timtirelli

ITALIAN / ENGLISH Questa è forse la deluxe edition che aspettavo con più fervore in assoluto. Lo sapete, è l’album che mi ha reso uomo, ma avendone già ampiamente parlato qui sul blog (il 4 novembre 2013) mi limito a rimandarvi al link di quell’articolo (per quanto riguarda considerazioni relative all’album originale): https://timtirelli.com/2013/11/04/album-dei-ricordi-bad-company-straight-shooter-swan-song-1975-ttttt/  

Straight Shooter – 1975 (2015)

ORIGINAL ALBUM – BC FAN: TTTTT

ORIGINAL ALBUM – CASUAL FAN: TTTT

ORIGINAL ALBUM – TIM TIRELLI: TTTTT+++

 BONUS DISC – BC FAN: TTTTT

BONUS DISC – CASUAL FAN: TTTT

BONUS DISC – TIM TIRELLI: TTTTT+++

PACKAGING: TTTT½

ORIGINAL ARTWORK: TTTTT+++

Come già scritto per il primo album, la cosa fantastica è che per queste riedizioni siano stati coinvolti personaggio di alto lignaggio come JON ASTLEY, RICHARD DIGBY SMITH, HUGH GILMOUR. DAVID CLAYTON, STEVE HAMMONDS. DAVID CLAYTON in particolare lo conosco dagli anni ottanta, fan indefesso, equilibrato, mai domo (ancora oggi pubblica la fanzine FREE APPRECIATION SOCIETY) già curatore delle ristampe dei FREE. Con lui nel direttivo ci si sente tranquilli. Come sappiamo, troppe volte le riedizioni in deluxe edition o cofanetti sono piene di errori, di sviste clamorose, altre volte sono perfettamente inutili (mi riferisco naturalmente ai companion disc dei LZ … quando gli artisti stessi si mettono a supervisionare il tutto è finita. Non hanno la minima idea di come vadano fatte le cose e cosa serve ai fan). Anche in questo caso voglio sottolineare la bontà del libretto allegato, la correttezza delle informazioni e la ricchezza delle liner notes. E’ così che si fa.

Il bonus cd di STRAIGHT SHOOTER è davvero succoso: un paio di inediti, versioni alternative, prime versioni, b-side. Il tutto si apre con GOOD LOVIN’ GONE BAD, la cui backing track è l’ originale ma le perfomance di voce e chitarra sono diverse. Segue FEEL LIKE MAKIN’ LOVE (take before the master), versione chitarra, batteria, basso e voce senza sovraincisioni. Il primo brivido intenso mi arriva con WEEP NO MORE in modalità early slow version. Registrata nel marzo del 1974 (durante le session effettuate addirittura prima che l’album d’esordio fosse pubblicato, session programmate per mettere su nastro nuove idee). Qui il pezzo di SIMON KIRKE si adagia su di un tempo più lento rispetto a quanto poi pubblicato. L’intro d’archi è diversa dal quella uscita in orgine e mi piace un sacco. Preferisco la velocità dell’originale, ma è indubbiamente interessante ascoltare anche questa versione, più oscura e sinistra.

Per SHOOTING STAR (alternate take) vale lo stesso lo stesso discorso fatto per FEEL LIKE MAKIN’ LOVE. Altro momento emozionante per la early take di DEAL WITH THE PREACHER. Registrata anch’essa durante le session della primavera del 1974, la canzone è presentata in maniera piuttosto diversa rispetto all’originale. E’ un prodotto finito, ma con la confezione differente; meno dura, più morbida e, lo sapete che questo collegamento è una mia fissa, uno di quei momenti in cui la BAD COMPANY mi ricorda i LITTLE FEAT. Forse preferisco questa all’originale. Si continua con ANNA dal master originale ma con alternate vocal. Forse meno precisa in certi momenti la performance di PAUL, ma piena di pathos. Si prosegue con una versione live in studio di CALL ON ME. Per chi ama l’epica Rodgersiana che tanto celebro, il finale è da non perdere: più di due minuti di riff pianistico in minore su cui l’arpeggio di RALPHS si innesta a meraviglia.

Di EASY ON MY SOUL ne abbiamo parlato anche durante la recensione della deluxe edition del primo album quindi non voglio ripetermi, ricorderò solo in che questo pezzo dei FREE il gruppo si è cimentato parecchio, sia dal vivo che in studio. Questa è la versione tratta dalle session vere e proprie per il secondo album (autunno del 1974) ed è la versione lunga e un goccio più lenta. Quasi sette minuti di Rock sereno e passionale, con belle prove di BURRELL e RODGERS. RALPHS ci dà di funky. KIRKE è la solita certezza. Molto bella.

