1967/1968: Forever and Ever

A magical and mysterous tour...

The Beatles filming Magical Mystery Tour.

Between the Sgt. Peppers the Transcendental Meditation, The Beatles initiated the project Magical Mystery Tour with Paul McCartney. Most of the filming occurred between 11 and 25 September 1967, while the soundtrack was conceived between the Sgt. Peppers sessions and 7 November 1967. The sessions have been characterised by some biographers as aimless and unfocused, with the band members overly indulging in sound experimentation.

The Beatles finished working on Magical Mystery Tour by November of that year, and decided to strenghten the ties with the Maharishi Mahesh Yogi. The band stood in Bangor for ten days, leaving Bangor and directly going to film the movie. Plans to take part on Maharishi's training course in Rishikesh were made to late October, however, at Epstein's urging, they postponed the trip until the new year to work on their Magical Mystery Tour film project.

With the end of the filming sessions, the soundtrack for Magical Mystery Tour was set to be released in 27 November in the United States (as a LP) and 8 December in the United Kingdom (as a double EP). The movie was premiered at BBC1 in 26 December 1967, ultimately becoming The Beatles' first critical failure and commercial flop, albeit the album was generally successful.

The Beatles – Magical Mystery Tour

The Beatles - Magical Mystery Tour (1967)

Genre: Psychedelic rock, art rock

Total: 34:47

All songs written by John Lennon & Paul McCartney, except when noted.

This is the LP version of Magical Mystery Tour, originally released in the United States.

Side A (film soundtrack) - 19:05

1. "Magical Mystery Tour" - 2:48

2. "The Fool on the Hill" - 2:59

3. "Flying" (Harrison, Lennon, McCartney, Richard Starkey) - 2:16

4. "Blue Jay Way" (Harrison) - 3:54

5. "Your Mother Should Know" - 2:33

6. "I Am the Walrus" - 4:35

Side B (singles) - 15:42

7. "Hello, Goodbye" - 3:24

8. "Being for the Benefit of Mr. Kite!" - 2:37

9. "When I'm Sixty-Four" - 2:37

10. "Baby You're a Richman" - 3:07

11. "All You Need Is Love" - 3:57

A premature end

David Bowie and Marc Bolan, a shot of Marc's TV show. An encounter that would only happen in 1977.

After a brief European tour to promote There is a Happy Land, David Bowie, Marc Bolan, Steve Took, and Syd Barrett returned to the studios to record Rubber Band's second album. Teaming up with guitarist Big Jim Sullivan, keyboardist Vincent Crane, and producer Norman Smith, the band already had songs enough to the album. It seemed a perfect scenario if the group simply didn't want to take the band into different directions. While Syd and Took wanted to bring the band in a step to an experimental direction, Bowie preferred to follow a baroque, progressive-esque way, similar to the debut album, and Bolan suggested to go into the psychedelic, folk-y way, resorting in more acoustic and tribal-sounding music, instead of feedbacks and reverberations of Syd and the lushed arrangements of Bowie.

"In the following years I stopped to think about that period, regretting so many things that I said, thinking how would have been different if we shared the same vision, but it was, and still sometimes is, really sad that we didn't follow with Rubber Band. But I'm really grateful for what the guys did with me, and how Rubber Band was a pretty interesting part of our history."

-David Bowie, 2001

"The thing is that, following the sessions, I didn't see neither Bowie, neither Bolan as partners anymore, and I presume that both of them neither. We just became a... group of friends who were desperately seeking for a way to dispatch the Rubber Band quickly. Coincidentally, we improved our relations after we dissolved the band *laughs*. It is kind of ironic though... since the album has experimental and baroque songs of each members, you know?"

-Syd Barrett, 2007

The sessions of The Piper at the Gates of Dawn, otherwise from the debut album, were exhausting for both members. The group ended up co-leading a short tour in the UK with the Crazy World of Arthur Brown, and later entering into an indefinite hiatus, with both members focusing on their solo careers, to an eventual end. The album was released in April, with lead single See Emily Play, a big hit in United Kingdom and France, and Love You 'till Tuesday, a minor hit in Britain, while a big hit in Italy.

