Big Ears

From the Beginning: A Biography of Emerson, Lake and Palmer


With the metamorphosis of psychedelia into progressive rock, during the late nineteen-sixties, Emerson, Lake and Palmer came to epitomise the new genre. They were also one of the first so-called supergroups, combining well-known musicians from established bands into a progressive rock hybrid. Emerson, Lake and Palmer were known for the dominant synthesizer playing of Keith Emerson as well as their often classically inspired arrangements. Along with their exemplary musicianship, one of the band's unique features was that, despite the sidelining of guitars, they remained a heavy rock band.

Emerson Lake and Palmer were formed in late 1969 after a chance meeting between Keith Emerson, keyboard player with The Nice, and Greg Lake, singer and bassist with King Crimson. They later added drummer Carl Palmer from Atomic Rooster, when an original plan to link up with Jimi Hendrix and Mitch Mitchell came to nothing, and made their debut at The Guildhall, Plymouth, on 23rd August 1970. But, it was their performance six days later, at the Isle of Wight Festival, that drew attention to the band. Keith Emerson had already established a reputation as an adept organist and was a showman who had stirred up controversy with The Nice by burning the stars and stripes during a performance of Leonard Bernstein's America. Greg Lake had cut his teeth with The Gods (a prototype Uriah Heep) and King Crimson, being possessed of a high quality choir boy-type voice and an underrated guitar-playing ability. Carl Palmer had played with Chris Farlowe & the Thunderbirds, at the age of sixteen, then joined The Crazy World of Arthur Brown, with Vincent Crane, and accompanied the latter to Atomic Rooster. Emerson and Lake were beginning to stagnate with their respective bands, but gelled with each other immediately. Carl Palmer was reluctant at first, as Atomic Rooster was his new band, but when he played with Emerson and Lake, they all knew this was a unique and dynamic trio which would combine musical finesse with showmanship.

From the outset, Emerson, Lake and Palmer established a reputation among fans as a furiously active trio of unsurpassed technical ability, but the press were quick to accuse them of having no sense of humour and a lack of feeling. The most common adjectives being, 'bombastic', 'overblown' and 'pretentious'. BBC Radio One DJ John Peel famously accused them of being, "A waste of talent and electricity." Peel added that his colleague, Alan Freeman, had turned Emerson, Lake and Palmer from millionaires into even wealthier millionaires.

The first self-titled album (Island, October 1970) achieved reasonable chart success and the second, a concept album, Tarkus (Island, June 1971), made inroads into the American market. Emerson, Lake & Palmer contained many classical adaptions which was to give ELP their distinctive style and they continued to use this approach until their final album. The Barbarian is an arrangement of Hungarian composer Bela Bartók’s piano piece, Allegro Barbaro (1911). Knife Edge is borrowed from the first movement of Polish composrer Leoš Janácek's Sinfonietta (1926), apart from the organ solo, which is a quotation of the Allemande of JS Bach's 1st French Suite in D minor, BWV 812. Pictures at an Exhibition (Island, November 1971) should have been the second album, but was witheld by the record company because, as a live performance of a classical piece by Russian composer Modest Mussorgsky, it seemed too esoteric. However, the success of Tarkus resulted in Pictures' release as a budget album and it built on the success of its predecessors. Another facet of ELP's work is comedy songs, making a nonsense of the press criticism that the band lacked a sense of humour, and Tarkus has Jeremy Bender and Are You Ready Eddy? (a tribute to their producer Eddie Offord).

Trilogy (Island, June 1972) became the band's breakthrough work and was followed by the epic Brain Salad Surgery. Trilogy continued the classical influences with Abbadons Bolero, an adaption of Maurice Ravel's piece with two beats/rhythms, hence the overdubs, and Hoedown from Aaron Copland's Rodeo. Comedy come in the form of The Sheriff. Whereas, ELP had Greg Lake's solo piece Lucky Man (which includes a groundbreaking synthesizer solo), Trilogy has From the Beginning. The title track has a lilting introduction but becomes much heavier and is very experimental in its use of synthesizers. Living Sin is full-on heavy rock.

