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Badfinger – So Fine (The Warner Bros. Rarities) (2019, Red, Vinyl) – Discogs
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So Fine The Warner Bros. Rarities (Rsd Exclusive) | Light In The Attic Records
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- Summary of article content: Articles about So Fine The Warner Bros. Rarities (Rsd Exclusive) | Light In The Attic Records Limited to 2000 Copies! … Most folks point to Badfinger as the greatest power pop band of all time. But, with four accomplished songwriters in Tom Evans, Mike … …
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Amazon.com
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- Summary of article content: Articles about Amazon.com It’s too bad that only 900 copies of this LP were released [for April 2019’s RSD]. There are 2 LPs. Disc one is most of “Badfinger” with a bonus cut. Disc 2 is … …
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SPILL ALBUM REVIEW: BADFINGER – SO FINE – THE WARNER BROS. RARITIES – The Spill Magazine
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Badfinger – So Fine – The Warner Brothers Rarities – Vinyl LPx2
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Badfinger LP: So Fine – The Warner Bros. Rarities (2-LP, Red Vinyl, Ltd., RSD) – Bear Family Records
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SpecialRelease | RECORD STORE DAY
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- Summary of article content: Articles about SpecialRelease | RECORD STORE DAY Badfinger · 1. Love My Lady (unreleased song) · 2. Shine On (1973 work in progress mix) · 3. Song for a Lost Friend (1973 work in progress mix) · 4. Island (1973 … …
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Badfinger – So Fine (The Warner Bros. Rarities)
equalsunequalled Apr 19, 2019 Report
Liner Notes in album package:
So Fine: The Warner Bros. Rarities presents alternate takes to the final LP mixes of Badfinger’s two Warner Brothers albums: early 1974’s self-titled Badfinger and late 1974’s Wish You Were Here.
Badfinger’s first album began under great duress. Despite three successful LPs on The Beatles’ Apple Records, which had resulted in four worldwide hit singles in just three years, along with the Ham-Evans #1 cover hit of their “Without You” by Harry Nilsson, they really did have to leave Apple, as the label was rapidly going under. Consequently, the band found a new home with the prestigious record company headed by Joe Smith in the U.S.
The recording of their debut Warner Brothers album began in June of 1973 under less than auspicious circumstances. Badfinger had just finished touring early in 1973, followed by completing the last Apple album, Ass, with Thomas in April and May of 1973. Without the delayed Apple album out yet, they had found their audience was dwindling a bit.
Record producer Chris Thomas, who had finished producing Ass (which was first first started by Todd Rundgren, followed by the band’s unorganized efforts) had by now developed a bit of a reputation for reviving musical projects. Thomas remembers working on up to “four-in-a-row” salvage jobs, including amazing work on Pink Floyd’s Dark Side of the Moon, for which he actually did some co-production, only to be told he’d be relegated to a Music Supervisor credit and a “one-time small fee.”
Thomas enjoyed working with Badfinger and was happy to start a fresh album at Olympic Studios in London that summer of 1973. But he immediately was aware they were not a happy band. “They were rushed into this project right off of Ass and could have used more time to rest, write, and rehearse. Once it got going, I could see they weren’t a cohesive bunch.”
Badfinger’s sound on their previous work had been fairly consistent in the studio; a feel of a tight unit, though some session musicians had been slotted in at times, often to the group’s displeasure. The results had been pretty good, so they acquiesced without too much fuss to any producers, but they were all an opinionated outfit and quietly harbored some resentment.
“They kept their outward emotions pretty low-key in the studio and were generally easy-going,” said Thomas. “When we started this album, I was in an experimental mode at that time, having worked with The Beatles and Roxy Music and having freedom to try out ideas.”
At completion, Tom Evans had come up with the album title For Love or Money, a rather bold and scathing rumination on the band’s new album contract, which did not come without a lot of controversy and doubt. Even after getting as far as test pressings and some printed stickers, someone at Warners finally nixed the idea with no time left, leaving no album title but the band’s name and a scrapped cover idea. Former Apple Artist artwork director Kosh was a friend of the band from their past and was now hired to salvage something in days, as he had for the Beatles’ Abbey Road cover.
