• Tributes •

Gotta couple of hours to spare? - Presenting the Pete Ham Tribute booklet...

Your Invitation to the Tribute!

The Swansea Library presentation of the Pete Ham Tribute booklet is now on-line and featured on the Badfinger Web Ring page! The Pete Ham Tribute was held in Swansea, Wales from 12 June - 24 June 2000. The proposal for the exhibition came from Keith James, now of Cwmbwrla, Swansea, a fan of Badfinger for many years and editor of a fanzine in the 1980's. The idea was quickly taken up by the Service and, in an effort to supplement and complement the Library's existing relevant material, many of Peter's friends and associates were contacted. The response was immediate and very positive, demonstrated by their willingness to lend photographs, write reminiscences and generally help in any way. The Library Service is very grateful to all those who have taken part.

Here are some of the people who are to be thanked for their efforts with this event:

• Karen Davies ( Lending and Information Services Librarian - Swansea Library )
  
• Marilyn Jones ( Local Studies Librarian - Swansea Library )
  
• Carole Billingham ( Children's Services and Exhibitions Librarian - Swansea Library )
  
• Norma Rees ( Library Assistant-in Charge, Townhill Branch Library - Swansea Library )
• Keith James ( Exhibition Originator / Editor: "Badfinger File" fanzine )
• Mark V. Perkins ( Artist: Pete Ham and Tom Evans lithographs )
• Dan Matovina ( Exhibition Sourcing / Author: "Without You, the Tragic Story of Badfinger" )

So grab your favorite beverage, get a comfortable chair and prepare to become transfixed for the next hour or more... You are about to read something very special!

  Pete Ham Tribute Booklet  

Note: This is a reasonable representation of what the booklet actually looks like. The spiral-bound look is my idea, as were the navigation buttons and the reference logo back to the BWR were added for ease in moving around and through the booklet. I also added the following pages: the 'Table of Contents', 'Poster / Flyer / Invitation', 'Letters from the Fans' and the 'Credits' page. The words have not been altered and the order of the stories are the same as in the book. Please feel free to e-mail me back with questions or comments. I hope that you will enjoy this Tribute booklet as much as I have!
>>> R i c k <<<

BWR Tribute to Pete Ham Won't you tell me what you know, For somewhere in this paper world Is a place where I can go" -Peter Ham   Pete Ham Tribute   Note: Audio & Visual - Give it time to load...     View this in Internet Explorer!

Pete Ham's LOST Gibson SG was on Display in the Rock and Roll Hall of Fame

Dan Matovina:

A legendary red Gibson SG, formerly owned by Beatle George Harrison and later given to Badfinger's Pete Ham, is now on display at the Rock and Roll Hall of Fame in Cleveland, Ohio. This guitar had been rumored to be lost and not traceable. What had happened was Pete Ham had left it at his brother John Ham's residence shortly before Pete's suicide on April 24, 1975. John Ham had kept it stored away. In the year 2001, Dan Matovina encouraged John to share the legendary guitar with the public. Arrangements were then made with the Hall of Fame for its display. The guitar is now in a "Beatles" section at the museum. Part of the placard reads: ...Harrison later gave the instrument to Pete Ham, guitarist, songwriter and vocalist of Badfinger, who used it throughout his career. Ham played the guitar on the Badfinger hits "No Matter What," "Day after Day" and "Baby Blue." This guitar was allegedly used on Beatles sessions for the single "Paperback Writer/Rain" and can be seen on their promo films. Also, the guitar can be seen on footage shot during a Beatles recording session of "Hey Bulldog," and a promo film of "Lady Madonna" was made from some of that footage. Some of that footage was later used to make a "Hey Bulldog" promo film to promote the reissue of "Yellow Submarine" on video. This guitar was also likely used during sessions for the albums: Revolver, Yellow Submarine, Magical Mystery Tour, Sgt. Peppers Lonely Hearts Club Band, White Album and may have been on other Beatles LP's. Beatles experts will have to debate the particular "songs" it was used on. It is likely one of the most important guitars Harrison ever used during The Beatles.

