Complete List Of Badfinger Band Members

Feature Photo: Apple Records, Public domain, via Wikimedia Commons

From the Welsh town of Swansea emerged one of rock’s most tragic tales, a band whose promise was matched only by their misfortune. Badfinger formed in 1961 as The Iveys, becoming the first group signed to The Beatles’ Apple Records label in 1968 and achieving worldwide recognition after changing their name to Badfinger in 1969. The band recorded 12 studio albums and sold an estimated 14 million records worldwide, achieving four consecutive international hits between 1970 and 1972 with “Come and Get It,” “No Matter What,” “Day After Day,” and “Baby Blue.” Despite critical acclaim and Beatles endorsement, the band never achieved massive commercial success due to fraudulent management by Stan Polley, leading to financial ruin and legal entanglements that persisted for decades.

The band’s career was marked by both artistic triumph and personal devastation, with their song “Without You” becoming a worldwide number one hit for Harry Nilsson in 1972 and later for Mariah Carey. However, financial mismanagement left the band members virtually penniless despite their success, contributing to the tragic deaths of two core members by suicide: Pete Ham in 1975 at age 27, and Tom Evans in 1983 at age 36. Mike Gibbins died from a brain aneurysm in 2005 at age 56, leaving Joey Molland as the sole survivor of the classic lineup until his death from diabetes complications in March 2025 at age 77. Their influence on power pop and alternative rock has been recognized by numerous artists, with their music experiencing renewed popularity through its use in television and film, particularly “Baby Blue” in the finale of Breaking Bad.

The band’s evolution from local Welsh group to international stars was facilitated by their association with The Beatles, who produced their early hits and featured them on major recordings including George Harrison’s “All Things Must Pass” and “The Concert for Bangladesh.” Their story remains one of the music industry’s most cautionary tales about artist exploitation, demonstrating how business mismanagement can destroy even the most talented musicians. Despite disbanding in 2006 following years of legal battles and tragedy, Badfinger’s musical legacy continues to influence new generations of musicians and fans worldwide.

Pete Ham

Pete Ham served as Badfinger’s primary songwriter, lead vocalist, and guitarist from the band’s formation as The Iveys in 1961 until his tragic death by suicide in 1975. Born Peter William Ham in Swansea, Wales, on April 27, 1947, he was the youngest of three children and showed early musical talent, frequently playing harmonica on the school playground at Gors Junior School. His older brother John, a jazz trumpeter, encouraged him to enter the local music scene, leading to his formation of various groups before settling on The Iveys in 1964.

Ham appeared on every Badfinger recording from their early singles as The Iveys through their final Apple Records releases, contributing the majority of their songs and serving as the band’s creative driving force. His compositions included power pop classics like “No Matter What,” “Day After Day,” and “Baby Blue,” which showcased his ability to craft memorable melodies with sophisticated arrangements. Ham’s greatest songwriting achievement came with “Without You,” co-written with Tom Evans in 1970, which became a massive worldwide hit for Harry Nilsson in 1972 and has since been covered by over 180 artists. His guitar work, often featuring intricate harmonies and layered arrangements, helped define the power pop genre and influenced countless musicians.

Ham’s perfectionist approach to recording was legendary among producers and engineers, who recalled his spending hours perfecting single tracks to achieve the sound he envisioned. His collaborations with Beatles members were particularly significant, working with Paul McCartney on “Come and Get It,” George Harrison on “Day After Day” and “All Things Must Pass,” and contributing to major projects like “The Concert for Bangladesh.” Despite his musical success, Ham struggled with the financial pressures created by manager Stan Polley’s fraudulent practices, which left the band virtually penniless despite their chart success. On April 23, 1975, after receiving a phone call informing him that all his money had disappeared, Ham spent the evening drinking heavily with Tom Evans before hanging himself in his garage studio the following morning. His suicide note blamed Polley for his despair, calling him “a soulless bastard” and expressing his inability to “love and trust everybody.” Ham died just three days before his 28th birthday, leaving behind his pregnant girlfriend Anne Herriot, whose daughter Petera was born one month after his death.

