Brando's Badfinger Newsstand



Badfinger at Carnegie Hall, March 1, 1972

Badfinger ad for Carnegie Hall Concert Reviews: Badfinger
by Kirb
Variety, March 8, 1972

Badfinger, sounding at times like the old Beatles were a smash at Carnegie Hall, Wednesday (1), their first N.Y. concert. The Ron Delsener promotion grossed $15,000, a sellout at a $6 top. Short sets by Michael Gately and Al Kooper also scored.

Badfinger, a together outfit instrumentally, used vocals by guitarists Pete Ham and Joey Molland and bass guitarist Tom Evans imaginatively as all took vocal solos and sang in duet and trio. All three also played acoustic six-string for one tune with Ham continuing as the other two went electric. Ham also played some grand piano.

This quartet is capable in several styles with Molland and Ham doing well on lead guitar. But it's in rock-n-roll that the British combo shined, with Mike Gibbins drumming and the vocal blend and powerful electric guitar work most reminiscent of the Beatles. This might not be an accident, since the group was presented with a gold record on-stage for "Day After Day" which was produced by George Harrison on Apple, although Todd Rundgren was the main producer of their latest album.

The group deserved it's plaudits, although similar hard rock encores back-to-back may have been too much. Also heavy was Al Kooper's set, which made it as he did many of his familiar Columbia oldies. Michael Gately, his protégé, was the rotund acoustic opener. He was a hit from his first tune. His wry humor also hit the spot. He disks for Janus.


Badfinger ad for Carnegie Hall Badfinger Marred by Technical Ills
by Don Hickman
New York Times, March 3, 1972

Badfinger, a fine English rock group, was very nearly ruined by its technical assistance at Carnegie Hall Wednesday night. First it was the spotlights, aimlessly wandering around the stage, never quite catching up with the soloists, occasionally leaving the entire auditorium in total darkness.

Even worse was the sound reproduction. Carnegie Hall will never win any awards for its ability to contain electronic rock, but it at least can be tolerable acoustic environment if the sound is handled carefully. Badfinger's technicians must have turned all their speakers up as loud as they would go and left it at that. The result was fuzzy, distorted vocals and muddy instrumentals.

For a lesser group it might not have mattered. But Badfinger's musicians play and sing with a bright enthusiasm that has been rare in rock since the demise of the Beatles. (George Harrison in fact produced their hit single "Day After Day") They deserved a better break


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