This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
BioShock is a 2007 first-person shooter game developed by 2K Boston (later Irrational Games) and 2K Australia, and published by 2K. The first game in the BioShock series, it was released for Microsoft Windows and Xbox 360 platforms in August 2007; a PlayStation 3 port by Irrational, 2K Marin, 2K Australia and Digital Extremes was released in October 2008. The game follows player character Jack, who discovers the underwater city of Rapture, built by business magnate Andrew Ryan to be an isolated utopia. The discovery of ADAM, a genetic material which grants superhuman powers, initiated the city's turbulent decline. Jack attempts to escape Rapture, fighting its mutated and mechanical denizens, while engaging with the few sane survivors left and learning of the city's past. The player can defeat foes in several ways by using weapons, utilizing plasmids that give unique powers, and by turning Rapture's defenses against them.
BioShock takes place in Rapture,[5][6] a large underwater city planned and constructed in the 1940s by individualistbusiness magnateAndrew Ryan, who wanted to create a utopia for society's elite to flourish outside of government control and "petty morality". This philosophy resulted in remarkable advances in the arts and sciences, which included the discovery of "ADAM": a potent gene-altering substance which is created by a species of sea slug on the ocean floor. ADAM led to the creation of "Plasmids", mutagenic serums that grant users super-human powers such as telekinesis and pyrokinesis. To protect and isolate Rapture, Ryan outlawed any contact with the surface world.[7]
As Rapture flourished, wealth disparities grew, and criminal Frank Fontaine used his influence over the disenfranchised working class to establish illegal enterprises and obtain power—enough to rival Ryan. With doctors Brigid Tenenbaum and Yi Suchong, Fontaine created his own company dedicated to researching plasmids and gene tonics. As ADAM became addictive and demand skyrocketed, Fontaine secretly mass-produced ADAM through slugs implanted in the stomachs of orphaned girls, nicknamed "Little Sisters". Fontaine was killed in a shootout with police, and Ryan took the opportunity to seize his assets, including control of the Little Sisters.
In the months that followed, a man amongst the poor named Atlas rose up and began a violent revolution against Ryan, with both sides using plasmid-enhanced humans (known as "Splicers") to wage war on one another. To protect the Little Sisters, Ryan created the "Big Daddies": genetically enhanced humans surgically grafted into gigantic lumbering diving suits designed to escort the sisters as they scavenged ADAM from dead bodies.[5] Tensions came to a head on New Year's Eve of 1958 when Atlas ordered an all-out assault on Ryan and his supporters. The conflict turns Rapture into a war-torn crumbling dystopia, resulting in societal collapse, countless deaths, many Splicers becoming disfigured and insane from ADAM abuse, and the few sane survivors barricading themselves away from the chaos.[8]
BioShock's game design drew on art deco for much of its imagery.[9]
In 1960, the protagonist, Jack, is a passenger on a plane that crashes in the Atlantic Ocean.[10][11] The only survivor, Jack makes his way to a nearby lighthouse; inside is a bathysphere that takes him to Rapture.[12] Jack is contacted via radio by Atlas, who helps guide him through the ruined city.
Atlas requests Jack's help in saving his family, who he says are in a docked bathysphere. When Jack first encounters the Little Sisters, Atlas urges him to kill them to harvest their ADAM. Dr. Brigid Tenenbaum intervenes and insists Jack should spare them, providing him with a plasmid that can remove the sea slug from their bodies and free them of their brainwashing.[13] Jack works his way to the bathysphere, but Ryan destroys it before Jack can reach it. Infuriated, Atlas has Jack fight his way through various districts toward Ryan's lair, forcing Jack to contend with Rapture's deranged citizens along the way, such as the surgical doctor J.S. Steinman and artist and musician Sander Cohen.
Jack enters Ryan's office. Ryan reveals the truth of Jack's origins: he is actually Ryan's illegitimate son, sold by Ryan's mistress as an embryo to Fontaine, who had Tenenbaum and Suchong rapidly age Jack into adulthood and turned into an obedient assassin, capable of accessing any of Rapture's systems locked to Ryan's genetic code and thus ensure Fontaine's victory in the war. Jack was smuggled to the surface with false memories of a normal life, waiting to be called back to Rapture when needed. Ryan takes control of Jack's actions by asking, "Would you kindly?"; a phrase that has preceded many of Atlas' commands as a hypnotic trigger, forcing him to follow any orders without question. Jack also realizes he was responsible for the plane crash, having read a letter onboard containing the same trigger phrase.[14]
Ryan chooses to die by his own will and compels Jack to beat him to death with a golf club. Atlas reveals himself to be Fontaine, having faked his death and used "Atlas" as an alias to hide his identity while providing a heroic figure for the poor to rally behind. With Ryan dead, Fontaine takes control of the city and leaves Jack to be killed by hostile security drones. Jack is saved by Dr. Tenenbaum, who helps remove Fontaine's mental conditioning, including one that would have stopped Jack's heart. Jack pursues Fontaine to his lair, where Fontaine transforms himself into a hulking humanoid creature by injecting himself with a large supply of ADAM. The Little Sisters aid Jack in draining the ADAM from Fontaine's body and eventually kill him.
