The Bishops - I take what I want (1979) What a band! Rev part 2
Dave Tice was, from 1971 to 1977, the talented singer of Buffalo, one of the many wonders of the Australian continent. From that same lineage of cattle emerged Paul Balbi, who had left shortly after the fantastic debut album, having already moved to London where, responding to an ad in the Melody Maker, he joined forces with two other drifters of the City, laying the groundwork for the birth of the Count Bishops. Abandoned by their singer, the Bishops had to record their first self-titled album, entrusting the two guitarists with the task of alternating on vocals, with little success. But when it came time to record the follow-up, Paul decided to "offer" a job opportunity to his old friend Dave. He packed his bags and arrived in London just in time to enter Vic Maile's Jackson studios that the band booked for the recording sessions of what should be, and the lack of a title clearly indicates this, a new beginning for the English band. The rough voice of Dave Tice fits perfectly with the morbidly vintage sound of the Bishops, a powerful basic mix of rock 'n' roll, beat, and blues capable of competing with the Magic Band of Safe as Milk, the Troggs, and the Kinks of the first three albums in haphazardness elevated to a way of life, with covers like Don’t Start Crying Now, I Need You, and Down in the Bottom marking the territory, forcing the other stray dogs of the city to step back.
What an extraordinary band the Count Bishops!
Basically, the Rolling Stones of the punk era, even without sporting the glitter outfits of the early ones or the raggedy clothes of the others. Remaining a quartet after the departure of singer Mike Spenser, they don’t give up and, taking on the vacant role, record a bloody album that is printed only in the Netherlands.
London punks, if they want it, will have to buy it as an import. Everyone else too. Not to mention that when Good Gear is finally reprinted, the reissue (which is actually subpar, as Jacques Leblanc, unable to obtain the masters, will be forced to use his vinyl copy as the matrix, NdLYS) will once again come from a continental label: the French Lolita. Evacuation plan successful.
What's inside? Inside there's a repertoire half-overlapping with that of the Stones (Confessin’ the Blues, Little by Little, Walkin’ the Dog, Dust My Blues, Carol), played with the dry vigor that is typical of pub rock, the brash and vulgar rock 'n' roll that serves to warm up the spirits already revved up in the venues where beer and spirits are the real stars of the evening. Unembellished alcoholic rock 'n' roll as Lemmy likes it, which is why that year he wants them as a support band on Motörhead's English tour, the bad among the bad, outsiders among outsiders.
