First things first, I
wanted to take the opportunity to reflect on the events of September
11, 2001. If you are interested, I wrote a blog entry about that day
on the tenth anniversary of the attacks, which you can read about by
CLICKING HERE. I can't believe that it has been twelve years since
that devastating day. So many people lost their lives, and thousands
of families were never the same. But as the Freedom Tower at the new
World Trade Center nears completion, it is a symbol that life does go
on, and I think those who lived through that day are more stronger
and resilient than ever before. We'll never be able to forget what
happened, but we can become stronger people as a result of it.
And now, on with today's
entry.
Wednesdays have always
been a bane in the existence of this blog. I've changed the theme
day for Wednesday a total of...oh...four times over the last two
years. I don't know what it is about Wednesdays, but I can never
keep the same topic up and running for long.
The most recent attempt at
the Wednesday topic was All-Request Wednesdays, where I would ask you
all to submit requests on topics that you would like to see. And for
a few months, it went over very well. But as the request well dried
up in recent weeks, I came to the conclusion that the feature was
inevitably going to be short-lived.
So, I thought that I would
use this space and leave it up to fate instead. Though, that's not
to say that I won't accept any more requests. I will. I'll just
incorporate it into one of the other theme days, is all.
What do I mean when I say
that I'll leave it to fate? Well, I'm going to let the cards fall
and decide what topic I choose.
It's a little something I
like to call “Whatever Wednesday”. I've even designed a special
logo for the event!
Colourful, no?
Okay, so what I'm going to
do is simple. I'm going to grab six different coloured cards, and
assign each one a different theme day. Every Tuesday night, I will
select a coloured card from a bag, and whatever colour card I choose
will represent the theme of the Whatever Wednesday entry that I work
on this week.
Now, here's the kicker.
Where am I going to find six different coloured cards on such short
notice?
Oh, look...I happen to
have a copy of the board game Clue by my side with six different
coloured character cards! How's that for lucky?
Okay. Now that we have
our six cards, let's assign a theme day to each of the characters.
MISS
SCARLET – Sunday Jukebox
COLONEL
MUSTARD – Monday Matinee
MRS.
WHITE – Saturday Smorgasbord
Wks. 3-5 (Cartoons, Comics, Books)
MR.
GREEN – Saturday Smorgasbord
Wks. 1-2 (Toys, Games, Video Games)
MRS.
PEACOCK – Friday Night On
Television
PROFESSOR
PLUM – Thursday Diary
So,
for instance, if I selected Professor Plum from the bag, I'd be doing
a diary entry. If I choose Mr. Green, I would do a blog on cartoons
or comic books, etc, etc.
Makes
sense?
Okay,
so let's kick off the inaugural edition of Whatever Wednesday by
drawing a card at random out of the bag.
And,
we have Miss Scarlet,
meaning that we're going to be rummaging through our vinyl
collections and music trivia books for today.
And,
in some ways, I almost think that it was kismet because I really did
want to do a music spotlight today after hearing a particular song
playing on the radio just the other day. It was a song that I had
heard time and time again, and one that I absolutely loved...but for
whatever reason, I could not figure out who sang it. At first I
thought that it was The Beatles during their “Let It Be” period,
but I couldn't quite make out any of the Beatles' singing voices, so
I suspected that I was incorrect.
And I
was...partly.
Sure,
John Lennon, Paul McCartney, and Ringo Starr had nothing to do with
the composition of this song. George Harrison on the other hand? He
produced the song...well, at least partially. See, he already had a
prior engagement to produce the Concert for Bangladesh, so Todd
Rundgren took over the unfinished product.
And
this was the end result.
ARTIST:
Badfinger
SONG:
Day After Day
ALBUM:
Straight Up
DATE
RELEASED: November 10, 1971
PEAK
POSITION ON THE BILLBOARD CHARTS:
#4
I'll
admit that this song always manages to make me smile. Granted, it's
a song about a lonely man longing to see his true love again...but
there's just a timeless quality about it that is sorely lacking in
today's pop music. I would much rather listen to Badfinger non-stop
than any Justin Bieber album. Of course, that's just my own personal
preference.