In early 1968, Syd Barrett tried to negotiate a return to Pink Floyd Sound, being denied by the band, more because of his deteriorating relationship with Roger Waters. In February, Syd Barrett entered the studios with the same backing band from The Piper at the Gates of Dawn and began to record his debut solo album, provisionally entitled Just a Syd Barrett Album.

"Roger was still angry with Syd, and we already had David replacing him, and it worked fine. Roger then became kind of mad when he saw Syd crawling back to us, and as the leader behind-the-scenes he immediately denied it. Nick and I were quite uncomfortable due to after all that stuff that happened in less than a year before, and David... well, he was there. He didn't talk too much during the early years."

-Richard Wright, 2005

As for David Bowie, he started to record his debut album at the Record Plant Studios, in New York, with overdubs made at the Trident Studios, in London. Tony Visconti, producer who was producing with Tyrannosaurus Rex was recommended by Marc Bolan to help Bowie at the Trident. Tony indicated new people to work with, remaining only drummer Willie Wilson to record the drums for a few songs.

Rubber Band – The Piper at the Gates of Dawn

Rubber Band - The Piper at the Gates of Dawn (1968)

Genre: Psychedelic rock, psychedelic pop

Total: 41:12

Side A - 19:37

1. "Astronomy Domine" (Syd Barrett) - 4:12

2. "Hippy Gumbo" (Bolan) - 2:28

3. "Lucifer Sam" (Barrett) - 3:07

4. "Eastern Spell" (Bolan) - 2:46

5. "Chapter 24" (Barrett) - 3:42

6. "When I Live My Dream" (Bowie) - 3:22

Side B - 21:35

7. "The Perfumed Garden of Gulliver Smith" (Bolan) - 2:45

8. "Silly Boy Blue" (Bowie) - 4:36

9. "See Emily Play" (Barrett) - 2:53

10. "Silly Crazy Child" (Bolan) - 2:27

11. "Sell Me a Coat" (Bowie) - 2:58

12. "The Bike Song" (Barrett) - 3:21

13. "Please Mr. Gravedigger" (Bowie) - 2:35

Produced by Norman Smith, the second and final album of the British band Rubber Band was released on 12 April 1968. Recorded during an unstable period which resulted in the break-up of the group, The Piper at the Gates of Dawn was noted by the fairly better production than the debut album by Norman Smith, by the wide experimentation in some music, and by the pop ventures of the group. The lyrics are noted by the acid humor on some tracks, such as Please Mr. Gravedigger, and the mysticism on Chapter 24.

The album was better received than There is a Happy Land, providing two last performances of the group at John Peel Sessions, where both announced that the break-up was likely. Though, the singles See Emily Play and Sell Me a Coat were successful, with the first peaking in number 15 and the second in number 28 in the United Kingdom. The album reached number 4 in the UK Albums Charts and number 85 on Billboard Top LPs.

Piper at the Gates of Dawn is regarded as one of the most influential records in the UK Underground and in the Neo-psychedelic scene and remains as the most popular album of Rubber Band. The band would reunite for multiple times, such as in 1972, at the end of Ziggy Stardust tour (with noted abscence of Marc Bolan), in 1977 at Marc Bolan's TV show, in 1985 in Live Aid, 1996/98 in a reunion tour, and for the last time in 2012.

Prominent band, ambitious project

The Bee Gees in 1967.

L-R: Barry Gibb, Robin Gibb, Vince Melouney, Maurice Gibb, and Colin Petersen.

Noted by the press by their Beatles-esque sound, the Bee Gees were rising as a prominent 60's band filled with baroque and psychedelic sounds reminiscent of Beatles' Sgt. Pepper's, Beach Boys' Pet Sounds, and vocals influenced by Roy Orbison and Frankie Valli. Enjoying the success of their hit singles such as New York Mining Disaster 1941, To Love Somebody and Massachusetts, the band's frontman, Barry, along with his brother, Maurice, envisioned an ambitious project which was called 'an opera inside an album'. The intended album would be postponed by manager Robert Stigwood, who booked new sessions after the Christmas holiday for another album.