WHISKEY BOTTLE proviene dalle session di aprile 1974, ed è più ruvida rispetto a quanto poi pubblicato ufficialmente come lato B di un singolo. RALPHS alla slide guitar. Eccolo poi qui il primo inedito, la prima canzone mai ascoltata: SEE THE SUNLIGHT. Pezzo dal tempo moderato, ballata sostenuta, riflessiva e a tratti psichedelica. Di nuovo RALPHS alla slide guitar. Bel pezzo.  ALL NIGHT LONG è l’altro inedito. Già dal titolo si capisce che è un Rock di maniera. L’intro ricorda quello di GOOD LOVIN’ GONE BAD, mentre lo sviluppo del pezzo è simile ad episodi che appariranno sul terzo album (SWEET LIL’ SISTER e HONEY CHILD). Nulla di sconvolgente, ma un inedito degli anni settanta della BAD CO per me è comunque un avvenimento.

Si prosegue con WILD FIRE WOMAN alternate vocal and guitar, la backing track originale con voce e chitarra diverse. E’ sempre un piacere riascoltare questo bel pezzo. Nel finale la slide guitar non è efficace come nell’originale. Al tempo fu realizzato un mix alternativo di FEEL LIKE MAKIN’ LOVE con l’armonica al posto del breve assolo di RALPHS nel pezzo centrale che accompagnasse il filmato promo. Quel mix non è stato trovato durante le ricerche dei nastri per questa nuova edizione, così è stato fatto un nuovo mix cercando di ricreare quella versione.

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Il tutto si chiude con la versione originale di WHISKEY BOTTLE, apparso come lato B del singolo GOOD LOVIN’ GONE BAD. Di nuovo la BAD CO che mi ricorda i LITTLE FEAT, che volete farci, ormai sono fissato.

Sull’ultimo numero della sua fanzine CLAYTON ci fa sapere che ci sarebbero dovuti essere altri due pezzi, brani su cui RODGERS ha messo il veto.

Una WILD FIRE WOMAN in versione work in progress, con ancora un bel po’ di improvvisazione e HIGHWAY ROBBER, un inedito che segue in qualche modo il tema del pezzo BAD COMPANY.

Mi spiace molto non avere l’occasione di ascoltare un’altro inedito della mia amatissima BAD COMPANY ma purtroppo non sono il proprietario della WARNER così mi tocca accettare il volere di una delle mie Rockstar preferite.

Concludendo un bonus disc superbo e quindi una deluxe edition da avere a tutti costi. Thanks goodness for DAVID CLAYTON!

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(broken) ENGLISH        

 The deluxe edition of STRAIGHT SHOOTER is probably the one I was waiting with more fervor ever. You know, it is the album that made a man out of me, but having already widely spoken here on the blog (on 4 November 2013), I just copy here what I wrote back then:

ORIGINAL ALBUM (nov 2013 reflections)

Last sighs of the seventies, I’m a teenager, I have already discovered LED ZEPPELIN, FREE, ELP, JOHNNY WINTER, SANTANA and some other rock bands that make me dizzy. There is no internet, no youtube, no shit, just CIAO 2001 (italian Rock mag) and little else. But a I am fan on the prowl, determined and stubborn, now that I’ve discovered it, ROCK is all that matters to me; I track down news, newspaper clippings, photos, few books… FREE, LED ZEPPELIN, SWAN SONG, therefore BAD COMPANY. It’s september, one of those warm Emilian september just right for a young man of blues. The future seems full of light, infinite possibilities, life fraught with surprises.