Brain Salad Surgery (Manticore, November 1973), the first album on the band's own label, continued the experimentation and Carl Palmer has said that, by this stage, every time the band tried something, it worked. Jerusalem is a heavy rock version of Hubert Parry's hymn and shows the influence of church music in the formative stages of British progressive rock musicians. The instrumental, Toccata, is based on the Fourth Movement of Alberto Ginastera's 1st Piano Concerto, arranged by Keith Emerson with special synthesised effects; Carl Palmer adding a percussion accompaniment using newly-developed drum synthesisers. Unlike Bernstein, Alberto Ginastera liked Emerson's arrangement of his work. Still . . . You Turn Me On is a Greg Lake solo track. Benny the Bouncer is a sinister comedy song about a doorman's clash with a greaser. Karn Evil 9, in three impressions, dominates the album and is about the creation of computers, which are subsequently blamed for man's inadequecies. The lyrics were co-written with former King Crimson lyricist, Pete Synfield, who went on to work with Bucks Fizz and Celine Dion. Artwork for the album is by HR Giger, similar to, but created sometime before his 'organic' designs for Ridley Scott's Alien. Brain Salad Surgery, despite a murky production, is Emerson, Lake and Palmer's masterpiece and stands as one of the great progressive rock albums alongside Court of the Crimson King, Nursery Cryme, Dark Side of the Moon, Close to the Edge and Fragile.

Originally written in April 2012

Big Ears

From the Beginning: A Biography of Emerson, Lake and Palmer Pt. 2


At the height of their success, ELP released a triple live album, Welcome Back My Friends to the Show That Never Ends (Manticore, August 1974). It was recorded on the Brain Salad Surgery tour and became their last album for three years. During this period, the ever-present limitations that the group put on the members' individual aspirations came to the surface. Their first album had, after all, been a combination of solo pieces with group works, and this remained the case throughout their albums up to Brain Salad Surgery. Keith Emerson's compositions were becoming more pure classical works requiring an orchestra, while Greg Lake's songs relegated the other musicians to backing musicians and Carl Palmer was the peacemaker caught between the two. A series of solo albums was avoided, because each required an album's worth of material and was unlikely to sell on the scale of ELP records. Instead the compromise was a double album, Works Volume 1 (Atlantic, March 1977), that consisted of each member having a side of solo material and a fourth and final side comprising band pieces. Needless to say, the band material, Fanfare for the Common Man and Pirates, was by far the strongest and most cohesive. Coming after a succession of five consistently strong studio albums, culminating in Brain Salad Surgery, the record was massively disappointing. The impetus provided by Brain Salad Surgery was lost and, in the meantime, the revolutionary movement of punk rock, along with disco, had seen the baby thrown out with the bath water. The band hired a 70-piece orchestra for some concerts of the Works tour, but eventually had to dismiss the orchestra due to budget constraints that almost bankrupted the group. Works Volume 2 (Atlantic, November 1977) was a collection of solo experiments, single a and b-sides and outtakes dating back to Brain Salad Surgery. The next album of new material, Love Beach (Atlantic, November 1978), despite having a number of different and interesting ideas, was completed for contractual reasons, given a regrettable name and packaged in an inappropriate Bee Gees-style album cover. Ironically, however, it gave the band a hit single in For You.

Emerson, Lake and Palmer split up in 1979, with Greg Lake embarking on a guitar-led solo career with Gary Moore; Keith Emerson withdrawing from the band scene to compose some excellent fim scores; and Carl Palmer forming his own group PM, before joining another successful progressive rock supergroup, Asia. During the interim, different permutations of ELP worked with each other, either as Emerson, Lake and Powell or 3 with Robert Berry. Greg Lake even had a brief spell with Asia. A renewed interest in heavy and prgressive rock from the rise of grunge, along with the creation of Victory records as an offshoot of Atlantic, saw the return of the Manticore in the early nineties . . . but that is another story . . .


