ARTICLE ABOUT Budgie FROM SOUNDS, April 20, 1974

As winter solstice is here again, I give you this article with one of those bands that had a lot of musical output, and worked hard without ever really breaking it big in the same way other contemporary bands did. Why some succeed and others fall by the wayside is due to a lot of factors – good or bad luck is sometimes all the difference there is. Thanks to Metallica, many modern rock fans know who this band were, and I guess they finally found a sort of fame because of that. Now, if only someone really big could do the same for Lips & co. in Anvil, the world would be a better place.


Budgie: the support is getting stronger

By Pete Makowski

Budgie – heavy metal veterans – are what could be classed as one of yer working class bands. They`ve been smoothly coasting along, steadily building a strong core of followers since the release of their first album around four years ago.
They are nowhere as rich as bands like Black Sabbath and Led Zeppelin, but they are regarded the same in terms of energy and respected equally by their fans.
The band have recently completed recording their new album “In For The Kill” which is the first with their new drummer Peter Boot. They were looking worse for wear when I spoke to them, and when we attempted to play their album on a dire stereo system with speakers that looked and sounded like egg cartons they looked even worse: “Oh fucking hell”, moaned guitarist Tony Bourge, face buried in hands, “It can`t sound like this.”
The band have just returned from Spain and have recently been spreading their wings, if you`ll excuse the pun, across the water: “We`ve been going down well in Europe, we even had a number one in Lebanon!”, said bassist Burke Shelley: “We`re going to Germany tomorrow to do three nights at the Zoom Club.”
“Zoom Club” happens to be the title of the band`s forthcoming single, a cut down version of a track on the album. One interesting feature of the album is that the cover won`t be by Roger Dean whose illustrations have become a virtual trademark for the band. “It`s not good if you become too heavily associated with one thing, you know people associate Dean with us, Yes and Greenslade.”

Peter Bott is quite a novice to the trade: he`s played in few local bands so Budgie was quite a step forward for him. The band were originally going to use him as a “fill” until they could rehearse some other drummers who had applied for the job. But soon enough they realized that Pete was breaking in well, and they didn`t have time to rehearse anyone else. “We haven`t had any time to really sit down and relax. We`ve got a British and European tour in front of us. America is on the list as well.
“When we first started off we were playing anywhere just to get our name around. But then business gets involved and now we have to promote ourselves all over the place.”
Although the band are growing in popularity, they haven`t reached any definite peak. “I think every band hopes the next album will be their big break,” said Tony. “We make a living, enjoy what we`re doing and accept the position we`re in. If it gets any better, then it gets better. The support`s getting stronger all the time but if you get hopes up too much you could get disappointed in the end. I think we were like that when we brought our first album out – it kinda hits you, but then you begin to settle down.”
Of course their forthcoming tour of the States could put them in the big league, but they don`t want to rush it. “We want some assurance of security when we go over there”, said Burke, “we don`t like the idea of being bundled into any gig, it`s an expensive business.”
Budgie are the last band to be associated with hype so I asked Burke how he felt about the overnight wonders that have been cropping up recently. “Oh you mean bands like Queen, they`re kept in the lap of luxury so they can just go in and record whatever they want when ever they want.”


Does that kind of pampering make Burke feel bitter? “Oh no! I wouldn`t mind if someone came to us and offered us an opportunity to spend a few months recording with wages. But if you get into this kind of self-indulgence, apathy can set in.” “It also can work the other way”, interjected Tony. “A band can take only so much. Like in the early days we would travel around in a bum van, we had bum equipment, we slept in the van on a freezing cold night. You have a certain amount of get-up-and-go in you when you first start, but as you go along your resistance begins to break down.”
“We must be getting old”, continued Burke. “I couldn`t do that now. But that`s because we`ve had six and a half years of it. But when you think of bands like Queen and Roxy Music, those bands seem to have appeared from nowhere with a nice album, with nice gear, a tour – they`ve got nothing to improve on. It doesn`t make me bitter but I just wonder if they`re really as good as they could be. Maybe they need to go through all the hard grind.”
“Both those bands Burke mentioned are good, they`ve made good albums,” said Tony, “but they had the money and that helped a lot.”
The band`s present album has been a bit of a rush job, and I asked Burke if they`d like to spend more time on the next one. “We won`t be able to, and I don`t particularly want to. You know Rory Gallagher goes in the studio and within 24 hours he`s got an album. He`s after one sound, one take, bugger the mistakes. I like to rehearse well, then go into the studio do one take, no farting about, because you seem to get a certain feel, like when you go on stage. That`s the only way to do it.”


