Editing Badfinger (section)

==1961–1969: The Iveys==
{{redirect|The Iveys|the awards show|Ivey Awards}}

===Early days===
The Iveys formed in 1961 in [[Swansea]], Wales from the Panthers, whose line-up consisted of [[Pete Ham]] (lead guitar), Ronald "Ron" Griffiths (bass guitar), David "Dai" Jenkins (rhythm guitar), and Roy Anderson (drums). After playing under various names, including the Black Velvets and the Wild Ones,{{sfn|Matovina|2000|pp=3–4}} by 1964 they had settled on the Iveys, after a street in Swansea called Ivey Place.{{sfn|Matovina|2000|p=6}}

In March 1965, drummer [[Mike Gibbins]] joined the Iveys. The group secured concerts around the Swansea area, opening for prominent British bands such as [[the Spencer Davis Group]], [[the Who]], [[the Moody Blues]], and [[the Yardbirds]].{{sfn|Matovina|2000|pp=8–9}}

By June 1966, Bill Collins (the father of actor [[Lewis Collins]]<ref name="Thebirthofpunk">{{cite news|url=https://www.independent.co.uk/arts-entertainment/music/features/the-birth-of-punk-514015.html|archive-url=https://web.archive.org/web/20090122053942/http://www.independent.co.uk/arts-entertainment/music/features/the-birth-of-punk-514015.html|url-status=dead|archive-date=22 January 2009|title=The birth of punk|first=John|last=Robb|newspaper=[[The Independent]]|date=5 November 2005|access-date=24 April 2011}}</ref>) had started to manage the group.{{sfn|Matovina|2000|p=ii}} In December 1966, the group moved into Collins's home at 7&nbsp;Park&nbsp;Avenue, [[Golders Green]], London, sharing space with an act called [[the Mojos]].{{sfn| DiLello|2000|p=44}}{{sfn|Matovina|2000|p=49}} The house was terminally overcrowded, so the only place to find any privacy was in a room equipped with a two-track recording machine.{{sfn|Katz|1997}}

The group performed a wide range of cover tunes on the London circuit,{{sfn| DiLello|2000|p=44}} from [[Motown]], [[blues]], and [[Soul music|soul]] to [[Top 40]], psychedelia, and Beatles hits, which garnered interest from record labels.{{sfn|Katz|1997}} [[Ray Davies]] of [[the Kinks]] auditioned to produce them, recording three of their songs at a four-track demo studio in London's Old&nbsp;Kent&nbsp;Road on 15 January 1967: "Taxi" and "Sausage And Eggs", songs by Ham; and Griffiths's "I Believe in You Girl".{{sfn|Matovina|2000|p=21}} On&nbsp;8 December 1966, Collins and the group signed a five-year contract giving Collins a 20% share of net receipts, the same as the individual group members, but only after managerial expenses had been deducted.{{sfn|Matovina|2000|p=21}} Collins said at the time, "Look, I can't promise you lads anything, except blood, sweat and tears."{{sfn|Katz|1997}} The group performed occasional concerts backing [[David Garrick (singer)|David Garrick]] while performing as the Iveys across the [[United Kingdom]] throughout the rest of the decade.{{sfn|Matovina|2000|p=14}}

In August 1967, Dai Jenkins was asked to leave the group,<ref name="OriginalBadfinger">{{cite web|url=http://www.badfingersite.com/history-of-badfinger/the-iveys|title=The Iveys|publisher=Badfinger 2011|archive-url=https://web.archive.org/web/20111108002823/http://www.badfingersite.com/history-of-badfinger/the-iveys/|archive-date=8 November 2011|access-date=24 February 2023}}</ref> and was replaced by Liverpudlian guitarist Tom Evans, formerly of Them Calderstones (b. Thomas Evans Jr., 5 June 1947, [[Liverpool]], d. 19 November 1983).{{sfn|Matovina|2000|pp=25–27}} Jenkins's departure was remembered by Griffiths as being "politely asked if he would step down," as Jenkins seemed more interested in girls than the music.{{sfn|Katz|1997}}

===Signing to Apple===
[[File:The Iveys (precursor to Badfinger).jpg|thumb|The Iveys {{circa|1969}}. From left: Ham, Evans, Griffiths, Gibbins]]
After receiving an invitation from Collins, Beatles roadie/assistant [[Mal Evans]] and Apple Records A&R head [[Peter Asher]] saw the Iveys perform at the [[Marquee Club]], London, on 25 January 1968. Evans subsequently pushed their demo tapes to every Beatle until he gained approval from all four to sign the group.{{sfn|Miles|1997|p=550}} The demos were accomplished using a mono "sound-on-sound" tape recorder: two individual tracks bouncing each overdub on top of the last.{{sfn|Matovina|2000|p=18}} When Evans signed the Iveys to Apple on 23 July 1968, they became the first non-Beatle recording artists on the label.{{sfn|Katz|1997}} Each of the Iveys were also signed to [[Apple Corps]] publishing contracts.{{sfn|Matovina|2000|pp=41–53}}  The early Iveys sessions for Apple were produced by either [[Tony Visconti]] or Evans.

