Don't put your wires in my brain
Roger Waters and David Gilmour during the sessions of Atom Heart Mother, 1970.
In the turn of the decade, Pink Floyd started to record their fifth album. After the failed sessions for the Zabriskie Point movie, which ended up only with a new version of Careful With That Axe, Eugene, while the band headed back to London with a few unreleased jams recorded during the sessions. Back in London, the group recorded a number of instrumentals that would be assembled into a large piece first performed in 17 January 1970, labeled "Theme from an Imaginary Western" according to David Gilmour.
By the meantime, the band was involved in other parallel projects too, producing Tailboard's debut album while Roger Waters partnered with Ron Geesin, bringing him to develop the track while also recording a soundtrack album for the documentary The Body. The rest of the band wasn't involved, instead focusing in their next album, producing a lot of instrumentals in-between tours.
Even though the idea initially was to each member contribute with a fair share to the album, as the sessions progressed, it seemed that the idea was being discarded, with the inclusion of Zabriskie Point demos, the country-influenced Crumbling Land (then-titled Country Song) and the rock-themed Red Queen (then-titled Unknown Song), both written by Roger Waters and mostly sung by David Gilmour.
Roger also included a folk piece originally recorded for The Body called Chain of Life. Nick Mason recorded the instrumental Heart Beat, Pig Meat, while Richard Wright included the instrumental Rise and Shine along with his track Summer '68. Fat Old Sun became Gilmour's second songwriting effort aside from his instrumental compositions such as Sunny Side Up.
However, the group wasn't satisfied with the epic on its large form. The experimental parts seemed to appeal to the space rock imagery associated with Pink Floyd, which the band wasn't particularly very fond of. The epic was dismantled in the album between to parts revolving the main theme, while the epic on its own remained unreleased until its unofficial appearance on bootlegs and its official release on Atom Heart Mother's 40th anniversary in 2010. Still, the group performed the epic, now named Atom Heart Mother, on its entirety on their shows.
"I believe that we were in a process that we didn't like the result of the suite of Atom Heart Mother as a cohesive project. It was a mishmash of ideas that sounded better when they were apart, so we preferred to dismantle the track all the way to the remaining ones that made it into the album."
-Roger Waters
Quite unsatisfied with the final product, Blackhill Records announced Pink Floyd's fifth record entitled Atom Heart Mother. Red Queen was released as the promotional single, surprisingly reaching number 4 in the United Kingdom, number 13 in Billboard Hot Rock Singles, and number 35 in Billboard Hot 100, becoming one of the band's most played songs in the radio during the 1970s.
"Pretty weird to think that Atom Heart Mother was our breakthrough album in the United Kingdom. I'll be honest that I don't like that album, and I simply don't want to play stuff that I don't enjoy apart from maybe Red Queen and Fat Old Sun."
-David Gilmour
Pink Floyd – Atom Heart Mother
Pink Floyd - Atom Heart Mother (1970)
Genre: Progressive rock, experimental, folk rock
Total: 46:10
Side A - 22:36
1. "Heart Beat, Pig Meat" (Nick Mason) - 3:12
2. "Atom Heart Mother" (Roger Waters, Richard Wright, David Gilmour, Mason, Ron Geesin) - 5:23
3. "Chain of Life" (Waters) - 3:59
4. "Sunny Side Up" (Gilmour) - 3:19
5. "Crumbling Land" (Waters, Wright, Gilmour) - 4:16
6. "Atom Heart Mother (Remergence)" (Waters, Wright, Gilmour, Mason, Geesin) - 5:48
Side B - 23:34
7. "Rise and Shine" (Wright) - 2:31
8. "If" (Waters) - 4:31
9. "Summer '68" (Wright) - 5:29
10. "Fat Old Sun" (Gilmour) - 5:22
11. "Red Queen" (Waters, Gilmour) - 4:37
12. "Morning Glory" (Waters, Wright, Gilmour, Mason) - 4:41
Atom Heart Mother is the fifth studio album by the British band Pink Floyd. The album was produced by the band, and the last credited to Norman Smith as a producer. It was released on 2 October 1970 in the United Kingdom and Europe by Blackhill Records, and 10 October in the United States and the rest of the world by Columbia. The album was recorded as Pink Floyd was trying to avoid the space rock association with less experimentation and more pastoral themes.
The sessions of the album began, in fact, in early 1970, where the band started assembling instrumentals done in rehearsals with the ones recorded previously in the failed sessions of the movie Zabriskie Point. Originally, the idea was to create an epic, conceived by the band and songwriting partner Ron Geesin. After all, the band decided to split the epic between two parts of the title track.
Ironically, after the sessions, the band remained unsatisfied with the final result, but Atom Heart Mother ended up becoming Pink Floyd's breakthrough in the United Kingdom topping the charts after dethroning the fellow Soft Machine's Magick Brother. In the United States, the album reached number 55, a new record for the band in the other side of the ocean.
The band released three singles for Atom Heart Mother: the first one, Red Queen, was released as a promotional single, becoming the most successful between the three. The second one is the country-influenced Crumbling Land, more successful in the United States reaching number 25, and the third one, Summer '68, popular in France and West Germany, reaching number 10 in the UK charts.