The ending depends on how the player interacts with the Little Sisters:
If the player rescues all or all but one of the Little Sisters, Jack takes them back to the surface with him and adopts five of them as his daughters. Tenenbaum happily narrates how they go on to live full lives under his care, eventually surrounding him on his deathbed. This ending is considered canon in BioShock Infinite: Burial at Sea.
If the player harvests more than one Little Sister, Jack turns on the Little Sisters to harvest their ADAM.[15] Tenenbaum sadly narrates what occurs, condemning Jack and his actions. A submarine comes across the plane's wreckage and finds itself surrounded by bathyspheres containing Splicers, who attack the crew and take control of it. The submarine is revealed to be carrying nuclear missiles, with Tenenbaum claiming that Jack has "stolen the terrible secrets of the world":[16] The more Little Sisters Jack harvests throughout the game, the harsher and more furious Tenenbaum's narrative becomes.[17]
A Big Daddy defends a Little Sister (both on the right) from two Splicers, while the player watches.
BioShock is a first-person shooter with role-playing customization and stealth elements, and is similar to System Shock 2. The player takes the role of Jack as he is guided through Rapture towards various objectives. The player collects multiple weapons and plasmids as they work their way through enemy forces. The player can switch between one active weapon and one active plasmid at any time, allowing them to find combination attacks that can be effective against certain enemies, such as first shocking a Splicer then striking them down with a wrench. Weapons are limited by ammunition that the player collects; many weapons have secondary ammo types that can be used instead for additional benefits, such as bullets that inflict fire damage. Plasmid use consumes a serum called EVE which can be restored using EVE syringes collected by the player or by consuming cigarettes and alcohol.[18] The player has a health meter that decreases when they take damage. The player can restore their health with food or medical packs found throughout Rapture. If the player's health is reduced to zero, they will be regenerated at the last Vita-Chamber that they passed with limited amounts of health and EVE. A patch for the game allows the Vita-Chambers to be turned off, requiring players to restart a saved game if the character dies.[19]
The game provides several options to face challenges. In addition to direct combat, the player can use plasmids to lure enemies into traps or to turn enemies against each other, or employ stealth tactics to avoid detection by hostiles including the security systems and turrets.[20] The player can hack into any of Rapture's automated systems; the hacking process is done via a mini-game similar to Pipe Mania where the player must connect two points on opposite sides of a grid with a limited set of piping within a fixed amount of time, with failure to complete in time costing health and potentially sounding alarms.[21][22] Early in the game, the player is given a research camera; by taking photographs of enemies, the player will cumulatively gain knowledge about the individual foes which translates into attack boosts and other benefits when facing that enemy type in the future.[23]
The player collects money by exploring Rapture and from the bodies of defeated foes; this money can be used at vending machines to restock on ammunition, health and EVE, and other items; like security cameras, vending machines can be hacked to reduce the costs of items from it.[22] The player will receive rewards in the form of ADAM from completing some tasks, as well as from either saving or killing the Little Sisters after defeating their Big Daddy guardian. ADAM is used to purchase plasmids from Gatherer's Garden machines scattered around Rapture.[24] In addition to plasmids, the player can collect and buy tonics that provide passive bonuses, such as increasing Jack's strength, using EVE more efficiently, or making Jack more resistant to damage. The player can only have a limited number of plasmids and tonics active at any time, and can swap between the various plasmids and tonics at certain stations located throughout Rapture.[5]
Lead developer Ken Levine had created Irrational Games in 1997 out of former members from Looking Glass Studios.[25][26] Their first game was System Shock 2, a sequel to Looking Glass's System Shock, and was met with critical success, though it did not prove a financial one. Levine had attempted to pitch a sequel to System Shock 2 to Electronic Arts, but the publisher rejected the idea based on the poor performance of the earlier game.[27] Irrational developed other games, including Freedom Force, Tribes: Vengeance, the canceled title Deep Cover, and the completed The Lost which was never released due to legal complications. At this point, Levine wanted to return to a game in the same style as System Shock 2, a more free-form game with strong narrative.[27][28]
In 2002, the team had come up with a core gameplay mechanic idea based on three groups of forces; drones that would carry a desirable resource, protectors that would guard the drones, and harvesters that would attempt to take the resource from the drones; these would eventually bear out as the Little Sisters, Big Daddies, and Splicers in the final game, but at the time of the concept, there was no set theme.[28] They began working on creating a setting as to be able to pitch the idea to publishers.[28] A 2002 demonstration version was based on the Unreal Engine 2 for the Xbox.[27] This demonstration was primarily set aboard a space station overtaken with genetically mutated monsters; the main character was Carlos Cuello, a "cult deprogrammer"—a person charged with rescuing someone from a cult, and mentally and psychologically readjusting that person to a normal life.[27][29] Ken Levine cites an example of what a cult deprogrammer does: "[There are] people who hired people to [for example] deprogram their daughter who had been in a lesbian relationship. They kidnap her and reprogram her, and it was a really dark person, and that was the [kind of] character that you were."[30] This story would have been more political in nature, with the character hired by a Senator.[30] The team collectively agreed that this game was not what they had set out to make, and were having trouble finding a publisher.[27] They considered ending development, but as news about their efforts to create a spiritual successor to System Shock 2 began to appear in gaming magazines and websites, the team opted to continue development, performing a full revamp.[27]