I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Procol Harum, King Crimson, Dr. Hook, Casablanca, Carol Grimes, Strawbs, Nektar, Ann Peebles, Graham Nash, Ace, Lesley Duncan, Rick Wakeman.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.


ARTICLE ABOUT Budgie FROM SOUNDS, October 16, 1971

I guess this must be one of the earliest articles written about this band as their first album was released in June the same year.
It is easy to forget that this band, in their most active years between 1971 and 1982 released a total of 10 studio albums. That is quite impressive, and they are, even without a lot of sales success, a part of heavy metal history forever.


Budgie – freaking good band

By Tom Sutton

Rodger Bain was taking a chance and being very honest when he wrote in the sleeve note of Budgie`s first album:
“They aren`t the world`s greatest composers, they`re not particularly subtle, they`re not progressive (whatever you understand that to mean) – they are a rock band, a freaking good rock band.”
Bain, whose involvement with heavy music began as producer of Black Sabbath, presumably felt compelled to defend Budgie in advance from the inevitable tag of “just another heavy band”. In fact, this Cardiff trio`s album, issued in July, drew a generally favourable reaction from the critics. Variously described as “good nasty, heavy rock” and “unpretentious rock a la Zeppelin”, it has been selling well, too, according to bass player and vocalist Burke Shelley.
Shelley, who formed the group with drummer Ray Philips following their meeting in a Cardiff music shop three years ago, feels strongly that the public still want to hear heavy groups and has no time for those dee-jays and writers who reject perfunctorily all bands who still use plenty of decibels.


“What people want and what the press and radio think the public want are often two entirely different things,” Burke continued. “Without a doubt, just by record sales and packed concerts, it`s obvious that groups of the Black Sabbath or Deep Purple variety have a huge public following.”
Burke, Ray and lead guitarist Tony Bourge confess to aiming to sell excitement in their stage act, and they do it by means of thundering, riff-laden numbers with such irreverent titles as “Nude Disintegrating Parachutist Woman”, Homicidal Suicidal” and “Guts”. Their next album will go even further, with a crudely titled track “Hot As A Docker`s Armpit”.
Their first album contained two brief snatches of acoustic numbers, breathily sung by Burke. Were they planning to extend their repertoire in this direction at the expense of their rock numbers?
Burke countered: “We don`t have any preconceived ideas about continuing to play heavy, but we`ll only play what we feel like playing and I suspect that it would never be entirely acoustic. Playing good rocking music – that`s what we`ll always like best.”
Budgie`s album was recorded back in February at the fashionable Rockfield studio in the rural depths of Wales. The freedom it afforded helped, says Burke, to create a relaxed mood at the sessions. “The studio is booked by the day rather than the hour, there`s no clock in it, and you can begin and end a day`s session when you like. Everything is so amazingly casual.”
As is evident from the resulting album, Rockfield is an ideal studio for a tough rock sound and the group will be returning there to cut their second album in late November.


In South Wales, Budgie have long had a strong following, and until shortly before the release of their album they had not ventured far out of Wales for gigs. In recent weeks they have begun working far more extensively throughout Britain and, says Burke, now feel that they are promoting their album simply by regular appearances.
The truth is that Budgie`s album has made a sizeable impact without the inbuilt promotional aid of a packed date sheet. The biggest single factor in its success, they feel, has been the wholehearted support of Luxembourg dee-jay Kid Jensen, who seems to like “adopting” new and otherwise under-exposed groups.
At the beginning of November they go to Austria, Switzerland and France for a fortnight of live dates and a couple of television spots. And there is talk of an early New Year visit to America, where both their album and first single, “Crash Course In Brain Surgery”, have just been issued by MCA.
There are plenty of influences in Budgie`s music – the obvious ones like Zeppelin and Purple, with Tony Bourge`s lead work often bringing Ritchie Blackmore to mind – and as Mr. Bain so disarmingly admits, they ain`t “progressive”. Instead they just pummel out their aggressive, speaker-splitting rock, and seem to be finding plenty of takers.
To quote Rodger Bain once again, he claims they`re probably the first British rock band “to get to grips with the heavy American giants”. And if by that he means Grand Funk Railroad, Budgie should be set to sell a good few albums in the US.


