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Anyone with a taste for melodic rock surely appreciates the greatness that was Badfinger. The group led by Welsh-born singer, songwriter and guitarist Pete Ham created a body of work that\u2019s transcendent in its beauty, power and passion. The tragic story that enveloped and consumed the band threatens to overwhelm the music, but thanks to the work of important archivists like Dan Matovina, that hasn\u2019t been allowed to happen.<\/p>\n
Matovina is best known as the author of the definitive biography of the group, Without You: The Tragic Story of Badfinger<\/i>. Published in 1997, it\u2019s a meticulously researched, essential read. It\u2019s also out of print and quite expensive on the secondhand market. The good news is that (a) it\u2019s now available in an ebook version and (b) Matovina is reportedly hard at work on an updated and revised edition.<\/p>\n
But back to the music. Against strong odds \u2013 because when it comes to star-crossed bands like Badfinger (and Big Star and Moby Grape and\u2026 and\u2026 etc.) \u2013 there are always<\/i> obstacles, Matovina has also shepherded a number of important releases to release. He was involved in the belated 2000 release of the band\u2019s Head First<\/i> LP (recorded in 1975). And Matovina has also seen to the release of several compilations exploring the demo tape archives of Pete Ham. The first of those, 7 Park Avenue<\/i> was released in 1997, followed by Golders Green<\/i> in 1999 and Keyhole Street: <\/i>Demos 1966-67<\/i><\/a> in 2013.<\/p>\n One might well assume that those three releases exhausted the archives. Alas, no: whether the material qualifies as recently-discovered and\/or repaired, or whether it simply didn\u2019t fit onto those collections, there\u2019s more Pete Ham material to enjoy. And Demos Variety Pack<\/i> collects those tracks.<\/p>\n To be clear, as its title suggests, this new collection features a good bit of material that has seen previous release on the aforementioned sets. But several new (new-to-us, that is) recordings are featured. And while the details aren\u2019t made clear, many tracks now feature overdubbed instruments and\/or vocals. Best to think of those as 2022 equivalents to what \u201cThe Threetles\u201d and Jeff Lynne did to John Lennon\u2019s demo recordings of \u201cFree as a Bird\u201d and \u201cReal Love.\u201d<\/p>\n The collection opens with what may be its most remarkable artifact: Ham\u2019s previously-unheard demo for \u201cBaby Blue.\u201d It\u2019s fascinating to hear the recording, wanting-in-fidelity as it is, featuring the song\u2019s composer playing nearly all the instruments and singing most all of the vocal parts. Not to take anything away from the eventual contributions of Tom Evans, Mike Gibbins and Joey Molland, but nearly every nuance of the final recorded hit version is present on the original demo. It\u2019s a must-hear.<\/p>\n The slide guitar parts on Ham\u2019s December 1970 demo of \u201cPerfection\u201d are substantially different from the released version; this recording is acoustic guitar and slide plus vocal. It\u2019s even more intimate than the final recording, and shows a little-heard side of Ham\u2019s artistry.<\/p>\n The songs featuring overdubs all work reasonably well; the latter-day additions are expertly integrated, and few sound grafted-on or slathered over the original recordings. That may speak to the caliber of artists involved in these (sparingly undocumented) overdub sessions. A partial list of contributors includes Matovina, Derrick Anderson (Bangles), Nelson Bragg (Brian Wilson\u2019s band), Damon Fox (Bigelf), Probyn Gregory (Wondermints) Fernando Perdomo (damn near everywhere, as readers of this online mag will surely know) and Chris Von Sneidern.<\/p>\n The disc is filled with gems. Of particular interest, though, is \u201cNo, Don\u2019t Let it Go.\u201d A Ham demo from 1975, the track was previously released on a limited-edition vinyl single nearly a decade ago. This version features overdubs that, once again, are well integrated into the recording. The arrangement underscores the care and deep understanding and appreciation of Pete Ham\u2019s aesthetic that characterizes this collection; everything about the enhanced version seems in line with what we know about how Ham might have put it together.<\/p>\n Taken as a whole, the music is uplifting. But this being Badfinger, it seems somehow fitting to end on a melancholic note. A piano-and-vocal recording from 1969 or \u201870, \u201cTake Me Back\u201d does just that. [You may also enjoy this related release of Iveys music<\/a>. — bk]<\/p>\n