Budgie-Never Turn Your Back On A Friend (1973)

Typically, and in a way is normal, we usually think of the legendary Black Sabbath when the interminable debate about who were the parents, so to speak, of the Metal scene emerges.
As I said, for sure both experts and laymen, Black Sabbath has always been typical and less risky response, or at least that's what I thought a while back. Only so far, that years ago, I discovered these Welsh, formed in Cardiff, back in the days of '67. Indeed, when even the gods Led Zeppelin had downloaded its first cartridge.
After four formative years, it was in 1971 (Black Sabbath and carried his self-titled album and the legendary 'Paranoid' behind) when Budgie stuck his face (or peak, rather) at the Hard Rock / Proto-Heavy international arena, his work also titled first 'Budgie' and with MCA label would release all their classic albums (1971-1975). From the beginning, the parakeets monopolize cover all their LPs. Not in vain, "he budgie" is short for budgerigar, parakeet English
The following year, he would 'Squawk' second work of Cardiff returning to leave clear what these people played. Indeed, one need only a couple of minutes to notice the similarity of the characteristic sound Welsh Black Sabbath, namely guitars ultra heavys (perhaps less slow and macabre that Iommi), a rhythm section bass / drums absolutely heavy and devastating, and a sharp and super melodic counterpoint voice. In fact Osbourne records and Burke Shelley, are quite similar, although the Welsh tends to blues giving their notes a deeper tone.
1973 was the year Budgie definitely catapulted to the status of cult band in the British underground. While they did not give the big leap across the Atlantic, as would the Sabbath itself, reaching the mega-stardom incontestable worldwide, the Welsh had already formed a reputation and a legion of fans in Las Islas , far more than considerable.
It was that same year when Budgie and overwhelming 'Turn Your Back On A Friend' would leave their legacy for the rest of time.
From cutting open the plastic, 'Breadfan', until the last record groove, Budgie expressed their clear desire to write the most thunderous music ever written. Obviously, looking back and comparing this code of his music seems the most ordinary, but the correct analysis is obtained contextualizing the work at the time, and 35 years ago this was the most heavy that you could pull a face logically his two little calm ignoring issues such as ethereal 'You Know I'll Always Love You' and the catchy 'Riding My Nightmare'. Until the end of its most glorious days, Budgie always would reserve a place in your drives for calmer issues like these, always reaping brilliant results, which vaguely resemble gems like 'Planet Caravan' or never valued 'Solitude' the excellent 'Master of Reality '; My favorite album of Birmingham.
As I said, 'Breadfan' is the cut that opens fire and if in case any of you did not know, this issue belongs exclusively to Budgie and not Metallica, who were the ones who made famous the issue worldwide sadly. Sadly I say, by the fact that they were not the real perpetrators of these subjects who received the heat from the press and public acclaim. Nothing to reproach Hetfield & cia, but it would be unfair to ignore the fact that versionear bands like Budgie, Diamond Head, Savage, Sweet Savage, Holocaust or Blitzkrieg, he greatly helped Metallica on their first gigs back in 1982-83.
'Breadfan' is a true anthem of Hard Rock / Heavy '70s and in it traces more Budgie classic sound characteristics are revealed; The super-sharp riffing of Tony Bourge cutting into slices everything that gets in his way, the dynamics of undervalued percussion Ray Phillips, and in the center of the shed Burke Shelley dividing to right and left with his voice and his unrepentant under crushing. With all due respect to the teacher Geezer Butler, here I do dare say that slightly exceeds Budgie Sabbath.
'Baby Please Do not Go' explodes with Shelley galloping bass and guitars Bourge messing very heeled coupon in the back. It is true that Budgie drink a lot of the bases of Black Sabbath, but with a very own style and ineffably devastating; Check the change of pace (1:35) and do not say nothing at (4:22) where low Shelley takes all ahead.
The third theme 'You Know I'll Always Love You' in the vein of 'Planet Caravan' (as already mentioned before) gives us a break two minutes and takes us to a place that only music is capable of moving. Indeed, the theme is excellent.
'You're the Biggest Thing Since Powdered Milk' (How great the title) opens with a riff full battery Bill Ward plan, until (1:43) three parakeets Cardiff which open fire anti-aircraft battery. Honestly, if you are not able to see the magic bass Shelley, you do not know it it gives me, because it really is a hatchet man. The only running Bourge from (3:34) to almost the end of the song, accompanied by the grinding rhythm section formed by the binomial Shelley / Phillips is simply from another galaxy. Completely overwhelming. It is one of those moments that make you smile it was impossible to put into words what you're hearing. Call registry change in the voice of Shelley at the end of the topic!
'In the Grip of A Tyrefitter's Hand' is started again with one of those trademark riffs. The cadence of the subject is extremely contagious and again the bass lines of Shelley lead the rest of the band until the end of the topic on the Sabbath 100% plan.
'Riding My Nightmare' is another number in a little calm plan, and is the prelude to the longest track (10:25) and closes the album, 'Parents'. Again, it goes without saying that the subject stands instrumental parameters of a 'normal' group but the letters are what really attracts attention. It is true that without his musical genius, hard Sabbath they had become what they are, but despite that, it would also be foolish not to emphasize the high degree of influence that also had their outbursts and the controversy that always left their He passed. Many times, through his lyrics, macabre and grotesque and near the forbidden. In this sense, we can say that Budgie never chose this path, opting for another no less orthodox and closer to the orbit of the psychedelic '70s. This is reflected in the titles of many d their jobs, with predominantly more 'white' theme and lighthearted compared to emerging Pen Ozzy.
The lyrics to 'Parents' (Padres) reflect the generation gap of young late' 60s with their parents and do so in a very melancholy and bitter way. When you have a band playing to full their compositional, creative and letrísticas capabilities, you can ask some more ...
In short, we are facing one of the greatest achievements in the history of the genre, and out of what are the big three, namely, 'Paranoid' 'Sad Wings of Destiny' and 'Iron Maiden', this' Never Turn your Back on a Friend 'is not doing anything big fourth