Lineup
Keith Emerson: keyboards
Greg Lake: vocals, acoustic and electric guitars, bass
Carl Palmer: drums, percussion


Discography

1970 Emerson, Lake & Palmer
1971 Tarkus
1971 Pictures at an Exhibition
1972 Trilogy
1973 Brain Salad Surgery
1974 Welcome Back My Friends to the Show That Never Ends... Ladies and Gentlemen
1977 Works Volume I
1977 Works Volume II
1978 Love Beach
1979 In Concert '73

1992 Black Moon
1993 Live at the Royal Albert Hall
1993 Works Live (In Concert '73 re-released)
1994 In the Hot Seat
1997 Live at the Isle of Wight Festival 1970
1997 Live in Poland
1997 King Biscuit Flower Hour Presents: Greatest Hits Live
1998 Then & Now

2001 The Original Bootleg Series from the Manticore Vaults: Volume One
2001 The Original Bootleg Series from the Manticore Vaults: Volume Two
2002 The Original Bootleg Series from the Manticore Vaults: Volume Three
2006 The Original Bootleg Series from the Manticore Vaults: Volume Four
2010 A Time and A Place
2010 High Voltage
2011 Live at Nassau Coliseum '78
2011 Live at the Mar Y Sol Festival '72

Originally written in April 2012

Big Ears

Paris by Paris (Capitol 1976)

Bob Welch trio cut a Zep-style gem



Paris Tracklist

1. Black Book
2. Religion
3. Starcage
4. Beautiful Youth
5. Nazarene
6. Narrow Gate (La Porte Etroite)
7. Solitaire
8. Breathless
9. Rock of Ages
10. Red Rain

All songs written by Bob Welch


Paris Lineup

Bob Welch: Vocals, guitar
Glenn Cornick: Bass guitar, keyboards
Thom Mooney: Drums

Produced and engineered by Jimmy Robinson


Bob Welch's tragic suicide in June, this year, probably prompted Rock Candy to reissue Paris's first self-titled album, which was originally released in January 1976. Poorly received at the time, it subsequently became a cult and was reissued four times before his death. Paris were a hard-rock power-trio formed after Welch left Fleetwood Mac, consisting of himself on guitar and vocals with ex-Jethro Tull bassist Glenn Cornick and former Nazz drummer Thom Mooney. They released two albums, this one, produced by Jimmy Robinson, and Big Towne 2061, produced by Bob Hughes, with Hunt Sales replacing Mooney on drums.

Black Book is a blatant copy of Led Zeppelin's Black Dog by opening the album, the use of the adjective 'black', the riff and the Robert Plant impersonation. Having got Black Book (or is it Black Dog?) out of their system, Religion is a more subtle interpretation of early British blues rock, in that it starts by sounding like Led Zeppelin covering Peter Green and Fleetwood Mac's Man of the World, but it develops into a phased workout more reminiscent of spacerock bands like Gong or Hawkwind. Starcage continues the theme of combining Feetwood Mac and Led Zeppelin, with a Peter Green vocal added to a Trampled Under Foot synthesizer riff. An impression of spacerock pervades, giving the impression that this album is more than just a Zeppelin copy.

By Beautiful Cage, Welch has moved further away from Zepplin, closer to fellow Californians Montrose - who were like Page and co, but somehow different. The same is true of Nazarene, on which Welch sounds like a combination of Sammy Hagar and Peter Green. Yet, there is still an indefineable something which sets this song, and others, apart from their sources. In equal parts, this is due to the strength of the songs, Welch's relaxed delivery, his fluid guitar playing and the rhythm section. All credit should go to Glen Cornick and Thom Mooney, who work really well together. Narrow Gate has an excellent lyric, solid riff and dreamy, synthesizer-led, cosmic passage, which evolves into a snappy The Song Remains the Same riff. The West Coast sound that Welch introduced to Fleetwood Mac, and which they later exploited to commercial effect, is present in Solitaire with added phasing.