Saturday, I sling to Peecker Sound (a big record shop in FORMIGINE), next to the legendary disco PICCHIO ROSSO. The Peecker is probably the record store par excellence in the Modena province: big, full of shelves, self service, no one who annoys you with the phrase “can I help you?“. In there we pass entire afternoons. Letter B: BAD COMPANY. The cover with the dices is the one that attracts me immediately … printed in USA … fuck, great!  The SWAN SONG label, special thanks to PETER GRANT, sleeve by Hipgnosis … STRAIT SCIUTER (italian spelling) you are mine. I come back in ole NONANTOLA, I get in the house, my parents are not at home, I’m alone, I put the record on the turntable … first piece GOOD LOVING GONE BAD. Bang, a sort of immediate imprinting, a jolt of testosterone, an indelible mark on the soul. This is a MICK RALPHS song, I understand he is the guitar player. Fine workmanship Hard Rock, highly effective sounds, wonderful drumming, a voice you hear vibrate in the stomach, and MICK RALPHS, no other than him, on guitar. A zabaglione of hyperbole for my young soul. STRAIGHT SHOOTER means “frank and sincere person” but there is a pun because the image of the dice on the cover (thank you BMcQ): to shoot craps in fact means rolling the dice, throw the dice. However, I realize that MICK RALPHS  is no JIMMY PAGE, but his guitar playing is just as frank and sincere as to be, for me, irresistible. Granitic hard rock in A and D, then a slow section where RODGERS sings

Cuz I’m a man I got my pride I do not need no woman to hurt me inside I need love Like any other

So go on and leave me Leave me for another

The pace then resumes and on the break PAUL singing Cuz ‘Baby I’m a bad man, oh hsweet satan how much strength he gave me with that silly little phrase …

Good! Lovin ‘gone bad Good! Lovin ‘gone bad Good lovin gone bad I’m a sad man

Don’t stand my way Cuz ‘Baby I’m a bad man

I am known as fan of LED ZEPPELIN, and also a FREE and ELP phreak, but ultimately perhaps the group that I love most is BAD COMPANY, and thanks to the first track, STRAIGHT SHOOTER is probably my all time fave album. I fully understand that BAD CO is not certainly the most important group in the history of Rock, I know that in a clumsy way we can say that it is nothing more than the arena/stadium version of FREE, but that genuine, simple and direct hardrock goes straight to my theart with a disarming ease. It is no coincidence that my band is called CATTIVA COMPAGNIA (Bad Company in Italian), if the songs I write are somehow put down with a similar method and that I feel I’m a guitarist more in the MICK RALPHS type than in the JIMMY PAGE one, if the musical partner I have always tried to find (in vain) is a kind of an Emilian PAUL RODGERS.

Objectively I think STRAIGHT SHOOTER is a good hard rock album, but having become so important as a chapter of my life, for me it is the best hard rock album ever. FEEL LIKE MAKIN ‘LOVE was the second single from the album, he reached the top ten American. Today I no longer listen to it, but then I thought it was really cute. Acoustic ballad with the chorus full of distorted guitars and maybe too much saccharine in the lyrics. WEEP NO MORE is one of the few songs written by Simon KIRKE that are on the original BAD COMPANY records. String section intro and bluesy gait to follow. All very enjoyable. SHOOTING STAR is one of the other hits of the album, the same formula as FEEL LIKE MAKIN ‘LOVE. Pleasant reflection albeit a bit ‘rhetorical about the tragic death of young rock stars. Looking back at the photos on the inner sleeve I remember  how I identify myself with the part … I imagined to be a part of them, or a band like them, on tour in the American midwest in the mid-seventies … Images that go perfectly with DEAL WITH THE PREACHER and WILD FIRE WOMAN, two excellent examples of English Hard Rock that tells stories of the life on the road of a Rock band in America. The superb vocals performances of RODGERS, the linear and inspired guitar playing of RALPHS, the down precise and never over the top Boz Burrel bass patterns, the elegantly rock drumming of SIMON KIRKE, oh boy what a band ! The slide guitar of WILD FIRE WOMAN smells of southern United States, it smells of travel undertaken to meet a beautiful woman across the borderline with Mexico. I found and I still find irresistible the final part whenPAUL RODGERS sings

I start to shiver and shake I just can not wait, I start to shiver and shake I just can not wait, I start to shiver and shake I, Lordy, I just can not wait Driving down the highway, yeah Wow Oh baby, take a good loving to keep me driving all night I’m a-driving all night, oh yeah

Then, when at the 4:18 minute MICK RALPHS gets into action with the slide guitar I feel I’m heading for the promised land too …

Straight on down the highway Straight on down the highway Wow, straight on down the highway, yeah

ANNA, written by Simon Kirke, comes from the 1972 album KOSSOFF KIRKE TESTU AND RABBIT, it was recorded after the first dissolution of FREE. Gentle, slow, sung with pathos by RODGERS, ANNA settles down without problems in STRAIGHT SHOOTER. CALL ON ME is the album conclusion, a medium tempo track, with some of the epic moment typical of RODGERS, with a coda that takes you in the fields of fog and mist you have inside you, where you go to meet your fate, the rising sun, the new day.

