Budgie – Running from My Soul: The MCA Years 1973–1975 (3CD Box Set)
Welsh trio Budgie emerged from the early 1970s as a proto-metal powerhouse who influenced countless bands during the NWOBHM era (which they rode the waves of themselves) and beyond.
Their songs, covered by the likes of Metallica, Soundgarden, Iron Maiden, Megadeth and, more recently, Florence Black, featured bone-crushing riffs and high-pitched vocals – a template for many rock bands that followed.
Yet Budgie never truly received the recognition, or sales, they deserved. Retrospectively however, their legacy and influence resonate through various compilations and rereleases, including new 3CD box set, Running from My Soul: The MCA Years 1973–1975.
Not only is it an excellent starting point for newcomers, it arguably presents the band’s best back-to-back (to back) run of albums, here with the inclusion of non-album B-sides and single edits.
Featuring Budgie ever-present Burke Shelley (bass, lead vocals), and fellow co-founders Tony Bourge (guitars) and Ray Phillips (drums), the band’s third album, 1973’s Never Turn Your Back on a Friend, made its mark by being bookended by two bona fide Budgie classics, 'Breadfan' and 'Parents.'
On the frenetic former, Tony Bourge demonstrates what an excellent guitarist he was with some inventive and varied riffing, and a tasteful solo. The song also includes the band’s predilection for dropping to a dreamy, folkie breakdown before returning to brutal riffing (it’s also worth noting the rhythmic interplay between Shelley & Phillips, with unison parts and accents, would be further developed by Messrs Lee & Peart).
'Baby Please Don’t Go,' a traditional blues song popularised by Big Joe Williams, is brought kicking and screaming into the 70s with an upbeat heavy rock treatment; the contrasting 'You Know I’ll Always Love You' is a short, folk-leaning piece built solely around acoustic guitar and vocals.
'You’re The Biggest Thing Since Powdered Milk' opens with a phased drum solo before launching into another crunching riff. Burke Shelley delivers a vocal reminiscent of Robert Plant and Tony Bourge contributes an effective blues-based solo (developing into double-tracked leads) before the song shifts to a faster outro riff.
'In The Grip Of a Tyrefitter’s Hand' offers more inventive riffing and typically unusual lyrics, reinforcing Budgie’s fondness for distinctive song titles.
'Riding My Nightmare,' with multitracked vocals and 12-string guitar, returns to short song, folk-rock territory before 'Parents' closes out the album as a ten-minute-plus tour de force that captures both sides of Budgie.
Acoustic and electric guitar parts add depth to the three-piece sound, while a memorable chorus carries lyrics that remain timeless, and easy to relate to. An exceptional finish to a very good album.
1974’s In for the Kill saw Pete Boot take over on drums and a noticeable uplift in the self-production values. The title track makes this clear, with increased double-tracking on the guitars and a heavier sound that plays to Budgie’s trademark structure of heavy riffing, a breakdown, then a return to the driving main riff.
The contrasting 'Wondering What Everyone Knows' continues the band’s tradition of including shorter, laid-back acoustic numbers, this time enriched by subtle rhythm-section touches and distant electric guitar.
The near ten-minute 'Zoom Club' is classic Budgie, driven by a huge riff, a hint of funk, and another strong outro riff. Burke Shelley meanwhile delivers a memorable vocal chorus and locks in effectively with Pete Boot.
'Hammer and Tongs' opens with unsettling dissonance before Pete Boot leads the band into a Sabbath-like riff for what is essentially a blues-based track given the heavy-rock treatment.
'Running from My Soul,' which follows, is a heavy 12-bar workout introduced by Tony Bourge’s guitar pyrotechnics, before Shelley & Boot add more proto-Rush rhythmic interplay.
The album closes out with 'Living On Your Own,' a long-form track built around dynamic shifts.
Another standout, all three members contribute to what is a musically, lyrically and melodically strong piece, enhanced by a 'Bolero' interlude and inventive production touches.
As strong as In For The Kill is, the absence of 'Crash Course in Brain Surgery' (an earlier single which found a place on the original release of the album, missing here due to licensing issues) is disappointing.
However, the concisely edited single version of 'Zoom Club' and the B-Side variant of 'Wondering What Everyone Knows' offer some compensation.