Tom Evans

Tom Evans served as Badfinger’s bassist, rhythm guitarist, and secondary songwriter from 1967 until his own tragic death by suicide in 1983. Born Thomas Evans on June 5, 1947, in Liverpool, England, he joined The Iveys in 1967 as a rhythm guitarist before transitioning to bass when Ron Griffiths departed in 1969. Evans brought a distinctive melodic sensibility to the bass role while continuing to contribute songwriting and vocal harmonies that became essential to Badfinger’s sound throughout their most successful period.

Evans co-wrote some of Badfinger’s most enduring songs, including “Without You” with Pete Ham, which became one of the most covered ballads in popular music history. His bass playing provided the rhythmic foundation for classic tracks like “Come and Get It,” “No Matter What,” and “Baby Blue,” while his songwriting contributions included “Carry On Till Tomorrow” for The Magic Christian soundtrack. Evans also played acoustic guitar on John Lennon’s 1971 album “Imagine,” including the single “Jealous Guy,” demonstrating his versatility beyond his primary bass role. His harmonies with Ham created the distinctive vocal blend that characterized Badfinger’s Beatles-influenced sound.

After Ham’s suicide in 1975, Evans attempted to keep Badfinger alive, initially working with Joey Molland on the albums “Airwaves” (1979) and “Say No More” (1981). However, the commercial failure of these releases and ongoing legal battles over royalties created increasing tension between Evans and Molland, leading to their split and the formation of rival touring bands both using the Badfinger name. The stress of maintaining legal fights over “Without You” royalties, combined with his grief over Ham’s death and financial pressures, took a severe toll on Evans’ mental health. On November 18, 1983, following a heated telephone argument with Molland over past Badfinger income and “Without You” songwriting royalties, Evans hanged himself in the garden of his Richmond home the following morning. He was 36 years old and left behind his wife Marianne and son Stephen. His death note reflected the same hopelessness that had consumed Ham, citing frustrations over the seemingly endless legal battles and financial instability that plagued the band throughout their career.

Joey Molland

Joey Molland served as Badfinger’s lead guitarist and later primary vocalist from 1969 until the band’s dissolution, becoming the last surviving member of their classic lineup when he died from diabetes complications on March 1, 2025, at age 77. Born Joseph Charles Molland II in Edge Hill, Liverpool, on June 21, 1947, he grew up near the famous Penny Lane and was initially inspired to play guitar after hearing Elvis Presley’s “Blue Suede Shoes.” His recording career began in 1967 with Gary Walker & The Rain, where he gained experience before joining The Iveys just as they were transitioning to become Badfinger.

Molland joined Badfinger in late 1969 as Ron Griffiths’ replacement, initially as a guitarist rather than bassist, which solidified the classic four-piece lineup of Ham, Evans, Gibbins, and Molland. He appeared on seven Badfinger studio albums from “No Dice” (1970) through “Say No More” (1981), contributing both rhythm and lead guitar parts that complemented Ham’s songwriting. His guitar work was particularly notable on hits like “No Matter What,” “Day After Day,” and “Baby Blue,” where his harmonies with Ham created the layered sound that became Badfinger’s trademark. Beyond Badfinger, Molland made significant contributions to Beatles solo projects, playing on George Harrison’s “All Things Must Pass” and “The Concert for Bangladesh,” as well as John Lennon’s “Imagine” album.

After leaving Badfinger in late 1974 due to management disagreements, Molland briefly formed Natural Gas with Jerry Shirley of Humble Pie before reuniting with Tom Evans to revive Badfinger in the late 1970s. Following Evans’ suicide in 1983, Molland continued performing under various Badfinger incarnations, eventually settling on “Joey Molland’s Badfinger” for his touring band. He released six solo albums between 1983 and 2021, with his final release being “Be True to Yourself.” In his later years, Molland participated in high-profile Beatles tribute tours, working with artists like Todd Rundgren, Micky Dolenz, and Christopher Cross. He settled in Minnesota for over 40 years, where he was known for his accessibility to fans and his dedication to preserving Badfinger’s legacy. Molland had been battling health issues since December 2024, including pneumonia and complications from diabetes that led to septicemia, requiring multiple surgeries before his death at Methodist Hospital in St. Louis Park, Minnesota, surrounded by his girlfriend Mary Joyce and his two sons.

