Budgie The Best Of Itunes

Welsh proto-metal trio Budgie isn't the kind of band that can be easily or accurately represented by your typical, hit-oriented greatest-hits set. But because the two-disc anthology An Ecstasy of Fumbling, while more complete, spends an unnecessary amount of time on the group's utterly dispensable post-MCA career, Best of Budgie will have to do for most curious casual fans. Budgie's 1978 offering, Impeckable, is a very uninspired affair, lacking both the adventurous songwriting and refreshing sense of humor characteristic of the band's early records.The group continues exploring its funk obsessions on 'Dish It Up' and 'Love for You and Me' while shelling out boring metallic riffs on 'Melt the Ice Away' and 'Smile Boy Smile.'

Budgie is a Welsh hard rock, heavy metal band from Cardiff. They are described by author Gary Sharpe-Young as one of the earliest heavy metal bands and a seminal influence to many acts of that scene, with fast, heavy rock (an influence on the New Wave of British Heavy Metal and acts such as Metallica) being played as early as 1971. The band has been noted as among the heaviest metal of its day. Notable Budgie songs include Breadfan, Sky High Percentage, I Can't See My Feelings, Crash Course In Brain Surgery, Parents, I Turned To Stone and Napoleon Bona - Parts 1 & 2.HistoryBudgie formed in 1967 in Cardiff, Wales under the name Hills Contemporary Grass. Their original line-up consisted of Burke Shelley on vocals and bass, Tony Bourge on guitar and vocals, and Ray Phillips on drums. After performing several gigs in 1968, the band changed their name. If you’re serious about diving into the origins of heavy metal you will no doubt tackle the usual suspects such as Black Sabbath, Led Zeppelin and Deep Purple, but in the early gestation years of the late 60s and the fully formed heavy rock bands that provided the antecedents of the greater metal universe, there were quite a few contenders that didn’t quite attract the same level of success as the big three.

The Cardiff, Wales based BUDGIE was one of the earliest such bands that was a seminal influence on the NWOBM scene that would emerge at the tail end if the 70s. While formed in 1967 under the less-than-metal moniker Hills Contemporary Grass, they changed their name to Six Ton Budgie before finally truncating it to the more known BUDGIE which is an informal term for “budgerigar,” an Australian parakeet which would become their mascot. This power trio of Tony Bourge (guitar), Tony Shelley (bass, vocals, mellotron) and Ray Phillips (drums, percussion) chose this name as a diametrically opposing term in relation to their bombastic bluesy rock bravado.While Black Sabbath was in 1971 the heaviest band in existence, BUDGIE wasn’t too far behind.

Their eponymous debut released the same year as “Master Of Reality,” followed the trends of the more successful bands and could be generalized as heavy rock straddling in between the heavy Sabbath riffing with Led Zeppelin inspired compositional constructs as well as Shelley’s Robert Plant inspired vocal style. The Sabbath inspired parts come to the forefront with the opener “Guts” which is a little too close to Sabbath’s own “Hand Of Doom” which sounds like a good case for plagiarism to my ears but the album quickly drifts off into their own unique middle ground between the great Sabbath and Led Zep. Many have cited as BUDGIE being the first version of the Canadian band Rush since they are a power trio and deliver a tight and compelling band sound out of only three musicians. On this debut they do indeed have that heavy rock gusto that Rush would unleash on their first two pre-progressive albums.

Likewise BUDGIE, while rooted in ballsy blues rock with a more bombastic approach, did engage in progressively tinged compositional constructs.While BUDGIE may have borrowed a lot from Sabbath and Led Zep, they have also been the influencers as well with tracks like the whimsically titled “Nude Disintegrating Parachutist Woman” a clear antecedent into Golden Earring’s hit “Radar Love” which also displays Shelley’s unique bass slapping style with a little funk technique and heavy rock groove with Phillips pounding out the supporting percussive drive accompanied by Bourge’s guitar antics. Very heavy stuff for 1971 indeed and progressive as it clocked in at 8:41 and meandered through a series of clever musical moves not common in the bluesy rock world of the day.

“Rape Of The Locks” allows Bourge to show off some of his guitar tricks with a series of flashy solos before erupting into a boogie rock style that would become the staple of bands such as ZZ Top in the coming years. Tracks like “All Night Petrol” find Shelley doing his best Robert Plant vocal exercises but alongside a Sabbath inspired doom laden riff in a mid-tempo groove. “You And I” shows a mellower side with a short acoustic ballad.BUDGIE created a very interesting sound for sure and although they didn’t quite have the over-the-top performance charisma that Black Sabbath and Led Zeppelin delivered to the world, they provided a unique glimpse in between the musical sounds where those two bands existed.