By 2004, 2K Games, a subsidiary of Take-Two Interactive, offered to publish the game primarily based on the drone/protector/harvester concept, giving Irrational the freedom to develop the story and setting.[28][31][32] By this point, the story and setting had changed significantly, taking place in an abandoned World War II-era Nazi laboratory that had been recently unearthed by 21st-century scientists. Over the decades, the genetic experiments within the labs had gradually formed themselves into an ecosystem centered on the three groups.[33] This version included many of the gameplay elements that would remain in the final BioShock, themselves influenced by concepts from System Shock 2. These elements included the use of plasmids and EVE, the need to use stealth or other options to deal with automated security systems, direction through the environment from a non-player character relayed over a radio, and story elements delivered through audio recordings and "ghosts" of deceased characters.[34][35][36]
While the gameplay with the 2004 reveal was similar to what resulted in the released version of BioShock, both design and story changed, consistent with what Levine says was then-Irrational Games' guiding principle of putting game design first.[29] These areas were also issued due to some internal strife and lack of communication between the various teams within Irrational, part of the result of having to expand the team from six to sixty members for the scope of the project.[27] The environment was considered bland, and there were difficulties by the team's artists to come up with a consistent vision to meet the level designer's goals.[27] A critical junction was a short experiment performed by level designer Jean Paul LeBreton and artist Hoagy de la Plante, setting themselves aside to co-develop a level that became part of the "Tea Garden" area in the released game, which Levine used as a prime example of a "great BioShock space", emphasizing the need for departments to work together.[27] Levine found that the cyberpunk theme had been overplayed considering their initial reject from Electronic Arts for System Shock 3, leading towards the underwater setting of Rapture.[27]
The game's lead level designer was Bill Gardner.[37] He cited Capcom's survival horror series Resident Evil as a significant influence on BioShock, stating there are "all these nods and all these little elements that I think you can see where Resident Evil inspired us". The team were particularly influenced by Resident Evil 4, including its approach to the environments, combat, and tools, its game design and tactical elements, its "gameplay fuelled storytelling" and inventory system, and its opening village level in terms of how it "handled the sandbox nature of the combat" and in terms of "the environment".[38]
A visit to the GE Building and its statue of Atlas in New York City was the principal idea that led to the art deco stylings of BioShock.
The thematic core of BioShock was born when Levine was walking at Rockefeller Center near the GE Building in New York City. He saw the uniqueness of the art deco styling of the building along with imagery around the building such as the statue of Atlas near it, and recognized that these were spaces that had not been experienced in the first-person shooter genre.[28] The history of the Rockefeller Center also fed into the story concept; Levine noted how the center had started construction prior to the Great Depression; when the primary financiers had pulled out, John D. Rockefeller Jr. backed the remaining construction to complete the project himself, as stated by Edge magazine "a great man building an architectural triumph against all the odds".[28] The history of Rapture and the character of Andrew Ryan is loosely based on Rockefeller's story.[28] He also considered that many of the characters of Rapture were all people who were oppressed once before in their lives and now free of that oppression, have turned around and become the oppressors, a fact he felt resonated throughout human history.[39]
At this point in the development, the backdrop of Rapture had been fleshed out, but they had yet to come on how to represent the drones, protectors, and harvesters from their original game idea. The Big Daddy concept as the protector class was developed early in the process, but the team had yet to reach a satisfying design for the drones, having used several possible designs including bugs and dogs in wheelchairs.[28] The team wanted to have the player care for the drones in some way and create pathos for these characters. The idea of using little girls came out of brainstorming, but was controversial and shocking within the team at first, recognizing that they could easily be killed and make the game more horrific in the style of Night Trap.[28] However, as Levine worked on the story, he started to incorporate the ideas of dystopian and utopian thinkers from the twentieth century, including Ayn Rand, Aldous Huxley, and George Orwell, and considered their ideas "fascinating".