Do not worry about the rain, baby I’ll keep you dry I’ll keep you warm inside And satisfied

Do not worry about the rain I’ll keep you dry, I’ll keep you dry Call on me, baby, call on me, baby

Registered in September (october) 1974 and published in April 1975, STRAIGHT SHOOTER reached number 3 of the American chart, selling to date 3 million copies. This is “my album”, the one that made a man out of me as I told you before, it’s sincere, genuine, frank and sparkling just like Lambrusco wine. Oh, almighty cosmic void what a terrific album you made me find along the way! … and now everyone in the Abbey of Thelema to praise the guitarist, because IN RALPHS MICK WE TRUST.

BONUS DISC:

As written for the first album, the great thing is that for these reissues names of high lineage were involved, such as JON ASTLEY, RICHARD DIGBY SMITH, HUGH GILMOUR. DAVID CLAYTON, STEVE HAMMONDS. I know DAVID CLAYTON since the eighties, indefatigable, balanced, sharp (and he still runs the FREE APPRECIATION SOCIETY fanzine), former curator of FREE reissues. With him on the board you feel safe. As we know, too many times deluxe edition reissues or box sets are full of mistakes and incredible oversights, or sometimes they are completely useless (I refer of course to the companion discs of LZ … when the artists themself start overseeing it you know that it’s goin’ down the toilet. They do not have the slightest idea of how things should be done and what is the fan need). Again I want to emphasize how good the accompanying booklet is, the correctness of the information and the richness of the liner notes. That’s the way!

The STRAIGHT SHOOTER bonus cd is really juicy: a couple of unreleased tracks, alternate versions, early versions, b-side. It all starts with GOOD LOVIN ‘GONE BAD, whose backing track is the original but the performances of voice and guitar are different. FEEL LIKE MAKIN ‘LOVE (take before the master) follows, it’s a guitar, drums, bass and vocals with no overdubs version. I got the first intense thrill thanks to WEEP NO MORE early slow version. This take was recorded in March 1974 (during the sessions made even before their debut album was released, sessions planned to put new ideas on tape). The SIMON KIRKE song lies on a slower tempo here. The intro with the string section is different than the original and I like a lot. I prefer the original speed but it is certainly interesting to hear this version, with this darker and sinister vibe. For SHOOTING STAR (alternate take) is valid the same argument made for FEEL LIKE MAKIN ‘LOVE.

Another exciting moment for me is the early take of DEAL WITH THE PREACHER. This was also recorded during the sessions of the spring of 1974; the song is presented quite differently. It’s a finished product but with a diverse package; it’s softer, more supple and, you know that this is one of my obsession, one of those moments when BAD COMPANY reminds me of LITTLE FEAT. Maybe I prefer this to the original. The bonus material continues with the original master ANNA but with alternating vocal. Perhaps less precise at times is the performance of PAUL, but it is full of pathos. Then we have a live in the studio version of CALL ON ME. For those who love the ‘Rodgers’ epic that so often I celebrate, the ending is not to be missed: more than two minutes of the piano riff in minor on which the arpeggio RALPHS engages very well. We discussed EASY ON MY SOUL during the review of the deluxe edition of the first album so I will not repeat myself, I just tell you that BAD CO experimented a lot with this FREE number both live and in the studio. This comes from the sessions actually done for the second album ( autumn of 1974) and it is a longer (and a bit slower) version. Nearly seven minutes of serene and passionate Rock, with beautiful work of BURRELL and RODGERS. RALPHS goes funky and KIRKE does his job with his usual skills. Very beautiful.

WHISKEY BOTTLE comes from the session of April 1974 and it is rougher than the officially released track as the B side of a single. RALPHS on slide guitar. Then we have the first song we have never heard to date: SEE THE SUNLIGHT. Its a moderate tempo ballad, thoughtful and sometimes psychedelic. RALPHS again on slide guitar. Nice piece. ALL NIGHT LONG is the other novelty. From the title you know it’s mannerism Rock. The intro is reminiscent of GOOD LOVIN ‘GONE BAD, while the development of the piece is similar to stuff that will appear on the third album (SWEET LIL’ SISTER and HONEY CHILD). Nothing shocking then, but an inedit from the seventies of BAD CO it is still a gas for me.

