01. Anne Neggen - 4:05
02. If I Were Brittania I'd Waive The Rules - 5:51
03. You're Opening Doors - 4:17
04. Quacktor And Bureaucats - 3:51
05. Sky High Percentage - 5:57
06. Heaven Knows Our Name - 3:52
07. Black Velvet Stallion - 8:05

- Burke Shelley - vocals, bass
- Tony Bourge - guitar
- Steve Williams - drums
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- Richard Dunn – keyboards

Looking for a fresh start, Budgie signed with A&M Records in 1976 and released the strangely titled If I Were Brittania, I'd Waive the Rules. The band continued to incorporate new elements into their sound here, showing a special interest in funk on such tracks as "Anne Neggen" and "Sky High Percentage." The stark "Black Velvet Stallion" shows an interesting use of space, but descends into boredom long before its eight minutes are up. Ironically, Budgie still sounds most at home when injecting an adventurous progressive rock flavor into songs like "Heaven Knows Your Name" and "You're Opening Doors," both of which also benefit from Tony Bourge's classy guitar harmonies. --- Eduardo Rivadavia, Rovi

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1 	Breadfan 	5:54
2 	Baby Please Don't Go 	5:20
3 	You Know I'll Always Love You 	2:06
4 	You're The Biggest Thing Since Powdered Milk 	8:40
5 	In The Grip Of A Tyrefitter's Hand 	6:15
6 	Riding My Nightmare 	2:40
7 	Parents 	10:06
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8	Never Turn Your Back On A Friend	6:01

Bass, Vocals – Burke Shelley
Drums – Ray Philips
Lead Guitar, Acoustic Guitar, Vocals – Tony Bourge 

Originally released in 1973 on MCA, Budgie's third record, Never Turn Your Back on a Friend, was another slab of the band's signature plodding metal sound. Although they were never more than a cult band in the U.S., Budgie's popularity flourished in their native England, yet their influence was eventually felt by many notable American bands (Metallica, Soundgarden, Alice in Chains, etc.). The mammoth riffs created by guitarist Tony Bourge are definitely on par with Black Sabbath riff master Tony Iommi, while vocalist/bassist Burke Shelley's voice is a cross between Robert Plant and early Geddy Lee. Drummers came and went (this would be original member Ray Phillips' last recording), but you'd never guess there would be a defection soon, judging from the tightness and interplay displayed on this album. One of their best-known tracks, "Breadfan" (later covered by Metallica), kicks off the album with rapid, almost speed metal, while the epic "Parents" closes the album sans the heavy metal thunder (the band chooses a more mid-paced and acoustic sound). The group also became notorious for coming up with profound (yet lighthearted) song titles, such as "In the Grip of a Tyrefitter's Hand" and "You're the Biggest Thing Since Powdered Milk." Recommended to anyone who finds solace in the metal forefathers (Sabbath, Zep, Hendrix, etc.). ---Greg Prato, AllMusic Review

Kiedy muzycy Black Sabbath zrezygnowali z współpracy z Rodgerem Bainem i sami zaczęli produkować swoje płyty, rezultat był fatalny (vide kiepsko brzmiący "Vol. 4"). Zupełnie inaczej stało się w przypadku Budgie - ich trzeci album, a zarazem pierwszy samodzielnie wyprodukowany, "Never Turn Your Back on a Friend", już od pierwszych sekund okazuje się najlepiej brzmiącym longplayem w ich dotychczasowej karierze. Jednak to nie dlatego powszechnie uznawany jest za największe dzieło grupy. Przede wszystkim jest to zasługa wspaniałych kompozycji. Już otwierający całość, rozpędzony "Breadfan" powala zabójczymi riffami - nic dziwnego, że swoją wersję utworu nagrała później Metallica. Ich cover niewiele różni się od oryginału, tylko balladowe przejście w połowie kawałka jest zupełnie inne.

