Bad Company

Few groups captivated an era like Bad Company. Twenty six years after the band formed in 1973 – with Paul Rodgers emerging from the much revered Free, Mick Ralphs exiting from Mott The Hoople, and bassist Boz Burrell (King Crimson) and drummer Simon Kirke (Free) completing the legendary group – the band has enjoyed that increasingly rare status has one of music’s most formidable rock giants. Their continuing influence now spans more than a generation. Their incredible string of gold and platinum albums, as well as several unforgettable chart-topping anthems confirms that the original Bad Co.’s reign (from ’73 to ’82) created one of rock’s most enigmatic stories.

The Original Bad Company Anthology now follows that incredible ride with a collection of 33 Bad Co. gems, including never before released nuggets such as “Superstar Woman,” and an alternate version of “Do Right By Your Woman,” as well as four brand new songs penned by Rodgers and Ralphs, including “Tracking Down A Runaway,” “Ain’t It Good,” “Hammer of Love,” and “Hey, Hey.”

Paul Rodgers recalls the first day of their reunion in the studio to track the new tunes. “We hadn’t played together since ’81,” he says. “So there we were, our instruments plugged in looking at each other. So I counted off, and we went straight into “Can’t Get Enough. After that it all seemed to flow.”

Flow is the optimum word here. Ever since the band first formed from the scattered ashes of Free, they possessed a fluid toughness – a gritty self-confidence in both their moody songwriting and the way each member embodied their role as the original rock outsiders The initial venture began with Rodgers and Ralphs. “I always felt that the songs I was writing needed someone like Paul to sing them,” recalls Ralphs. “It was a perfect combination.”

For Simon Kirke, who also was an ex-Free member, a return from holiday would be met with a fateful listening session. “Paul and Mick played me what they had been working on,” Kirke recalls. “The songs were so strong I just had to come aboard.” “Mick had “Can’t Get Enough,” when we started the band,” says Rodgers. “When he played it for me I knew we had a future together because the song was just perfect for me.” The group, now running at three quarters full, decided to seek the best management possible, pursuing legendary Led Zeppelin manage Peter Grant. Armed with soon-to-be classics like “Rock Steady,” and their eponymous “Bad Company,” Grant couldn’t help but be bowed over by their signature diamond-in-the rough sound. The flamboyant manager immediately signed them to Led Zeppelin’s fledgling Swan Songs records. The final goal was to secure the right bassist. With momentum building toward their public launch, the group recruited Boz Burrell, but only after passing on a myriad of other players. “He was about our 16th bassist,” laughs Kirke. “He didn’t come in with an attitude or ask if we had charts to play. When he came, there was definitely a feeling that the last bolt was in place Bad Company’s good karma continued, even right down to the stroke of good timing that landed them the perfect studio for their crucial first LP, recorded in November of ’73. “We were bursting at the seams to get into the studio,” says Rodgers. “Led Zeppelin had a mobile studio already to go at Headly Grange but suddenly got delayed two weeks. We slipped in and put the entire album down in that time.” Who would have guessed that the resulting eight song, self titled Bad Company debut would become a rock masterpiece. Classic Bad Co. offerings like “Ready for Love,” “Rock Steady,” and “Movin’ On,” shaped the group’s sound forever. Rock, blues, and country influences could be heard, as well as nods to the group’s personal influences, like Cream, Hendrix, and even the Beatles. The aforementioned “Superstar Woman” was also recorded during these sessions (subsequently Rodgers would record it himself on his 1983 solo album Cut Loose).

The band made their live debut in England’s Newcastle City Hall in 1974, receiving massive critical acclaim from the important British press. The buzz followed them to America, where an opening slot for The Edgar Winter Group Tour garnered them even more accolades. “It was amazing,” recalls Rodgers. “When we started out on tour we had just broken on to the charts. In three months we were on top.”

American FM Radio devoured their debut, ultimately working “Can’t Get Enough,” “Rock Steady,” “Ready For Love,” “Bad Company,” and “Movin’ On,” into heavy rotation. The group’s popularity soared, with their evocative but natural style being embraced nationwide. “Basically we played like a bar band,” says Ralphs. “But it was clear that the bars were getting very large indeed.”

