badfinger- magic christian music

SONGALBU · MAGIC CHRISTIAN MUSIC

• .f.BY BADJINGER

K322

X

SONGALBUM

BEAUTIFUL AND BLUE ...

CARRY ON TILL TOMORROW .

CRIMSON SHIP

DEAR ANGIE.

FISHERMAN .

l 'M IN LOVE .

KNOCKING DOWN OUR HOME

MAYBE TOMOR.ROW . .

MIDNIGHT SUN .....

WALK OUT IN THE RAIN .

CONTENTS

6

8

4

10

12

22

24

26

28

30

Hello BADjiNGER. Goodbye lveys. One of the groups signed to Britain's biggest independent record label -

the 12-million-discs-a-year Apple company - - the lveys have changed their

name to BADFINGER.

Reason behind the change, according to group leader Pete Ham from Swansea : "We felt our original name was tao nice. And people kept coming

up asking us if we were the old Ivy League".

To mark their 1970 change of face, the group has just released a new

single, the Paul McCartney composition "Come And Get It" which is used as

a theme sang in the film "The Magic Christian", starring Peter Sellers and

Ringo Starr.

Several Badfinger sangs are also featured on the soundtrack.

As well as Pete Ham and Mike Gibbons, both from Swansea, the group

includes Liverpool -barn Tom Evans who says "Paul McCartney also pro

duced our record, and it was a very relaxing experience working with him".

"He brought out the best in us because he made the whole thing like a jam session .. . like fun" .

BADFINGER started as a local attraction around Swansea dance balls

and clubs and later came to London as backing group for David Garrick.

"' They are prolific songwriters, but regard themselves as their ste est ' c "tics and tend to shelve a new number al as soon as it's written .

nager of the group is an amiable on Urne p ianø-player in a erseyside

dance -and, Bill Collins, 55, who introduced t em to Beatle friend Mal Evans. Mal li ked their sound and had them signed o Apple. /

iThis l is only the second record from BADFI GEB . · l~heir first, their own sang "Maybe Tomorrow", as a big selle in Ame rr ica and ara nd Eur pe.

I

----·_____-/

3

4 CRIMSON SHIP by TOM a.nd PETE

Slow beat oF/A Gm OF/A B~ 0

;m mm æm mm '~i li: 'I ~ j j J J J J 1J J J j J l

My life was col - ored painting pie - tures out of tune. Who put the noughts on all the cross - es on 1he hill? ~]1

When they were bus - y blow - ing kiss - es at the moon,

0 F/A G OF/A l; B~ B~ '· mm 000 mm .I æm mm mm

4~ 'I ~ j j ~- J J J IJ I ' ~ j j ~- J 3 J I

He ca.me from no-where in a song. It might have been '1le way I Why did the old man wash his hands? Whodrew the flow-er that was Her father lost his moth-er's son. And tho' they knew the re - sur -

Gm OF/A B~ 0

F/A G G7 0

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laughed, he made the jokes. Could on - ly show me what wa.s wrong. big e - noughto kill? And blew the trum - pet in the band. ..;.

rec - Uon would be soon, The time wa.s spent, They'd ca.r - ry on.

i o F

æm mm '~ , Ø l L l l l L I~ E

G7

mm '' ~ r r r r r 1 He took me fly-ing on his crim-son ship, He never let me hea.r his

B~ F c F 0 0 æm mm æm mm '~ tfJfto-e=>r l I ' ø r r r r r r I~ r p ..... r l

num - ber._ He took me fly-ing on his crim-son ship,

I 1.2 G7

mm '~ " ~ L r L r r

B~ F

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".

li Then he wa.s gone and I won dered. won dered.

I

~--,

CRIMSON SHIP 8 y Tom and Pete

My life was colored painting pictures out of tune. He came from nowhere in a song. It might have been the way I laughed, he made the jokes. Could only show me what was wrong. He took me flying on his crimson ship, He never let me hear his number. He took me flying on his crimson ship, Then he was gone and I wondered. Who put the noughts on all the crosses on the hill? Why did the old man wash his hands? Who drew the f lower that was big enough to k i 11?

, A d blew the trumpet in the band. ' e teok me flying on his crimson ship,

' e e er let me hear his number. He t~o e flying on his crimson ship, Then lie 'w s gone and I wondered. When they we.re busy blowing kisses at t . Her fat hen lost his mother' s son. And tho' they knew the resurrecti GR::woul The time was spent, They'd carr:;y QD.

He took me f)y ing o- h ~s cl"1rnson ship, He never le1i . hear his number.

1

He tooR me flying on his crimson ship, Then he was gone and I wondered. Copyright © 1969 bv Apple Publishing Ltd., London, W.1, England All rights for the U. S. A. its territories and possessions, Canada,Mexico anp the Philippines are con tro/led by Apple Music Publishing Co., Ine., 1700 Broadway, New1 York, N. Y. 10019 Used by Permission / .

6

BEAUTIFUL AND BLUE

by THOMAS EVANS

Slow beat oA o c#m/G#

)( 0 Drum æm m

,-~ti$? li* r c=>

E j r~ a f La __ la la la

She looks out of her win - dow She_ feels so un-hap - py,

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F#m D oA o 0

æm æm m IJ r f?L j e " -li

:J la la __ la la. la la.

