7 Park Avenue CD
Pete Ham
released worldwide on March 18,
1997
Excerpts from reviews by media (full-length media reviews listed after these)
Big O
7 Park Avenue combines the gentle tunefulness of White-album era McCartney
with the raw emotional intensity of primal-scream era Lennon… there is
nothing else like it. This may not be the holy grail of early 70's British
pop, but it's close.
People Magazine
... even in their bare-bones state, many of these songs reveal Ham's gift
for bittersweet melodies and terrific hooks
Beatlefan
... This collection underscores the real tragedy of Ham's suicide - that
such a wonderful talent was taken away from us far too soon.
New Musical Express
... this collection lays bare Ham's intrinsic strengths - a sense of
space and melodic brightness that owes much to John Lennon. Personal
honesty, a simple gentle-eyed clarity and unashamed dreamy idealism give
Ham's songs their recurring focus…
Baby Sue
This CD is a must have. This man's death was one of the biggest blows ever
to hit the world of pop music… by the end I found myself in tears…
The Big Takeover
... this album just doubles the reasons to grieve the untimely,
regrettable death of such an unique, emotive talent… beguiling, beautiful,
sweetly forlorn…
Amplifier
If there was a seven pillars of pop, Pete Ham would be one of them… taut,
poignant, fragile, and austere…
Riverfront Times
... life-affirming music with an undying resonance.
Fruitbasket Upset
... a personal, chilling, and exquisitely beautiful album.
Time And A Word
... a vital behind-the-scenes glimpse at one of the most gifted
songwriters of post-Beatles pop.
Bucketful Of Brains
... (Pete Ham) encapsulated the heritage of English folk and,
through a transfigured Beatlesque vein, absorbed the melodic edge of the
Merseybeat explosion… this is a magnificent collection.
Yeah Yeah Yeah
... This album of lost demos is truly a splendid thing… Most of these
tracks could have made it, and that fact's almost as depressing as the
reality of Ham's life… may Pete Ham finally rest in peace.
Q Magazine
... a fitting document to a songwriting talent tragically thwarted…
Popsided
... a songwriter of immense talent and emotional depth… If you want
poignant, touching McCartney-esque pop, then look no further. Catherine
Cares, It Doesn't Really Matter, Just How Lucky We Are, Coppertone Blues,
all of them are classics… even on the lesser tunes, his talent shines…
Relix
... a pop writer with imagination, class, and great potential.
The Gainesville Sun
... Pete Ham was a great talent… songs he considered cast-offs can take
their place alongside his immense and important contributions to popular
music.
Dorsett Evening Echo
... a listen to 7 Park Avenue will reassure you that Badfinger's
true legacy is a series of huge hearted, achingly melodic and soaringly
uplifting songs.
Record Collector
... Pete Ham's melodic flair is reminiscent of McCartney at his best… this
superbly packaged and conceived set is a worthy tribute.
Buffalo Art Voice
... plays like a long running diary reflecting on a sad life and
impending death… not without rays of hope… a total dig it!
Ink Nineteen
… remarkably good… a knack for writing a great pop hook…
The 910...
showcases Pete Ham's vocal talents in a way that the official Badfinger
releases never really did… you'd have to be cold-hearted not to be
affected by this…
San Francisco Chronicle
... simple, McCartney-esque stunners included… showcases a
fraction of Ham's beautiful legacy.
Houston Press
… a reminder of what a loss Ham's death was, the effect is nothing short
of harrowing. Damned if this isn't some of the best music Badfinger never
recorded.
The Province
... a first-rate songwriter… a fine, thoughtfully presented selection of
Ham's work.
Cake
... a wonderful collection of unassuming, yet affecting pop
songs, some power pop and some quite tender and melodic. In a word,
fascinating.
Stomp Stammer
... done with good taste, and a respect for the material… quite
enjoyable.
The Bob
... a certain sad beauty hangs over the album… it's a pleasure to
have Ham bring something new into my life.
CMJ Music
… if, like me, you're a hopeless fan of Ham's haunting melodic
sensibility and his soothing world-weary voice, you won't be disappointed
by this disc… unlike virtually every other example of "ghosting" on the
market, the producers appear to have kept the original integrity of these
home recordings intact.
The Star
... an intriguing look into the demos of a master songwriter.
Hi Fi News
... some of the most achingly gorgeous pop balladry ever… exquisite.
Surrey Advertiser
... a fitting tribute to a talent destroyed all too soon.
Dover Express
... an intimate album, it is also a valuable look at a truly great talent.
Scuzz
Ham's songwriting genius is indispensable throughout… heartbreaking.
Overall
... What of Ham's contemporary relevance? Listen to him alongside
Oasis, cast, and Dodgy, and all becomes clear.
Discoveries
... an embarrassment of riches… a compelling glimpse of a talent that was
prematurely snuffed out. The music doesn't lie.
Tyke News
... a damn good songwriter… in these days of unplugged and Ray Davies
touring solo Pete Ham could have been up there…
Chew
... a special brand of pop music… the one thread running is how
emotional this sensitive songwriter was.
Hartbeat
... this posthumous collection of home demos by one of
Badfinger's leading lights is a real revelation… a fine testament to a
musician who should still be writing and still be performing in the very
eye of the Power Pop genre.
Miami New Times
… Ham originals, all of which stand as a brilliant reminders of the talent
that died when Ham hanged himself at the age of 27.
Anglia Advertiser
… a collection of demo and home recordings which have been spruced up with
added instrumentation. This is no naff Free As A Bird exercise though, as
Dan Matovina has ensured Ham's vocals and guitar playing are the album's
focus.
Philidelphia Weekly
… Ham's instrumental resourcefulness as well as lovely, sparsely acoustic
ballads the hymn-like Dear Father, Weep Baby, and the idyllic Island that
are enriched by Ham's tender vocals… we can consider ourselves lucky,
indeed, that this cache of high-quality material has been unearthed.
Puncture
... this year's most fascinating archive set was 7 Park Avenue, a
collection of demos from Badfinger leader Pete Ham, who hanged himself in
1975, but stayed a hummable charmer til the end…
Uncut
… No question, the boy had a way with a McCartney-esque melody… Pete Ham
emerges as a songwriter more worthy of the column inches his death
generated.
Brumbeat
… carefully cleaned up and sensitively overdubbed where necessary that
makes up this illuminating eighteen tracker.
Friday Morning Quarterback
… one is both saddened and uplifted: saddened at the tragic loss of a
monstrous talent… uplifted by the beautiful songs and Ham's rich, soulful
voice.
All Music Guide
… it's actually better than McCartney's typical early solo material. Ham
is a thinking listener's rock romantic, offering emotional, wistful words
and melodies without sounding sappy…
Benno Internet Magazine
… Pete Ham performing songs that are both personal and intimate in a way
that makes it impossible to be indifferent to them.… an extraordinary
songwriting talent never got the chance to develop all his potential.
Wholeheartedly recommended.
David Elliott Reviews
… this collection of demos is just the ticket for the discerning power-pop
lover… Chilling stuff…
E-Opinions
… the obscure and raw feel of these songs will mesmerize you… If you would
like to see the work of a great songwriter in a stripped down mode, this
is a fine example, and the genius of Pete Ham shines through clearly.
Extended Playhouse
… a treasure trove of previously unknown pop songs, a legacy many of his
fans hadn't even guessed existed.… a great service in preserving Pete
Ham's legacy.
Sympatico
… a gifted composer whose knack for writing pop songs went beyond merely
aping anyone else.
IONE
… a great writer and singer.
Kilmarnock Standard
… his songs display an intimacy that was often lost to the production
gloss on Badfinger's studio albums.
New York Daily News
… it's amazing how complete and unblemished they sound in this raw form.…
The recordings combine the melodic sheen of power pop with the heartbreak
of confessional singer-songwriters… his most intimate legacy.
Lancashire Evening Post
… a man with rare songwriter's talent.
Good Day Sunshine
… wonderful songwriting ability, as well as his fine singing voice… There
are several great tracks on the album…
Ink Nineteen
… deeply felt emotion and knack for writing a great pop hook while keeping
the passion and feelings pure.
Request
… a hummable charmer to the end.
Anodyne
… a collection that reveals the late Ham as a very talented and heartfelt
singer, songwriter and arranger, and certainly the most vital and creative
member of Badfinger.
Sound
… pleasurable listening, particularly to those already hip to Badfinger.
Record Collector
Rated among Top Ten of CD releases for the year 1997
Magnet
Rated among Top Ten of CD releases for the year 1997
Pete Ham
7 Park Avenue CD
Full length reviews
Bucketful Of Brains
Issue: May, 1997
reviewed by Fernando Naporano
Late on the night of April 23rd, 1975, at the peak of his depression, and after downing ten glasses of whisky in a half hour, Pete Ham was driven home by Badfinger bass player Tom Evans. "I know a way out" was the last thing Pete said to Tom. At 7 a.m. the next morning, Peter William Ham was found hanged in his garage. A suicide note addressed to Badfinger's much hated manager ("Stan Polley is a soulless bastard") was lying nearby.
Pete had finally figured out a way to get out of his tormented life. He was 27 years old. A cursed age that, coincidentally, marked the farewells of Hendrix, Morrison, Joplin, Robert Johnson, Al Wilson, Brian Jones, and Chris Bell (probably his best mate in heaven). In the rock 'n' roll deathdrome, the painful and self-punitive act of hanging was pioneered by Phil Ochs and followed by Ian Curtis and Richard Manuel.
Today it's sad to remember how unappreciated Badfinger's unique music was. It's hard to comprehend that misery that became Pete's life after all the monies vanished in Polley's hands. However, the official release of the most sought-after of Badfinger related items brings some consolation. Obligatory for the fans, 7 Park Avenue is the final glimpse of truly beautiful tunes of one of the greatest U.K. tunesmiths.
These 18 previously unreleased demos - from 1967's Weep Baby to Ringside and No More from his last days - recorded on a two-head Revox Sound-On-Sound tape machine, display perfectly his genuine, well-crafted, and emotional style. Better than anyone, he encapsulated the heritage of English folk and, through a (trans)figured Beatlesque vein, absorbed the melodic edge of the Merseybeat explosion. The songs were technically cleaned up for dropouts and clicks by Dan Matovina, the writer of Without You: The Tragic Story Of Badfinger, with the approval of Ham's estate.
As with the Beatles anthologies, to avoid an imbalance of the final vocal and instrument levels, and mainly to even out some of the sounds, new overdubs, in this case provided by ex-Badfinger member Bob Jackson, ex-Iveys member Ron Griffiths, bass player Derrick Anderson of The Andersons, and drummer Rick Cammon, were added to a number of songs. The occasional sound imperfections that remain are entirely secondary when faced with a musical treasure which contains pre-Badfinger versions (No Matter What and Matted Spam), shivering ballads (Dear Father), nascent power-pop (Catherine Cares), bluesy rockers (Leaving On A Midnight Train) and pop-psych-folk masterpieces (Island) along with other glorious inflections of Ham's genius. This is a magnificent collection.
Big O
April, 1997
reviewed by Matthew Lewis
Poor Pete Ham. At his best, he was a better Paul McCartney - a
stupendously gifted and brightly melodic popsmith of post-Pepper Britain.
Yet Ham's group, Badfinger, originally signed to the Beatles' Apple label,
never quite achieved the consistent commercial success they deserved.
Depressed by spiraling business and personal problems, Ham hanged himself
in April 1975. He was only 27. During his brief career, Ham wrote the
towering early-70's pop gems - No Matter What, Day After Day, and
Baby Blue. He also co-wrote the ballad, Without You, a 1972 mega-hit for
Harry Nilsson. Significantly, the prolific Ham also accumulated a backlog
of songs that Badfinger never got around to record.
More than two decades after Ham's tragic death, 7 Park Avenue (named after Badfinger's London residence cum studio) gathers 18 of Ham's previously unreleased home recordings. These original mono masters, long sought after by Badfinger buffs, were sonically cleaned in 1993 to remove dropouts, clicks, and generally brighten their quality. Some new overdubs were added to certain tracks by former Badfinger member Bob Jackson and former Iveys (pre-Badfinger Ham band) member Ron Griffiths.
The album was produced by Dan Matovina, an authorised designate of the estate of Pete Ham, and author of the soon-to-be-published biography Without You: The Tragic Story Of Badfinger. The results are stunning and, taken as a whole, this collection showcases Ham's genius better than any single Badfinger album.