He recalls: “Having little to no time to design anything was standard fare rushing around back then. I asked the lads if they could ride horses, to which they said, ‘Yes.’ The photographer was Peter Howe. So, Peter and I did some scouting. We went down to the east end of London. There’s a place called Epping Forest, which is like a sort of national trust, a medieval sort of land owned by someone very rich. We got all these guys together on horses to come through the bushes and come towards the camera, but it became pretty evident that they couldn’t ride horses [laughs]. They were sort of like crashing into each other. What I decided to do was create some good old English mist—some fog, to make it more mysterious, more medieval. The problem was a slight breeze sprung up and it blew all the dreadful, stinking diesel oil smoke out over the M1 motorway. It stopped traffic! Completely shut down the freeway! [laughs]. We had to get away from the police!”
“That’s the back cover, maybe one or two shots were salvageable. On the front cover, it’s a model in English hunting riding gear with a hard hat, and on her finger, if you look closely, is a little band-aid on it, a tip of the hat to Badfinger.”
This, Badfinger’s self-titled first Warner Brothers album, was handled poorly by the label at the time and didn’t chart well. Only one single was released with almost no promotion. So, it became on to the next album immediately after a tour supporting the first record was met with tepid sales reaction. But there are many gems on the LP; it’s sort of Badfinger’s White Album, and their talent shines through.
These 1973 work-in-progress mixes were originally crafted by producer Chris Thomas for the band members to take home and review. Luckily, we can now hear them to study the album’s development further.
Shine On – 1973 work in progress mix
Here you hear scratch lead vocals by Pete Ham and Tom Evans. Notice, one lyrical line is sung “Slip and slide, and fall into the fantasy” instead of the final version’s “Slip and slide, so I’ll forget reality.” The solo guitar by Joey Molland is up and brief guitar fills missing from the record are heard now.
Song for a Lost Friend – 1973 work in progress mix
You hear more of the bass guitar in this mix. The lead vocal is also up. The big difference is the dramatic end. Missing here are the incredible background vocals, as designed by Tom Evans. Also missing is the ending distorted electric guitar emphasizing one of the parts. The climbing guitar parts can be heard in their root development.
Island – 1973 work in progress mix
The lead vocal has less effect. The drums are more melded in this rough. The middle solo is by Molland, but Ham’s ending solo is not yet recorded. Still, the driving rhythm, even without a lead, is engaging.
Matted Spam – 1973 work in progress mix
Here is the song without any saxophones by the legendary Jim Horn. A raw and funky version with the bass guitar up, it’s extended with vocal vamping by Ham. This song in original form had more of a “Feelin’ Alright” feel. Ham loved “soul” and “funk” and took a stab at getting the band into it.
Where Do We Go from Here – 1973 work in progress mix
You hear the song longer and without so much effect on the lead vocal. This draws you in more directly to the emotion of Tom’s lyric. It also pops a bit more on the rhythm. Instead of the bizarre steel drum solo from Russ And The Flames (even Chris Thomas finds it odd in retrospect), the melody of that solo is played by a piano.
My Heart Goes Out – 1973 work in progress mix
Mike Gibbins’ poignant, touching song with a scratch vocal is here and without the backgrounds included in the final. Notice, one lyric line is sung “You turn me down, I wanna die” instead of the final version’s “You turn me down, I wonder why.” Chris Thomas liked this rough mix, as the cascading delay effects came closer to a seagulls-flying effect he heard in his head.
Lonely You – 1973 work in progress mix
The song was the single that never was, which frustrated fans and the band to no end. Immediately, you’ll notice the missing lead guitar over the opening piano backing. Pete’s vocal is a raw scratch take. It’s still beautiful, but has a few rare strained notes from the usually flawless singer. There’s no acoustic guitar and no background vocals. No bass guitar. Just the underwater piano sound, which Thomas, in retrospect, wasn’t sold was the best idea, though he can’t deny the commerciality of the tune and was disappointed a single was never released.
