by John Mendelsohn
Rolling Stone, March 3, 1970
P. McCartney (he of "Urban Spaceman" "Those Were the Days," and others fame) has scored once again from the Producer's side of the street, the score this time being a somewhat wonderful McCartney- composed and produced Badfinger single which comes to us from the Magic Christian soundtrack, which ought not to be confused with "Come and Get It" by the Magic Christians. (Commonwealth C-3006).
"Come and Get it" on first listening seems a trifle more easily resisted than your usual McCartney song, because it's a trifle less tuneful than your usual McCartney song. It's catchiness is rather in its understated but insistent rhythmicness.
The most striking thing about the record is the excellent drum work (Paul certainly knows how to get the best out of his drummers, judging from this and recent Beatle recordings), which is beautifully recorded and perfectly mixed with the tambouring and bass. In the absence of an out-front lead instrument (the piano is just blocking chords), the drums in fact come out as the lead instrument. Considering how few are playing, the instrumental fullness on the record is amazing.
Don't miss the B-side, another excerpt from the Christian score called "Rock of All Ages" (an original), which, with its screechy voices and thundering eight-beats-per-bar bass, reminds one of "I Saw Her Standing There." A nice English counterpart to the most recent Creedence Clearwater single.
[A note of immense historical interest.] Before being convinced by their Beatle mentors to switch to Badfinger, the boys used to rush about billing themselves as the Iveys, under which name they did a splendid early-English-Sound slowie last year called "Maybe Tomorrow" (Apple 1803). Perhaps you had the inestimable good fortune of hearing it on AM radio. If not, find a copy and buy it. It's contrived datedness will refresh you.