Badfinger covers

バッドフィンガー Badfinger の周辺をいろいろと... Badfinger の曲をカバーした人とか、ちょっと関わった人とか 外周を遠回りに巡ってます


[Magazine] Rolling Stone #206 (February 12, 1976)

Malcolm Frederick "Mal" Evans (May 27, 1935 - January 5, 1976) 
mal 1935-1976
'6th Beatle' Mal Evans Killed in Los Angeles 
   by Patrick Snyder and Dolores Ziebarth 
Rolling Stone #206 (February 12, 1976) mal
Evans had also contracted to produce a new group called Natural Gas, made up of Joey Molland (formerly of Badfinger), ex-Humble Pie Jerry Shirley, ex-Rare Bird David Kaffinetti and Mark Clarke (formerly of Uriah Heep). The group had not signed with any label, but was scheduled to record January 5th. 
cover: David Bowie 
Rolling Stone #206 (February 12, 1976) cover


Badfinger along with Mal Evans and Pat Roach (1970)

Badfinger along with Mal Evans and Pat Roach (1970) 
Pat Roach Mal Evans Badfinger bwc 1
Pat Roach Mal Evans Badfinger bwc 2
Pat Roach Mal Evans Badfinger bwc 3
Pat Roach Mal Evans Badfinger bwc 4
Pat Roach Mal Evans Badfinger bwc 5
Pat Roach Mal Evans Badfinger bwc 7
Pat Roach Mal Evans Badfinger bwc 6
Melody Maker 1970
Pat Roach (May 19, 1937 - July 17, 2004) 
Pat Roach
Pat Roach If
Pat Roach - German Mechanic [Indiana Jones] 
Pat Roach - German Mechanic Indiana Jones
Pat Roach - Giant Sherpa [Indiana Jones] 
Pat Roach - Giant Sherpa Indiana Jones
Pat Roach - Chief Guard [Indiana Jones] 
Pat Roach - Chief Guard Indiana Jones


Black Calendar: November 19 / the Day Tom Evans committed suicide

Black Calendar 
the Day Tom Evans committed suicide 
   まだ新しくできたばかりのサイトみたいで、空白の日も多いけど、11月19日は Tom しか書かれていない。4月24日は4人の記載があるけど、今のところ Pete は載っていない。 
Badfinger - Moonshine (Dan Matovina re-mix 2016) 

逃げていく Badfinger 
     僕が1975年3月に Badfinger を全部買おうと決めたら、その直後に Pete 死亡。 
     僕たちが作った バッドフィンガー同好会 が結成3周年で初めての会員募集をしたら、ほぼ同時に Tom 死亡。 
rockin'on 1984年2月号 サークル・ミニコミ案内   page:49 
バッドフィンガーを好きな君! 我々の同好会に入りませんか。現在はメンバーは2人ですが少なくとも10人位にはしたいと思っています。今なら彼らのライヴ・テープをプレゼントします。 
rockin'on 1984年2月号 Hot News   page:55 
     Mike の死亡時にも僕が何か関与していないかと考えたけど、死の3年前に Mike のサイトからCDを3枚買って おまけにTシャツをもらったこと以外、なにもなかった。 
Interview with IAN WALLACE (April 2003) 
   [イアン・ウォーレス Sep 29, 1946 - Feb 22, 2007)  1979年の Airwaves のツアー終了後、次作用のデモ3曲 (Three Time Loser, Because I Love You, Rock'n'Roll Contract) を録音した際のドラマー]
– Many seem not to know you were in BADFINGER, together with YES and BADGER Tony Kaye. Was it him who brought you in? 
No. I can't remember exactly who hired me, probably the producer, but I can't remember who that was. Basically I was hired as a session musician to play drums on their album. What I do remember is that I enjoyed working with them. I knew Tommy Evans and I was sad to hear of his death. He was a nice guy. 
Badfinger / Finest Moments  
A Memorial to Pete Ham, Tom Evans and Mal Evans
Badfinger Finest Moments
BADFINGER Finest Moments (One of the rarest official items available on Apple, this is the withdrawn 1989 Australian only 16-track 'Best Of' LP that ended up with just ten copies pressed for review purposes. According to The Apple Log book, the album was assembled by someone from EMI who wanted a 'Best of' Badfinger LP. Because of ongoing legal problems that Apple were having at the time, the project was scrapped even before any sleeves were printed, just a 12" insert printed on greenpaper, declaring the album to be 'A Memorial To Pete Ham, Tom Evans And Mal Evans'. All tracks are from master tapes except 'Without You' which was clearly taken from vinyl. The insert sheet is near 'as new' & the vinyl near mint - this copy originally came directly from a senior executive at EMI Australia SAPCOR28).
Badfinger Finest Moments r1
US$ 2,553.60
JPY 259,749