At the peo-ple go - ing by,_ They look so She no long- er ca.res for life _ Has thoughts of

A/G# F#m ær æm

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~- if?ftJ '*r r: r j r e· i 11 ' J1 c r r i i ' tf] hap -py, DL&kes Iler ery. She W&Wt-es them la.ugh - i:ug, Seesthe end-ing all her slrife. The worlcl doeø-n't know_ Iler, U's

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lov - ers hold - ing hands And ev - 'ry - one each oth - er's friende. __ hard and cold and cruel She won - ders why she's such a fool.

c#m/G# F#m

D G E7/G# oA o 000

X 0 0 æm )(0 00

lll mm æm æm mm '*# l r r p r p1r * - I' ø j j ~~ r ~Ir

Beau-U - ful and blue,_ They're not as good ae you . .,_

Copyright© 1969 by Apple Publishing Ltd.,3 savile Row, London,W.1, England All rights for the U.S.A. its territories and possessions. Canada, Mexico and the Philippines

are controlled by Apple Music Publishing Co., Ine., 1700 Broadway, New York, N. Y. 10019 This arrangement Copyright© 1970 bY Apple Publishing Ltd.

International Copyright Secured Made in U.S.A. All Rights Reserved

E7

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80

li

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mm mm I• r J r r

Beau-ti-ful and blue,- They're all lone - ly too. __

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li xo 00 0 00 c#m/G# F#m D mm m OA 0 0 X 0

mm æm æm æm They're not as good as you.

'*#3" r ~ø ri _n li 1 ..P--..J. i l - I' ~ r DiF *

- It EJ P r ~=1 They're not as good as you._ Beau-ti-ful and blue,

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They're all lone - ly too. __ p They're all lone - ly

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8

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CARRY ON TILL TOMORROW

by TOM a.nd PETE

Gm

mm Cm

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leave

In young- er days I (Be-) yond the shad-ows

Drin - ing on the

B~7

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. .......__.... told myself my hfe would be m.y own. _ of the elouds and on - ward to the sky._

wings of free-dom, leave this s~orm-y day, __

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the plaee where sun- shine nev - er

And I'd Car - ry And we'll

r· ~ on __ till I find the rain-bow's

shone.l end. For my life's too short for

ride __ to to - mor-row's gold - en fields.

B~ Cm Fm mm 0 ;m mm ;[? ~ J 3 I J. "-

'1 * I J. ~ J. J1 J J J J. wait- ing when I see the ris - ing sun, then I know a-gain

to Coda. G7 cm B~ A~ B~7

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I must ear-ry on. Car - ry on till to - mor - row, there's

Cm/B~

å r 1r r t r

rea-son to look back._ Car-ry on, ear- ry on, ear- ry on. __ _

Copyright@ 1969 by Apple Publishing Ltd.,8 Savile Row, London,W.1, En.gland All rights for the U.S.A. its territories and possessions, Canada, Mexico and the Philippines

· are·controlled by Apple Music Publishing Co.,Inc., 1700 Broadway, New York,N.Y.10019 This arrangement Copyright @ 1970 by Apple Publishing Ltd.

International Copyright Secured Made in U.S.A. All Rights Resened

)i that

~ no

Be-

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9

J 2 Cm .D. 1S al + Coda Cm Gm

mm mm .CODA

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on. __ on, car-ry on, ear-ry on. _

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rest my wear-y head,_ for the world and its eol-ors will be mine.

Am 0 B~ c Dm 0 0 0

æm æm æm mm '~ - J r I r" ~ r· ~ I EJ r f J ·I J. JJ J IJ l ) J.

For my life's too short for wait-ing when I see the set-ting sun, then I

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J 1r r r r J r •P J @J l r Ir r r mor - row, there's no reason to look back._ Car - ry on, ear- ry on, carry

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on. Car - ry on. Car - ry

10

DEAR ANGIE

by RONALD GRIFFITHS

~ A6 c#m/G# A7/G

Slow beat )( 0 )( 0 æm m æm

'I# tf li: r j t - p I r F F r [ r r " j De ar

(Dear) An - gie, just these lines to con - firm some-thing An - gie, how's your folks and rel - a - tives? I

(Dear) An - gie, I've beat a - bout the bush, it's time I

F#m » (maj7) F"rn~ B9 AG æmmæm æm

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you may know. hope they're well. spoke my mind.

Dear An-gie, Dear An-gie, Dear An-gie,

please ex - cuse the writ - ing, it's my l'm spend-ing my va - ca - tion at that lt's been a long time com - in', guess l've

to Coda. F#rn # ( ·7) F rn7 B9

mm æm mm J. - li i J J J

nerves, you know. same ho - tel. been un - kind.

When you caught your train to - day_ you l've known you now for one whole year,_ there's

F#rn

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J J j J J J I J J w J J J .._. J J took my heart some-thing l've

and soul a - way,_ I can't wait till Fri - day not told you, dear,_ Turned a blind eye for too

1 li 2

1 J 1 J j J J J I ;J ' , =li J see you, touch you, hold you tight. ___ _ De ar let - ter proves that l've been wrong. __

. Copyright© 1969 by Apple PubliShing Ltd.,3 savile :Row, London,W.1, England All r1ghts for the U.S.A. its territories and possessions, Ca.nada.. Mexico and the Philippines

are controlled bY Apple Music Publishing Co .• Ine .. 1700 Broadway, New Y<ll'k. N. Y.10019 This arrangement Copyright @ 1970 by Apple Publishing Ltd.

