Badfinger

Having not lived in the '60s and '70s when these recordings were first made, this collection is outstanding for me, as it not only combines albums from two different record labels onto one CD, but it also features every song I know by Badfinger.

I saw Joey Molland at Hippiefest in 2007, and his 15-minute set featured four songs: "Baby Blue," "Come and Get It," "Day After Day" and "No Matter What." I know a little about Badfinger, but not so much as what songs come off of what albums, or what songs could've/should've been put on this disc but weren't.

What I can say is, I love a lot of the songs on this CD. In addition to those previously mentioned, I also really enjoyed the Iveys song "Maybe Tomorrow," and the sweet ballad, "Without You." I am not a diehard Badfinger listener. I just like to hear a few of their songs once in a while. So this album suits my needs quite well.

I have slogged thru all the available domestic and import Badfinger discs, including all the Japan mini-sleeves. Without a doubt, the remastered audio on this disc is superior to anything else out there.

It sure would be great if whoever remastered this collection would go back and do the rest of the catalog.

As evident by the other reviews, there are a lot of fabulous tracks that didn't make this compilation. However, the great audio makes this CD certainly worth the purchase.

The biggest advantage of this single disc set is that it brings together the Apple & Warner Bros. recordings together. Like most groups that have been contracted to more than one label in their career, the fan wasn't able to get a best of or greatest hits collection that covered their entire career. It would always be split down the lines of the songs that were recorded for whichever label. In recent years, though, many labels have come together with their competitors to give the fan comprehensive collections that include songs from more than one label. Such is the case here. I would very much like to commend the recording industry for coming together in this manner, I feel, at the very least, that this cooperation had the fan in mind.

I was never a big fan of Badfinger, never owned anything that was issued in their name. Oh, I knew who they were, their early period has some monster hits. Of course, being a big Beatle fan, I knew this group was closely associated to them. It was, in fact, Paul McCartney who suggested that they change their name to Badfinger, it was McCartney who wrote & produced their first major hit "Come and Get It". Badfinger was also signed to the Apple label which was the Beatles own. Even George Harrison served as a producer for them. I remember when they first hit it big, it was discussed how similar Joey Molland & McCartney looked & the slight similarity that Pete Ham & John Lennon shared. In one way it's sad that Badfinger would have the misfortune to be compared to the greatest rock group ever.

Badfinger is, perhaps, the first group that got tagged as being power-pop, nothing wrong with that. And though they suffered in comparison to the Beatles, they were, nevertheless, a talented unit in their own right. Pete Ham was the principal vocalist & writer, very capable in both capacities. Ham wrote most of the hits that were products of the group. All the big hits are here: "No Matter What" (Ham) #8 on the charts, "Day After Day" (Ham) #4 on the charts, "Baby Blue" (Ham) #14 on the charts & "Come and Get It" (McCartney) #7 on the charts. Those were the BIG hits. Charting also was "Maybe Tomorrow" (Evans) #67 on the charts (actually recorded by the Iveys). They actually had two more songs that received chart action but aren't included here: "Love Is Gonna Come at Last" (Molland) at #69 & "Hold On" (Evans, Tansin) at #56.

Unless you're a big fan of Badfinger many of the songs beyond the four major hits won't be familiar. The only other song in this collection that will be familiar is "Without You" (Ham, Evans). This song wasn't ever issued as a single by Badfinger but Harry Nilsson would record it later & have a huge hit with it going to #1 in 1972. Comparisons between the two versions leaves one without little doubt as to the why one was a hit & the other wasn't. "Without You" is actually two songs put together (another unfortunate similarity to Lennon & McCartney); Ham wrote the verses & couldn't finish it & Evans wrote the chorus but couldn't finish it. So, they did as Lennon & McCartney sometimes did, put their two pieces together in order to make a complete song.

The only other outstanding song on this cd is "Carry on Til Tomorrow" (Evans, Ham). There are some songs here that won't particularly interest the casual fan of Badfinger. The booklet has some decent liner notes & has several photographs including two of the Iveys.

Great but gloomy thinking about how the leader, Hamm, hanged himself and then one of the other members did the same. Joey is the only one that is doing well today. Had this group not had such a horrid manager that would not buy them equipment or repairs nor give them money to live on, they would probably still be around.

