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Day After Day

Music Review: Badfinger – ‘Timeless… The Musical Legacy’

Is Timeless a fitting introduction to the music of Badfinger?

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If you were not around in the ’60s and’70s, or simply did not listen to music then, Apple Records has released a compilation to introduce you to the band Badfinger, Timeless. The Musical Legacy contains 16 tracks, 14 of which were originally recorded for Apple and two for Warner. I will not revisit the sad personal story of the band as it’s well covered in Dan Matinova’s definitive book, Without You: The Tragic Story of Badfinger (Revised Edition; 2000).

Let’s take a look at the songs on Timeless so that you can decide whether it should be in your collection. (All comments about recording sessions and band member quotes are sourced from Matinova’s book.)

Beatles Yellow Submarine

Badfinger B&W

[Look-alikes, The Beatles and Badfinger.]

Timeless opens with “Day After Day” from Straight Up, Badfinger’s masterpiece. George Harrison handled the production and played the lead guitar with Pete Ham. Harrison’s friend Leon Russell was brought in to play the piano. This remastered version allows you to hear the beautiful piano work as well as the harmony vocals.

“Without You” is the original version by the band, later covered and made into a smash single by Harry Nilsson. Badfinger’s version is understated compared to Nilsson’s dramatic take, but there’s a nice Procol Harum-style organ line that carries the song along. Ham said this about Nilsson’s version, “We knew that was the way we wanted to do it, but never had the nerve.”

Tom Evans intended “Rock of All Ages” to be a screamer in the style of Little Richard’s “Long Tall Sally,” but as recorded – with Pete Ham and Mike Gibbins – it came off like a variation on The Beatles’ “I’m Down.” This was especially true as Paul McCartney played piano on the track, which he also produced. A great live number (I saw Badfinger in Berkeley in 1972), the fine remaster allows you to hear the background vocals. “Dear Angie” was a track from the days when Badfinger was known as The Iveys. It’s a pleasant song sung by Ron Griffiths, the band’s original bass player. The tune has nice stereo sound effects, but it is far from essential.

McCartney was also involved in the song that made Badfinger famous, “Come and Get It,” which he wrote and produced. The sound is great here and McCartney proved to the doubting band members that he could fashion a hit single using sparse instrumentation: bass, drums, tambourine, and piano. It worked.

McCartney told Badfinger that “Maybe Tomorrow” was bound to be a hit single. That was not to be and today it sounds like an ornate song from the Bee Gees 1st album. “No Matter What” was a great, chunky-sounding single that reached number eight on the Billboard singles chart in 1970. It segues quite well into “Baby Blue,” the band’s best-ever, Beatles-quality single. Matinova called it “a superb showcase of Badfinger’s classic chemistry.” The version included on Timeless is the American stereo single release, which included an added snare drum. It’s snappy but the sound is fuller and richer on the Straight Up mix.

“Believe Me” is one of the best songs from No Dice. It is followed by a track from Straight Up, “Name of the Game.” The drumming gives it a “Let It Be” and “Hey Jude” feel. This version comes off as a bit dull compared to the earlier version, with horns, that’s a bonus track on the remastered Straight Up CD. “I’ll Be The One” was recorded for, but dropped from, Straight Up. It should have been a single as it sounds like the Beatles doing country rock.

“Apple of My Eye” was Ham’s bittersweet tribute to Apple Records. “Suitcase” is included and it’s the right take. This is the early “Pusher, pusher on the run” version recorded before the modified “Butcher, butcher…” take found on Straight Up. It’s a heavier version and reflects what the band sounded like live. As Molland said, “The original ‘Suitcase’ was more of what Badfinger was.”

The title track “Timeless” is a good song that, unfortunately, goes on too long, dissolving into a type of Baroque Traffic jam. At 7:40 it is needlessly longer than “Hey Jude.”

“Dennis” is another non-essential track, but it’s interesting because of a few Brian Wilson-like touches. The compilation concludes with “Love Is Gonna Come At Last,” a nice, airy, pleasant pop song written by Molland that sounds like Badfinger crossed with America. This may be an alternate take from the 1979 Airwaves sessions since Matinova writes that the album version was “tepid and slow.”

Longtime Badfinger fans will have all or most of this music in their physical or digital collections. But the compilation will work for those who would like a decent sampler. Keep in mind, however, that if you want to hear Badfinger at their very best you should consider acquiring either Straight Up or No Dice (or both).

Well recommended, for its intended audience.

Joseph Arellano

A review copy was provided by Apple Records.