Bill Harry / The Paul McCartney Encyclopedia (2002)

Bill Harry - The Paul McCartney Encyclopedia

A group who were to become the most successful group on the Apple label, next to the Beatles. They were originally called the Iveys and were managed by Bill Collins, father of actor Lewis Collins, who had once worked with Mike McCartney in a Liverpool hairdressing salon. Bill had also known Paul's father Jim McCartney from the days he played in dance bands in Liverpool. Mal Evans, who also knew Collins, invited him to a Beatles recording session for 'Within You, Without You'. At Abbey Road Studios, Collins met Paul and told him about his group the Iveys. Paul said he'd be interested in hearing more about them. 

Collins didn't follow through on the invitation. However, when Evans heard that the group wrote their own music he took a tape of them to Apple. 

They comprised two members from Liverpool and two from Wales and the line-up at the time was: Pete Ham, vocalist, guitarist, pianist; Tom Evans, rhythm guitarist; Mike Gibbons, bass guitarist and Ron Griffiths on drums

Mike Berry, who had recently joined Apple Publishing from Sparta Music, actually knew the group and had wanted to sign them to Sparta the previous year. He said, 'I remember telling my Apple publishing partner, Terry Doran, that the Iveys were going to be our first signing. I had actually given Paul McCartney my personal Iveys demo tape, but Paul said he didn't see anything in it. I'd planned to get him another one in the near future.' 

Evans brought in the new tape and played it to Paul, Derek Taylor and Peter Asher. 

Paul phoned Berry and said, 'Have you heard the new Iveys tape? It's fucking great.' Mike said, 'That's the sign of a good publisher, Paul. To see it before anyone else does.' 

Paul had been impressed by a number called 'Knocking Down Our Home' and wanted to hear more of their work, so another demo reel was brought in. There were a few problems. Each Apple signing had to be approved by all four members of the Beatles, although Paul had managed to get Mary Hopkin signed, George had decided to sign up Jackie Lomax and Peter Asher was determined to sign James Taylor -all without necessarily having all four Beatles agree. Asher was to say, 'John Lennon was scathing about everybody. He would say "Who needs James Taylor or the Iveys when you have true artists like Yoko Ono?"' 

Mal Evans was determined to secure a contract for them with Apple and brought in a fourth tape and on 23 July 1968 they signed to the label and made their debut with a Tom Evans composition 'Maybe Tomorrow'. 

In the meantime, Paul had been asked to write the score for a film The Magic Christian which starred Peter Sellers and Ringo Starr. 

At the time the Beatles were busy recording Abbey Road, He arranged a meeting with the Iveys saying that he had been asked to write the music for the film and was willing to give them a song he had written for it for them to record. The number was 'Come And Get It' and Paul made a demo of the number for them to listen to and he recorded them performing it. He then asked them to take over the assignment for The Magic Christian and write the other numbers themselves - and he also recorded them in the studio, advising them and playing some of the instruments. One of the numbers, 'Crimson Ship', contained references to Paul and the Beatles. 

Prior to the release it was felt that the Iveys had become too associated with the Merseyside scene and a new name was sought. They thought of names such as Hyena's Nose, the Old, the Glass Onion and Fresh, while Paul suggested Home and John Lennon suggested Prix. 

Eventually, Mal Evans remembered 'Badfinger Boogie', a working title for Paul's composition 'With A Little Help From My Friends' and the group were dubbed Badfinger. 

Gibbons had left the band, so Evans then took over on bass. They had to find a replacement. The members wanted Scottish guitarist Hamish Stuart of Marmalade to join them and Stuart was interested, but his manager insisted that they would have to pay £10,000 if he was to leave Marmalade, so they looked elsewhere and eventually settled on another Liverpool guitarist, Joey Molland.

Many years later, Hamish Stuart was to join Paul's band. 

Despite the success of their hits 'Come And Get It', 'No Matter What', 'Day After Day' and 'Baby Blue', Apple were encountering problems with the advent of Allen Klein. Paul was absent from the offices and had gone to Scotland where he was to begin recording his solo album; Peter Asher left the company, as did his signing James Taylor. Mary Hopkin was also to leave Apple. 

On leaving Apple, Badfinger suffered immense financial difficulties, despite writing the international hit 'Without You' and both Pete Ham and Tom Evans were to hang themselves.