Mike Gibbins

Mike Gibbins provided the rhythmic foundation for Badfinger as their drummer from 1965 until the band’s dissolution in 1975, later participating in various reunion attempts until his death from a brain aneurysm in 2005. Born Michael George Gibbins on March 12, 1949, in Swansea, Wales, he began playing drums while in the sea cadets and performed with local Welsh groups including “The Misfits” before auditioning for The Iveys in 1964 and officially joining in March 1965. His powerful, left-handed drumming style helped elevate The Iveys to a new level of proficiency, enabling them to serve as opening acts for major touring groups including The Who, The Yardbirds, and The Spencer Davis Group.

Gibbins appeared on every Badfinger recording from their early Iveys material through “Wish You Were Here” (1974), providing the driving rhythms behind their biggest hits including “Come and Get It,” “No Matter What,” “Day After Day,” and “Baby Blue.” His drumming was particularly notable for its precision and power, complementing the band’s melodic approach with a solid rhythmic foundation that supported their complex harmonies and arrangements. Beyond his primary role as drummer, Gibbins also contributed backing vocals and occasional keyboards to Badfinger’s recordings, while his songwriting contributions, though often overshadowed by Ham and Evans, included several album tracks that demonstrated his musical versatility.

After Pete Ham’s suicide in 1975, Gibbins initially stepped away from the music industry, moving back to Wales before eventually resurfacing as a session musician, notably contributing to Bonnie Tyler’s platinum hit “It’s a Heartache.” He participated in various Badfinger reunion attempts throughout the 1980s and 1990s, including tours with Joey Molland and brief collaborations with Tom Evans’ version of the band. In his later years, Gibbins focused on solo projects, releasing four albums through Exile Music between 1998 and 2005: “A Place in Time,” “More Annoying Songs,” “Archeology,” and “In the Meantime.” He had been in contact with Molland about potential future collaborations and had expressed interest in working with original Iveys bassist Ron Griffiths on reunion projects. Gibbins died in his sleep at his home in Oviedo, Florida, on October 4, 2005, at age 56, leaving behind three sons from his two marriages. His death left Molland as the sole survivor of Badfinger’s classic lineup.

David Jenkins

David Jenkins served as rhythm guitarist for The Iveys from 1961 to 1967, making him one of the founding members of what would eventually become Badfinger. Born David Owen Jenkins on October 30, 1945, in Swansea, Wales, he was part of the original lineup when the band formed from The Panthers in 1961, alongside Pete Ham, Ron Griffiths, and Roy Anderson. Jenkins helped establish the early sound and identity of The Iveys during their formative years as they evolved from a local Welsh group into a more professional outfit seeking recording opportunities.

Jenkins performed with The Iveys during their early club circuit days, when the band was still developing their musical direction and building a following in the Welsh music scene. His rhythm guitar work provided harmonic support for Pete Ham’s lead guitar and contributed to the band’s evolving sound as they moved away from their initial incarnation as The Panthers. During Jenkins’ tenure, the band went through various name changes including The Black Velvets and The Wild Ones before settling on The Iveys, named after Ivey Place, a street in Swansea.

Jenkins departed the band in 1967, just before their major breakthrough and signing to Apple Records. His departure came as The Iveys were beginning to attract serious attention from the music industry, paving the way for Tom Evans to join as his replacement. After leaving the band, Jenkins did not pursue a notable professional music career. He remained connected to the Badfinger legacy in later years, attending the 2013 unveiling of the official blue plaque honoring Pete Ham in Swansea, demonstrating his continued connection to his former bandmates and their shared musical history. His early contributions helped lay the groundwork for what would become one of Wales’ most successful rock bands.

