Bad Company
Stories Told & Untold

THE REVIEW

The last studio album in the long and varied history of Bad Company, released in 1996, is a democratic fifty/fifty mix of rearranged tracks from the early period (stories “told”) and brand new songs (“untold”), totaling fourteen in all. For once, I choose to describe its content in a rational and concise manner:

“One on One” opens with a classic syncopated hard rock blues a'la Bad Company; frontman Robert Hart manages to closely match the style and class of the original famous singer Paul Rodgers… sure his voice is less sexy but it possesses an extra touch of sweetness and irony.

“Oh Atlanta” was on a great album from '79 called “Desolation Angels”; the rendition here leans more acoustic and country, after all this number sounded tremendously American since then and since the title. A pleasant piano solo by guest Matt Rolling and even a bluegrass guitar solo by another guest, Vince Gill, make it even more Yankee, two excellent talents.

“You’re Never Alone” is a big ballad almost in Eagles style (and indeed the tenor voice of their bassist Tim Schmit is present in the choirs), but with a tough rhythmic section that the Eagles were never able to have.

“I Still Believe in You” is another big ballad that this time sounds AOR, thanks to the collaboration of Bill Cuomo on synthesizers, dedicated to organizing lush carpets à la Foreigner. The chorus is powerful, to say the least, with oceanic and vaguely gospel harmonies from a multitude of people and with Hart not taking himself as seriously as Lou Gramm and other great interpreters of the genre, keeping saccharine and slickness to decent levels.

“Ready for Love” dates back to the first best-selling album from '74; here too, the version is more acoustic and rounded, thanks to the choirs of the usual Schmit as well as Max Carl from Grand Funk Railroad, another one with an excellently high and clean voice!

“Waiting On Love” is again unreleased: the tinkling of the acoustic guitars on both sides is beautiful, as is the great organ work, all with a final result reminiscent of Don Henley's and Tom Petty's works, though the melody is quite banal. However, Hart sings very well, mobile and expressive.

“Can’t Get Enough” was once the famous opener of the debut album; the original boogie rock is completely transfigured here into a shuffle with “brush” drums, all acoustic except for an electric piano and a bit of slide guitar, and everything is very soulful thanks to a black female backup singer accompanying Hart.

“Is That All There Is To Love” is instead a piano ballad in Elton John style, very expected even though elegant and exuding executive class, but it recalls hundreds of others.

“Love So Strong” finally travels decisively in hard rock thanks to the skillful slide of master Mick Ralphs over the gripping bass pedal of the super experienced Rick Wills (one who has made records and concerts with Frampton, Gilmour, Roxy Music, Small Faces, Foreigner, Lynyrd Skynyrd…). Here Hart screams a lot and stretches his vocal range to the maximum.

“Silver, Blue & Gold” was originally on the third album “Run With the Pack” dated 1976, and it doesn’t stray too far from the original, usually rounder and with a significantly different production.

“Dawnpour in Cairo” is a tense and swaying country blues, made slightly dizzying by the sticky sound of the accordion. It's a bit like Bon Jovi but… better, there's more class and skill.

“Shooting Star”: speaking of Bon Jovi, this re-edition of the magnificent cowboy song that graced their second album “Straight Shooter” from 1975 sees their guitarist Richie Sambora guesting with a 12-string, while Hart duets with the very blonde and rocky Kim Carnes in the choruses.

“Simple Man” is another self-cover, the original present on “Run With the Pack”; imperial guitar sounds for this excellent slow rock blues with a hypnotic riff, a marvel with all the guitars whether acoustic, passed through a Leslie or played with a slide: one of the best numbers, tense and genuinely lively.

“Weep No More” is the epilogue, again “told” with the original dating back to the “Straight Shooter” album; it’s a soul gospel shuffle a’la Joe Cocker with horns, organ, piano, and all that’s necessary.

These “Told and Untold Stories” of Bad Company constitute a wise, mature, calibrated yet still passionate and lively chapter of their career, with the old and glorious British rock blues rendered in the most American way possible by the five very English and seasoned musicians, skilled at playing only what's necessary and letting the music breathe, without ever unnecessarily embellishing it. It’s a beautiful musical farewell from a talented band.