I'm not a big fan of Todd's, but he is one of the "Smartest" people in rock music period. I watched a documentary celebrating the making of Jim Steinman's magnum opus "Bat Out Of Hell", which was produced by Todd and Steinman went on record as saying he was a genius.
I do like that song Super 10, and Runtfan, I never knew that was why you picked your name...
I didn't know that Truckin', why wouldn't they give him the credit? Except maybe Harrison's stature took precedence in that instance.
I seem to remember that Todd also built his own recording, studio that was way ahead of it's time, he was not satisfied with the average ones available back then.
Q: Did you have much exposure to Badfinger’s music before working with them?
T: Yeah. I liked “No Matter What” I thought it was a good record. I thought they were obviously ‘Beatles lite’. The band was a little dejected after all this time. Essentially they said “just take whatever we’ve got and we’ll record some new stuff and make an album out of this”. I could have started over and recorded everything over. Instead of doing that I evaluated the various tapes that they had. I think Geoff Emerick had done some stuff on eight track and the stuff they did with George was on sixteen track. I re-recorded stuff like the drums on “Day After Day”. On “Day After Day” Ringo and George were playing together and they were into the wet rag drum thing. They had towels all over the drums and that particular song I think sounded like shit. So I made them record all the drums over and various other things and remixed it. The reason George didn’t finish the record was because he got sucked up into the “Bangladesh” thing. I remember during the course of it meeting George for the one and only time I ever met him. They were having a listening party for the “Bangladesh” record at Apple Studios. He said “ Yeah, I just kind a gave up on it. i didn’t have the time to finish it, so use the stuff or don’t use the stuff or do anything you want to with it, I don’t care, I’m out of the project”. So I reworked and mixed it and he(George) took one hundred percent credit including royalties (laughs). I’ve never had a high opinion about him since then. We did about half the songs from scratch. We didn’t do any of the recording at Apple. We did other studios were we could get into-places like Trident and Morgan. I think there were about six original songs. We used two of the tracks that Geoff Emerick started as well but he got no credit at all.