Ron Griffiths

Ron Griffiths served as bassist and backing vocalist for The Iveys from 1961 to 1969, spanning nearly the entire transition from local Welsh band to Apple Records artists before departing just before their breakthrough as Badfinger. Born Ronald Llewellyn Griffiths on October 2, 1946, in Swansea, Wales, he was a founding member when the band evolved from The Panthers in 1961, working alongside Pete Ham, David Jenkins, and Roy Anderson to establish The Iveys’ early identity and sound.

Griffiths appeared on The Iveys’ early recordings including their minor hit “Maybe Tomorrow” and contributed to the sessions that would eventually attract The Beatles’ attention and secure their Apple Records deal in 1968. His bass playing provided the rhythmic foundation for the band’s evolving sound as they developed from a local club act into a professional recording group. Griffiths was known for his solid musicianship and harmonious working relationship with the other members during the band’s crucial developmental period, when they were building their reputation and refining their Beatles-influenced pop style.

Griffiths’ departure from the band in October 1969 came at a crucial moment, just as “Come and Get It” was being prepared for release and The Iveys were about to transform into Badfinger. His decision to leave was influenced by personal circumstances, as he was the only married member of the group and was raising a child born in December 1968. The communal living arrangement and touring demands created friction, particularly with Tom Evans, who convinced the other members that Griffiths was no longer fully committed to the band’s goals. After his departure, Griffiths stepped away from professional music but maintained connections to his former bandmates’ legacy. He participated in later Badfinger commemorative events, including Mike Gibbins’ solo albums where he provided vocals on several tracks, and attended the 2013 blue plaque ceremony honoring Pete Ham in Swansea. His contributions during The Iveys’ formative years helped establish the foundation upon which Badfinger’s later success was built.

Bob Jackson

Bob Jackson served as keyboardist, guitarist, and vocalist for Badfinger during multiple periods, first joining in October 1974 and becoming one of the band’s most persistent members through various incarnations until the 2000s. Born in Coventry, England, Jackson was recruited during Badfinger’s transitional period following Joey Molland’s departure in late 1974, bringing keyboard skills that expanded their musical palette during a challenging time when the band was struggling with management and financial issues.

Jackson appeared on Badfinger’s final Apple Records album “Wish You Were Here” (1974) and the unreleased “Head First” sessions, contributing keyboards, rhythm guitar, and vocals during some of the band’s most difficult recording periods. His keyboard work added a new dimension to songs like “Dennis” and other tracks from this era, while his backing vocals helped fill the harmonic void left by Molland’s departure. Jackson’s versatility as both a keyboardist and guitarist made him a valuable addition during a period when the band was experimenting with different sounds and arrangements to distinguish themselves from their earlier Beatles-influenced work.

After Pete Ham’s suicide in 1975 and the initial dissolution of Badfinger, Jackson remained connected to the surviving members and participated in various reunion attempts throughout the 1980s and beyond. He worked with Tom Evans’ version of Badfinger from 1982 to 1983, providing stability during the tumultuous period when both Evans and Molland were operating rival bands using the Badfinger name. Jackson later formed his own version of Badfinger in 2015, continuing to perform the band’s classic material with new musicians including Andy Nixon, Anthony Harty, and Ted Duggan. He has been one of the most dedicated preservers of Badfinger’s legacy, participating in tribute concerts and documentary projects, and attending commemorative events including the 2013 Pete Ham blue plaque ceremony in Swansea. His long association with the band, spanning over three decades and multiple lineups, has made him one of the most knowledgeable keepers of Badfinger’s musical history.

Joe Tansin

Joe Tansin served as guitarist and vocalist for Badfinger during their brief 1978 reunion, providing guitar support during Joey Molland’s attempt to revive the band following the break-up period after Pete Ham’s death. Tansin joined Molland along with Tom Evans and drummer Kenny Harck for initial reunion sessions, contributing to the early efforts to resurrect Badfinger’s career after their hiatus from 1975 to 1978. His guitar work complemented Molland’s leadership role as the band attempted to move forward without their primary songwriter and creative force.

