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Maybe Tomorrow | ||||
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Studio album by | ||||
Released | 4 July 1969 | |||
Recorded | 1968–69 | |||
Studio |
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Genre | Psychedelic pop | |||
Length | 45:14 | |||
Label | Apple | |||
Producer | ||||
The Iveys chronology | ||||
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Singles from Maybe Tomorrow | ||||
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Review scores | |
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Source | Rating |
Allmusic | [1] |
Maybe Tomorrow is the debut album by British rock band Badfinger. Maybe Tomorrow is the only release under the band's original name as The Iveys. It was issued in 1969 on the Apple label in Japan, West Germany and Italy. Although the album was scheduled to be released worldwide, the release in the US and UK at that time was halted without explanation. Many reasons for halting the album have been suggested by the band and Apple employees, but the most common theory is that Apple's newly hired president, Allen Klein, stopped all non-Beatle releases on Apple until he could examine the company's finances, which were in disarray at the time.
A majority of the album's songs were later issued as Badfinger songs on the Badfinger album Magic Christian Music .
The Iveys (later known as Badfinger) were a successful live act on the London circuit when they attracted the attention of Apple employee Mal Evans in early 1968. It was through Evans' perseverance that demonstration recordings made by the group were presented to The Beatles (Apple's presidents). Although the band was initially waived by Paul McCartney and John Lennon, the former relented as more impressive Iveys tapes were brought in by Evans.
The group signed with Apple in April 1968 and began making recordings immediately upon their arrival. With the incentive of releasing a worthwhile single, the band was not focused on compiling an LP. Maybe Tomorrow was therefore culled from various studio recordings the group made during a 12-month period, mostly under the production of Tony Visconti. The songs on the LP vary widely among pop, rock, and psychedelic sounds. With few exceptions, they do not resemble the sound Badfinger would later become known for. The sound quality of the Iveys album is relatively poor due to a "muddy" mix. When some of these tracks were carefully re-mixed for Badfinger's debut album Magic Christian Music the sound quality was significantly improved.
The title track was released as an Apple single in 1968 and enjoyed limited success in regional markets—for example, reaching number 1 in the Netherlands.
Due to Badfinger's subsequent fame and the album's limited release, Maybe Tomorrow became an expensive collectible for many years, often earning between $200 and $400 US dollars for a single used copy. Although a 1990s re-release of the album on CD format curbed demand for the original album, the CD itself became collectible because of its limited run.
For reasons unknown, the CD edition of "Maybe Tomorrow" has the stereo channels reversed and the song "Sali Bloo" (pronounced "Sally Blue") is missing the wah-wah guitar intro found on the original album.
Songs marked with an asterisk (*) also appear on Magic Christian Music.
No. | Title | Writer(s) | Length |
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1. | "See-Saw Granpa" | Pete Ham, arr. John Barham and Tom Evans | 3:33 |
2. | "Beautiful and Blue" (*) | Evans, arr. Barham and Evans | 2:38 |
3. | "Dear Angie" (*) | Ron Griffiths | 2:39 |
4. | "Think About the Good Times" | Mike Gibbins | 2:21 |
5. | "Yesterday Ain't Coming Back" | Ham, Evans | 2:57 |
6. | "Fisherman" (*) | Evans, arr. Barham and Evans | 3:09 |
No. | Title | Writer(s) | Length |
---|---|---|---|
7. | "Maybe Tomorrow" (*) | Evans | 2:52 |
8. | "Sali Bloo" | Ham | 2:35 |
9. | "Angelique" (*) | Evans | 2:26 |
10. | "I'm in Love" (*) | Ham | 2:28 |
11. | "They're Knocking Down Our Home" (*) | Ham, arr. Barham and Evans | 3:41 |
12. | "I've Been Waiting" | Ham | 5:15 |
No. | Title | Writer(s) | Length |
---|---|---|---|
13. | "No Escaping Your Love" | Evans | 2:12 |
14. | "Mrs. Jones" | Ham | 2:15 |
15. | "And Her Daddy's a Millionaire" | Ham, Evans | 2:08 |
16. | "Looking for My Baby" | Ham | 2:08 |
On the sleeve Derek Taylor writes that these "four very nice kids [...] were not, nor are they now adventurous innovators, but they are ready, they are ready to be. The Iveys can sing and they play tight, rich stuff, write it too; they can write anything. They are lovely lads. [...] For them all Apple feels love and admiration."
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Badfinger were a Welsh-English rock band formed in 1961 in Swansea, Wales. Their best-known lineup consisted of Pete Ham (guitar), Mike Gibbins (drums), Tom Evans (bass), and Joey Molland (guitar). They are recognised for their influence on the 1970s power pop genre. It is estimated that the band sold 14 million records.
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Magic Christian Music is the second studio album by the British rock band Badfinger, released on 9 January 1970 on Apple Records. It was their first release under the Badfinger name, having previously released the album Maybe Tomorrow in 1969 under the name The Iveys. It includes the band's first international hit, "Come and Get It", written and produced for them by Paul McCartney.
"No Matter What" is a song originally recorded by Badfinger for their album No Dice in 1970, written and sung by Pete Ham and produced by Mal Evans.
Thomas Evans was an English musician. He is best known for his work as the bassist of the band Badfinger.
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"Maybe Tomorrow" is a song composed and sung by guitarist Tom Evans of The Iveys, which was released as the group's first worldwide single on Apple Records. It also served as the title track for the album Maybe Tomorrow, and it was also included on the Badfinger album Magic Christian Music released in 1970.
Lon & Derrek Van Eaton were an American vocal and multi-instrumentalist duo from Trenton, New Jersey, consisting of brothers Lon and Derrek Van Eaton. They are best known for their association with the Beatles through the brothers' brief stint on Apple Records, and for their subsequent session work in Los Angeles for producer Richard Perry. As well as recording their own albums, during the 1970s they appeared on releases by artists including George Harrison, Ringo Starr, Harry Nilsson, Carly Simon, Martha Reeves and Art Garfunkel. Beatles biographer Robert Rodriguez describes the Van Eaton brothers as arguably the closest the Apple record label came to delivering on its initial promise of "plucking unknowns from obscurity" and launching them as successful recording artists.
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