Now
here's the double edged sword. This Badfinger song was light,
fluffy, and serene...which contrasted with the ultimate fate of the
band. Truth of the matter is that the history of Badfinger is a tale
filled with betrayal, hardships, and in the case of a couple of
members, death at their own hands.
This
is the story of the rise...and fall of Badfinger.
When
the band first got together in 1961 in Swansea, Wales, they went
through several band names (including “The Wild Ones” and “The
Black Velvets” before settling on “The Iveys”. The group's
original members were Peter William Ham, Ronald Llewellyn Griffiths,
David Owen Jenkins, and Roy Anderson.
(Or,
as they liked to be called, “Ham”, “Griffiths”, “Dai”,
and...um...Roy.)
In
1965, the group added member Michael George Gibbins to the lineup,
and soon after began to perform as the opening acts for several up
and coming British groups which included “The Spencer Davis Group”,
“The Yardbirds”, “The Moody Blues”, and “The Who”!
The
group began touring around the London club circuits playing cover
versions of a variety of musical genres. Top 40, psychadelic pop,
R&B, Motown...nothing was off limits. I suppose that their
versatility as a band worked to their advantage, as several record
companies were interested in signing the band as a result. Ray
Davies of The Kinks even helped the band produce some demo tracks to
ship around to various record companies. Bill Collins signed on to
be the band's manager in 1966, and throughout 1967, the band would
perform occasional concerts. There was a minor shake-up in the
band's line-up when Jenkins was asked to leave the group, but the
split seemed amicable. Jenkins would be replaced by Thomas Evans Jr,
completing the group line-up.
And
then in 1968, the group received their big break, courtesy of
Beatles' roadie and assistant Mal Young. Bill Collins invited him as
well as Apple Records A&R rep Peter Asher to view one of their
concerts, and almost immediately after the show, Young persistently
asked all four members of the Beatles to listen to the band's demo
tapes. It took some time, but all four Beatles eventually heard the
demos and put their stamp of approval on signing the band.
The
band signed to Apple Records on July 23, 1968 – making them the
only non-Beatles act to be signed to the record label. But while
their first few releases (under the name of The Iveys) did quite well
in Japan and several European countries, the singles stalled in the
United States and did even worse in their native UK. This was a
common occurrence for the band, and soon the band began to get
frustrated with executives at Apple Records, who kept rejecting the
new songs that the band wrote. They gave interviews to the press
explaining their disappointment, which Paul McCartney happened to
read! But instead of getting angry about it, he offered the band a
song. The song was called “Come and Get It”, meant for the
soundtrack of “The Magic Christian”. The only stipulation was
that the band had to perform the song exactly as McCartney had
intended for it to be performed.
But
shortly after the band recorded that song, as well as a couple of
others, Griffiths would depart the band ten months after the birth of
his first child, and reportedly his departure caused tension within
the band as Griffiths later revealed in an interview that his
decision to leave the band to spend more time with his family was met
with hostility by Evans, who he claimed made Griffiths feel as if he
was no longer a member of the band.
With
the release of “Come and Get It”, there were two final changes.
The band changed its name to “Badfinger”, which stemmed from an
early working title (Bad-Finger Boogie) of the Beatles single “With
A Little Help From My Friends”. And with the departure of
Griffiths, the band hired Joseph Charles Molland to replace him.
Long
story short, “Come and Get It” was released in late 1969, and it
instantly reached #7 in the United States and #4 in the United
Kingdom, and the single sold one million copies. Over the next few
years, Badfinger would enjoy three more chart successes; “No Matter
What”, “Baby Blue”, and the song which you heard earlier in the
blog entry, “Day After Day”.