Tansin’s tenure with Badfinger was relatively brief, lasting only through 1978 as the band underwent several lineup changes while trying to establish a stable formation for their comeback attempt. He participated in the sessions that would eventually lead to the “Airwaves” album, though the final recording featured a different lineup. His contributions came during a transitional period when the surviving members were still processing the trauma of Ham’s suicide and struggling to find a new musical direction without their primary creative force.

After his time with Badfinger, Tansin did not achieve notable success in the music industry, and his brief association with the band represents one of several attempts by the surviving members to recapture their earlier success. His involvement demonstrates the challenges faced by Molland and Evans as they tried various combinations of musicians to fill the creative and commercial void left by Ham’s death. The instability of lineups during this period, including Tansin’s brief tenure, reflected the broader difficulties the band faced in rebuilding their career and identity in the aftermath of their greatest tragedy.

Kenny Harck

Kenny Harck served as drummer for Badfinger during their initial 1978 reunion attempt, filling the drum position when Mike Gibbins was not available for Joey Molland’s efforts to revive the band. Harck joined the reformed lineup alongside Molland, Tom Evans, and guitarist Joe Tansin as they attempted to rebuild Badfinger’s career following their dissolution after Pete Ham’s suicide in 1975. His drumming provided the rhythmic foundation for the band’s comeback sessions during this uncertain transitional period.

Harck’s involvement with Badfinger was brief, lasting only through the initial 1978 reunion sessions before Mike Gibbins returned to the drum position. His tenure came during a time when the surviving members were experimenting with different lineups and trying to establish a stable formation that could successfully continue the Badfinger legacy. The frequent personnel changes during this period reflected the challenges of moving forward without Pete Ham’s songwriting and leadership, as well as the ongoing financial and legal complications stemming from their problematic management situation.

After his departure from Badfinger, Harck did not pursue a notable career in the music industry, and his brief association with the band represents one of several short-term lineup experiments during the late 1970s reunion period. His involvement demonstrates the fluid nature of the band’s membership during this era, as Molland and Evans tried various combinations of musicians to find a workable chemistry for their attempted comeback. The instability that characterized this period, including Harck’s brief drumming stint, reflected the broader challenges faced by the surviving members as they struggled to rebuild both their personal and professional lives in the aftermath of their greatest tragedy.

Bob Schell

Bob Schell served as guitarist for Badfinger during a brief period in 1979, contributing to Joey Molland’s continued efforts to maintain the band following their reunion the previous year. Schell joined a lineup that included Molland, Tony Kaye on keyboards, Tom Evans on bass, and Peter Clarke on drums, representing one of several transitional formations as the band sought stability in their post-Ham era. His guitar work provided additional harmonic support alongside Molland’s leadership role during this experimental period.

Schell’s tenure with Badfinger was short-lived, lasting only through part of 1979 as the band continued to experience lineup changes while working toward their “Airwaves” album. His involvement came during a time when the band was still struggling to establish a consistent musical identity and stable membership following the trauma of Pete Ham’s death and their ongoing legal and financial difficulties. The frequent personnel changes during this period reflected the challenges of maintaining creative momentum without their primary songwriter.

After departing Badfinger, Schell did not achieve significant recognition in the music industry, and his brief association with the band represents one of many short-term collaborations during their troubled late 1970s period. His involvement demonstrates the difficulties faced by Molland and Evans as they attempted to rebuild the band with various musicians, seeking to find the right combination of talent and chemistry to recapture their earlier success. The instability that characterized this era, including Schell’s brief guitar contributions, highlighted the ongoing struggles of the surviving members to create a sustainable version of Badfinger in the absence of their creative cornerstone.

Tony Kaye

Tony Kaye served as keyboardist for Badfinger from 1979 to 1981, providing keyboard and organ support during a crucial period when the band was working to reestablish their recording career and commercial viability. The former Yes keyboardist brought significant experience and musical credibility to Badfinger during their efforts to record the “Airwaves” and “Say No More” albums, contributing to some of their most musically sophisticated post-Ham recordings. His involvement represented an attempt to expand Badfinger’s sound beyond their traditional guitar-based arrangements.