None of the big Badfinger hits are here except Ham's original acoustic version of No Matter What. But the best of these tracks rank alongside Day After Day and Baby Blue as true pop masterpieces. The beautifully wistful Coppertone Blues is one of the best things Ham ever wrote, as is the ridiculously titled Sille Veb, and the powerful I Know That You Should.
The final two songs, No More and Ringside, are chilling, for they were in effect Ham's suicide notes. In the former, Ham sings, "Someone please turn out the light/I can't face the mirror anymore." What's particularly disturbing about No More is that, even with one foot in the grave, Ham couldn't resist his power-pop impulses, and set his lyrics to a hummable, almost upbeat melody. Far more somber is Ringside, in which he sings: "Take me back to the father… take me home/For I can't bear to feel the sorrow of the evil that you've shown."
It's been more than a quarter century since many of these songs were recorded, but it was worth the wait. 7 Park Avenue combines the gentle tunefulness of White-album era McCartney with the raw emotional intensity of primal scream era Lennon, recorded in the audio verité fashion of Dylan and the Band's Basement Tapes. There is nothing else like it, just as there will never be another Pete Ham. This collection may not be the holy grail of early 70's British pop, but it's close.
Baby Sue
Issue: #24
reviewed by Don W. Seven
Long ago I wished for a solo record by Pete Ham. Now, more than 20 years after his suicide, the wish comes true. This CD is a difficult listen, and by the end I found myself in tears. When I first started listening to Badfinger in high school, Mr. Ham's tunes gave me emotional rushes. The sincerity of his words and the strange quality of his voice were somehow reassuring and comforting during the most difficult period of my life. That Badfinger was shrugged off by most folks as a Beatles rip-off was always a mystery to me… particularly since their music was actually superior in many ways. This CD is a collection of Pete's solo recordings from the late sixties and early seventies. Fortunately, this is not a batch of Badfinger demos. Instead, it is a collection of Pete's tunes that haven't been heard until now (with the exception of an early acoustic version of No Matter What). I wouldn't recommend this CD to folks who are unfamiliar with this man's recorded work. But for those who once got the same emotional charge I did from Pete Ham's music, this CD is a must have. Because this man's death was one of the biggest blows ever to hit the world of pop music. May he rest in peace.
Highest Rating - 6 out of 6.
Amplifier
Volume 2, Number 1
reviewed by David Bash
If there was a "seven pillars of pop," Pete Ham would be one of them. You'll find Badfinger on many lists of the greatest bands of all time, and virtually every Badfinger fan will say that the focal point of that band was Pete Ham. It's always a tragedy when some one takes his own life, but that tragedy takes on an added dimension when one realizes that this person has ended his or her stay on earth before they've been able to bestow all of their gifts upon the world. Pete Ham arguably was at his peak of performance when he died, and although we will never know what musical accomplishments lay ahead, we are fortunate enough to be able to look behind, not only to bask in the glory of what he's given us, but to search through his archives and be able to extract works that, while unfinished, are a reflection of the profundity that this man possessed.
7 Park Avenue, so named for the address of the house in London where Ham recorded these tracks from 1967 to 1975. Every one of the tracks contained herein are demo versions; because of the recording technique Ham used, it was decided by the project coordinators to add some instrumental overdubs in 1996. This was done only to eradicate some vocal/instrumental imbalances inherent in the original recordings, and the overall process was so subtle that you'd never know it was done if you hadn't read about it. The results leave the recordings as stripped down and personal as Ham intended them.
Demo recordings have a certain inherent allure; you have no real idea what the finished product will be like. Will it be enhanced with a barrage of instruments, or will it remain spare? Will there be a stark change in tempo? How many vocals will be added? There's no way to know what, if anything, Ham intended to do with most of these tracks, but two of them did end up being enhanced for eventual release, Matted Spam, which appeared on Badfinger's self-titled album for Warner Brothers, and No Matter What, the top 10 hit from No Dice which many people consider to be the first legitimate power-pop song. The demo of Matted Spam, is simply a bare bones version of that which was released, but the demo of No Matter What is something else again. It's extremely charming in its simplicity, not even hinting at the ferocity of the released version. The refrain hasn't even been developed yet; Ham "do do-ing" his way through. Given this state of affairs, it's hard to imagine what many of the tracks on this collection would have become, and one is better off not bothering, perhaps choosing instead to merely enjoy them as they are, and there is certainly a lot to enjoy here.
The beauty of these tracks isn't merely in the quality of the songwriting, but in the personal nature of the lyrics, and some of them, especially those recorded near the end of Ham's life, take on an eerie portent. For example, the final two tracks on the collection, No More and Ringside, were recorded in 1975, only months before he hanged himself. The angst of No More is evident in Ham's manic strumming of his acoustic, this perhaps a vain attempt to exorcise some demons. The repetition of the word "no" also effectively communicates the turmoil within, and if someone had heard the lyrics "someone please turn out the light, I can't face the mirror anymore," maybe Ham would have gotten some help and would still be here today. In Ringside he sings, "take me back to the father, take me, take me, take me home," another plea for help that was likely never heard.
Not all of Ham's songs reflect an inner pain; the opening track Catherine Cares is a heartfelt ode to his mother, but even in this there is a bittersweet sentiment, because at the same time as he's lauding her, he's expressing regret at being selfish to you, my mom" for walking out on her. Musically, its folk-based timbre is embellished with some electric guitar and a wonderful hook. Another wonderful track is It Doesn't Really Matter, which tells of the opposition the rest of Badfinger had to Ham's 1974 relationship with the estranged wife of one of their roadies. In this melodically beautiful tune, Ham intones with great resolve "there's nothing people say can change my mind" and "It doesn't really matter how they try, they'll never break up you and I." Other striking tracks include Dear Father which makes you feel that if Ham had gotten to know Chris Von Sneidern he'd have been real proud of his musical ability, the extremely potent Leaving On A Midnight Train, which has a chain of ascending/descending guitar figures, the should have been single, Hand In Hand, the aptly named Island, containing a delayed double-tracked vocal and slide guitar which gives it a Hawaiian feel, and the slightly countryish, minor-keyed. Just Look Inside The Cover. This track is perhaps the most interesting on the disc in that it contains the lyrics "you may say my life's a waste of time, but man I disagree." Nobody knows for sure how long Ham carried his demons with him, but many people who eventually commit suicide go through several emotional phases before they carry out the act. One of those phases is an attempt to disavow those demons, which sometimes manifests in carrying out a conversation with yourself in the guise of another person. Although Just Look Inside The Cover was written a few years before Ham's death, perhaps his vehement indictment of his antagonist's portrayal of Ham's life was a reaction formation to his own frightening awareness.
Perhaps too much may be made of the lyrical content of the
songs on 7 Park Avenue, but this notwithstanding, the real reason to pick
up this wonderful collection is the music. It's taut, poignant, fragile,
and austere, and if these songs had been released the rock and roll world
would have been left with many more Badfinger classics.
New Musical Express
April 29, 1997
reviewed by Gavin Martin
A gentle spirit adrift in the gathering ruthlessness of the post-swinging-60's rock industry boom, Badfinger front man Pete Ham was driven to despair and suicide in 1975 at the tender age of 27. One of the most notable and successful acts signed to The Beatles' Apple label, Badfinger were a democracy unable to contain or record all the demos Ham wrote and recorded in the group's studio at Park Avenue in Golders Green, north London. With subtle overdubs added in 1994 and 1995, this collection lays bare Ham's intrinsic strengths - a sense of space and melodic brightness that owes much to John Lennon - even as it documents his growing disaffection. Buoyant optimism curdles into a bleated, wounded realisation that the rip-off - on his art and his soul - was in full effect. Personal honesty, a simple gentle-eyed clarity and unashamed dreamy idealism give Ham's songs their recurring focus. But these compositions are sprung with a vigor (Catherine Cares - one of the many great odes to Mother in rock) and determinism (I Know That You Should) that prevents them ever slipping into mild-mannered mush.
Recorded between 1968 and Ham's death these tracks have the feel of an artist finding sanctuary away from the storm of his life and career, pouring his heart out via the charmed eroticism of the eerie Coppertone Blues, the sorrowful Weep Baby and the self-assessing Just Look Inside The Cover. Such qualities of candour and resolve would certainly find favour in today's marketplace, but neither would the hard knowledge contained in his bitter farewells to their industry (Ringside and No More) be misplaced.
Rating - 8 out of 10.
Overall
Issue: May, 1997
reviewed by GT
The singer/songwriter from the popular 70's act Badfinger was only twenty-seven when he hanged himself. Years of sly swindling from the music industry's rapidly emerging tycoons took their final toll on Ham. What this intriguing collection does is gather up some unreleased home recordings which display an unaffected sincerity and craft. The era's trademark flanged acoustic guitar, and double-tracked vocals, are at the fore, but the writer's tuneful poetics remain undiminished by time. And for authentic atmospherics check out the creaking chair on Weep Baby as Ham sits and croons. Outstanding songs include Catherine Cares, Hand In Hand, and Sille Veb, but it's the closing of No More and Ringside that reveal the man's final personal demons. And what of Ham's contemporary relevance? Listen to him alongside Oasis, Cast, and Dodgy, and all becomes clear.
Fruitbasket Upset
Issue: Number 8, Summer 1997
reviewed by - Jim Freek
With the passing of such atrocities as the Joey Molland led Badfinger, and Mariah Carey's slaughtering of Without You, Badfinger fans finally have a lot to be excited about again. Besides the recently released tribute album, Come And Get It: A Tribute To Badfinger, there will soon be a new book and video chronicling the band's career, not to mention this recently unearthed booty: an exciting compilation of previously unreleased Pete Ham demos.
While a large portion of the songs on this disk are stark, solo renderings by Ham, many have been spruced up with overdubs, courtesy of ex-Iveys (pre-Badfinger) member Ron Griffiths and L.A. based drummer Rick Cammon. In addition, bassist Derrick Anderson of The Andersons, Tony Perkins from Martin Luther Lennon, and the Jigsaw Seen's Jonathan Lea have all made instrumental contributions, turning 7 Park Avenue into something of a contemporary pop album that actually ends up being consistently more enjoyable than any of Badfinger's original albums. The opening wall-of-sound jubilee Catherine Cares is a tender tale about Pete's mum, but the most extraordinary thing about this song is how closely it resembles Whatever by Oasis, bringing the cocky rock gods to a new level of unclassified hipness. I mean, it's fine and dandy that their music's already a grab-bag of 60s and 70s rock clichés, but to rip off unreleased material as well? That bloody rocks!
Those of us who favored Badfinger's winsome, Beatlesque power pop over their sweaty boogie excursions will enjoy a large quantity of tracks included here, such as Would You Deny, It Doesn't Really Matter, and the tender piano ballad Live Love All Of Your Days. It sure is surprising that so much music of such exceptional quality was never released on Badfinger's albums (which were already pretty full of amazing songs), but that's part of the excitement in hearing a lot of these songs for the first time. A few familiar tunes do pop up occasionally, including a funky version of the 1974 Badfinger album's Matted Spam, and a solo acoustic reading of their classic power pop anthem No Matter What.
Of course, we all know that Pete Ham's saga ended
tragically. His suicide in 1975 was prompted by various factors, but
mostly by his band's lack of success and his record company's lack of
compassion. A handful of songs on this collection reveal his disillusioned
thoughts (in Sille Veb about his girlfriend Bev Ellis, he admits failure),
but none are more macabre than No More and Ringside, the two musical
"suicide notes" that close out this personal, chilling, and exquisitely
beautiful album.
Beatlefan
April, 1997
reviewed by Ajax Mink
As anyone who's ever listened to Badfinger knows, two of the
main strengths of the late Pete Ham's
songwriting were his strong sense of melody and his emotionally accessible
lyrics.
Both qualities are in plentiful supply on this album of late 60's to mid-70's demos recorded mostly at Badfinger's home/studio in London's Golders Green (from which the title is taken). OK, not every one of these is a Day After Day or Baby Blue - they were, after all, rejected, or at least unrecorded, songs (with the exception of demos for No Matter What and Matted Spam). But there are some definite keepers here, including It Doesn't Really Matter, Live Love All Of Your Days, Weep Baby (one of his earliest, from 1967) and No More (one of his last, from '75).
And there are two dynamite numbers: the legendary ballad Coppertone Blues and, from shortly before his death in April '75, Ringside, a lovely, haunting song in which the melancholy Welshman offers the struggling artist's lament: "Who will own you tomorrow?" It ranks among his very best tunes.