International Copyright Seeured Made in U.S.A. All Kig.hts Reserved

J f! l .._.

nighL to long,_ this

Ba

11

c#m1 c#dim

æm æm - 1r ~~r

ba ba, Ba l've

B9

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known you now_ for one whole year, there's some-thing l've_ not told you, dear,

B9

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turned a blind_ eye for too long, this let - ter proves that l've been wrong._

F#m7 B9 F#m 0

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i li • '*# - t ~ 1r j t t ø I ~ CODA ' ' .......

Dear De ar An-gie, the

B9 F#m mm ts}?n

ælt '*# r E j ~· I " t i ø c: d " J

writ - ing's on the wall,.. De ar An - gie, I

B9 F#m

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love ' all,- that's all. you, youre my guess

12

FISHERMAN

~ ioo :JM:oderately ~

r r 'Tween the dark-ness and

Dm7/G

im

morning turns dark-ness and

by THOMAS EVANS

D7

æ LJ1r ~ ~ J J JJJ J J tr1r * J J 1

the light_ as the stars_ fade out of sight, I can to noon_ he's con-tent_ to sit and croon, As he

the light_ theline is taut,_ he has a bite, And he

G

li 4 t1 J J J u1r r r !11r • - 1- J J ø1r r ~ r fl

hear his shin - y boots fall on the sand. lights his twist - ed pipe- and set - tles down. hands the beau - ty in _with skil-ful pride.

With a bas - ket at his side_ On-ward goes the time_

Then his pa - tient mind is blown,

D7 Dm~G

æm æm ' t1 -r t J J 3JJ J Jl r p1r * J J I J J J r I r r r J I

and a morn - ing full of pride, you can see him cast his line with skil- ful as he tries_ new bait-ed line,_ so he digs an - oth - er worm up from the

'cause the fish_ is o -ver - grown, it was really worththe day for such a

hands. ground. prize.

G

æ~ It - f li§ t (

Dm7/G C æm to Coda•g

1r utjr _ 1w n'1 r G

li Ir J J.'='I

fish-er-man, __ Wish you luck, that's all I can._

Hey, hey,_ fish- er-man, __ For- get the world, if that's your plan._

2na time .D. *at-$- Ooaa

- I - J J =li As the

'Tween the

Copyright (il) 1969 by Apple PubliShing Ltd.,8 Savile Row, London,W.1, England All rights tor the U.S.A. its territories and possessions, Canada, Mexico and the Philippines

&re controlled by Apple lllusic Publishing Co., Ine., 1700 Broactway, New York,N.Y.10019 Tllis arrangement Copyright@ 1970 by Apple Publlshing Ltd.

International Copyright Secured Made in U.S.A. All lUgh&s Beserved

li

BADFINGER Mike Gibbons

When BADFINGER drummer Michael George Gibbons

opens his mouth to speak, the words race from his throat

and sametimes never make it to the world outside. "I don't

real ly like to talk tao much," he says. "I like to think".

Sametimes almost-painfully shy and withdrawn,

drummer George confesses : "I 'm not a very good conversa

tionalist. I let other people have most of the running,

except if they come on strong. Then I speak up. Maybe l'm just lazy .

"A lot of the time I tend to get quietly unhappy, like

just befare 'Come And Get It ' was released and we were

having it hard and I hadn't been eating. Not eating depresses me. Being broke depresses me. And l've had both .

"lt's not that we're extravagant in BADFINGER. lt's just that somehow, when we've gat money, we owe it. l'm

not money-mad, though. lt's not cash I want. lt's the things I want to get with it.

"Another thing about me is, the way I get embarrassed. Every time I look at myself from the outside, I get embarrassed. l'm my worst critic .

"I believe in reincarnation. I wouldn't say I believed in

God, but I do believe in Good . And that's the same thing. "I 've changed in many ways. I haven't gat the hang-ups I

had a year ago . . . it's the things I 've taken that helped. Now, I 've gat same idea where I 'm go ing.

"But l'm still a very sensitive person. Words could

wound me more than same people, even though I 'd try not to let it show.

"Strange the way I gat into the music business .. . I

started in a military band back home in Swansea . I went

into the lot, Army cadets, Navy cadets, Air cadets; I tried them all. I wanted adventure, Scouts' honour and all that.

" First of all I joined the Sea cadets and I tried bugling,

then I gat fed up with that and went into the Army cadets ·

because they had a good band. That's where I started

drumming. When I left it took me a lang timetoget rid of bashing the drum the military way.

"I don't live music. Sametimes I get blocks about it , and I 'm into something else. I 'm not like Pete . .. he lives and

breathes music. l'm not kidding you man, he goes into a

studio and it gets hot and horrible in there but he won't come out. He likes it tao much .

" Sametimes I get really knotted down, really frustrated, because I want to progress as a drummer but it just doesn't happen. I can THINK new things, but they don't always show. Then it knocks me down so much, I just can't get other things together".

The Ouiet World of Michael George Gibbons began on March 12, 1949, and for the record you may wish to know

that apart from red hair and freckles, he was once described

as having the cheeky but slightly unsure smile of a kid caught pinching the bread and jam.

When he joined his first military band, Mike developed

drumming fever and was heard thumping, thumping, thumping on his parents' furniture night and day .