Kaye’s keyboard work added depth and texture to Badfinger’s sound during a period when they were struggling to find their musical identity without Pete Ham’s songwriting and creative direction. His contributions to “Airwaves” (1979) and “Say No More” (1981) included both electric piano and organ parts that complemented the band’s attempts to modernize their sound for the late 1970s and early 1980s music market. His experience with progressive rock arrangements brought a level of musical sophistication that helped distinguish these albums from their earlier, more straightforward pop recordings.

Despite Kaye’s musical contributions and the band’s efforts to create commercially viable music, both albums failed to achieve significant commercial success, leading to continued frustration and eventual lineup changes. His departure in 1981 coincided with the growing tensions between Joey Molland and Tom Evans that would ultimately lead to their split and the formation of rival touring bands. Kaye’s involvement with Badfinger, while relatively brief, represented one of the band’s most serious attempts to rebuild their career with established professional musicians, though the ongoing legal and financial problems ultimately prevented these efforts from achieving their intended success.

Peter Clarke

Peter Clarke served as drummer for Badfinger during parts of 1979, filling the drum position during Joey Molland’s continued efforts to maintain the band following Mike Gibbins’ temporary absence. Clarke joined a lineup that included Molland, Tony Kaye on keyboards, Tom Evans on bass, and initially Bob Schell on guitar, contributing to the rhythm section during this transitional period as the band worked toward recording their comeback albums.

Clarke’s drumming provided the rhythmic foundation for some of the sessions that would eventually contribute to Badfinger’s “Airwaves” album, though the frequent lineup changes during this period meant that different drummers contributed to various recordings. His involvement came during a time when the band was experiencing significant instability in their rhythm section, as original drummer Mike Gibbins was pursuing other projects and the surviving members were struggling to maintain consistent personnel for their recording and touring activities.

Clarke’s tenure with Badfinger was relatively brief, lasting only through part of 1979 before being replaced by Ian Wallace for the following year. His departure was part of the ongoing pattern of lineup changes that characterized Badfinger throughout the late 1970s and early 1980s, as the band struggled to find stable membership that could effectively carry forward their musical legacy. The frequent changes in the drum position during this period reflected the broader challenges faced by Molland and Evans as they attempted to rebuild the band in the aftermath of Pete Ham’s death and their ongoing legal and financial difficulties.

Ian Wallace

Ian Wallace served as drummer for Badfinger from 1979 to 1980, bringing significant professional experience to the band during their efforts to reestablish their recording and touring career. Wallace, who had previously worked with notable acts including Bob Dylan and Crosby, Stills & Nash, provided stable drumming during a crucial period when the band was working on their “Airwaves” album and attempting to rebuild their commercial viability. His involvement represented the band’s efforts to work with established professional musicians during their comeback attempt.

Wallace’s drumming contributed to the sessions for “Airwaves” (1979), adding a professional level of musicianship that helped elevate the album’s production quality above some of their earlier reunion efforts. His experience with major recording artists brought credibility to the project and demonstrated the band’s commitment to creating commercially competitive music despite their ongoing legal and financial challenges. His rhythm work provided a solid foundation for the guitar interplay between Joey Molland and Tom Evans as they attempted to recreate some of the musical chemistry that had characterized their earlier success.

Wallace’s tenure with Badfinger ended in 1980 as the band continued to experience lineup instability and commercial disappointment despite their musical efforts. His departure was part of the ongoing pattern of personnel changes that characterized this period of the band’s history, as various professional musicians joined and left due to the lack of commercial success and the ongoing tensions between the surviving core members. Wallace later died in 2007, and his time with Badfinger represents one of several collaborations with established musicians who attempted to help the band rebuild their career during this challenging period.

Rod Roach

Rod Roach served as guitarist for Badfinger during a brief period in 1980, contributing to Joey Molland’s continued efforts to maintain the band with changing lineups throughout their troubled post-Ham era. Roach joined during a time when the band was experiencing frequent personnel changes, working alongside Molland, Tony Kaye on keyboards, Tom Evans on bass, and Richard Bryans on drums. His guitar work provided additional harmonic support during the sessions for what would become the “Say No More” album.