The tracks on this album, produced and edited by Dan
Matovina (author of the forthcoming Badfinger biography) have been cleaned
up and overdubs added to some - by musicians including former bandmates
Bob Jackson and Ron Griffiths - to fill out sometimes unbalanced mono
sound… This collection underscores the real tragedy of Ham's suicide -
that such a wonderful talent was taken away from us far too soon.
People Magazine
June 9, 1997
reviewed by - Billy Altman
The rock group Badfinger is remembered mainly as protégés of the Beatles. Signed to Apple Records during the late '60's and early '70's, they first got noticed recording Paul McCartney's Come And Get It, and they played and toured with the separated Beatles. Along the way, enough magic rubbed off to help them create such bright hits as No Matter What, Day After Day and Baby Blue. Bad business dealings sabotaged the band's career, though, leading to the 1975 suicide of their guitarist Pete Ham, 27, the composer of those hits. 7 Park Avenue is a collection of his demos from over the years, and even in their bare-bones state, many of these songs reveal Ham's gift for bittersweet melodies and terrific hooks. As George Harrison once said, isn't it a pity.
The Big Takeover
Issue: 41
reviewed by Jack Rabid
... we can now eerily view the frayed emotions that led (Pete) Ham to his own tragic demise. The gifted, sensitive singer/writer hung himself at the age of 27, on April 25, 1975, after the release of Badfinger's sixth and final LP. The stunned, star-crossed group were doomed, despite a failed comeback starting in 1978 (bassist Tom Evans then sadly hung himself as well, in 1983).
The final two tracks here, "No More", and "Ringside, are
thus acutely painful; the former is from a perturbed man with one foot in
the grave, and the latter displays such bitterness over being ripped-off
by management and two major record companies, its not hard to see what put
him there! Overall, these upfront-recorded, simple, affecting songs
contain a surprisingly spiritual air. Again like (Chris) Bell, the
tormented soul has a lot of contrasting beauty in it. There's an odd
stillness of the heart in lush acoustic numbers such as "Sille Veb" (an
apology to a long-neglected girlfriend for touring too much, her name
spelled backwards in the title), an "Coppertone Blues." These show Ham to
be an inventive player, as well as a fine singer. Imagine "Blackbird" by
Ham's original mentor at Apple, Paul McCartney, with more personal lyrics.
An unplugged version of the massive 1970 #8 hit "No Matter What," is
likewise more soul-quiet. Most of the other more fleshed-out tracks recall
chamber-pretty Badfinger moments, such as "Midnight Caller" from 1971's No
Dice. Those who crave more dense, uptempo Badfinger brilliance should seek
1972's masterful Straight Up, but the beguiling, beautiful, sweetly
forlorn 7 Park Avenue is an unexpected document of a more plaintive side
only Ham's biggest admirer's knew existed. This album just doubles the
reasons to grieve the untimely, regrettable death of such an unique,
emotive talent. Note: Superb liner notes, photos, and lyrics, too.
Q Magazine
May, 1997
reviewed by Tom Doyle
Taking its name from the address of Badfinger's modestly proportioned rehearsal and demo studio in London during the late 60's/early 70's heyday, 7 Park Avenue compiles 18 solo recordings by the group's principle songwriter Pete Ham, who committed suicide in 1975, aged 27. With this in mind, there is a certain poignancy lent to the more melancholic, stripped-down acoustic tracks, such as Weep Baby and No More, even though the latter attempts to cloak its depressive lyric with a chirpy McCartney-esque melody. Other tracks like Catherine Cares and I Know That You Should feature modern bass and drum overdubs provided by former Badfinger member Bob Jackson and Ron Griffiths, Ham's partner in the band's previous incarnation, The Iveys, and these prove impressively faithful to the recording techniques of the period. A fitting document to a songwriting talent tragically thwarted.
Rating - Four stars out of five
Yeah Yeah Yeah
Issue: Number 7
reviewed by Pat Pierson
... Lately, with a newfound interest in power pop, and a growing underground following, Badfinger have been properly rescued from obscurity and have seen a lot of their product reissued, albeit sometimes haphazardly. Rykodisc, who haphazardly issued a lame live Badfinger disc a few years back, have washed those sins away with this amazing disc of lost Pete Ham songs. This album of lost demos is a truly splendid thing. Whereas, with Badfinger, one would have to wade through the Joey songs and Tommy songs to get to Ham, here ya have the guy straight through on 18 tracks.
For many of the songs it's obvious why they weren't included
on Badfinger records; either they were too pop, or were just too personal.
Some, however, should've made the cut. Coppertone Blues and Sille Veb are
as great as anything he ever recorded. Both have an aching McCartney-esque
acoustic feel to them and are unequivocally beautiful. Other lost gems are
Dear Father, Hand In Hand and Island, all of which show that he was never
able to get everything he wanted onto a Badfinger record. Most of these
tracks could've made it, and that fact's almost as depressing as the
reality of Ham's life. Thank whoever, that finally these songs have seen
the light of day. And may Pete Ham finally rest in peace.
Miami New TImes
Issue: Summer 1997
reviewed by Steve Kistulentz
The mere fact that Badfinger was originally signed to the Beatles' Apple label unfairly stigmatized the British popstars as a surrogate Fab Four. But unlike their label mates, Badfinger's story did not include highlights like soldout shows at Shea Stadium. That story, chronicled in Dan Matovina's new book Without You: The Tragic Story of Badfinger, is indeed one of tragedy - one in which mismanagement and deception culminated in the 1975 suicide of vocalist, guitarist, and songwriter Pete Ham. New material is beginning to see the light, thanks to a collaboration between Ham's heirs and Matovina. The first glimpse of these tapes is 7 Park Avenue, a compilation of eighteen Ham originals, all of which stand as a brilliant reminders of the talent that died when Ham hanged himself at the age of 27.
Because his bandmates Tom Evans and Joey Molland were also first-rate songwriters, Ham was often limited to only four songs per Badfinger album. On 7 Park Avenue the Badfinger gem "No Matter What" is presented as a soaring, acoustic demo. But the real stunners are the songs never cut by the group. "Would You Deny" is done minimally, with a falsetto vocal that evokes Cream-era Eric Clapton, while "Catherine Cares" is a gently rocking song offered by Ham as an apology to his mother for his lifestyle of rock and roll misbehavior.
7 Park Avenue ends with "No More" and "Ringside," both of which address Ham's suicidal state. They were among the last songs he recorded. "No More" especially shows the schism within Pete Ham; listening to this song is almost like indulging in a morbid voyeurism. Its chorus, a repetitive "N-n-n-n-no, no, no, no more," is offered with listeners too young to remember Badfinger exactly what a pop record should sound like, while its lyrics hint at the sad end to the Pete Ham story.
Popsided
Issue: Spring 1997
reviewed by Spaz
Pete Ham was, for all intents and purposes, Badfinger. He wrote all the band's hits (apart from McCartney's Come And Get It) and he is the most well-known of the bunch. This is not to say that the other three members were not as important, but every band must have a leader/focal point, and Ham was it. This comp of demos recorded at Badfinger's demo studio on 7 Park Avenue proves that Ham was a songwriter of immense talent and emotional depth. The only reason these songs never made an album (apart from No Matter What and Matted Spam) is that the rest of the band had enough talent to hold up a portion of an album as well, leaving some of Ham's finest material in the vaults. If you want poignant, touching McCartney-esque pop, then look no further. Catherine Cares, It Doesn't Really Matter, Just How Lucky We Are, Coppertone Blues. All of them are classics. What a writer and vocalist Ham was. Even on the lesser tunes, his talent shines. The real emotional impact will hit you on the last two tracks, No More, and Ringside, both of which were recorded in the weeks leading to Ham's suicide in April of '75. They are true 'lump in the throat' masterpieces. With this Rykodisc release, Pete Ham will forever be remembered by his talent, not just the way he chose to leave the world.
The Gainesville Sun
Issue: April 4, 1997
reviewed by Bill DeYoung
The title refers to a house in West London where the four members of Badfinger lived communally in the early '70s writing songs, recording demos, and rehearsing. Pete Ham was that group's linchpin, a phenomenally talented tunesmith from Wales, the author of the band's international hits Day After Day, No Matter What, and Baby Blue.
Ham committed suicide in 1975, as a way of escaping the legal and personal knots that had begun to suffocate Badfinger. 7 Park Avenue consists of acoustic demos he made during happier times (for the most part, that is - the final two songs on the album, recorded at Ham's home in Surrey, date from just weeks before his tragic death). Minimal but unobtrusive overdubbing has been added to improve the sound on certain songs.
With the exception of a quick run-through of No Matter What, none of these acoustic gems ever surfaced, in any form, on a Badfinger record. Some, like Coppertone Blues, Sille Veb, Weep Baby, and Catherine Cares, are actually better than many tracks the band chose to release.
Pete Ham was a great talent. More than 20 years after the fact, songs he considered castoffs can take their place alongside his immense and important contributions to popular music.
Dorsett Evening Echo
Issue: April 19, 1997
reviewed by Marc Rossi
Anyone with a more than passing interest in pop history will know that Pete Ham was the main singer/songwriter with Badfinger, the cherishably gifted quartet from Swansea who (along with American soul mates like Big Star and The Raspberries) unfashionably flew the flag for snappy, succinct guitar-based pop music during the worst and most bloated excesses of the early 70's.
Previously-unissued Pete Ham demos, intimately-recorded and uniformly excellent, are in evidence on 7 Park Avenue. The sweetly-sung acoustic demo of No Matter What is worth the asking price alone, although there are songs on the album (Coppertone Blues, No More, I Know That You Should) of such obvious quality that it simply begs belief to think that they were never recorded or released by Badfinger in the first place.
Signed to Apple in 1968, a crippling series of financial and personal setbacks robbed them of their momentum and completely eroded their self-worth, to the point where a bitterly disillusioned Pete Ham committed suicide in 1975. Fellow-member Tom Evans followed suit, hanging himself (just as Ham had done) in 1983.
Fixating on their awful demise is no way to remember them,
though - far more fittingly, a listen to 7 Park Avenue will reassure you
that Badfinger's true legacy is a series of huge-hearted, achingly melodic
and soaringly uplifting songs.
Anglia Advertiser
Issue: April 18, 1997
reviewed by Fraser McKay
Badfinger will probably be used in years as an example to
youngsters NOT to join a band. The 'Finger enjoyed a smattering of success
at the start, but then it all went downhill - management problems, bad
record deals, eventually lead to the suicide of the band's two main
principal songwriter's. Pete Ham was the first to tragically take his own
life and 7 Park Avenue is a collection of demo and home recordings which
have been spruced up with added instrumentation. This is no naff Free As A
Bird exercise though, as Dan Matovina has ensured Ham's vocals and guitar
playing are the album's focus.
Record Collector
May, 1997
reviewed by Peter Doggett
... 7 Park Avenue is a timely (and timeless) reminder of why anyone cared about Pete Ham in the first place. It's a set of home demos, which have been subtly overdubbed in recent years to support Ham's original guitars, bass, keyboards and percussion. That in itself could have been a disaster, but there's not a moment where the additions overshadow Ham's own work.
No Matter What is the only Badfinger hit sampled here, inevitably losing something of its appeal without the power pop trappings of the original single. There's just one other familiar song, Matted Spam from the 1974 Warner Brothers LP Badfinger - but intriguingly Ham wandered into the lyrics for Day After Day midway through.
The rest is new to you, which for once isn't a euphemism for "Not released because everyone hated it." Badfinger quickly got tired of the Beatles comparisons, but Pete Ham's melodic flair is reminiscent of McCartney at his best. Catherine Cares would have been a guaranteed hit single in 1968 or 1969; likewise Just Look Inside The Cover. Coppertone Blues ties the same delicious tunefulness to a folkier feel, while Live Love All Of Your Days and Leaving On A Midnight Train are the equal of any of Badfinger's rockers.
It's probably overstating the case to call the final two
tracks "a virtual suicide note", as it does in the notes, but No More and
Ringside both have a melancholy air that is somehow beyond desperation.
Within two weeks of recording those songs, Pete Ham killed himself; this
superbly packaged and conceived set is a worthy tribute.
The Riverfront Times (St. Louis)
Issue: April 16-22
reviewed by Jordan Oakes (from article entitled Late Bloomers)
Rock 'n' roll suicide isn't too common. Sure, the fabled slow demise from drugs and alcohol may be death by one's own hand, but it's not the emergency exit chosen by a select, tortured few. In the case of Pete Ham of Badfinger and Jim Ellison of Material Issue: , young men with so many songs left to write, it seems a particular waste. Although their suicides are separated by over 20 years, the two were kindred spirits (perhaps now they literally are) - they didn't sound alike, but both championed a symmetrical combination of pop trendy and rock energy.