This article was originally posted on the Blogcritics site:

http://blogcritics.org/music-review-badfinger-timeless-the-musical-legacy/

It was also used by the Seattle Post-Intelligencer newspaper site:

http://m.seattlepi.com/lifestyle/blogcritics/article/Music-Review-Badfinger-Timeless-The-Musical-5144246.php

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A music review! We take a look at the new Badfinger compilation from Apple Records, Timeless… The Musical Legacy.

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All My Loving

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Paul McCartney: A Life by Peter Ames Carlin (Touchstone, $16.99, 384 pages)

“Take a sad song and make it better…”

Peter Ames Carlin wrote what was likely the second-best biography of Brian Wilson, Catch a Wave: The Rise, Fall and Redemption of the Beach Boys’ Brian Wilson.   It was very good but a bit dry in places, especially when compared to The Nearest Faraway Place by Timothy White.   White’s earlier biography masterfully blended the migration of the Wilson family from the Midwest to Torrance with the history of Southern California itself.   (The title referenced the phrase used by Brian’s mother whenever she wanted to escape to the not-so-close and not-too-far-away community of Ventura.)

This time Carlin has come closer to fashioning a definitive, lively and warmly human account of the man they call Macca in Great Britain.   More than half of this bio covers the story of the Fab Four, which seemed to have had its last good moment with John Lennon and Paul – just the two – recording The Ballad of John and Yoko.   Said Paul, “It always surprised me how with just the two of  us on it, it ended up sounding like the Beatles.”

This is far from a totally fawning tale of Sir Paul, and Carlin does well in picturing the band as a dysfunctional family.   In Carlin’s eyes, John was the wild husband, Paul the responsible mother figure trying to keep the family on track, George the often brooding and secretly rebellious son, and Ringo the “What, me worry?” older brother.   And yet…  Yet they all came to realize – in one way or another – that they had destroyed the household too soon.   The break-up came too early.

Carlin illustrates several times how much Paul came to miss John once he was suddenly gone:  “I really loved you and was glad you came along/and you were here today, for you were in my song.”   This is the Paul who was subsequently again destroyed by George Harrison’s untimely death:  “To me he’s just my little baby brother.   I loved him dearly.”

The one caution with Carlin is that you should certainly feel free to disagree with his musical judgments, as when he praises the disastrous – to this listener’s ears – remixes of the Beatles songs on albums like Yellow Submarine, 1s (Ones) and Love.   They’re louder and brasher, but not better nor true to the original recordings.   He also fails to understand the simple genius of the album called McCartney – which contained Maybe I’m Amazed, Every Night (the alternate version of You Never Give Me Your Money) and That Would Be Something.

But in the end, we see here a musician who carried on quite, quite well even after the loss of his two quasi-brothers and two wives (one by death, one through a bitter divorce).   If you love Paul McCartney, you will feel the same way about him once you’ve finished A Life.   If you’ve never much liked Beatle Paul, you may grudgingly make your way through this bio and find that he’s earned a bit of your respect.   “Take it away…”

Well recommended.

Joseph Arellano

A review copy was provided by the publisher.

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I’m Down

You Never Give Me Your Money: The Beatles After the Breakup by Peter Doggett (Harper, 400 pages, $24.99)

“We were four guys in a band, that’s all.”   John Lennon

Rock ‘n roll writer Doggett provides the reader with a Magical Misery Tour in this inexplicable rehashing of the Beatles story, especially its sad ending (Hey Jude).   Now really, what’s the point of retelling a story that’s already been told in at least 75 other versions, and by the Beatles themselves in Anthology?   Well intended or not, Doggett appears to want to make the point that these were four not really very nice young men; except for the fact that the author is clearly partial to The Legend of John Lennon.

And yet even Mr. Lennon comes off as a crass ruffian in this account.   For example, here is Lennon talking about the band members’ treatment of George Harrison:  “It’s only this year that (George) has realized who he is.   And all the f—— s–t we’ve done to him.”   Positively charming.

John Lennon, however, is treated with virtual kid gloves compared to Doggett’s agenda-driven need to attack Sir Paul McCartney (probably the most commercially successful musician of our lifetime), George Harrison (who wrote what Frank Sinatra called the most beautiful love song of the last century), and Ringo Starr (whose upbeat personality and drumming literally bound the band together).   It is all very, very tiresome.

The point of this exercise is further called into question when one realizes that there’s nothing in this account that one has not read about before.   Even if you’ve read no more than two or three or a handful of books about the Beatles’ storied if marred career, you’ll be bored by the same old stories here.   The author seems to admit as such as he often quotes multiple earlier accounts of the same material.   For example, when he writes about the evil manager Allen Klein he quotes six other sources before providing his own perspective.   Yawn.