Though part of the members of the band didn't want to start the project too soon (Vince Melouney and Robin Gibb), the group ended up starting to record a big amount of songs besides the ones for the upcoming album. The unceasing disagreements between the members, mainly between Melouney and Barry occasioned on the only Bee Gees' track written by one besides the Gibb brothers, with Vince's Such a Shame, recorded for Marley Purt Drive.

"It was a really hard routine, Robert [Stigwood] was a pain in our back. Record something for Marley Purt Drive, then a tour in the UK, then another in Germany, record new things, then a TV performance back in England, it wasn't healthy, and then Barry comes with that Opera-concept for an album, it was really too much pressure."

 -Vince Melouney, 1973.

"Frequently Robin, Maurice and I met at my house to discuss about the songs that would fit for the album [City on the Black Sea]. Songs that were discarded, were recorded for Marley Purt Drive, so then I believe that the album is a bunch of leftovers from City on the Black Sea, though Robert wanted us to record some of the songs we left for the opera."

-Barry Gibb, 1996.

The last session of Marley Purt Drive is considered 25 June 1968, when the group finalized recording Jumbo and quickly proceeded into recording more tracks for another album, with the working name An American Opera. In between the sessions, the Bee Gees toured in the United Kingdom and West Germany performing the songs from Marley Purt Drive, Horizontal, Bee Gees' 1st, and a set of covers.

Eat up, eat up honey

Beach Boys, 1968 sans Brian.

Once finishing Smile, the band already started to record the follow-up, with the working name Smiley Smile. In a month, the group recorded only four short songs at Brian Wilson's home studio. Some of the tapes recorded were later recalled as The Bedroom Tapes, released in future boxsets. At the same time, the group was recording the sequel, they were worried about the psychological conditions of Brian Wilson in his performance at the studio and/or at the concerts.

"We didn't have done pretty much anything but recorded four short songs at that time, and also we were in a hurry to perform at the Monterrey Pop Festival, and then Hawaii. After those sessions at Wally Heider, we reassured to make a standard studio album, as a normal band, like before 'Pet Sounds' or '[The] Beach Boys' Today!'".

-Mike Love, 1985.

"Technically, Mike and I took the lead role on Wild Honey, that's why the album has a wide R&B influence, a different style compared to Smile, Pet Sounds, and even 20/20. We wanted to step back, because the last album was somewhat too much perfectionism of Brian. But still the work had a massive influence of Brian's arrangements."

-Carl Wilson, 1981.

Moreover, Brian Wilson was becoming tired of produce to the Beach Boys, requesting to Carl and Dennis to help in the process. In a break of the sessions, the Beach Boys also joined the course of Transcendental Meditation of the Maharishi, which influenced the tracks recorded after February. Al Jardine recalls that after Maharishi's course, the behavior of the group, and even Brian Wilson, had a significant improvement. Mike Love returned from his retreat a few days after the band, and the band started to record a few remaining songs.

"Then I noticed that... the label [Brother Records] wasn't going well too. We had a distribution contract with Capitol, but we were accumulating debt, sustaining the label without any notion of business. So we needed to call for help from somebody."

-Carl Wilson, 1981.

The Beach Boys – Wild Honey

The Beach Boys - Wild Honey (1968)²

Genre: Psychedelic pop, blue-eyed soul, R&B, lo-fi, bedroom pop

Total: 63:34

Side A - 15:21

1. "Meant for You" (Brian Wilson, Mike Love) - 1:50

2. "I Was Made to Love Her" (Henry Cosby, Sylvia Moy, Lula Mae Hardaway, Stevie Wonder) - 2:05