Roach’s involvement with Badfinger was short-lived, lasting only through part of 1980 as the band continued to struggle with lineup stability and commercial viability. His contributions came during a period when Molland and Evans were working to create music that could recapture their earlier success, but the frequent personnel changes made it difficult to establish the consistency necessary for effective songwriting and recording. His guitar work represented part of the band’s efforts to expand beyond their core membership in hopes of finding new creative inspiration.

After departing Badfinger, Roach did not achieve significant recognition in the music industry, and his brief association with the band represents another example of the short-term collaborations that characterized this period of instability. His involvement demonstrates the ongoing challenges faced by the surviving core members as they attempted to rebuild their career with various supporting musicians, seeking to find combinations that could effectively carry forward the Badfinger legacy while dealing with the ongoing legal and financial complications that had plagued the band since their Apple Records period.

Richard Bryans

Richard Bryans served as drummer for Badfinger from 1980 to 1981, providing rhythmic support during the final stages of the band’s efforts to maintain commercial viability with Joey Molland and Tom Evans. Bryans joined during the sessions for “Say No More” (1981), contributing to what would become Badfinger’s final album before Molland and Evans split and began operating rival touring bands. His drumming provided stability during a period when the band was experiencing its last attempts at unity before personal conflicts became insurmountable.

Bryans’ contributions to “Say No More” represented part of the band’s final collaborative effort, as tensions between Molland and Evans were reaching their breaking point despite their attempts to work together professionally. His drumming work supported the album’s songs during a time when both core members were contributing material but struggling to maintain the creative partnership that had sustained them through their earlier reunion albums. The recording sessions for this album would prove to be among the last times the surviving Badfinger members would work together cooperatively.

Bryans’ departure in 1981 coincided with the final breakdown of cooperation between Molland and Evans, leading to their split and the formation of competing Badfinger touring bands that would create additional legal and personal complications. His time with the band ended just before Tom Evans’ tragic suicide in 1983, marking the conclusion of Badfinger’s last period of attempted stability with their original surviving members. After leaving Badfinger, Bryans did not pursue a notable career in the music industry, and his involvement represents the final chapter of the band’s efforts to function as a cohesive unit before their ultimate dissolution.

Glen Sherba

Glen Sherba served as guitarist for Badfinger during multiple periods in the early 1980s, working with both Joey Molland’s and Tom Evans’ competing versions of the band as they operated rival touring acts using the Badfinger name. Sherba’s involvement began in 1980 with Molland’s lineup and continued through various configurations as the surviving members attempted to capitalize on the Badfinger legacy through separate touring operations. His guitar work provided support for both versions of the band during their most contentious period of competition.

Sherba performed with Molland’s version alongside Tony Kaye and Richard Bryans, contributing to their touring activities and helping maintain the musical credibility of their performances despite the legal complications surrounding the use of the Badfinger name. He later worked with Tom Evans’ competing version of the band in 1983, alongside Bob Jackson and Tony Kaye, demonstrating his musical versatility and willingness to work with different configurations of the surviving members. His involvement with both camps highlighted the complex personal and professional relationships that existed among the various musicians associated with Badfinger during this period.

Sherba’s participation in the competing Badfinger bands ended with Tom Evans’ suicide in November 1983, which brought a tragic conclusion to the rivalry between the two factions. His work with both versions of the band during this contentious period represents the challenges faced by supporting musicians who became caught between the competing interests of the surviving core members. After the resolution of the Badfinger name disputes following Evans’ death, Sherba did not continue with Joey Molland’s subsequent versions of the band, and his involvement represents a unique perspective on one of the most difficult periods in Badfinger’s troubled history.

Randy Anderson

Randy Anderson served as guitarist and vocalist for Badfinger during a brief period in 1984, joining Joey Molland’s reformed version of the band as they attempted to rebuild following Tom Evans’ suicide in late 1983. Anderson’s involvement came during Molland’s efforts to establish a stable lineup that could continue the Badfinger legacy with new musicians, working alongside Bob Jackson on keyboards, Al Wodtke on bass, and the returning Mike Gibbins on drums. His contributions represented part of the band’s attempts to move forward after the tragic loss of their second core member to suicide.