My investigation so far shows, most likely, sometime in 1969 is when George Harrison gave the Gibson SG guitar up. Iveys/Badfinger roadie Ian Ferguson says he remembers Pete Ham and Tom Evans (also then a guitarist in the group) returning from the Apple offices with the guitar. He recalls a dispute developed over who would end up with the guitar. Somehow Pete Ham did. The Beatles gave The Iveys (who became Badfinger) a lot of musical equipment over the period 1968 to 1969 (including the piano Billy Preston used on "Get Back") but most of it was not equipment The Beatles had used personally. The Iveys & Badfinger sometimes used Beatles equipment for their studio sessions at Apple Studios and Abbey Road Studios. There are still other leads that can be followed to research the Harrison-to-Ham guitar transition further. Pete Ham can be seen in photographs playing this Gibson guitar as early as January of 1970. He used it almost exclusively on all Badfinger tours. It is prominently featured in many of the band's studio recordings. For example, it is the opening riffs on "No Matter What" and "Baby Blue." Badfinger guitarist Joey Molland also used a red Gibson SG that looks very similar (can be seen in Top Of The Pops lip-synching performance of "Come And Get It") but is not to be confused with the Harrison one owned by Pete. For more pics of Gibson SG guitar - and if you have any inquiries about this guitar, Dan Matovina can be contacted at:

  Email: Dan Matovina   or by phone at 650-508-9585 (California).

Cleveland's Rock and Roll Hall of Fame - My first time impressions

There actually was a two-fold reason for making the four hour trip up to Cleveland a couple of weekends ago. The "Lennon: His Life and Work" exhibit was soon to be replaced after being on display for two years. I have wanted to make the trip, but never really felt compelled enough... But with the extra incentive of the Harrison/Ham SG guitar now on display - I just had to go and look the place over.

The museum is pretty easy to find on the map and thus we drove right to it. And once you spot the I.M. Pei designed steel and glass pyramid front facade - you are there! Grab a spot to park nearby and head on in. There are seven levels/floors, but the museum is not really that large. Good ol' Triple A, (AAA) suggests that a trip through the museum will take a minimum of three hours. Well, if you are any kind of a rock music fan AND if there is any kind of a crowd, it will take a good four plus hours to try and see it all - and you could easily spend quite a bit longer!

My son, Brian and I arrived at 11:00 AM and walked right in. Up to the ticket counter we saunter where she tells us that all Cleveland museums have free admission today! Cool, saved $17 each! Uh Oh... It's gonna be crowded soon.... Let's get going. We look at the map and decide to head down to the (G) Ground floor which has the largest floor space and is featuring the "50 Years of Rock And Roll" to begin our tour.

Oh crap! No photography or videos allowed inside the museum!!!

I will not give you a section-by-section or floor-by-floor description of what we saw, but there was plenty there for all ages - except for young children! No offense, but a child under 10 years old will NOT enjoy this museum!!! There is NOTHING of interest and nothing for them to do. Leave them at home... The museum IS about Sex, Drugs and Rock 'n' Roll... While most of the displays are benign and rather static; some are quite the opposite. The museum map/brochure even has an 'Advisory Notice' about the 'straightforward depictions of the history of rock and roll and its culture.' There are plenty of on-the-floor displays and lots of video screens; even an entire video wall with a pretty awesome speaker system! Now wouldn't that be cool in the living room!

I was walking around keeping a sharp look out for the Harrison/Ham Gibson guitar display, but not knowing just where to look for it. Then as I was standing acoustically and 3D stereo-enhanced-on-center in the video wall display, I happened to look to the left and there it was! Since I knew what I was looking for, it was easy for me to spot 20 feet away. I walked over to the wall which was part of the 'Roots' sections and there, about center on the wall, in a glass case was the Gibson SG #227666. There was a small id placard next to the case which identified the guitar as a guitar once owned by George Harrison. The sign also stated: "Harrison later gave the instrument to Pete Ham, guitarist, songwriter and vocalist of Badfinger, who used it throughout his career. Ham played the guitar on the Badfinger hits "No Matter What," "Day after Day" and "Baby Blue"."

Well, that was easy to find! And it is placed really well and easy to see by all that pass by the display. Very nicely done R'n'R Hall of Fame!