Worried for the safety of his house and home, Dad bought Bread -and-Jam his first set of drums.

It was, indeed, a good day for BADFINGER.

MIKE GIBBONS

BADFI NGER Joe Molland

Joseph Charles Molland is the newest Badfinger, the second Liverpool Badfinger.

He was bom on June 21, 1947; sits tightly on the border between Gemini and Cancer; and faces the world with a measure of confidence. He has style . To his pals, he's Joey .

People sometimes tell him he looks like Paul McCartney , which does not disturb him - and he says, "lt'll be 'doesn 't Paul McCartney look like Joe Molland! '"

He left school at the age of 15, and started his working

life as a messenger boy with a Liverpool shipping office . "It

was the Pacific Steam Navigation Company", he says with

mock pride, "and I got into music when I joined a group with a few of the lads who worked there.

"The name of the group was the Assassins. My brother was in a group befare me, and he made me a home-made

guitar and I was away. Then I left the shipping office and

began to work in a garage with my dad, brushing the forecourt and that.

' · Anyway, I was earning f.5 a week doing that, and about

i15 a week in the group. The group meant more money for

less work - so something inside me said: 'Right, this is the life' . And I went into music full time .

"I left that atter a while, and joined another group jt•st

around Liverpool called the Profiles. Then I was with the

Masterminds for about 18 months, then I moved on to a group backing the Merseys.

"Being with an established group like the Merseys was same kind of step forward for me at the time, but we broke

up and I spent six months sitting around doing nothing at home until my Mam threw me out . She said, get a job with another group - or else . I wasn't bitter : she was doing me a favour .

To his pals, he's Joey.

"So I came back to London, depressed as hell; looked around; went home; then came back again. And this time I

heard about a job playing lead guitar with Ga~y Walker and the Rain . That was great - a big break . We went to Japan

and played same big things . .. befare it all went wrong.

"When they did go wrong, I did my usual thing: I went

home and then spent the first six months of 1969 just

doing nothing, although I did try to get a group together. I didn't have any money: I relied on friends".

The chequered pattern of Joe's career as a group guitarist

has had the name BADFINGER embroidered upon it since

December, 1969, when he was asked to audition at Apple

by manager Bill Collins. He was liked ... and he was in.

"The kind of person I am", says Joe, "is a bit difficult to

describe. Basically, l'm a coward . I don't like making

decisions, not unless I have to. I don't like to offend

people; I like to take the nice way out. I don't like

unpleasantness, and I don't have a breaking point or areal ly bad temper . I just walk away.

" The greatest fear of my life is spiders. I can't explain

it, but I do remember once running from the house screaming because I saw someone on television walking into a spider's web.

"But I wouldn't call myself big -headed . The thing about me is that being in the music business has given me the confidence to feel I can do all the things I set out to do . Can't be bad ."

JOE M OLLAND

r: ~~~-

f

' '

TOM EVANS

BADFINGER Tom Evans

"Basically", admits BADFINGER Tom Evans, speaking with the dry edge on his voice that lets you know it's true, "l'm very introvert . I hate walking into strange rooms or

crowded offices ... I get paranoid because I worry about who's looking at me . It makes me seize up. I forget what to say .

"But put me on a stage, and I 'm completely the

opposite. lt's me who's got the advantage, me who knows what comes next.

"People tell me l'm ruled by my star sign, Gemini. I

don't know. I was born on June 5th and that 's about the strength of it.

"l'm in the music business for good . I couldn't get out of it now. lt's flowing in my ve i ns. I started in Liverpool

with the Calderstones, the local teeny bopper group, one of

the local idols. That was around 1966.

"I can tell you this, Liverpool will never happen big

again. Not like in the days of the Mersey beat boom . The

scene's gone progressive, but the Liverpool people are still

sitting back dreaming about the past . "Badfinger's bag? We're just a rock'n roll group . l'm not

ashamed of it . Sometimes it's easy to go along with the

musical snobs, easy to forget out their in the public.

"We've been through a lot to find where we are today.

We came into Apple and we were the lveys, and we had to

say 'hold on now, where are we?' We were influenced so much by all this superiority.

"Now .. . well now, we've been through all that, and we've jammed around and found out that you've got to

play within your capabilities. lt's no good pretending you're something you're not . Not to the public.

"In Badfinger, we try and channel our surplus creative energy into good songwriting . The moods come and go, but 12 months we were writing two a week and now there's 200 or 300 sangs in there."

He pauses, frowns. "In the past, though, they were nothing sangs. That's

the honest thing about it. Twelve months ago, we just hadn't found our right level. Maybe they were good for the

time, but they're not good for now .

"Between joining Apple and getting our big push in 'The

Magic Christian', we only had one record out . That was 'Maybe Tomorrow'. and it climbed half-way up the

American charts but did nothing in Britain. "That period depressed me more than I can say. I hit

bottom. I began to think that maybe we weren't really good enough, even with Apple behind us. What I came to

realize was that the fault was entirely ours. We sat back . We thought it would just happen . We'd come to Apple and it

was the big pop star thing, we didn't need bother, effort . "Now, we know better. lt's not just being pop stars, it's

a living, a place to channel your mind into. You don 't sit

back. The world doesn't owe you any favours . You have to

keep plugging.

"Not having money, that's what depresses me ...