Timeless music...there are just no other words. Badfinger is one of the most under-appreciated bands. You know many of their songs, you just don't realize it's them.

When I think of Badfinger I think of passion. For all it's perfect production qualities, Todd Rundgren and George Harrison could not drown out the passion of Straight Up. From beginning to end, the heart, soul & passion of this masterpiece comes through. Yes the sound is hauntingly Beatlesque. But there is so much more depth here that it would be a shame to place Straight Up in that Beatles box.

Badfinger was behind the eight ball from it's inception. Being compared to the greatest rock band of all time can only finish in tradgedy. If you sound too much like them, you loose. If you sound similar to them you can never come out from under their immense shadow and thus are never given any credit for originality.

Straight up is a great record. Badfinger could have been a great band, had they been given half the chance to let it be.

Awesome CD!!! Rave reviews; I recommend this for anyone who truly has a soul!

Sadly, Badfinger was a band that never got much respect from the critics. It was generally criticized for being, at best, a Beatles "sound alike" and, at worst, a Beatles imitator. "Badfinger recycles familiar riffs and harmonies in far less striking configurations" says The Rolling Stone Album Guide. There was plenty of other circumstantial evidence. Paul McCartney wrote their first hit, George Harrison produced some of the tracks for STRAIGHT UP, and they were on the Beatles' Apple label. Frankly, I don't know enough about music to judge the accuracy or fairness of all this. I only know what I like when I hear it, and I like both STRAIGHT UP and its predecessor, NO DICE, a lot.

STRAIGHT UP was originally recorded not too long after the release of NO DICE, the intent being to capitalize on the moderate success of that set. George Harrison produced much of it. The album's release was delayed, however, and eventually Todd Rundgren was brought in as producer and many of the tracks were re-recorded. The current CD contains the album that was ultimately released with Rundgren as producer, as well as some of the original tracks produced by Harrison. Personally, I'm glad Rundgren was brought in. I like the tracks done with him producing much better than the older ones.

This is a very listenable album. The twelve tracks originally released are a pleasure; there isn't a loser among them. My personal favorites include "Take It All", "Money", "Flying", "Suitcase", "Day After Day", "Sometimes" and "Perfection". "Baby Blue" and "Day After Day" were the Top 40 hits. Some are ballads and some are rockers, but nice vocal harmonies abound, there are lots of nice melodies and catchy riffs, and I particularly enjoy the jangly percussion and the guitar solo into the fade-out on "Perfection". Favorites and hits aside, though, I often just put the CD in and listen to the whole thing. There's not a bad cut in there anywhere.

Whatever the validity of all the criticism, it all ended tragically for Badfinger and, especially, for some of the bandmembers. It's all water under the bridge, now. Whether or not these guys were mining Beatles material for their music, the result sounds pretty darn good. It seems to me that if a rock band is going to look somewhere for inspiration, Beatles music is a pretty good place to start. The results are pleasing to the ear, and that's what counts.

I had a hard time coming up with a rating for STRAIGHT UP. I'll concede that Badfinger was never as original or unique as some of the other great bands of the period, particularly the Beatles. They never did anything to rival albums like "SGT. PEPPER...", WHO'S NEXT, EXILE ON MAIN STREET, LED ZEPPLIN IV, RUMOURS, or some others I could name. On the other hand, I like this album very much and still listen to it a lot. I decided to call it 4.5 stars and round up to five. Again, this isn't quite one of the real greats of classic rock, but it's an excellent piece of work and a pleasure to listen to. If you like classic pop/rock, you'll like STRAIGHT UP.

This album is a treasure -- and it has nothing to do with the band's relationship to the Beatles. It stands on its own. They sing with depth and a touch of melancholy the Beatles couldn't really do by the late '60's. When put into the context of the band's history, the songs are really touching and heard in a different light. Even in 2008, this album sounds fresh and new, partly because it was basically stripped down to its core -- piano, drums, vocals -- preventing it from becoming dated. Yes, if the Beatles had not broken up, they probably would have sounded like Badfinger; but Badfinger was talented in its on right and the music industry horror story that they lived -- serving as a warning and morality tale for future bands -- make this album one of the most poignantly beautiful in rock and roll.