Natural Gas

Natural Gas - I've Been Waitin' [Joey Molland] + Little Darlin' [Joey & Kathy Molland]

Natural Gas FM 1976
英米で今話題を集めているグループを総点検    東郷かおる子 
Mark Clarke Interview 1997
You did the NATURAL GAS album with Jerry Shirley and a few others. That was a bit of lighter than previous stuff.
Mark Clarke: Yes, it was totally left field, really. It was something I wanted to do. 
Who instigated the whole project, was it yours ?
Mark Clarke: Yes, it was my project originally.
Joey Molland (the guy from Badfinger ) and I had been friends for years. I was planning to do a solo album, and Joey suggested that he was, so we said "let's get together!", and we did. 
Natural Gas
Joey Molland
 "We were just talking and having a laugh and I asked him, 'What are you doing?' He said, 'I’m going up to Jerry Shirley’s this weekend. I’m going to stay there and we’ll probably have a jam – why don’t you come with us.' I didn’t really know Jerry, but I thought it would be cool. So Mark calls him and Jerry says. 'Come on up.' We go on up to Jerry Shirley’s house. "  "We had a lot of fun, just playing rock ‘n’ roll songs and blues songs. The next morning Mark, Jerry and myself decided to put a band together.  "

 "We also got a keyboardist, a guy named Dave Kafinetti from the band Rare Bird. He went on to be the keyboard player in 'Spinal Tap'. What a knockout guy!" Kafinetti was replaced before the recording of the album by Peter Wood who co-wrote 'Year of the Cat' with Al Stewart." 
 "Felix was really nice, a real sociable guy and talented fellow. As far as a producer went, we really wanted Mal Evans to do it. But the label wanted Felix Papalardi, the bass player from Mountain who’d done Cream and all that – the label wanted him to do it. Apparently Felix wanted to do the project as well, so that was that. I think Mal was pretty disappointed actually." 
Natural Gas - The Right Time [Mark Clarke]

Natural Gas single
Natural Gas - PVT-11235
1976/05/29   LP   Private Stock:PS 2011/PVLP 1007/EMS-80545   Natural Gas

Natural Gas (1976) obi
Natural Gas EP
Natural Gas - You Can Do It [Peter Wood - Mark Clarke]

Natural Gas EP r2
Natural Gas EP back
Natural Gas - Once Again, A Love Song [Joey Molland]

Natural Gas single 2
2009/06/16   CD   Renaissance:RNS801732   Natural Gas   [+3 Bonus Tracks]
Natural Gas (Renaissance 2009)
2010/11/16   CD   ItsAboutMusic:   Natural Gas   [2010 remastered]
Natural Gas (ItsAboutMusic 2010)
2010/11/18   CD   Air Mail:AIRAC-1602   Natural Gas   [2010 remastered]
Natural Gas (Air Mail 2010)
Natural Gas (Air Mail 2010) back
同時発売の Natural Gas『ナチュラル・ガス』とKelly Groucutt『ケリー』、初回限定同時購入で 8センチシングルCD「ライトタイム(ナチュラルガス)」(非売品) プレゼントの特典あり
Natural Gas singleCD
Natural Gas set
2011/05/05   CD   MVD(Holland):261   Natural Gas   [2010 remastered]
Natural Gas (MVD 2011)
In 1975, you formed Natural Gas. Why this band lasted for so short time? 

We came to America and went on tour and unfortunately for all of us, we got involved in some drugs and I think that was the main factor. That’s the reason we got out of control and the band broke up about a year and a half later. It had nothing to do with the personalities in the band, I really put that all down to the drugs. 

Dan Matovina:   Without You
After the tour (during July, August, and September, 1976), Shirley, Clarke, and Wood found apartments in New York City. They were quite content to situate there, but Joey wanted to stay in Los Angeles. The band broke up.
Billboard   (Jan. 8, 1977)
Joey Molland has departed Natural Gas to re-form Badfinger.  Les Nichol, who played with Leo Sayer, replaces him.
Billboard 1977年1月8日 P64
gettyimages に Natural Gas の画像あり
Magnet / Worldwide Attraction (1979)
   Drums - Jerry Shirley [ex-Natural Gas]
   Keyboards - Peter Wood [ex-Natural Gas]
   Guitars, Vocals - Les Nichol [ex-Natural Gas]
   Bass, Vocals - Michael Neville [ex-N. Y. Central]
   Vocals - Bob James [ex-Montrose]