The group's first single, "[[Maybe Tomorrow (The Iveys song)|Maybe Tomorrow]]", produced by Visconti, was released worldwide on 15 November 1968. It reached the Top Ten in several European countries and Japan, but only #67 on the US [[Billboard Hot 100|''Billboard'' Hot 100]], and failed to chart in the UK.<ref name="BadfingerChartHistoryBillboard"/> The US manager of Apple Records, [[Ken Mansfield]], ordered 400,000 copies of the single—considered to be a bold move at the time in the music business—and pushed for automatic airplay and reviews from newspapers, which he secured. Nevertheless, Mansfield remembered the problems: "We had a great group. We had a great record. We were missing just one thing ... the ability to go out and pick up people, and convince them to put their money on the counter."{{sfn| Mansfield |2007|pp=103–104}} A second Tom Evans composition, "Storm in a Teacup", was included on an Apple EP promoting [[Wall's ice cream|Wall's Ice Cream]], along with songs by Apple artists such as [[James Taylor]], [[Mary Hopkin]], and [[Jackie Lomax]].{{sfn|Matovina|2000|p=60}} The chart success of "Maybe Tomorrow" in Europe and Japan led to a follow-up single release in those markets in July 1969: Griffiths's "[[Dear Angie]]", also produced by Visconti.{{sfn|Matovina|2000|p=54}} An LP containing both singles and titled ''[[Maybe Tomorrow (The Iveys album)|Maybe Tomorrow]]'' was released only in Italy, Germany, and Japan. This limited release strategy was thought to be the work of Apple Corps president [[Allen Klein]]: an Apple Corps press officer, Tony Bramwell, remembered: "[Klein] was saying, 'We're not going to issue any more records until I sort out this [Apple Corps] mess.{{'"}}{{sfn|Matovina|2000|p=59}}

After the unexpectedly limited releases of "Dear Angie" and ''Maybe Tomorrow'', Griffiths complained about Apple's handling of the Iveys in an interview for the ''[[Disc (magazine)|Disc & Music Echo]]'' magazine, saying: "We do feel a bit neglected. We keep writing songs for a new single and submitting them to Apple, but they keep sending them back, saying they're not good enough."<ref name="OriginalBadfinger"/> [[Paul McCartney]] read the interview and offered the song "Come and Get It" to the group,{{sfn|Matovina|2000|p=64}} although he had written the song for the soundtrack of ''[[The Magic Christian (film)|The Magic Christian]]''.{{sfn|Larkin|2002|p=27}} Before the recording on Saturday, 2 August 1969, Griffiths remembered the whole group being so excited they couldn't sleep.{{sfn|Katz|1997}} Producing the track in under one hour,{{sfn|Badman|2001|p=559}} McCartney made sure that they copied his own demo note-for-note:{{sfn|Ingham|2003|p=387}} "They were a young band ... they said, 'We want to do it a bit different, wanna get our own thing in'. I said '''No'', this has gotta be ''exactly'' like this [McCartney's demo], 'cos this is the hit.{{' "}}{{sfn|Katz|1997}}

McCartney had been commissioned to contribute two other songs to the film's soundtrack. After "Come and Get It"  was successfully recorded, he offered to produce two of the Iveys' original compositions to fulfill those commissions, for which he selected "Carry On Till Tomorrow" (commissioned as the main title theme for the film) and "Rock of All Ages" (commissioned as background music for a party scene). All three tracks appeared both in the movie and on its soundtrack album. McCartney then recruited [[George Martin]] to provide the string arrangement for "[[Carry On Till Tomorrow]]".  As Griffiths fell ill midway through these sessions, Evans played bass on "[[Rock of All Ages]]", "Midnight Sun", and "Crimson Ship".{{sfn|Matovina|2000|p=65}}

===Name change===
Pending the release of "Come and Get It", the band and Apple agreed that the band's name was too trite for the prevailing music scene, plus the Iveys were sometimes confused with [[The Ivy League (band)|the Ivy League]], so a name change was needed. Suggestions were put forward, including the Glass Onion,  the Prix,<ref name="OriginalBadfinger"/> the Cagneys, and Home.{{sfn|Matovina|2000|p=67}} Apple Corps' [[Neil Aspinall]] proposed "Badfinger",{{sfn|Jones|2001|p=98}} in reference to "Bad Finger Boogie",{{sfn|Crouse|2000|p=182}} an early working title of [[Lennon–McCartney]]'s "[[With a Little Help from My Friends]]", as [[John Lennon]] had hurt his forefinger on a piano and was using only one finger. In December 1969, the band agreed on Badfinger.

Harrison would later state that the band was named after Helga Fabdinger, a stripper the Beatles had known in Hamburg.{{sfn|Shea|2002|p=231}}