When Worlds Collide

The Firm - The Firm (1985)

The Firm's self-titled 1985 debut album is a notable intersection of rock mastery. It united Jimmy Page's signature guitar work with what is arguably one of the best rock and roll voices in history, Paul Rodgers.

The pair had already left an indelible mark on rock—Page through the seismic success of a little band named Led Zeppelin and Rodgers as the voice of Free and Bad Company. With these credentials, expectations were high. Yet The Firm aims not for epic theatrics but a lean, radio-friendly approach.

While the decision is refreshing, it can leave some listeners feeling that the album doesn't fully deliver.

The overt attempt to create a radio-friendly song is most evident in "Radioactive," which, fortunately for the band, was successful.

Tracks like the album opener, "Closer," showcase the group's willingness to experiment. Tony Franklin's fretless bass lines in the song add a unique character, even if they occasionally overshadow Rodgers's dynamic vocals.

For reasons known only to the band, they covered The Righteous Brothers' "You've Lost That Lovin' Feelin’," which was a miscalculation. It's not awful; sonically, it works, but it's so egregiously unnecessary… and unwanted.

L to R - Jimmy Page, Chris Slade, Paul Rodgers, Tony Franklin - The Firm

The album's production retains a crisp, polished sound that, for better or worse, situates it firmly in the mid-'80s landscape. Page's guitar isn't buried but feels restrained compared to his earlier exploits. Rodgers, for his part, delivers his hallmark blend of bluesy confidence and melodic nuance, especially on tracks like "Satisfaction Guaranteed." This track is a prime example of The Firm's intended ethos: compact songwriting built on groove rather than extended improvisation.

However, no doubt that some listeners might lament the lack of a standout anthem akin to Zeppelin's "Kashmir" or Bad Company's "Feel Like Makin' Love".

One of the album's more interesting facets is its willingness to incorporate sonic updates reflecting 1980s trends. Chris Slade's polished drum sound occasionally verges on synthetic, yet it underscores the group's aim to break from the past. Those seeking Page's signature guitar sorcery won't be entirely disappointed: "Midnight Moonlight" allows some room for a more expansive arrangement, albeit still guided by the album's tighter structural focus which works to the songs disadvantage.

This emphasis on each member's role suggests a more collaborative approach, but it also means Page and Rodgers never dominate to the extent fans of their previous projects might expect.

As a result, The Firm feels more democratic than explosive.

Ultimately, The Firm's debut finds a unique way to balance commercial rock accessibility with the pedigree of its legendary members. It certainly doesn't match the groundbreaking highs of Led Zeppelin or Bad Company, but it does offer a cohesive set of tracks that reflect the mid-'80s shift toward sleek production and concise songwriting. While its measured approach can frustrate those yearning for extravagance, it also engages fans seeking melodic, tightly constructed tracks. Furthermore, the chemistry between Page, Rodgers, Slade, and Franklin is evident, even if it never reaches the virtuosic heights many hoped for.

On the one hand, the album's measured approach reveals the group's desire to stand on new ground rather than rehash previous glories. The Firm keeps things efficient, which can invigorate fans looking for a more commercial rock format. And on the other hand, those fans looking for raw, unbridled extravagance may find it a bit underwhelming and may leave them craving deeper instrumental exploration. The result is a record that, though not revolutionary, is admirable for its willingness to explore new territory without overtly rehashing the glory of past projects.

That said, The Firm merits recognition as an intriguing fusion of established talent and modern rock ambition.