As the first non-solo act on Apple Records, Badfinger had remarkable chemistry, huge hits on the charts, and they’d be critically acclaimed as natural successors to The Beatles. In fact, some referred to the band as, “The new Fab Four” and they were handpicked by the members of the Beatles themselves.
Their songs and albums made millions but a series of financial and legal complications would lead to the deaths of two of the band’s main songwriters, and leave behind a bittersweet legacy.
The Iveys Form in 1961
Badfinger’s roots date back to the early 60s, in the close-knit music scene of Swansea Wales. While initially performing on the local circuit using temporary names, their first serious incarnation was as the Iveys, which came together in 1961.
Their early lineup consisted of frontman Pete Ham on lead guitar, Dai Jenkins on rhythm guitar, Ron Griffiths on bass and Roy Anderson on drums. By 1965, Roy Anderson would be replaced by Mike Gibbins, who was introduced to the band through Griffiths.
The Iveys soon became one of Swansea’s top local bands. Bill Collins, a session musician, was impressed with the Iveys’ performance, and took them under his wing. While not a manager per-se, he did have industry connections, and got them a job as the backing band for David Garrick.
“Their shows were so popular that the band members commanded more attention than Garrick himself.” – Mike Gibbins
Their shows were so popular that the band members commanded more attention than Garrick himself, particularly Dai Jenkins. Gibbins recalled in an interview, “We’d be doing a gig in Ireland, and he’d be singing “Mrs. Applebee”, and the girls would be screaming, screaming, screaming, but then he’d go, ‘Hang on a minute,’ look to the other side and…there would be crowds around Dai. I think that’s the reason we got fired,” he’d recall.
Collins moved with the Iveys to London, England, where they’d set up base at his communal house in Golders Green. He encouraged the band to focus on songwriting and Pete Ham took that to heart, demoing tons of original songs using the house’s makeshift studio.
The Iveys Draw the Attention of Record Labels
The band continued to hone their live act, performing a melody of R & B, Motown, and Beatles hits. They soon began to draw the attention of a lot of record labels.
Collins was insistent that the band sign with Apple Records, which was owned by the Beatles themselves. The label was known for being the most artist-friendly label at the time.
Dai Jenkins Is Replaced By Tom Evans
In 1967, Dai Jenkins was dismissed from the band after his commitment waned, and he was replaced by Tom Evans. Evans became another piece of the band’s signature lineup.
The book, Without You: The Tragic History of Badfinger, describes how the Iveys were in instant awe of Evans’ musicianship, but his personality took a bit of getting used to. Gibbins remembered, “As soon as Tom moved in, he was complaining. He was from Liverpool and we were from Wales. He said he couldn’t relate to anybody. My feeling was, ‘Just tag along, man. This is a band.”
The Iveys Signs with Apple Records
By the following year, the Iveys had prepared demos for Apple Records. Once the demos were greenlit, the Iveys’ contract with Apple was secured and they became the first band signed to Apple Records.
The band were excited about the opportunity, but it didn’t come without its problems. The Iveys released their first single for Apple in 1968 titled “Maybe Tomorrow”. The folks at Apple assumed incorrectly that because of their Beatles connections, this would result in every single one of their releases being huge hits, but that wasn’t the case. Even Paul McCartney assured the band the song would be a hit, but the single only peaked at No. 67 in America.
Apple was facing financial troubles, and as a result, the 1969 release of their album Maybe Tomorrow, which was planned to be put out worldwide, didn’t include the United States. The album wasn’t released in America until years later. It was thought that businessman Alan Klein, who had been brought into Apple Records to help clean up the company, put the kibosh on them releasing the album in America.
“The business definitely seems to be blocking all that Apple are trying to do, and we’re the ones suffering for it because we’re the guinea pigs…” – Tom Evans
During Klein’s time with the company, Apple Records underwent a huge shift with a lot of employees being fired and being replaced with Klein’s own people. Evans aired his frustrations to the magazine, Disc & Music Echo, stating, “The business definitely seems to be blocking all that Apple are trying to do, and we’re the ones suffering for it because we’re the guinea pigs – the first group Apple have launched. The un-cooperation of the Beatles isn’t helping either. I think Apple thought it would be a snowball for everyone involved.”