Give It Up – 1973 work in progress mix
Molland’s emotive lament to a commercialized world is here with his scratch lead vocal and none of the brilliant background vocals as arranged by Tom Evans. Some of the buzzing Ham guitars are missing, too, but Molland’s solo at the end is extended.
Andy Norris – 1973 work in progress mix
Here is a take with scratch lead vocal by Molland, showing unfinished lyrics. Joey’s wife, Kathie, help him finish these at some point and received co-writing credit. Joey talks and even screams swear words. It’s a wild ride of a track that Thomas laughingly called “early punk!” Andy Norris is actually Andy Morris, who was a very young second engineer on this album’s recordings at Olympic Studios. Morris later said he had no idea at the time that Joey titled it in his tribute and as it was, Kathie and Joey happened to misspell his name!
Love My Lady – previously unreleased song – reference 1973 mix
This Tom Evans tune reminds one more of Little Feat than Badfinger. Bluesy and tasteful, until an explosive middle section during which Tom exclaims “Oh, Wow!” at some point, which actually was this track’s early reference title. Crazy synth leads and Joey’s lead guitar cut through. But this song didn’t make the cut, and showcases here with a raw, unfinished lead vocal.
Badfinger came into recording their second Warner Brothers album, Wish You Were Here, fresh off the last day of yet another early 1974 U.S. tour supporting their previous Warner Brothers album, Badfinger. But that wasn’t the only album the tour was supporting. Their last Apple Records album, Ass, had only been released late in 1973 in the U.S. by Allen Klein for Apple Records, even during an active lawsuit he had going with Badfinger’s business manager over strategically withheld song publishing.
Understandably, the group had started to sense many confusing business shenanigans, and that, along with a lack of promotion, led to a fractured group of unhappy campers as they gathered to record their next record at the relatively new recording facilities at Caribou Ranch in Colorado. The studio grounds had been established by James Guercio of Chicago fame. He was determined to establish a place where a group or artist could get away from the pressures of the big city and record undeterred by negative distractions. Already, Elton John and Joe Walsh had made excellent records there, and the facility was constantly upgrading at that time.
Producer Chris Thomas again came on board to produce. When he first met them, he recalls, “I didn’t blame them for being unhappy. I mean, I was absolutely on their side. The one thing I do remember when we got there, is they were sort of like,
‘Well, why are we here? What’s going on? We haven’t got any songs or this or that.’ More importantly, they were angry about the fact that the previous album, nothing had been done about it at all and now, ‘We’re doing another album?’ It’s like, ‘Well, why aren’t we promoting the previous album? Why don’t we do this, that, and everything else?’ And I remember, I sort of did a kind of rallying thing, in the sense, I said, ‘Well, the only way to beat them is to make the best album in the world. I mean, then it can’t be ignored.’”
And with that mindset, they forged ahead. There was no true engineer there to run the board, as studio manager Wayne Tarnowski, who had some experience, had to leave for a Chicago band tour, shortly after getting Thomas and the band set-up to start. Still, there was studio owner Jim Guercio’s young, fresh-faced brother Jeff, who was not fully trained, and Thomas recalls he often had to run the board himself. He didn’t mind, as the Neve 8016 mixing desk had recently been brought in from George Martin’s AIR Studios facility in London. Chris knew what the knobs did and what the meters read.
Still, less than ideal, but Thomas had asked they start by the band giving him any and every idea they had. Quickly, some interesting medleys were put together. “I borrowed the idea from the Beatles. Why not?” Two epic pieces were structured and Thomas rode the band hard to perfect their performances. “I got really angry with Chris,” said Mike Gibbins, “but he was right and the results came out well.”
