Straight Shooter
by Bad Company

Buy Straight Shooter

Straight Shooter by Bad CompanyBad Company returned in 1975 with their sophomore album, Straight Shooter, which built on the successful formula of their 1974 debut album while adding some variety in arrangement. The quartet built on their solid rock foundation with the fusion of several types of sub-genres added to the mix. Further, the success of two consecutive albums proved that Bad Company was a solid force in its own right and would remain in the top echelon of pop rock for years to come.

Prior to Bad Company’s formation, each of the four member of this “super group” had success with previous acts. Lead vocalist Paul Rodgers and drummer Simon Kirke originated in the group Free, while guitarist Mick Ralphs was from Mott the Hoople and bassist Boz Burrell came from King Crimson. Managed by Led Zeppelin’s manager Peter Grant, the group became the first to release an album on the new Swan Song label in 1974, which found instant critical and commercial success.

Just three months after the release of the debut month, the group began recording a follow-up album at a remote castle in England using a mobile unit, engineered by Ron Nevison. In contrast to the simple, sometimes stark hard rock of Bad Company, this second album adds much variety with the addition of acoustic guitars, keyboards and occasional strings. Along with the album’s eight tracks, the group recorded a song called, “Whisky Bottle”, which eventually ended up as a B-side to a single.


Straight Shooter by Bad Company
Released: April, 1975 (Swan Song)
Produced by: Bob Dylan
Recorded: Clearwell Castle, Gloucestershire, England, September 1974
Side One Side Two
Good Lovin’ Gone Bad
Feel Like Makin’ Love
Weep No More
Shooting Star
Deal With the Preacher
Wild Fire Woman
Anna
Call on Me
Group Musicians
Paul Rodgers – Lead Vocals, Guitars, Piano
Mick Ralphs – Guitars, Keyboards
Boz Burrell – Bass
Simon Kirke – Drums

The album thunders in with Ralphs’, “Good Lovin’ Gone Bad”, a song which was released as a single ahead of the album. This is a strong, pure rock, shooter with some slight compositional caveat in the pre-chorus where Burrell’s bass temporarily takes the forefront in this otherwise guitar-dominated song. Of particular note on this song is Rodgers’ vocals, which are strained in rock n roll excess during the verses and choruses but come back down to Earth during pre-chorus sections. “Feel Like Makin’ Love” offers much contrast to first song, from the bright acoustic intro, to the Country-esque verses with somber lead vocals, to the choruses which explode with Ralph’s distorted electric riffs. The true beauty of this popular song is its incredible contrast within, which all somehow works so harmoniously, especially near the end where a cool, laid back, minimal guitar lead moves to a long, building coda crescendo.

Written by drummer Simon Kirke, “Weep No More” starts with some heavy, theatrical orchestration, which almost sounds like it was influenced by the music of Queen. From there, it settles into a steady, piano-driven rocker with a heavy presence of organ and overdubbed, bluesy lead guitar during the verses. Rodgers’, “Shooting Star” is the climax of the first side, the Straight Shooter album, and possibly the Bad Company library as a whole. Lyrically, this timely anthem addresses the rock n’ roll lifestyle, which all too often leads to untimely death. Musically, the intro has wild tremolo guitar effects, the verses have folksy acoustic rhythms, and the choruses feature strong, electric riffs, hooks and harmonized vocals. The rhythms are strong by Burrell and Kirke throughout, which pretty much means everyone playing at their best on this track, while the band as whole employs great restraint, which lets the song unfold seamlessly.

Bad Company in 1975

The lesser known second side begins with a couple of collaborations between Rodgers and Ralphs. “Deal With the Preacher”, is a hard rocker with sharp, bluesy guitars and soulful vocals. The song does later dissolve to a calmer bridge section before coming back fully as an unabashed rock jam as the tone of Ralphs’ guitar seems to predate that of Eddie Van Halen by several years. “Wild Fire Woman” seems to try a bit too hard to be a pop anthem, especially during Rodger’s stratospheric chorus vocals, but falls just a little short of this group’s compositional abilities.

The album concludes with a couple of calmer numbers. Kirke’s, “Anna”, is a re-recording of a song from one of his earlier groups as a moderate love ballad about a “simple woman for a simple man”. Driven by electric piano, it is Kirke’s exceptionally strong and assertive drumming which makes this song distinct from any typical mid-seventies soul ballad. “Call on Me”, the closing track written by Rodgers, is another calm, electric piano song with subtle musical flourishes. The good chord progression through the verses alternates with a dramatic sound-sphere interlude which, during the extended final stretch, borrows the bassline from The Beatles’ “While My Guitar Gently Weeps”, while Ralphs’ lead guitar lazily floats in the background.

