Badfinger

Wish You Were Here

  • MOG Editorial Review

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    By the time they'd released 1974's Wish You Were Here Badfinger were at the peak of their powers, trading in their early sound for a distinct power-pop aesthetic. In their earlier (and better-selling) years, the Liverpool act hewed very closely to the classic Merseybeat sound to the extent that Paul McCartney penned one of their biggest hits, "Come and Get It." However, Wish You Were Here found the band going toe-to-toe with pop-rock big dogs like Cheap Trick, beating them at their own game with heavy opener "Just a Chance" and the somewhat trippy "Know One Knows." Thanks to some serious behind-the-scenes drama, the band faltered on paper despite perfecting their sound, and while that backstory is a doozy for the rock history books, it can't take away from the fact that Badfinger crafted one of the decade's underrated power pop records.
  • AMG Review of Wish You Were Here

    Amg
    Stephen Thomas Erlewine
    All Music Guide

    Wish You Were Here is a glistening, powerful rock record that stays true to power pop while sounding as contemporary as any mainstream rock band of the mid-'70s. It was the kind of record that could have been a hit, but due to a series of legal and managerial entanglements, it was pulled from stores before it had a chance to find its audience. Despite its relative obscurity, most die-hard Badfinger fans maintain that the group shines brilliantly on Wish You Were Here and they're correct. For one, it's easily the most cohesive album the group ever recorded -- a nice by-product of working with one talented producer (in this case, Chris Thomas) for an entire album instead of piecing a record together. Also, the showcases each band member at a peak of songwriting. As the band's most prolific and gifted composer, Ham naturally has the strongest presence, and while each of his songs stands as proof that he was a consummate pop craftsman -- particularly the elegant "Dennis," the hard-hitting "Just a Chance," and the Abbey Road-esque "Meanwhile Back at the Ranch." Joey Molland has a strong showing with the stately ballad "Love Time" and "Should I Smoke," his complement to "Ranch." What is surprising is that Mike Gibbins' two contributions are of the same caliber, as is Tom Evans' electric-piano laden "King of the Load," since they were in a bit of a slump prior to this album. Thomas ties the record together with a clean, professional production that keeps the rockers energetic without losing their melodic edge, while preventing the sentimental numbers from seeming syrupy. All of this results in a classy, catchy pop record, possibly the best Badfinger ever released. It could have been a hit, too, but we'll never know.

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