1968/1969: A Lot of Things

The formula to a better follow-up

The Beatles shouldn't be there, 1968.

Even though The Beatles weren't shaken up by the harsh reviews of their last album, their manager, Brian Epstein, was worried about the way the band was dealing with it in the studios. By moving back George Martin to the role of producer, the group still proceeded with the follow-up for Umbrella. However, problems with John's marriage and his relationship with Yoko Ono were turning the studio upside down.

"John needed to deal with his divorce, and Brian tried to help him and Cynthia, so we continued to record A Doll's House without them for like... two weeks. And then when Yoko got pregnant John had to be even more away. Anyway, I recall when we passed two days straight rehearsing 'Not Guilty' because Ringo couldn't keep a beat there. One of those days I went to visit Cynthia and little Julian, and during the way, I came up with 'Hey Jude', like, 'Hey Jules, don't make it bad...'" 

 -Paul McCartney

The tensions between Paul and George seemed to shrink, while Paul started to accept more of George's songs, and mainly because of John's absence in the studio. "Yeah, without John and his feelings about Yoko we felt... more free to advance with the recordings", Paul McCartney. And another thing ended up keeping John away from the band: Yoko Ono was pregnant with their future son, Roman. As the rumors on Yoko's pregnancy were confirmed, proceedings of divorce started for Yoko too.

The sessions for A Doll's House were mostly without Lennon, with Lennon appearing three weeks before the end to record his parts of the other songs. "Many of the things you listen in A Doll's House are extensive work by George, Paul, and of course... Ringo. After Yoko's pregnancy, John appeared mostly one or two days in each two weeks. He was very busy taking care of Yoko, and since Brian didn't let Yoko come into the studio, so he preferred to take care of her.", Geoff Emmerick.

For Revolution, there were recorded two versions, the spontaneous hard rock version, recorded in a day, and the bluesy version, recorded with a few more takes and cuts, entitled Revolution 1, later released as B-Side for Something. Portion of the takes were later reutilized on Lennon's collaboration with Yoko Ono, entitled Revolution 9. Hey Jude and Revolution were two songs with promotional shots for the upcoming album A Doll's House.

The band finished the sessions in November. After that, there wasn't very much to do, until Paul McCartney's idea to the next Beatle film: a documentary showing how the Beatles record their albums. The idea was approved by the members, and by Brian Epstein as well, but with doubts by George if that was going to work. The release of A Doll's House was set to January for the next year.

The Beatles – A Doll's House

The Beatles - A Doll's House (1969)

Genre: Hard rock, soft rock, folk-rock

Total: 43:59

Side A - 22:00

1. "Back in the U.S.S.R." (Lennon-McCartney) - 2:43

2. "Revolution" (Lennon-McCartney) - 3:21

3. "While My Guitar Gently Weeps" (George Harrison) - 4:45

4. "Helter, Skelter" (Lennon-McCartney) - 4:29

5. "Not Guilty" (Harrison) - 4:26

6. "Lady Madonna" (Lennon-McCartney) - 2:16

Side B - 21:59

7. "Piggies" (Harrison) - 2:04

8. "Rocky Raccoon" (Lennon-McCartney) - 3:33

9. "Julia" (Lennon-McCartney) - 2:54

10. "Long, Long, Long" (Harrison) - 3:04

11. "Good Night" (Lennon-McCartney) - 3:13

12. "Hey Jude" (Lennon-McCartney) - 7:11

A Doll's House is the tenth studio album by The Beatles, released on 31 January 1969 by Apple Records and produced by George Martin. This is the first album fully recorded at the A.R.S. (Apple Recording Studios). The album is remarked by its unusual tracklist, with more of George's participation (with four songs) and less John's features (absent due to personal problems, such as the divorce with his first wife, and Yoko Ono's pregnancy), contributing with two songs only. The cover art was painted by John Patrick Byrne.