Well Loved Then and Still Love it Now! It stand the test of Time!
How ironic though; In the song "Perfection" the line says "So listen to my song of life. You don't need a gun or a knife" Wow!, reflecting on these words now. I wish we could have prevented the suicide of both Pete Ham and Tom Evans. Heaven is rich!

This album is right with STRAIGHT UP and WISH YOU WERE HERE. I love the opening I CAN'T TAKE IT. All of the songs just rock on this album. NO MATTER WHAT is like one of the greatest songs ever, and WITHOUT YOU is known to be covered by Nillson, Heart, and Mariah Carey; Badfinger's is the definitive version in my eyes, though. Joey Molland joins the band and his debut song is LOVE ME DO. I love that track! The bonus tracks are great too. I'LL BE THE ONE and MEAN MEAN JEMIMA rock out, and I love WE'RE FOR THE DARK, BLODWYN and WATFORD JOHN. BELIEVE ME rules too. Excellent stuff here.

Well. I guess you all heard the news by now. "The Daily Snitch", one of London's top newspapers printed a story with huge headlines, "TOP SEER TO RETIRE FROM REVIEWING", including a picture of me being rushed into a waiting taxi cab. I want to assure all my fans that this is not the case. While it is true that I have stated that I wanted to cut back because of all the work involved. I was thinking of just submitting two sentences as a review, like many others (you have seen them, haven't you?). Two blerbs that say nothing and aren't challenging in the least. Of course it would be safe and non-threatening. And everyone goes home happy. Who cares if Metamorpho's Universal sacrifice is shattered like fine Lennox crystal dropped on the floor? Well.....at least there's glue. :)
But, let's move on to Badfinger, shall we? I knew they were excellent a long time ago, and while I listen to it now, it has lost none of the magic it had since the first time I heard it. Such a phenomenal pop outfit that reminds one of the Beatles. And why shouldn't it since two of them (Paul McCartney and George Harrison) guided Badfinger in so many ways? It was the wisdom and experience of how recording gets done that contributed to their superior sound. Also the smarts to recognize the talent that existed. It is the quintessential format of a pop quartet that is employed here. The harmony vocals, although rougher than the Beatles would use, are used here. We have the rythmn guitar keeping constant as tasty bits from the lead guitar color and shape the sound. The nice bass fill, jumpy and essential, and the sometimes active and sometimes understated drum breaks. Add to that, piano, some horns, and you have a very nicely put together album indeed.
But let us not forget that the songwriting here is above parr in so many respects. They all could write tunes - and none of them were shabby in the least! When you listen to the album you will be astounded on the variation of construction. They include tough rockers like "I Can't Take It", "Love Me Do", "No Matter What", and "Watford John". Semi-sweet odes such as like "Midnight Caller", "Without You", "It Had to Be", and "We're for the Dark". Included with this is the country-flavored rock of "Blodwyn". In fact people, if you like the diversity of what pop/rock can be, then you should investigate this album. There is not one bad cut here.
I suppose by now that everyone knows the story of Badfinger. Pete Ham's suicide, the non-support and atrocious activity of their record company. It is an amazement to me that a group this talented shouldn't have been mega. But, that only supports my wise Seer's outlook (after much reflection) that the best music out there is music you have never heard. Keep in mind, that, in some weird way, we are victims as much as Badfinger in the fact that the music industry has vast power of what you do or do not hear. We are the ones who have to do the work and seek out the gems. This one really was a no-brainer for your Metamorpho (stop that snickering--I hear you!).
Anyway, enough braying on my part. If you like nice melodies, great songs, and beautiful construction, get this c.d. You won't be disappointed. It is a pure joy.
Time to go and see if the newspaper will print a retraction. Hmmm...I think I'd have better luck purchasing another Lennox crystal. Oh well.

Well beyond the looking glass - your "non-retired" Metamorpho

Badfinger's best, most cohesive album. This is on par with Lou Reed's Transformer, T. Rex's The Slider, Mott the Hoople's All The Young Dudes, and David Bowie's Ziggy Stardust. I have personally worn out three vinyl LPs, I like this album so much. Pete Ham's guitar work is the under-rated under-appreciated strength of this album. Soaring vintage Les Paul solos, both laidback and in-your-face, are the common thread connecting the feel and atmosphere of all twelve original songs. This is a great guitar album. The extra tracks are dismissable, with the exception of the superb "I'll Be The One". (Rumor has it that the cover model is Joey Molland's wife, Kathy.)

