Collins also pushed the bandmembers to start writing songs and develop their own material. Late in , Jenkins, who'd never taken to songwriting and seemed to be contributing ever less to the band, left the lineup and was replaced by Liverpool-born Tom Evans , from a Motown-inspired group called Them Calderstones.
He proved to be not only a more than adequate successor as a guitarist, but a gifted composer as well. After surviving what could have been a devastating crash of its van in October of that year, the band picked up considerable career momentum going into Their gigs were well received and they were writing lots of songs, and in the course of working in their own studio, they'd also begun learning how to get their demo recordings to an extremely high level of sophistication, so that they sounded almost like finished commercial recordings -- and they now had songs good enough to open doors.
Evans , in particular, was sold on the band and began bringing the group's demo recordings to Apple's offices, and by May of the Beatles were ready to sign the group, with a contract drawn up and executed in July.
One of the demos that they submitted, Tom Evans ' "Maybe Tomorrow," became their debut single, released in November of -- for reasons that nobody could ever explain, it never charted in England and never made the American Top 40, stalling at number Its failure in the face of anticipated success prompted a rethinking of the group's and the label's strategies -- they'd recorded a debut album, named after the single and utilizing more accomplished versions of some of the better though not necessarily the best songs they'd brought with them to the label, but it was shelved.
Or, at least, it was supposed to be shelved. Heard today, Maybe Tomorrow comes off as a pleasing if somewhat uneven amalgam of sounds, partly owing to the presence of two producers, Tony Visconti and Mal Evans , and also to the era in which it was recorded.
And the soaring "I've Been Waiting" finished the record with the Iveys throwing away song structure and elaborate production, stretching out and jamming in the studio. It wasn't a bad album -- it was a little studio-bound, and one couldn't imagine the group playing some of this material on-stage, at least in the way it was presented here by producer Visconti , but the overall record commanded more than a couple of listens.
Indeed, nearly 40 years later, it comes off very well as a collection of all-original songs by an untried band, and had it gotten a regular release, it just might have sold halfway decently at the time, especially propelled by "Maybe Tomorrow"'s number five hit status in Germany and number one spot in Holland. Instead, the album more or less sneaked out, and ended up one of the rarest of Beatles -related vinyl artifacts, right up there with Paul McCartney and Richard Hewson 's Thrillington album, commanding triple-digit prices on vinyl.
Possibly owing to the looseness of the Apple organization, or the hunger at EMI Apple's distributor to generate some hits with non- Beatles Apple product, Maybe Tomorrow managed to get issued, sort of -- some copies were distributed in England before it was pulled, while in Germany, Japan, and Italy, where the single had done well, the LP actually stayed in print for a short time.
A follow-up single for those markets was also designated, in Ron Griffiths ' punchy ballad "Dear Angie. During the summer of , the Iveys were approached by Paul McCartney with the notion that they -- and not he, as he'd unwisely contracted to do -- would provide the songs to a movie called The Magic Christian, starring Peter Sellers and Ringo Starr ; for starters, however, they'd have to try to record the one song that McCartney had written for the project, called "Come and Get It.
Kramer 's sessions and give the singer "Bad to Me. The single -- with vocals by Tom Evans -- would become everything that they needed, reaching the Top Five in England and the Top Ten in America, and the band cut a handful more tracks of their own for the film soundtrack and the accompanying album.
All of these activities coincided with a series of major career decisions, the most important of which concerned the continued participation of Ron Griffiths as a member -- now married and with a child to provide for, he had moved apart from the others socially, and lost his devotion to the music.
Griffiths ' exit also heralded their decision to switch to a new name: Badfinger. The Iveys were consigned to history and even many of their better songs ironically, Griffiths ' "Dear Angie" among them were reclaimed by Badfinger -- half a dozen of the tunes from Maybe Tomorrow ending up remixed and reissued on Badfinger 's official debut album, Magic Christian Music.
Ever since, the Iveys have usually been regarded as a subsidiary part of the ultimately tragic Badfinger story. In the opening years of the 21st century, however, there was reportedly found a huge trove of Iveys demos left behind in the Apple publishing archives, in which it is claimed there are songs as good as or better than the material chosen for Maybe Tomorrow ; five of them were issued on RPM Records' compilation CD 94 Baker Street: The Pop-Psych Sounds of the Apple Era , which seem to bear out this claim.
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