When it was finished and mixed at AIR in London, it had gone over budget, as Thomas said he wasn’t going to stop until satisfied. Everyone was just exhausted. Despite what they felt was a good album, it was still in the hands of others.
It went as poorly as they could have feared. The cover designs of Wish You Were Here with postcards were rejected and a picture of the band as sailors in a bar ended up being used at the last minute. The album was rushed out and had no single and little promotion to support it. Reviews came in and they were pretty much sterling. The Thomas pep talk and the band’s efforts seemed like they were going to spring a positive movement forward for the band.
But the band’s internal turmoil left them unprepared, as they received the shocking news that the record was to be stopped in promotion and further release after seven weeks out. Their business manager had refused to let Warner Brothers publishing know where the escrow funds to which both entities were to have access were located. It turned out later, the funds were in many banks—as laundering of money was one of Stan Polley’s specialties. A seeming foolish lawsuit ensued, as the label could have ridden the promising album for a while to recoup the funds; their action just seemed kneejerk and stubborn.
But Badfinger were constantly in the dark as to much of the details, and communications became more and more cut off, with members quitting at times. This special album they’d made was soon forgotten, and Thomas said he cried. “I thought it was one of my best efforts to date at that time.”
Pete Ham had been the original founder of The Iveys and then, Badfinger. He felt much responsibility to make things right. He’d even been pressured to return to the band when he quit, as he was told it would ruin the others’ careers. With a generosity of character rare in this business, he sadly became extremely angry one night and had too much to drink, taking his life while leaving a damning note for Stan Polley that really didn’t take him down. Ham was simply brushed under a rug, as no record company employee or fellow music star said a word about his demise. Few seemed to care. Adding to the tragedy was that one of his bandmates, Tom Evans, saw him hanging in his garage, and was forever haunted by it. Almost eight and a half years later, he, too, in a weakened state fueled by sorrow and anger, took his own life, symbolically, in the same way as Pete had.
Even with these tragedies forever looming large, Badfinger’s wonderful music is left behind. And in part because of these tragedies, their lost classic album Wish You Were Here really hasn’t yet had its due. It’s time that it was broken apart and studied for posterity, along with their entire catalog.
These 2018 remixes by Dan Matovina were done from the original Wish You Were Here multi-tracks in order to showcase unused, hidden, or buried parts. They are designed partly for the pure enjoyment of fans and partly for Badfinger scholars to study the process of the creation of the record, as produced by Chris Thomas. These were not done as competitive or alternate mixes of a “final” new mix, as the Giles Martin remixes of The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and The White Album were.
Just a Chance – alternate mix
On this 2018 remix, you first hear the band warming up to play the song. Soon thereafter, you hear horns as played by The Average White Band’s horn section, Malcolm Duncan and Roger Ball (as arranged by Roger Ball). These parts are turned up louder than on the record. The acoustic rhythm guitar that plays the basic riffs and some accented strums is raised, as are unison lead vocals of Pete Ham with Tom Evans. There is a long electric guitar slide part into the guitar solo section here that was not heard on the record, and a bit of Joey Molland’s alternate attempt at a guitar solo is now merged into Pete Ham’s guitar solo from the original record.
Your So Fine – alternate mix
This remix brings to the fore harmonica parts by Pete Ham, which were not used or quite buried on the original release. There was a second take of the guitar solo and you hear both the original and outtake solos mixed together. There is also turned up a blanket pad of background vocal “ahh”s that come in twice, of which Tom Evans is the most prominent voice.
Got to Get Out of Here – alternate mix
The highlight here is a fantastical arrangement of horns, mini-moog, harmonium, and organ parts that ended up essentially gone or buried on the original record. A little “Penny Lane” in its approach, but these parts were thought to take away from Joey Molland’s intense lyrical expression of his frustrations of what was going on around him. Organs remained on the final version, but you can hear his voice a bit clearer here.
