Badfinger Live Day After Day CD

Badfinger
Live Day After Day
album
released: 1990 September 24
Rykodisc RCD 10189
compiled by Tom Brennan
last update: January 20, 2020

Track listing...
01. Sometimes (Joey Molland) vocal: Joey
02. I Don't Mind (Joey Molland, Tom Evans) vocals: Joey & Tom
03. Blind Owl (Tom Evans) vocal: Tom
04. Give It Up (Joey Molland) vocal: Joey (+Tom & Pete)
05. Constitution (Joey Molland) vocal: Joey
06. Baby Blue (Pete Ham) vocal: Pete (+Tom & Joey)
07. Name Of The Game (Pete Ham) vocal: Pete (+Tom & Joey)
08. Day After Day (Pete Ham) vocal: Pete
09. Timeless (Pete Ham) vocal: Pete (+Tom)
10. I Can't Take It (Pete Ham) vocal: Pete (+Tom & Joey)

Track Listing from CD booklet

Recorded at The Agora, Cleveland, Ohio on 1974 March 04
Original concert broadcast by WMMS-FM

Original set-list:
Day After Day
Constitution
Baby Blue
I Don't Mind
Blind Owl
Name Of The Game
Sometimes
*Perfection
Timeless
Give It Up
*Suitcase
*Love Is Easy (jam)
encores:
I Can't Take It
*Feelin' Alright?
*Roll Over Beethoven

*not part of CD release

Back cover of U.S.A./U.K. CD with publishing credits and CD label:

Click images to open larger scans

Japanese pressing with OBI:

Vinyl release:

Badfinger
Pete Ham: electric guitar, vocal
Tom Evans: bass guitar, vocal
Joey Molland: electric guitar, vocal
Mike Gibbins: drums

Produced by Mark Healey and Joey Molland
Engineered by Mark Healey
2nd Engineer: Scott Bartel
Remastered and mixed at Mike Jones Film Studio, Minneapolis

Overdubs added between 1988 June and 1990 March.

It has been calulated that 210.5 hours were spent on this project, working especially in the evenings and other times in the studios of Bajus-Jones Inc. (subsequently Mike Jones Inc. and known, at least at some time, as the 74th Street Studios). The old 16-track tape had to be transferred to a new 24-track tape. Mark Healey had to clean the tape so that the individual vocals and instruments could be separated out before mixing. This was a complicated process because the original tape had been recorded live with open microphone without noisegates which would have ensured that the particular mike only picked up the appropriate instrument or vocal. It was also necessary to clear off extraneous sounds such as feedback, electrical noises and bangs on microphones on stage. Joey Molland re-recorded some of his own guitar pieces, his guitar having gone out of tune on the night, and vocals.

Booklet Notes by Joey Molland

2000 Court Case details

During their 1974 U.S. tour, Badfinger learned that the Agora in Cleveland, Ohio, contained a 16-track studio capable of live recordings. The group had released five studio albums up to this point but had not made any professional live recordings. Deciding to use the equipment, Badfinger recorded two of their shows at the Agora. Due to audio feedback and a below average performance by the group, the tapes were not used at the time.

The Agora recordings circulated as bootlegs for several years before band member Joey Molland brought them to the attention of Rykodisc in 1988. Molland performed a great deal of rework to the recordings, including overdubbing his vocals, several guitars, and some of the bass. He also used a computer-sampled drum snare to enhance the original drum track that was performed by Mike Gibbins. Molland also rearranged the song order of the performances, placing Pete Ham's compositions at the end of the CD. As a result of Molland's augmentation, the CD has been bitterly reviewed by music critics and fans.

Complications arose for Molland in the mid-1990s when other Badfinger parties objected to the release, citing they were not properly notified. There was also some confusion as to the ownership of the original tapes, which Molland testified were taken by his wife when he resigned from the group in 1974. A lawsuit in Great Britain resolved that Molland should have proceeded differently when releasing the CD, but generally ruled in his favor regarding royalty divisions (which included Molland's compensation for production work).

Wikipedia essay revised by Tom Brennan

AllMusic review by Stewart Mason:
The only officially available live Badfinger release (not counting shoddy '90s recordings by Joey Molland's tacky cash-in project), 1990's Day After Day: Live compiles circa-1974 live tapes, modified in a way guaranteed to enrage purists. Because the original tapes were poorly recorded and unsalvageable, Molland took the soundboard tapes into a studio and re-recorded his own guitar and vocal parts, and, even worse, added a sampled snare drum, mixed far, far too loudly, to all of Mike Gibbins' drum tracks. These alterations are added with little subtlety and less grace, and they stick out like the proverbial sore thumb. In a further bit of self-serving idiocy, Molland re-sequenced the original tape (long a favorite on the bootleg circuit) to move all of his own songs to more prominent placements in the track list, putting all of Pete Ham's songs at the end, utterly disrupting the flow of the original concert. A tacky, poorly done botch, Day After Day: Live should be avoided by all but the most die-hard Joey Molland worshipers.

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