and there to conform to the expectations of a 1970s hard rock audience rather than producing any novelties to match their earlier work. Budgie's career to this point had provided ample proof that Budgie do not deserve the comparative obscurity they've faded away into, but ought to join Sabbath and Judas Priest in the early metal pantheon. In For the Kill isn't a classic that will convince doubters by itself, but it is further evidence in support of that position.

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 Never Turn Your Back On A Friend by BUDGIE album cover Studio Album, 1973
4.17 | 143 ratings

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Never Turn Your Back On A Friend
Budgie Prog Related

Review by Warthur
Prog Reviewer

4 stars Another high-class album from Budgie, this one is a marked improvement from Squawk and opens with the classic Breadfan, which not only influenced Metallica but sounds an awful lot like early Rush - partly due to the power trio instrumentation, partly because singer Burke Shelley's singing voice had at this point developed a falsetto highly reminiscent of Geddy Lee's. Or maybe, since this came out before Rush's debut, it would be more appropriate to say Geddy Lee's falsetto sounds like Burke Shelley's?

Another touchpoint to early Rush is the Led Zeppelin love - see the cover of blues standard Baby Please Don't Go - but Budgie also show the influence of the other giant of early 1970s proto-metal, Black Sabbath, with the doomy In the Grip of a Tyrefitter's Hand. The album isn't quite perfect - in particular, the slow dirge Parents is about two to three times longer than it really needs to be, with its whining vocals and its laid-back, uninspiring classic rock musical backing. Still, on the whole the album is a more than creditable slice of proto-metal with a good claim, considering Breadfan's insane pace, to be a foundational document of speed metal.

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Thanks to chris stacey for the artist addition. and to easy livin for the last updates

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