The other item of interest, for me was the "Lennon: His Life and Work" exhibit. That took up parts of the 4th through 6th floors. It was a well done exhibit with tons of photos, John's handwritten lyrics and drawings by John, (including those drawn as a child that eventually were used on the "Walls and Bridges" album). Also very interesting was a collection of a dozen or so guitars owned/used by John.

Quite a few garments worn by John were on display. The leather jacket pictured on the 1975 "Rock 'n' Roll" album that John wore during the 1960 Hamburg trip. The now slightly faded lime-green "Sgt. Pepper" uniform and the white tuxedo from the "Magical Mystery Tour" movie. (In a different part of the museum, we were able to see Ringo's "Sgt. Pepper" jacket). We were also able to see the infamous U.S 'green card' that ended up being a four year battle for the Lennons.

In one disturbing display, we get to see just what Yoko received back from the New York Property Clerk's office: A brown paper bag containing the clothes that John was wearing when he was murdered and the blood spattered glasses he was wearing...... Very eerie - very disturbing...

I picked up the book that the museum offered that captured the essence of the "Lennon" show. Brian and I had a great day at the museum, but as the day wore on, the crowds were becoming an annoyance. When we finally had enough and headed back to the main entrance, we could not believe our eyes! Outside there was a huge crowd of several thousand that they were NOT letting into the museum! It was only two hours before closing and announcements were being made to the crowd about coming back tomorrow.... I'm glad we got there early!

BWR Note: Both the Lennon Exibit and the Harrison/Ham Gibson guitar are no longer on display at the museum.

  Cleveland's Rock and Roll Hall of Fame  

A little more about that Gibson Harrison/Ham SG Guitar...

I have asked a few questions about the Gibson SG guitar and even found a web page or two that digs into the history of that model of guitar. Here is what I have found - but the research is NOT yet complete!!!

It is a Gibson SG guitar. Serial number 227666. (Serial number - Thanks to Dan Matovina for that information).

First, I know zilch about guitars... But this is the info that I was able to glean from the Gibson web site.

  Gibson SG page  

  Serial number match  

(Read the following two PDF files)
--Gibson Serial Number Information (page 2 of 6)
--Gibson Electric Guitar Descriptions from the Blue Book of Guitars

There were some thoughts that the guitar was made in 1963. But in my investigation, the serial number indicates that it is a 1964 model. I asked a Gibson representative and here are his remarks:

"Hi Rick, Thanks for your inquiry. Serial number 227666 indicates that this model was shipped out from our Kalamazoo Michigan factory on October 9, 1964. We have no other history on this particular guitar." -Joe Sterling - Gibson Musical Instruments

That lead me to believing that the guitar was a SG/Les Paul with the Gibson Lyre deluxe vibrola model.

  Gibson SG/Les Paul page  

But guitar expert George Gruhn states:

"The serial number and specifications of this guitar (with the exception of replaced tuners) are consistent with a date of 1964 rather than 63. I have no information as to whether George Harrison ever owned or used this guitar. The guitar is not an SG/Les Paul. It is a perfectly normal SG Standard with typical 1964 specifications with the exception of replaced Grover tuners." -George Gruhn

  Welcome to Gruhn Guitars  

I am sure more information is still to come. Where did George obtain the guitar from? Was he the original owner, and who replaced the original tuners with the Grover tuners? And just how did that gouge happen on the guitar body, left side???

In Memory of William Daniel "Bill" Collins: 1913 - 2002

Mike Gibbins:

"I have been deeply saddened by the news of the passing of Bill Collins. He was our mentor and direction. Without him Badfinger would have never been known as they are today. He was an original Ivey...he will be sadly missed and never forgotten. Please keep his wife Anne in your prayers. May he rest in peace forever."

Dan Matovina:

"It was very sad news for me to find out that Bill Collins had died. Bill was born on June 21, 1913. He was 89 years old when he passed away. For myself, Bill proved to be a good friend. I visited with him and his lovely, wife Anne on four different occasions over the past ten years (sometimes for a couple weeks at a time), and we also spoke on the phone occasionally. Bill and Anne were always very gracious hosts and we had just a great time together. Bill was Bill, no B.S. from him in expressing how he felt about something. Yes, everyone knows he liked to talk about himself, but I found him to be incredibly interesting and very honest. When I investigated Badfinger finances, there was nothing I could find to show he was anything but forthright on his end throughout the band's existence. Bill was a proud man, and in his mind, he definitely deserved a share of the group's songwriting income. Bill certainly did a lot to launch the band. His focus on the "boys" developing their songwriting, playing lots of gigs, and constant rehearsals, paid off. The Iveys demos recorded in a 12x12 room are legendary. This body of this work impressed all The Beatles, Ray Davies, and countless other publishers and record company employees around England. Bill was very excited by the prospects of an Iveys Anthology CD release showcasing the demos. Sadly, I believe he was too rundown to properly review the proposed music when it was presented to him earlier this year (2002). I never got to do a final interview on the demos with him. The Iveys era of 1966-69 is the period Bill remembered most fondly. Hopefully, the Iveys Anthology will get a release and Bill will be paid an even further tribute. Lastly, Bill continued to work hard for over 25 years on a project to help children learn to play music in a creative, fulfilling environment. He made great progress on the project, and hopefully, his dream will be ultimately fulfilled. Bill was one of the least materialistic people I ever met. He really, truly wanted to help people and the world in general. I was very fortunate to have gotten to know him."

Ron Griffiths:

"Well it was a bit of a shock hearing of Bill's passing, we all sometimes think the same of friends and family in the sense that they are immortal and will always be there. I feel so sad for Anne particularly, as she is a lovely lady a real treasure and she is now going through agony."

"If it had not been for Bill - well do I need to spell it out, I would not have been part of the adventure of the past 36 years or so. I obviously have a financial axe to grind as I have clearly been ripped off in terms of royalty payments. But I buried the hatchet with Bill some time ago over that. I was touched recently when Mike was over for the Jukebox Heroes interviews. Bill told me that the music "ear" tuition project he had been working on for many years with Anne has my name for the bass section of it - along with Pete and Tom for the rest of the course. They have taken out patents etc., and for The sake of Anne, I hope it realizes the success they both felt was forthcoming from such a concept."

"God bless you Bill, you certainly were a one-off, and an amazing character and a big part of my life and you would be "made up" to know I will always remember you with great affection."

Please mail your condolences to the address below:

In Memory of William Daniel Collins
c/o Chilterns Crematorium
Whielden Lane
Amersham, Bucks HP7 OND.
England
Great Britain, United Kingdom

Services were held on August 16th, 2002.

  www.mikegibbins.com  

Click on: "More..." for a special Bill Collins photo tribute from Mike and Ellie.

Tommy - "Beautiful and Blue" by Rick Kellogg

Queen of darkness
With your head in your hands
So full of sorrow
Just won't understand
No, you won't understand

"Queen of Darkness" - Tom Evans

This article was originally published: "Matted Spam - Volume One" by Keith James
Supplemented: 2002

A friend of mine recently told me of a time when he was interviewing a relative of Tom Evans. He opened the questioning with, "I'd like to know more about Tom." "He's the one in the band who I feel I know least about." There was a four second pause, when he replied, "Yeah, you and me both..."

That seems to be the quandary surrounding Tom Evans.... Hailed by the fans and the press as one of the 'principle' song writers in Badfinger, and yet, to this day, so little is known about this very complex, sometimes moody, but always sensitive artist. In this author's opinion, Tom Evans, the man, has received very sparse coverage in the media other than what was covered in the book by Dan Matovina. In the news, it always seems to be "Tragic Badfinger"; with three or four paragraphs of copy explaining, sometimes incorrectly, the fall and demise of Badfinger. The last paragraph is almost exclusively about the suicide of Pete Ham, with only the last sentence saying something such as: 'and eight years later, Tom Evans also committed suicide by hanging'... Tommy deserves more than this one line epitaph!

What follows will be several quotes and comments that may tell us a little more about the man...