Breathless is a funky respite, showing the band's ability to add more than light and shade. Welch's interpretation of Whole Lotta Love finally comes in the form of Rock of Ages. Red Rain represents more of The Song Remains the Same with one of the most unusual vocal arrangements since Manfred Eann's Earth Band's version of Blinded by the Light on The Roaring Silence (released in August 1976, seven months later than Paris).

Despite strong material, Paris's second album sold less well than the first. Hunt Sales' brother Tony subsequently replaced Glenn Cornick on bass, before the lineup dissolved. Welch intended the following album to be Paris 3, but, instead, it was released as his first solo work, French Kiss (1977), and brought him his greatest commercial success. He regarded the Paris project as a misjudgement, probably because it was financially disastrous, but with the benefit of hindsight, it produced one of the great lost albums. It would be an irony if, with the support of the press, the Rock Candy reissue turned out to be an, albeit modest, commercial success.

Written October 2012

Guybrush

Just read your ELP biography in two parts which was an interesting read. Well writ

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Something Completely Different

Big Ears

Thank you tore. My biographies do not get many reactions as a rule.

Trollheart

Well here's another.
I personally don't like ELP: like you mentioned, I find the words "overblown", "pretentious" and "bombastic" to very much suit them, and I'd also add "self-indulgent". But here's the thing: your biography was excellently written, well researched and very interesting. Although ELP are not a band I would normally give the time to, it was intriguing to read about them, and I can see you certainly know your stuff.

Great writing as ever, and I must say this is absolutely turning out to be a real gem among the journals here. Glad you started, and you've without question put a lot of work into it. I'll be directing as many people as I can to it via the update thread on Sunday.

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Trollheart: Signature-free since April 2018

Big Ears

Power Supply: A Biography of Budgie




Why do I love Budgie so much? Because they are an uncompromising, all-out heavy rock band. At the height of their popularity, in the early seventies, they matched and rivalled groups like Black Sabbath, Stray and the Groundhogs. Here is my biography of this group.

Budgie were originally formed in the late sixties in Cardiff, under the name Six-Ton Budgie, by Burke Shelley (lead vocals/ bass), Tony Bourge (guitar/ backing vocals) and Ray Phillips (drums). After playing a number of gigs in the local area, they shortened the name to Budgie as a contradiction of their heavy-rock style. Their first self-titled album, produced by Rodger Bain and released in 1971 on MCA, introduced the hallmark crunching riffs and weird song titles such as 'Rape of the Locks' and 'Nude Disintegrating Parachutist Woman'.

As on all of the first five albums, the band are unorthodox; neither overtly blues-inspired like Cream or the Groundhogs, nor underpined by keyboards in the way of Uriah Heep or Deep Purple. Perhaps their closest contemporaries were Paranoid-era Black Sabbath, in the use of sheer heavy guitar riffs (although Shelley has said, as a Christian, he could not relate to the satanic imagery of Sabbath). Burke Shelley's high-pitched vocal is highly unusual and has inspired many copyists, such as David Surkamp of Pavlov's Dog and Geddy Lee of Rush, while Phillips has an economical approach to the drums. Tony Bourge is not an entirely original guitarist (his solo on the cover of 'Baby, Please Don't Go' can be heard on Juicy Lucy's 'Who Do You Love?'), but he is very unconventional - his guitar is made to flow, scratch and scream by turn. Burke Shelley has described Budgie's way of working as the bass and guitar playing off each other with the drums filling the gaps. Surprising, he cites Led Zeppelin as an influence, as they (Led Zeppelin) were heavy, not by having a 'thick' sound, but by having a 'thin' sound and then belting it out. The first Budgie album, largely ignored at the time, is now seen as a classic of the genre and set the benchmark high.