3. "You're With Me Tonight" (B. Wilson) - 2:17

4. "Friends" (B. Wilson, Carl Wilson, Dennis Wilson, Al Jardine) - 2:32

5. "Aren't You Glad" (B. Wilson, Love) - 2:16

6. "Rock and Roll Woman" (Stephen Stills) - 2:19

7. "Little Bird" (D. Wilson, Steve Kalinich) - 2:02

Side B - 15:47

8. "Darlin' (Thinkin' 'Bout You Baby)" (B. Wilson, Love) - 2:12³

9. "Transcendental Meditation" (B. Wilson, Love, Jardine) - 1:51

10. "How She Boogalooed It" (Love, Bruce Johnston, Jardine, Wilson) - 1:56

11. "Gettin' Hungry" (B. Wilson, Love) - 2:27

12. "A Thing or Two" (B. Wilson, Love) - 2:40

13. "Be Here in the Mornin'" (B. Wilson, C. Wilson, Love, Jardine) - 2:17

14. "Passing By" (B. Wilson) - 2:24

Side C - 15:54

15. "Wild Honey" (B. Wilson, Love) - 2:37

16. "Here Comes the Night" (B. Wilson, Love) - 2:41

17. "I'd Love Just Once to See You" (B. Wilson, Love) - 1:48

18. "When a Man Needs a Woman" (B. Wilson, D. Wilson, C. Wilson, Jardine, Steve Korthof, Jon Parks) - 2:07

19. "Lonely Days" (B. Wilson, Love) - 1:45

20. "Anna Lee, the Healer" (B. Wilson, Love) - 1:51

21. "Busy Doin' Nothin'" (B. Wilson) - 3:05

Side D - 16:32

22. "Diamond Head" (Al Vescovo, Lyle Ritz, Jim Ackley, B. Wilson) - 3:39

23. "My Little Red Book" (Burt Bacharach, Hal David) - 2:48

24. "Let the Wind Blow" (B. Wilson, Love) - 2:19

25. "Be Still" (D. Wilson, Kalinich) - 1:24

26. "Country Air" (B. Wilson, Love) - 2:20

27. Their Hearts Were Full Of Spring" (Bobby Group) - 2:33

28. "Wake the World" (B. Wilson) - 1:29

Wild Honey is the thirteenth studio album of The Beach Boys. The album was produced by Brian and Carl Wilson and was the first studio release under the Brother Records label, distributed by Capitol. It was released on 24 June 1968. The album was recorded as an attempt to 'redefine Beach Boys as a democratic band'. Although numerous compositions by Brian Wilson, the album is noted by the significant contribution of the members of the group in the lyrics, and by the Wilson Brothers and Mike Love leadership, since Brian was temporarily away from his functions.

The album was firstly received with mixed to negative reviews by the critics but ended up well-received by the fans and public in general. It was observed a different style since the previous album, by bringing R&B and Soul influences to the album, mixed with general psychedelia similar to the albums which precede Smile and Pet Sounds, named as "exquisite, unorthodox mainstream pop music". The lead single, Darlin', has shown that the popularity of the band was slightly increasing since the stylistic change, hitting number 5 on Billboard Hot 100. Wild Honey topped the UK Album Charts and reached number 7.

Regarded as one of the prettiest Beach Boys albums, Wild Honey is recalled as a step back of Brian Wilson's ambitiousness merging into an oddly satisfying, low-budget record, being sometimes considered even better than Smile. It is considered one of the most influential records on Indie and Lo-fi music.

Notes:
[1] Tracks sourced from Pink Floyd's The Piper at the Gates of Dawn and David Bowie's self-titled debut album.

[2] Tracks sourced from Wild Honey, Smiley Smile, Friends, and Wake the World: The Friends sessions. Meant for You is an alternate mix including the session intro.

[3]  Thinkin' 'Bout You Baby is the original name of Darlin'.

Author's addendum:
Yeah, ladies and gentlemen, the first break-up of a group. Although were friends, Syd and Bowie couldn't reach an agreement to stay as a competent duo, needing to put into an indefinite hiatus.
And here is the first not-so-common band in alternate histories, Bee Gees! It would be an interesting plot to see what if Robin Gibb didn't briefly leave the band, and what if the Bee Gees' Odessa would've fulfilled its proposal. I've done a little plot with Bee Gees in my other timeline, Projection, but this time I want to work further into a new, and prolonged plot.
And for The Beatles and Beach Boys, I wanted to give roles reversed in a way... with Beach Boys releasing a double album in 1968 instead of Wild Honey and Friends, and set The Beatles to release two albums instead of the White Album.