Despite some of the lyrics were written in India (similar to the lyrics of Umbrella), the most was written back in England; while the tracklist was organized by genre. While the first side is mostly filled with heavy, psychedelic music, the second side was organized with folk, pop ballads, and a grand finale with Hey Jude (according to Paul McCartney). The album also shows George's de facto take-off as a prominent writer in later Beatles' albums.

The album was well-received by critics in general, regarding it as a 'comeback album' from The Beatles after the disastrous Umbrella. The promotional single, Hey Jude, and its B-side, Revolution, were two consecutive hits by the band. A Doll's House topped Billboard Top LP's and UK Album Charts, alternating with Bee Gees' The City on the Black Sea each week. It is considered the first of a transitional era comprehending Abbey Road and Get Back.

By going insane, it can give you a great album

Pink Floyd charmingly posing for a promotional photo, 1968.

With the final show in Belgium, Pink Floyd went back to the United Kingdom playing part of the new stuff the band has composed and booking new sessions to the next album. Pieces such as Embryo and Biding My Time were received as potential singles to their upcoming record, though both weren't released. The last live appearance of the band that year was on 2 December, when the band presented the songs, along with a short set of tracks of Keep Smiling People in BBC.

After a brief vacation period between December 1968 and January 1969, Pink Floyd gathered at the Pye Studios looking for their third album. The initial idea was to record the songs written for Barbet Schroeder's upcoming film More, but the commissioned project was canceled, while Pink Floyd kept the songs to record. A few weeks before the vacation, Pink Floyd recorded Point Me at the Sky and Biding My Time, while Embryo was shelved to the next sessions.

"During that time we started to perform a suite called The Man and The Journey but that project was a bit too much for us... *laughs*; by scrapping that we preferred to do a standard Pink Floyd album at the time. We liked to experiment a lot of things in those years, but I believe that Are Going Insane and Basking in the Sunshine [of a Bygone Afternoon] was our peak on experimentalism."

 -Roger Waters, 1998

The Man and The Journey was a short tour between February and April 1969 by Pink Floyd in which included early songs and unreleased material comprehending from "Are Going Insane!" and Basking in the Sunshine of a Bygone Afternoon. In the first two months of tour, Pink Floyd performed the regular The Man and The Journey song set before rearranging to songs from previous albums and promoting "Are Going Insane!".

Poster promoting The Man and The Journey tour.

Pink Floyd returned to Pye Studios between February and March of 1969. The band decided to hire Brian Humphries to engineer the album, while they ditched Norman Smith this time (though he still retained an Executive Producer credit). The name of the album, "Are Going Insane!", appeared after a reaction of Humphries after Roger's idea on the first side of the album.

"Rog was telling us the idea of extending 'Embryo' by adding an unfinished song, which became 'Gabriel's Coming', and two instrumentals, turning it into a extended piece developed around the second coming of a prophet. Then Brian, our engineer, reacted to this like, 'Oh my God, Are You Going Insane?', and we took that as a joke, but eventually it became the title of the album."

-David Gilmour, 1971

The band worked on Second Coming along with other jams recorded during the week, such as More Blues and "We're Going Insane!". During the last week, the band recorded a new song in one take, which was included on the album at the last minute. After the sessions, the band started the UK leg of the tour.

In April, Blackhill Records released Point Me at the Sky as a promotional single, backed by the BBC Version of the song. Reminiscent of psychedelic pop-esque tracks, the success of Point Me at the Sky surprised the band who saw the single reach number 3 in the United Kingdom and achieving success in the rest of Europe. And though the song was successful, the band wasn't afforded to perform it, being discarded later in early 1970.

"Rick and Nick were the ones who sympathized the song, and even they were surprised by the success of something we labeled... outdated. We didn't like to make that sort of song, y'know, we preferred to make something on our own. And "Point Me at the Sky" kind of annoyed afterwards. So then we dropped."

-Roger Waters, 1986

Labeled as one of the most progressive records at the time, "Are Going Insane!" impressed the chairmen of Blackhill Enterprises who decided to promote the album in magazines and radio shows. Ibiza Bar was the second song being released as single, backed by The Nile, becoming another hit by Pink Floyd, which explored the growing heavy metal scene.

