Badfinger covers

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Joey Molland - King of Kings (2004)

Joey Molland - King of Kings [Tim Schools - Joey Molland] 
 

Bob Millea on drums and bells,

Tom Lecher on bass,

Harry Pulver Jr on accordion and keyboards, engineered,

Randy Anderson played lead and rhythm guitars,

Doug Molland acoustic guitar,

Joey Molland did the vocals, rhythm and slide guitars and the little intro lick, 

and Tim Schools.  

 

2004/12/   DL   www.joeymolland.com   

com
Hi-Fi Christmas Party Vol. 2 [Various Artists
2006/12/19   CD   Vandalay Records:     6. King of Kings - Joey Molland & The Echo Boys 

 2 (2006)
 2 (2006) back
Garage Band Christmas Vol. 2 [Various Artists
2008/10/28   CD   Collectables Records:     3. King of Kings - The Lost Echo Boys/Joey Molland 

 2 (2008)

Jsanta

MPTsanta

Pete Ham & Tom Evans - John Forgot To Sing [Pete Ham]
  

[Acetate] Iveys Christmas Record (1968)

 

★★

Hey, Mr Manager and Ringside 字幕08

Hey, Mr Manager and Ringside  22:16-25:22 字幕08 
字08
[Narrator]  The cash advances from Warner Bros had disappeared. So too had Badfinger's American manager, Stan Polley. Loyal and trusting to the end, Pete refused to believe Polley was ripping them off.  Then Warner Bros sued the band for the return of their money and Badfinger were effectively shut down by their own record company. 
 
[Bob speaking in 1987]  I remember myself, Tommy and Pete going to the management companies in London saying, "Look, we're in this terrible situation and we'd really just like to continue our career, we just want to play." And the companies were sort of saying, "Well, who are you with?" And we'd mention the set-up and they'd, "Well, when you get out of that, come and see us."  We could have written all that off if we could have just carried on and started again, do you know what I mean? But it was difficult to start again. 
 
 #hey, mr manager 
 
[Nicky Bell]  Pete felt like he was a big brother. When life got in the way and things happened with Pete and he took a step back and looked at where his life was going, he thought, "I'm letting everybody down." 
 
[Bob]  He'd have a smile on his face but put cigarette...stubs out on his hand. It was like self-harm. Yeah, I mean, this shows the extent to which he was burning up inside, really. I mean, he felt awful, obviously.  And he played me some tapes...of new stuff. One song really kind of stuck with me, it was a song called Ringside. 
 
 #ringside 
 
[Bob]  If you listen to that lyric, it's such a sad thing because he's likening his situation to, yeah, gather round at the ringside and watch me going down. 
 
 #ringside 
 
[Bob]  Pete had been making these calls to try and ascertain what was happening at the American end, could never get through to Polley, but in the end, one guy worked there, Stan Poses, who had a bit more of an empathy with us.  He spoke to Pete and, unfortunately, he revealed that... He basically said outright that yeah, Stan Polley isn't very wholesome, he's not a good person, he is ripping you off. He said all the things that Pete didn't want to hear, really. 
 

★★

Apple of My Eye 字幕07

Apple of My Eye  20:05-22:16 字幕07 
字07
 #apple of my eye 

[Nicky Bell]  Pete was a very loyal guy and didn't want to split away from Apple. You know, that was like leaving part of the family again. And I think that was a terrible strain on Pete. 
 
[Dan Matovina]  Pete was so grateful for the opportunity they gave him and his band and he wrote a song called Apple Of My Eye. How many artists write a song about their record label? Usually when they're about leave, they're angry, but that was Pete Ham. 
 
 #apple of my eye 

[Narrator]  There were changes too in Pete's personal life. After his relationship with Beverly ended, he had several girlfriends. He was a man who very much needed to be in love. Finally, he got together with Anne, and she soon discovered she was pregnant. 
 
[Bob]  This was heaven for Pete, you know, family man, and suddenly he was going to have his family and he'd lived for all these years, you know, in essentially a bedsit in Golders Green. I mean, that's what it was, living on very little money, even during all the successes. 
 