Ham hanged himself in 1975 after Badfinger fell into financial quicksand. Last June, Ellison spent his future on a garage's worth of carbon monoxide. All that either left behind was a document of his unhappiness - a suicide note - and a lot of great music. Like the label's other anthologies of ill-fated talents such as Nick Drake (probably a suicide) and Chris Bell (not a suicide), the Pete Ham and Jim Ellison collections show that Rykodisc is aware of how to tie up loose ends - or at least gather them. Ellison and Ham weren't cult members so anxious to move on to the next life that they couldn't contain themselves, but they were looking for something otherworldly, and music was their space ship…
Badfinger's hits like Day After Day, Baby Blue and No Matter What were perfect singles that sounded like a revitalized 70's Beatles. The rich voice behind these songs belonged to Pete Ham, who wrote and sang like a sadder Paul McCartney with a palpably bigger heart. 7 Park Avenue collects demos Ham recorded over a span of years. Rough and unfinished-sounding, the songs hang together as a portrait of a likewise rough, and unfinished life.
Singing the Coppertone Blues can't keep Ham's thin skin safe from melancholy's burn. The mysteriously titled acoustic demo is one of the most beautiful ballads ever - as gentle, fragile and obscure as anything by Big Star or Neil Young. His heart on his sleeve, Ham emotes plaintively, but the song is a perfectly cut valentine. There are surprises (but not detours) on 7 Park Avenue, like the Stax groove of Matted Spam (also recorded by Badfinger) and an energetic acoustic version of No Matter What. Perhaps this collection - this isolation - of Ham's music will reveal his vision as one of the most compelling, if pain-fueled, in pop history.
Fans of the tortured-artist Hell of Fame, which includes
(among the living) Brian Wilson and Syd Barrett, will find this troubled
soul a welcome addition. Whatever caused Pete Ham and Jim Ellison to take
their own lives - a killer case of depression, external circumstances, or
a deadly cocktail of both - they both made life-affirming music with an
undying resonance.
Philadelphia Weekly
March 30, 1997
reviewed by Barry Gutman
Badfinger guitarist Joey Molland may have looked a bit like Paul McCartney, but it was Pete Ham who was blessed with the Beatles' tender voice and prolific songwriting talent. Just how prolific is made clear on 7 Park Avenue, a collection of 18 home demos or songs that, save for two (Matted Spam and the hit, No Matter What), were never released. The material includes fully arranged infectious rockers Catherine Cares, It Doesn't Really Matter, and Leaving On A Midnight Train that showcase Ham's instrumental resourcefulness as well as lovely, sparsely acoustic ballads the hymn-like Dear Father, Weep Baby, and the idyllic Island that are enriched by Ham's tender vocals. Because despair led Ham to hang himself in 1975, it's sad and ironic to hear him sing Just How Lucky We Are. But we can consider ourselves lucky, indeed, that this cache of high-quality material has been unearthed.
Rating - Four stars (out of Five)
The Buffalo Art Voice
Issue: May 21-27, 1997 - Hip Parade column
reviewed by Mark Norris
Although the music of Badfinger and chief songwriter Pete
Ham remain staples of classic rock radio, few people are familiar with the
band itself or its tragic legacy. Forming under the name The Iveys in
1966, the group were signed to the Beatles fledgling Apple label in 1968.
Changing their name to Badfinger, the group had a string of top hits on
both sides of the ocean including No Matter What, Baby Blue, Day After
Day, and Paul McCartney's Come And Get It. But life under the Beatles
banner was not an easy one, and the band's incredible talents for creating
pop masterpieces were overshadowed by mentions of the Fab Four. 7 Park
Avenue collects demo versions of mostly unreleased Badfinger tracks which
take on a startling depth in light of Ham's suicide in 1975 (fellow
Badfinger Tom Evans would also take his own life in 1983, bringing the
band's story to a tragic close). The album plays like a long running diary
reflecting on a sad life and impending death. Tracks like No More and
Ringside show a clearly disillusioned man at the end of his rope, but
juxtaposed with a few light hearted tracks such as Ham's tribute to his
mother Catherine Cares and the life affirming Just How Lucky We Are. The
album is not without a few immaculate rays of hope. Ham is best in his
reflective moods with such tracks as the lovely Dear Father, Weep Baby,
and Island. A demo version of No Matter What is included to entice the
collectors. 7 Park Avenue is a lost legacy that has thankfully finally
found its way to the ears of the public… A total dig it!
Time And A Word
Issue: Spring 1997
reviewed by - Robert Silverstein
Rather than dwell upon the morbid details of
singer-songwriter Pete Ham's tragic death in 1975, let me unequivocally
state that 7 Park Avenue brings to light some of Ham's greatest and most
personal songs. Although the best of Pete Ham went on to become huge hits
with the group Badfinger, the splendid Ham demos showcased here presents a
vital behind-the-scenes glimpse at one of the most gifted songwriters of
post-Beatles pop. Produced by Dan Matovina, author of the upcoming book,
Without You: The Tragic Story Of Badfinger, these 18 tracks - recorded in
mono during the late 60's and early 70's - have been sonically cleansed
with several tracks featuring recent overdubs added by two of Ham's former
band mates. 7 Park Avenue includes a complete lyric sheet, while
insightful liner notes by Andy Davis concerning this posthumous release
will leave listeners shaking their heads in disbelief.
CMJ New Music
May, 1997
reviewed by James Lien in the column: Flashback (In The Bins)
Pete Ham was the guiding talent behind Badfinger, one of the great undersung cult artists of the 1970's, and his death by his own hand in 1975 was one of the saddest endings in the history of pop music.
7 Park Avenue (Rykodisc) is a collection of his rare and intimate home demos, compiled by the author of a forthcoming, definitive Badfinger biography. These home demos won't take the place of Straight Up or The Best Of Badfinger Vol. 1, but if, like me, you're a hopeless fan of Ham's haunting melodic sensibility and his soothing world-weary voice, you won't be disappointed by this disc.
Drums and bass were added to some tracks much later, and I
can kind of tell which ones, but frankly, I hardly noticed - unlike
virtually every other example of "ghosting" on the market, the producers
appear to have kept the original integrity of these home recordings
intact.
Relix
Issue: July 1997
reviewed by Michael Skidmore
The Welsh group, Badfinger, was plagued by tragedy as two of its members committed suicide. Pete Ham, the group's leading light and main songwriter was one, Tom Evans was the other. While premature deaths are sad, the early demise of Pete Ham was a particular loss - he was a pop writer with imagination, class, and great potential. A recent release, 7 Park Avenue (Ryko), contains 18 previously unreleased recordings, mostly recorded by Ham alone. Included are early versions of Badfinger songs such as "No Matter What" and "Coppertone Blues." Ultimately, these intimate recordings show just how much of an untapped talent Ham was. The original mono recordings were cleansed and tasteful additional overdubs were added by former Badfinger member Bob Jackson and former Iveys member Ron Griffiths.
Ink Nineteen
Issue: July 1997
reviewed by Hal Horowitz
It's almost too cruel to mention that if Pete Ham had any inkling of the influence he'd have as a songwriter to a generation thirty years later, he might have thought twice about hanging himself in April of 1975. Twenty-two years after his tragic suicide, Ham is still a force in contemporary pop as evidenced by Mariah Carey's hit version of Without You.
But it still comes as a revelation to hear Ham's home demos
of his songs on the newly released 7 Park Avenue (the title refers to the
address of Badfinger's residence in London, which was also the location of
a demo studio). Originally recorded and overdubbed on two-track
reel-to-reel tapes, these 18 mono songs (a few of which ended up on
Badfinger albums in rearranged versions), featuring Pete's guitar and
vocals, sound remarkably good. In honesty, the liner notes explain that
some doctoring was done to these tapes with bass, and percussion added in
1995 to fill out the sound. But this was no hack job. Ham's voice sounds
clean and clear, and all the guitar parts are played by him. Most
importantly though, these demo performances which were never intended for
public hearing, show Ham's deeply felt emotion and knack for writing a
great pop hook while keeping the passion and feelings pure…
The 910
Volume 5 No. 5/6 (MARCH 1997)
reviewed by Doug Sulphy
Pete Ham was, of course, one of the guiding members of Badfinger. Now, more than two decades after his tragic suicide (and thanks to Badfinger expert Dan Matovina, who arranged for the acquisition of these tapes from the Ham estate) Rykodisc is releasing a disc of recordings Pete made in his home studio. Except for the last five cuts (from the Japanese edition of the CD), the sound quality is excellent… I believe this is an important enough release so I'll go through the songs one-by-one. If Pete Ham had been with The Beatles this would certainly have been my Editor's Choice this time around.
1. Catherine Cares
Although this has an undeniably catchy hook, I feel the lyrics about Pete
Ham's Mum are a little lame. Still, it's a great, punchy lead-off to the
album.
2. Coppertone Blues
An unadorned voice/guitar demo. One of the highlights of the set, and a
fine song that's better than many of Pete's legitimately issued
compositions.
3. It Doesn't Really Matter
A brilliant pop song and a near perfect vocal. Another highlight. Like
many of the songs on this disc, you can't help wondering why this was
passed by when it came time to record the albums.
4. Live Love All Of Your Days
This would have fit just fine on Magic Christian Music or No Dice .
Again, a marvelous hook and impassioned vocal from Pete make this one more
than ordinary.
5. Would You Deny
Another solo performance. A beautiful melody and fine vocal, even though
the lyrics don't seem to have been finished.
6. Dear Father
This sounds a bit like an early version of Name Of The Game mixed with
Carry On Til Tomorrow. Another pretty tune, with slightly syrupy lyrics.
7. Matted Spam
A few minutes of soul as a change of pace. Quite nice and fun as Pete
works in some of the lyrics from Day After Day.
8. No Matter What
Thank God the overdubbing guys had the good sense to leave this one
alone. This acoustic demo of one of Badfinger's biggest hits features an
impressive vocal from Pete. This might have been a perfect performance,
but its obvious that Pete hasn't come up with an ending for the song yet.
Even as it is, it's certainly another highlight.
9. Leaving On A Midnight Train
Similar in feel to Rock Of All Ages but not as interesting. All right, for
what it is, but just another rock'n'roller to this listener.
10. Weep Baby
Another solo guitar/vocal performance. another beautiful melody. Fine
lyrics and a masterful vocal from Pete.
11. Hand In Hand
I guess this was Pete's attempt to write a 60's anthem. It's a fine, dippy
period piece.
12. Sille Veb
Just the opposite of the previous track, this is a pretty love song
written by Pete to one of his girlfriends.
13. I Know That You Should
This sounds a little like an embryonic Baby Blue to me. Pete's
impassioned vocal provides most of the interest here.
14. Island
Here's a surprise - a Caribbean flavored love song. This sounds nothing
like anything Badfinger ever recorded.
15. Just Look Inside The Cover
Not bad, but certainly no great loss to the world of pop music, if it had
been left unreleased. Although it has interesting lyrics, this sounds like
it was never really finished.
16. Just How Lucky We Are
One of the extraordinary things about this CD is that it showcases Pete
Ham's vocal talents in a way that the official Badfinger releases never
really did. The melody here is pretty but not remarkable and the song
sounds slightly unfinished - but, again, the vocal carries it off.
17. No More
This and Ringside are Pete's musical suicide notes, recorded the week
before he hung himself. Even without that knowledge, these are harrowing
performances, with Pete's voice sounding eerily like Nick Drake (a
similarly talented folk singer who committed suicide at about the same
time). You'd have to be cold-hearted indeed not to be affected by this and
the following song. Given his mental state at the time, it's amazing that
these numbers are as good as they are - and they are very, very good.
18. Ringside
Even more than in No More, Pete directly addresses the problems that
plagued him towards the end of his life. These two numbers are, by their
nature, so emotionally charged that they tend to overshadow some of the
other gems on this disc. Multiple listenings won't cure that, but will
allow you to appreciate the other songs as well.
19. Just A Chance
This and the following cuts are bonus tracks on the Japanese CD - Hardcore
collectors take note! These aren't as good sound quality as the earlier
numbers, but they're certainly worth being heard (with the two solo demos
from Wish You Were Here being a particular treat).
20. The Heart That Can't Be Understood
Another fine, melodic number.