The final album in this set is, arguably, also the band’s finest, 1975’s Bandolier, which introduced drummer Steve Williams (who would go on to be the band’s second-longest serving member after Burke Shelley).
The album opens with another Budgie classic, 'Breaking All the House Rules,' which features more strong riffing from Tony Bourge and a strong funk element. The expected breakdown arrives but the intensity holds, shifting into an extended middle eight built around two palm-muted riffs before returning to the main theme. Great stuff.
The downtempo and semi-funky 'Slipaway' is built mainly on acoustic guitar and light-touch rhythm parts, but also features a tastefully restrained electric guitar solo.
'Who Do You Want for Your Love' is yet another Budgie classic.
Opening with gentle tremolo-treated guitar, a killer funk section then leads into a series of increasingly intense riffs. It’s also a Burke Shelley vocal high point, moving from a soft delivery to high-register screams.
A bravura performance built on dynamic contrast.
Mid-tempo rocker 'I Can’t See My Feelings' maintains the album’s quality, enhanced by a funky middle section that comes complete with a 'Shaft'-style wah guitar in the background.
The consistency continues with a cover Andy Fairweather Low’s fun and funky rocker, 'I Ain’t No Mountain.'
The album closes with an extended epic, 'Napoleon Bona-Part One' and Napoleon Bona-Part Two.
The song’s soothing, down-tempo 'Part One' soon gives way to another outstanding Tony Bourge riff that leads 'Part Two,' with Burke Shelley’s vocal soaring above.
Bourge then launches into an extended solo over the insistent riff followed by a fade into a studio-treated guitar passage; the main riff is then reprised for a powerful lead over power riffage finish.
Bandolier is rounded out here by two alternative edits of 'I Ain’t No Mountain' and the B-Side 'Honey,' another example of Budgie’s acoustic, folksy side.
Coming complete with a 20 page illustrated booklet featuring a new essay from Rich Davenport, Running From My Soul represents Budgie at the top of their 70s perch.
Nelson McFarlane
FabricationsHQ
Running From My Soul will be released on 25th September.
Pre-order: https://www.cherryred.co.uk/budgie-running-from-my-soul-the-mca-years-1973-1975-3cd-box-set
Their songs, covered by the likes of Metallica, Soundgarden, Iron Maiden, Megadeth and, more recently, Florence Black, featured bone-crushing riffs and high-pitched vocals – a template for many rock bands that followed.
Yet Budgie never truly received the recognition, or sales, they deserved. Retrospectively however, their legacy and influence resonate through various compilations and rereleases, including new 3CD box set, Running from My Soul: The MCA Years 1973–1975.
Not only is it an excellent starting point for newcomers, it arguably presents the band’s best back-to-back (to back) run of albums, here with the inclusion of non-album B-sides and single edits.
Featuring Budgie ever-present Burke Shelley (bass, lead vocals), and fellow co-founders Tony Bourge (guitars) and Ray Phillips (drums), the band’s third album, 1973’s Never Turn Your Back on a Friend, made its mark by being bookended by two bona fide Budgie classics, 'Breadfan' and 'Parents.'
On the frenetic former, Tony Bourge demonstrates what an excellent guitarist he was with some inventive and varied riffing, and a tasteful solo. The song also includes the band’s predilection for dropping to a dreamy, folkie breakdown before returning to brutal riffing (it’s also worth noting the rhythmic interplay between Shelley & Phillips, with unison parts and accents, would be further developed by Messrs Lee & Peart).
'Baby Please Don’t Go,' a traditional blues song popularised by Big Joe Williams, is brought kicking and screaming into the 70s with an upbeat heavy rock treatment; the contrasting 'You Know I’ll Always Love You' is a short, folk-leaning piece built solely around acoustic guitar and vocals.
'You’re The Biggest Thing Since Powdered Milk' opens with a phased drum solo before launching into another crunching riff. Burke Shelley delivers a vocal reminiscent of Robert Plant and Tony Bourge contributes an effective blues-based solo (developing into double-tracked leads) before the song shifts to a faster outro riff.
'In The Grip Of a Tyrefitter’s Hand' offers more inventive riffing and typically unusual lyrics, reinforcing Budgie’s fondness for distinctive song titles.