Getting so much for a gig in the past and thinking it was the

big time, then watching it have to stretch because we had to

pay the rent and the expenses and the trave!. We spend a

fiver a week in packet money, that's all. I mean it .

"I hope all this doesn't sound too miserable . I feel down

sometimes, sure, but l 'm not that way all the time . I love

music, I love the potential, the atmosphere. Once you've

picked up a guitar and played three chords, it's hard to stay

away from it again.

"Once, in Liverpool , I sold all my equipment and more or less gave up. Then I saw all the groups going around, saw

their equipment, and I was back . It got a hold on me.

"Musical ly , I can't stand anything monotonous. Led Zeppelin does some exciting things, but it gets to be a drag

after a while. I like to stay pretty close to the blues thing. "I know where I 'm going now. Acid taught me that, but

I could just as easily have been a fitter in a factory . That's

how I started out. I even did a degree course in engineering. "What l'd like people to know about BADFINGER is

that when we were the lveys, I don't think we were worthy of being with Apple.

"But tell the people we've changed . Tell them we've had

a year in the studios, and a year of tinding ourselves and where we're aimed.

"Tell them we' re a heavy pop group. BADFINGER."

PETE HAM

BADFI NGE R Pete Ham A great deal of the grit and strength of BADFINGER

stems from the grit and dedication of Pete Ham . . . solemn

Pete Ham from Swansea .

Pete is 22, barn April 27 , 1947 , and he started the group when it was t he lveys.

"It was the first time l 'd ever played. with a semi -pro group", he says, allowing himself a smile of nostalgia as he

stares down at the table . "I started harmonica at the age of four , and when I was 12 I started the guitar. Then I played

at school. " This was the big thing, though . There was a very good

scene going in Swansea , and we were playing in the clubs and the dance-ha l ls .

" I was an apprentice television engineer when I decided

to pack it up and go ful I-time, much to my father's disgust.

But I 'm still interested and I like messing about with TV. I can't deny it . .. TV engineering was the job l'd wanted at

the time, and I got what I wanted . But in the lang-term it

would have been second best to being a musician .

" I would like to think of Badfinger's music as mood

music. Something with a bit of feeling, whether it's hard or

saft .

"I regard myself as a fairly average person . I like good

humour - reality depresses me - and I like horror films

because they take me away from reality .

"lt's when I see something like 'Up the Junction,' which

is hard, cold, really real, cruel ; that 's when I get brought down a bit .

"Hospitals are the worst contact with real ity I can

imagine. I used to have to work in them mending the TVs,

and l'd see the old people lying there alone. It real ly got to

me.

"I was brought down when our first record with App le, which was 'Maybe Tomorrow', didn't do anything. The trouble was we were stupid and we sat back and thought it would just happen . And it didn't.

"To be quite honest, I think we conned our way into Apple at first. We didn't deserve it; we weren't that good.

"I think the faet that we wrote good sangs saved us, and

we've also tried to justify being here by trying to get

ourselves together. I think we're worth it now.

" I 've changed a great deal . I used to be vi cious to my

parents, just because they objected to me going full -time

with a group. Now I can see that all they wanted was the

best forme. And we get on great . "I keep to myself a lot. I like parties, mind you, but

when I say that I mean the old -fashioned kind. The kind

where people go to have a good time, not just to roll a joint

and have a big smoking scene. I get pretty het up about this . It seems that every party you go to, you've either got

to blow your mind or get drunk out of your mind to enjoy it . What I like is a real 'knees-up ... a time when people

really enjoy themselves without the aid of artificial things.

"Songwriting is one of the greatest pleasures in my life . I

get the mood usually at night -time, or between 11 p.m . and

five in the morning.

"The sangs we do are usually very varied, but l'm think

ing we'd better start trying to put them into one category .

People in this business like to put other people into a bag. You can branch out when you've got established, but I

reckon our early mistake was being too varied too soon . "I found working with Paul McCartney on 'Come And

Get It ' a fantastic experience . He really brought it out of

us, showed us what it should be like. Very relaxed . "I 'm a worrier,

0

like Tom. Mike, the drummer, he's the easy-going one. Tom and I both get hung-up about if it'll

workout for us. "I hate musical snobs . I hate people who say , for

instance, 'Blues', and that 's it. My taste in music is Music . .. from jazz to rock, and anything in between or outside.

My brother's a jazz trumpeter in South Wales . He's trying

to get a big band together . " I don't believe in God. I believe that Jesus lived and

was a good man, but that's it .

"Talking about music again . I think a lot of groups seem

to Jack melody . They play headache music, and I fall out

with the others in BADFINGER about this because I say

there's only a few albums by underground groups I can sit

down and I i sten to. "I want BADFINGER to be a group people can enjoy.

Music doesn't have to be bad t o be commercial ."

l~M IN LOVE By Pete

I' m not wel I, can't you tel I, I 've never felt I ike th is before, Very strange, got no pain. For I can't wait toget some more. l'm in love, and you taught me What this thing is all about. I' m in love, hey, you caught me, Now you're all l'm thinkin' of. Hold me tight, ev'ry night, And never go away from me, Say you will love me still. When I 'm playin' nine to three. l'm in love, and you taught me

hat this thing is all about. "" ·n love,hey, you caught me,

No ou're all l'm thinkin' of. Where'v -' au heen all my life,

\ I' d I ike to make us man and wife, i~h a houJ just for us.

