The term “Fab Four” is well known as a reference to the Beatles.\u00a0 But at one time, there was an aspiring “other” Fab Four \u2013 another English group linked to the Beatles, and at times seen as a Beatles \u201cknock off\u201d<\/p>\n
Most today don’t know of them; their popularity was fleeting.\u00a0 But had things broken for them differently, they could have easily ended up being the \u201cnext big thing\u201d from England.\u00a0 Unfortunately, for the most part they ended up broke, forgotten \u2013 and in two cases, dead far too young.<\/p>\n
But they were talented as hell, and were far from being “Beatles clones”.\u00a0 They deserve a bit better than that.<\/p>\n
Yeah, I’m about to go on another “walkabout”.\u00a0\u00a0 Consider yourself forewarned.<\/p>\n
. . .<\/p>\n
In the 1960s, a musical group formed in Swansea, Wales.\u00a0 For years, they were poor and struggling.\u00a0 They called themselves the Iveys.<\/p>\n
They were talented, if young.\u00a0 And one night, they were seen by the right person.\u00a0 They became the first act (other than the Beatles) signed by Apple Records.<\/p>\n
They sounded much like the Beatles, actually – understandable, since Liverpool is not far at all away from Wales, and weren’t far off from the Beatles in age.\u00a0 (The singing voice of one in particular sounded similar to that of Paul McCartney.)\u00a0 Their first hit was also written by Paul McCartney.<\/p>\n
This created an association between the band and the Beatles that was to persist.\u00a0 Though a long-term detriment, it indeed helped their early rise.<\/p>\n
The band renamed itself before their first Apple release.\u00a0 Their new name:\u00a0 Badfinger.<\/p>\n
They were to prove much more than mere Beatles clones.\u00a0 And they were fated to be both popular and short lived.<\/p>\n
Arguably, they invented the \u201cpower ballad\u201d.\u00a0 \u00a0\u00a0Don\u2019t believe me?\u00a0 Listen to the three below that are identified as such \u2013 and find an earlier example that \u201ccharted big\u201d.\u00a0 Not sure you really can.<\/p>\n
I\u2019m not going to write a “blow-by-blow” about the band\u2019s history.\u00a0 Instead, I\u2019ll just present a few of what I consider their better tunes – along with a few brief comments of my own.<\/p>\n
If you’ve never heard much of their music – or if you haven’t heard it in a while – grab a good set of headphones and listen.\u00a0 I think it’ll be worth the time.\u00a0 (For a couple of the tunes, depending your your own past close relationships you might want to grab a tissue, too,)<\/p>\n
. . .<\/strong><\/p>\n Come and Get It<\/em><\/a> No Matter What<\/em><\/a> Without You<\/em><\/a> (Short sidebar: the members of Badfinger ran into Nillson in the studio while he was recording the album to contain Without You. They heard Nilsson’s version – which was reputedly recorded in a single take – and were floored by it.\u00a0 Nilsson’s version received a Grammy in 1973.) Day After Day<\/em><\/a> Baby Blue<\/em><\/a> Apple of My Eye<\/em><\/a> Perfection<\/em><\/a> Name of the Game<\/em><\/a> . . .<\/strong><\/p>\n By the early 1970s, the band was primed for stardom \u2013 hell, they were<\/u> stars, coming off four straight multinational hits from three straight successful albums.\u00a0\u00a0They’d also been the backing band for George Harrison at his “Concert for Bangladesh”.<\/p>\n And then it all abruptly ended.<\/p>\n So, what happened?\u00a0 Bad timing, money – and dirty dealing.<\/p>\n The bad timing:\u00a0 Badfinger got caught up in the fallout over Apple Records going belly-up.\u00a0 This tied up royalties for much of their early work for years.<\/p>\n Plus, to put it bluntly:\u00a0 the band got screwed.\u00a0 They were somewhat naive, business-wise.\u00a0 When they became big, knowing that fact, before touring America they signed with an American manager – Stan Polley<\/em><\/a>.<\/p>\n Exceptionally<\/em> bad choice.<\/p>\n Polley was later named in a Senate investigation as having mob connections, and years later was convicted of fraud.\u00a0 He reputedly screwed the band royally, both financially and contractually. While the band was big, they were also damn near broke \u2013 their money was being \u201cheld for investment\u201d and the band members were living on relatively paltry salaries.