By 1982 and in particular this album, the Welsh trio Budgie had introduced keyboards into the mix with excellent results.
Written by: gdmonline
ALBUM: Deliver Us From Evil
LABEL: RCA/Active Records
SERIAL: RCALP 6054, PL 25439
CD REISSUE: Discogs Reissue List
COUNTRY OF ORIGIN: Wales
LINEUP: Burke Shelley – vocals, bass * John Thomss – guitars * Steve Williams – drums
Additional Musicians: Duncan Mackay – keyboards
TRACK LISTING: 01 Bored With Russia * 02 Don’t Cry * 03 Truth Drug * 04 Young Girl * 05 Flowers In The Attic * 06 NORAD (Doomsday City) * 07 Give Me The Truth * 08 Alison * 09 Finger On The Button * 10 Hold On To Love
WEBLINKS: Site Link
Welsh band Budgie have numerous articles written about them here on Glory Daze. Their earlier albums had a raw proto-metal sound which gradually developed over time, and by 1982 and in particular this album, the trio had introduced keyboards into the mix with excellent results.
One previously reviewed album – 1980’s ‘Power Supply’ was in itself a significant shift toward a heavy/boogie sound in keeping with the influences of that year, namely AC/DC. This was confirmed in our review written by Dangerzone. Click the Budgie tag below to read it. With this album however, Budgie had found loads of melody and proved that they could roll with the punches by changing musical styles like many other bands had done over the course of their history.
The band were supplemented by former Colosseum II keyboardist Duncan Mackay who makes his presence felt throughout the album. Budgie are sounding nothing like they’ve sounded previously.
‘Bored With Russia’ kicks off as an attempt at commercial hard rock. If I remember this was released as a single. Not quite sure what the lyrics were on about. It was the 80’s after all. Things heavy up with the bombastic ‘Don’t Cry’, it’s here that Mackay is introduced, his organ work turns this into a Uriah Heep styled workout.
‘Truth Drug’ is the first track to raise my eyebrows, big drums, big parping synths and a continued level of aggression. It reminds me of fellow Brits Grand Prix. ‘Young Girl’ is the second album highlight for me, mixing Krokus like aggression with spicy keyboard fills. Super stuff.
The plaintive ‘Flowers In The Attic’ settles things down for a bit, the symphonic keyboard parts gives this track extra dimension. ‘NORAD (Doomsday City)’ lyrically could be an extension of the material penned by Demon. The pessimism towards the world’s military was evident throughout 80’s popular music if you look hard enough.
‘Give Me The Truth’ reminds me of Gary Moore‘s 80’s era before he did the stupid thing and denounced that era of his career. ‘Alison’ is the album’s change-up moment, a quite likeable ballad with more symphonic elements added to the mix.
There’s more militaristic innuendo in the song title ‘Finger On The Button’ but be that as it may, I don’t believe the song has anything to do with setting off nukes. It’s about a troubled relationship where the woman is ready to shoot down (figuratively speaking) her partner in a form of rebuke. ‘Hold On To Love’ with its galloping riffs could be Krokus meets Gary Moore, hooking up at some big weekend summer festival back in the 80’s.
Without doubt, this is very appealing to Glory Daze readers who can’t quite get enough of their 80’s cravings. Despite appearing as the Friday night headliner at the 1982 Reading Festival, this would be Budgie’s last hurrah, going into hiatus for the next fifteen years, returning to the public eye in 1997. While we’re at it, we shouldn’t forget Budgie’s 1981 album ‘Nightflight’, and to complete the picture of their 1980’s era, we should probably write that one up too.