Bad Company

Bad Company's 1974 self-titled release stands as one of the most important and accomplished debut rock albums from the '70s. Though hardly visionary, it was one of the most successful steps in the continuing evolution of rock & roll.
Bad Company was an instant hit worldwide. The self-titled debut went platinum five times over and featured the smash hits, "Can't Get Enough," (a Number One single) and "Movin' On" along with electrifying rock anthems like "Ready For Love," "Rock Steady" and the title track. Because of their association with Grant, a unique opportunity arose for them when it came time to record that classic first album in November 1973. "We were bursting at the seams to get into the recording studio," says Rodgers. "Led Zeppelin had a mobile studio together at Headley Grange all ready to go, but they were delayed for two weeks. Peter told us that if we were quick, we could probably use the studio to lay a couple of tracks down. We steamed in and put the entire album down. Headley Grange was very atmospheric. We had the drums set up in the hallway and the guitars in the living room. We did interesting experiments like placing the vocal microphone way out in the fields for the song 'Bad Company.' We recorded that track late at night underneath a fall moon."
The eight tracks recorded at Headley Grange clearly defined the band's stripped-down sound. Rock, blues and even country influences were skillfully layered within songs such as the beautiful Rodgers-penned ballad "Seagull," the straight-ahead rock of "Movin' On" and "Rocky Steady." Also featured from those fertile sessions at Headley Grange are "Little Miss Fortune," the brooding blues rock classic "Ready For Love" and the previously unreleased "Superstar Woman." While "Superstar Woman" ultimately did not become part of Bad Company's catalog, Rodgers' belief in the song never diminished. He would eventually record a new version of the song for "Cut Loose," his 1983 solo album.
From the simple electric guitar lick on "Can't Get Enough" to the haunting bassline in "Bad Company" and the fast beats of "Movin' On", Bad Company exemplified raw rock & roll at its best. Erupting out of an experimental period created by the likes of Pink Floyd, Bad Company signified a return to more primal, stripped-down rock & roll. Even while label mates Led Zeppelin's Houses of the Holy and IV featured highly acclaimed, colourful album artwork, Bad Company's austere black and white record cover stood out in stark contrast. Six years later, AC/DC used the same idea on their smash Back in Black. Throughout the 35-minute album, Paul Rodgers' mesmerizing and gritty vocals hardly vary in tonal quality, offering a perfect complement to Mick Ralphs' blues-based guitar work.