Straight Up (1971
re-mix DCC GOLD DISC)
1. Take It All (Pete Ham)
2. Baby Blue (Pete Ham)
3. Money (Tom Evans)
4. Flying (Tom Evans/Joey
Molland)
5. I'd Die Babe (Joey Molland)
6. Name Of The Game (Pete
Ham)
7. Suitcase (Joey Molland)
8. Sweet Tuesday Morning
(Joey Molland)
9. Day After Day (Pete Ham)
10. Sometimes (Joey Molland)
11. Perfection (Pete Ham)
12. It's Over (Tom Evans)
REISSUE BONUS TRACKS(1995):
13. Money (original
version)(Tom Evans)
14. Flying (original
version)(Tom Evans/Joey Molland)
15. Name Of The Game
(original version)(Pete Ham)
16. Suitcase (original
version)(Joey Molland)
17. Perfect (original
version)(Pete Ham)
18. Baby Blue (U.S. single
mix)(Pete Ham)
Taken from pre-release bio:
The year was 1971. The future had never look
brighter for Badfinger. The past 12 months had seen two U.S. Top Ten singles,
Come & Get It and No Matter What, and the band had toured America on the
back of No Dice, Their first album recorded with new guitarist Joey Molland. The
tour had spanned the last three months of 1970, and Badfinger had traveled
across the States, not in plush, chartered aircraft, but on economy-class
Greyhound buses. Better things lay ahead -- although life wouldn't be without
its problems. After the Christmas break, the group returned to work on 9th
January 1971, and set about the task of recording the follow-up to the
critically acclaimed No Dice. With Geoff Emerick and the Band working closely
together on the album's production, recording took place at three London
studios, George Martin's Air, Abbey Road, and Command in Piccadilly.
Much to Badfinger's annoyance, their American
manager then arranged a ten-week tour of the USA to raise funds. This meant
rushing the completion of the new album, and despite all of their efforts, as
their departure date grew nearer, recording began to lag a little behind
schedule. The tapes were eventually finished in time, but with a flight to
America booked for 4th March, the album had to be mixed in just one day.
Badfinger reluctantly flew to the States, leaving their hastily completed, still
untitled LP at Apple. In spite of their haste, the finished tapes sounded superb
to the band's ears and were considered by them to be their most accomplished
work to date. But the album was destined never to be released.
The U.S. tour ended on the 16th May, and
Badfinger returned home on the 18th, to discover that the recordings had been
rejected as their next album, and any immediate plans for a follow-up to No Dice
had been dropped. looking back on the events. Joey Molland said in 1992,
"The tapes sounded like they were recorded properly, but I think Apple
thought they were a bit crude. They wanted us to go in for an Abbey Road-type
sound"
While on tour in America, Badfinger had visited
the Bell Sounds studios in New York, where supersession man Al Kooper had added
piano and organ overdubs to a remix of Name of The Game, which with Suitcase as
it's B-side, had already been assigned a catalogue number (Apple 35), and had
been slated for imminent release as the band's next single. But once back in
London, and despite the fact that Tom Evans had announced in an interview that
the single would be released "in about a week", they discovered that
plans for this too, had been dropped. Badfinger had every reason to feel
dejected. All thier recent recordings had been shelved, and three months of hard
work in the studio seemed wasted. (A similar fate would befall "Baby
Blue" in 1972; despite being penciled in as Apple 42, the single was
canceled shortly before its UK release.)
But more than adequate consolation was in store
when they learned that George Harrison had expressed a wish to produce them. For
Joey Molland at least, this confirmed that it was George who was keen for
Badfinger to develop a more polished, studio based sound. The band were
naturally delighted, as there was nothing blasé about Badfinger. On several
occasions in the past, and on various projects, each member had worked with at
least one Beatle, but there was undeniably magical about having a whole LP
produced by Harrison. According to Joey, Pete Ham was particularly keen to work
with Harrison on their more sophisticated sound for Badfinger. Fresh with ideas
for the revamped version of their album, and with several new songs already
written, the band were buzzing with excitement when they returned to work at
Abbey Road's small No. 3 studio, where George had recorded parts of All Things
Must Pass. Throughout June and July 1971, Badfinger worked at Abbey Road with
George Harrison. The album was a fresh start, and no recording from the original
set, completed six months earlier, was to be re-used. Old songs retained for
this revised running would be re-recorded from scratch. With George at the
controls, four tracks were begun: two new recordings, Name of the Game and
Suitcase; and two new songs, I'd Die Babe and Day After Day.
When released as a single in 1972, Day After
Day became an enormous success, particularly in America (where it came out a few
weeks earlier), and earned Badfinger a gold disc. Joey Molland clearly recalls
the recording of this classic song: "We had done the backing tracks --
bass, drums, acoustic guitar and a rough vocal - and Peter and I were down in
the studio working out the slide guitar parts when George came in and said,
"Would you mind if I played slide on this?" I mean, this man's a hero,
he's a Beatle, so I said, "No man, that's okay, sure, go right ahead."
But Pete Ham played slide guitar too, and in a
sign of the camaraderie between Ham and Harrison, they both recorded their
separate parts of guitar fills and solo, which were then doubled-up on the final
version of the song. George also brought along the considerable talents of Leon
Russell, and he can be heard playing piano on Day After Day.
Everything was going well, the recording was
running smoothly and both the band and Harrison were delighted with the results,
but suddenly, in the middle of July, at the request of his friend Ravi Shankar,
George had to pull out of the sessions - to work on the Concert For Bangla Desh.
With just four tracks completed, Badfinger were naturally disappointed by
George's departure - but there was no denying that appalling life-and-death
events were taking place on the other side of the world demanding more of
Harrison's attention. Badfinger were invited to play at the charity concert,
held at the Madison Square Garden in New York City on the 1st August 1971, where
they augmented the superstar performances with contributions from the wings. A
nervous-looking Pete Ham, guitar in hand, also joined George under the spotlight
for an acoustic version of "Here Comes The Sun."
When Badfinger returned to Britain to work on
more songs for what would eventually become Straight Up, Apple informed them
that sessions for the ill-fated album would resume in September. As George would
be tied up with the mixing of the Bangla Desh tapes for eventual release, a new
producer had to be found. Todd Rundgren was the man chosen for the job. Although
renowned in the States for his group Nazz, and a couple of acclaimed solo
albums, he wasn't particularly well known as a producer. He had engineered the
Band's Stage Freight LP, however, and came highly recommended for his quality of
work and speed in the studio. But as Joey Molland recalls, Badfinger had never
heard of him. "We had to run out and buy some Todd Rundgren records to find
out who this guy was!"
Rundgren took charge of the group like no other
producer had done, and within two weeks the album had been completed. Apple gave
Rundgren carte-blanche to finish the sessions as he saw fit, And as well as
recording Badfinger's batch of new songs with himself as producer, he chose to
re-work and mix tracks from both the original aborted LP, and the George
Harrison sessions. Badfinger and Rundgren never became close, but the band
admired his consummate production skills. "Todd is a great producer",
said Joey Molland in 1992. "I can't take that away from him. He did know
what he was doing.", and drummer Mike Gibbins added simply, "He was a
wizard in the studio."
With Rundgren at the controls, the album
received a complete overhaul, falling more or less into line with the
sophisticated, "produced" sound, which George Harrison and Pete Ham
had in mind. "The feel of the album totally changed", said Joey.
Straight Up was finally released in February
1972 (December 1971 in the USA), and went on to become Badfinger's most popular
and enduring album. It seemed, at last, as if they were poised for real
success.. . |