1967: Psychedelic Boom II

Contractual Obligations

Robert Wyatt performing with Soft Machine, 1967.

"So, Peter came to us and basically he wanted a record to be released until the end of the year. As I said once, we didn't like to have any obligations, and record anything under pressure was horrible. Then I came to Hugh to see if he could help us to record our extended play, since we didn't want to make an album already."

-Robert Wyatt, 1995 

Soft Machine already had released their debut single, Love Makes Sweet Music, showing that a potential band was emerging. The contract signed with EMI required that the group needed to release a record that year. Forcibly agreeing with the label, Soft Machine reunited with close friends, Hugh Hopper and his brother, Brian Hopper and hired Kim Fowley (who produced the B-side Feelin' Reelin' Squeelin') to produce their EP.

The group spent a week to record a set of five songs, which were included in an extended play along with Love Makes Sweet Music and Feelin' Reelin' Squeelin', except for Clarence in Wonderland, which the master tape was initially presumed lost, but it was found in 1981 by an EMI employee. The early version of Clarence in Wonderland appeared as a bonus track on the re-release of Shooting at the Moon and Hope for Happiness.

Soft Machine – Shooting at the Moon EP

Soft Machine - Shooting at the Moon EP (1967)

Genre: Psychedelic rock, Canterbury scene, beat

Total: 23:29

Side A - 12:44

1. "I Should've Known" (Kevin Ayers, Mike Ratledge, Robert Wyatt, Daevid Allen, Hugh Hopper) - 7:27

2. "Love Makes Sweet Music" (Ayers) - 2:27

3. "Feelin' Reelin' Squeelin' (Ayers) - 2:50

Side B - 10:45

4. "That's How Much I Need You Now" (Wyatt) - 2:25

5. "Memories" (Hopper) - 2:56

6. "Jet-Propelled Photograph" (Ayers) - 2:30

7. "Fred the Fish" (Allen) - 2:55

One of the first and essential records to understand the initial development of the Canterbury scene, the Soft Machine released Shooting at the Moon on 21 August 1967 by EMI, produced by Kim Fowley. Including singles, Love Makes Sweet Music and Feelin' Reelin' Squeelin', the album mixed Jazz music, psychedelic rock and beat influences. Songs were mostly written by member Kevin Ayers, one song credited to Robert Wyatt, and two songs credited by close friend Hugh Hopper. The lyrical themes reflect, mostly, unrequited love.

The band is integrated by Kevin Ayers on bass guitar, Robert Wyatt on drums and percussion, Daevid Allen on the lead guitar, and Mike Ratledge on keyboards, and featured the participation of Brian and Hugh Hopper, friends since the Wilde Flowers times, in some tracks. Memories was released as the lead single of the extended play, making it a strong success in the United Kingdom by peaking in number 3. In Billboard Hot 100, the song reached number 99.

Although the album was received with reasonably good reviews by the critics of the time, in later years the members of Soft Machine avoided to talk about the album, except for Daevid Allen. The record peaked in number 20 in UK Album Charts and failed to chart in Billboard 200.

Heroes and Villains

Promotional photo for Beach Boys' SMiLE, 1967.

Still recording SMiLE, Beach Boys were being pressured by Capitol to finish the album quickly. Brian Wilson and the band themselves were becoming stressed out with the label. At the same time, Carl Wilson and Mike Love were searching a way to establish Beach Boys' own label, called Brother Records. In March 1967, the band went to the United Kingdom and performed a set of songs including the then-unreleased Heroes and Villains and Surf's Up with Brian Wilson in BBC.

"Well, the band was going... really bad. Brian was becoming stressed, using an aggressive amount of drugs, and that almost fucked up the album. And Capitol was really wanting to release something new. Brian and them wanted Heroes and Villains, Mike wanted Wind Chimes, while the rest of us insisted on Cabin Essence, and we succeeded to release Cabin as single."