Face to face with the man who sold the world
David Bowie in 1970.
Following the successful release of An Occasional Dream, which included Bowie's yet-biggest single Space Oddity, David Bowie went to form his backing band called Hype, formed by Tony Visconti on bass guitar and drummer John Cambridge. Meeting guitarist Mick Ronson, Hype was complete, with Cambridge being replaced by Mick Woodmansey by the end of March, suggested by Ronson.
In the meantime, the group presented themselves as David Bowie & Hype, performing in superhero costumes designed by Bowie's now wife Angela Burnett. Once, Visconti's clothes were stolen, where he had to return home as the Hypeman. The group rented an Edwardian mansion in Beckenham. Ronson and Visconti built a small makeshift studio there, where Bowie generally recorded most of the early 1970s demos.
The recording sessions for Bowie's next album started in April 1970 at the Advision Studios in London, then moving to the Trident Studios. During the same time, most of personal and managerial life of Bowie were in a hurry, leaving the arrangements to Ronson and Visconti, while Bowie focused more on lyrics. Bowie terminated the contract with Ken Pitt and hired Tony Defries without the consultation of Blackhill Enterprises, and while Ken remained on Blackhill, Defries' admission was more complicated.
Bowie wanted to make an album as a spin-off of The Supermen track from An Occasional Dream, hence strengthening the ties between previous albums, yet wanting something more cohesive like Cygnet Committee and 'not so loose' like the previous album. At the time, Bowie's relations with Blackhill's board were getting more and more strained, besides the issues with Ken Pitt and Tony Defries, Bowie wanted less control of the company in his career, wanting more artistic freedom to work, similarly to Syd's situation a few months prior.
"When I saw that Bowie was in the same point as myself, I immediately went to that big house that he was living and we talked so much about that. And he was right, actually, he wanted to change his own manager, and what's so revolting about this? If he wanted to cut ties with Blackhill, that was his decision, and I supported him until the end."
- Syd Barrett
Reaching an agreement with Blackhill, Metrobolist would be Bowie's last album under Blackhill Records, becoming the first major artist and founder from the label to depart. In late 1970, Bowie signed with RCA Records, as suggested by Defries. Bowie's departure would mark another point of the downfall of Blackhill.
As of Syd, his stay in Blackhill was far more complicated than Bowie, as he was still seen as the 'underground symbol', even though Bowie and Bolan scored a few more hits than him. In an agreement with the high-ranking of the label, Syd swapped managers from Peter Jenner to Andrew King, but still, Jenner would complain with Syd's absence in 1970, as he was getting engaged with Gayla Pinion.
Metrobolist was announced by Blackhill Records as the newest Bowie's release, under David Bowie & Hype, nearly a year after An Occasional Dream. No singles were released as Bowie's contract expired, but some songs were re-recorded under RCA and released as B-sides. The album received a little promotion from Blackhill and a bit more from Bowie's new label, RCA.
David Bowie & Hype – Metrobolist
David Bowie & Hype - Metrobolist (1970)
Genre: Hard rock, blues rock
Total: 40:24
All tracks are written by David Bowie.
Side A - 21:27
1. "The Width of a Circle" - 8:05
2. "All the Madmen" - 5:38
3. "Black Country Rock" - 3:32
4. "After All" - 3:52
Side B - 18:57
5. "Running Gun Blues" - 3:11
6. "Saviour Machine" - 4:25
7. "She Shook Me Cold" - 4:13
8. "The Man Who Sold the World" - 3:55
9. "Holy Holy" - 3:13
Metrobolist is the third studio album from British singer-songwriter David Bowie, produced by Tony Visconti. The album was released on 4 November 1970 by Blackhill Records, ultimately becoming Bowie's last album under the label before moving into RCA Records. The album's style is considered a sudden shift from David toward hard and blues rock music. It was the only record of David Bowie backed by his band, Hype.
As said before, music critics noticed Bowie's sudden shift from progressive, psychedelic and folk influences to a more straight-sounding hard and blues rock, quite similar to The Supermen track. Progressive elements were incorporated on the eight-minute epic The Width of a Circle, and the more hard elements are widely based on Cream.
As a result of Bowie's dismissal from Blackhill Records, no singles were released, and the album received a little promotion, in contrast with An Occasional Dream. The album was better critically received in the United States than in the UK, although selling less than its predecessor. Metrobolist reached number 6 in UK Album Charts and number 122 in the Billboard 200.
Despite initially being a commercial failure, the 1972 reissue after the breakthrough with Ziggy Stardust was revaluated by the critics, and ultimately became a fan-favorite and a cult classic with tracks such as The Man Who Sold the World and All the Madmen. The album is cited as an influence to goth rock and later glam rock.
Keeping the heat with memories
Os Mutantes somewhere in the early 1970s.
Os Mutantes would fulfill their dreams on being international rockstars with an international tour around Europe. At the time, the group was supporting The Moody Blues, which seemed to shape the sound of the group in later works. Still, the American Dream of the band seemed out of touch for a while, even with the interest around the band back in the Old World. The group was promoting Tecnicolor and their most recent release back in Brazil, A Divina Comédia ou Ando Meio Desligado.