And
in the case of Ham and Evans, they were even awarded a prestigious
songwriting award in 1972 following the success of this song that
Harry Nilsson (and later Mariah Carey) had on the charts.
So,
how did the band unravel so quickly, with many of its members
suffering tragic fates?
Well,
many people have pointed the finger of blame at the gentleman up
above...one Stan Polley. In 1970, Polley – then a New York City
based businessman – signed Badfinger to a business management
contract. Each member of the band signed a contract which dictated
that all receipts of touring, recording, publishing, and songwriter
performance royalties that automatically went into holding companies
controlled by Polley himself.
I
know what you're thinking. Giving control of everything you earn to
one man and his business skills? Instant red flag. But the members
of Badfinger trusted him, as Badfinger wasn't the only musical act he
was dealing with at the time (Polley also managed Al Kooper of Blood,
Sweat & Tears, and Lou Christie).
By
1972, the band's opinion of Stan Polley began to change, and they
were getting somewhat suspicious of how he really was handling their
money that was earned from album and single sales and concert tours
(which given that the band's heyday was in 1972, should have amounted
to a small fortune). Badfinger was doing very well, but Apple
Records were sustaining hard times (brought upon by the fact that
their biggest moneymaker, The Beatles, had broken up two years
earlier), and Apple Records flat out told the band that when it came
to signing a new contract, they wouldn't be as generous as they would
be the first time around.
Nevertheless,
the band's final album with Apple Records, 1972's “Ass” (yes,
that was the name of the album) was released, despite the fact that
there were problems in the production of the album (original producer
Todd Rundgren quit the project after just one week due to a financial
dispute). Unfortunately, the album did not do as well on the charts
as their previous work.
Still,
according to Polley, that didn't matter. While Badfinger was putting
the finishing touches on their final album, Polley was working out a
contract with Warner Brothers Records, which wanted the band to
release a new album every six months over the next three years. Once
the band's commitment to Apple Records ended, Polley presented the
band with a new contract with Warner Brothers Records, detailing the
two-album a year condition. The band was however warned by then vice
president of Badfinger Enterprises Inc., (a company started by
Polley) not to sign the contract. But the contract seemed too good
to pass up. It was worth three million dollars, and the deal would
provide the band with twelve per cent of all retail sales in the
United States, and 8.5% of sales everywhere else in the world. In
addition, the band would be presented with an advance of $225,000 for
each album they delivered under the new contract. It was too
irresistible to pass up.
But,
like the iconic image of the jackass chasing after the dangling
carrot on the cover of their 1972 “Ass” album, this contract
would have the band chasing after a golden opportunity that never
presented itself.
After
touring the United States throughout late 1973 and early 1974,
Badfinger returned to the studios to record the album “Wish You
Were Here”, and it was released in October of 1974, which Rolling
Stone magazine gave glowing reviews. The album could very well have
been Badfinger's best effort yet.
But
then it all fell apart.
It
all began with tensions erupting within the band, as Molland's wife,
Kathie, was becoming increasingly frustrated with the politics within
the band, and her assertiveness rubbed Ham the wrong way. In fact,
Ham became so annoyed with Kathie Molland that he up and quit the
band during an executive meeting! He stayed away for three weeks
before being convinced by Warner Brothers to return to the band, as
they would have no further interest in promoting Badfinger without
him. Ham returned to the band three weeks after he quit, but Molland
himself would be out of the band by the end of the year.
But
if the tensions within the band weren't bad enough, the behind the
scenes action that went on between Polley and Warner Brothers
Records.
In
1973, Warner Brothers began to get suspicious of Stan Polley due to
the fact that Polley was not communicating with them at all in
regards to an escrow account of advance funds. As it was written in
the contract, Polley was to deposit a quarter of a million dollars
into a mutually accessible account for safekeeping, which Polley did.
But Polley neglected to let Warner Brothers know where the account
could be accessed. The company sent him letters asking him to
divulge the location of the account, but Polley refused to
acknowledge them.
