Album of the Week 43-2016: Bad Company – Bad Company

Back in the seventies, supergroups sometimes actually were bigger than the sum of their parts. Led Zeppelin could be considered one, but the first band to release an album on their Swan Song label is an even better example. Bad Company combined the talents of Free’s Paul Rodgers (vocals, piano) and Simon Kirke (drums), Mott The Hoople guitarist Mick Ralphs and bassist Boz Burrell, who played on one King Crimson album. Their debut is one of the best albums ever released; practically every track is essential seventies rock with all the riffs and melodies you could wish for. And the album art is iconic.

Maybe this is sacrilege, but as much as I like Free, I have always preferred Bad Company. It’s a matter of performance versus composition. Free had loosely written structures that could be adjusted to the immense improvisational talents of – primarily – their late guitarist Paul Kossoff. Bad Company has tight, concise songs with highly memorable choruses and nice tension and release workings. That doesn’t mean there aren’t any impressive performances; Rodgers is one of the world’s greatest singers and always delivers, while Burrell is one of the very few bass virtuosos whose busy playing works on a bluesy rock record.

Sure, the market was flooded with bluesy hardrock by the time ‘Bad Company’ was released in 1974, but in the midst of excessive, drug-fueled jamming, the quartet brought the genre back to its bare essentials. Armed with a handful of good riffs and a bunch of melodies that will forever stick to the back of your mind, the band recorded a record of which almost every song is still a staple on classic rock stations worldwide. And it makes sense: songs like ‘Can’t Get Enough’ and ‘Movin’ On’ just feel right and have you singing – or at least moving – along during the first spin.

Even more interesting are the moments when the band takes things in a somewhat darker direction. The namesake track is beyond brilliant. From a brooding piano intro, the verses only have the guitar adding atmospheric touches before exploding in the chorus. Rodgers’ vocal is among his most moving performances yet. The same can be said about the subdued, bluesy masterpiece ‘Ready For Love’, which Ralphs took with him from his Mott The Hoople days. ‘Rock Steady’ is fairly straightforward, but has a brilliant, dangerous sounding chorus. And while the album sounds fairly American, the beautiful closer ‘Seagull’ brings the folk of Bad Company’s British home soil to the forefront.

While the original lineup of Bad Company would go on to release more fantastic albums – and even their less impressive records feature a number of mindblowing songs – their debut album is one of those moments where all the stars align and everything sounds just right. Of course it helps to have so much talent in one band, but that alone will not result in a timeless classic that still sounds as fresh today as it must have sounded the day it was release. I’m just assuming there, because I wasn’t born until twelve years after its release. Songwriting as it’s done on ‘Bad Company’ transcends trends and technological development. That’s why it’s still amazing.

Recommended tracks: ‘Bad Company’, ‘Ready For Love’, ‘Seagull’

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