[40] He brought in the ideas of Objectivism that Rand primarily outlined in the book Atlas Shrugged, that man should be driven by selfishness and not altruism, and used this to inform the philosophy behind the city of Rapture and Andrew Ryan's work, viewing them as quite ludicrous, and primed to be applied to an antagonist, tied in with his previous observations on Rockefeller and his writings.[28] This was extended to the use of the little girls as drones (now Little Sisters), particularly the question whether the player should try to save the girls or harvest the ADAM for their benefit.[28] 2K Games expressed concern about the initial mechanic of the Little Sisters, where the player would actively prey on the Little Sister, which would have alerted a Big Daddy and set up the fight with the player. This approach did not sit well with Levine, and 2K Games asserted that they would not ship a game "where the player gets punished for doing the right thing".[27] They altered this approach where the Little Sisters would be invulnerable until the player had dealt with their Big Daddy, though LeBreton considered this "a massive kludge" into the game's fiction.[27][28] The idea of creating the Little Sisters and presenting the player with this choice became a critical part of the game's appeal to the broader gaming market, although it was met with criticism from some outlets.[28] Levine desired only to have one ending to the game, something that would have left the fate of the characters "much more ambiguous", but publisher pressure directed them to craft multiple endings depending on the choice of harvesting Little Sisters.[39] Levine also noted that "it was never my intention to do two endings for the game. It sort of came very late and it was something that was requested by somebody up the food chain from me."[41]
Other elements came into the story design. Levine had an interest in "stem cell research and the moral issues that go around [it]".[40] Regarding artistic influences, Levine cited the books Nineteen Eighty-Four and Logan's Run, representing societies that have "really interesting ideas screwed up by the fact that we're people".[42] The idea of the mind control used on Jack was offered by LeBreton, inspired by films like The Manchurian Candidate, as a means to provide a better reason to limit the player's actions as opposed to the traditional use of locked doors to prevent them exploring areas they should not. The team had agreed that Jack's actions would be controlled by a key phrase but struggled with coming up with one that would not reveal Atlas' true nature. Levine happened upon "Would you kindly" after working on marketing materials for the game that asked the reader hypothetical questions such as "Would you kill people, even innocent people, to survive?", later working that phrase into the first script for the game.[27]
Numerous tensions within the team and from publisher 2K Games continued during the development process. According to LeBreton, Levine was distrustful of some of the more egotistical newer hires and was often arguing with them to enforce his vision of BioShock.[27] 2K Games was concerned with the growing budget for the title, and told Levine to market the title more as a first-person shooter rather than the first-person shooter/role playing game hybrid they set out for.[27] Near the targeted release date, Levine ordered the team into round-the-clock development, creating more strife in the team.[27] Paul Hellquist, the game's lead designer, was often omitted from key design meetings, which he later recounted was due to his contrary nature to Levine, questioning several of his choices; he used his frustration to put into the design efforts for the Medical Pavilion level that he was in charge of at that time.[27] Near the anticipated completion date, 2K decided to give Irrational another three months to polish up the game, extending the current crunch time the studio was already under.[27] This left some hard-to-discover bugs and issues in the game undiscovered. One such case was an apparent Easter egg found in the remastered version in 2018, where under certain conditions, the player can end up looking at an object with the description "Paul Hellquist did not do his Job". Both Levine and Chris Kline, the game's lead programmer confirmed the message was a cheeky jab at Hellquist left as a debugging message; Kline and Hellquist were developing the systems to show descriptions of objects to players when looked at, and Hellquist offered to complete all the necessary descriptions in-game; to jokingly help prod Hellquist along, Kline put "Paul Hellquist did not do his Job" as the default message within the executable code. While the code message was changed for the original release, the remastered version likely used a pre-final version of the BioShock code, according to Kline.[43] Hellquist took the revelation in good humor and tweeted that other Easter eggs should have been added to the game to display: "If you are enjoying this, Paul Hellquist did his job."[44]
A critical playtest of the game occurred in January 2007, where initial feedback from the players was mostly negative, including issues of the setting being too dark, having no idea where to go, and distrusting Atlas, who at the time was voiced in a southern drawl, described as a "lecherous Colonel Sanders".[27] The team took this criticism to heart, revamping several elements during those extra months such as improving the lighting, implementing a quest marker, and using an Irish voice for Atlas to make him sound more trustworthy.[27] During another late-stage playtest with the title "ninety-nine percent" complete according to Levine, the playtesters did not like the game at all as they felt no connection to the player-character Jack, and the person overseeing the tests told Levine that the game was likely to be a failure. At this point, BioShock did not have many cutscenes, as Levine was ideologically opposed to them. However, the following day, Levine and the lead group came up with a "cheap" way to correct this, by adding the initial cut scene within the plane and the subsequent plane crash, as this helped to set the time frame, place the player in the role of the character, and alluded to the "would you kindly" line later in the game.[39] Levine likened this approach to the initial aircraft crash at the onset of the television show Lost to quickly establish character and setting.[28]