I have personally transcribed this from the original paper. Any errors in the text from the original magazine may not have been corrected for the sake of accuracy. If you have a music-related web-page where this fits – please make a link to the article. With credits to the original writer of the article from all of us music fans!

This number of Sounds also contains articles/interviews with these people: Wishbone Ash, Osibisa, Canned Heat, Stealers Wheel, Sidney Bechet, Centipede, Bruce Rowland, Gong, Gaspar Lawal, Velvet Underground, John Peel, Bobby Bland, Lee Michaels, Redwing, Steeleye Span, Mick Greenwood, Stackridge.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.

ARTICLE ABOUT Budgie from New Musical Express, October 18, 1975

Whatever went wrong on the way to superstar status with this band? Was it the lack of one large single hit? Was it the lack of image? In 1975, they ruled the concert circuit in England and were a very popular live act. They could have, should have, and probably deserved to make the big time, but this is the way the music business works – not every band rises above cult status, no matter how many albums they made or how many concerts they played.
Enjoy this article.


The Stupendous Challenge of raw Budgie

By Chas De Whalley

It`s true, Budgie have nothing new to offer and to resuscitate a deadly phrase, they`re not even “progressive”. But neither are Elvis Presley`s Sun Tapes, which are currently selling like hot ones… but nobody complains about that.
History alone will tell us who made the greater mark on the story of mankind, Elvis or Burke Shelley, Tony Bourge, Steve Williams and new boy Myf Isaacs.
But for the moment, they share the same qualification, dubious or otherwise.
Budgie play for an audience the business still doesn`t quite understand. As usual the tingods down Pan Alley don`t really know what the kids want, and all over the country the kids want Budgie. They`ve been from the Roundhouse to Cardiff City, Birmingham to St. Albans Civic Centre, they`ve played every kind of gig that you can think of and, with little media exposure they`ve broken all the house rules and have gained one of the largest, most loyal cult followings in Britain.
Seven million flies can`t be wrong.
But a couple of dozen denizens of the airwaves and the column inch don`t an authority make. And, come to think of it, what`s authority got to do with rock anyway? Budgie play the kind of stuff you were humming under your breath when the maths got boring and the headmaster was coming on strong about the ciggies in the laurel bushes; only difference being that Budgie play it 1975 style.

Burke Shelley is the bass player and singer and he writes much of the material. He`s a slight Welshman with exceedingly long hair who looks like the boy next door`s elder brother, the guy who dropped out and used to tell you exciting stories about what it was like to go and see a rock band live.
And that`s the thing about Budgie.
Steve Williams, the drummer who`s been with the band for the last ten months, puts it into one sentence: “Our fans are the kids who`ve heard in Budgie their very first album band, and they`ve bought the record and become fanatics.” Budgie`s music is homely Heavy Metal for rebellious adolescents, but which offers little or no threat to the established values which are still very central to the kids` lives. Your mother won`t like Budgie, but then you don`t expect her to, and the amiable antagonism suits everyone.
The average Budgie fanatic may be young and, perhaps naive, but he seems surprisingly level headed beneath the euphoria. Whatever the music may be about, the audience`s identification with the band comes from that music alone, for there`s little or no stage act or image to latch onto. There`s none of that exaggeration of a single aspect of everyday life on which many another “working-class hero” band base their appeal. In these days when the Heavy Metal Market – what remains of it – seems glutted with outfits who work hard on their visual presentation. Budgie are all the more unusual for having no immediate identity.

Steve Williams doesn`t think their audience want that kind of thing anyway. “If they saw us on stage dressed like a bunch of ponces, I think they`d be put off, cos they`re there to see the raw Budgie, and it`s always been the same.”
For five years now it`s been the same, except that Budgie have been getting bigger and bigger. Burke Shelley thought their last tour was good enough, but it seems this present one, which ends this week, was a real eyeopener. “It really surprised me, I wasn`t expecting it to turn out like it did, you know. There`s been a few banana scenes, absolutely fruitcake. Birmingham Town Hall and Liverpool – they started streaking there! Insanity was the order of the day.
“But they`re zany in Liverpool anyway, you know, and they really know how to enjoy themselves. I could have done anything with them, you know, I could have gone up to the mike and just asked them to do most things and they`d have done it. I`ve never asked them to do anything naughty, mind you. I say let`s have a good time, but I don`t say let`s wreck the joint, cos apart from anything I`ve got too much respect for other people`s property. And besides, we might get wrecked ourselves.”
It isn`t quite hysteria that Budgie excite in their audience, but it comes mighty close. Live they play all their own material, drawn largely from “Bandolier” and its two predecessors “In For The Kill” and “Never Turn Your Back On A Friend”, and every number is greeted with the kind of applause usually reserved for much-loved standards. But then, as far as the audience at St. Albans was concerned, every song was an old favourite.