 [Magazine] Natural Gas / Billboard (March-September 1976) 
 [Magazine] Natural Gas / Cash Box (March-October 1976) 
 [Magazine] Natural Gas / Record World (March-July 1976) 
 [Magazine] 音楽専科 (1976年8月号) / Natural Gas インタビュー 
 Natural Gas (Gonzo: HST465CD) / Live From The Vault (Gonzo: HST467CD) 
 [Bootleg] Natural Gas / Live from the Vault (Aug 17, 1976) 
 [Can Badge Maker] Natural Gas 
 [Natural Gas の半分] Magnet / Worldwide Attraction (1979) 

The Iveys / Ron による曲解説

1984-90年に発行されていた The Badfinger Connection誌 のインタビュー記事を、1989-92年に発行していた バッドフィンガー通信 に載せた時の原稿を基に加筆し、画像も追加。
See-Saw, Granpa 
      マネージャーの Bill Collins のことを歌った曲だろうって? 面白い意見だね。でも違うんだよ。当時住んでいたところのすぐ近くに公園があって、Pete や僕たちみんなでブランコなどの遊具に乗っていたんだ。そしたら老人がやってきて突然 Pete を叱ったんだ。 「シーソーから降りなさい。それは子どもたちが遊ぶために置いてあるんだから」ってね。録音は Trident Studios 。ライブのノリでやろうってことで、ステージでの演奏そのまま(演奏しながら歌う)のスタイルで録音したんだよ。プロデュ-スは Tony Visconti だったね。 
See-Saw Grampa
Beautiful And Blue 
      Tom の曲で、Trident Studios で Tony Visconti がプロデュースしたものだけど、特に思い出話はないね。 
Trident Studios
Dear Angie 
      当時のガールフレンドのことを歌った曲なんだ。彼女のミドルネームが Angela ってわけさ。ある晩のこと、ユーストン駅で彼女を見送ったその直後に書いたんだ。詳しく言うと、家に戻って録音室を覗くと誰もいなかった。いつもだと Pete がずっと使っているんだけどね。それで、その時の彼女への気持ちを録音しておこうと思ってね。次の日、Pete に聴かせたら気に入ってくれたよ。中間部のギターのところは Pete のアイデアだよ。そこは彼の兄の John の影響を受けてるね。 その後 彼女とは結婚したんだけど、結局離婚。 Denny Laine がこの曲を好きだって聞いたことがあるよ。これも Trident Studios で Tony Visconti と録音したものだね。 
Euston Station
Think About The Good Times 
      Mike はみんなから一曲書けよっていわれてたんだ。で、これがその成果。僕がハーモニーをつけている。あのネジを巻いているような音は実際に Pete がスクリュー・ドライバーを使って出した音だよ。これも録音は Trident Studios だったね。プロデュースはたしか Mal Evans だったと思うけどな。 
Mal Evans
Yesterday Ain't Coming Back 
      Pete の曲。当時のアップルではセッション・ミュージシャンに費用をかけてくれなかった。というわけで、ところどころに薄っぺらいブラス・ラインを使うのがやっとのことだったね。 Tony Visconti と Olympic Studios で録音。 
      Tom の曲で、フルートはまったくイマジネーションのかけらもないセッション・ミュージシャンたちが吹いている。砂の上を歩くようなシャカシャカした音は、僕が口で出したんだよ。
Maybe Tomorrow 
      この曲にはヒットするためのあらゆる要素が含まれていたけれど、なぜかイギリスではパッとしなかった。僕が思うには、演出の面で何かが欠けていたんじゃないのかな。Tony Visconti のね。 
Tony Visconti
Sali Bloo 
       Tony Visconti が Olympic Studios でプロデュース。僕のリードに Pete がデュエットをつけている。気取ったようなサウンドにはしたくなかったんだけど、Pete がうまく僕の声をカバーして、ロックでソウルな感じにしてくれたね。 Tom もあちらこちらにトップ・サードをつけているよ。 
Olympic Studios
      Tom の作品で Olympic Studios でカット。僕の Dear Angie と この Angelique とはなんの関係もないよ。 
I'm In Love 
      Pete が書いた曲。彼は僕と同じようにジャズやブルースに熱狂していたんだよ。彼の兄 John はSwansea近辺でトランペット奏者だったんだ。この曲はトラッド・ジャズ感覚のスウィング風に演奏しているんだけど、それはデュエット・ギターや最後の数小節にはっきりと現れているね。 