The disc continues with WILD FIRE WOMAN alternate vocal and guitar, aka the original backing track with different vocal and guitar. It’s always a pleasure to listen to this beautiful piece. In the finale the slide guitar part it is not as effective as the original. During that time in studio it was made an alternate mix of FEEL LIKE MAKIN ‘LOVE with the harmonica instead of the short MiCK RALPHS solo in the middle section (this was used for the 1975 promo video). That mix was not found during the researches of the tapes for this new edition, so RICHARD DIGBY SMITH did a new mix trying to recreate that version. The last track is the original version of WHISKEY BOTTLE; it appeared as the B-side of single GOOD LOVIN ‘GONE BAD. Again, here BAD CO reminds me of LITTLE FEAT …  what can I do, I am an old man with a bee in my bonnet.

In the latest issue of his fanzine, CLAYTON informs us that there should have been two other pieces, songs on which RODGERS has vetoed. A WILD FIRE WOMAN work in progress take, with quite a lot of improvisation and HIGHWAY ROBBER, an unpublished song create in some way on the theme of the song BAD COMPANY. I am very sorry not to have the opportunity to hear another novelty of my beloved BAD COMPANY but unfortunately I am not the owner of WARNER so I have to accept the will of one of my favorite Rockstar. So this is a superb bonus disc and then this deluxe edition is a must. Thanks goodness for DAVID CLAYTON!

ITALIAN / ENGLISH

Ero convinto che il 2014 e il 2015 sarebbero stati gli anni delle deluxe edition dei LED ZEPPELIN, che nulla avrebbe potuto distogliere la mia attenzione totale dalle nuove ristampe con bonus del mio gruppo preferito e invece, col pessimo lavoro fatto da JIMMY PAGE, i veri avvenimenti  nel campo reissues sono per me diventate le deluxe edition dei primi due album della mia amata BAD COMPANY (e a dire il vero anche di DEATH WISH II°, edizione di cui parleremo a breve).

E’ questo il modo di fare le deluxe edition: nuovo remaster del disco originale su un dischetto, materiale bonus raggruppato su un dischetto apposito contenente tutto quanto di significativo relativo alle session in questione, un booklet a cura di un fan/studioso (in questo caso il grande DAVID CLAYTON) con le giuste riflessioni con credit e dati corretti e infine un prezzo accessibile a tutti. JIMMY PAGE dovrebbe imparare.

Bad Company – 1974 (2015)

ORIGINAL ALBUM – BC FAN: TTTTT+

ORIGINAL ALBUM – CASUAL FAN: TTTTT

ORIGINAL ALBUM – TIM TIRELLI: TTTTT

 BONUS DISC – BC FAN: TTTT

BONUS DISC – CASUAL FAN: TTT½

BONUS DISC – TIM TIRELLI: TTTTT+

PACKAGING: TTTT½

ORIGINAL ARTWORK: TTTTT

Siamo nel 1971, i FREE si sono sciolti, PAUL RODGERS forma i PEACE con i quali fa da supporto ad alcuni concerti dei MOTT THE HOOPLE. Nel backstage PAUL incontra MICK RALPHS, chitarrista dei MOTT. MICK è frustrato, IAN HUNTER si rifiuta di cantare un paio di suoi pezzi (CAN’T GET ENOUGH e MOVINì ON) perchè non crede di essere adatto a quel tipo di canzoni. MICK e PAUL iniziano ad ipotizzare una collaborazione. I FREE poi si rimettono insieme, i MOTT all’improvviso hanno successo così il tutto viene rimandato fino all’estate del 1973 quando i due finalmente si ritrovano; a loro si aggiunge SIMON KIRKE e, dopo lunghe audizioni, anche BOZ BURRELL. RODGERS stavolta non vuole problemi, esige una management di alto livello e chiama PETER GRANT. Si danno appuntamento in una stanza che funge da sala prove ad Albury, Guilford. E’ il 4 settembre del 1973. La band suona mentre aspetta GRANT, ma il possente manager dei LZ non si vede. Si fa vivo dopo averli ascoltati per un bel pezzo di nascosto fuori dall’edificio. “Mi piace quello che ho sentito. Qui la mano”.

Novembre 1973, i LZ stanno iniziando le registrazioni per PHYSICAL GRAFFITI, ma c’è un problema con JONES: si ammala o sta ancora decidendo se lasciare il gruppo oppure no, di preciso non si sa. GRANT ha già prenotato HEADLEY GRANGE e il RONNIE LANE MOBILE STUDIO, così chiede a RODGERS di approfittare della cosa.

