Editing Badfinger (section)

===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}}