Pink Floyd – Are Going Insane!

Pink Floyd - Are Going Insane! (1969)

Genre: Progressive rock, space rock, experimental, blues rock
Total: 43:56

Side A - 23:55
1. "Second Coming" (Roger Waters, Richard Wright, David Gilmour, Nick Mason) - 16:56
a. "Seabirds" - 4:20
b. "Gabriel's Coming" - 4:35
c. "Turnin' Into Wine" - 3:18
d. "Embryo" - 4:43
2. "Crying Song" (Waters) - 3:33
3. "The Nile" (Waters, Gilmour) - 3:26

Side B - 20:01
4. "More Blues" (Waters, Wright, Gilmour, Mason) - 2:12
5. "Ibiza Bar" (Waters, Gilmour) - 3:19
6. "We're Going Insane!" (Waters, Wright, Gilmour, Mason) - 5:37
7. "Biding My Time" (Waters) - 5:18
8. "Point Me at the Sky" (Waters, Gilmour) - 3:35

Are Going Insane! (or alternatively titled "Pink Floyd Are Going Insane!") is the third studio album by the British rock band Pink Floyd. The album was produced by the band, with the help of engineer Brian Humphries, and released in the United Kingdom on 13 June 1969 by Blackhill Records. It is considered as the first reasonably successful record by the band. Portion of the songs were developed during The Man and The Journey tour before the group discard the idea of recording an album around the concept of the tour. Though, a live version of The Man and The Journey would be released in the boxset of The Early Years.

The album was recorded intermittently in four months, November-December 1968 and February-March 1969, with many tracks remaining unfinished; later reutilized on the next album, Basking in the Sunshine of a Bygone Afternoon. The two tracks released as singles, Point Me at the Sky and Ibiza Bar, reached number 3 and 12 in Britain, respectively. Are Going Insane! reached number two in UK Album Charts (losing to Bee Gees' The City on the Black Sea), and reaching number 76 in US Billboard.

When it was released in the United States, the album caused controversy among the most religious people, since the main track deal with an eventual return of Jesus. In the initial presses, Crying Song was included as a section of Second Coming, fixed in later re-releases. Also, the record is most noticed because of the distinct heavy-oriented sound.

"I mean, I am proud of every record I did with the Pink Floyd [Sound], but 'Are Going Insane!' is probably the first one that I was really proud of."

-David Gilmour, 2003

An interview with David Bowie - Press Conference - April 8th, 1969

David Bowie, 1969. Stop smoking David, please.

1. So David, let's talk about your latest album, Cygnet Committee, did you have any concept in mind when writing and recording it?

"Not initially, not initially. I mean, as the time passed by, I noticed how the lyrics connected with each other somehow, so I reorganized the entire thing. It's not that evident though. It's like a hidden concept or something. And I like this."

2. And, what's next? Do you already have your next record in the works?

"I can say a yes, it is. I have a couple of new songs written, which by the way, one of them is recorded, but I plan to use them in that film that my manager [Ken Pitt] was planning to do. We also plan to include some of the songs of Rubber Band and Cygnet Committee as well."

5. In your latest album, it is safe to assume you didn't play all the instrumentation, correct? Who was your backing band?

"Sure, I just played the acoustic guitar and some of the keyboards, but if it wasn't for my friend Marc [Bolan] recommending Tony [Visconti] for me, I was screwed. I just kept Willie Wilson for drums, but Tony helped choosing some other people, that I'm grateful for their work of course, and helped recording some of the bass lines."

8. Mr. Bowie, what influences you'd say that are on Cygnet Committee? And have you listened to your contemporary colleagues recently?

"A bit unsure to say, but some of my personal experiences with buddhism, art and acting helped me a lot. *laughs*; I believe that my misfortunes before and during Rubber Band also shaped the sound of the record. Currently I'm listening to Bee Gees' newest album, I personally think that it is my favorite of this year. The boys of  Pink Floyd [Sound] also have showed me their new album, it is wonderful too."

