BADFINGER 'STRAIGHT UP' RARE ORIGINAL GERMAN 1972 APPLE PRESS CLEAN LOOK

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BADFINGER 'STRAIGHT UP' ORIGINAL GERMAN APPLE 1972 PRESS ~ CLEAN

BAND: BADFINGER ALBUM TITLE: STRAIGHT UP LABEL: APPLE (GERMAN) RELEASE: 1972 PRESSING: ORIGINAL GERMAN FIRST PRESS CONDITION: VG++ VINYL & COVER
I've been going thru my massive vinyl record collection this summer and pulling out some LPs that I thought that someone else would want for their collection. I've been collecting records for over 40 years and it's time to pass some of them on to the next generation of collectors. This week we are offering up this very nice original 1972 German first pressing of Badfinger's great album "Straight Up".
The record is in very nice condition for being 50 years old. Great overall condition, but there are some very fine hairlines and a small 'scuff' over the start of side 2 and the song 'Suitcase'. I've been playing this record repeatedly this morning to double check the condition, and, one, it plays thru fine with only some minor pops and clicks, and two, this German pressing sounds fantastic and I had forgotten just how good it sounds.
The Jacket is in decent condition, but does have some 'bumped' corners and some creasing along the edges. This laminated German jacket is made of thinner material than US pressings, making it more prone to wear. The cover is still quite nice but does have some corner and edge wear. See the pictures for the details.
This is an original first German pressing of 'Straight Up' by the UK rock band Badfinger, released in December 1971 in the United States and in early 1972 in Europe.
Issued on the Beatles' Apple record label, it includes the hit singles "Day After Day" and "Baby Blue"
Badfinger consisted of:
Pete Ham – vocals, lead & rhythm guitars, piano, organ, Tom Evans – lead/backing vocals, bass, twelve string guitar.  Joey Molland – lead/backing vocals, rhythm and lead guitar, Mike Gibbins – drums, percussion,
Additional musicians:
George Harrison – slide on "Day After Day", guitar "I'd Die Babe" Leon Russell – piano on "Day After Day", guitar on "Suitcase"
~~~ The music press was mixed on their reaction to 'Straight Up'. Some felt it sounded too much like the Beatles and others felt that Badfinger had abandoned it's Rock roots and made an album to please Apple, not themselves. 'Straight Up' was much maligned with Rolling Stone calling it "a barely decent album"
After its mixed reception on release, 'Straight Up' has grown on people, gained a great fan following, and has come to be recognized by many as Badfinger's best album. It is.
Upon release, the album did well, but the singles from it did better. The album's success was marred by a lack of promotion by Apple. They were all involved in other projects and too busy to pay much attention to Badfinger, or their other artists, at the time.
'Straight Up' assured Badfinger a spot in pop history thanks to its "unforgettable" singles. The album's two best songs were "Baby Blue" and "Day After Day", both written by Pete Ham. Both are knockout songs.
“Day After Day” became Badfinger’s biggest hit after being released as the album’s lead single in November 1971. The bridge of the song consists of an amazing slide-guitar duet played by Harrison and Ham.
Pete Ham's 'Baby Blue' is textbook power-pop – irresistibly catchy fuzz riffs and great melodies – with Harrison-esque slide guitars. Written about a girl Ham met on the recent US tour.
~~~~~ As the very first band signed to The Beatles new label, Apple Records, Badfinger was off to a good start and appeared to have a bright future.
Paul McCartney wrote and produced their breakout single, 'Come And Get It', and over time, various members of The Beatles' inner circle - including John Lennon and George Harrison, worked with the group. If any band appeared in a position to carry on the style of the Beatles at the dawn of the ‘70s, it was Badfinger. They had already scored two Top 10 hits by 1971, before this album was made.
Before recording 'Straight Up', Badfinger had worked closely with the former Beatles. All four members of Badfinger contributed to George Harrison’s landmark 'All Things Must Pass' album, guitarist Pete Ham and bassist Tom Evans sang backing vocals on Ringo Starr’s Harrison-produced single “It Don’t Come Easy,” while Evans and guitarist Joey Molland performed as “Joey and Tommy Badfinger” on Lennon’s Imagine album.
With 'Straight Up', Badfinger delivered one of the first power pop records of the post-Beatles era, and perhaps one of the best of all time. It's a cornerstone record of the power pop style and should be in everyone's collection.
'Straight Up' is today considered Badfinger's masterpiece. Its fine songwriting, combined with sharp musical performances and exquisite studio crafting, make 'Straight Up' one of the best albums of the early 70s. This German pressing sounds great!
This album has one of the best 'flows' of any other album out there. It just works seamlessly. All the songs are great and there's no filler.
The quality of the songwriting, from start to finish, is top-notch, and the musicianship and playing is excellent. A reminder that Badfinger was and truly a great band. This album is rightly considered to be the group’s finest album.
What makes this album even more amazing is how cohesive, clean and organized it sounds despite it's odd production history and the 'interference' of the 3 different diverse, and strong-willed, producers involved.