The game was successfully released in August 2007 with a final budget of about $25 million.[27] In a 2016 interview, Levine felt that the game could have used about six more months of development to improve the gun combat system and fix lagging issues that occurred during the final boss fight.[39] Despite the critical success of the title, many of those on the team would leave Irrational to pursue other projects due to late development strife that occurred.[27]
In an interview in 2018, Levine had come to recognize that BioShock reflected several Jewish themes, though this was not intentional. Levine, who considers himself culturally Jewish but does not followJudaism, had grown up in New Jersey but spent much of his childhood time with his father who worked in Manhattan's Diamond District and visiting his grandparents in Queens, a neighborhood with a large proportion of Eastern European immigrants. Thus, Levine was exposed to much of the Jewish culture that flourished in the area following World War II and understood some of the anxiety Jewish people faced.[45] In the 2018 interview, Levine recognized several of the characters, including Andrew Ryan (who was inspired by Ayn Rand who was also Jewish), Sander Cohen, and Brigid Tenenbaum, were written all as Jewish, and all seeking to escape a world they felt they did not fit into by going to Rapture; Levine said: "'There's literal displacement and then there's a feeling of not fitting in, of 'I don't really belong here'. I think Jews are always going to feel a little bit like they don't belong wherever they are. There's always that 'what if we have to flee' mentality."[45]
BioShock uses a heavily modified Unreal Engine 2.5 with some of the advanced technologies from Unreal Engine 3.[4] Irrational had previous experience with modifying and expanding on the Unreal Engine in SWAT 4, and continued this advancement of the engine within BioShock. One significant improvement they added was improved water effects, given the nature of the game's setting, hiring a programmer and artist to focus on the water effects.[46] This graphical enhancement has been lauded by critics, with GameSpot saying: "Whether it's standing water on the floor or sea water rushing in after an explosion, it will blow you away every time you see it."[47]BioShock also uses the Havok Physics engine that allows for an enhancement of in-game physics, the integration of ragdoll physics, and allows for more lifelike movement by elements of the environment.[48] The Windows version was built to work in both Direct3D 10 (DirectX 10) and DirectX 9, with the DirectX 10 version supporting additional water and par
Bad Company enjoyed great success throughout the 1970s. Their first three albums, Bad Company (1974), Straight Shooter (1975) and Run with the Pack (1976), reached the top five in the album charts in both the UK and the US.[4][5] Many of their singles and songs, such as "Bad Company", "Can't Get Enough" (1974), "Feel Like Makin' Love" (1975), "Shooting Star" (1975), "Burnin' Sky" (1977) and "Rock 'n' Roll Fantasy" (1979), remain staples of classic rock radio. They have sold 20 million RIAA-certified albums in the US and 40 million worldwide.[6] Though they initially disbanded in 1982, Bad Company reunited on many occasions to record and tour until 2019. In 2023, Kirke revealed that they would not continue as a band following the development of Rodgers' recent health issues.[7]
Bad Company was formed in Westminster, London.[2] It consisted of four seasoned musicians: two former members of Free, singer Paul Rodgers and drummer Simon Kirke; former Mott the Hoople guitarist Mick Ralphs; and ex-King Crimson bassist Boz Burrell. The band signed to Swan Song Records/Atlantic Records in North America, and with Island Records in other countries. (Island Records had until that time been the UK home to both Free and King Crimson, as well as to Mott the Hoople for their first four albums; Atlantic, in turn, released King Crimson's and Mott's early albums in the US through a licensing agreement with Island). Atlantic/Warner Music would later acquire the non-North American rights to the band's catalogue.
Contrary to speculation that singer Paul Rodgers named the band after the Jeff Bridges film Bad Company, Rodgers stated in an interview with Spinner.com that the idea came from a book of Victorian morals that showed a picture of an innocent child looking up at an unsavoury character leaning against a lamp post. The caption read "beware of bad company".[8]
In 1975, their second album, Straight Shooter, reached No. 3 in both the UK and the US and also went platinum in the US.[12] The album also spawned two hit singles, "Good Lovin' Gone Bad" at No. 36 and the slower "Feel Like Makin' Love" at No. 10.
Their third album, Run with the Pack, was released in 1976 and reached No. 4 in the UK and No. 5 in the US.[4] Bad Company scheduled a British tour with the band of former Free member Paul Kossoff, Back Street Crawler, to support the album, as well as a new album by Back Street Crawler. This double headline tour was scheduled to commence on 25 April 1976 but was halted due to Kossoff's death on 19 March 1976.
Released in 1977, Burnin' Sky fared the poorest of their first four records, reaching No. 15 in the US and No. 17 in the UK.[4]Desolation Angels, released in 1979, did better than its predecessor, peaking at No. 3 in the US and No. 10 in the UK.[4]Desolation Angels also embellished the group's sound with synthesisers and strings. It had two charting singles: "Rock 'n' Roll Fantasy" at No. 13 and "Gone Gone Gone" at No. 56.