Straight Shooter reached the identical lofty spot of #3 in the UK, US, and Canada and it was certified gold within a month of its release. Although slightly less successful than its predecessor, the album has remained an indelible classic for Bad Company four decades after its release.

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1975 Page

Part of Classic Rock Review’s celebration of the 40th anniversary of 1975 albums.

 

Bad Company 1974 debut

Buy Bad Company

Bad Company 1974 debutOriginally considered a pet project of Led Zeppelin manager Peter Grant and his new label, Swan Song, it took no time for Bad Company to find their own niche in the rock pantheon. The very first album on the label, Bad Company, shot straight to the top of the album charts and has since eclipsed five times platinum, becoming one of the top fifty best selling albums of the seventies along the way. These accomplishments were due to the basic and raw approach to rock and roll, which really struck a chord with mainstream listeners. While hardly visionary, Bad Company‘s sound is distinct, with each of the four players given the space to reach the listener individually and collectively.

The group was founded in 1973 when guitarist Mick Ralphs left Mott the Hoople and joined two former members of the rock band Free, drummer Simon Kirke and vocalist Paul Rodgers. When Grant agreed to manage the band, he brought in King Crimson bassist Boz Burrell to complete the quartet. Rodgers’ fascination with the Jeff Bridges film Bad Company as well as a passage from a book of Victorian morals, gave the band its name.

Produced independently, Bad Company was recorded at the centuries old workhouse, Headley Grange, with a mobile studio in late 1973. This was the same location where much of Led Zeppelin’s third and fourth albums (and some holdover songs for Physical Graffiti) were recorded, and owes to the rich, spatial sound of the album.


Bad Company by Bad Company
Released: June 26, 1974 (Swan Song)
Produced by: Bad Company
Recorded: Headley Grange, East Hampshire, England, November 1973
Side One Side Two
Can’t Get Enough
Rock Steady
Ready for Love
Don’t Let Me Down
Bad Company
The Way I Choose
Movin’ On
Seagull
Group Musicians
Paul Rogers – Lead Vocals, Guitars, Piano
Mick Ralphs – Guitars, Keyboards
Boz Burrell – Bass
Simon Kirke – Drums

 

Mick Ralphs composed “Can’t Get Enough”, which became Bad Company’s highest charting and best selling song. The sound and energy of this album is immediately apparent in the interplay between Ralphs and Kirke on this opener and perhaps no other song that follows better captures the dynamics of Bad Company. “Rock Steady” is more blues-rock flavored and not quite as feverishly catchy as the opener (but it is catchy nonetheless). Here, Rodgers’ vocals are more dynamic and the song builds a bit before it ends a bit too abruptly.

Ralphs brought “Ready for Love” over from Mott the Hoople, as he sang a version of that song himself on the 1972,  All the Young Dudes. This is the first place where the vibe changes to a more somber theme with soulful vocals by Rodgers and a real place for bassist Burrell to shine before the song dissolves nicely in slow rhythms and piano. “Don’t Let Me Down” is a piano ballad with rich backing vocals and a saxophone by guest musicians. The first collaboration between Rodgers and Ralph, the song features steady beats, minimal guitars (until the lead more than half way through), and is designed to drive home the very simple message –

Don’t let me down, tell me love can be found…”

The second side begins with “Bad Company”, co-written by Kirke, and completing the odd trifecta of song, artist and album sharing the same title. Perhaps the darkest track on the album, “Bad Company” could’ve been influenced by Alice Cooper musically but is much more soulful vocally. The theatrical, piano-driven verses are interrupted masterfully when the full arrangement kicks in during choruses, led by Ralph’s pristine rock guitar. While Rodgers wrote the song, the blending of guitars is what really shines on “The Way I Choose”, with beats like a slow country waltz and some strategic stop/start timing.

Bad Company in 1974

“Movin’ On” comes closest to capturing the rock energy of the opener “Can’t Get Enough”, as a very catchy and accessible rock track. Again, the lyrics and rhythms have much economy but still pack a great punch that is impossible to ignore, and this formula drove the song into the Top 20. “Seagull” is the folk-flavored acoustic closer which maintains a very simple arrangement throughout with only the addition of tambourine half way through. With great vocals, the song seems ready made for a movie soundtrack, but is yet a rather odd way to wrap things up on this album.

Led by Bad Company, Swan Song Records had four albums in the Billboard Top 200 chart less than a year after its launch. This original lineup of the group nearly tracked directly with the lifespan of the label as their final 1982 album Rough Diamonds was the second to last release on the label, which folded in 1983.

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1974 images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1974 albums.