 #matted spam 

[Narrator]  Pete set up a home with Anne in Weybridge, Surrey, just a mile down the road from Tommy Evans and his wife Marianne.  
 
 #matted spam 

[Anne Herriot]  He was just a lovely, lovely guy. Beautiful nature, you couldn't have asked for a better partner, he was so kind, loving. He wanted to be left alone to go out and play his music but he was... You have to be hard to be in the music business and Pete was not like that at all. 
 
[Tag Hall]  Pete was very happy, you know, he wanted to do loads of stuff with the house. Everything seemed OK until the cheques stopped coming. 
 

Yeah, riding around in the dark. 字幕06

Yeah, riding around in the dark.  17:28-20:04 字幕06 
字06
[Narrator]  By now, Badfinger should have been very comfortably off, but the money was not coming through to the band. 
 
[John Ham]  He was changing for the gig and had on what I thought was a pair of... I don't know, comic shoes - the soles were coming away, like the old vaudeville comedians or something like that.  And I said, "Oh, part of the act, do you do a comedy number?" He said, "No, those are my stage shoes." I said, "Well, you can't wear those on stage, you're the local idle coming back." He said, "They're the only ones I've got." 
 
 #money 
 
[Narrator]  Badfinger's eccentric manager, Bill Collins, had encouraged the band to put their finances in the hands of an American businessman named Stan Polley. 
 
 #money 
 
[Nicky Bell]  When the started to get successful, Bill kind of got out of his depth. He did things that he thought were right for the band, but...they weren't. 
 
 #money 
 
[Bill Collins]  I believe that Polley meant well, although he was a very astute businessman, you know, he knows all the tricks, and he told us, he said, "I know all the tricks, but if you play ball, I'll play ball, and we'll all get along fine, and we'll all finish up millionaires." 
 
 #money 
 
[Bob]  He was the archetypal manager with a big cigar and, you know, "I'm going to take you guys to the stars," all that sort of business, and it seemed OK at first. 
 
 #money 
 
[Narrator]  Polley's first move was to get Badfinger away from Apple Records and signed up to a new deal he'd negotiated with Warner Brothers. He dazzled Bill and the band with talk of huge cash advances and said that, for tax reasons, the money should be paid into a series of different bank accounts which he himself would control. 
 
 #money 
 
[Bob]  He said, "Well put it all in a pot, and by the time we've reached the end of the album deals, you know, you'll all be very rich people. But in the meantime, we'll just be on a basic salary, I'm afraid."  And of course, not knowing any better and wanting to think the best of people, the band went along with it, you know. 
 
[Bill Collins]  All around New York in a big limo, and he said, "And it's no good you reading this contract." It was three inches thick. But he said, "Basically, you've got to understand..." And he talked and talked and talked and drummed into my mind that we had 3 million deal to make six albums in three years and, uh... 
 
[interviewer]  This was all in the back of a limousine in New York City? 
 
[Bill Collins]  Yeah, riding around in the dark. 
 
wanted wb
 

★★

Nilsson & Harrison 字幕05

Nilsson & Harrison  14:20-17:28 字幕05 
字05
[Narrator]  A few weeks later, the band were back in the studio. In the room next door, singer Harry Nilsson was recording his own album. He called Badfinger in to listen to his new single. 
 
  #without you 
 
[Dan Matovina]  They were chuffed to meet this fellow, you know, and Pete did admire him, he loved Harry's solo records that he had done, so he said, "Would you come in the studio and just listen to this track I'm doing?" And they were just sitting there listening, and they're hearing Harry Nilsson covering Without You, and then you can imagine, when the chorus came in, everybody struck, I mean...  And he sings that big note, they said they were floored, they were like pinning themselves against the wall. 
 
  #without you 
 
[Dan Matovina]  Immediately, it became a worldwide sensation. Everybody was covering it - Shirley Bassey, Andy Williams, Engelbert Humperdinck, Frank Sinatra. I mean, everybody was covering it or doing it live. 
 