In un paio di settimane la BAD COMPANY (nome preso dal titolo dell’omonimo film del 1972 con JEFF BRIDGES) registra i pezzi che finiranno sul primo album. Sono tutte canzoni registrate in diretta, abbellite con overdubs in un secondo momento. In aprile 1974 la band parte per un primo tour in UK (dopo qualche warm up gig in Germania) e, sebbene l’album non sia ancora uscito, è un trionfo. Poco dopo partono per gli USA dove fanno da supporto a gente tipo EDGAR WINTER, SANTANA, ZZ TOP. In maggio esce il singolo CAN’T GET ENOUGH, nello stesso mese l’album in UK e in giugno negli USA. BAD CO diventa disco d’argento in Britannia e d’oro in America, dove ad oggi ha venduto cinque milioni di copie.

La formula della BAD COMPANY è chiara: belle e semplici canzoni Rock, suonate con eleganza, passione e senza tanti fronzoli. Un misto di Hard Rock, Blues e soul da brividi. Quattro i pezzi trainanti: CAN’T GET ENOUGH, MOVIN’ ON e READY FOR LOVE (già pubblicata nel 1972 dai MOTT THE HOOPLE) di RALPHS e BAD COMPANY di RODGERS & KIRKE. Rock felice e spensierato e ballate struggenti e appassionate.

Col pezzo BAD COMPANY RODGERS mette su tela in maniera definitiva l’epica per cui è famoso. Molto belli pure un altro paio di momenti lenti, DON’T LET ME DOWN e THE WAY I CHOOSE. Un po’ retorico il quadretto di SEAGULL, Rodgers con la chitarra acustica che parla di gabbiani, è un pelo statica (ma comunque godibile) ROCK STEADY.

Molto interessante il CD 2 contenente materiale bonus, nonostante il fatto che non ci siano inediti (ma non esistono pezzi in più relativi alle session del 1973). C’è una CAN’T GET ENOUGH un po’ misteriosa, come lo stesso DAVID CLAYTON (eminenza mondiale in campo FREE e BAD CO) fa notare. La data riportata sul nastro indica giugno 1974 (l’album uscì in maggio) così è probabile ci siano incongruenze, ma ad ogni modo è una gran versione live in studio (con gli assoli sovraincisi). Tocca poi a LITTLE MISS FORTUNE (tratta dai nastri demo), brano a firma RALPHS/RODGERS che uscì a suo tempo solo come side B del singolo CAN’T GET ENOGH. Ottima versione alternativa suonata dal vivo nello studio senza pianoforte, con RODGERS alla chitarra ritmica suonata attraverso l’effetto Leslie e con RALPHS addetto ai ricami e all’assolo. THE WAY I CHOOSE proviene ancora dai nastri demo, dunque versione precedente alle sessioni ufficiali fatte per il disco; il tutto è piuttosto spoglio, ma non privo di fascino. Con questo arrangiamento sembra proprio una ballata soul. Lungo assolo di MICK sulla coda finale. In alcune parti mi sembra pericolosamente vicina a LOVE ME SOMEBODY, brano che apparirà sul terzo album RUN WITH THE PACK.

E’ vero, non ci sono inediti in questo materiale aggiuntivo, ma sin da qui è facile capire che le versione alternative sono davvero alternative e, se sei un fan, molto, molto interessanti. BAD COMPANY proviene dai nastri delle session vere e proprie del novembre 1973, ed è suonata a tre, senza MICK RALPHS. Deve essere uno dei primi serie tentativi. Bello sentire PAUL che nel finale dice (riferito a KIRKE): “Simo, il tempo che stavi tenendo…è quello giusto” (“Si… You know that beat you were just doing. That’s the one…“).

Segue una seconda THE WAY I CHOOSE, con tanto di falsa partenza, cantata da RODGERS un’ottava sopra. E’ intrigante per un fan capire come si sono evolute certe canzoni. EASY ON MY SOUL è un pezzo che in origine apparve sull’album HEARTBREAKER(1973) dei FREE. La BAD COMPANY ne registrò una sua versione quando nel novembre del 1974 iniziò a registrare i pezzi per il secondo album (STRAIGHT SHOOTER) che però finì – in formato single edit –  sul lato b del singolo Usa MOVIN’ ON. Questo è un nuovo mix che presenta per la prima volta la versione completa, il cui finale è davvero tutto da scoprire.

