Badfinger – Straight Up (1971)

Artist Credit
Badfinger Primary Artist
Carl Bigmore Research
Jeremy Colebrooke Research
Andy Davis Liner Notes, Reissue Producer, Research
Richard DiLello Design, Photography
Geoff Emerick Producer
Darren Evans Redesign
Tom Evans Composer
Mike Gibbins Composer
Simon Gibson Audio Restoration
Pete Ham Composer
George Harrison Guest Artist, Producer
Guy Hayden Project Manager
Mike Heatley Reissue Producer
Dorcas Lynn Research
Gene Mahon Design
Guy Massey Remastering
Joey Molland Composer
Sam O’Kell Remastering
Steve Rooke Remastering
Allan Rouse Project Coordinator
Todd Rundgren Producer
Leon Russell Guest Artist

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.

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