From Snapper Music - "Head First" release information
Part 2

"Head First" SLEEVE NOTES

"Head First" was recorded in December of 1974 at the Beatles' Apple Recording Studios. This
brought Badfinger back to an association with Apple Corps Ltd., the company which had nurtured
their earlier run of four worldwide hit singles and four U.S. charting albums. Badfinger now
had an altered line-up, as guitarist Joey Molland had quit in early November of 1974.
Keyboardist Bob Jackson, a talented musician from Coventry, England, fresh off a supporting tour
for Eric Clapton, had initially joined the group for a one-month U.K. tour, but he impressed
the band enough that he was quickly considered a full-fledged member.

A few months prior to these sessions, Badfinger had completed their LP, "Wish You Were Here,"
and it was now out to critical fanfare. As these new recordings began though, turmoil was
rampant for the group. They were wary at being led into the studio so quickly after finishing
the last record; some members suspecting it was so their business manager could collect a quick
record company advance for delivery of an album. Explanations were thin and hints of lawsuits
were being bandied about.

With only a few weeks given to write songs and rehearse, the group began their "Head First"
recording sessions on December 1, 1974, with producers Kenny Kerner and Richie Wise being flown
in from America. Former Beatles engineer Phil McDonald was manning the board.

Represented on CD #1 are engineer McDonald's rough mixes completed at the end of thirteen days
of recording. Many of the songs relate to the group's troubled state of mind. For example, Tom
Evans' "Hey, Mr. Manager" and "Rock'n'Roll Contract" have brutally straightforward lyrics; both
hammering home the discontent Evans felt toward the actions of the group's business manager,
Stan Polley. Evans had christened the pending LP, "Head First", as he wanted the album cover to
symbolize the band going head on into a roaring lion's mouth. A bleak Evans' demo, "Queen Of
Darkness," is portrayed here on CD #2 - a version of which was alleged to have been basic-
racked back during the "Wish You Were Here" sessions.

"Keep Believing," by Pete Ham, has been interpreted to be a message to Joey Molland, wishing
Joey the best, with no hard feelings, while "Lay Me Down" was Pete's clear attempt to write a
hit single, according to producer Richie Wise. He recalled Pete feverishly working on it in the
Apple Studios lounge. A bonus here, on CD #2, is a demo of Pete working on the latter. Also, on
the second CD is an additional melodic idea of Pete's, titled posthumously, "Time Is Mine."

During the second half of 1974 and early into 1975, Pete would sometimes lay down musical ideas
using an inexpensive cassette recorder. Additionally from that format is his personally
revealing quartet of "I Can't Believe In," "Nothing To Show," "Smokin' Gun," and "Keep Your
Country Tidy."

New member Bob Jackson also contributed several songs to the "Head First" album. Co-written with
Tommy Evans, "Passed Fast" is a dramatic, complex number, with stunning guitar work by Ham. The
band also chose to record Jackson's progressive "Turn Around" (especially encouraged by Tom
Evans, who "liked the feel of it"), whilst "To Say Goodbye" showcases his melodic side.

Mike Gibbins is represented on the "Head First" album by the humorous "Rockin' Machine," the
country-tinged "Back Again," and the soulful "Moonshine," the latter having different bridge
sections written by Bob Jackson and Tom Evans. A demo of Mike's for the album - but never
fleshed out ? is "Old Fashioned Notions." Two of Mike's other demos show a Beatle influence;
"Thanks To You All" and "You Ask Yourself Why," the latter's slide guitar licks courtesy of Pete
Ham.

These "Head First" recordings showcase Pete's brilliant ability as a slide guitarist and player
of melodic hook lines. George Harrison had recognized his talent, using Pete on the albums "All
Things Must Pass" and "Living In The Material World." Pete was also enlisted for a number of
Ringo sessions and recordings by Dark Horse Records artists such as Splinter. One of Pete's
proudest moments came when Harrison brought him onstage to play an acoustic duet of "Here Comes
The Sun" at the two historic Bangla Desh concerts in August of 1971.

On CD #1 are the "Head First" rough mixes completed on December 15, 1974, and immediately
presented to Warner Brothers Records in America. But Badfinger's future was bleak at the time,
as Warner Brothers Music, the publishing arm, had already filed a lawsuit against the group's
business company Badfinger Enterprises Inc., for breach of an agreement concerning the placement
of advance money. This action caused the immediate stop of promotion for "Wish You Were Here" -
no single was ever released (except in Japan) - and effectively ended "Head First" from seeing
light of day. In February of 1975, mixes were done in Los Angeles by the album's producers,
allegedly to portray Badfinger were still acting under contractual obligations, but it was too
late, Badfinger's relationship with Warner Brothers was now in shambles.

After months of trying to sort out what was happening, Pete Ham made a fateful decision. He took
his own life on April 24, 1975. His suicide note stated his faith in "love and trust" had been
irreparably damaged. Pete had often openly acknowledged a belief in his business manager, but
Pete's eventual realization that what everyone else had suspected - that the manager was being
sinister behind the scenes - pushed him over the edge this one fateful night. Not normally
brooding, and usually quite upbeat with his friends, Pete's suicide was a complete shock to
everyone. Tom Evans was forever haunted by Pete's death and sadly took his own life the same
way, eight-and-one-half years later. For details on Badfinger's story read the book, "Without
You: The Tragic Story Of Badfinger" by Dan Matovina, published by Frances Glover Books - ISBN
09657122-2-2.

Finally, we have a representation of these legendary Badfinger studio recordings and revealing
demos available to hear. They showcase an important segment of the legacy of this group who
contributed greatly to popular music, especially in the fields of "power pop" and classic
melodic balladry.

www.snappermusic.com/badfinger