Know One Knows – alternate mix
This remix showcases a previously unused, ARP Odyssey Synthesizer part on the intro. Pete’s lead vocal can now be heard, as joined by unisons from Tom Evans. In the solo section, Japanese singer Mika’s controversial talking-bit is taken out. The unison leads by Pete Ham are brought forward. Anne Odell, who wrote, arranged, and conducted all of the string parts on the record (as played by the Martyn Ford Orchestra) are now up louder, or, where they were missing on the original record. On the tail-out ending fade, you hear Tom Evans mimic a horn bit and Pete Ham chuckle in response.
Dennis – alternate mix
Here the lead vocal by Pete Ham is louder, as are his harmonies. This change emphasizes the intense lyrics about Pete’s paternal love of Blair, son of his new beau at the time, Anne Ferguson. There are fills and mini-lead guitar parts by Ham brought up. The “dit dit” background vocals also are up. The end of the original version has a long drawn out build in which elements were subtly brought in. On this remix, these parts, as played by piano, electric piano, organ, guitar, and harpsichord, are at times recorded at half-speed and then sped up to brighten the playback sound. Some extra effects are brought in even louder than before and more dramatically. You also get to hear the full, six-minute extended version of the take.
In the Meantime / Some Other Time – alternate mix
On this remix, Anne Odell’s creative orchestral warming-up intro is a bit longer, with the Average White Band horns up, too. The constant winding lead guitar in the song by Pete Ham is up in the mix, and whereas before, the orchestra and horns burst in and out, those parts are now modified to allow some new nuances in the arrangement to be heard. Background vocals are also up to hear the words more clearly. When Joey’s “Some Other Time” kicks in on the medley, his harmony vocal is made more prominent and the lead vocal is brought behind. At the end of the original was a lead backward guitar played by Ham; you now hear an unheard second take added. The end ringing chords by the horns are extended a bit, instead of the abrupt end of the original.
Love Time – alternate mix
Joey Molland’s pretty ballad is embellished here with examples of his carefree humor to break the studio monotony, as he riffs vocally with non-sequiturs on a track while waiting to sing. Pete’s background vocals are now clearly distinguishable by him on bridges. The lead guitar by Pete is used here with Molland’s harmony, creating a nice effect.
Meanwhile Back at the Ranch / Should I Smoke – alternate mix
Pete Ham plays all leads on this medley. On an earliest Caribou rough mix, you hear him singing the guitar solo melody he wanted. Later, for effect, Thomas had Pete singing simultaneous to his mid-point lead with a simultaneous blowing in paper-and-comb buzzing effect. In this remix, you can hear him take a breath from his breathing into the paper-and-comb halfway through. Thomas also claimed there could be as many as six guitars subtly mixed together to help get Pete’s “big” guitar sounds. The Average White Band horn section is brought up louder here. Finally, the long resting notes of all the instruments are run out until they disappear, similar to the final chord of The Beatles’ “A Day in the Life.”
Queen of Darkness – previously unreleased song mixed 2018
This Tom Evans song was never fully completed, so you hear a scratch lead vocal. This straightforward rocker has lead guitar by Pete Ham and sounds much like a song from the Ass era. An acoustic demo from that time, without the bridges here, came out on release in 2000. A snappy, good-timey addition for the fans of Tom and Badfinger.
