Bad Company, a legendary British rock supergroup formed in the early 1970s, was once untouchable.

With roots in iconic bands like Free and Mott the Hoople, Bad Company defined classic rock radio with their bluesy, guitar-driven sound.

Their meteoric rise and string of successful albums made them one of the era’s most beloved rock acts.

However, their attempts to revive that magic in the 1990s turned into a decade-long saga of internal conflict, failed reunions, and shattered dreams.

This is the story of how one of rock’s great names stumbled and fell apart, offering a powerful lesson on the complexities of band reunions and the harsh realities behind commercial success.

By 1982, after releasing six studio albums, the original Bad Company had run its course.

Their last album with lead singer Paul Rodgers, *Rough Diamonds*, was their worst-selling record, and tensions within the band, especially between Rodgers and bassist Boz Burrell, had reached a breaking point.

Paul Rodgers, the voice that defined the band’s sound, wanted a break to focus on his family.

Drummer Simon Kirke later reflected that all members needed time off.

Rodgers moved on to form another supergroup, The Firm, with Led Zeppelin’s Jimmy Page, while Bad Company’s name fell dormant.

In 1986, founding members Mick Ralphs and Simon Kirke decided to resurrect Bad Company, urged by their label Atlantic Records.

However, Paul Rodgers was not part of this revival.

They recruited Brian Howe, a powerful English vocalist previously with Ted Nugent’s band, to fill the impossible shoes of Rodgers.

Howe had reservations about using the Bad Company name, knowing the pressure and inevitable comparisons it would bring.

The band released *Fame and Fortune* in 1986, produced by Keith Olsen, known for his work with Foreigner.

The album’s slick, keyboard-heavy 80s pop-rock sound was a far cry from the gritty blues rock of the 70s.

Commercially, it was a failure, confirming Howe’s fears that this was not the Bad Company fans loved.

Determined to course-correct, Howe pushed the band to toughen their sound and return to guitar-driven rock.

With producer Terry Thomas, who became Howe’s key creative partner, they released *Dangerous Age* in 1988.

This album marked a return to a more adult-oriented rock style and achieved gold status, with several rock radio hits.

Then came *Holy Water* in 1990, which was a massive success.

The album went platinum, driven by hits like the title track and ballads such as *If You Needed Somebody*.

This success led to co-headlining arena tours with Damn Yankees, making Bad Company a major live act once again.

Their follow-up album *Here Comes Trouble* (1992) also did well, earning gold certification.

From the outside, this seemed like a triumphant return. Bad Company was selling records, filling arenas, and reestablishing their brand.

But beneath the surface, the band was crumbling.

The success of the Brian Howe era masked a growing dysfunction.

Howe and producer Terry Thomas were the creative engines, writing the songs and shaping the sound.

Meanwhile, original members Mick Ralphs and Simon Kirke found themselves sidelined creatively, increasingly feeling like hired hands in their own band.

Howe expressed frustration at the lack of support from Ralphs and Kirke, who he felt were content to tour and cash in but no longer contributed to songwriting.

This created resentment on both sides. The original members disliked that the new hits were Howe’s creations, cutting them out of lucrative songwriting royalties.

Howe felt erased from the band’s history, as if the era he led was being airbrushed out in favor of the 70s glory days.

By 1994, tensions reached a breaking point. Howe accused the band of sloppy live performances and quit after releasing a final live album.

Kirke later described this period as the worst of his life, marked by substance abuse and personal struggles.

After Howe’s departure, Ralphs and Kirke tried to keep Bad Company going with new singer Robert Hart.

They released two albums, *Company of Strangers* and *Stories Told and Untold*, but neither made a commercial impact.

It became clear that the 1990s success was tied closely to Howe’s songwriting and voice, not just the Bad Company name.

In 1998, the original four members—Paul Rodgers, Mick Ralphs, Simon Kirke, and Boz Burrell—reunited to record new tracks for a career-spanning anthology.

They embarked on a 32-date US tour in 1999, playing classic hits alongside new songs.

The tour was a nostalgic dream for fans and even featured a pay-per-view broadcast.

However, the reunion was commercially lukewarm.

The anthology album barely charted, and the new songs were modest hits at best. More importantly, old tensions resurfaced.

Rodgers and Kirke, both sober, found it difficult to work with Ralphs and Burrell, who were not.

Differences in lifestyle and personal struggles created a divide so wide that the band members toured on separate buses.

The 1999 reunion was the last time the original four shared a stage.

Boz Burrell died of a heart attack in 2006, and Mick Ralphs suffered a debilitating stroke in 2016, ending any hope of future reunions with the classic lineup.

Bad Company’s 1990s journey is a stark lesson in the challenges of band reunions.

The Brian Howe era was a commercial success but a toxic internal failure, showing that platinum albums cannot fix fractured relationships.

The original lineup’s reunion was emotionally resonant but commercially tepid and tragically short-lived.

Their story highlights that a legendary name alone cannot guarantee a return to glory.

Success built on resentment and creative conflict is unsustainable, while nostalgia without fresh momentum can quickly fade.

Despite the drama, Bad Company’s timeless music continues to resonate with fans old and new.

Paul Rodgers and Simon Kirke have kept the band’s legacy alive with other musicians, but the tale of their disastrous reunions remains one of rock’s most powerful cautionary stories—reminding us all that sometimes, you just can’t go home again.