By the end of the 1970s, however, the band grew increasingly disenchanted with playing large stadiums. In addition, Peter Grant lost interest in the group and management in general after Led Zeppelin drummer John Bonham died on 25 September 1980. In the words of Simon Kirke, "Peter was definitely the glue which held us all together and in his absence we came apart".[13]
A three-year hiatus from the studio ended with the release of Rough Diamonds in August 1982. This would be the sixth and final LP in the group's original incarnation until four new songs were recorded in 1998. The album was the worst-selling Bad Company album of those featuring Paul Rodgers as the front man. The album peaked at No. 15 in the UK and No. 26 in the US.[4]
After the release of Rough Diamonds, Bad Company disbanded. Mick Ralphs said, "Paul wanted a break and truthfully we all needed to stop. Bad Company had become bigger than us all and to continue would have destroyed someone or something. From a business standpoint, it was the wrong thing to do, but Paul's instinct was absolutely right".[14]
Despite being famous for their live shows packing the largest stadiums for almost a decade, Bad Company did not release an official live album of performances from this period until they recorded What You Hear Is What You Get: The Best of Bad Company on the Here Comes Trouble tour during the Brian Howe era. The album was released in November 1993 and featured live versions of hits from both the Paul Rodgers era and the Brian Howe era. In 2006, the album Live in Albuquerque 1976 was released, compiled from recordings made by Mick Ralphs, who regularly taped the group's shows during the Rodgers era and used the tapes to critique the band's performances. Bootlegs of Bad Company's live performances from this period were also available, including "Boblingen Live" (1974), "Live in Japan" (1975) and "Shooting Star Live at the L.A. Forum" (1975).
In 1985, Mick Ralphs and Simon Kirke, having just worked together the previous year on Ralphs' solo album Take This, decided to reteam for a new project. But in 1986, their label, Atlantic Records, insisted they resume the Bad Company name. Unfortunately, Paul Rodgers was already engaged with a new supergroup called The Firm. With Rodgers gone, the remaining two members partnered with new managers Bud Prager and Phil Carson and teamed up with ex-Ted Nugent vocalist Brian Howe (who was introduced to them by Foreigner's Mick Jones) as the new lead singer. In addition, Steve Price joined the band as the new bass player and Greg Dechert (ex-Uriah Heep) joined on keyboards. Howe's vocal style brought more of a pop-rock sound to the band, which Atlantic Records was looking for to bring the band back up to arena status after declining turnouts to previous live performances and the dismal sales of Rough Diamonds.
The band hired Foreigner producer Keith Olsen to produce the new line-up's initial album, 1986's Fame and Fortune. Burrell agreed to rejoin the band and was name checked on the Fame and Fortune album, even though he didn't play on it. But just before the supporting tour, he left once again (Steve Price then returned) to play with a jazz outfit called The Tam White Band.
Reflecting the musical style of the mid-1980s, Fame and Fortune was laden with keyboards, unlike previous Bad Company albums, but was only modestly successful. The single "This Love" managed to reach No. 85 on the Singles charts but was not the success the band hoped for. In 1987 Dechert was dropped from the line-up as the group decided not to play up the keyboards in their sound as much. They toured that year supporting Deep Purple.
For the next Howe-era album, 1988's Dangerous Age, the band replaced Olsen with producer Terry Thomas, who got rid of most of the keyboards and returned the band to a guitar-driven sound. Thomas also added small amounts of keyboards as well as rhythm guitars and backing vocals and wrote most of the songs with the band. Dangerous Age fared better than its predecessor, spawning several MTV videos and the AOR hits "No Smoke Without a Fire" (#4), "One Night" (#9) and "Shake It Up" (#9, also No. 89 on the Billboard Hot 100 Singles chart). The album went gold and hit the Top 60. For the Dangerous Age tour, the band was augmented by Larry Oakes (keyboards, guitar), who had also played with Foreigner. Price and Oakes both left at the conclusion of the tour.
The band's next album, Holy Water, written mostly by Brian Howe and Terry Thomas, was released in June 1990. The album, also produced by Thomas, was enormously successful both critically and commercially, attaining Top 40 and platinum status by selling more than one million copies. Holy Water was the band's first album on the Atlantic subsidiary Atco. The album spun off the singles: "If You Needed Somebody" (#16), the title track "Holy Water" (#89) and "Walk Through Fire" (#28). "Holy Water" also hit No. 1 for 2 weeks on the AOR charts with "If You Needed Somebody" reaching No. 2. The album received significant radio airplay (five songs made the AOR charts in all) and spawned several video hits. Felix Krish played bass on the CD while Paul Cullen was recruited for live shows.
Ralphs, who was taking care of personal and family matters, sat out for most of the Holy Water tour, although he did perform on the album. Beginning in June 1990, Ralphs was replaced on the road and in the videos by ex-Crawler guitarist Geoff Whitehorn and producer Thomas guested on rhythm guitar and keyboards. Ralphs returned later on during the tour (in April 1991) and Whitehorn went on to join Procol Harum in December 1991, with whom he played up till their 2022 dissolution after Gary Brooker's death.[15] Also joining at this time was ex-ASAP guitarist Dave "Bucket" Colwell as the second guitarist. Their subsequent tour, supported by Damn Yankees, was one of the top five grossing tours of 1991.