LABEL COPY FOR BACK COVER
SIDE A
1. Shine On (1973 work in progress mix) 2:51
2. Song for a Lost Friend (1973 work in progress mix) 2:53
3. Island (1973 work in progress mix) 3:37
4. Matted Spam (1973 work in progress mix) 3:44
5. Where Do We Go from Here? (1973 work in progress mix) 3:28
SIDE B
1. My Heart Goes Out (1973 work in progress mix) 3:15
2. Lonely You (1973 work in progress mix) 3:11
3. Give It Up (1973 work in progress mix) 4:13
4. Andy Norris (1973 work in progress mix) 3:03
5. Love My Lady (unreleased song) 3:08
SIDE C
1. Just a Chance (2018 alternate mix) 3:18
2. Your So Fine (2018 alternate mix) 3:04
3. Got to Get Out of Here (2018 alternate mix) 3:28
4. Know One Knows (2018 alternate mix) 3:20
5. Dennis (2018 alternate mix) 6:05
SIDE D
1. In the Meantime / Some Other Time (2018 alternate mix) 6:58
2. Love Time (2018 alternate mix) 2:35
3. Meanwhile Back at the Ranch / Should I Smoke (2018 alternate mix) 5:27
4. Queen of Darkness (unreleased song) 2:38
Notes: Dan Matovina
Studio Work: Dan Matovina
Reissue Design: Tom D. Kline
Front Cover Photo Courtesy of Barrie Wentzell
Thanks to Chris Thomas and Tom Brennan
(P) Warner Bros. Records, Inc. © 2019 Real Gone Music, L.L.C. Manufactured by Rhino Custom Projects, a division of Rhino Entertainment Company, a Warner Music Group Company
LABEL COPY FOR LABELS
BADFINGER
So Fine
The Warner Bros. Rarities
RGM-0885
SIDE A
1. Shine On – 1973 work in progress mix (Ham, Evans) 2:51
2. Song for a Lost Friend – 1973 work in progress mix (Ham) 2:53
3. Island – 1973 work in progress mix (Molland) 3:37
4. Matted Spam – 1973 work in progress mix (Ham) 3:44
5. Where Do We Go from Here? – 1973 work in progress mix (Evans) 3:28
(P) Warner Bros. Records, Inc. © 2019 Real Gone Music, L.L.C. Manufactured by Rhino Custom Projects, a division of Rhino Entertainment Company, a Warner Music Group Company
BADFINGER
So Fine
The Warner Bros. Rarities
RGM-0885
SIDE B
1. My Heart Goes Out – 1973 work in progress mix (Gibbins) 3:15
2. Lonely You – 1973 work in progress mix (Ham) 3:11
3. Give It Up – 1973 work in progress mix (Molland) 4:13
4. Andy Norris – 1973 work in progress mix (Joey & Kathie Molland) 3:03
5. Love My Lady – unreleased song (Evans) 3:08
(P) Warner Bros. Records, Inc. © 2019 Real Gone Music, L.L.C. Manufactured by Rhino Custom Projects, a division of Rhino Entertainment Company, a Warner Music Group Company
BADFINGER
So Fine
The Warner Bros. Rarities
RGM-0885
SIDE C
1. Just a Chance – 2018 alternate mix (Ham) 3:18
2. Your So Fine – 2018 alternate mix (Gibbins) 3:04
3. Got to Get Out of Here – 2018 alternate mix (Molland) 3:28
4. Know One Knows – 2018 alternate mix (Ham) 3:20
5. Dennis – 2018 alternate mix (Ham) 6:05
(P) Warner Bros. Records, Inc. © 2019 Real Gone Music, L.L.C. Manufactured by Rhino Custom Projects, a division of Rhino Entertainment Company, a Warner Music Group Company
BADFINGER
So Fine
The Warner Bros. Rarities
RGM-0885
SIDE D
1. In the Meantime / Some Other Time – 2018 alternate mix (Gibbins/Molland) 6:58
2. Love Time – 2018 alternate mix (Molland) 2:35
3. Meanwhile Back at the Ranch / Should I Smoke – 2018 alternate mix (Ham/Molland) 5:27
4. Queen of Darkness – unreleased song (Evans) 2:38
(P) Warner Bros. Records, Inc. © 2019 Real Gone Music, L.L.C. Manufactured by Rhino Custom Projects, a division of Rhino Entertainment Company, a Warner Music Group Company
So Fine The Warner Bros. Rarities (Rsd Exclusive)
Most folks point to Badfinger as the greatest power pop band of all time. But, with four accomplished songwriters in Tom Evans, Mike Gibbins, Pete Ham, and Joey Molland, and the creative assistance and imprimatur of The Beatles, Badfinger should have been bigger stars than they were. Their four albums for The Beatles’ Apple label get most of the attention, and understandably so, with hits like “Come and Get It,” “No Matter What,” “Day by Day,” and “Baby Blue.” But their subsequent two albums for Warner Bros. represent their true creative peak, reached even as the band—and the lives of the members of the band—fell apart.