9. Can you tell us how it is?

"Hey, come on, this would be a low kick! I believe that their sound developed a lot from what it was two years ago. It's a good album, no disappointments." 

14. What can you say about what you've recorded for the next album thus far?

"As I said, I recorded one song so far. But I really didn't like the finished song. Probably I'll record it again, but, like I said, there are a few more songs to record."

16. Do you have plans to collaborate with another artist?

"Well, why not? My doors are always open to an opportunity, it's always interesting to have a guest at the studios. Not if he was from your former band, of course! *laughs*"

17. David, how do you feel about your former bandmate, Syd Barrett's, solo album, and how would you compare it to yours?

"I can't compare, there are many different things from my work to Syd's work. I mean, our lyrics are a bit similar, I can say that mine are supposedly more whimsical, but talking about the style, Syd's work is very, very experimental, sometimes flirting with avant-garde, while mine seems a bit... more lush, I'd say. But I think Syd did a good work there, he's a nice person, and we are good with each other since the break-up."

19. David, do you care to comment about your sexuality?

"Well, why do you ask this? Do you think I'm a sort of alien who came from space to save Earth or something like this? I suppose that I have no problem to tell that someone is beautiful, independent if they're male or female."

20. So, you're a key person on Blackhill Enterprises, right? Who do you talk the most there?

"Yeah... it's kind of honorary title, though. Inside Blackhill, I talk with Marc Bolan, Peter Jenner, the boys from Pink Floyd [Sound], even with Syd, when we have a little time. Most of the people there are nice people."

21. So Mr. Bowie, what are your plans for 1969, and what direction will your music go?

"Hmm... good question. I plan to release my film, likely record another album, read a lot more... There are countless things. I have to see what God reserved to me, really."

Reaching success can cause you problems

The Bee Gees in 1968. (L-R: Vince Melouney, Colin Petersen, Barry Gibb, Maurice Gibb, and Robin Gibb)

The sessions for The City on the Black Sea were a hard period for The Bee Gees. After recording some more songs with the band, the guitarist Vince Melouney left Bee Gees and joined Fanny Adams after a clash between him and his former band. Nevertheless, the group proceeded to record the album, with Maurice assuming the lead guitarist role left by Vince. In August, the band focused on the orchestral tracks and arrangements, leaving many other songs to be recorded in the next few months.

Another issue during the recording sessions was the argument between Barry and Robin over the release of the next single, which while Robin wanted Lamplight, Barry wanted First of May, leading to Robin's departure for a few days before the end of the sessions. At the time, Maurice worked on adding instrumentation to the remaining songs. Robin returned to record a few more vocals to his tracks.

"The more the things were going, the more we were rolled. The only people inside the studio all the time were Colin, Barry, Mr. Stigwood and I, but mostly we were finishing some songs, doing arrangements and adding new overdubs, y'know? Even when Robin came back he and Barry were bitter with each other. Yeah, hard times indeed."

-Maurice Gibb, 1997

Despite the problems, the sales for First of May has shown that Bee Gees turned themselves into a rising power in music. The single was released and backed by Marley Purt Drive, hitting in the United States, and building a fanbase in Latin American countries (mainly in Brazil, Argentina, and Colombia). The song reached number 6 in Britain, while reached number 18 in US Cash Box.

The City on the Black Sea received a lot of space in media in general, with the RSO spending a great amount of money to promote the album. Entitled the "first opera inside an album by a rock band" (although The Pretty Fairies' S.F. Sorrow was released earlier), Bee Gees' newest album was receiving a big hype and curiosity towards their newest record.

Bee Gees – The City on the Black Sea

Bee Gees - The City on the Black Sea (1969)
Genre: Baroque pop, progressive pop, rock opera, art rock
Total: 71:15
All songs written by Barry, Robin & Maurice Gibb.