For a short time Badfinger filled the void left by the breakup of the Beatles. "No Dice" and the following album "Straight Up" are classic pop albums that had the harmony, melodic sense, energy and feeling that were the hallmark of the best of the Beatles music. While the Beatles had Lennon and McCartney Badfinger only had one "great" singer songwriter-Pete Ham, though Tom Evans was an excellent singer and wrote some memorable songs. The other members wrote and sang but it was Ham who provided the group with the best songs and the most inspired vocals.
The heartbreak of his finest song "Without You" (co-written by Evans) is only heightened by the knowledge of his tragic suicide (years later Tom Evans ended his own life the same way), and with no disrespect to Harry Nilsson, this is the definitive version.
Pete of course was surrounded by a group of solid singer, writer, players that made Badfinger one of the best groups in the early 1970's and "No Matter What" is one of the few songs that have stood the test of time and still seem fresh every time you hear it.

I dont need to repeat everyone here, but this is a must own cd. You can thank us (and Joey when you see him at the Chicago Beatlefest in August) later.

A pretty good debut for the band, but not among their best releases. Yet, MAGIC CHRISTIAN MUSIC was just putting their toe in the water. Songs like CRIMSON SHIP, MIDNIGHT SUN, and possibly BEAUTIFUL AND BLUE have the Badfinger sound. Let's not forget the great COME AND GET IT penned by Paul McCartney, as well as tunes such as MAYBE TOMORROW, ROCK OF ALL AGES, and CARRY ON TILL TOMORROW.

Good debut from Mal Evan's (Beatles roadie's) discovery. Actually this is a compilation of the Iveys album and the then current soundtrack to the Peter Sellers film of the same name. Good stuff for any rock fan.

This is a review of the original American vinyl LP, which includes everything here except "Angelique", "Give It a Try", "Storm in a Teacup", and "Arthur". I'll have nothing to say about these four additional tracks. I've never heard them, in fact.

It may be natural to suppose this the soundtrack to "The Magic Christian" movie; it is nevertheless not so. I watched the movie for the very first time a month or so ago. It's dreadful--but, more to the point, only one of its three songs found here is heard there in its entirety, and there is a lot of other music in the film that isn't included here.

Since the Ivey's LP was never released either in the United States or in the United Kingdom, I don't consider it particularly relevant whether or not some of their songs made it to this record.

"Magic Christian Music" is essentially a period bubblegum record, by which I don't mean to disparage it, only to point out that it would be very foolish to take any of it at all seriously. The best thing about it is its ensemble singing, particularly on its two best tracks by far, "Maybe Tomorrow" and "Carry On", and also on the refrain of "Fisherman". (Unfortunately, the very ending of "Maybe Tomorrow" is corny, and the singing falters here as well.) These vocal arrangements are elaborate enough and significantly more sophisticated enough than the core group's fairly crude instrumental performances, that I'm inclined to wonder whether a professional outside vocal arranger had been brought in. The solo singing tends to be a bit weak and occasionally just slightly out of tune--"Maybe Tomorrow" is an exception. Although there is some fine drumming in "Maybe Tomorrow", in general there is also a great contrast in musicianship between the core group and the outside studio musicians--who deserve to have been credited, especially the solo violin player in "Maybe Tomorrow" and the obbligato trumpet player in "They're Tearing Down Our House".

Magic Christian Music was the first album to bear the Badfinger name, though 6 of the songs on the album are in fact old Iveys recordings that had already been released on the Maybe Tomorrow album. Some of the recordings were done with Paul McCartney, and he obviously helped the band create their characteristic sound. Great tracks like "Midnight Sun", "Crimson Ship" and "Come and Get it" point clearly in the direction of the classic follow-up album "No Dice". "Walk Out in the Rain" is another stand-out track. "Rock of All Ages" is probably the wildest rocker the band ever recorded. "Maybe Tomorrow" which had been a minor hit for the Iveys, was also selected for this album.The material in this album is too varied in style and quality to make a real strong consistent album. The two bonus tracks are Iveys recordings from late 68 - none of them very interesting.