Anderson’s guitar work and vocals provided additional harmonic support for this reformed version of Badfinger as they worked to establish a new identity that honored their classic material while incorporating new musical directions. His involvement with the band came during a period when Molland was taking on increased leadership responsibilities and attempting to create a sustainable version of Badfinger that could function both as a touring and recording entity. The return of Mike Gibbins to the lineup provided some connection to the band’s classic period, while Anderson and the other new members brought fresh energy to the project.

Anderson’s tenure with Badfinger was relatively short, ending as the band continued to experience the lineup instability that had characterized their post-1975 period. His departure was part of the ongoing pattern of personnel changes that reflected the challenges of maintaining a stable group identity in the absence of the band’s original creative core. After leaving Badfinger, Anderson did not achieve significant recognition in the music industry, and his brief association represents one of several attempts by Joey Molland to rebuild the band with new musicians during the difficult period following the deaths of both Pete Ham and Tom Evans.

Al Wodtke

Al Wodtke served as bassist and vocalist for Badfinger during the mid-1980s, joining Joey Molland’s reformed version of the band as they attempted to continue following the tragic deaths of Pete Ham and Tom Evans. Wodtke’s involvement came during a period when Molland was working to establish a stable lineup that could carry forward the Badfinger legacy, performing alongside Bob Jackson on keyboards, Randy Anderson on guitar, and Mike Gibbins on drums. His bass work provided the rhythmic foundation for this reformed version of the band during their efforts to rebuild their touring and recording career.

Wodtke’s contributions included both bass playing and backing vocals, helping to fill the harmonic roles that had been essential to Badfinger’s sound since their classic period. His involvement came during one of the more stable periods for the reformed band, as the return of Mike Gibbins provided some continuity with their earlier success while the new members brought fresh energy to the project. Wodtke later participated in commemorative events, including the 2013 ceremony honoring Pete Ham with the unveiling of an official blue plaque in Swansea.

After his time with Badfinger, Wodtke maintained connections to the band’s legacy and continued to be involved in projects that celebrated their musical contributions. His work with the reformed Badfinger represented part of Joey Molland’s ongoing efforts to preserve and continue the band’s musical tradition despite the tragic losses that had devastated their original lineup. The experience of working with surviving members like Molland and Gibbins provided Wodtke with direct connection to Badfinger’s history and helped ensure that their music continued to reach audiences through live performance.

Roy Anderson

Roy Anderson served as the original drummer for The Iveys when they formed from The Panthers in 1961, making him one of the founding members of what would eventually become Badfinger. Anderson joined the initial lineup alongside Pete Ham on lead guitar, Ron Griffiths on bass, and David Jenkins on rhythm guitar, helping to establish the band’s earliest musical foundation during their formative years in Swansea, Wales. His drumming provided the rhythmic backbone for the group as they began performing in local clubs and developing their musical identity.

Anderson’s tenure with The Iveys lasted from 1961 to 1965, spanning the crucial early period when the band was evolving from a local Welsh group into a more serious musical entity. During his time with the band, they performed under various names including The Black Velvets and The Wild Ones before settling on The Iveys, named after Ivey Place, a street in Swansea. His drumming supported the band through their early club circuit performances and helped them build a local following that would eventually lead to their discovery by Beatles associates.

Anderson departed The Iveys in 1965, just before Mike Gibbins joined as his replacement in March of that year. His departure came as the band was beginning to attract more serious attention and developing the musical direction that would eventually lead to their Apple Records signing. After leaving the band, Anderson did not pursue a notable professional music career, stepping away from the music industry as The Iveys continued their evolution toward becoming Badfinger. His contributions during the band’s earliest years helped establish the foundation upon which their later success was built, representing the initial rhythmic foundation that would eventually support some of the most memorable pop songs of the early 1970s.