21. Come Come Tomorrow
One of the weaker demos - this isn't out and out bad, but does sound like
something that was never worked out.
22. Blessing In Disguise
This is a little more advanced that Come Come Tomorrow, but still sounds
like a work-in-progress.
23. Know One Knows
Another real highlight for me is this acoustic version of Know One Knows.
This pleasant, upbeat number actually works better in the demo than it
does on the fully arranged performance that can be heard on Wish You Were
Here.
San Francisco Chronicle
April 6, 1997
reviewed by Denise Sullivan
More than 20 years after the Badfinger guitarist's suicide, Pete Ham's solo material from the late 60's and early 70's was unearthed for this collection, in stores Tuesday. Though Badfinger members once were perceived as Beatles protégés because of their association with Paul McCartney and Apple Records, Ham's own songs helped form the foundation for modern power-pop.
Catherine Cares, Hand In Hand and I Know That You Should
have the same pop-rock spirit as the group's biggest hits, Come And Get It
and Day After Day, but Ham (who also co-wrote the rock standard Without
You, made famous by Harry Nilsson) penned an equal number of
soul-searching ballads during his solo tenure; Dear Father and Sille Veb
are but two of the simple, McCartney-esque stunners included. Former band
mates Bob Jackson and Ron Griffiths assisted in overdubbing some of the
raw tapes, but most of the sounds are Ham's. The prerelease solo acoustic
version of No Matter What is an added bonus for Badfinger completists, but
it showcases only a fraction of Ham's beautiful legacy.
Houston Press
Issue: April 3-9, 1997
reviewed by Hobart Rowland from column From The Vaults
... Even more pitiful is the saga of Pete Ham, the tortured leader of Badfinger, who hanged himself in 1975 at the age of 27. Suicide was Ham's way of escaping the realization that he'd been betrayed by the ones he'd trusted the most. They'd left his life in financial ruins, his spirit drained.
Tragedy aside, Badfinger was a good band measured against perhaps the greatest rock band ever. The group is still seen by many as little more than a pre-disco Fabricated Four, and for obvious reasons: The Beatles were Badfinger's mentors, affording the band its first record deal on Apple Records and a hit single in the McCartney penned Come And Get It. That in mind, I tried to suspend any undue scrutiny when listening to 7 Park Avenue, a new Rykodisc collection of previously unreleased demos recorded by Ham in his home studio during the late 60's and early 70's.
In the end, doing so didn't require much effort. True, parts of 7 Park Avenue are stubbornly McCartney-esque, and one or two cuts shamelessly ape the echoey live-to-tape feel and signature three-part harmonies that defined early Beatles. But a larger portion of 7 Park Avenue proves that Ham was hardly living in a nostalgic vacuum. The goofy Matted Spam, for example, is an obvious nod to Steve Winwood. There's still more to suggest that Ham was gradually working through his more derivative habits and developing a raw, confessional style all his own. The various kinks and imperfections in performance and production (Ham's recording equipment was primitive) contribute to the intimacy that floods these demos.
In itself, Ham's abbreviated life is tragic. But with the
fitfully inspired 7 Park Avenue serving as a reminder of what was lost
with his death, the effect on the listener is nothing short of harrowing.
Damned is this isn't some of the best music Badfinger never recorded.
The Province (Vancouver B.C.)
Issue: April 17, 1997
reviewed by Tom Harrison
Thirteen years (sic) after Pete Ham's suicide comes this unexpected but welcome collection of the former Badfinger leader's demos. A few feature overdubs that were added for this release - many have spare but effective accompaniment and a few, most notably, his brief run-through of Badfinger's second hit, No Matter What - present Ham alone with his guitar. Only two of the 18 tracks were recorded by Badfinger but Ham was a first-rate songwriter and this is a fine, thoughtfully presented selection of his work.
Rating - Three and 1/2 stars out of five
Stomp Stammer
Issue: July 1997
reviewed by Marky Moon
... Anyway, this is a compilation of home-recorded demos Ham did between the late sixties and early seventies, spruced up for sonic improvement, and - ala "Free As A Bird" - with new instrumental overdubs added, many of which are performed by a couple of ex-members of the Iveys and Badfinger. While the decision to meddle with a dead man's past may be questionable (Ham hanged himself in 1975), it seems to have been done with good taste, and a respect for the material, which, although containing very few of Ham's better-known songs, is quite enjoyable. Most of those songs, with Pete on acoustic guitar, piano and vocals, have never even been officially released, thereby making this an even tastier collection. Ham's skills as a pop songwriter have never been widely appreciated, and the unpolished 7 Park Avenue (the title refers to the address the band kept) will likely do little to change that (despite the overdubs, these are basically solo demos, and the music never approaches what the full band could achieve). Still, fans of Badfinger, and great guitar pop in general, will find rewards - such as a subdued demo of "No Matter What," and the devastatingly pained "No More," recording just before his tragic suicide…
Discoveries
January 1998
reviewed by Alex Trevor
Fans of committed songcraft had no worries on Pete Ham's watch. As guiding light/guitarist for Badfinger, Ham supplied some of the Seventies' toughest, yet tenderest sounds. Under his pen, Badfinger graduated from wide-eyed Beatles protégés to hard bitten surveyors of the business that destroyed them.
Their melodic prowess pushed "Baby Blue," "Day After Day" and "No Matter What" into the US Top Forty. From Ham's perspective, however, the hook behind Badfinger's first hit, "Come And Get It" - "You better hurry, 'cause it's going' fast" - proved most prophetic.
Battered by crippling lawsuits, and never-ending debts - including a mortgage he could no longer afford - Ham hung himself, aged 27, on April 27, 1975, from the garage rafters of his English home. He left a pregnant girlfriend and a note blaming Badfinger's American business manager, Stan Polley, for the tragedy.
Ham's partner, bassist/guitarist Tom Evans, also hung himself in 1983, after re-forming the band for two overlooked albums with guitarist Joey Molland. Badfinger's catalogue lay mired in litigation until 1986, when Apple and Warner Brothers Records began reissuing it.
Now comes Rykodisc's 17-track demo collection named after Badfinger's home studio, where Ham took refuge from life's pressures. Producer Dan Matovina found them during research for Without You: The Tragic Story Of Badfinger, after Ham's brother John revealed their existence.
Matovina spent 1993 removing clicks and dropouts from Ham's original mono masters, followed by a decision to overdub new contributions in 1994-95 from original bassist Ron Griffiths and later-era guitarist-keyboardist Bob Jackson (while keeping Ham's vocals, guitars and other overdubs).
Badfinger bent over backwards to work democratically; its first UK hit, "Maybe Tomorrow," actually came from Evans. Ham was that rare leader who didn't throw his weight around, yet he spent more time than anyone at 7 Park Avenue. As Matovina's liner notes remark, there'd be times when "everyone else living in the house would just be waking up and making breakfast, and Pete would pop out of the studio with a new song."
These tracks show how much Ham's music mirrored his life. "Dear Father" and the midtempo "Catherine Cares" are melodic keepsakes to his parents, while "Just Look Inside The Cover" offers his characteristic confidence. "Weep Baby," among the earliest surviving demos, is an acoustic salute to Bev Ellis, who backwards-spelled name frames the bittersweet "Sille Veb" - as their relationship failed to weather Badfinger's demonic road and studio schedule.
A more whimsical side crops up in "Coppertone Blues," apparently inspired by America's signature Seventies suntan lotion, and the laidback, lilting "Island" - featuring it's composer's whispers as waves. For a bongo line, Ham taps a rhythm on his trusty Martin acoustic guitar.
Ham's hard-rocking authority is showcased on "Leaving On A Midnight Train," and the original take on "Matted Spam," whose terse syncopation's greatly benefit from the absence of a slick horn motif that clogged its recording on the Badfinger (1974) album.
By the latter year, Ham's internal turmoils are clearly aired on "It Doesn't Really Matter," which rallies behind Anne Ferguson - his girlfriend, and also married to roadie Ian Ferguson, a scene that fostered extreme displeasure in the Badfinger ranks.
Yet, as 1975 opens, Ham is reassuring her "Just How Lucky We Are," as the group lies on the financial rocks - broken by Polley's maneuvers to grab their income. That leads to his final recordings, which will garner the most attention. "No More" and "Ringside" are the epitaphs of a proud man cornered by a business which has ground him up, and spat him out. Ironically, Ham uses a sprightly pop melody to underline "No More"'s harrowing resignation: "Drunken days/ Sleepless nights/Someone please turn out the light/I can't face the mirror anymore."
"Ringside"'s lone electric guitar thrums like a funeral march. His voice cracking, Ham surveys his position ("Take your seat at the ringside/Watch them bidding for your blood"), pleads for some last-minute understanding ("Take me back to the country"), before deciding that no hope exists: "For I can't bear to feel the sorrow/Of the evil that you've shown." It's a chilling reminder of what might have been, as Ham would have been 50 this year.
Badfinger acolytes will find an embarrassment of riches to
interest them; so will home recording aficionados wanting more insights on
the creative process. Yet 7 Park Avenue's appeal should extend
beyond these natural constituencies; it's a timely reminder of Ham's
commitment to his craft, as well as a compelling glimpse of a talent that
was prematurely snuffed out. This music doesn't lie.
The Bob
Fall 1997 From The Vaults column
by David Snyder
…The "producers" of 7 Park Avenue, a fair sized collection
of demos by Pete Ham, go even further in blurring the picture. Besides the
usual cleaning up of the masters, the producers of this set have added
newly recorded accompaniment. Without hearing the source material it's
impossible to argue about it. but on its own I'd have to say the aural
quality and instrument balance sound better than one would expect. Ham's
vocals are clear and poignant throughout. A certain sad beauty hangs over
the album, whether it's a rocker like "Catherine Cares" or a gentle mid
tempo number like "It Doesn't Really matter" or a guitar-and-voice ballad
like "Ringside." While Ham has been gone for almost 20 years now, it's a
pleasure to have him bring something new into my life.
Cake
Issue 60
by John F. Butland
Ham, one of the main songwriters in the sorely missed Badfinger, had the home recording DIY thing happening back when Bob Pollard (Guided By Voices) was still in an elementary school classroom, as a student. The title comes from the address where most of the 18 demos were recorded between '67 and '75. It's a wonderful collection of unassuming, yet affecting pop songs, some power pop and some quite tender and melodic. In a word, fascinating.
Puncture
December 1997 from column GEEZERS
by Mike Lehecka
... As Monty Python heralded in The Life Of Brian, "Bring
Out Your Dead!", this year's most fascinating archive set was 7 Park
Avenue, a collection of demos from Badfinger leader Pete Ham, who hanged
himself in 1975, but stayed a hummable charmer til the end…
The Star
July 31, 1997
reviewed by John Everson
It's about 25 years after the fact, but Badfinger collectors can now add the solo demo recordings of Badfinger founder Pete Ham to their collections. 7 Park Avenue documents the demos Ham recorded in the late '60s and early '70s during his tenure with The Iveys and Badfinger. Before taking his own life in 1975, Ham wrote three of the most memorable hits from the era in "No Matter What," "Baby Blue" and "Day After Day," as well as co-writing a hit which has been remade by several artists, "Without You." 7 Park Avenue, listens like a coffee house performance by a gifted Beatlesque pop writer. Focusing mainly on Ham's voice and guitar (with some keyboards and rhythm section additions) the disc offers an intriguing look into the demos of a master songwriter. "Catherine Cares" and "Coppertone Blues" leave the listener wishing for full band Badfinger versions and "Leaving On A Midnight Train" is a complete piano rocker that makes one wonder if Paul McCartney snuck into the studio to handle the mic. None of these, unfortunately, were ever recorded by Badfinger. 7 Park Avenue also includes an early, amazing demo of "No Matter What."
Hi Fi News
July 1997
by Ken Kessler
Posthumous 18-track would-have-been-a solo-album from the
man who WAS Badfinger -- the first truly Beatlesque band. Some of the most
achingly gorgeous pop balladry ever, from the co-author of "Without You."
Exquisite.
Surrey Advertiser
June 6, 1997
unknown reviewer
The story of Badfinger has been pretty neglected over the years, allowing their main songwriter and front man Ham to become one of the forgotten tragedies with which the rock world is littered…
Although songwriting duties were shared democratically within Badfinger, Ham spent a lot of time in the outfit's home studio - the album title is that address - and amassed an impressive collection of songs, 18 of which are released here for the first time…
Some of the tracks have new overdubs from former Badfinger member Bob Jackson and Ron Griffiths, who played with Ham in its forerunner, the Iveys, while others are presented in their raw, stripped down emotional state.