John Ham ad
They're Knocking Down Our Home 
      Pete は Beatles にとても影響を受けていて、たとえば She's Leaving Home なんかにね。その影響の結果がこの曲だね。Olympic Studios で録音。 
I've Been Waiting 
      Pete の曲。不思議なことに当時はオリジナルを作っても、デモ・テープにこそ録音するけど、ライブではほとんどそれを演奏しなかったんだ。みんなスタンダード曲を ロックにアレンジしたようなものを聴きたがっていたんだよ。ライブ・バンドのサウンドはレコーディング・バンドのサウンドよりも遥かに脂っこくて俗っぽいもの だったしね。この曲もライブっぽくやりたかったんだけど、僕が思うには、Pete も同じだと思うけど、まったく不熱心なある有名なプロデューサー (Glyn Johns) のおかげで、そのようなサウンドにすることはできなかったね。 
And Her Daddy's A Millionaire 
No Escaping Your Love 
      Tom が書いた曲。これもとてもキャッチーだね。当時僕たちはシングル用の曲を録音してはアップルに提出していたんだ。Pete のピアノ・ソロはハーフ・スピードで録音。だからチャップリン風だね。たしか Mal のプロデュースでロンドンの Morgan Studios で録音したはずだよ。 
Morgan Studios 1969
Storm In A Teacup 
      Morgan Studios で録音したんだ。当時としてはコマーシャルなサウンドだったね。Wall's Ice Cream のEPで使われたもので、Tom の作品。プロデュースは Mal Evans 。 
Wall's Big Wiz
Come and Get It 
      Paul 作曲。当時、Disc & Music Echo誌(1969/07/05号)に掲載された僕のインタビューを読んだ Paul は、僕たちがアップルに軽視されていると感じたことに驚いたんだ。それでマネージャーの Bill Collins にシングル用に一曲あるけどどう? って連絡してきたんだ。さらに、もしよければ映画用にあと2曲やってみないか? って。Paul はその映画の仕事にはあまり乗り気じゃなかったみたいなんだ。Abbey Road で録音した僕らのバージョンで Paul はタンバリン、僕はベースと低音のハーモニーを担当したよ。 
Crimson Ship 
Midnight Sun 
      Pete の曲。デモ録音の段階では僕がリード・ボーカルだったから、本番でも当然僕が歌う予定だったんだけど、水疱瘡にかかっちゃって、残念ながらデモにしか参加できなかった。 
Rock of All Ages 
      Tom の曲。この時もまだ水疱瘡で不参加。 
Carry On Till Tomorrow 
      Abbey Road で Paul がプロデュース。映画 Magic Christian 用の3曲目だね。僕が関わってきた曲の中でもうまくプロデュースされたと思う数少ない曲の一つだよ。他の曲はあまりよいプロデュースではないと僕は考えているんだ。Simon & Garfunkel 風だよね。 僕は曲を通してトップ・ハーモニーをつけているよ。 
Abbey Road Studios
Walk Out in the Rain 
      Pete 作曲で、Trident でほぼ2時間で収録。この曲には僕も参加してるよ。 
      Tom のシングル用の曲。 僕は特にいい曲だとも思わないけど。 
Mrs Jones 
      これもシングル用に作った曲だね。 ある夜、眠れなかったので軽く夜食を作っていたら、Pete がなんか興奮して入ってきたんだ。いい曲ができたからちょっと聴いてよ って。聴いたらコマーシャルな曲で、僕もちょうど眠れなかったから手伝うよ って。それでオーバーダブを手伝ったんだ。 Paul McCartney の感想は 「なんか最後のところのサウンド、Paperback Writer みたいだな」
Give It a Try 
      Apple Studios で収録。これはヒット・シングル狙いがちょっと意図的すぎというか不自然だったね。Apple は結局シングルとしては発売しなかったんだけど。中間のバラードのところ(we can take it と叫ぶ前の部分)は僕が歌ってる。あと、ハーモニー・ラインもね。 [Disc & Music Echo誌に掲載された Ron のインタビュー1,2 にあった、「何回もシングル用に曲を書いて提出しても、その度に不十分だと言われて送り返された」曲の一つ。同じインタビュー3,4,5,6で Tom も、Appleはバンド用の車や機材など僕たちが思っている以上のものを与えてくれたけど、今必要なのはレコード発売なんだ。それがヒットしようがしまいがとにかくレコードを出してもらいたい と語っている] 
Apple Studios
The Who - Mary Anne with The Shaky Hand [Apple は Iveys にこの曲をカバーさせようとしていたらしい] 

 アイビーズ / メイビー・トゥモロウ AP-8719 曲解説 

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