To see th c~ ildren on the bus."""' i::...=;;,..__,,

Copyright © 1969 by Apple Publishing Ltd., London, W.1, England A ll rights for the U.S.A.its territories and possessions, Canada.Mexico and the Philippines are controlled by Apple Music Publishing Co., Ine.,

700 Broadway, New York, N. Y. 10019 Used by Permission I

22

I'M IN LOVE by PETE

I'm not well, _ (Hold me tight,) _

B70 æm

'f • ., ,...-....._

rr 1 r can't you tell, _ ev-'ry night,_ all my li fe,_

l t

E7 0 00 m

•r , it r p r D=I l've nev - er felt like this_ And nev - er go a - way_ l'd like to make us man_

E7

to Coda+im

t ,. , 1t r F L::rtl _ be - fore, Ve - ry strange, _ from me, Say you will _ _ and wife,With a house_

got no pain. _ love me still. _ just for us. _

For I ean't wait to get _ When I'm play - in' nine

To

_ some _ to

A o

æm p1·r r Elit * more· ~ I'm in love, _ threeJ

B7

li fr.~, r·

and you taught _ me

-

!7 0 00

mm 1t r D r

'What this thing is

D7

mm _ a - bout. I'm. in love,_ hey, you eaught me, Now you're all l'm think-in' of._

- -2nd time .D. *at ... Ooda

Hold me tight, Where've you been

A o B7o

E7 0 oo

-$-conAW

'*~ t r p E' see the child-ren

m æm ,.f sJ"lit s ,.f s;t1r· -

D7

mm

on the bus.

A o

æm

D~I alL

I'm in love, _ And you taught me what this thing is all a - bout, l'm in love_

_ Hey,youcaughtme,

E7 0 00

æm 1r r now you're all I'm think-ing

112 D7

,....., . "--. lm of._ l'm.in love,think-ing of._

Copyright@ 1969 by Apple PubliShing Ltd.,11 savile Row, London,W.1, England All rights for the U.S.A. its territories and possessions, Canada., Mexico and the Philippines

are controlled by Apple Jlusic PubliShing Co., Ine., 1700 Broadwa.y, New York, N. Y.10019 This arrangement Copyright © 1970 by Apple PubllShing Ltd.

Interna.tiona.l Copyright Secured Made in U.S.A. ~n Rights Reserved

- li

KNOCKING DOWN OUR HOME By Peter Ham

Your heart is in your home,they say, Your home's where you belong, But someone stole my heart today, So I i sten to my song. I heard the news today, They're going to move us far away. Seems that our home must go, They're going to build a motorway. It isn't fair. Nobody cares. They're knocking down our home. Ruining all we own. They ' re knocking down our home, Please help us. Don't let them take our home.

a"s cooking at the stave W-here she's cooked for thirty years. Te tboasand meals she's cooked, But now er eyes are filled with tears. It isn 't f air;' obody cares. They 're knoc~tng down our home. auining al l we own. They ' re knocking down our home, Please help us. Don't le t em take our norne. Dad's diggi g ~a t the back But won't oe digging anymore. No flowers or cabbage patch, 'Cause he'll be on the seventh floor. It 1sn't fair. Nobody cares. T ey' re knocking down our home. Ruini ng all :e own. They're:-knocking down our home, Please help us. Don't let t hem take our home. Don' let t hem take our home. Don't let t em take oor home. Copyright © 1969 by ApplePublishmg Ltd., LondOn, W 1, ngland All rights for the U.S.A.its territoriesandpossessions, Canada,Mexico and the Philippines are controlled by Apple Music Publishing Co., Ine. , 1700 Broadway, New York, N. Y. 10019 Used by Per 1sston

24 KNOCKING DOWN OUR HOME

by PETER HAM

Your heart is

c#m F#m B7 0 0

æm æm mm J J J J J tb I J MJ J J J. in your home, they say, Your home's where you be - long, But

Eoo c#m F#m B+ 0 00 g æm mm æm

4i#• ~ DJ i ~ ~- J j #)i I J ~J J J Ile r some - one stole my heart to - day, So lis - ten to my song.

Medium beat tempo A 0

B7 æmo

' ~~-ell=i r ;J r æm

' J'4, l§J J J~ J. æ

,~.

I heard the Ma's cook - ing Dad's dig - ging

news at out

to - day, the stove the back

They're going to move us Where she's cooked for

But won't be digging

far a - way. thir-ty years. an-y more.

Eoo FI A o B7 0

g ælt æm æm t r ~ r ~1~ 1J J§J ' J~ l§J J J J I Jl r =--

~ r Seems that our home must go,_ They're going to build a mo -tor - way. Ten thou-sand meals she's cooked, But now her eyes are filled with No flowers or cab - bage patch, 'Cause he'll be on the sev-enth

. Copyright© 1969 by Apple PubliShing Ltd.,3 Savile Row, London,W.1, England All right'> for the U.S.A.its territories and possessions. Canada, Mexico and the Philippines

are controlled ~Y Apple Music PubliShing Co .• Ine., 1700 Broadway, New York,N. Y.10019 . . Th1s arrangement Copyright @ 1970 by Apple Publishing Ltd.


te ars. floor.