While parts of BUDGIE’s debut are clearly inspired by certain tracks from their influences, somehow they polish it out with their own unique stamp. The blues oriented hard rock riffing is more akin to 60s bands like Cream with Sabbath overtones (due partly to Sabbath’s producer Rodger Bain in the picture), but they crafted their compositions completely differently with more complex constructs that meandered into more unexpected territory. In other words less calculated and more free. While destined to be more of a footnote of history for providing the blueprints of heavy metal riffing that would be fully realized by bands like Metallica in the next decade, BUDGIE are well worth checking out in their own right. The synthesis of heavy rock with progressive touches makes this more than a historical artifact.

Budgie's fourth album 'In for the Kill!' Carries on with the sound the band established from the beginning: hard and heavy driving riff-based rock with some strong heavy blues. Drummer Ray Phillips left band after the third album and for this offering of powerhouse rock, Pete Boot took the stool.From the first track, Budgie introduce another classic riff rocker in the title track. It's a longer song that switches to a heavy blues number in the middle before returning to the first part's music. Also here is 'Crash Course in Brain Surgery' which was originally recorded as a single earlier in their career and was later covered by Metallica.

Some will recall Metallica covering another Budgie song 'Breadfan'.Budgie albums ( the ones I know ) include a Burke Shelley acoustic number or two and 'Wondering What Everyone Knows' fills that necessity here. I personally find this one more enjoyable than the acoustic songs from my two other Budgie albums, 'Budgie' and 'Never Turn Your Back on a Friend'. The acoustic tracks are usually short anyway.'

Zoom Club' is a hard rocking tribute to a club in Germany and includes a lengthy jam session and a cool hard rock riff. And let's not forget Shelley's high pitched notes after the long solo section!' Hammer and Tongs' opens side two with a slow beginning of guitar volume dial notes before exploding with a very heavy blues-based eruption of a song. At times it's like the band are trying to make blues rock heavy enough to drop into a crusher in a scrapyard and kick it into a heap of wrecked automobiles.

It eases up in the middle and Shelley howls in falsetto. Then it changes to what I always think of as heavy strip tease blues. No doubt guitarist Tony Bourge was pleased with all the soloing he got to do.' Running from My Soul' takes on another boogieing bluesy heavy number with more of Bourge's six-string explorations. It's the shortest song on the album and doesn't have many lyrics. Just blazing guitar rock & roll.The final track, 'Living on Your Own' is the most progressive song on the album, going through different parts, one part heavy and melodic, another gentle and easy but with a bit of rust, yet another more traditional heavy but still holding on to the melodic side.

Test stubs and drivers for mac. For Budgie's repertoire up to 1974 this is likely one of their most progressive songs with different musical themes integrated into a single track. Certainly it stands out from the rest of the album which is comprised of mostly heavy rock and heavy blues boogie. 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.

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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. 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. 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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It’s the first of the month, which means it’s time to unveil the results of Part 3 of our year-long feature, a year-by-year poll of Slicing Up Eyeballs’ readers to determine the best albums of each year of the 1980s — and then, when that’s all said and done at the end of 2013, we’ll run a monster best-of-the-decade poll to crown the overall champs.For the 1982 poll, we received more than 32,000 total votes naming more than 250 different albums (including, as write-ins, a number of records that were not actually released in 1982). We narrowly averted another Top 10 tie, with The Clash’s Combat Rock edging out Roxy Music’s Avalon for the No. 4 spot by a single vote after nearly 2,000 votes were cast for the two albums combined.So thank you all for voting and sharing your thoughts. Take a look at the Top 100 list below — and feel free to offer your own take on the results, good or bad, in the comments below.And stay tuned for the Best of 1983 poll, which will launch next week.PAST RESULTS:,SLICING UP EYEBALLS READERS POLL: TOP 100 ALBUMS OF 19821.

Duran Duran, RioBACKSTORY: The second album from Duran Duran made the U.K. Band genre-defining superstars around the world on the backs of its trio of hit singles and now-classic music videos.SINGLES: “My Own Way,” “Hungry Like the Wolf,” “Save a Prayer,” “Rio”BAND: Simon Le Bon, Nick Rhodes, John Taylor, Roger Taylor, Andy TaylorPRODUCER: Colin ThurstonBUY IT: Amazon.com , iTunes 2. The Cure, PornographyBACKSTORY: The fourth album from Robert Smith and Co.