There are far better alternatives out there.   If you want to read a true story of a highly talented band’s sad demise consider reading the excellent account, Without You: The Tragic Story of Badfinger by Peter Matovia about Badfinger, the Beatles’ alter-egos band (sometimes referred to as The Junior Beatles).   Each of the four members of Badfinger worked with each of the Beatles at some point – and each of them looked like one of the Beatles – and two of their members died by their own hand.

If you wish to read an account of a band that will succeed in making you hate all of the band members, there’s Bad Moon Rising: The Unauthorized History of Creedence Clearwater Revival by Hank Berdowitz.   After reading this unofficial history, I lost my aural appetite for listening to the music of John Fogerty and/or CCR.

One final advisory, and it’s an appropriate one.   I recently discussed this book with a music-loving friend and he asked me what the complete title of the book was.   When I told him that it was supposedly about the Beatles “after the breakup,” he wisely responded:  “Well, after they broke up they weren’t the Beatles anymore, were they?”   No, and it’s a point well taken.   We stand adjourned.

This review was written by Joseph Arellano.   A review copy was provided by the publisher.

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Perfection

Perfection: A Memoir of Betrayal and Revival by Julie Metz (Voice, $14.99)

“There is no real perfection, there’ll be no perfect day.”   Pete Ham

“A good place to spend life.   That’s what I would need to find for myself.”   Julie Metz

I honestly thought that I would likely hate this book, based on a couple of synopses that I looked at before deciding to take a leap of faith and purchase it anyway.   This is the nonfiction tale of graphic designer-wife-mother Julie Metz, who is 43 with a five-year-old daughter when her writer-husband suddenly drops dead.   Metz goes through an extended period of mourning and loss before finding out that her husband, while alive, had several affairs with women both close to her and unknown.   The actions appear to be unforgivable and Metz begins to isolate herself with her anger.   She becomes highly dysfunctional and comes close to shutting down.

I feared this was going to be the second coming of Happens Every Day by Isabel Gillies, an unpleasant memoir with a lot of whining and anger.   In Happens Every Day Gillies is unable to come to terms with her husband’s suddenly leaving her for someone else (a female former friend), even though her own mother is quoted as stating that Gillies has an overly controlling personality.   Apparently her husband simply escaped.

But Happens Every Day was basically a tale of depression and loss, while Metz – true to the sub-title – learns to revive her life after her shock and period of denial.   When her lawyer brother helps to locate her husband’s e-mail communications with his mistresses, she’s able to analyze what happened and when things happened, and even speaks with some of his women flings.   Eventually, she puts things in context (“Perhaps we all want our secrets to be found out at last…”) and learns to grant her husband Henry a type of forgiveness.

“I see that, having been through a year of loss and change, I will change still more in this next time of my life.”

The telling flows pretty easily.   Metz tends to have a lot of deep thoughts, but she also has an excellent memory and applies it to good use here.   She tells the story of a marriage – in non-chronological order – even if it was a bit unusual.   As Metz made money, Henry worked for years and years on a book about what constitutes great food; it remained incomplete at his death.   Henry had, however, chosen the title for what was to be his literary masterpiece – Perfection.

Metz can also be funny, as in relating the scene where she and her daughter decide to sprinkle some of Henry’s fine ashes (that still contain a few traces of bone and metal) in the backyard.   They do so but mix Henry’s ashes with those of a deceased male cat.   That kind of put Henry in his place!

Metz’ almost photographic memory is jarring when she writes about her sexual relationships, both before and after her marriage.   She seems to feel the need to describe every encounter she’s ever had with a male, and it becomes numbing and weary.   (Metz is clearly highly attractive but she seems to have had a life-long need to be desired by men.)   There are so many sex scenes that one can only wonder what her young daughter Emily will think of all this one day.   Perhaps she will just decide that her mom had a good time in life.

“It was helpful to remember that life could offer flavors other than sour and bitter.”

At the end of this memoir’s 342 pages, Metz has moved herself and her daughter to Brooklyn, she’s found a nice man to live with (one who is kind to her daughter), and is re-energized and hopeful.   She and her mate become domestic partners and she comes to see that this new life may well be a contented one – a “perfect fit.”

This reader had his doubts – serious doubts – about this work but Metz pulls this one out before the screen goes black.   Recommended.

As noted previously, this book was purchased by the reviewer.

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