"When we, (the Iveys) first met him socially, he had come down from Liverpool to London for a long weekend to see the set up and to go and see a couple of gigs. He seemed a very deep, depressive sort of person. We dragged him out of that on many occasions, but he certainly could blow hot and cold! When he was in a happy frame of mind, he was a totally different feller; charm the birds out of the trees if he wanted. When Dai Jenkins was asked to go, Tom was the ideal replacement - no doubt of that."
(Ron Griffiths, 2001)

"I remember meeting Tom for the first time at the Iveys' house at Park Avenue, Golders Green. I had been a friend of Pete, Ron, Mike and Dai since they came to London and I had been very disappointed to hear that Dai was leaving. I was very dubious at meeting Dai's replacement but when I was introduced to Tom he looked at me with those dark eyes, smiled slowly and in his Liverpudlian accent said "Hi, how yer doin'" - we were friends from that moment on. Tom could be fun one moment but very quiet the next and some people found that hard to accept. He was very introverted sometimes and it could be hard to lift him when he was in a depressed mood. I loved Tom dearly, he was a very good, caring friend to me and always supported me when I was feeling down. I remember calling Tom after Pete died and we just cried down the phone to each other."
Viv Jones (2002)

"Basically", admits BADFINGER Tom Evans, speaking with the dry edge on his voice that lets you know it's true, "I'm very introvert(ed). I hate walking into strange rooms or crowded offices ... I get paranoid because I worry about who's looking at me. It makes me seize up. I forget what to say. But put me on a stage, and I'm completely the opposite. It's me who's got the advantage, me who knows what comes next."
(Tom Evans - Magic Christian Music Songbook, 1969)

"First and foremost, he was a good person. There was no lasting nastiness in Tom, just an ever-growing sadness in the situation he found himself in. Just like Peter, he was quite a sensitive guy who easily got worn down by the negative pressures put on him."
(Bob Jackson, 2001)

"...They were all in there, including Mike. I remember that several of the band members, including Tommy, kept calling Bob Jackson "Reverend Bob". I asked Tommy why everyone was calling him that and he said it was because "He was a nice bloke." We were at the bar for over two hours, from about 4:00 to 6:30 sitting at the end of the bar. Tommy offered to buy me a drink, but I explained to him I didn't drink and he said, "Well that's all right" and then bought me several Coca-Colas."
(Brian Fagnano, 2001)

"He was a great guy, a complicated guy. He almost never gossiped or bad mouthed people, except when he felt pushed into a corner."
(Dan Matovina, 2001)

"Everyone must ask themselves this question: Pete Ham loved Tommy Evans, they were friends, creative songwriting partners unequivocally... right? If Tommy was such a mean spirited person, then why was he loved by such a genuine person as Pete?"
(Mark V. Perkins, 2001)

"...It stormed that evening and you could see the lighting from the glass roof that was on part of the stage/dance area as the band played. It was a great show. I remember Tommy acknowledging Pete several times when they played one of his songs. Tommy performed with a jacket on that was open and he was wearing a Badfinger t-shirt. After the show I was backstage with the band, where I spent a few moments talking with Bob. Tommy mentioned backstage that there was a gentleman in Tennessee who knew a lot about Badfinger and that I should get in touch with him if I ever want to know what’s going on. During the course of being backstage, Tommy asked me if I would like to go into town with the band in the morning while they picked up a few things. I said sure and he asked for my room number and said he would stop by in the morning."
(Brian Fagnano, 2001)

"When people look at some of this stuff from the outside it's easy..natural to pigeon-hole and see one aspect of someone and conclude he was a bit of an idiot and brought it all on himself. It's not so! Tom was an intelligent guy, naturally quiet with a slightly shy demeanor. He was thoughtful, enigmatic even, and only outward-going when he'd had several too many (which certainly wasn't all the time, as some may have you believe). Too much alcohol worked like a volume/confidence control..no different than many of us."
(Bob Jackson, 2001)

"Some people are resilient and just shrug it all off, but Tommy just drowned in it - he found it all overwhelming. Particularly in the last few years, very few people supported him and he found himself falling out with people over business..everyone was scrambling for their bit."
(Bob Jackson, 2001)

"I hope all this doesn't sound too miserable. I feel down sometimes, sure, but I'm not that way all the time. I love music, I love the potential, the atmosphere. Once you've picked up a guitar and played three chords, it's hard to stay away from it again."
(Tom Evans - Magic Christian Music Songbook, 1969)

"I must also mention his talents - lots of strength and power in his upper-range and the ability to write in a range of styles. I agree that he has not always had the best press and although we had our moments, they were very few and far between. I think he was alright."
(Bob Jackson, 2001)