My favourites: Come and Get it, Crimson Ship, Midnight Sun, Beautiful and Blue and Walk Out in The Rain

Actually it's only a Badfinger disc in name only. Most of the tunes on the album were done earlier when the band was called the Iveys and the rest were done after the name change but before second guitarist Joey Molland joined the band. The result is a mis-mash of different styles of songs. The Paul McCartney penned "Come and Get It" starts out the disc in fine form. Simple and irresistibly catchy, with Mike Gibbins drums driving the song home. It's no surpise the song went deep into the top ten. "Crimson Ship" is up next and its a slow-paced song that just hints at the creativity of the Pete Ham-Tom Evans partnership. "Dear Angie" sung by departed Ron Griffths is the kind of older British pop that seems dated compared with some of the other songs on this disc but has some interesting jazz noodling on guitar by Ham. "Fisherman" is another of those dated Ivey songs. Indeed its almost a novelty song. "Midnight Sun" puts the boys back on the right track with a stunning vocal by Ham. The rhythm guitar is mixed real high giving the song extra punch. "Beautiful and Blue" while poppy, showcases developing songwriting talent. "Rock of All Ages" is another impressive track by the band. This has Tom Evans giving it his all in his best rock 'n roll voice. It's one of those songs that doesn't stop moving. "Carry On Till Tomorrow" showcases the bands vocal abilites, which not fully mined on this disc would be explored later on. The strings on this song help immeasurably, however the electric guitar is a little bit off putting to such a gentle song. "I'm in Love" is still another Iveys old song, just remixed to be used on this disc. However, its better than some of their other attempts but still it sounds of its time. "Walk Out in the Rain" is a nice gentle Pete Ham vehicle. "Angelique" a total throw away. "Knocking Down Our Home" is a song about the effects of progess elegantly and effectively performed in the dance-hall style. Its one of the underrated songs on the disc. "Give It a Try" is more old dated Brit-Pop. "Maybe Tomorrow" was the Iveys first single--its simply overdone with Tom Evan's vocal histronics and orchestration and timpanis. The bonus tracks, "Storm in a Teamcup" and "Arthur" add nothing to the original disc. It's obvious here, on several songs at least, that early in 1970 Badfinger was a group to watch.

It may take a listen or two to get used to the tracks, but once you do there is no looking back. Shades of the Beatles and ELO. This album is as good as Abbey Road. A tragic story about this talented band, but if you like their four hits heard all over 'oldies' radio then you will love all these new songs. 'Meanwhile Back at the Ranch- Should I smoke? will bring you back to that classic British sound. I can't put this CD away.

Nothing short of a pop/rock masterpiece. In my opinion, the band's best album. Unfortunately it was overlooked by just about everyone and received very little or no airplay in the US during a time when airplay was crucial to an album's sales and success.

Wish you were here is one of the top 5-6 classic rock albums of the 1970's. And for my money the greatest Badfinger album EVER. It has the feeling of, "hey let's just let it all out, the hell with the record execs."

No pre-packaged ideas here. No let's try hard to write a top 40 single here (although there are a few gems). This is Straight Up on amphetamines. No Dice rolling lucky 7's!! This is classic rock at it's classic best. Breathtaking musicianship, some great orchestra arrangements and even the Average White Band horn section lending to the genius.

Wish you were here is a MUST buy for classic rock fans, or just fans of great music period. Obviously never straying too far from the nurturing tree, Wish You Were here, has that Beatles sound here and there, what do you expect " the Snoop Dog sound"?? But this is a powerful, passionate record that if you like the genre, you will like Badfinger's Wish you were here. Makes me wish the Band was still here. Sadly they are not, so don't miss this opportunity to purchase a piece of Rock history.