Paul McCartney later read the article, and to make amends, he allowed the band to record one of his demos called “Come and Get It.” McCartney praised The Iveys for their interpretation of the song, and it would be included as part of the soundtrack for the film, The Magic Christian.
“The Iveys were associated with the Merseyside scene and the name sounded a bit dated. We had to think about the future.” – Bill Collins
While McCartney was insistent that “Come and Get It” be the lead single to carry the album, he also thought that the Iveys needed a name change. Evans stated, “We were told so many times that the Iveys was a stupid name. We had great arguments about it, but we stuck to it.” Bill Collins agreed, “The Iveys were associated with the Merseyside scene and the name sounded a bit dated. We had to think about the future.”
After some suggestions, Apple chief executive Neil Aspinall thought of Badfinger, after “Bad Finger Boogie,” which was the working title for The Beatles hit, “With A Little Help from My Friends.”
Ron Griffiths Is Replaced By Joey Molland
By this point in time, Ron Griffiths left the group due to friction between himself and Tom Evans and the fact that his family life took precedence. He was replaced by Joey Molland.
While Badfinger’s debut single, “Come and Get It,” had a slow start, it eventually reached the top ten in the US and UK and became the group’s international breakthrough hit.
The band’s first album under the Badfinger moniker was Magic Christian Music, which was released in early 1970. It was met with both praise and cynical Beatles comparison, but was eventually embraced as the accompaniment to the Magic Christian film.
On April 10, 1970, the rock world was shocked to learn that the Beatles had broken up.
“One of the best records of the year” – Rolling Stone Magazine
Badfinger scored another hit with their follow-up album, No Dice, which produced two singles including “No Matter What” and “Without You”. The label initially thought the album had no hits and Rolling Stone magazine would rate it as ‘one of the best records of the year’.
That same year, George Harrison, impressed with what he saw, asked the band to play on a solo album, 1970’s All Things Must Pass, which became a massive hit worldwide.
“You couldn’t help but like Polley. He could sell sand to an Arab.” – Mike Gibbins
The group made their way to America, and were in need of proper management stateside. Bill Collins met with Stan Polley to secure a management deal. Polley had gained a positive reputation with musician clients. Although initially skeptical of Polley, Collins admired his successful mindset. Gibbins felt the same, saying, “You couldn’t help but like Polley. He could sell sand to an Arab. He was that good.” Not everyone was fully convinced though. Tom Evans was the last member to sign the contract, due to him being wary of Polley. It was a contract the band would regret signing.
As part of the agreement the band signed with Polley, they established Badfinger Enterprises Inc with business partner Stan Poses as the Vice-President. An arrangement was made whereby the members would receive a salary, while income from touring and record sales and publishing would go into holding companies controlled by Polley.
A year later, Badfinger was still living in Collins’ house with their wives and girlfriends, no more richer than they were prior to signing with Polley. Their girlfriends and wives wondered why the band was living in a cramped house while their songs were being played on the radio and they were jamming with ex-Beatles members.
“There wasn’t much promotion done… there suddenly wasn’t anyone at Apple to work on it.” – Pete Ham
The same year, the band released their third record Straight Up, producing two more hits, “Day After Day” and “Baby Blue”. Pete Ham told the New Musical Express in 1971, “There wasn’t much promotion done… there suddenly wasn’t anyone at Apple to work on it.”
Even though the band was required to do one more album for Apple Records, Polley was already in talks with Warner Brothers to sign a new recording contract. While Polley had a lot of control over the band, if he was able to negotiate a deal with a different label, he could exert even more control over the group. The band left Apple in the spring of 1972 and signed with Warner Brothers, a contract that required them to produce a new album every 6 months for 3 years.
“I’d started to figure out that what Polley had set up didn’t make sense. Everything contract-wise, you name it; he wasn’t being a straight shooter.” – Stan Poses
Prior to signing with Warner Brothers, Polley also urged the band to sign a new management contract with him. Polley’s business partner, Stan Poses had concerns with the new contract, recalling, “I’d started to figure out that what Polley had set up didn’t make sense. Everything contract-wise, you name it; he wasn’t being a straight shooter.”
