Badfinger ‎– Badfinger (Expanded Edition)

Warner Bros. Records ‎– RGM-0757, Real Gone Music ‎– RGM-0757
CD, Album, Reissue, Remastered

Companies, etc.



Recorded at Olympic. Mixed at Olympic and AIR. Produced by Chris Thomas for Big Ears Productions, Inc..
Produced under license from Warner Brothers Records, Inc..
Manufactured by Rhino Entertainment Comany, a Warner Music Group Company.

Track 13 previously unreleased.

Barcode and Other Identifiers

  • Barcode: 8 48064 00757 9
  • Rights Society: GEMA / BIEM
  • Matrix / Runout: (1059269) 45.4.757.3.SA.1 01 0001
  • Mastering SID Code: IFPI LV77
  • Mould SID Code: IFPI KK7P

Other Versions (5 of 28) View All

Cat# Artist Title (Format) Label Cat# Country Year
WB 56 023 Badfinger Badfinger(LP, Album) Warner Bros. Records WB 56 023 Germany 1974 Sell This Version
K 56023 Badfinger Badfinger(LP, Album) Warner Bros. Records K 56023 UK 1974 Sell This Version
ATOZ-113, RGM-0757 Badfinger Badfinger (Expanded Edition)(CD, Album, RE, RM) Warner Bros. Records, Real Gone Music, ATOZ ATOZ-113, RGM-0757 Japan 2018 Sell This Version
P-8454W Badfinger Badfinger(LP, Album, Promo) Warner Bros. Records P-8454W Japan 1974 Sell This Version
WPCP-4081 Badfinger Badfinger(CD, Album, RE) Warner Bros. Records WPCP-4081 Japan 1991 Sell This Version


Reviews Show All 2 Reviews

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April 19, 2019
Hi: This is Dan Matovina. Here is some background on this project Expanded Release of Badfinger's Wish You Were Here and Badfinger albums from the 70s. You can read the journey of their fruition and result on this following link.

The first release of this Wish You Were Here (Expanded Edition) and Badfinger (Expanded Edition) had my in-progress-working files used; those were "roughs" that were started before I settled in to review and finalize their mastering for release. That was done at another studio and finished through it's monitoring, with another engineer there, who had a digital delivery set-up for the mastered files to be delivered to the manufacturer. He accidentally uploaded the wrong files set in the wrong folder to the manufacturer. CDs were then initially made from those and put out - as hearing test CDs didn't happen, as the tight schedule at hand precluded time for a check.

It's explained in the blog I put together that the correct mastering that I intended is now used on copies that are out there and replacement CDs for the earlier versions are easy to acquire for anyone who wants to have the "correct" ones I intended. It's explained how to tell which versions one has.

Of note, the legendary Chris Thomas himself, did pre-masters on his sets of song mixes, that he called a Production Master on many of his produced albums and you can find a link in the blog of him speaking about this and how he would even do "re-compression, re-eqing ..." before he handed it to a vinyl mastering engineer.

On my intended versions for the CDs, I did not use any crazy or excessive compression, as debated, but at times was experimenting with some to see what approaches I might try. The sound sources you have to use are a big issue before deciding how to tackle it. Amongst a number of things, I did try various compression on some aspects of some songs in my test work. and none, or much less, and less often, in my final work - as I explained in the blog.

To note this "horror" some assert that any would be used at all; compression and limiting is a common tool used by any recording engineer and the debate on it is often uninformed, but opinions on anything are fine, at the end of the day. Unfortunately, when the people moaning have an agenda tied to them, as some out there do, they just dirty the water for prospective buyers, when its really about the music and the artists that need to be promoted.

It's sad how many people work their rants off having little info, when I would have been glad to answer any questions or desires for more. Only one person in any of the brouhaha discussions that surfaced came to me personally to ask about some things of about what they were hearing. I address some of this if you read the blog fro the link and listen to to the separate links in there.


April 11, 2019
So, I understand there's been a furor of sorts over these recent Real Gone Music issues of Badfinger's 2 Warner Bros. albums, and I thought I'd give my 2 cents.

First off, these are a great deal just for the bonus tracks (nearly an albums' worth on each disc). It's cool to hear the work in progress mixes of most of the self-titled album's songs, and hearing the new 2018 remixes of "Wish You Were Here" is interesting, and a different flavor to the album we all know.

But a lot of people were/are disappointed in the remastering of the album tracks (not so much the bonus tracks, since there's nothing else to compare those to). Yes, Dan Matovina (the guy who remastered them) did apply a lot of compression on these albums - more than they needed. But not all of the songs sound bad. The more straightforward songs on these albums don't suffer too much, but some of the songs with fuller arrangements suffer the most noticeably. But even at that point, they are not entirely unlistenable.

The self-titled album doesn't suffer as badly as "Wish You Were Here" does, and I believe I know the answer. Having worked in a recording studio, and knowing a bit about the industry in regards to how they expect albums to sound, sometimes mixes are compressed and/or limited BEFORE the mastering process, to try to give a little added "punch" to the mix. This is known as "pre-mastering". Sometimes this is done to compensate for some sort of discrepancies in the audio, or simply, to just make the mix louder, and make it "pop" a little more. Unfortunately, this "tweak" is only compounded in the mastering process, making already compressed and/or limited audio sound even more so, to the point where it sounds flat and dull, with next to no (or no) dynamics (depending on how heavy-handed they were when doing this).

How did I come to this conclusion? Well, aside from my work in a studio, and witnessing the mastering process many times, I had a copy of the original Warner Bros. LP from 1974. And guess what? It sounds just as compressed as the CD, albeit not as loud.

I ran into this problem with another album of the same era, Grand Funk Railroad's 1976 effort "Good Singin' Good Playin'". I originally heard this album on the remastered CD that came out back in 1999. It's loud, and has basically NO dynamics. When I got into vinyl, and learned about dynamic range and compression, I thought, "The original vinyl probably sounds better - it HAS to!!!" Lo and behold, when I dropped the needle on an original vinyl copy of the album, it sounded EXACTLY the same, again, just not as loud. They compressed THE MIX. And as long as that's the case, the master - no matter if it's done with care or brick walled to hell - is not going to have as good of dynamic range as an album whose mix was not compressed or limited.

If you want further proof that it's the MIX at fault just as much as the mastering, listen to the bonus tracks. These were all either unused or newly created mixes, and don't have the same thick or dull sound as the original album tracks. It's the same way on that Grand Funk Railroad album. There's one bonus track on it which was previously unreleased, and it sounds better than the rest of the album, because it was newly mixed and didn't suffer the same fate as the album mixes.

Just some food for thought, in case anyone was on the fence about buying these reissues, especially "Wish You Were Here" - that album was ALWAYS squashed sounding. This isn't much worse, and at least you get bonus tracks.