\u00a0 The rest of their income was being “held” by Polley for their future use.<\/p>\n In reality, the money was disappearing.<\/p>\n The band’s first Warner Album didn’t do well. And their second Warner album, considered by some one of their two best, was also short-lived. Their new label (Warner) got wind that something shady might be going on with respect to the band’s finances.<\/p>\n When Polley couldn’t answer (or, some accounts say, sidestepped if not outright refused to answer) Warner’s questions about what had happened to the band’s contract advances, Warner demanded an investigation into the band’s finances.\u00a0 Warner also pulled the plug on both promotion and distribution of their albums released in 1974, withdrawing the second from sales entirely as it was rising in the charts. They also and blocked release of a third album the band had completed by refusing to accept the master tapes.<\/p>\n Warner also began legal action against Polley.\u00a0 And since he had control of the band’s finances, well, . . . .<\/p>\n This cut off the bands’ income; it also prevented them from releasing any new work. It virtually put a stop to their public performances.\u00a0 And the financial and legal wrangling dragged on for months – then years.<\/p>\n Despondent, Hamm \u2013 the band\u2019s primary creative force, who’d also apparently believed in Polley far longer than his bandmates before realizing the truth – hanged himself in April 1975.\u00a0 (His suicide note effectively blamed Polley for driving him to suicide.)\u00a0 The band for all practical purposes broke up afterwards, though survivor-led versions with different lineups persisted for years (one persists to this day).<\/p>\n The legal wrangling (and financial standstill) over past recordings by the band continued on an on.\u00a0 Evans hanged himself in 1983 for much the same reasons as had Hamm – continued legal wrangling over past band royalties.<\/p>\n . . .<\/strong><\/p>\n Well, that’s a short version of the band’s story. It’s not pretty – but some of their music is truly timeless.<\/p>\n
\nPaul McCartney tune, written for the movie \u201cThe Magic Christian\u201d.\u00a0 It got them started as their first hit.<\/p>\n
\nFirst hit for the band written by Peter Hamm.\u00a0 The tune established the band as independent, but was still very much \u201cBeatle-esque\u201d in sound.<\/p>\n
\nWritten by band members Peter Hamm and Tom Evans, and established the band as having their own unique style.\u00a0 It’s perhaps the first rock \u201cpower ballad\u201d.\u00a0 Written by splicing two songs written by Hamm and Evans together, it\u2019s become a modern-day standard.\u00a0 (Harry Nillson\u2019s definitive version can be found here<\/em><\/a>..)<\/p>\n
\n<\/em><\/p>\n
\nAnother truly beautiful power ballad by Peter Hamm.\u00a0 Musicians who played on the tune include George Harrison (slide guitar solo) and Leon Russel (piano).\u00a0 It was their biggest hit, chart-wise.<\/p>\n
\nProbably the best known of their tunes due to being featured as the finale (literally) of Breaking Bad<\/em>.\u00a0 It’s another absolutely gorgeous power ballad, also by Peter Hamm.\u00a0 The song was based on real events – specifically, Hamm\u2019s relationship with Dixie Armstrong on their final US tour.\u00a0 It became popular again recently when it was featured in the final scene of Breaking Bad<\/i> – where it fit perfectly.<\/p>\n
\nThe band\u2019s last well-known single, from their final Apple album.\u00a0 It’s reputedly about the end of their contract with Apple records vice about a relationship.<\/p>\n
\nA tune you probably haven’t heard from their consensus best album, Straight Up<\/span>.\u00a0 Yeah, the lyrics today may seem a bit \u201chippy-esque\u201d and a touch naive.\u00a0 Hey, it was recorded in the early 1970s – what do you expect?\u00a0 But it’s still a helluva tune that takes a far more realistic look at things than did many contemporary tunes of its genre.<\/p>\n
\nAnother one you probably haven\u2019t heard \u2013 it wasn\u2019t a single, though it did get some airplay.\u00a0 Great tune, and one of my favorites by the band.<\/p>\n