I had this one on vinyl when it was first released, but misplaced it years ago so I hadn't listend to it in years. It's as good as I remembered it. "Just a Chance" should have been a hit, it rivals any of their earlier hits on Apple records. Highly recomennded

Horay for Collector's Choice for reissuing this almost-long-lost classic. The remastering is very similar (if not identical) to the German import released a few years back. The CD booklet is just a gatefold (four pages, including the back cover and front cover) with some liner notes. No photos, but I'd take a great-sounding CD with a crisp printing job on the front and back artwork over a muddy release with more detailed liner notes anyday. Definitely worth it. Badfinger fans won't be disappointed. The same for Collector's Choice's reissue of "Badfinger," which in parts is just as strong as "Wish You Were Here." Pick 'em both up if you can ... :)

I'm assuming this is a straight reissue of the import that was released on Apple in the '90s. If so, I have that import, and it was really poorly remastered. I have the original LP released in 1973. That LP was poorly remastered, but sounds eons better than the Apple CD. I wish that someone would get hold of the original multitracks (if they still exist) and give this album the sound it deserves. It still does not have the quality of songs or performance that Straight Up (or No Dice, for that matter) has, but if the sound was improved it would be a solid 4 star album. Until then, you must have it if you are a Badfinger fan (it has a handful of really great songs), but be forewarned the sound just isn't up to snuff.

This album is not the dog that many would have you believe. Blind Owl, The Winner, and Constitution are great rockers. Apple of My Eye and I Can Love You are very decent ballads. Cowboy is a goof, but quite listenable. Timeless is a nice song with both quiet and louder elements. Badfinger fans will undoubtedly find much to enjoy here, but those who are unfamiliar with the band would be better to start off with No Dice and Straight Up.

Highlights of this great groups 4th album for Apple are...
Apple of My Eye - The late Pete Hams bitter farewell song to Apple

Winner - Joey Mollands open letter to John Lennon who often critisized the band, Joeys best song

Blind Owl, Constitution double shot from the underrated bass player singer writer late great Tom Evans

Cowboy - even the drummer Mike Gibbons writes songs, amazing group

Timeless - Pete Hams best song, unfortunately not many have ever heard it, should have been a hit.

Long unavailable, ASS was Badfinger's fourth and final album for the Apple label. Their self-titled debut for Warner Bros. would be released a mere three months after ASS. That, coupled with the fact that Apple did little to promote the album, resulted in an album that failed to chart. Despite the album's poor chart showing, it is not without it's highlights.

The album is bookended by two first-rate efforts from Pete Ham. The opening track is a kiss off to their former label. [Badfinger left Apple on acrimonious terms.] The closing track is the majestic "Timeless." [At nearly eight minutes it is the longest song in the Badfinger canon.]

Co-founder Tom Evans also turns in two equally fine songs. First, the uptempo "Blind Owl" and the lovely "When I Say." Mike Gibbins lone contribution is the country-flavored "Cowboy."

The remaining five tracks (along with the bonus track "Do You Mind") were penned by Joey Molland. The rockers like "Get Away," "Winner" and "Constitution" are serviceable, but the highlights are the love songs "Icicles" and "I Can Love You."

While not up to the high standards of their previous LP STRAIGHT UP, this is still a necessary purchase for Badfinger fans. RECOMMENDED

While Badfinger's Straight Up and No Dice albums are widely and deservedly considered classics, their Apple swan song, "Ass" gets so little attention that it's never even been released domestically. Few people outside the core of die-hard fans even know it exists. Too bad, because they're missing some stellar moments. While power-pop was the buzzword that surrounded much of the rest of the band's catalog, "Ass" doesn't come off quite as sweet and is all the better for it. "Ass" was Badfinger stretching out and showing that they were more than recycled Beatle hooks and harmonies. While "Apple Of My Eye", Ham's achingly appropriate tip of the hat to the band's soon to be ex-label, captures the band's sound of old, several of the other songs seem to come from a harder edged, refreshingly different vein. "Timeless" is quite possibly Pete Ham's finest recorded moment with it's slow-building intensity, harrowing guitar and fade to infinity ending, and if nothing else shows just how huge a talent the world lost a short time later. Pete was not only a gifted songwriter, but as this song also shows, a brilliant guitarist. These two songs along with "Constitution", "Icicles", "Blind Owl" and "I Can Love You" are the albums undoubted highlights, but only Mike Gibbins' "Cowboy" seems out of place on the album. Despite it's thrown together, admittedly rushed feel, Ass is a great Badfinger album that has never recieved a fair shake. It's nice to see this import only re-release for those who missed it the first time around, but I have my doubts as to whether this will wake people up to what they've been missing. Again, too bad.