Squawk, the second album from 1972, continued the trend of heavy rock and weird titles, as in 'Hot as a Docker's Armpit', and sales in the UK reached gold status. But, it is with Never Turn Your Back On a Friend that Budgie reached their highest point. Released in 1973, it has everything: the rolling riffs of 'In the Grip of a Tyrefitter's Hand'; the thoughful, psychedelia-tinged melody of 'You Know I'll Always Love You'; the light and shade of 'You're the Biggest Thing Since Powdered Milk'; the cover of 'Baby Please Don't Go'; the epic 'Parents'; and their signature song, 'Breadfan'. A later critic described 'Breadfan' as insipid, but it flows effortlessly, while paradoxically twisting and turning. It perfectly sums-up their technique in one track. Indeed, Never Turn Your Back On a Friend is close to being the perfect heavy rock album. Ray Philips left the band soon after, to later resurrect the Six-Ton Budgie name, and was replaced by Pete Boot for album number four, In for the Kill.

In For the Kill (1974) contains some of Budgie's best tracks like 'In for the Kill', 'Crash Course in Brain Surgery' and 'Wondering What Everyone Knows', but padding was beginning to appear, such as the intro to Hammer and Tongs (on which you can clearly hear the Led Zeppelin influences) or the instrumental passage in Running From My Soul. Steve Williams, an excellent drummer, replaced Pete Boot for the more consistent Bandolier (1975), which has 'Breaking All the House Rules' and 'I Can't See My Feelings', along with their greatest hit, Andy Fairweather-Low's 'I Ain't No Mountain'.

If I Were Brittania I'd Waive the Rules (1976) was the first Budgie album to contain weak tracks and, worst of all, elements of cliche. Opener 'Anne Neggen', as the name implies, is repetetive and weary. So too is 'If I Were Britannia, I'd Waive the Rules', and these are the strongest tracks, meaning it is all downhill to the final Song. 'Black Velvet Stallion', a beautiful epic in the style of 'Parents', is the only track on the album to rank with the best of Budgie. Having switched labels from MCA to A&M, it was noticeable that the band appeared to be softening their sound in an attempt at commercial success in America, which had so far elluded them. Impeckable (1978), with 'Melt the Ice Away', is an improvement on its predecessor, but the West Coast-feel shows a further attempt at acceptance in America. Ironically, music from Impeckable, along with The Tubes, Head East and Billy Preston, was used in the cult comedy film J-Men Forever (US 1979), but by then it was too late.

Originally written in January 2012, updated October 2012

Unknown Soldier

Golden Earring- I think this is the first time I've ever seen this band mentioned on MB, I know some of their stuff but I've long forgotten it. Which albums do you suggest? I know their discography is big.

Joe Walsh- I'm one of those that still believes that Joe Walsh was wasted going to the Eagles. An artist capable of putting out material to the quality of Barnstorm and The Smoker You Drink, The Player You Get shouldn't really be playing 3rd fiddle in another band.

Emerson. Lake and Palmer- Never one of my favourite prog bands, but I think the debut, Tarkus and Brain Salad Surgery all stellar albums. Your review of the band is probably one of the best I've ever read here or anywhere! This easily could've been from an official publication.

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Metal Wars

Power Metal

Pounding Decibels- A Hard and Heavy History

Big Ears

We Came, We Saw: A Biography of Budgie Part 2




1978, the year that saw the release of Impeckable, was a difficult one for Budgie. Myf Isaac joined them as a second guitarist for live work, but by the middle of that year both he and Tony Bourge had left the group to be replaced by Rob Kendrick from Trapeze. Later in the year, Budgie were dropped by A&M and Kendrick was replaced by 'Big' John Thomas, a fine player from the George Hatcher Band. The line-up of Shelley, Thomas and Williams recorded two albums for Kingsley Ward's Active Records, a sublabel of RCA: Power Supply (1980) and Nightflight (1981). A 12" EP, If Swallowed Do Not Induce Vomiting was also released on Active Records in 1980. All tracks on the EP are reasonable, but lack the originality of the early Bourge-era Budgie. The 1993 CD reissue of Power Supply featured the If Swallowed Do Not Induce Vomiting E.P. as bonus tracks. 1982 saw Budgie return to RCA for Deliver us From Evil (1982), their final recording for a major label.