A financial statement prepared by Polley’s accountants from December of 1970 to October 31, 1971 showed Polley’s income from the band. Salaries and advances to the band members ranged from $5,000 to $8,500 US. The net profit from the corporation totaled about $25,000 while Polley’s management fee was $76,000.
“You don’t need Polley. You need a lawyer or someone you can trust.” – Stan Poses
Stan Poses set up a meeting with Ham and Evans to discuss his departure from Badfinger Enterprises, and he gave the two musicians much-needed guidance, telling them, “You don’t need Polley. You need a lawyer or someone you can trust. When you go to the meetings, just tell Polley you don’t want to sign his contracts and you don’t want him to manage you. By Tuesday or Wednesday of next week, I’ll be gone. If you want advice in a year or two, call me.”
Polley had Badfinger under his control and they would end up signing a new management agreement with him. The band signed a contract with Warner Brothers in late 1973 and very quickly, problems arose.
Right after their final Apple album, Ass, was released, the band went straight to work on their major label debut. The original title the band had come up with was For the Love of Money but was rejected by Warner Brothers. By the time of its release in 1974, it would be self-titled by default.
The band would release their seventh studio album, Wish You Were Here in late 1974 which received much critical acclaim, but was abruptly pulled from store shelves by Warner after the label discovered that their $250,000 advance payment to the band’s management went missing.
Joey Molland Quits Badfinger
Unable to get a hold of the band’s manager, Warner filed a lawsuit against Badfinger Enterprises and Stan Polley over the missing funds. Frustrated with the band’s management problems, Joey Molland quit the group.
Pete Ham’s mood shifted from naïve and hopeful to frantic, as Polley was now impossible to get hold of. The band was barely getting any money out of Polley and Ham was at odds with his bandmates. Those close to him claimed he was loyal and stubborn, still not wanting to drop their management.
Ham sought to leave Badfinger, but was pressured by Warner Brothers to return to the band or risk having them dropped. The band soon expanded to a five-man lineup, featuring keyboardist Bob Jackson, but that was short-lived.
Polley pushed the band to work on a new album so he could get his hands on a $350K advance that Warner was owing, but the album was rejected by the label due to pending legal action.
“Stan Polley is a soulless bastard. I will take him with me.” – Pete Ham
By the spring of 1975, Pete Ham learned he was penniless. On April 24, 1975, Ham’s girlfriend, who was pregnant with their daughter at the time, discovered his body hanging in their garage. Ham left a note behind that said “I will no longer be allowed to love and trust anybody. This is better.” Adding in his post script, “Stan Polley is a soulless bastard. I will take him with me.”
Badfinger tried again four years later, signing a new deal with Elektra Records and releasing two more albums, 1979’s Airwaves and 1981’s Say No More, but they wouldn’t be enough to sustain their momentum, commercially. Molland and Evans fronted two separate versions of the band as part of a contentious legal dispute.
Tom Evans Takes His Own Life
Evans couldn’t get over the loss of Pete Ham took his own life by hanging on November 19, 1983.
Joey Molland keeps Badfinger alive as the sole surviving member of their classic lineup and continues to perform. In an interview from January 2021 for Molland’s solo album, Be True To Yourself, he reflected on Badfinger’s time together, “Of course I look back. I wish it would’ve gone differently. I wish the band could’ve held itself together. I did everything I could to keep the band together, but it was impossible.“
“We wanted to be a better band, as good as we could be.” – Joey Molland
Molland emphasized the creative freedom the band had, despite their hardships, ”We were good friends, we enjoyed working together and we had a good way of working together. We all choose the songs. Nobody was the leader. We all had the same idea in mind. We wanted to be a better band, as good as we could be.”
The final episode of Breaking Bad, which had more than 10 million viewers tune in, closed out the episode with the Badfinger single “Baby Blue”. The show helped boost the sales of the song which became the 9th most selling song on Amazon and streams on Spotify increased a whopping 9,000% after the finale aired.
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