The music isn`t all mindless heavy riffing either. The addition of Myf Isaacs` rhythm guitar to fill out the gaps adds texture to Budgie`s sound, which is what was conspicious by its absence in their pre-“Bandolier” days. Lead guitarist Tony Bourge had just too much on his plate when the band was a three piece. Now he`s free to be a little more tasteful, and despite having to use alien equipment at St. Albans, his playing on the more atmospheric material like “Napoleon Bona Part 1” was very exciting.
Shelley`s “Parents” was really nice too, cleverly avoiding a lot of the traps heavy bands find themselves caught in. “Who Do You Want For Your Love” could easily be a hit single with its catchy, almost funky riff and some nice harmony guitar work. But pick of the bunch was “Zoom Club”. On “In For The Kill” (LP) “Zoom Club” misses completely. But live, with Myf Isaacs in there, Bourge`s raunchy chords hang in the air like a night-time neon sign over an L.A. freeway as you speed past in the Dodge with the cruise control set at sixty. It isn`t all as good as that of course. Frequently Budgie are too loud and too messy, but some times they really are breathtaking.

It all comes from a faith in themselves and their fans, and months on the road with few breaks. As Tony Bourge explained, there`s three ways to break a band: radio, record company and press hype, and hard work. “If the record company and the radio don`t really want to know,” as Bourge claims is the case, “then it`s up to the band to go out and play. That`s what we`ve been doing for the last couple of years.”
The music papers haven`t exactly been kind to Budgie either, but it doesn`t concern Burke Shelley unduly.
“Why should we worry? I mean after five years we`ve got our own following, people have had plenty of time to shoot us down in flames and get us off the road, but we`re a working band, we enjoy playing to the audiences and we have a good time. So we get some bad press, but any news is good news really, isn`t it, as long as we get our name in the paper. What a rock critic says is only one person`s opinion. It`s just tough on us if people believe what he says.”
The spirit of Heavy Rock is alive in Budgie, it`s pure and simple and could save you a lot of money. Buy something like “Bandolier” and you will have the best bits of almost every Heavy Metal Act you care to mention, all together on one record. What you won`t have will be the irritating, pretentious trappings and posturing that haunts this end of rock. See them live and they may be a little crude and outdated, but only as much as being outdated and crude matters to you. And if it matters that much to you – you`re getting too old to rock`n`roll, my son. They don`t rule but they`re alright.


I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog.

This number of New Musical Express also contains articles/interviews with these people: The Who, Eric Clapton, The Tubes, David Bowie`s Mum, Blue Öyster Cult, Bert Jansch, Van McCoy, Thin Lizzy, Gerry Johnson.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail, if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be 15 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.


I guess Lars Ulrich of Metallica may be one of this band`s biggest and most famous fans. Metallica recorded the Budgie song “Breadfan” as a B-side during the …And Justice for All sessions. Hopefully the original songwriters earned a bit of money from that one. Feel free to tip Mr. Ulrich about this article – I guess he would like to read it if he haven`t already!

IMG_0965 (1)

No birds
No booze
No glitter
No money
No…life at all is it? So what motivates bands like BUDGIE? Yes, you`ve guessed it folks – the answer is integrity

Playing In The Band

Seven years on the road. Hardly a nibble at the charts. Solid following in most parts of the country. The freedom to play what they like. Not a lot of ready.
It could be any number of bands. In fact it`s Budgie, but I thought it`d be interesting to see what life was like for the average musician; the people who are in it for the music and the performance, not for the cars and the glitter, the birds and the booze.
It started as a conversation in a pub about mistakes on stage. Burke Shelley and Tony Bourge were describing recent occasions when they`d slipped.
“Everyone does it from time to time,” said Burke, “Especially if you`ve been off the road for a few weeks recording and you just do one gig – as I did the other week.”
Burke apparently proved worthy of his name, and despite the fact that he leads the band from behind his bass he let them all change into D while he was still pumping out runs in A. “Normally the band notices it and it can spoil your entire evening for you, but you cover up so that the audience shouldn`t notice at all.”