Act I - 36:19
Side A - 19:03
1. "Seven Seas Symphony" - 4:09
2. "Odessa (City on the Black Sea)" - 7:33
3. "In the Summer of His Years" - 3:05
4. "You'll Never See My Face Again" - 4:16

Side B - 17:16
5. "I Have Decided to Join the Airforce" - 2:06
6. "Black Diamond" - 3:27
7. "Never Say Never Again" - 3:28
8. "Give Your Best" - 3:26
9. "Sinking Ships" - 2:21
10. "Down to Earth" - 2:28

Act II - 34:50
Side C - 17:23
11. "With All Nations (International Anthem)" - 1:46
12. "Kilburn Towers" - 2:14
13. "Melody Fair" - 3:48
14. "Suddenly" - 2:29
15. "I Laugh in Your Face" - 4:09
16. "I Started a Joke" - 3:03

Side D - 17:27
17. "Sound of Love" - 3:27
18. "When the Swallows Fly" - 2:22
19. "I've Gotta Get a Message to You" - 2:55
20. "Lamplight (Keep on Burning)" - 4:47
21. "First of May" - 2:50
22. "The City on the Black Sea (Reprise)" - 1:36

The City on the Black Sea is the sixth studio album by British rock band Bee Gees. It was produced by Maurice Gibb and Robert Stigwood and credited to the Bee Gees. It was released on 30 March 1969 by Polydor Records in the United Kingdom and by Atco Records in the United States. It is considered by many as Bee Gees' magnum opus, and part of the first wave of conceptual albums along with S.F. Sorrow (by The Pretty Things) and Tommy (by The Who). The album also remains controversial by the hard times which Bee Gees was going through, with the departure of Vince Melouney and the temporary departure of Robin Gibb due to disagreements.

The story of the album is about a survivor of an incident in the fictional British ship Veronica, who returns to his homeland, only to find his wife with another man. After the two break up, the protagonist decides to join the air force, meanwhile, his ex-wife struggles to live without her former partner. Later, when she hears of the protagonist's return, she sends him messages and the two reconcile, returning to live with each other once more.

It remains as Bee Gees' best-selling album (not counting Saturday Night Fever), and a fundamental record to the art music scene. Initially, with a mixed reception, the album later received great appraise by the music press. With the release, the fans reacted with an overwhelmingly positive response, calling it one of the greatest albums of the sixties. The album knocked Cream's Goodbye and topped UK Album Charts for twelve weeks, disputing with The Beatles' A Doll's House. In Billboard, the album reached number 5, a new record broken by the band. At the end of the year, it was labeled as one of the Titans of 1969.

The record remains influential to the indie scene, mainly in the chamber and progressive pop scene. George Harrison later commented with Maurice Gibb the influence of the record on his solo records, praising the album. David Bowie said that The City on the Black Sea was an important album by helping him to get inspirations to Space Oddity and The Man Who Sold the World. In later years, the record would receive a theatrical adaptation. The album is ranked number 33 in Rolling Stone's 500 Greatest Albums of All Time.

"Regarding The City on the Black Sea, what these guys [Bee Gees] did was a masterpiece, indeed. Reminds me a lot of those times of Rubber Soul and Sgt. Peppers, but they assembled a way to organize the songs into a story, in a beautiful way. And sure, the music did not only influence me, but Phil [Spector]. It was something near the Wall of Sound, Phil and I talked with Maurice one day about this."

-George Harrison, "I, Me, Mine"

 "I think that probably the saddest thing to me is that I never will do the same thing that The City on the Black Sea is. Sure it was hard times, but did compensate when everybody liked the final work. Robin and I reconcilied, after all."

-Barry Gibb, 2007

Sources:

The Beatles - A Doll's House

• The Beatles - White Album [Deluxe Version]
• The Beatles - 1

Pink Floyd - Are Going Insane!

• Pink Floyd - More
• Pink Floyd - The Early Years

Bee Gees - The City on the Black Sea

• Bee Gees - Odessa
• Bee Gees - Idea