The Enigmatic Artifacts of Rannu the Witch Gat

Rannu the witch cat is a renowned character in folklore and literature. She is often depicted as a black cat with piercing green eyes and a long, elegant tail. Rannu is known for her mysterious and magical abilities, which she uses to help and protect others. In many stories, Rannu the witch cat is portrayed as a wise and knowledgeable creature. She is often consulted by humans and other animals alike when they are in need of advice or assistance. Rannu possesses an extensive knowledge of herbs and potions, and she is skilled in the use of magical spells and incantations.

Not too many people heard this tough rocker from the band's sixth album because the LP was pulled less than two months after its release because Badfinger's managers and their label's publishing firm were feuding. Too bad, because the album is one of their best, and the five-minute closing medley, 'Meanwhile Back at the Ranch / Should I Smoke,' is one of their strongest album tracks.

Crimson Ship is another decently well-known song from the album, and I thought it was a solid moment in its own right, even if it doesn t live up to any of the previously mentioned song. The 1969 issue of Maybe Tomorrow didn t make the splash Apple hoped, so when it was repackaged as a The Magic Christian film tie-in McCartney did the band a favor by giving them a song he d written titled Come And Get It.

Rannu possesses an extensive knowledge of herbs and potions, and she is skilled in the use of magical spells and incantations. Despite her magical abilities, Rannu is also regarded as a compassionate and caring being. She has a strong sense of justice and is quick to come to the aid of those who are in trouble or suffering.

Bedfinger mgic christian musoc

Badfinger was a great band and I cannot believe I didn’t realise this before becoming familiar with George Harrisons' debut album Wonderwall Music of 1968

Badfingers ditto 'Magic Christian Music' was released on the same label i.e Apple in January1970.

Someone sent me a snippet of 'Without You' long ago, and I had seen them perform the smash hit ‘Come and Get it’ blissfully on German television via Youtube, but had not gotten the actual LP until most recently.

I like the mildness and the go on this LP, and it plays like a breeze, the sound is delicate and clean power pop is (in fact a good descripition for this group) but the genuine delicacy is reminiscent of early 70’s Cat Stevens era Yusuf Islam (namely ‘Mona Bone’ and Catch A Bull At Four). Another nice feature of the Badfinger sound is the similairity to the playfulness and sense of melody of late 60’s Tremeloes, and ‘Nut Gone Flake’ era Small Faces or the harmonic touch of Mid 60’s Moody Blues.

The genuine heartfelt nature and delicate sense for snappy details on the candid lamentation named 'Maybe Tomorrow' remind me very much of what Denny Laine came up with on Boulevard de la Madeleine, while still being a part of ‘The Moodies’, or why not put up a parable to their monster hit ‘Go Now’?

The sincere commitment to musical arrangements on songs like ‘Carry On Till Tomorrow’ plays in the same league as compositions like ‘Our House’, by the phenomenal Crosby Stills, Nash and Young, the swift harmonies by the Badfinger lads especially reminds me of that said super group.
‘Actual Review’

Overall this album there lies a fun loving, laidback go with the flow groovy attitude, which precedes what Wings grew into on ‘ At The Speed of Sound1976’ most notably on Denny’s and Jimmy’s material on that particular LP.

As many of Wings’ initial releases also were released through Apple Corps. It is not completely unlikely these two acts influenced one another in the future as time went.

The cool thing about Badfinger is that judging from the sound picture of this 1970’s debut they were kind of like the Supergrass of their day

In stating the above I am of meaning that they had a similar sense for pristine precision and a sense of refinement coupled with a large amount of self distance and an ability to bring all the good bits of other acts, they admired on the same scene with great scrutiny and refinement and thusly create a dynamite sound of their own.
‘The Final Say’

Badfinger may not have been the pioneers or standard bareers of their decade (1970) and their sense of arrangement still was far from being as slick, skilled perfection laden and multifaceted as say Electric Light Orchestra but Badfinger compensated this only one flawif you must by remaining committed, to their own cause and in doing their own thing, no matter what was going on around them.

Badfinger had consistency as the foundation of their approach, maintaining substance over style and they surely could deliver.

One of Badfingers finest traits was in their way of not trying to be anything they were not and ‘The Magic Christian LP’ is all the better for it. The fun loving groove is literally infectious, impressive debut indeed. I also get the feeling Noel might have listened to this LP when he got the ideas to some of his songs for albums like Morning gloryBe Here Now, Heathen Chemistry, 'Don't Believe the Truth, compare I'm in Love with the feel of Oasis tracks tracks like 'She's Electric', 'The Girl in The Dirty Shirt' and especially 'She is Love', and 'The Importance of Being Idle'.