Sadly we will never know just how good Ham could have
become, but this is a fitting tribute to a talent destroyed all too soon.
Hartbeat
July 1997
by Nigel Cross
Get me on a good day and I will admit a secret liking for Badfinger's Come And Get It even though I found most of their albums and sundry singles just too darn slick for my tastes. It was always a case of I'd like to like Badfinger but… so this posthumous collection of home demos by one of the band's leading lights is a real revelation
… these recordings on 7 Park Avenue, done domestically at
Pete Ham's house in Golders Green on a Revox Sound-On-Sound tape machine,
have been collated, compiled and released to coincide with a major
biography on this South Wales band, with a minimum of tarting up and
retrospective meddling. And they're staggering - in their bare-boned
Urform, Ham's genius as one of Britain's greatest songwriters comes
shining through in tandem for all the bitterness for the rock biz that
eventually killed him off and which scolds over on tunes like No More and
Ringside. 7 Park Avenue is a savage indictment of the music machine and a
fine testament to a musician who should still be writing and still be
performing in the very eye of the Power Pop genre.
Uncut
August 1997
by Bob Stanley
How would history treat Beatles-buddies Badfinger if two members of the group hadn't taken their own lives? Unlike most famous rock'n'roll suicides, there was really nothing in primo powerpop like No Matter What or Baby Blue to suggest impending tragedy. But death becomes pop stars, and Ham's home demos are on general release some 22 years after his death.
No question, the boy had a way with a McCartney-esque melody
(check Dear Father or the rough No Matter What), while the opening
Catherine Cares or Just Look Inside The Cover could grace the next Oasis
album… Pete Ham emerges as a songwriter worthy of the column inches his
death generated.
Brumbeat
June 1997
by Steve Morris
The ill-fated Badfinger front man left behind reels and
reels of pretty sophisticated demos and it's these, carefully cleaned up
and sensitively overdubbed where necessary that makes up this illuminating
eighteen tracker. illuminating in it's revelation of No MAtter What in
acoustic demo state, yet more chillingly illuminating as a beautifully
melodic diary of despair as Ham notes relationship problems and finally
with No More and Ringside the realisation that his musical dream has been
stolen, subverted, and raped by the biz.
Tyke News
Summer 1997
by Tim Moon
... On this album of rescued demos Pete Ham is just a damn
good songwriter of the type you could hear in many a folk club, except
better. It's around twenty years since he took his own life. His
experiences of ripped off within his band, Badfinger, and having trouble
with the mortgage despite having written the mega hit Without You
compounded by him into deep depression. Sadly the co-writer of Without
You, Tom Evans, followed nine years later. But here the demos, sometimes
enhanced by multi tracking, sometimes solo, sometimes with new additions,
show a songwriter who knew how to do it. The demo of the Badfinger hit, No
Matter What shows that it's still a great song stripped down. And sadly so
is No More, a sprightly tune and strong melody help to cover lyrics of a
man going down never to rise. Shame. In these days of unplugged and Ray
Davies touring solo Pete Ham could have been up there. Buy it in
recognition of that alone.
Dover Express
July 17, 1997
by Jon Johnson
... Rykodisc, one of the classiest labels around, have
recently released 7 Park Avenue - an astonishing album comprised of demos
that Ham recorded on his home two track. Although some new overdubs have
been added, the best cuts feature Ham alone, the demo of No Matter What,
which reached number 5 as a single, and the beautiful Coppertone Blues
being just two examples. An intimate album, it is also a valuable look at
a truly great talent.
SCUZZ
January 1998
by Darren Stockford
An album of mainly acoustic demos from the ex-Badfinger
vocalist/guitarist, the earliest of which dates back to the late Sixties.
The latest were recorded just days before his death in April 1975, a time
when Ham was in the dark throes of depression, the depression that
eventually led to him taking his own life and the disintegration of
Badfinger. Ham's songwriting genius is indisputable throughout, his
positivity inspiring. Which is why, when that optimism eventually gives
way to lines like "drunken days, drunken nights, someone please turn out
the light, I can't face the mirror anymore" (from No More) it's all the
more heartbreaking.
CHEW
November 1997
by Dave Gil de Rubio
The story of Badfinger is one of a talented group finding fame and fortune via association with a legendary band (The Beatles) which eventually became their albatross. The first victim of this good-luck- gone-bad was co-founder Pete Ham. Named after the address the band moved to when they first arrived in London, 7 PARK AVENUE is a collection of demos Ham recorded in the house's sound-proof studio. Although these recordings have minimal overdubs provided by studio musicians decades later, all vocals, guitar solos and licks are Ham's original performances from the late 1960s and early 1970s.
The one thread running through the 18 songs brought together on this collection is how emotional this sensitive songwriter was. Some of his earliest songs a naked ballads professing the spiritual bond between him and his future wife Beverley "Weep Baby" and a clever South Seas ditty inspired by his niece "Island" accompanied by light bongos and Hawaiian slide played on his upturned Martin. Ham even wrote a perfect slice of pop dedicated to and about his mum ("Catherine Cares"). In 1970, Badfinger played on the soundtrack to the Peter Sellers film "The Magic Christian," scoring a hit with the Paul McCartney-penned "Come And Get It." Coupled with the smash "No Matter What" that quickly followed, the band's detractors claimed Badfinger was solely benefiting due to their connection with the Beatles. The demo of "No Matter What" appears here with a much sparser arrangement, making it more endearing than the originally released version. It also shows that, although the Fab Four were an influence, Pete Ham's knack for writing pop songs went beyond merely aping Lennon-McCartney. While Pete Ham's sensitivity made him a genius with the ballad, some of his best works were either mid-tempo numbers or full out rockers. "Midnight Train" with its cool fuzz guitar and pounding piano is perfect accessible pop. The demo of "Matted Spam," (a song that eventually ended up with a more complex arrangement on Badfinger's 1974 Warner Brothers debut following a break with Apple), is a flat-out funky jam with great syncopation and oodles of hooks. That same year, Ham's marriage went asunder. He took up with a roadie's estranged wife, which proved to be an unpopular decision with the rest of the band. "It Doesn't Really Matter" is a piece of Beatlesque pop that showed his defiance in the face of this disapproval. Being a sensitive artist may have made for great music, but it was also an Achilles heel that proved to be Pete Ham's undoing in the face of bad business deals and a rocky personal life. The last two numbers on this collection ("No More" and "Ringside") address Ham's severe depression. In "Ringside," he goes as far as to sing: "Take me back to the father/Take me, take me, take me home/For I can't bear to feel the sorrow/Of the evil you've shown." Bear it he couldn't. On the morning of April 24th, 1975, Pete Ham hung himself. He was only 27 years old, and his special brand of pop music was silenced forever.
Friday Morning Quarterback
January 10, 1997
Ken Sharp
Next to The Beatles, the most popular band on the group's Apple records
label was unquestionably Badfinger. Formed in the late 60's, the group,
led by singer/guitarist/keyboardist Pete Ham, carved out their own
unmistakeable brand of melodic Pop with such timeless gems as "No Matter
What," "Come And Get it,: "Baby Blue" and "Day After Day." On March 18th,
Rykodisc will issue Pete Ham's 7 Park Avenue (named after the location of
Badfinger's rehearsal studio), a collection of previously unreleased home
demos circa the late 60's - early 70's, Overseen by Badfinger expert and
biographer Dan Matovina, this collection is a labor of love. Listening to
the wonderful 18 tracks included on this release, one is both saddened and
uplifted: saddened at the tragic loss of a monstrous talent (Ham,
distraught over disastrous business problems, committed suicide in 1975)
and uplifted by the beautiful songs and his rich, soulful voice. To ensure
pristine quality, the original mono masters have been declicked and
remastered. Tracks include demos of Badfinger's "No Matter What" and
"Matted Spam." Other tunes include "Coppertone Blues" (the record's
indisputable highlight, a magnificently moving song), "Catherine Cares,"
"It Doesn't Really Matter," "Would You Deny," "Live Love All Of Your
Days," "Dear Father," "Leaving On A Midnight Train" (featuring scorching,
glorious fuzzed-out lead guitar playing by Ham), "Weep Baby," the pure Pop
pleasure of "Hand In Hand," "Sille Veb," "Island," "I Know That You
Should," "Just Look Inside The Cover" and "Just How Lucky We Are."
{articulately heart wrenching are the final two songs, "No More" and
"Ringside," written a week or two before Ham killed himself. The bitter
lyrics and Ham's world-weary voice all seem to point towards his tragic
end.
All Music Guide
Richie Unterberger
Only two of these 18 tracks ("No Matter What" and "Matted Spam") were
recorded by Badfinger. But the rest of these solo studio demos are quite
up to scratch with Badfinger's usual standards: it's not nearly as good as
Paul McCartney's late Beatle tracks, for instance, but it's actually
better than McCartney's typical early solo material. Ham is a thinking
listener's rock romantic, offering emotional, wistful words and melodies
without sounding sappy. Purists should be aware that, although Ham played
most of the instruments here, some overdubs were added in the 1990s by
other musicians, for the purpose of giving the tracks a fuller, more
balanced sound. It's difficult to judge whether this decision was
justified without hearing the original versions, though one wonders
whether diehard Badfinger fans (the primary audience for this release)
would really care that much about any sonic imperfections in the
originals. In any case, the end result sounds pretty tasteful, without any
obvious concessions to dressing up the essential sounds in modern
technology.
Benno Internet Magazine
April 1997
Tommy Bergman
27 years old Pete Ham took his life on April 24, 1975. In a first version
of this review I was very diplomatic, not blaming the music industry for
this tragic event. I've changed my mind. To each and every cynical scum
bag in the business that robbed Ham not only of his money but also of his
visions and in the end his life: Fuck you, and may you burn in Hell!! The
material on "7 Park Avenue" are Ham compositions from late '60s early
'70s, recorded in the studio whose address make up the album title. Some
of them are stripped-down solo versions of some Ham-penned Badfinger
songs, but most of them are just songs Ham wrote that by different reasons
didn't found their way into any Badfinger album. Most of them are sparsely
orchestrated and delicately arranged, leaving nothing else but a sensitive
Pete Ham performing songs that are both personal and intimate in a way
that makes it impossible to be indifferent to them. Even if this album
sound more like Alex Chilton's (okay, Big Star's, then) "Sister Lovers"
(aka "Third"), listening to "7 Park Avenue" makes me come to think of
another Big Star, namely Chris Bell, someone I imagine Ham shared even
more things with, especially outside the music. That both of them died way
too early is nothing but a huge tragedy and a big loss, I think, and
listening to these recordings fill me with lots of different feelings,
most of all sadness over the fact that an extraordinary songwriting talent
never got the chance to develop all his potential. Wholeheartedly
recommended. Just a final note: This is another of those records that are
the reason why one cannot but love Rykodisc, not the least for the
informative linear notes and the general care they take in their releases.
I wish there were more labels like this.
David Elliott Reviews
http://www.geocities.com/taosterman/badfinger.htm
Score one for Rykodisc! Pete was evidently a busy bee prior to his death,
and this collection of demos is just the ticket for the discerning
power-pop lover. The early version of "No Matter What" is on here, as well
as gentle, beautiful acoustic malarkey in the form of "Coppertone Blues",
"Island", and his stark, depressing odes to suicide "No More" and
"Ringside". Chilling stuff. Get some Ham into your diet. I've been waiting
to use that joke the whole time I've been writing these reviews. I hope
you appreciate it.
Reader Comments
mikeyk@voyager.net
My impression after purchasing this was total amazement. After reading all
that I have about Badfinger, it was obvious how totally democratic this
band was...Pete was really holding back a wealth of talent so that the
other three could contribute equally. Noble, but a damn shame. If they
would have had a real manager and some direction, they would have been
unstoppable. Well, maybe not...the kind of success they could have
achieved might have totally ruined them. Is it worse to be poor,
downtrodden creative geniuses, or fabulously wealthy sellout schlock
artists?
E-Opinions
Badfinger Genius
Pete Ham's 7 Park Avenue
by sparkospunky
June 26 , 2001
Pros: Great songs by a great songwriter, stripped down demo mode
Cons: Some might not like the lack of polish
The Bottom Line: This album presents the raw, unpolished work of a great
songwriter and musician--it's a gem that any music aficionado will
appreciate.