Świetnych riffów nie brak też w trochę wolniejszym, rozbudowanym "You're the Biggest Thing Since Powdered Milk", z długimi gitarowymi solówkami, a także z charakterystycznym motywem na gitarze basowej (który musiał być jedną z inspiracji Steve'a Harrisa z Iron Maiden), pojawiającym się w drugiej połowie. Równie powalający jest "In the Grip of a Tyrefitter's Hand", o bardziej chwytliwej melodii, ale niepozbawiony instrumentalnych popisów. Najwspanialszym momentem longplaya jest jednak finałowy "Parents". Utwór trochę, z innej beczki, bo balladowy - ale jest to jedna z najwspanialszych ballad wszech czasów, z pięknymi, długimi solówkami. Dziwne, że nie przysporzyła grupie większej popularności.

Niestety, "Never Turn Your Back on a Friend" ma też słabsze momenty. Zaliczyć można do nich "Baby, Please Don't Go" - przeróbkę Big Joe Williamsa, zachowującą bluesowy klimat, ale nabierającą hard rockowego ciężaru. W sumie całkiem fajna wersja, ale bardziej pasowałaby na stronę B singla, niż na longplay. Zupełnie niepotrzebne są natomiast akustyczne przerywniki "You Know I'll Always Love You" i "Riding My Nightmare". Umieszczanie ich na płytach Budgie stało się tradycją, ale te przesłodzone kawałki zupełnie nie pasują do reszty - w zupełności wystarczyłby tutaj akustyczny fragment "Breadfan". ---Paweł Pałasz, pablosreviews.blogspot.com

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1 	Crash Course In Brain Surgery 	2:35
2 	Guts 	4:20
3 	Stranded 	6:18
4 	In The Grip Of A Tyrefitters Hand 	6:30
5 	Homicidal Suicidal 	6:30
6 	Whisky River 	3:27
7 	Hot As A Dockers Armpit 	5:54
8 	Baby Please Dont Go 	5:30
9 	Breadfan 	6:10
10 	Rape Of The Locks 	6:10
11 	Nude DesinTegrating / Parachutist Women 	8:30
12 	Parents 	10:25
13 	Riding My Nightmare 	2:43

Bass Guitar, Vocals – Burke Shelley
Drums – Pete Boot, Ray Phillips, Steve Williams
Guitar – Tony Bourge

Often thought of as a cross between Black Sabbath (due to their plodding, molten-heavy riffs) and Rush (due to their singer's high-pitched, Geddy Lee-esque wail), the somewhat obscure British metal outfit Budgie has influenced countless outfits, despite enduring countless lineup shifts throughout their history. The group originally formed in 1967 in Cardiff, Wales, comprised of members Burke Shelley (vocals, bass), Tony Bourge (guitar), and Raymond Phillips (drums), and by the early '70s, they'd inked a deal with MCA Records. This early lineup remains Budgie's most definitive, due to the fact that it spawned three of the group's finest albums -- 1971's self-titled debut, 1972's Squawk, and 1973's Never Turn Your Back on a Friend -- while the group's quirky song titles became somewhat of a trademark for the trio (such ditties as "Nude Disintegrating Parachutist Woman," "Hot as a Docker's Armpit," "In the Grip of a Tyrefitter's Hand," and "You're the Biggest Thing Since Powdered Milk"). For fans of early Sabbath, the aforementioned three discs are a must-have.

Despite building a sizeable following in their homeland (while never breaking out of cult status stateside), Phillips left the group prior to their fourth album, 1974's In for the Kill!, replaced by newcomer Pete Boot, which would in turn set off a flurry of steady lineup changes over the years for the group (the only constant Budgie member from the beginning was Shelley). Further releases were issued throughout the '70s, including 1975's Bandolier, 1976's If I Were Brittania I'd Wave the Rules, and 1978's Impeckable, but each appeared to be less inspired than its predecessor. With the emergence of the New Wave of British Heavy Metal movement (Judas Priest, Iron Maiden, Motörhead, etc.), interest in Budgie appeared to be rekindled once more in England, as Budgie headlined the Reading Festival in 1980 and 1982, in addition to issuing such albums as 1980's If Swallowed Do Not Induce Vomit and Power Supply, 1981's Nightflight, and 1982's Deliver Us from Evil.