"[...] I mean, do you think that the audience cares about the lyrics? We were having fun a lot with The Moody Blues at the time, but that proved a little that our music was certainly cheerful to the audience, I've even seen some people dancing in some shows there."
- Rita Lee
Despite the transition between psychedelic rock to a progressive sound at the time, Polygram was interested into invest in the potential success of the group outside their home country, and Tecnicolor would be the presentation of another side of Brazil, besides the breezy bossa nova/lounge, to a more chaotic and playful rock music developed outside the American and mostly British hotspots.
The tropicália movement was going to reach international audiences... quite belated. Back in Brazil, the authoritarian military regime persecuting artists in music forced some of them to go to exile, such as Caetano Veloso and Gilberto Gil. The tropical themes of circus, carnival and party would be replaced by more somber themes of saudade and resistance against the regime of the time. A term coined by specialists defines this as the 'post-Tropicália era'. Os Mutantes wouldn't be affected again by the persecution... for a while.
"It was an appearance on a TV show [Samedi et Compagnie] in France when Albert [Raisner] asked about how life in Brazil was when Rita suddenly reaffirmed what Elis [Regina] said, that Brazil was 'a country ruled by troglodytes', and we [Sérgio Dias and Arnaldo Baptista] agreed with her, quite nervous about that, haha!"
- Sérgio Dias
The event passed quite unnoticed in Brazil at the time thanks to the efforts of the regime to prevent the same reactions as Elis did before. For the band themselves, they suffered some reprisals after returning to Brazil. The contract with Polygram was almost terminated, Rita herself was temporarily jailed, being freed under the same conditions imposed for Elis Regina, and Os Mutantes, now officially adding the bass player Liminha and drummer Dinho Leme to the group, went to a self-imposed exile, first in France, later in the United States.
"I remember that our last words before going to France was something like: 'from my country, to the world!'. We wanted to return as soon as possible, like we did a few years later."
- Arnaldo Baptista
Os Mutantes – Tecnicolor
Os Mutantes - Tecnicolor (1971)
Genre: Tropicália, psychedelic rock, experimental rock
Total: 38:25
All tracks are written by Arnaldo Baptista, Rita Lee and Sérgio Dias, except where noted.
Side A - 19:33
1. "Panis et Circenses" (Caetano Veloso, Gilberto Gil) - 3:36
2. "Bat Macumba" (Veloso, Gil) - 3:16
3. "Virginia" - 3:23
4. "She's My Shoo Shoo" (Jorge Ben) - 2:52
5. "I Feel a Little Spaced Out" - 2:51
6. "Baby" (Veloso) - 3:36
Side B - 18:52
7. "Tecnicolor" - 3:54
8. "El Justiciero" - 3:52
9. "I'm Sorry Baby" (Arnaldo Baptista, Rita Lee) - 2:42
10. "Adeus, Maria Fulô" (Sivuca, Humberto Teixeira) - 2:39
11. "Le Premier Bonheur du Jour" (Jean Renard, Frank Gerald) - 2:46
12. "Saravah" - 2:59
Tecnicolor is the fourth studio album from Brazilian band Os Mutantes, and their first international release under Polygram. The album was released in 27 February 1971, being produced by Carl Holmes. The album was quite successful in most European countries such as France, West Germany and the Netherlands, bringing some new fresh music from Brazil, while it passed quite unnoticed in the United Kingdom, despite promotion in the Brazilian communities of the country.
The title track, Tecnicolor, and Virginia were released as singles, with the latter being a minor hit in France. The album reached number 21 in the French Album Charts, which was celebrated by the band. In later years, the album would receive a large cult following, including John's son Sean Lennon and Nirvana's frontman Kurt Cobain. Originally, the album wasn't released in Brazil, being reissued in 1979, a while after the disbandment of the group.
Polygram saw the release as a good sign that the band could build their international careers while exiled from Brazil. A new contract was signed, and the clause that required only one album per year was revoked, leaving the group with far more artistic freedom and ideas, yet under the schedule of delivering an album per year.
Author's comments:
Hey there! Long time no see. There were a few problems about moving from college and stuff, so it took longer than expected to me, sorry about that, we'll resume normally from now on.
Also there are a few things here and there. This will be probably David Bowie's last alternate release and we will focus a bit less on him. He will, however, appear more often later during Syd's plot, but unfortunately I don't see no things to be changed on his discography. Sorry, folks!
And now, we have the first release of Os Mutantes, which is actually the little modified version of OTL Tecnicolor, but instead, it was released as it was originally intended to an international audience. Hope you like it!
Sources:
- Pink Floyd - Atom Heart Mother
- Pink Floyd - Atom Heart Mother
- Roger Waters & Ron Geesin - Music from The Body
- Various Artists - Zabriskie Point soundtrack
- David Bowie - Metrobolist
- David Bowie - The Man Who Sold the World
- David Bowie - Holy Holy / Black Country Rock
- Os Mutantes - Tecnicolor
- Os Mutantes - Tecnicolor (2000)