Dai session reel di nuovo BAD COMPANY in forma ormai definitiva, secondo DAVID CLAYTON questa è la versione immediatamente precedente a quella poi finita sull’album. Il disegno ritmico di RALPHS però è un poco diverso dall’originale. SUPERSTAR WOMAN era un inedito pubblicato – con un missaggio diverso da questo –  per la prima volta sulla Original BAD COMPANY Anthology del 1999. Questo è il secondo mix presente sul nastro ed è relativo alla versione completa.

Seguono i single-edit originali di CAN’T GET ENOUGH, LITTLE MISS FORTUNE e EASY ON MY SOUL. Nulla di nuovo quindi, ma fa piacere avere tutto il possibile su un unico dischetto. Una delle zavorre mentali che mi porto dietro da decenni è quella che mi fa “sentire” i LITTLE FEAT quando ascolto certe cose dalla BAD COMPANY. LITTLE MISS FORTUNE è una di queste.C hiude il materiale bonus il mix di  CAN’T GET ENOUGH con l’aggiunta dell’organo Hammond. Divertente, soprattutto nel ritornello.

Una bellissima ristampa dunque, che risolve una volta per tutte gli errori riportati più volte nelle edizioni precedenti per quanto concerne l’artwork e le liner notes. Finalmente un lavoro fatto come si deve grazie a JOHN ASTLEY, RICHARD DIGBY SMITH, DAVID CLAYTON e tutto lo staff coinvolto. Da grandissimo fan della BAD COMPANY a loro la mia eterna gratitudine.

Consiglio dunque a tutti i lettori di questo blog l’acquisto delle deluxe edition dei primi due album della BC (di STRAIGHT SHOOTER parleremo a giorni), per il sottoscritto sono così fondamentali che ho minacciato di rompere l’amicizia con alcuni miei amici in caso di mancato acquisto. Baaaad , Baaaad Company ‘til the day I die!

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(broken) ENGLISH

I was convinced that 2014 and 2015 were the years of the deluxe edition of LED ZEPPELIN, that nothing could divert my total attention from the new reissues with bonus material of my favorite band, and instead, thank to the poor job done by JIMMY PAGE, the real events in reissue matters have become for me the deluxe editions of the first two albums of my beloved BAD COMPANY (and indeed even DEATH WISH II, edition of which will be discussed shortly).

This is the way of doing deluxe edition: new remaster of the original album on a disc, bonus material gathered on a separate disc and containing everything of significance concerning the session in question, a booklet wriitten by a dedicated fan (in this case DAVID CLAYTON the great) with the right sleeve notes-credits–correct data and finally an affordable price. JIMMY PAGE should learn.

We are in 1971, the FREE disbanded, PAUL RODGERS forms PEACE, a trio that becomes the opening act of  some MOTT THE HOOPLE concerts. PAUL meets  MICK RALPHS during the time they spend together backstage. MICK is frustrated, IAN HUNTER refuses to sing a couple of his pieces (CAN’T GET ENOUGH and MOVIN’ ON) because he believes his voice is not suitable for the kind of songs. PAUL and MICK begin to suppose a collaboration. Then FREE get together again, MOTT suddenly succeed so everything is set aside until the summer of 1973 when the two finally get together; Simon KIRKE jumps on the ship and after lengthy audition, BOZ BURRELL does the same. RODGERS does not want problems this time, he requires a management of high level, so he calles PETER GRANT. They meet in a room that serves as a rehearsal room in Albury, Guilford. It’s september 4, 1973. The band play while waiting for Grant, but the powerful manager of LZ seems to be late. He finally appears after listening the band for a while secretly out of the building. “I like what I hear. Let’s shake-hands.”

November 1973, LZ are starting the recordings for PHYSICAL GRAFFITI, but there is a problem with JONES: he gets ill or he is still deciding whether to leave the group or not. GRANT has already booked HEADLEY GRANGE and the RONNIE LANE MOBILE STUDIO, so he asks RODGERS to take advantage of it.

In a few weeks the BAD COMPANY (name taken from the title of the 1972 film  with JEFF BRIDGES) records the pieces that will end on the first album. All songs are recorded live, embellished with overdubs later. In April 1974 the band goes on a first tour in the UK (after  warm-up gigs in Germany), and although the album is not out yet, it is a triumph. Shortly after they leave for the US where they open shows fot people like EDGAR WINTER, SANTANA, ZZ TOP. In May, the new single CAN’T GET ENOUGH is out, in the same month the album see the light inUK and in June in the USA. It Becomes silver disc in Britain and gold in America, where to date it has sold five million copies.