Recommended: Yes - Rating: 5 stars
Pete Ham's 7 Park Avenue is the type of album that the true music fan will
salivate over--you might call it a "diamond in the rough". All of the
songs on the album are demos recorded by Ham on very primitive equipment
in the late 1960's and early 1970's. Although additional musicians were
brought in in 1993 or so to do overdubs on some of the tracks, the liner
notes give the assurance that all vocal performances and guitar licks are
as originally performed by Pete Ham. Because of the original recording
methods that Ham employed, the album contains a disclaimer that some
tracks may be a little unbalanced musically, but to me that's the whole
appeal of a work like this--it's real, genuine and raw. Heck, I wish they
would have left off the overdubs--I would prefer a total homemade album,
but the record company couldn't resist the opportunity to add a commercial
sheen to this collection of tunes.
Pete Ham was the moving force behind the British power pop band Badfinger.
Discovered by Paul McCartney and signed immediately to the Apple label,
Badfinger delivered several solid albums before tragedy struck the
group--Ham committed suicide in 1975, and another member killed himself as
well, although I'm not sure when. Although their time was brief, Badfinger
had several songs which made the charts, and the songwriting skills of
Pete Ham were largely the reason.
Ham shows a keen affinity for family on Catherine Cares, a song about his
mother, Dear Father, dedicated to his father, and Sille Veb, a tune about
his wife with her name spelled backwards. All of these songs show Ham's
skill at writing a melody, although the simple acoustic accompaniment of
Dear Father is touching and very relevant. Coppertone Blues, featuring
only Ham and his acoustic guitar, is anything but the blues, and features
some fine guitar playing by this talented musician.
Matted Spam is some pretty edgy blues-rock which shows some of the mixing
imbalances that the liner notes warn about--the vocals are a little buried
in the mix, but you can still get the general idea. No Matter What was a
huge hit for Badfinger, but Ham's simple acoustic version puts a whole new
spin on the song, which I really like.
Weep Baby and Hand In Hand are acoustic numbers with some overdubbed
vocals and bass guitar, but both tracks retain that homemade feel. Island
gives us a touch of the Caribbean, while I Know That You Should is the
type of British power pop that Badfinger practically patented. No More and
Ringside convey the strength of Ham as songwriter--he was a slave to the
melody, and that's the hallmark of any great songwriter.
This unique recording has a total of eighteen tracks--if you're like me,
the obscure and raw feel of these songs will mesmerize you. The foldout
booklet is loaded with information about Pete Ham and Badfinger, and about
the recording of this album. The lyrics to each track are included also.
This album may not be for everyone--if you geek out over stuff like this,
like I do, you need to pick it up. If you would like to see the work of a
great songwriter in a stripped down mode, this is a fine example, and the
genius of Pete Ham shines through clearly.
Extended Playhouse
Rodney Griffith
2001
Peter William Ham (1947-1975) was one of the preeminent songwriting
talents of the 1960s and 1970s, although only recently has there been a
concerted attempt to establish this. In spite of his position as one of
the principal creators in the Iveys and Badfinger, his reputation has
languished, unjustly, in relative obscurity. In either incarnation Ham was
the group's most prodigious, and arguably its most gifted songwriter. The
two CD collections of his demos, 7 Park Avenue and Golders Green, are a
treasure trove of previously unknown pop songs, a legacy many of his fans
hadn't even guessed existed.
The original tapes — left to Pete's brother, John Ham, who later
entrusted them to Badfinger biographer Dan Matovina — were recorded at the
Iveys/Badfinger house in Golders Green on a Revox Sound-On-Sound tape
machine. Constructing arrangements as elaborate as the portable mono
recorder allowed, Pete accompanied himself on guitar, keyboards,
percussion and even drums, overdubbing harmonies to eventually create
fully formed ideas for presentation to the Iveys and later Badfinger. The
rescued tapes showed considerable deterioration, necessitating extensive
technical cleanup under Matovina's direction in 1993. Some of the demos
were then subtly enhanced with careful regard to the accuracy of the era
in which they were recorded. (None of the lead guitar or vocal parts were
altered.) Notably, former associates including Iveys member Ron Griffiths
and onetime Badfinger keyboardist Bob Jackson contributed to the
overdubbing sessions. The sound quality is impressive given the tapes'
origins; in only a few instances (e.g. "Sille Veb") are the source
limitations apparent enough to be distracting.
Only a few songs are familiar, and surprisingly few follow in a
recognisable Badfinger style. 7 Park Avenue contains a beautiful acoustic
reading of "No Matter What" and an early version of "Island" more closely
resembling The Who Sell Out than any Badfinger recording. Golders Green
contains a piano demo of "Midnight Caller" that includes a harmony part
that was not used when the song was recorded for No Dice. "Without You"
appears in its embryonic form as "If It's Love" (missing the Tom Evans
chorus, "I can't live/If living is without you"). Of the unfamiliar songs,
"Live Love All Of Your Days" would not have sounded out of place on Maybe
Tomorrow or even Magic Christian Music; "It Doesn't Really Matter" is
brother to "No Matter What."
For the most part 7 Park Avenue and Golders Green explore directions
Badfinger never chose to take or that the Iveys were never able to have
released. Pete's acoustic "Coppertone Blues" is stunning and hypnotic, as
if the Beatles' "Julia" had been written and recorded by Paul instead of
John. "Sille Veb" (his onetime girlfriend, Bev Ellis, spelled backwards)
has the same kind of haunting quality. The two discs even hint, to a
modest degree, at pop's future, foreshadowing Sheryl Crow ("Matted Spam")
and Sloan ("Where Will You Be").
Ham's gentle nature, introspective yet caring for the world outside, was
at odds with narcissism of 70s rock; since Badfinger was aspiring to be a
part of that system, the touching song about his mother, "Catherine
Cares," would have been hard to place. Cautionary affection, as in "Dear
Father," "Just How Lucky We Are" and "Hurry On Father" was out, to rock
music's collective loss. Not all of the unearthed material shows Ham to be
exclusively contemplative. A humorous rocker, "Richard," celebrates his
manhood. His playful good riddance to winter, "Goodbye John Frost,"
revisits the ska of the Beatles' "Ob-La-Di, Ob-La-Da" and a rare
instrumental, "Pete's Walk," reveals Ham's underrated skill as a
guitarist.
Golders Green contains 20 additional demos from 1967 to 1975, bookended by
two versions of "Makes Me Feel Good" (the first, from 1968 exemplifies the
classic Iveys sound; the second, from 1967, closely resembles the Kinks).
The second volume is an even stronger collection than the first. 1969's
"Dawn" incorporates brilliant psychedelic layered guitars; "I'll Kiss You
Goodnight," reputedly the song that secured the Iveys a publishing deal
with Apple, is pure pop songwriting, giving (along with the first volume's
"Hand in Hand") the clearest encapsulation of the Iveys' sound outside the
Maybe Tomorrow LP.
The frustration he experienced late in his life is evident in "No More"
and "Ringside" (on 7 Park Avenue). The lyrics to "I've Waited So Long To
Be Free" are, for Ham, unusually blunt: "Passing the buck/But I don't give
a fuck/If they ever accept or believe me." It seems astonishing that so
many of Pete Ham's songs were otherwise fated to be binned, but 7 Park
Avenue and Golders Green have done a great service in preserving Pete
Ham's legacy.
Salon Magazine
March 26, 1997
Sean Elder
In the early '70s, radio was suffering from Beatles' withdrawal. After
announcing their break-up in 1970, John, Paul, George and Ringo began
cranking out solo albums of various quality while rock listeners became
instantly nostalgic for the Fab Four. Even straight publications such as
Life got in on the act, lauding their collaboration as genius, their days
as halcyon.
Badfinger arrived at the time of the Beatles' demise, and though they may
not have filled the void, the English foursome did offer a paler version
of the Beatles' sound that radio audiences found winsome: Between 1970 and
'72, "Come and Get It," "No Matter What" and "Day After Day" haunted the
top 10. Their sound-alike ascendancy was not coincidental. As the Iveys,
they were one of the first bands signed by the Beatles' Apple Records, and
it's small wonder that McCartney picked theirs out of the avalanche of
demo tapes the label received. Hearing principal singer-songwriter Pete
Ham's McCartney-inspired compositions must have made this a no-brainer for
Paul, like George Bush picking Dan Quayle out of a line-up of
vice-presidential contenders. He knew this kid, he liked his style.
It was McCartney who wrote the band's first hit, "Come and Get It," which
appeared on the soundtrack of "The Magic Christian" (a film starring, as
luck would have it, Ringo Starr). Soon the newly christened Badfinger was
backing the other former Beatles in their solo efforts and reaping the
benefits of pop success. At 7 Park Ave. -- the band's residence/rehearsal
space/studio -- Badfinger biographer Dan Matovina reports, "everyone else
living in the house would just be waking up and making breakfast, and Pete
would pop out of the studio with a new song." This was a familiar rock 'n'
roll dream, a scene from a Beatles movie.
Some of the songs Ham composed and recorded in that room are included on
"7 Park Avenue," a collection of 18 unreleased solo recordings from the
late '60s and early '70s. Some are finished and radio-ready, featuring Ham
and a band of non-Badfinger sidemen; others have a workbook quality and
feature a double-tracked Ham accompanying himself on vocals and guitar.
While some will be familiar to Badfinger fans (a sweetly confident solo
version of "No Matter What"; a rave-up variation of "Day After Day"
entitled "Matted Spam"), most of the songs collected here rescue Ham from
the power-pop bin to which he has been consigned by giving us a glimpse of
the singer's more introspective side. "Weep Baby" and "Dear Father" are
positively downbeat but filled with pop inflection -- like Nick Drake
sitting in with the Hollies -- while in gems like "Hand in Hand," Ham puts
on the brave face, beseeching a lover to be strong.
It was strength, apparently, that the singer lacked. Badfinger's financial
troubles, part of the legacy of the snake-bit Apple enterprise, were
complicated by the band's switch to Warner Bros. in 1974 for a reported $3
million advance. The label immediately accused Badfinger of
misappropriating funds and pulled the debut Warner LP from stores. On
April 23, 1975, Ham hanged himself at his home in Weybridge, England. He
was 27. And while his problems presumably ended there, the band's
continued: Surviving members did not see royalties from their Apple days
until 1985, after bassist Tom Evans had worked as a pipe fitter and
keyboardist Tom Molland installed carpets. Evans tried reviving the outfit
before he, too, hanged himself in 1979, setting an odd and unenviable rock
'n' roll precedent.
There are problems with looking for clues to Ham's self-destruction in the
sometimes formulaic pop melodies collected on "7 Park Avenue," though it's
hard to ignore lines like "I can't face the mirror anymore." The singer
may have written his epitaph in "Just Look Inside the Cover." Most of
these songs were written at the height of Badfinger's fame, when they were
ubiquitous and seemingly anointed. 1971 found them playing house band at
George Harrison's Concerts for Bangladesh, backing up such rock royalty as
Harrison, Clapton and Dylan. Standing in the shadows onstage at Madison
Square Garden, with their fresh faces and shag haircuts, they looked like
snapshots of the early Beatles -- kind of like those wax figures on "Sgt.
Pepper's" funeral tableau, just a few feet away from the real thing,
mournful at the undertaking.
Sympatico
by Mike Barsczewski
7 PARK AVENUE is a collection of solo demos recorded by Badfinger
singer-guitarist Pete Ham in the late 1960s and early 1970s. Additional
parts were overdubbed by other musicians. Ham died in 1975. Personnel:
Pete Ham (vocals, various instruments); Derrick Anderson (bass); Rick
Cammon (drums); Bob Jackson, Ron Griffiths. Includes liner notes by Andy
Davis. 7 PARK AVENUE, whose title refers to Badfinger's home address upon
moving to London when they were still known as the Iveys, is a collection
of homemade recordings cut by the band's vocalist Pete Ham between the
late 60's and early 70's. Despite claims by detractors who felt
Badfinger's success was due only to their association with the Beatles,
this collection shows Ham to have been a gifted composer whose knack for
writing pop songs went beyond merely aping anyone else. The demos of
"Matted Spam" (from their Warner Brothers debut) and the hit "No Matter
What" convincingly make that argument. A sensitive songwriter, Ham also
wrote hook-laden nuggets about his mum ("Catherine Cares"), an apology to
his wife ("Sille Veb," her name spelled backwards) and a song dedicated to
his niece using lap guitar and light bongos for a South Seas feel
("Island").