Ends the band’s early dark phase, and later would be declared part of a trilogy with 1989’s Disintegration and 2000’s Bloodflowers.SINGLES: “The Hanging Garden”BAND: Robert Smith, Simon Gallup, Lol TolhurstPRODUCER: Phil Thornalley and The CureBUY IT: Amazon.com , iTunes 3. Depeche Mode, A Broken FrameBACKSTORY: Depeche Mode’s second album finds the band working as a trio following the departure of co-founder Vince Clarke and prior to Alan Wilder becoming a full member.SINGLES: “See You,” “The Meaning of Love,” “Leave in Silence”BAND: Dave Gahan, Martin Gore, Andy FletcherPRODUCER: Depeche Mode and Daniel MillerBUY IT: Amazon.com , iTunes 4. The Clash, Combat RockBACKSTORY: The Clash’s fifth album, originally envisioned as a double LP called Rat Patrol From Fort Bragg, would be the last to feature Mick Jones, who was later fired from the band.SINGLES: “Know Your Rights,” “Should I Stay Or Should I Go,” “Rock the Casbah,” “Straight to Hell”BAND: Joe Strummer, Mick Jones, Paul Simonon, Topper HeadonPRODUCER: The ClashBUY IT: Amazon.com , iTunes 5. Roxy Music, AvalonBACKSTORY: The eighth and final album from Bryan Ferry and Co., a No. 1 hit in the U.K., shows the band’s full transformation from glammy art-rock to smooth, pop-oriented New Wave.SINGLES: “More Than This,” “Avalon,” “Take A Chance With Me”BAND: Bryan Ferry, Andy Mackay, Phil Manzanera, Neil Hubbard, Alan Spenner, Andy NewmarkPRODUCER: Rhett Davies and Roxy MusicBUY IT: Amazon.com , iTunes 6.

Yazoo, Upstairs at Eric’sBACKSTORY: The synthpop debut from Vince Clarke’s post-Depeche Mode project — which was known as Yaz in the U.S. — features the impressive vocal talents of one Alison MoyetSINGLES: “Only You,” “Don’t Go,” “Situation”BAND: Vince Clarke, Alison MoyetPRODUCER: E.C. Radcliffe, YazooBUY IT: Amazon.com (, iTunes 7. INXS, Shabooh ShoobahBACKSTORY: The Aussie rockers’ third studio album proved to be a commercial breakthrough, earning the band’s first global record release and cracking the Billboard charts in the U.S.SINGLES: “The One Thing,” “Don’t Change,” “To Look at You,” “Black and White”BAND: Michael Hutchence, Andrew Farriss, Jon Farriss, Tim Farriss, Garry Gary Beers, Kirk PengillyPRODUCER: Mark OpitzBUY IT: Amazon.com , iTunes 8. Simple Minds, New Gold Dream (81–82–83–84)BACKSTORY: The fifth album from Simple Minds was a commercial turning point for the band, spawning classic singles and earning recognition by many fans as the group’s best work.SINGLES: “Promised You a Miracle,” “Glittering Prize,” “Someone, Somewhere in Summertime”BAND: Jim Kerr, Charlie Burchill, Michael MacNeil, Derek ForbesPRODUCER: Peter WalshBUY IT: Amazon.com , iTunes 9. ABC, The Lexicon of LoveBACKSTORY: The debut from the Martin Fry-led act is considered by many to be a synthpop classic, topping the charts in the U.K. And spinning off hit singles both in the U.K.

And the U.S.SINGLES: “Tears Are Not Enough,” “Poison Arrow,” “The Look of Love,” “All My Heart”BAND: Martin Fry, David Palmer, Stephen Singleton, Mark WhitePRODUCER: Trevor HornBUY IT: Amazon.com , iTunes 10. Siouxsie and the Banshees, A Kiss in the DreamhouseBACKSTORY: The fifth studio album from Siouxsie and the Banshees is the last to feature guitarist John McGeoch, and found the band broadening its sound with strings and other instrumentation.SINGLES: “Slowdive,” “Melt!”BAND: Siouxsie Soiux, Steven Severin, John McGeoch, BudgiePRODUCER: Siouxsie and the BansheesBUY IT: Amazon.com , iTunes 11.

Kate Bush, The Dreaming12. Bauhaus, The Sky’s Gone Out13. The Psychedelic Furs, Forever Now14. Cocteau Twins, Garlands15. XTC, English Settlement16. Peter Gabriel, Peter Gabriel (aka ‘Security’)17. The Beat, Special Beat Service18.

Billy Idol, Billy Idol19. Thomas Dolby, The Golden Age of Wireless20. Adam Ant, Friend or Foe21.