The formula of BAD COMPANY is clear: beautiful and simple Rock songs  played with elegance, passion and no frills. A mixture of Hard Rock, blues and soul. Four songs lead the way: CAN’t GET ENOUGH, MOVIN ‘ON and READY FOR LOVE (already published in 1972 by MOTT THE HOOPLE) writtenby RALPHS and BAD COMPANY a RODGERS /KIRKE composition. Happy and and carefree Rock numbers and poignant and passionate ballads.

With the song BAD COMPANY RODGERS puts on canvas permanently his epic feel for which he is famous. DON’T LET ME DOWN and THE WAY I CHOOSE are also two great slow moments. SEAGULL is a bit rhetorical, Rodgers with acoustic guitar who sings about seagulls, ROCK STEADY is a bit static but after all it rocks anyway.

The bonus material CD is very interesting, despite the fact that there are not inedits (no abundance in the 1973 sessions). There is a CAN’T GET ENOUGH that is a bit mystery, as DAVID CLAYTON (world eminence in the FREE and BAD CO field) points out. The date on the tape says June 1974 (but the album was released in May) so it’s likely there are inconsistencies, but either way it is a great live version in the studio (with overdubbed solos). Then it comes LITTLE MISS FORTUNE (taken from demo reel), a piece by RALPHS / RODGERS that came out at the time only as B side of the single CAN’T GET ENOUGH. It’s a excellent alternative take played live in the studio without piano, with RODGERS on rhythm guitar played thru’ a Leslie effect and with RALPHS decorating the song. THE WAY I CHOOSE comes from demo reel too; everything is rather bare, but not without charm. With this arrangement it looks like a soul ballad.  Long solo by MICK on the coda. In some parts it seems dangerously close to LOVE ME SOMEBODY, a song that will appear on the third album RUN WITH THE PACK.

It ‘s true, there may be no inedits in this additional material, but it is easy to understand even at the beginning of the cd that the alternative versions are really alternative and, if you’re a fan, very, very interesting. BAD COMPANY comes from the tapes of the actual session of November 1973, and it played as a trio, without MICK RALPHS. It must be one of the first serious attempts. It’s nice to hear PAUL after the song end (referring to KIRKE): “Si… You know that beat you were just doing. That’s the one…”.

A second THE WAY I CHOOSE follows, complete with a false start, RODGERS sings it an octave higher. It’s intriguing for a fan to understand how certain songs evolved. EASY ON MY SOUL is a piece that originally appeared on the album HEARTBREAKER (1973) by FREE. BAD COMPANY recorded a version in November of 1974 when they began recording songs for the second album (STRAIGHT SHOOTER) but it ended up – in single edit format – as b-side of the american single  MOVIN ‘ON. This is a new mix which presents for the first time the full version of the song, the passion showed at the end is really worth discovering.

From the session reel it comes again the song BAD COMPANY, according to DAVID CLAYTON this is the version immediately preceding the one of the finished album. The rhythmic pattern of RALPHS however, is a bit different from the original. SUPERSTAR WOMAN is a track published – with a mix different from this – for the free time on the Original BAD COMPANY Anthology in 1999. This is the second mix on the reel and it features the full version of the the piece.

Then we have CAN’T GET ENOUGH, LITTLE MISS FORTUNE and EASY ON MY SOUL in their single-edit form. Nothing new then, but it’s nice to have everything possible on a single disc. A mental ballast which I carry around for decades is  the one that makes me hear LITTLE FEAT when listening certain things from BAD COMPANY. LITTLE MISS FORTUNE is one of those. CAN’T GET ENOUGH with the addition of the Hammond organ closes this bonus bonanza. Fun, especially in the chorus.

A beautiful reissue therefore, that solves once and for all the errors mentioned several times in previous years editions regarding the artwork and liner notes. Finally a work properly done thanks to JOHN ASTLEY, DIGBY RICHARD SMITH, DAVID CLAYTON and all the staff involved. Being a huge fan of BAD COMPANY they have my eternal gratitude.

I recommend therefore to all the readers of this blog the purchase of the deluxe editions of BC first two albums (we will talk STRAIGHT SHOOTER soon), for myself  they are so fundamental that I threatened to break the friendship with some of my friends in case they don’t buy them.

Baaaad, Baaaad Company ‘til the day I die!