Producers: Geoff Emerick: Early studio work Todd Rundgren – producer (tracks 1–4, 8, 10–12) George Harrison – producer (tracks 5–7, 9)
The long, complicated story of the production of this album is a thing of rock legend.
Initial sessions for the new album began in January 1971 at London's Abbey Road Studios, under the direction of Beatles engineer Geoff Emerick, who had produced the bulk of their previous album, 'No Dice'.
The band was under pressure to work quickly since they had upcoming tour dates they had to keep. Amazingly, they were able to finish 11 or 12 tracks by March.
They then headed out on the road, but upon their return home that May, they found that Apple Records was not happy with the new songs. Apple felt that the recordings were lacking, needed a more polished sound, and rejected them. The Pete Ham number "Name of the Game" was scheduled for release as a single and that was cancelled as well.
They would have to start over again.
Of note, some of these Emerick sessions were released on later CDs and some fans, and surviving members of the band, feel that they were closer to what the band intended than what was eventually released. That was the start of the band disagreeing with their producers.
George Harrison was a big fan and was familiar with the band. He had used them on his first post-Beatles solo album, 'All Things Must Pass.'
George then agreed to produce them, but insisted they start from scratch and let George produce them 'his' way. Everyone agreed and sessions started again. For much of the next phase on the album, Harrison worked closely with the band to help them craft their sound.
George Harrison wanted to help the band create a more mature work in the style of the Beatles' 1969 album 'Abbey Road'. and sessions resumed in late May 1971.
George's first move was to submit a remixed version of "Name of the Game" for a single release, but that was also met with disapproval.
They kept five songs from the aborted album, but totally re-record them, plus they had several new songs written for the second go-round. 
George was a very "hands on" producer often sitting in and playing along with the band. Part of the reason was that George thought they were great, another reason was that George was a perfectionist and wanted the songs to sound 'his' way. George infamously changed some lyrics, added guitar parts and rewrote some of the songs. This caused some friction, but I don't think anyone can argue with the results.
George got called  away to Los Angeles in June, to help produce his friend Ravi Shankar's latest album. While in L.A., George agreed to set up the "Bangla Desh" benefit show and that took up all his time.
In July, George informed both Badfinger and Apple that he had more important and urgent things to do and that the Badfinger album would have to wait.
George included Badfinger as the backing band for the Bangla Desh shows, but didn't have the time to produce their album.
All told, Badfinger completed five songs with Harrison—“I’d Die Babe,” “Sweet Tuesday Morning,” “Suitcase,” “Name of the Game” and “Day After Day.” Harrison was particularly drawn to "Day After Day", on which he performed a slide guitar duet with Ham.
That left a half-finished session in the can and Badfinger, once again, scrambling for a producer. George recommended Todd Rundgren to take over the sessions and Apple hired him to do so.
With Harrison’s blessing, Todd Rundgren was brought in around September to complete the sessions and pick up the pieces. 
With Rundgren now at the board, a near total overhaul occurred. Rundrgren was not a fan of George's 'Wall of Sound" spector-esque style and went back to some of the takes on the original Emerick sessions.
Rundgren was able to take the best from both the Harrison sessions and the Emerick sessions, add his own pop touch and complete the album in just 2 weeks.
Rundgren coaxed the best out of the band including the new song "Baby Blue", written by Ham.
There were some other new songs completed during this period such as guitarist Joey Molland’s rocker “Sometimes” and Tom Evans’ elegiac closing track “It’s Over.” 
Working to a small degree with existing tracks but for the most part starting fresh, the three principal songwriters each turned in the best work of their careers and their musicianship gelled perfectly under Rundgren's watch as fuzzy guitar riffs blended with beautiful soaring vocals.
Rundgren oversaw the recording for most of the album as we know it today. Once again, there was friction between the band and their new producer.
Rundgren did the final mix for the whole album. His warm, detailed production makes each songwriter sound as if he was on the same page. The album flowed seamlessly. Rundgren and the band were able to craft a an excellent, timeless, power pop. A perfect masterpiece.
In retrospect, Rundgren's lush production worked out well, since Badfinger sounds best when there's as much craft in the production as there is in the writing. There’s no doubt he was a key factor to the record’s success. 
His polished production and pop sensibilities combined with the excellent songwriting and instrumentation to create an acknowledged power pop classic.
When all was finally finished, Badfinger had in place their best album, and it remains so to this day. They were at the top of their game.
The album has been remastered and remixed several times since the original 1971 version, but this is a nice sounding, German pressing of the original.
But, what should have been a glorious and lengthy future for Badfinger ultimately soon came to an end. The group split up just three years after 'Straight Up' was released. 
Change in musical tastes, poor follow up sales and bad business dealings splintered Badfinger, and in 1975, Pete Ham hanged himself in frustration. Ironically, eight years later, Tom Evans would choose the same desperate manner for his final exit .
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Add this classic, Badfinger rarity to your Apple, Beatles or Record collection today. It would make a great addition to any vinyl record collection. 
~~~~~ I’m recently retired and downsizing and letting go some gems and rarities from nearly 45 years of vinyl record collecting. Check out the many other fantastic 45s and 33s coming soon to my page!
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