'Riding My Nightmare,' with multitracked vocals and 12-string guitar, returns to short song, folk-rock territory before 'Parents' closes out the album as a ten-minute-plus tour de force that captures both sides of Budgie.
Acoustic and electric guitar parts add depth to the three-piece sound, while a memorable chorus carries lyrics that remain timeless, and easy to relate to. An exceptional finish to a very good album.
1974’s In for the Kill saw Pete Boot take over on drums and a noticeable uplift in the self-production values. The title track makes this clear, with increased double-tracking on the guitars and a heavier sound that plays to Budgie’s trademark structure of heavy riffing, a breakdown, then a return to the driving main riff.
The contrasting 'Wondering What Everyone Knows' continues the band’s tradition of including shorter, laid-back acoustic numbers, this time enriched by subtle rhythm-section touches and distant electric guitar.
The near ten-minute 'Zoom Club' is classic Budgie, driven by a huge riff, a hint of funk, and another strong outro riff. Burke Shelley meanwhile delivers a memorable vocal chorus and locks in effectively with Pete Boot.
'Hammer and Tongs' opens with unsettling dissonance before Pete Boot leads the band into a Sabbath-like riff for what is essentially a blues-based track given the heavy-rock treatment.
'Running from My Soul,' which follows, is a heavy 12-bar workout introduced by Tony Bourge’s guitar pyrotechnics, before Shelley & Boot add more proto-Rush rhythmic interplay.
The album closes out with 'Living On Your Own,' a long-form track built around dynamic shifts.
Another standout, all three members contribute to what is a musically, lyrically and melodically strong piece, enhanced by a 'Bolero' interlude and inventive production touches.
As strong as In For The Kill is, the absence of 'Crash Course in Brain Surgery' (an earlier single which found a place on the original release of the album, missing here due to licensing issues) is disappointing.
However, the concisely edited single version of 'Zoom Club' and the B-Side variant of 'Wondering What Everyone Knows' offer some compensation.
The final album in this set is, arguably, also the band’s finest, 1975’s Bandolier, which introduced drummer Steve Williams (who would go on to be the band’s second-longest serving member after Burke Shelley).
The album opens with another Budgie classic, 'Breaking All the House Rules,' which features more strong riffing from Tony Bourge and a strong funk element. The expected breakdown arrives but the intensity holds, shifting into an extended middle eight built around two palm-muted riffs before returning to the main theme. Great stuff.
The downtempo and semi-funky 'Slipaway' is built mainly on acoustic guitar and light-touch rhythm parts, but also features a tastefully restrained electric guitar solo.
'Who Do You Want for Your Love' is yet another Budgie classic.
Opening with gentle tremolo-treated guitar, a killer funk section then leads into a series of increasingly intense riffs. It’s also a Burke Shelley vocal high point, moving from a soft delivery to high-register screams.
A bravura performance built on dynamic contrast.
Mid-tempo rocker 'I Can’t See My Feelings' maintains the album’s quality, enhanced by a funky middle section that comes complete with a 'Shaft'-style wah guitar in the background.
The consistency continues with a cover Andy Fairweather Low’s fun and funky rocker, 'I Ain’t No Mountain.'
The album closes with an extended epic, 'Napoleon Bona-Part One' and Napoleon Bona-Part Two.
The song’s soothing, down-tempo 'Part One' soon gives way to another outstanding Tony Bourge riff that leads 'Part Two,' with Burke Shelley’s vocal soaring above.
Bourge then launches into an extended solo over the insistent riff followed by a fade into a studio-treated guitar passage; the main riff is then reprised for a powerful lead over power riffage finish.
Bandolier is rounded out here by two alternative edits of 'I Ain’t No Mountain' and the B-Side 'Honey,' another example of Budgie’s acoustic, folksy side.
Coming complete with a 20 page illustrated booklet featuring a new essay from Rich Davenport, Running From My Soul represents Budgie at the top of their 70s perch.
Nelson McFarlane
FabricationsHQ
Running From My Soul will be released on 25th September.
Pre-order: https://www.cherryred.co.uk/budgie-running-from-my-soul-the-mca-years-1973-1975-3cd-box-set