(Technically Badfinger’s second album - they released a 1969 album called Maybe Tomorrow under their original name of The Iveys. This is mostly a reissue of that record under the new name with some additional songs and a title to tie it into Badfinger featuring in 1969’s bizarre Ringo Starr comedy The Magic Christian. Not every song from Maybe Tomorrow made it onto Magic Christian Music’s original pressing but my 40th anniversary special edition restores the missing cuts.)

Next to being in The Beatles themselves, just about the most exciting thing that could happen to any young musician was being approved by The Beatles. When Beatles affiliates Mal Evans and Peter Asher saw Badfinger (then still The Iveys) perform at London’s Marquee Club, they were so impressed by the group’s combination of rock and roll instrumentation with pop melodies/choruses (a style called Power Pop though the term didn’t exist yet) they asked Badfinger for their demo tapes and sent copies to every member of The Beatles. All of The Fab Four liked what they heard and gave the thumbs up, granting Badfinger the distinction of being the first signees to Apple Records. The 1969 issue of Maybe Tomorrow didn’t make the splash Apple hoped, so when it was repackaged as a The Magic Christian film tie-in McCartney did the band a favor by giving them a song he’d written titled Come And Get It.

The first of three consecutive global top ten smashes, Come And Get It’s likeably naive, sunshiney approach made it a winner. Warm pulsing bass (from guitarist Ron Griffiths as bassist Tom Evans was busy singing lead) is sprinkled with light piano from usual lead vocalist Pete Ham, while one of Macca’s most insistent earworms burns it’s way into your brain with a vocal melody that is pure hook from start to finish. In a formula we’ll see from Badfinger again, Come And Get It Has no verses, having a chorus, bridge, chorus structure which places the priority on being as catchy as possible.

Badfinger were perfectly capable of writing their own material as well. Evans contributes the gorgeous baroque pop-rock of Beautiful And Blue with its sweet cello and Lennon like multi-tracked vocals, while Ham turns in some top shelf heartbroken soft rock with Walking In The Rain, his voice subtle yet moving, the music sparse but detailed. It’s diverse too - one moment they’re rocking out old school style on Rock Of All Ages, the next they’re doing the tear streaked folk of Carry On Till Tomorrow. There’s even the proto-heavy metal psych-prog of I’ve Been Waiting which would have been right at home on a Uriah Heep LP. But whatever Badfinger get up to, one thing they don’t do is suck - the extended version which contains all tracks from both version of the album runs to 19 songs and none of them stink. Whether it’s the irresistible feel good rock of Midnight Sun, the acoustic harmonies of Fisherman, the toe-tapper supreme that is the bouncy pop of I’m In Love, or the rawer, funkier Sali Bloo, Badfinger sound appealing. They play well and the album is stuffed with songs that though varied are united by a sense of fun and a consistent ability to deliver great hooks without wasting time. Good stuff.

E' un album che cresce lentamente nell'ascolto. Giusto il tempo di capire che non si tratta di un prodotto superficiale, ma che c'è del talento vero, a parte qualche brano un po' generico come Rock of All Ages.

D'altronde Paul McCartney gli prestò la canzone d'apertura (Come and Get It), oltre all'etichetta discografica.

Dear Angie oppure Carry On Till Tomorrow sono puro distillato pop per gli anni '70.

Not really a soundtrack, this confusingly titled Badfinger album was actually their second outing after releasing their first release under the name of the Iveys. It shows them taking steps, if not giant ones, towards the power-pop perfection of their 1972 album "Straight Up" which I urge everybody out there to listen to.

The two main songwriters, Pete Ham and Tom Evans contribute most of the songs, some as co-writes, although in truth there's nothing here which tops McCartney's gift to them of his very-good-if-not-quite-good-enough-for-the-Beatles instant-hit "Come And Get It".

Some of the writing betrays a tendency to almost schoolboy-standard lyrics and rhymes and the music too is often guilty of simplicity bordering on banality but tastefully produced throughout by the Beatles ill-fated roadie Mal Evans with skilful string arrangements by a youthful, pre-Bolan and Bowie Tony Visconti and fine high harmonies, the group successfully wings it for this generously packed 14-track album.

A few of the songs of course are drop-ins from their Iveys days, like the pretty chamber-pop balladry of "Carry On Until Tomorrow" and previous single "Maybe Tomorrow" both of which close each side of the record. "Crimson Ship" is an effective slice of pop-psychedelia and I'm also on board with the lush harmonies of "Fisherman".