In 1982, Tony Bourge rejoined original Budgie drummer Ray Phillips and bassist Alan Fish to form Tredegar with future members of Cloven Hoof, singer Russ North and guitarist Andy Wood. The band recorded a self-titled album in 1986 with Carl Sentance from Persian Risk on guest vocals. According to an article in Classic Rock maazine, Tony Bourge left Tredegar to become a French polisher, while Phillips continued the band as singer until the early nineties, when he resurrected Six-Ton Budgie.

Budgie, meanwhile, continued to have some success during the New Wave of British Heavy Metal scene, playing the Reading Festival in 1980 and headlining in 1982. Also in 1982, they played in Poland, where they had built a following, and became the first heavy rock band to perform behind the Iron Curtain. They toured in support of Ozzy Osbourne's Blizzard of Ozz, but stopped gigging in 1988. John Thomas went on to play with Tom Galley's Phenomena project in 1985.

Strangely, although Budgie had very little commercial success in America, they enjoyed a strong cult following in Texas, due to Joe Anthony and Lou Roney playing a Budgie track every day on KMAC/KISS radio in San Antonio in the 1970s. The band reformed using various drummers for one-off gigs in 1995 and for outdoor festivals 'La Semana Alegre' in 1996, both in San Antonio, Texas. In 1999, Budgie was officially reformed. Life in San Antonio, a live album, was recorded and released in 2002, with a lineup of Burke Shelley, Steve Williams and Andy Hart on guitar. Budgie toured the United Kingdom in 2002-6, as well as the New York City/ New Jersey area, Dallas and a few shows in Europe, including the Sweden Rock Festival and a return to post-Communist Poland.

In February 2003, Simon Lees was asked to join Shelley and Williams in Budgie. In September of that year, Lees recorded seven songs with the band which would later appear as bonus tracks on four of Budgie’s remastered albums: Budgie, Sqwawk, Never Turn Your Back on a Friend and In For the Kill released on the Noteworthy Productions label. During 2005 and 2006, Lees co-wrote and recorded an album of new material You're All Living in Cuckooland with Burke Shelley at the latter's studio in Cardiff. The album was produced by Burke Shelley and released in the UK on 7th November 2006 on Noteworthy Productions, accompanied with a thirty five date tour of the United Kingdom. Also in 2006, Lees played classical guitar on Black Velvet Stallion (2006 Version) for the remastered If I Were Britannia, I'd Break the Rules for Noteworthy Productions. Lees was not credited on the album. The following year Budgie played dates in Sweden and Poland. Having played 115 gigs consisting of four UK tours and nineteen shows spread across five countries outside the UK, Simon Lees left Budgie on 4th July 2007, three months before the band were due to play a three date tour of Australia. Following the departure of Simon Lees, Dio lead guitarist and songwriter, Craig Goldy, offered his services while Ronnie James was completing commitments with Heaven & Hell on their World Tour. In February 2008, Goldy accompanied Budgie on their first (five date) tour of Australia and has continued playing with Budgie as 'guest guitarist' for all of their shows.

Budgie's November 2010 tour of Eastern Europe had to be cancelled as Burke Shelley was hospitalised on Tuesday 9th November in Wejherowo, Poland, complaining of pains in his abdomen. A team of surgeons was quickly assembled and a 6cm aortic aneurism was diagnosed. Tests revealed that Shelley's aorta was leaking blood into the outer wall of the aneurism which could have burst at any time. He underwent a two-hour, 40-minute operation in the evening and was kept in the intensive care ward. After surgery, he returned to Britain for recovery, but no decision has been made on the future of Budgie.