Bourge said that the worst thing – when a band hadn`t played for a few nights – was getting halfway through a number and realising you couldn`t remember how you arranged the ending.
“It always comes back to you at the last moment. When you get there, suddenly it all clicks into place.”
It`s true that mistakes on stage are very difficult to spot because a good musician will always try to cover them up. But another musician can spot them – because he is familiar with the expressions that flit across stage when someone plays a bummer.
It`s far easier to make a mess of what you are doing, of course, when your foldback system isn`t working properly. A decent PA and adequate monitors are the biggest problem facing new bands today. Budgie have been using a Marshall set up with a small Marshall desk. But it`s not really big enough for them, and they have been thinking of buying some secondhand bass bins and adding to the desk.

A ready-made PA to suit their needs would involve them in something like £15,000, which the band just haven`t got. So what does the band get?
“We go out for between £400 and £500 a night,” says Burke. “But that has to pay for transport, expenses, road crew, maintenance and so forth. Most of the money is ploughed straight back into the band.”
In fact Burke estimates that the band members make around £50 a week, which isn`t a great deal for working something like a 12-hour day, seven days a week, come rain or shine. Burke remembers having to go on stage with a throat infection because there was a telephone bill that needed paying.
“If the audience were familiar with the songs I don`t know what they thought that night, because all I could do was grunt them out like a soul singer.”


Fifty quid a week may sound a lot of money if you`re still at school or college, but it`s not much for a musician with a wife, kids and a mortgage. Why was it, d`you think, that blue denim became so popular with bands? It wasn`t fashion so much as the fact that that was all they could afford….
The money Budgie makes from publishing is used to pay for things the band needs. There`s no income from the record sales at present because that money was given to them in the form of an advance and is long since spent.
Of course, Budgie are a little different from many bands in that they`re attempting to pay for everything themselves – the instruments, equipment and the van they own. Whereas other bands are tempted by offers from backers to set them up with good equipment.
Burke says he didn`t fancy taking the risk and finding the band tied to an agency or manager who could dictate what they did under the threat of taking their gear away.

We discussed the system in America. There, with each big town having its own vast stadium, it isn`t viable for the band to cart the sort of equipment needed from town to town. Instead they hire it on the spot and the equipment is built to suit the venue.
One major problem with gigging around concert halls is that the PA really needs to be designed for the hall. Inevitably there`ll be some halls where your PA sounds dire. Tony remembers one club in Cardiff that`s notorious for bad sound. The PA is yet to be designed to cope with it.
“I remember The Who cancelled a gig there once because the sound was so bad.”
The American answer to this problem doesn`t work in the UK to any great extent. There are PA hire companies – and very good equipment they have, too – but imagine trying to fit together gear of a standard that would sound equally good in the Hammersmith Odeon, Wembley and the Theatre Royal, Drury Lane.
Budgie, then, are stuck in what Burke and Tony describe as a very pleasant rut. They enjoy being on the road. They enjoy playing the music. They change the set almost entirely every year so they never get bored with what they are doing. They ignore the chart.

This last is unusual. Most bands look forward to the day when one of their records will miraculously take off. Album and publishing revenue will rocket, there will be exposure on TV, the fans will flock to see them and their appearance money can be trebled overnight.
Not so Budgie. They regard that sequence of events with the same cynicism that you do the promises made by Mrs. Jones up the road concerning her forthcoming Premium Bond win. A healthy attitude. The reality is to get to America.
Leo Sayer was commenting this week that on three gigs a week in Britain he just about breaks even, while on one gig a week in the US of A he can make a comfortable living.
The beautiful thing about bands like Budgie is their dedication. They believe in the music they`re playing and are prepared to suffer the hardships for the sake of it.


I have personally transcribed this from the original paper and you are free to use it as you like. If you use it on your own webpages – please credit me or put up a link to my blog.

This number of New Musical Express also contains articles/interviews with these people: Ian Anderson (Jethro Tull), Elton John, NME`s Soul Spectacular, Adrian Gurvitz, Queen, Leo Sayer.

The original music paper this article came from (pictured at the top) is for sale!

1. Send me an e-mail, if you are interested. Send it to: geirmykl@gmail.com
2. The offer should be around or upwards of 20 $ (US Dollars) to be considered. (This includes postage).
3. We conduct the transaction through my verified Paypal account for the safety of both parties.