There's a nice punchy proto-power-pop number in "Midnight Sun". "Beautiful and Blue" takes the lyrical idea of "Eleanor Rigby" and neatly electrifies it while the band really gets to rock out on the frantic McCartney-produced "Rock Of All Ages". There's Paul-type domestic-whimsy too on the slightly over-sentimental 30's-sounding 'Knocking Down Our Home" and simple pop-by-numbers "I'm In Love" and "Give It A Try".

"Walk Out In The Rain" is slightly over-derivative of the "And I Love Her" / "If I Fell" school of writing while more on the debit side, there are two songs bearing almost the same angelic girl's name in the title that even if they were put together, I'm not sure would amount to much.

Nevertheless, there's much to like on this agreeable album by a band who would really start to hit their stride on their next album.

This is it: the moment I've been waiting for my entire reviewing career. I finally get to talk about Badfinger! Well, here's the thing - I'm much more of a Straight Up and Wish You Were Here guy when it comes to Badfinger. Prior to this review, I had never even heard Magic Christian Music in its entirety. I was familiar with the bigger songs like "Come and Get It," "Dear Angie," and "Maybe Tomorrow," but the meat and bones of the album had completely flown over my radar - I skipped straight to No Dice and I'm not very sorry. With all that being said, I mean, the music on Magic Christian Music is very much the same Badfinger that I know and enjoy. It's power pop through and through with some absolutely killer moments in between some admittedly boring songs. The group is sharp (albeit not overly impressive), and Pete Ham already shows some talent as a songwriter. A solid enough debut from a personal favorite.

I want to open by addressing a common comparison I hear about Badfinger, and that's the "Beatlesque" sound that permeates their work. I'm gonna be honest, I just don't hear it; Badfinger has a certain sound and style that makes them completely separate from any Beatles work I've heard. However, when listening to Magic Christian Music, this is the most Beatlesque work of theirs I've heard yet. Some of this is due in part to Paul McCartney's production on a few songs (he even demo'd "Come and Get It" for the Beatles), but the songs just feel more Beatles-y than anything else I've heard from them. Of course, the Beatles were the biggest band in the history of. well. ever, so some influence could be obvious. Nontheless, this is power pop through and through, and it's a defining moment for the genre.

The best of this album is great pop rock with some of the catchiest and most underrated moments in the genre at the time. There's obviously the hits like "Come and Get It" and "Dear Angie," which are excellent examples of power pop from the genre's infancy. "Maybe Tomorrow" is far more pop leaning than anything else on the album, but it's a great closer with an excellent hook. "Crimson Ship" is another decently well-known song from the album, and I thought it was a solid moment in its own right, even if it doesn't live up to any of the previously mentioned song. "Midnight Sun" is an excellent song with some great guitar and vocal work courtesy of unsung genius Pete Ham. The drums are also great - powerful yet simple. Thank you Mike Gibbins. "Carry On Till Tomorrow" is another great deeper cut from the album - I love the little acoustic guitar riff in the opening, and the vocal performance from Tom Evans.

Speaking of Tom Evans, though, his vocal performances aren't always perfect - I prefer the somewhat thick Welsh singing of Pete Ham in most instances. This is especially because sometimes Tom's voice can be grating. The best case of this is a song like "I'm in Love," which might have been a good song if Tom's voice didn't go into the shrieking territory. Slightly unpleasant. In addition, how can anyone listen to "Fisherman" and not find it to be a supremely boring song. This isn't me just hating on slower moments on the album either, as I think that "Knocking Down Our Home" is easily one of the album's greatest moments. Chalk it up to a Pete bias? Maybe, but if he were singing "Fisherman" it would still be a bad song.

I think that Badfinger would really find their voice on their sophomore release, but this is not to say that you should disregard Magic Christian Music. The album is filled with fun pop and rock songs, and it includes some must-know singles from the 70s. However, it's flawed; there are undeniable weak points in the system, and a less than perfect vocalist does leave some moments feeling pretty mediocre or bad. Still, a fine enough debut, and one that helped establish one of my personal favorite acts from the 1970s.