This CD bids a sad farewell to guitarist and founding member Pete Ham. Keyboardist Bob Jackson fills in for the departed guitarist Joey Molland, and does a magnificent job, contributing on songs such as PASSED FAST and MOONSHINE, as well as his own TURN AROUND. Each member contributes their own tunes, and there is some collaboration between three of the four bandmates, while Pete Ham writes alone. His guitar playing was just great on this CD, handling the guitars by himself. Tom Evans and Mike Gibbins both step up as bandleaders on their own compositions. LAY ME DOWN and KEEP BELIEVING are kind of sad to listen to, especially the second one, knowing these are Pete's last songs to be recorded. Disc 2 are demos from the sessions.

Head First was the last Badfinger album by the orginal group. Joey Molland had left the group prior to its recording and because of the conflict with their manager and Warner Brothers, it was wasnt released until 2000. It is clear that this recording was rushed and some of the songs sound like it. It has its moments, Pete's songs,"Lay Me Down" and "Keep Believing" are what you would expect from him. Bob Jackson replaced Joey in the line up and wrote "Turn Around", an excellent song but not the "Badfinger" sound we were accustom to hearing. Tom's "Rock and Roll Contract" is rough and much better on "Say No More". "Hey Mr. Manager" is one of Tom's best songs in a couple of albums. But his composition with Bob Jackson, "Passed Fast", is without a doubt one of the best Badfinger songs ever and the reason to buy this cd. Mike's songs sound rough and unfinshed other than "Moonshine" with features vocals by Tom, Bob and himself. The recording of "Head First" was marked by the sad situation the group was in and the absense of Joey Molland and it shows. The second cd is rough demos and fragments which us fans might appreciate. The overall package is nice but I wish they could have put more effort in the artwork, maybe pictures of the group or use Tom's original vision of the cover art. All said, it just doesnt move like any other Badfinger or Badfinger reunion album. Certainly not their best.

Give the band a few more months of rest and this album would have blown away anything in its day. PERIOD. Great album anyways. Puts all of that era's Lennon, Harrison or Starr albums to shame and damn near equals McCartney's.

The final Badfinger album with Pete Ham is very good. Trying to keep the Wish You Were Here (or as Mike Gibbins called it in the Gary Katz documentary "Wish You Were Where?"). Pete's demo of Lay Me Down is in G, while the offical version is in E. These Apple mixes mixed on Dec 15, 1974 are far better than Warner's mixes produced in Feb 75. The Warner mix of Lay Me Down is in mono and has a tape fault right at the start of the song (although if you have the cassette version of The Best of Volume 2, you can somehow get rid of it by playing it a lot like I did before I got the cd). Rock And Roll Contract shouldve had the little speech more upfront (maybe it was in the Warner mix?). Most of the bonus demos werent recorded during that time (as Mike said in a Dan Matovina interview). Keep Your Country Tidy has a bit of Lay Me Down although Pete didnt know it at the time. Anyway, get this disc now! I found it at Circuit City for 18 bucks and i know ill never see that price again, but do compare prices at all the shops. I never pay more than 20 bucks for a double disc set and neither should you!

This was supposed to be Badfinger's 3rd album, but several reasons it was not released until year 2000. But well worth waiting for.

The recordings for Badfinger's third Warner album began at the end of November 1974. You would expect the members of the band at this point to be totally exhausted from touring, financial worries and the departure of Molland; and of course they were. Never the less they were still convinced that they could/had to work their way out of their crisis. For their latest British tour they had recruited Bob Jackson (keyb.), because of a short departure of Pete Ham. This tour had been as a 5-piece and by the end of the tour Molland had left the band. Two you producers were found for the new album; Kenny Kerner and Ritchie Wise - before Badfinger they had produced The Stories.