  #without you 
 
[Deke Leonard]  They achieved the goal of every self-respecting songwriter in that they wrote a standard, you know, which is... I mean, that's up there with White Christmas, isn't it? 
 
[Narrator]  George Harrison took an interest in Badfinger, producing them in the studio and asking them to play on his own records. George was particularly impressed with Pete. 

[Beverley Tucker]  Pete was still quite in awe of George and couldn't quite believe that he was good enough to play with George, even though everyone kept saying to him, "He would not ask you if he didn't think you were good enough." 
 
[Nicky Bell]  I met George Harrison some years later and was having a conversation with him, and he told me how in awe of Pete he was, and Pete never knew that. 
 
 #day after day 
 
[Narrator]  George produced songs for Badfinger's next album, including the hit single Day After Day. 
 
 #day after day 
 
[Bob]  And on one song in particular, a slide guitar thing that Pete had come up with, George was so keen that in the studio he said, "Look, why don't we just do this together? I mean, this would be great double tracked." So he got really involved - not only in the production, but also sort of playing on the record. 
 
 #day after day 
 
[Narrator]  George chose Badfinger to be part of his backing band at the legendary Concert for Bangladesh at Madison Square Garden in 1971. 
 
 #day after day 
 
[Beverley Tucker]  Pete was just so excited. It's one thing going in the studio with George, but to be on stage with George, and for George to asked him, erm...was... ..the highest compliment he could have got from anyone. 
 

★★

The two songs were joined together, and Without You was born. 字幕04

The two songs were joined together, and Without You was born.  10:36-14:20 字幕04 
字04
[Narrator]  Next stop - America. 
 
 #perfection 
 
[Nicky Bell]  We picked up the tour bus in New Jersey, and we kicked off in New Jersey. It was endless, endless, 500 miles a day sometimes on a... on a Greyhound bus. Pete had his Super 8 camera running the whole time. 
 
 #perfection 
 
[Narrator]  America seeped into Pete's writing and inspired one of his most powerful pieces of social commentary. 
 
 #perfection 
 
[Beverley Tucker]  Pete had a very strong sense of justice. As he saw it, so many in America had so much, and then there were so many that had virtually nothing. He found it very disturbing and said, "There could be a revolution, they must do something, and it's up to the youngsters... the people of our age then, ..to try and turn this around and make the whole thing fairer." 
 
 #perfection 
 
[Pete speaking in 1972]  The first thing people have to do before they try and do anything about the world is admit that they've got a lot of faults themselves, and admit that there is no real perfection. People get too obsessed with ideals, the perfect world or the perfect human being, and there's no such thing. So all, basically, that song says is realise our imperfections and talk about them and then try and do something about it. 
 
[Narrator]  The band returned to Britain and went into Abbey Road Studios to record their new album, No Dice. Hidden away at the end of side one was a song which would change their fortunes for ever.  
 
[Beverley Tucker]  The boys had been in the studio for quite a few nights, and Pete said, "Right, I'm not going in the studio tonight, we're going out for the evening." Just literally as we were walking out the front door, Tom popped his head round and said, "I've got an idea for a song, come in the studio."   And Pete said, "No, I promised Bev, we're going out tonight." I said, "No, it's fine," and he said, "No, I promised you," and I said, "Look, I don't mind, I'm smiling." And he said, "Your mouth's smiling, but your eyes are sad." 
 
 #without you 
 
[Beverley Tucker]  As soon as I heard that line, "You always smile but in your eyes your sorrow shows," there were quite a few tears shed. 
 
[Bob]  Pete had got this verse and a chorus that he'd written. He wasn't very happy with the chorus, and Pete... And Tommy, conversely, had the opposite thing, you know, he had this chorus, wasn't very happy with his verse, and at Pete's suggestion, said, "Why don't we just amalgamate these two bits?" 
 
 #without you 
 
[Beverley Tucker]  The two songs were joined together, and Without You was born. 
 

★★
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