li

25

c#m F# c#m A o 0 0

,~ li æm æm m l ~ p ~ r ,Es It r ø r pff?" -p li

u is - n't fair._ No - bod-y cares._

Eoo B7 Eoo B+

Eoo 0 00

'*'• æm æm æm li æm l r ø r ~1t r 0 I li r r 1J r ~=1

They're knock-ing down_ our home. Ru-in - ing all_

Bm6 B7+ (D bass) c#7 F#m Am 0

0 0 0 m æm æm mm æ '*~·~ r 0 I - It r ~ r Plr· r r

we own. They're knock-ing down_ our

Eoo c#1 F#7 B7

mm 0

æm mm ;m

'*#• ~ r Ir· ~~~ It r ø r ø1r· r home, please help us._ Don't let them take_ our

11. 2 li 3 B7

Eoo B7+ c#7 F#7 0

0 ;m æm æm mm æm ,*#. li I -: :li - It r p r ~1r· r home. Don't let them take_ our

c#1 c D Eoo Eoo 0

0 0 m m æm mm m I:'\

,.~. li I I l r, D r ølr r 0 0

li -home. Don't let them take_ our home.

26 MAYBE TOMORROW by TOM

Moderately Dm F 0 Gm7

æ fQ J J J

;m '~i ll=l 3 I il

;m It f3 J J J J I

'~

'~

'~

'~

'~

Lis - ten to a. lone - ly And so l'm liv - ing for a.

C7 0 F m f7??

æ J r ? I l all a. round,_ for the sun - shine, 1'11

Gm7 ;m ~ J ~ ~ ~ ~ J ~

Ca.re not of me and love l've

sound, dream,

f9 See the

J

See the grey and sad- ness Ea.ch lone - ly da.y spent look-ing

Dm 0

J J mm

3 il

peo - pie go their way, make be - lieve that I don't ca.re,

C7 0

æm 14 r r r ;;;

lost to d 1'11 tell my friends I love my li fe l'm hap -

a.y. f py.

Dm 0 ;m 'I j j

May- be

J J J look in - to

Gm >CO

mm 'I ~

1'11:

Dm7 Gm 0 >CO

mm mm J ~ r r r r r I J. I J 3 J 3 EJ! '

to -mor-row I will love a - ga.in, 1'11 never know un - til

Dm7

tår 3 ~ rr r r F j r r 1 E21 J. her eyes,- May - be to - mor - row I will love a - gain.

J J nev - er

J J J j I J J J know un - Ul l've se en her once

Copyright© 1968 by Apple Publishing Ltd., 3 Savile Row, London, W.l, England All rights for tht: U,S.A. its territories and possesÅons and Canada controlled by

Ap,Ple Music Publishing Co., Ine., 1700 Br09dway, New York, N.Y. 10019 This arrangement Copyright© 1968 by Apple Publishing Ltd. Used by PermisSion


F

mm J j or twice.

J I

li

=li

Dm 27

r • 3

r r 3 3 3 r r r r I ' r j r j j Wher - ev • er, who - ev - er you may be, _ Let the light of your love _

Gm7

æm C7 0 m

j r r j r I fJJ Ll. shine through the win - dow of my heart. __ _

F Dm 0

li 3

æm 'b r F

3

Q 3 r· r r j r j r I t r r r ~

Then when you've col - ored all my thoughts bright, Don't let me ev - er,

Gm7

æm ,,,--.......

r r r C9

mm 1 , rrrr

Dm

mm r 11 , r r r r r r r 1

ev - er think of night. _ May- be tomor-row you will

Dm7 Gm 0 )(0 ;m mm

~ 'b ~. ~ ~ ~ ~ ~ ~ 3 ~ ~ ~ ~

E22! I ~ I EF love a - gain, l'll nev - er know un - til I look in - to her eyes,_

Dm7 0

mm 'b ~ j j r E r r r r --J

g. May - be to - mor - row you will love a - gain.

Gm F >CO

æm mm 'b

~

~ ~ ~ ~ ~ ~ I ~ ~ ~ ~ j li ~ ~

l'll nev - er know un - til l've se en her once or twice.

28

'

'

MIDNIGHT SUN

by PKTK

Medium beat . ~ Ao E+o A o

æm I*' t t;TF t t æm æm

E!r1r t Oh, no, __

i@~ =J l

i@~ 1 F r ing for

all the time ing all

'I D Well, Well, Well,

r r

oh, DO-

oh, yeah,_ oh, yeah,_

r ~r l've been I've been l've been

F j the win - ter to it's grow - in', this the tro - phies I've

D 0

li F I r

I think it's time for me to_ run._ I think l've been a - way too_ long._ I think l've been a - way too _ long ·-

r ~r c E ' ~----I work - ing all the sum - mer, wait -eom - in' and l'm go - in', and

wait - in' all the sum - mer, eount-

A o m Pf " 11 § •E r=·1 F ~

eome. __ Uh_ huh huh huh._ fun. __ Uh_ huh huh huh._ won. __ Uh_ huh huh huh._

to Ooda + E7 0 00

'M@d m f ~ .:::. t D r Mj I r r r r r r r r 'I I

And if you feel there's some -thing miss - ing And if you fe el like re - min - ise - ing And if you

Copyright© 1969 by Apple Publishing Ltd .. 3 Savile Row, London,W.1, England All rights for the U.S.A. its territories and possessions, Canada. Mexico and the Philippines

are controned by Apple Music Publishing Co .• Ine., 1700 Broadway, New York, N. Y.10019 This arrangement Copyright © 1970 by Apple Publishing Ltd.


well eome_ well eome_

D7 0 æ Tacet------

' 1#~f r r • ~ ...