The Go-Go’s, Vacation22. Talk Talk, The Party’s Over23. Elvis Costello and The Attractions, Imperial Bedroom24. Joe Jackson, Night and Day25. Berlin, Pleasure Victim26. The Jam, The Gift27. Devo, O h, No!

X, U nder the Big Black Sun29. A Flock of Seagulls, A Flock of Seagulls30. Modern English, After the Snow31. Ultravox, Quartet32.

Dead Kennedys, Plastic Surgery Disasters33. Oingo Boingo, Nothing to Fear34. Midnight Oil, 10, 9, 8, 7, 6, 5, 4, 3, 2, 135. The Fixx, Shuttered Room36. Stray Cats, Built for Speed37. The Church, The Blurred Crusade38. Front 242, Geography39.

Bad Brains, Bad Brains40. Misfits, Walk Among Us41. The Birthday Party, Junkyard42.

Laurie Anderson, Big Science43. Missing Persons, Spring Session M44. Madness, The Rise & Fall45. Split Enz, Time and Tide46. Haircut One Hundred, Pelican West47. Dexys Midnight Runners, Too-Rye-Ay (TIE)47. Spandau Ballet, Diamond (TIE)49.

Squeeze, Sweets from a Stranger50. Mission of Burma, Vs.51. The Fall, Hex Enduction Hour52. Marshall Crenshaw, Marshall Crenshaw53. Descendants, Milo Goes to College54.

Thompson Twins, Set55. Christian Death, Only Theatre of Pain56. Wall of Voodoo, Call of the West57. Icehouse, Primitive Man58. Men Without Hats, Rhythm of Youth59. Killing Joke, Revelations (TIE)59.

Blondie, The Hunter (TIE)61. The Dream Syndicate, The Days of Wine and Roses62. Associates, Sulk63. Gary Numan, I, Assassin64.

Blancmange, Happy Families65. Gang of Four, Songs of the Free (TIE)65.

Visage, The Anvil (TIE)67. The Lords of the New Church, The Lords of the New Church68. Brian Eno, Ambient 4: On Land69. Lou Reed, The Blue Mask70. Fun Boy Three, Fun Boy Three71. Orange Juice, Rip It Up72. Sparks, Angst in My Pants (TIE)72.

Scritti Politti, Songs to Remember (TIE)74. Virgin Prunes, If I Die, I Die75. The Damned, Strawberries76.

The dB’s, Repercussion77. Circle Jerks, Wild in the Streets77. The Go-Betweens, Send Me a Lullaby (TIE)79.

Fad Gadget, Under the Flag (TIE)80. The Gun Club, Miami81. Fear, The Record (TIE)81. Meat Puppets, Meat Puppets (TIE)83. Kim Wilde, Select84. Cabaret Voltaire, 2×4585. China Crisis, Difficult Shapes & Passive Rhythms, Some People Think It’s Fun to Entertain (TIE)85.

Grace Jones, Living My Life (TIE)87. UB40, UB4488. Flipper, Album -“ Generic Flipper89. Altered Images, Pinky Blue90.

Hunters & Collectors, Hunters & Collectors91. Iggy Pop, Zombie Birdhouse92. Orange Juice, You Can’t Hide Your Love Forever93. Robyn Hitchcock, Groovy Decay94. The Sound, All Fall Down (TIE)94. The Motels, All Four One (TIE)96. Waren Zevon, The Envoy (TIE)96.

The Comsat Angels, Fiction (TIE)98. Bad Religion, How Could Hell Be Any Worse?99. Klaus Nomi, Simple Man100. Toyah, The ChangelingPREVIOUSLY ON SLICING UP EYEBALLS.

OnatA list like this is inevitably going to lead to dispute and I guess should be regarded for entertainment rather than as an endeavour to produce a definitive statement.That said, the Top 10 (largely) makes it clear that the most highly regarded albums are by international ‘brands’ with a wide audience and big fan base. Perhaps a better definition of the list would be ‘most popular’ ‘most listened to’ or even ‘favourite’ albums. Many of the albums further down the list have built up great critical acclaim but have a much smaller audience. OnatThe Sun and the Rainfall was a decent song but the rest of it was pretty mediocre. Leave In Silence, See You and The Meaning of Love are also decent. I don’t fault the band as this was the first one where Martin was writing all of the songs. It was a transitional album to what was coming next.

The Yaz album is fantastic and blows the DM album out of the water. So many great songs on that album. I’ve always said it was the high watermark of Vince Clarke’s career. None of the Erasure albums are better than Upstairs at Eric’s. As for ABC, just the three singles – The Look of Love, Poison Arrow and All of My Heart are way better than anything on A Broken Frame.