This
was all done WITHOUT Badfinger's knowledge, by the way.
With
Molland's departure from the band in December 1974, Polley pressed
the band to give up touring the United States in support of the “Wish
You Were Here” album to record the band's follow-up album, “Head
First” at the Apple Recording Studios – while under contract with
Warner Brothers! But when the band recorded tracks for the album and
submitted them to Warner Brothers American offices, they were denied.
Their publishing arm had already filed a lawsuit against Polley and
Badfinger in the Los Angeles Superior Court in December 1974.
Polley's
plan was to submit the tapes in hopes that they would secure one
final cash advance before the litigation, but Warner Brothers refusal
to accept the tapes meant no cash bonus. On top of all that, the
lawsuit that was filed forced the record company to stop production
on the “Wish You Were Here” album after just seven weeks, which
ultimately became the final nail in Badfinger's coffin.
By
1975, times became tough for the band, as all of the income they were
receiving had suddenly stopped. Every band member left in Badfinger
was worried and panicked, but none more so than Peter Ham, who had
just bought a house and whose girlfriend was pregnant with their
child. Out of desperation, Ham tried contacting Polley on numerous
occasions, but he was unable to reach him. The band tried to go on
without Polley, but the search for new booking agents lead to dead
ends, based on the restrictive contract that Polley had the band
sign.
Seems
like they should have taken that man's advice in not signing the
contract.
It
all came to a tragic head on the morning of April 24, 1975. The
night before, Ham received a call from the United States, and in that
phone call, it was revealed that all of his savings were now gone.
He and Tom Evans met up at a pub later on where Ham reportedly
drowned his sorrows in whiskey.
Hours
later, Peter Ham hung himself in his studio garage. In his suicide
note, he openly blamed Stan Polley for pushing him into the suicide,
proclaiming that he would find a way to bring him down with him.
With
Ham's death, Badfinger had no choice but to go their separate ways.
Gibbins would join “The Flying Aces” while Evans and Bob Jackson
(who was hired with the band after Peter Ham temporarily left
Badfinger) joined “The Dodgers”.
The
band attempted a reunion of sorts in 1977 (which reunited Evans and
Molland after three years), and had a bit of a comeback with their
1979 album “Airwaves”. But tragedy would strike again in
November 1983 when following an argument with Molland over past
events, Evans would commit suicide in his own garden – using the
same method that Ham had used eight years earlier. It was widely
reported that Evans – who had seen Ham's dead body – never got
over his death, and that months before his death, Evans was heard to
make comments about wanting to be where Peter was.
It
was a very sad ending to a band who ended up becoming the innocent
victims of a lawsuit filed without their knowledge, as well as the
victims of a man whose poor choices lead to the band's ruination in
the mid-1970s.
So,
what has happened to the people since?
Tragically
we know the stories of Ham and Evans. May they both finally rest in
peace.
Since
the 1990s, Molland still tours under the Badfinger name. Come to
think of it, I think that he's supposed to be playing at a nearby
fair later this month. I did see an advertisement for it on
television recently. It is good to see that at least one of the
members is trying to keep the name alive.
Bob
Jackson also performs some Badfinger staples along with his band, The
Fortunes, which Jackson rejoined in 1995.
Sadly,
Gibbins would die in his sleep on October 4, 2005 at the age of 56
from a brain aneurysm.
As
for the man who caused the Badfinger bad blood? Well, Stan Polley
pleaded no contest in 1991 to charges of misappropriating funds and
money laundering in California. In an unrelated case to the
Badfinger story, aeronautics engineer Peter Brock accused Polley of
swindling him for a quarter of a million dollars after the two set up
a corporation to manufacture airplane engines. Polley's sentence for
that case was a five year probationary period, as well as being
ordered by the court to return all missing funds to Brock. But
according to Brock, he never did honour that restitution.
Stan
Polley passed away in July 2009 at the age of 87, never really paying
the price for everything that he did to the members of Badfinger.
A
real shame.
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