The final studio album of the Howe era, 1992's Here Comes Trouble, featured the Top 40 hit "How About That" (#38) and "This Could Be the One" (#87). The album went gold. Before touring in support of Here Comes Trouble, the band added ex-Foreigner, Roxy Music and Small Faces bassist Rick Wills and Colwell, a protégé of Ralphs, was now a full-time member. The band toured with several acts, including Lynyrd Skynyrd, and recorded a live album, What You Hear Is What You Get: The Best of Bad Company on the Here Comes Trouble tour. The album, released in November 1993, featured live versions of hits from both the Rodgers and Howe eras of the band.
Howe left the band in 1994. Regarding his departure from the band, Howe stated: "Leaving Bad Company was not a difficult decision. It had got to the point where nobody was contributing anything to songwriting and quite frankly, the band was getting very very sloppy live. I quite simply, along with Terry Thomas, got tired of doing all the work and then getting nothing but resentment for it from Mick and Simon."[16]
In 1994, ex-Distance frontman Robert Hart was approached by Mick Ralphs and Simon Kirke and asked if he would like to join them as the third lead vocalist for Bad Company, following Paul Rodgers and Brian Howe. Hart performed with Bad Company, including in the USA and Canada. In July 1994 a contract was drawn up by Alliance Artists and Legend Management and signed by the then Bad Company line-up, Mick Ralphs, Simon Kirke, Hart, Dave Colwell and Rick Wills giving Hart the right to perform, write and record songs and albums and receive royalty payments as a full Bad Company member.
In 1995, a self-produced Bad Company album was released with Hart, Company of Strangers. It contained five tracks self-penned or co-written by Hart and Ralphs. Many of these were recorded in Nashville and featured guest appearances by country stars such as Vince Gill. The band made a promotional tour of the US with Bon Jovi. Griffin Music of America also re-issued Ralphs' solo album Take This! on CD.
In 1996, another Bad Co album, Stories Told & Untold, featured Hart with seven new compositions and seven acoustic versions including "Can't Get Enough" and "Ready For Love".[17]
For their 1996 tour, the Bad Company line-up was: Kirke, Hart, Rick Wills, and Dave "Bucket" Colwell. Ralphs sat out this tour due to health issues, which he had also done frequently during the Brian Howe era.[13]
Return of Paul Rodgers, touring and inactivity (1998–2008)[edit]
In November 1998, Rodgers and Kirke were discussing the release of an extensive compilation album with a biography and picture. Rodgers decided the album should include four new songs. He finally reunited with the other three original members in the studio to record these four new tracks. The reunion was short-lived, but it produced a Top 20 AOR hit with "Hey Hey" (No. 15). The second new song "Hammer of Love" peaked at No. 23. The new tracks appeared on the compilation album, The 'Original' Bad Co. Anthology, released in March 1999, which charted at No. 189.
With David Lee Roth as the opening act, the reunited original foursome went out in the spring and summer of 1999 for a 32-date reunion tour in the US, which began on 15 May 1999 at Ruth Eckerd Hall in Clearwater, Florida. The tour included a pay-per-view concert on 21 May at Hard Rock Live in Orlando and ended on 8 August at the Greek Theater in Los Angeles. The shows drew well, but after that, Ralphs announced he was retiring from live performing, and Burrell left again as well bringing the reunion to an end. The Greek Theater concert turned out to be the last show of the original four members. In 2014 on Bad Company's 40th Anniversary DVD documentary, Kirke elaborates further on the end of the 1999 reunion, stating that he and Rodgers did not wish to continue on since he and Rodgers were sober and the other two were not.
Paul Rodgers again rejoined Kirke in 2001 for a tour that kicked off in the US and included co-headlining dates with Styx and Billy Squier as special guests. Dave Colwell and Rick Wills took over for the departed Ralphs and Burrell. The tour did decent business then moved to the UK.
The band secured some dates on the West Coast of the US in January 2002 to record a new live album and DVD, Merchants of Cool, recorded by Chris Mickle, Bud Martin and Justin Peacock, which featured the song "Joe Fabulous", that hit No. 1 on radio and the top 20 on Mainstream Rock Radio in the US in its debut week. The Merchants of Cool tour in 2002 once again featured Kirke and Rodgers as the only original members left. Colwell again took lead guitar and Jaz Lochrie, who had played live and recorded with Paul Rodgers from 1995 on, was on bass. Guest performers at the shows included former Guns N' Roses guitarist Slash and Neal Schon of Journey fame. After the 2002 tour, Bad Company went inactive once again as Rodgers returned to his solo career.
In 2005, a DVD called Inside Bad Company 1974–1982 was released that reviewed Bad Company on stage, on film, and on record. It also interviews Simon Kirke and had some live recordings from the 1970s and 1980s. This was an unauthorised release.
In 2006, a limited edition CD of 24 carat gold was released of the first Bad Company album (Bad Company). After taking over a year to find the original master tapes, the analogue masters were put through a proprietary analogue-to-digital converter that remastered the songs for the best possible sound.
Boz Burrell died of a heart attack on 21 September 2006, aged 60, at his home in Spain.