With a number one album to their credit, and millions of records sold worldwide, the group was determined to avoid the dreaded sophomore jinx. In September of 1974 they achieved their goal and then some, recording the enormously successful follow-up, Straight Shooter. “Quite a few of the songs on that album came along after the first year of our existence,” says Kirke. Like its predecessor, Straight Shooter spawned several memorable songs, including “Good Lovin’ Gone Bad,” the Grammy winning “Feel Like Makin’ Love,” and the rock anthem “Shooting Star.”

The Original Bad Co. Anthology also includes two other tracks written during the Straight Shooter sessions, “Easy On My Soul,” and “Whiskey Bottle.” The album soared to number 3 on both the UK and US charts. By 1975, with only two years as a unit under their belt, Bad Company were headlining around the world. In September of that year the group convened in Grasse, France to record their third album, Run With The Pack. Soon after its release, “Youngblood,” became a staple of rock radio, and the group garnered its third Top Five album.

For this anthology, a never before heard version of “Do Right By Your Woman,” makes its debut. “We recorded a clean studio version for Run With The Pack,” says Rodgers. “The version on the anthology was recorded before that one, recorded live around a campfire, complete with crackling fire.” The Original Bad Co. Anthology also includes “Too Bad,” “Heartbeat,” and “Burning Sky,” from the 1977 album Burning Sky. The previously unreleased “Smokin’ 45” from these sessions also makes its debut. But as Simon Kirke points out, the group was beginning to suffer from a rigorous touring and recording schedule that had seen them work virtually non-stop for almost five years. “The chemistry started to lose its potency.” But the band was determined to reset their course, releasing the acclaimed Desolation Angels in 1979, which included the now classic “Rock N’ Roll Fantasy.” You can also hear the group’s affinity for country music on gems such as the western flavored “Evil Wind.”

Despite the success of the album, it was soon after the release of Desolation Angels that Rodgers realized he wanted to retreat from what he calls “the cycle.” Says Rodgers: “You suddenly realize you are caught up in a massively big cycle of touring, writing songs, rehearse, record, tour and round and round. I wanted to get out of the events that were totally predictable.”

Says Ralphs about Rodgers’ decision to pull back: “Looking back we stopped at the right time. Paul wanted a break and truthfully we needed to stop.” The group began spending more time apart, eventually coming together one more time in 1981 to record Rough Diamonds. Two prime examples from the album grace the compilation, “Downhill Rider,” and “Untie The Knot.” The group decided not to tour after the LP. With the death of good friend and label mate, Led Zeppelin drummer John Bonham, the group became even more isolated.

Manager Peter Grant, affected by Zeppelin’s tragedy, also drifted away from the business side of things. “There were periods of weeks and weeks when we couldn’t get a hold of him,” recalls Kirke. “He was the glue that held us together and suddenly we were without a rudder.”

In 1982 Rodgers elected to pursue a solo career. In 1983 Atlantic released his solo debut Cut Loose. The album signaled to the public that a change was underway, closing the final chapter on the original Bad Company.

In 1986 Ralphs and Kirke reformed Bad Company without Rodgers releasing albums with a varying degree of commercial success. Rodgers joined forces with Led Zeppelin master Jimmy Page to forge the acclaimed The Firm. He followed that with a short-lived collaboration with drummer Kenney Jones called The Law. His 1994 disc, Muddy Waters Blues earned him a Grammy nomination, while his 1996 Now and Paul Rodgers Live albums introduced him to a new generation of fans.

“I’ve always thought Bad Company was not too far away from some of the better rock that impacted the ’90’s,” says Rodgers. So, for the original members of this veteran supergroup, re-introducing themselves to each other was a matter of hearing those first few chords in a studio environment again. Plans are in the works for a full fledged tour in support of The Original Bad Company Anthology. “Mick and Paul’s new songs are great,” states Kirke. “Sometimes I think back to when I first heard the new material when we were just forming the band. No one ever knew it would lead to what we accomplished. You never know where this thing can go from here.”