New songs did not come easily to Pete Ham at this point; he was losing faith in the the whole thing, but he worked hard to come up with more quality material. Of his three contributions for Head First the two of them are among his best ever. The opener "Lay Me Down" is a very catchy and powerful rocker with great commercial potential. "Keep Believing" is a typical Ham ballad; a very beautiful melody. Pete's third track is a short instrumental called "Saville Row". Tom Evans is back as a very important songwriter on the album. He'd written two songs alone and two songs in collaboration with with Mike and Mike/Bob. The first two are angry comments to the music business; both of them very intense; especially Mr. Manager is bound to become an all-time Badfinger favourite. Rock'n Roll Contract was rerecorded for Say No More, but this version is much better - I love the middle part. Passed Fast and Moonshine are well-known from Best of Badfinger Vol 2 - both of them very strong and indicating that this new line-up might have become their most interesting ever. Bob Jackson demonstrates powerful vocals and songwriting abilities on Turn Around; a track that could have been written and sung by Steve Winwood. Mike wrote Back Again and Rocking Machine. Rocking Machine is a charming little tune; I think Mike sounds a lot like George Harrison.

All in all the band play and sing their best on this album that is among Badfinger's strongest. Pete Ham does not sound burdened by having to play all guitars and they all appear extraordinary inspired.
The original master-tapes which have been considered lost seem to have been rediscovered in the vaults of Warner Brothers. This means that they may release the album some time in the future. or maybe license it to another label. Until that may happen luckily we have this Snapper release remastered from Bob Jackson's tape copy of the original Apple mixes.

The bonus tracks are all great songs; some are them are at an early stage and the sound quality is not very good on most of them. Still it's always nice to hear new songs by Pete Ham. I believe his 4 new songs here could have been developed into great Badfinger tracks. "I Can't Believe In" and "Keep Your Country Tidy" are great tunes. Of the other songs I especially like Mike's You Ask Yourself Why

My favourites: Lay Me Down, Mr Manager, Keep Believing, Moonshine, Back Again

Great CD reissue of this great album by the most underrated rock band of all time. Collector's Choice should be applauded for reissuing this. The sound is very strong. Not overlycompressed, yet not muddy either. To my ears, it sounds very, very close to the LP mix, maybe just a pinch cleaner. The CD artwork book is only four pages (including the CD front cover and back cover) and includes two pages' worth of liner notes. Definitely worth picking up, along with Badfinger "Wish You Were Here," reissued the same day as this, also by Collector's Choice Music. Badfinger fans should be esctatic that these are finally in print in the U.S. (and very affordable!) Thanks CCM!!

Nothing short of a pop/rock masterpiece. In my opinion, the band's best album. Unfortunately it was overlooked by just about everyone and received very little or no airplay in the US during a time when airplay was crucial to an album's sales and success.

This is a stone classic but the description mentions extra tracks---Where are they???

Gene Harrold

This is the last Badfinger album to consist of the four core members, as Pete Ham leaves after the recodings, is replaced by Bob Jackson, then returns, only to have Joey Molland depart. Each member contributes memorable songs, such as Pete Ham's DENNIS, JUST A CHANCE, KNOW ONE KNOWS; Joey Molland's GOT TO GET OUT OF HERE and LOVE TIME; Mike Gibbins' YOU'RE SO FINE, and Tom EVANS KING OF THE LOAD. There are two medlies on this CD, both done great, one written by Molland and Gibbins, the other by Ham and Molland. Quite possibly my favorite Badfinger second to STRAIGHT UP.

Have never heard of Badfinger until I came across them in a ListMania section while I was browsing. What intrigued me to give this CD a try was their sad story. Clearly a superb band, way ahead of their time and with a unparalelled talent. Really sad the way it ended but ironically that's makes them more of a real gem. I'm sure I'll be exploring more of them.

Instead of with Linda....

And with the songs serving as an outlet for severe personal and financial problems - As if McCartney needed to write a song like Layla...

That's how I've often thought of this CD. Great guitar work, and lots of big melodies. There's plenty of details in the other reviews, so I'll just add that Pete Ham is in his usual fine (musical) form here, and it's undoubtedly Joey Molland's finest hour. It took dire straits for the band, but Molland never sounded as inspired as he does here.

An odd thing I noticed after reading the Badfinger bio - In the closing verse to Dennis, a great Pete Ham song, the phrase "There's A Way Through" is repeated many times - reportedly the same phrase as Ham's final words to Tom Evans shortly before his death...