Badfinger's debut proper although they had released an album previously under the name The Iveys. That album was never released in the UK or the US so naturally, it went nowhere. Several of The Iveys songs re-appear here, including the single "Maybe Tomorrow" and six other tracks. Also here are the three tracks from the Magic Christian soundtrack and four more songs that had been previously unreleased. So really, this plays more like a compilation than a studio record. Now, Badfinger here were under the wing of Paul McCartney and Apple Records. Paul wrote their hit "Come and Get It" and co-produces the record with Tony Visconti and Mal Evans. This is before their later power pop stage so you get a lot of different styles here including some psych, rock and pure pop. That makes it a bit inconsistent but there are many great songs here like, "Come and Get It", "Dear Angie", "Carry On Till Tomorrow" (perhaps the band's magnum opus), "Walk Out In The Rain" and "Maybe Tomorrow. I know this record isn't as loved as some of their other ones but I like it a lot. It shows their melodic pop side and just how good of songwriters they were even at this early stage.

Badfinger’s debut LP, Magic Christian Music, is actually something of a reset. A year previous, 1969, they released an album titled Maybe Tomorrow under their former identity, The Iveys. Many factors contributed to the commercial disappointment of Maybe Tomorrow. Poor content would be my reasoning, but inadequate distribution is also a likely factor. At the end of the day their Beatley buds down at Apple Records headquarters felt the branding was the bottleneck and rechristened the lads Badfinger. And as an extra safeguard against further nonstarters, Paul McCartney gracefully lent one of his own compositions to the bands' relaunch. The song turned out the bands’ first international Top 10 hit, ‘Come & Get It’.

The marketing of Magic Christian Music is a bit deceptive as it alludes to being the soundtrack of the film The Magic Christian, released a month earlier (anyone else feeling this album was 'rush job'?). In actuality, only two songs from the album are used in the film; one being McCartney’s ‘Come & Get It’….no less than three times. The man knew something about publishing. The movie is not without its charms - Ringo is the co-Starr - but it’s a terrible film; a satirical commentary on the behaviour and perspectives of England's upper-class, which doesn’t make it entirely irrelevant today. Unfortunately, the album hasn’t fared nearly as well.

‘Come & Get It’ is truly the only great track on Magic Christian Music. Save a couple dull rock moments, the remainder of the album show Badfinger hadn’t progressed much from their hodgepodge baroque Ivey roots. Six of the tracks on Magic Christian Music were even culled from Maybe Tomorrow.

Badfinger probably only made enough great tracks during their career to compile a decent ‘Best of’ package. That isn’t too harsh of criticism when you consider this is the case of most power pop bands of the ‘70s.

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Dear Angie oppure Carry On Till Tomorrow sono puro distillato pop per gli anni '70.

Rannu often uses her powers to right wrongs and punish individuals who have done harm to others. Rannu the witch cat is also known for her mischievous nature. She sometimes plays tricks on unsuspecting individuals, but her intentions are usually harmless. Rannu enjoys playing games and teasing her friends and acquaintances, but she always does so with a kind heart and a playful spirit. In some stories, Rannu the witch cat is portrayed as a protector of nature and the environment. She is often depicted as living in a magical forest or secluded cave, surrounded by an abundance of plants and animals. Rannu uses her magical abilities to heal injured animals and protect the natural world from harm. Overall, Rannu the witch cat is a beloved and fascinating character in folklore and literature. She represents the balance between magic and morality, using her powers to help others and promote justice. Rannu's combination of wisdom, compassion, and mischievousness make her a captivating and beloved figure in the realm of mythical creatures..

Reviews for "The Legacy of Rannu the Witch Gat: Tales and Legends"

1. Jane - 1 star - I was really disappointed with "Rannu the witch gat". The storyline was confusing and didn't make much sense. The characters were underdeveloped and lacked depth, making it hard for me to connect with any of them. The writing style was also very mediocre, with repetitive phrases and cliché dialogue. Overall, I found the book boring and unengaging, and it definitely did not live up to my expectations.

2. Mark - 2 stars - "Rannu the witch gat" had an interesting premise, but it failed to deliver. The pacing was incredibly slow, and I found myself losing interest often. The plot twists seemed forced and predictable, making the storyline lack excitement. Additionally, the dialogue felt unnatural and awkward, making it difficult for me to connect with the characters. While the book had potential, it fell short in execution and left me feeling unsatisfied.

3. Sarah - 2 stars - I struggled to enjoy "Rannu the witch gat". The writing style was choppy and unpolished, making it hard for me to stay engaged. The transitions between scenes were abrupt and confusing, making it difficult to follow the story. The characters were also quite forgettable and lacked personality. While some elements of the book had potential, the overall execution left much to be desired. I would not recommend this book to others.

The Influence of Rannu the Witch Gat on Modern Wiccan Practices