In late 2018, Real Gone Music, together with Badfinger biographer Dan Matovina, took a fresh look at Badfinger’s brilliant but ill-fated Warner Bros. albums, Badfinger and Wish You Were Here. Not only did the two CD releases offer the first new remastering of the original albums since their maiden release on CD, but they also each boasted an extra album’s worth of unreleased bonus material featuring alternate mixes and newly-discovered songs. The releases caused a flurry of fresh interest in the band, and a furor among Badfinger fans, who to this day rank as some of the most passionate in all of rock and roll.
Now, exclusively for Record Store Day, Real Gone Music is bringing the previously unreleased material that premiered on its Badfinger CD releases to vinyl for the first time. Each disc on the 2-LP set, So Fine— The Warner Bros. Rarities, presents the alternate versions of the songs on each album in the order they originally appeared, followed by one previously unreleased song (in the case of Badfinger, “Love My Lady;” in the case of Wish You Were Here, “Queen of Darkness”). Along with piquant quotes from producer Chris Thomas, Matovina’s liner notes include for the first time track-by-track breakdowns of the differences between the alternate and original mixes. The package also includes rare photos—like the one on the cover—and its lacquers were cut by John Golden at Golden Mastering. We are pressing just 2000 of this one-of-a-kind release in red vinyl; the result, like the title says, will be So Fine for Badfinger fans!
The Warner Bros. Rarities (2-LP, Red Vinyl, Ltd., RSD)
“Badfinger”
Badfinger became musical sidekicks for the former Beatles, performing on George Harrison’s All Things Must Pass (1970) and Concert for Bangladesh (1971) and backing John Lennon on Imagine (1971) and Ringo Starr on his hit, ‘It Don’t Come Easy’ (1971). Despite ties to the label’s owners, Apple repeatedly rejected Badfinger’s demos and quashed their recording sessions.
Their third album, Straighten Up (1971), was produced by Todd Rundgren and included the downhearted hit singles ‘Day After Day’ and ‘Baby Blue’. Straighten Up marked the band’s zenith. Although their music was all over AM and FM radio in the United States in
1972, Badfinger’s success rapidly unraveled. A series of ill-conceived management deals left them with little money, and financial troubles at Apple resulted in slender advances. Their final album for Apple, the unfortunately titled Ass (1973), contained a swipe at the label, ‘Apple of My Eye’, and sold poorly.
Badfinger moved to Warner Brothers and quickly recorded Badfinger (1973) while dashing off songs in the studio. Their eponymous LP was released almost simultaneously with Ass and failed to garner attention. As management and legal problems mounted, Warner Brothers pulled Badfinger’s Wish You Were Here (1974) from distribution seven weeks after release. A year later, with the existence of Badfin-
ger’s LP barely noticed, Pink Floyd faced no difficulties titling their next album Wish You Were Here.
Told he had no money and unable to contact his management, Ham hanged himself in his recording studio in April 1975. He left behind a note blaming the band’s American manager, Stan Polley. Badfinger dissolved as members joined bands of little note, played on sessions, or performed manual labor to survive in light of their missing royalties. Economic necessity drew vocalist-bassist Tom Evans and vocalist-guitarist Joey Molland to call their new band Badfinger. ‘Love Is Gonna Come at Last’ from their album Airwaves (1979) received modest airplay, as did ‘Hold On’ from Say No More (1981). Afterward, Evans and Molland led rival bands under the Badfinger name. Lawsuits pursued their endeavors. In 1983, Evans followed Ham’s lead by hanging himself at his home. Despite his death, Molland reunited with other bandmates and toured as Badfinger.
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