On 6 May 2007, Robert Hart, Dave "Bucket" Colwell and Jaz Lochrie performed in a small pub in Surbiton for The Macmillan Cancer Trust. Performing as Rock and Roll Fantasy, they offered a show of Bad Company songs for an audience of a few hundred. They were joined by Mick Ralphs. Chris Grainger was the drummer.
In 2008, "Mick Ralphs' Bad Company" toured in the following formation: Robert Hart, Mick Ralphs, Dave "Bucket" Colwell, Jaz Lochrie, Gary "Harry" James.[18]
On 2 July 2008, it was announced that the original remaining line-up of Bad Company would do a one-off gig at the Seminole Hard Rock Hotel & Casino in Hollywood, Florida on 8 August 2008.[19] For this show, the surviving three were joined by Howard Leese (guitar, formerly of Heart) and bassist Lynn Sorenson. According to Paul Rodgers, they did this gig to "protect the legacy they have built and cement the rights to the trademark Bad Company for touring."[20] The live performance was released on Blu-ray, DVD, and CD on 9 February 2010 and the tracks include 17 Bad Company hits. Rodgers dedicated "Gone, Gone, Gone" to original bassist Boz Burrell, who died in 2006.
Paul Rodgers, Mick Ralphs and Simon Kirke (again joined by Leese and Sorenson) performed together again during the summer of 2009, playing 10 shows throughout the United States.[21] The band then played shows in the UK during April 2010 before embarking on tours through North America and Japan that lasted from July to October. Mick Ralphs was forced to pull out of the Japan dates, as he was undergoing hip replacement surgery. Leese handled lead guitar for the Japanese tour.
In March 2011, a budget live release Extended Versions was issued, taken from the band's UK tour in 2010. The CD debuted at No. 139 on the Billboard 200 and featured 10 selections, peaking at No. 84 on the chart. This became the first Bad Company album to chart in 12 years.
In March 2012, it was announced that Bad Company would be performing a short run of European festival dates beginning 9 June at the Sweden Rock Festival in Sölvesborg. This would mark the first time in 37 years the band had performed in the European continent, outside the UK.[22] However, it was announced in May that the German festival dates were cancelled but that the Sweden Rock Festival show was still on.[23]
In June 2012, Todd Ronning, from Rodgers' solo band, took over bass, playing alongside second guitarist Howard Leese, who was celebrating his fourth year with the band.
In March 2013, Bad Company and Lynyrd Skynyrd announced a joint 40th Anniversary Tour commemorating the 40th anniversary of Skynyrd's first album release and Bad Company's formation. On 10 June 2013,Bad Company appeared on The Tonight Show with Jay Leno, kicking off their commemorative tour throughout the United States and Canada. And in 2014, Bad Company once again announced a joint summer tour with Lynyrd Skynyrd.[24]
Bad Company's first two studio albums, Bad Company (1974) and Straight Shooter (1975), were re-released on CD, digital and vinyl on 7 April and 1 July 2015 respectively.[needs update] The release encompassed the original albums newly remastered in 2015, alongside single b-sides, studio demos, interviews and previously unreleased songs from vault.[25]
In March 2016, the group announced a US tour with Joe Walsh. Ralphs later announced that he would not be participating in this tour and that Rich Robinson of the Black Crowes would be standing in for him. In June 2016, the group announced a UK arena tour with special guests Richie Sambora and Orianthi, culminating in a show at London's O2 arena on 29 October. Ralphs rejoined the band for the duration of the tour.
In 2017, Bad Company resumed touring with Rodgers, Kirke, Todd Ronning on bass and Howard Leese on lead guitar.
Former lead singer Brian Howe died 6 May 2020, aged 66.
Bad Company's 2019 tour dates look to be their final ones as a band since Kirke stated in an interview on 30 November 2023 on the Bob Lefsetz Podcast that "Bad Company's days are pretty much over”, citing Rodgers' recent health problems as a factor.[26]
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This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
This program unpacks Playstation 3 Theme files (.p3t) so that you can touch-up an existing theme to your likings or use a certain wallpaper from it (as many themes have multiple). But remember, if you use content from another theme and release it, be sure to give credit!
Download p3textractor.zip from above. Extract the files to a folder with a program such as WinZip or WinRAR. Now there are multiple ways to extract the theme.
The first way is to simply open the p3t file with p3textractor.exe. If you don’t know how to do this, right click the p3t file and select Open With. Alternatively, open the p3t file and it will ask you to select a program to open with. Click Browse and find p3textractor.exe from where you previously extracted it to. It will open CMD and extract the theme to extracted.[filename]. After that, all you need to do for any future p3t files is open them and it will extract.
The second way is very simple. Just drag the p3t file to p3textractor.exe. It will open CMD and extract the theme to extracted.[filename].
For the third way, first put the p3t file you want to extract into the same folder as p3textractor.exe. Open CMD and browse to the folder with p3extractor.exe. Enter the following: p3textractor filename.p3t [destination path]Replace filename with the name of the p3t file, and replace [destination path] with the name of the folder you want the files to be extracted to. A destination path is not required. By default it will extract to extracted.filename.
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