Badger ‎– One Live Badger 1973 ,Germany ,Prog Rock

Badger – One Live Badger 1973 ,Germany ,Prog Rock (2)

Badger were one of those seventies bands that are barely remembered outside the
circle of hard-core Yes fans. Only in existence for a couple of years,
they managed to produce two albums, White Lady, the 1974 studio album which
was a fairly mellow, soul-influenced affair featuring ex-Apple Records artist
Jackie Lomax, and the altogether more interesting progressive rock debut One Live Badger.
Formed in mid 1972, the roots of the band stretch back a few years earlier when
Tony Kaye linked up with David Foster who was getting material together for a
prospective solo album. Foster, a former band mate of Jon Anderson in The Warriors,
was first introduced to the Yes camp when he co-wrote Sweet Dreams and Time And A
Word with the vocalist with for the band's second album. Although the solo album
was eventually scrapped, Foster and Kaye kept in touch and following Kaye's
departure from Yes and brief involvement with Flash, set about remixing and
reworking the original material.

Deciding to form a band to play and record the songs, drummer Roy Dyke was recruited
from the recently disbanded Ashton, Gardener and Dyke who recommended that guitarist
Brian Parrish, who had recorded a largely ignored album with Adrian Gurvitz,
should complete the line-up. After intensive rehearsals, the band made their debut at
"The Rainbow Theatre" in December 1972 supporting Yes at the infamous concerts
that spawned the sprawling Yessongs live album. Atlantic Records, to whom both groups
were signed, decided that as the equipment was in place they should make the most
of their financial outlay and record the support group's set as well.
In a bold move that seems rather extraordinary by today's standards,
it was these recordings that formed the basis of One Live Badger.

And what a great album it is, the material is strong and the group sound as if
they have been playing and writing together for years. The production, by the group,
Jon Anderson and Geoffrey Haslam, is crisp although somewhat more raw and aggressive
than the resulting Yes recordings from the same concerts. As expected,
Kaye's signature Hammond organ sound is to the fore on most of the tracks
(and in particular on the album closer On The Way Home), although he does use other
keyboards to add different textures: the chorus of Wind of Change features the mellotron,
The River utilises an electric piano to great effect and a Moog synthesiser is
evident on other tracks. Guitarist Brian Parrish plays some great solos,
although nothing too flash (excuse the pun!) or overburdened with technical virtuosity.
The solid and efficient rhythm section are quite prominent in the mix,
as one would expect from a live recording, Foster's bass in particular being particularly
clear - the dynamic mix of driving bass, riffing guitar and wailing Hammond during On
The Way Home is superb and probably something that could only be got away with on