"I vividly remember the night they brought home the master tape of "Maybe Tomorrow." We all huddled in the studio at Park Avenue to listen. We were like excited schoolchildren and I was convinced it was going to be No.1!! Tom was brilliant on that track and it should have been a big hit for them. I have so many memories of Tom and Pete but just thinking of them both reduces me to tears every time. I just wish I could go back to those early days and make it all right - but I can't."
Viv Jones (2002)

"On our first gig visit back to our homeland in Wales - on the way down Tom was pulling our legs with the usual English preconception that Wales is full of sheep and coal mines. After the gig that night, we were driving down the main street in Merthyr, and a flock of sheep stampeded down the road! He did not let us forget that."
(Ron Griffiths, 2001)

"...We were all standing in the parking lot of the Station Complex just talking. Tommy reminded me to get in touch with the gentleman in Tennessee (Steve Donahue). I remember just struggling for something to say. I had my camera with me but was too afraid to ask them for a photograph (my biggest regret in being a Badfinger fan). Tommy, Bob, Mike, Donnie, Reed and Ray all said good-bye to me. As I watched them go, Tommy looked back and waved and Bob gave me a thumbs-up (Fonzie style)."
(Brian Fagnano, 2001)

"WOW! What to say... It's easy to speak out about him now, those who couldn't or didn't appreciate him. All you have to do is listen to the "Glenn A. Baker Interview" to see what a kind person he was. A person like that is often misunderstood, however it doesn't make them nasty or evil. I don't mean to unload on the people who don't care much for him, however the old saying is to "not judge a book by it's cover." Sadly, we will never be able to judge for ourselves.

So all I can suggest is that we listen to the passion in his music........"
(Mark V. Perkins, 2001)

Reprinted with permission. "Matted Spam - Volume One" Copyright © 2001 Keith James.

April... I found my thoughts turning to Pete - by Brenda Watkins

This morning I was out in my garden, rejoicing in the long awaited spring sunshine while dividing and transplanting my daffodils. April. I found my thoughts turning to Pete. Pete, and April - the month that brought him into the world and took him away again. Pete, and April - a time in which the Earth begins to sing in flowers, buds, and new leaves - how great and terrible his despair was for him to have taken his life in April.

I'm an artist, and I find the act of art making to be very therapeutic. Often when I'm feeling sad or confused, I'll create a piece of art work, and then "witness" the results, sometimes even writing down my thoughts. The process is enlightening. Here are two pieces of art I've done for Pete.

Song for a Lost Friend (fabric collage, mixed media) 1999

I worked with fabric because of the ease of filling large areas with consistent color and pattern; because one can achieve both crisp perfect seams and raveled edges. I saw Pete as becoming unraveled by his attempts to keep everything together, as becoming surrounded by darkness. My lettering (part of the lyrics to "Song for a Lost Friend") begins to follow the seamline but continues straight ahead when the seamline turns and slopes - the words teeter precariously over the edge. The portrait, a composite done from several different photos, is held in place by a sheer piece of fabric - his face is visible, but his thoughts are veiled.

This piece was exhibited in a group show entitled "Remembrance." Several of the participating artists, myself included, were invited to speak about their work to groups of school children. These children now know a little something about the pressures of the music industry, and that Mariah Carey didn't write "Without You."

Pete's Window (monoprint) 2001

The window, when carved into the handle of a Welsh love spoon, can symbolize someone watching from afar, someone watching over you. I imagined a window with one glowing pane shattered, the pieces falling away. This is Pete's window - Pete's shattered light. Pete continues to inspire me.

Shine on, Pete. I miss you... -Brenda Watkins

BAM! Badfinger hits a wall!!! The Cavern Pub: "Wall of Fame"
Story and photos by Neil Fowkes

"Across, and just down the street a bit, I could see the Cavern Pub sign. As I got closer, I could see the John Lennon statue and all these bricks with names impressed in them - the Cavern Pub 'Wall of Fame'. As I found out, each of the bricks carries the name of one of the 1,801 bands and artists who played at the original Cavern."

"When I spotted the Badfinger brick on the Cavern Pub wall, excitement ran through my veins and I started snapping my camera shutter. Then, in a moment of melancholy, I reflected upon the thought of Pete and Tommy playing just across the way, back in the early seventies..."