Burke Shelley posted the following under Latest News from The Budgie Camp on the band's official website: "I'd like to say sorry to all the Polish and Czech fans for the recent cancellation of the tour dates. This is because I became ill just before the tour began and had to have emergency surgery in Poland. I'm now recovering at home and I don't yet know what the future holds. Thanks to all those who supported me particulary the Polish surgeons. Thanks also to all those who sent messgaes and thanks to God the Father and Jesus Christ my saviour and the Holy Spirit." - Burke

Written in November 2011, updated 2012

With thanks to The Budgie Official Website, Wikipedia, Classic Rock Magazine and The New Musical Express Book of Rock 1 (1975) and 2 (1977) published by Star Books

Big Ears

Budgie Discography



Albums

1971 Budgie
1972 Squawk
1973 Never Turn Your Back on a Friend
1974 In For The Kill
1975 Bandolier
1975 Best of Budgie (1)
1976 If I Were Brittania I'd Waive the Rules
1978 Impeckable
1980 Power Supply
1980 If Swallowed Do Not Induce Vomiting EP
1981 Nightflight
1981 Best of Budgie (2)
1982 Deliver Us From Evil
1996 An Ecstasy of Fumbling - The Definitive Anthology
1997 Best of Budgie(3)
1998 Heavier Than Air - Rarest Eggs (live compilation of 1972-1981 material)
1998 We Came, We Saw... (live compilation of 1980-1982 material)
2002 Life in San Antonio (live)
2004 The Last Stage (a compilation of previously unreleased material)
2005 Radio Sessions 1974 & 1978 (double album)
2006 The BBC Recordings (live compilation of 1972-1982 material)
2006 You're All Living in Cuckooland


UK Singles

Crash Course In Brain Surgery/ Nude Disintegrating Parachutist Woman (1971, MCA MK 5072)
Whiskey River/ Guts (1972, MCA MK 5085)
Whiskey River/ Stranded (1972, MCA 2185) - US-exclusive release
Zoom Club (Edit)/ Wondering What Everyone Knows (1974, MCA 133)
I Ain't No Mountain/ Honey (1975, MCA 175)
Smile Boy Smile/ All at Sea (1978, A&M AMS 7342)
Crime Against the World/ Hellbender (1980, Active BUDGE 2)
Keeping a Rendezvous/ Apparatus (1981, RCA BUDGE 3)
I Turned To Stone (Part 1)/ I Turned To Stone (Part 2) (1981, RCA BUDGE 4)
Bored With Russia/ Don't Cry (1982, RCA 271)


TREDEGAR

1986 Tredegar - the debut album by Tredegar, featuring Tony Bourge and Ray Phillips
1994 Remix and Rebirth - Tredegar compilation album



A SELECTION OF YOUTUBE VIDEOS FEATURING BUDGIE

This is a famous clip from the Old Grey Whistle Test broadcast by BBC2 TV in June 1975:

Who Do you Want For your Love?


Budgie who do you want for your love - YouTube

I am not sure of the origins of either of these two clips. Breadfan became their signature tune and the cover of Andy Fairweather-Low's I Ain't No Mountain was their 'greatest' hit:

Breadfan


BUDGIE - BREADFAN - YouTube

I Ain't no Mountain


Budgie - I Ain't No Mountain - YouTube


BUDGIE LINKS

Budgie Official Website

Budgie The Original Welsh Rockers Web Site

Bandolier, the fan site approved by the band

bandolier : Budgie - This is Cuckooland!

Budgie in Wikipedia

http://en.wikipedia.org/wiki/Budgie_(band)
Burke Shelley - Wikipedia, the free encyclopedia
Tony Bourge - Wikipedia, the free encyclopedia
http://en.wikipedia.org/wiki/Steve_W..._(rock_drummer)
Simon Lees - Wikipedia, the free encyclopedia
Rob Kendrick - Wikipedia, the free encyclopedia
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