Shelley and company would remain together for a few more years before splitting up quietly by the mid-'80s (ex-members Bourge and Phillips would unite in a new group called Tredegar, issuing a lone self-titled release in 1985). But almost as soon as they disbanded, several high-profile groups began covering Budgie classics, including Metallica ("Crash Course in Brain Surgery" and "Breadfan"), Iron Maiden ("I Can't See My Feelings"), and Soundgarden ("Homicidal Suicidal"), while back in their early club days Van Halen was known to cover the title track from In for the Kill! Budgie reunited for sporadic live gigs throughout the '90s (while past members formed the similarly styled outfits Six Ton Budgie and Boot66), resulting in several archival collections being issued: the best-of compilations An Ecstasy of Fumbling: The Definitive Anthology (a double-disc set) and Best of Budgie (a single disc), as well as the live sets Heavier Than Air: Live on the BBC and We Came We Saw (the latter of which featured selections from both of their Reading Festival appearances in the early '80s). ---Greg Prato, allmusic.com

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1 Guts 4:20
2 Everthing in My Heart 0:52
3 The Author 6:28
4 Nude Disintegrating Parachutist Woman 8:41
5 Rape of the Locks 6:12
6 All Night Petrol 5:57
7 You and I 1:41
8 Homicidal Suicidal 6:41

- Tony Bourge / Guitar, Vocals 
- Ray Phillips / Percussion, Drums 
- Burke Shelley / Bass, Guitar (Bass), Vocals, Mellotron

While Welsh heavy rock band Budgie were formed in 1967 (under the name Hills Contemporary Grass), it took until 1971 for the band to release their first album. The line up indicates that the trio add mellotron to their basic guitar/bass/drums set up, but do not be fooled by this; this is an album of guitar driven rock. Produced by Rodger Bain there is a distinct relationship with the sound with Black Sabbath, who he also produced. Other bands who have clearly influenced or been influenced by Budgie are the likes of Led Zeppelin and Rush. In the case of the latter, the vocals of Burke Shelley bear a passing resemblance with those of Geddy Lee.

"Budgie" was recorded on 8 track tape in only four days, and while some overdubbing was subsequently added, this is essentially a live in the studio affair. The sleeve notes advise us that the band are "not particularly subtle", and that "They're not progressive (whatever you understand that to mean)", but the track arrangements can belie such statements.

The album is essentially a succession of blues rock numbers with the occasional softer counterpoint. The opening "Guts" is a heavy riff infested song which sets the scene well for both this and future albums. We are though caught off guard by the delicate acoustic "Everything in my heart" which follows, even if it does run for just a minute. The mood appears to continue on "The author", but the initial reflective nature of the track is soon replaced by a more orthodox heavy rock number.

It is though "Nude disintegrating parachutist woman" (what a wonderful title, it does actually feature in the lyrics!) which offers the first taste of the real Budgie. This superb 8½ minute romp takes us through an altogether more adventurous arrangement. The lead guitar here is the highlight of the track, but the driving nature of the song combined with a genuine raw excitement, make for a compelling piece of early metal.

"Rape of the locks" is the first of three 6 minute pieces which make up side 2, the song featuring another interesting arrangement of what is essentially a basic blues rock number. "All night petrol" slows things down slightly, sounding a bit like Led Zeppelin's "Lemon song" at times. The track features another fine lead guitar break, this time with some upfront complementary bass.

"You and I" is another brief acoustic number which sounds distinctly like a John Lennon demo. The album closes with "Homicidal suicidal", another Sabbs like riff infested blues rock piece.

Budgie's relationship with prog comes not from their raw guitar based sound, but from the relative complexity of the arrangements of songs such as "Nude disintegrating parachutist woman". This, combined with their willingness to occasionally reveal their softer side, offers an appealing diversity to what would otherwise be a straightforward guitar rock album. No one for the prog purists by any means, but those interested in discovering the roots of prog metal and those looking for some good old fashioned lead guitar magic should find much to enjoy here. Great sleeve too! --- Easy Livin, progarchives.com

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