A o

æm

in - to the mid-night sun._ in - to the mid-night sun. _

c#

29

I 1

- I- - li Oh yeah,

~ æm 411t r r r r r r r r Ir r r r P r

c--...

E i I Nev - er be a goose - her - ry for goose - her - ries should nev - er see _

F# B

,-~ æm mm r • - - I E E E r E E E F it. Drop the one who's look - ing at you

E7 0 00

,~ mm

c E E F EJ ., r~ t•tJJ * - I -J

D.i al" Coda

look - ing at the one who's see-ingyou be it. Oh, yea.h,

D7

æm ,,,...-....._

r r f I f C r 1 §p r feel like re - min - ise - ing, well, eome - in - to the mid - night sun,_

A o

æm 1.2 li 3 rit. I':\ ,.#=J * - - ~ p E "E =I r §r E FC'J 11 Well, if ,..

30 WALK OUT IN THE RAIN

by PETE

G G+

~ Slowly

' e ! ji J .r J a d ,, J1 J J J .r J J 0 3 li:

So I'll just walk out in

A o

the rain, -way, hope,

-gain,

so that the clouds can hide the then in my lone - ly room 1'11 pre_ - tend-ing tha t I could- n't l'd still re - live those precious

D7 0 m

,~ J J J J æm

r r j • il

j .............._ ____ _

• CODA

pain. ___ _ stay. ___ _ care. ___ _ times. ___ _

r

And ba - by, So that the

But if you Al - though I

to Ooda • 1 & 3 G a

j ! 0

the thou-sand tears you gave to how mueh it hurt to see you just call my name and 1'11 be I'd feel so good while you were

me.

there.

Gm

you will nev - er see world will nev - er know find you can - not eope know there would be pain

' ) J J J J =li And if the rain should go a -If I could live my li fe a -

Gm6/E C9 Gm7/F Gm6/E 0

.D. ~ al. Coda æm æm mm mm æm Tacet

I - I - I 'i J1 J J J J J go a - way. So I just live a life

Gm7/F Gm6/E C9 ~m Gm7/F Gm6/E G

mm æmæm r l~r· r

mm mm æm Tacet _ _ a ~" 1~ ;p D ajJ J 0 llfi!'

mine. Be mine, be mine. So 1'11 just walk out in the rain.

Copyright© 1969 by Apple Publishing Ltd"8 Savile Row, London,W.1, England All rights for the U.S.A. its territories and possessions, Canada, Mexico and the Philippines

are eontrolled by Apple Music Publishing Co" Ine., 1700 Broadway, New York. N. Y.10019 This arrangement Copyright@ 1970 by Apple Publishing Ltd.


J li of

-

'u

,~

G+ 00

æm ' J) J

So that

see_

way.

know

c 0 0

mm li

mind

31 ' - ·- . ._.

··- ;,

Am0

J m

J J J J l{JJJ - l'J>Øcrrr the clouds can hide the pain._ And ba - by, you will nev - er

G

mm 1 'i i fJ r· r r : 1 °

The thou-sand tears you gave to me.

G+

li ir I 'I J" J1 EJ! ' i) I@

Then in my lone-ly room l'll stay. _

E7

åtJ li

How much it hurt to see you go

Cm 0 m

I ' ~ ~ E ~ ~

You know, ba - by,

E•I :J And if the rain should go a -

- 1~iALJf t;I So that the world will nev-er

1, D r r~r r r r 1 And if you ev - er change your

G 000

mm ~ "

.D. ' ) ;t::

you will find

A7 Cl}1 G

li rit. mm Slower li Hfa ~ -----t:"t. ~~ /':'t. r r t r , t:r 1t r· 11 ur r r r r r r#

1 ° li

You're my sor-row and my pain, ---- You'll find me walk-ing in the rain.

WALK OUT IN THE RAIN By Pete

So 1'11 just walk out in the rain, So that the clouds can hide the pain. And baby, you will never see The thousand tears you gave to me. And if the rain should go away, Then in my lonely room 1'11 stay. So that the world will never know How much it hurt to see you go away. So I just I ive a I ife of hope, Pretending that I cou ldn't care. But if you find you cannot cape Just call my name and I 'li be there. lf I ould live my life again, " d stiH rel ive those precious times. Alt a~ I know there would be pain l'd feel o,good while you were mine. Be mine, oe mine. So I 'li just walk out in the rain. So that the clouds can hide the Qain. And baby, you will never see The thousand tears you gavetome. And if the rain should go away. Then in my lonely room 1'11 stay. So that the world will never know How much it hu t to see you go And if you ever change your mind You know, baby, you will find You' re my sorrow and my pain, You'll f~d me walking in the rain.

,,. Copyright © 1969 by Apple blishing Ltd., London, W.1,England All rights for the U.S.Aits territories and possessions, Canada,Mexico

" and the P.h ilippiQes are con tro/led by Apple Music Publishing Co., Ine., 1700 Broadway, New York, N. 'i". 10019 Used by Permission

_,

SONGALBU · MAGIC CHRISTIAN MUSIC

• .f.BY BADJINGER

badfinger- magic christian music

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