IONE
April 1997
Graham Stephen
Not a reissue, but an unearthing by those wonderful Rykodisc people of
demos recorded by the Badfinger man, suicide victim at the age of 27
having been well and truly stitched up by the music biz. Always lived in
the Beatles shadow but he was a great writer and singer.
… mentioned last week but now I've finally heard a copy! For those who
don't know, Pete was the main writer in Apple band Badfinger. He co-wrote
the song "Without You" which won an award recently for most played song on
U.S. radio. Badfinger had a few hit singles in the late 60s/early 70s but
were well and truly shafted by the music biz in the process. He committed
suicide in 1975 totally depressed by the whole situation, sadly his
co-writer Tom Evans followed him in 1983. The remaining members of the
band and their managers somehow managed to lay claim to the songs,
collecting that US award without mentioning the fact they had no hand in
writing the song. This album collects some of Pete's fragile demos
including two of his last songs and a heartfelt acoustic version of the
hit "No Matter What."
Kilmarnock Standard
Ian Russell
Pete Ham was the driving force behind Badfinger, a seventies band
tragically ignored until it was too late. Signed to the fab four's Apple
label, Badfinger found the pressure, and the expectations, piled up as
their initial successful surge waned. a pure pop songwriter, Ham's songs
are infectious, personal, and introspective. the Rykodisc album, 7 Park
Avenue, posthumously collects 18 emotionally poignant solo recordings from
the late 1960s and early 1970s. In the stripped-down form they're
available in on the new CD, his songs display an intimacy that was often
lost to the production gloss on Badfinger's studio albums.
New York Daily News
May 18, 1997
Jim Farber
Badfinger won fame for releasing some of the catchiest power pop of the
70s ("Day After Day," "No Matter What"). Now Rykodisc adds greatly to our
understanding of Badfinger leader Pete Ham by unearthing a collection of
demo recordings he made in the early 70s. The music, acoustic material and
small-band selections, consisted of solos by Ham (to be brought to the
group later to flesh out). it's amazing how complete and unblemished they
sound in this raw form. Many songs never even made the final cut for
Badfinger's albums, which is amazing considering their melodic sweep.
In this form, they're far more personal than anything the band cut. The
recordings combine the melodic sheen of power pop with the heartbreak of
confessional singer-songwriters. The personal nature of the recordings
gains even more poignancy given what happened to Ham. He hanged himself at
age 27 in 1975, which leaves this as his most intimate legacy.
Lancashire Evening Post
May 17, 1997
Ham was the doomed frontman and founding member of Badfinger, signed to
Apple in 1968 and responsible for a string of hits until their career
floundered six years later. Ham took his own life in 1975 and this album
posthumously collects 18 previously unreleased solo recordings from the
late 1960s and early 1970s. Emotionally poignant, Ham's vocal and delivery
on songs like Hand In Hand are heavily Beatles-influenced but here was a
man with rare songwriter's talent.
Good Day Sunshine
August 1997
Matt Hurwitz
… 7 Park Avenue (Rykodisc RCD-10349) was released on March 18 of this
year, and offers 18 previously-unheard demo recordings by the band's most
chart-worthy tunesmith, Pete Ham… This new Pete Ham album represents a
cache of unreleased demo recordings Ham had made in the late 60's and
early 70's. The Iveys… The disc offers a clean, unproduced look at Pete
Ham's wonderful songwriting ability, as well as his fine singing voice…
There are several great tracks on the album, beginning with the disc's
opening track, "Catherine Cares," an ode to his mother. One highlight for
fans is Pete's original demo for "No Matter What," with just Pete singing,
accompanied by his acoustic guitar (in the demo, one might note the
absence of a break in the middle of the song for the guitar lead; towards
the end of the demo, Ham hums a fade-out, likely where he envisioned the
lead guitar section). There is also a demo for "Matted Spam," released by
Badfinger on one of its Warner albums, as well as "Coppertone Blues," a
simple, bluesy acoustic ballad with a beautiful vocal. Many of these songs
are very Iveys-y, with the group's simple pop sound of the day.
There are also some very hot rock tracks, such as "Leaving On A Midnight
Train," featuring some hot lead guitar by Pete, and "I Know That You
Should," with a sound more in line with Badfinger's developing rock sound.
"Just Look Inside The Cover" offers a sound of the day, with hippie-era
lyrics, discussing such matters as "You say my hair is long…" And then
there are examples of those thoughtful, timeless Pete Ham lyrics, such as,
from "Just How Lucky We Are," "When I think of the suffering people, who
would give anything to be free, would I still believe God was a kind man,
if that suffering person was me?"…
Revolutions
1997
Singer, songwriter, multi-instrumentalist, frontman and founding member of
Badfinger, Pete Ham is remembered in 7 Park Avenue which posthumously
collects 19 previously unreleased, emotionally poignant Ham solo studio
recordings from the late 1960s and early 1970s. Amongst the album's
material are pre-band recordings of "No Matter What," "Matted Spam," and
"Coppertone Blues," long sought after by collectors, Badfinger's affairs
were mismanaged throughout its entire career and the strain that this
exacted on its members began to increasingly dominate, and ultimately
destroyed their relationships with each other. Producer Dan Matovina
characterizes the situation, "They were naive young men who were deeply
dedicated to their craft. They were eager and willing to trust people, and
so devoted that they just followed blindly until they were in too deep to
get out." Concurrent with his professional strife, Ham was also despondent
due to personal problems. The mounting pressures he was experiencing
ultimately led him take his own life - he hanged himself at his home in
Weybridge on April 24, 1975. A prolific songwriter, Ham spent a great deal
of time throughout his career in the band's residence/rehearsal
space/studio (the address of which provides the releases title) writing
and demoing new material. he took refuge from the pressures of his life in
the studio's padded 8' X10' room. Matovina tells of frequent occurrences
where "everyone else living in the house would just be waking up and
making breakfast, and Pete would pop out of the studio with a new song."
While democratically sharing songwriting responsibilities within the
group, Ham accumulated a substantial body of songs which, until now, has
never seen commercial release. 7 Park Avenue presents a generous overview
of Pete's solo recordings from Badfinger's golden era.
Ink Nineteen
July 1997
Hal Horowitz
I t's almost too cruel to mention that if Pete Ham had any inkling of the
influence he'd have as a songwriter to a generation thirty years later, he
might have thought twice about hanging himself in April of 1975. Twenty
seven years after his tragic suicide Ham is still a force in contemporary
pop as evidenced by Mariah Carey's hit version of "Without You.' but it
still comes as a revelation to hear Ham's home demos of his songs on the
newly released 7 Park Avenue (the title refers to the address of
Badfinger's residence in London, which was also the location of a demo
studio). Originally recorded and overdubbed on two-track reel-to-reel
tapes, these mono songs (a few of which ended up on Badfinger albums in
rearranged versions), featuring Pete's guitar and vocals, sound remarkably
good. In honesty the liner notes explain that some doctoring was done to
these tapes with bass and percussion affixed in 1995 to fill out the
sound. But this was no hack job, Ham's voice sounds clean and clear, and
all the guitar parts are played by him. Most importantly though, these
demos performances which were never intended for public hearing, show
Ham's deeply felt emotion and knack for writing a great pop hook while
keeping the passion and feelings pure.
MOJO
April 1998
Paul DuNoyer
… 7 Park Avenue is Pete Ham in nearly-unplugged mode, working up numbers
at home. these include the prototypes of Badfinger tracks No Matter What
and Matted Spam, and the spectral late recording No More and Ringside, but
also some beautifully-realised, fundamentally contented works such as
Coppertone Blues and Live Love All Of Your Days. To hear Ham in unadorned
form is to think of him, not in some powerpop context, but more in terms
of his contemporary, Nick Drake, who died six months before him. Their
worlds never coincided, but there are some poignant parallels.
Request
December 1997
Mike Lehecka
As Monty Python heralded (in Monty Python and the Holy Grail), "Bring out
yer dead!" this year's most fascinating archive set is 7 Park Avenue
(Rykodisc), a collection of demos from Badfinger leader Pete Ham, who
hanged himself in 1975, but stayed a hummable charmer to the end.
Goldmine
October 10, 1997
Lee Zimmerman
The saga of Badfinger is one of the most contradictory in the annals of
rock, a roller coaster ride from the heights of success and adulation to
depths of deep despair. Here was a band nurtured by the gods (ie. The
Beatles) only to succumb to their own personal demons, leading to the
suicides of two of its four members. The life of Pete Ham, one of the
band's principal songwriters, mirrored that turbulent tale and his death
in 1975 laid open the dark recesses that had plagued the band since the
waning days of the Fab Four's Apple label.
Now we have the first "solo" album credited to Ham, a collection of demos
and personal recordings recorded for the most part at the band's communal
home, the address of which is the album's namesake, shortly before they
would change their name from the Iveys to Badfinger. Although some of the
tracks would be later embellished by various studio musicians, the essence
of the recordings remain rudimentary, raw, and deeply personal, especially
in comparison to the sonic sheen that was lavished on Badfinger's George
Harrison and Todd Rundgren studio productions. They run the gamut from the
innocence of love in bloom to later tracks that reflect Ham's
disillusionment with the entire business of making music thanks to
downward career spiral he was unable to cope with or control.
Consequently, those expecting a great lost Badfinger album will be sorely
disappointed. The infectious hooks and Beatlesque bouyancy, so prominent
in the band's early Apple endeavors, are found only occasionally, confined
to songs like "It Doesn't Really Matter," "I Know That You Should," and
the beautiful ballad "Dear Father." Two tracks that would later surface
with the group, "No Matter What" and "Matted Spam," are radically
different in these early incarnations. Hearing Ham so plagued with doubts
and disappointment, as manifested in such songs as "Catherine Cares," an
apology to his mother for his neglect as a son, the forlorn "No More"
("Drunken days, drunken nights/Someone please turn out the light") and
"Ringside," a bitter barb directed at the music industry ("… I can't bear
to feel the sorrow/or the evil that you've shown…"), you feel like you're
reading a suicide note in the making. The most hopeful song of the set -
and coincidentally, one of the best - is "Just How Lucky We Are" comes so
late in the chronology that even its hint of optimism seems to come as too
little too late to halt the inevitable.
Listening to this album now, and knowing of its authors inevitable fate,
can't help but taint the enjoyment of listening to these tracks anew. As
in the discovery of any archival piece, there is a certain fascination
that comes from eavesdropping on these personal passages. But no matter
how interesting and revealing one finds it, in the end it's that sense of
dread and doom which leaves the most enduring impression. For many, 7 Park
Avenue won't be a place that they'll return to very often.
Anodyne
March 1998
Stuart Bath
… During the course of his exhaustive research, interviewing and winning
the trust of key people involved, (Dan) Matovina also assembled some
excellent Pete Ham home demos that were released on Rykodisc last year as
7 Park Avenue, a collection that reveals the late Ham as a very talented
and heartfelt singer, songwriter and arranger, and certainly the most
vital and creative member of Badfinger. Matovina explains that Ham was a
kind and loyal person who always tried to see the best in everyone.
Unfortunately, his dealings with (Stan) Polley left him broken, his
shining faith in his fellow man evaporated. His suicide note said, "I will
not be allowed to love and trust everybody." Ham chose death over
cynicism. The most fundamental aspect of his character was corroded by his
association with greedy, amoral people, a sentiment which is also
reflected in his song, "Ringside,: off of 7 Park Avenue; ("Take your seat
by the ringside/Watch them bidding for your blood…/I can't bear to feel
the sorrow/Of the evil that you've shown)
Sound
Scott Cooper
As a member of Badfinger, Pete Ham penned a handful of timeless hits, such
as "Day After Day," "Baby Blue," and the ballad "Without You." But, as
this disc proves, Ham's melodic songwriting went much deeper than a few
mere hits - and even deeper than the six Badfinger records.
This collection of previously-unreleased home studio recordings (with
sparse overdubs by former bandmates) includes numerous songs about his
relatives: father, mother, girlfriends, and niece. Some of the songs gleam
with hope, while others reflect a frightening despair, Ham committed
suicide in 1975. The common thread is Ham's Beatle-esque melodicism.
"Island" reflects the mood of The Beatles "I Will," whereas "Leaving On A
Midnight Train" shows a direct influence of George Harrison.
Only one of these tunes, "Would You Deny," could have been a classic.
Though he only sings one verse, and hums the second, the beautifully rich
melody is simply infectious. None of these songs beat Ham's radio singles,
but they definitely provide pleasurable listening, particularly to those
already hip to Badfinger.