Badfinger - Straight Up

€ 17

$ 20

€ 17 Sold For

May 7, 2018 Sold Date

Jun 16, 2017 Start Date

1 Number Of Bids

Germany Country Of Seller

eBay Sold at

save auction

Description

En general

Nombre del artículo: Straight Up
Género: Pop englischsprachig Formato: CD Sello: EMI UK Número de pistas: 18 Duración: 61:40

Lista de pistas CD - 1

1. Badfinger - Take It All 4:27 2. Badfinger - Baby Blue 3:37 3. Badfinger - Money 3:30 4. Badfinger - Flying 2:35 5. Badfinger - I'd Die, Babe 2:34 6. Badfinger - Name of the Game 5:21 7. Badfinger - Suitcase 2:53 8. Badfinger - Sweet Tuesday Morning 2:30 9. Badfinger - Day After Day 3:11 10. Badfinger - Sometimes 2:52 11. Badfinger - Perfection 5:08 12. Badfinger - It's Over 3:34 13. Badfinger - I'll Be the One 2:54 14. Badfinger - Name of the Game [Earlier Version] 4:24 15. Badfinger - Baby Blue [U.S. Single Mix] 3:37 16. Badfinger - Baby Please 3:05 17. Badfinger - No Good at All 2:09 18. Badfinger - Sing for the Song 3:19

Descripción

Straight Up winds up somewhat less dynamic than No Dice, largely because that record alternated its rockers, pop tunes, and ballads. Here, everything is at a similar level, as the ballads are made grander and the rockers have their melodic side emphasized. Consequently, the record sounds more unified than No Dice, which had a bit of a split personality. Todd Rundgren's warm, detailed production makes each songwriter sound as if he was on the same page, although the bonus tracks -- revealing the abandoned original Geoff Emerick productions -- prove that the distinctive voices on No Dice were still present. Frankly, the increased production is for the best, since Badfinger sounds best when there's as much craft in the production as there is in the writing. Here, there's absolutely no filler and everybody is in top form. Pete Ham's "Baby Blue" is textbook power-pop -- irresistibly catchy fuzz riffs and sighing melodies -- and with its Harrison-esque slide guitars, "Day After Day" is so gorgeous it practically aches. "Perfection" is an unheralded gem, while "Name of the Game" and "Take It All" are note-perfect pop ballads. Tom Evans isn't as prolific here, but the one-two punch of "Money" and "Flying" is the closest Straight Up gets to Abbey Road, and "It's Over" is a fine closer. Still, what holds the record together is Joey Molland's emergence as a songwriter. His work on No Dice is enjoyable, but here, he comes into his own with a set of well-constructed songs. This fine songwriting, combined with sharp performances and exquisite studio craft, make Straight Up one of the cornerstones of power-pop, a record that proved that it was possible to make classic guitar-pop after its golden era had passed. ~ Stephen Thomas Erlewine

Stephen Thomas Erlewine

Descripción

Straight Up winds up somewhat less dynamic than No Dice, largely because that record alternated its rockers, pop tunes, and ballads. Here, everything is at a similar level, as the ballads are made grander and the rockers have their melodic side emphasized. Consequently, the record sounds more unified than No Dice, which had a bit of a split personality. Todd Rundgren's warm, detailed production makes each songwriter sound as if he were on the same page, although the bonus tracks -- revealing the abandoned original Geoff Emerick productions -- prove that the distinctive voices on No Dice were still present. Frankly, the increased production is for the best, since Badfinger sound best when there's as much craft in the production as there is in the writing. Here, there's absolutely no filler and everybody is in top form. Pete Ham's "Baby Blue" is textbook power pop -- irresistibly catchy fuzz riffs and sighing melodies -- and with its Harrison-esque slide guitars, "Day After Day" is so gorgeous it practically aches. "Perfection" is an unheralded gem, while "Name of the Game" and "Take It All" are note-perfect pop ballads. Tom Evans isn't as prolific here, but the one-two punch of "Money" and "Flying" is the closest Straight Up gets to Abbey Road, and "It's Over" is a fine closer. Still, what holds the record together is Joey Molland's emergence as a songwriter. His work on No Dice is enjoyable, but he comes into his own here with a set of well-constructed songs. This fine songwriting, combined with sharp performances and exquisite studiocraft, make Straight Up one of the cornerstones of power pop, a record that proved that it was possible to make classic guitar pop after its golden era had passed. [The 2010 reissue of Straight Up was remastered by the same Abbey Road team who remastered the acclaimed 2009 Beatles reissues and was expanded by six bonus tracks: “I’ll Be the One” and “Name of the Game” from a canceled Apple single, the U.S. single mix of “Baby Blue,” and three previously unreleased songs, all quite good -- “Baby Please,” “No Good at All,” and “Sing for the Song.” There were also seven accompanying digital downloads, all but one alternate versions produced by Geoff Emerick -- “Money,” “Flying,” “Perfection,” “Suitcase,” “Mean Mean Jemima,” and “Loving You” -- plus the previously unreleased “Sweet Tuesday Morning.”] ~ Stephen Thomas Erlewine

Stephen Thomas Erlewine