-Carl Wilson, 1988 

The release of Cabin Essence, backed by Heroes and Villains was warmly received to the public and with mixed-to-positive reviews. Some reviewers liked the concept linked between the single and the previous, Good Vibrations, and linked the band to an approach in-between baroque pop and avant-garde music. It was less successful than the previous single. Pleasured with the warm success of the single, Capitol eased and postponed the release, expected between June and September. But still, The Beach Boys weren't confident with the company's behavior. The song reached number 9 in Billboard Hot 100.

"Last month of recordings I talked to Brian to appease his work with drugs. Carl and I warned the rest of the members to stop using so we could complete it without any side-effects. I mean, during the sessions of The Elements, he was saying that the studios were on fire and somehow it was his fault because of Fire, the song, y'know."

-Mike Love, 2000

Amidst the problems, Paul McCartney resolved to visit Los Angeles, and subsequently the band, during the sessions of both Smile and Sgt. Pepper's. He eventually was invited to chew a celery for the track Vegetables. Impressed with the different-but-similar work between both bands, Paul praised for Wind Chimes. 

By March, the production of the album entered into a hiatus. Caused by Brian's erratic behavior, corporate pressures, internal power struggle, and Van Dyke Parks' departure, the album was almost ditched by Brian and the band themselves. Specially after the departure of Parks, which affected on Brian's view on the album's assemble.

In a day in early May of 1967, Carl Wilson and Mike Love, considered two of the most powerful members of The Beach Boys along and after Brian at the time gathered and talked about the future of the project. Both didn't want to ditch the record, but they needed to put Brian down for a time. With the idea in mind, the band hired The Mamas & The Papas producer Lou Adler.

"So there was Carl and me at my house, talking about Smile. He asked me if I wanted to drop the work and I said 'Hell, no!', and the entire band was in the same point. I wanted to take the most cohesive stuff there to make the album, maybe hire someone to help us, and repel Brian for some time. I thought most of the stuff there was nonsensical, but Carl insisted on keep most of that in the album."

-Mike Love, 2006

"Lou [Adler] was quite known in the region, and as he contributed to the California sound we wanted a help to finish that stuff and move on as quick as possible. When Brian heard the news that Lou was doing the rest of the album he was quite bugged about that, as well as dad, a few days later. It was his masterpiece, and ditch him like that was not a good thing."

 -Carl Wilson, 1988

"It was quite an insane project, no doubts that it was one of the hardest things to produce, even when I got the hang of it. The amounts of tapes that Brian and the band did was something that I could not stand alone if not with the help and guidance of the rest of the band that helped me."

-Lou Adler, 1994

In a band's reunion, the band decided to move Brian away from production, focusing on composing more... down-to-earth stuff, as Mike wanted. On May 14, the band conducted a press conference with the Dutch music press, claiming that the Smile project was changed to Smiley Smile, and it was expected to be released by two months. With Lou Adler, the band recorded three more new tracks: Whistle In, Little Pad, and the rerecorded Can't Wait Too Long.

With over 50 hours of tape, the band and managed to finish recording Smile in late May. The last record being released by Capitol, Smile's release date was finally announced to June 30th, 1967. Produced by Brian Wilson and Lou Adler, the band started to tour again, while Brian Wilson was left to psychiatric treatment and compose new songs in his new acquired Bel-Air mansion. After the release, the band reached an agreement with Capitol Records and was finally free to establish their new record label, Brother Records.

The Beach Boys – Smiley Smile

The Beach Boys - Smiley Smile (1967)¹

Genre: Art rock, progressive pop, avant-pop

Total: 40:58

Side A - 20:13

1. "Whistle In" - 1:04

2. "Heroes and Villains" (Brian Wilson, Van Dyke Parks) - 3:41

3. "Vegetables" (B. Wilson, Parks) - 3:49

4. "Roll Plymouth Rock" (B. Wilson, Parks) - 4:00

5. "Can't Wait Too Long" (B. Wilson) - 3:25

6. "In Blue Hawaii" (B. Wilson) - 1:34

7. "Little Pad" (B. Wilson) - 2:30

Side B - 20:45

8. "Wonderful" (B. Wilson, Parks) - 2:02

9. "Child is the Father of the Man" (B. Wilson, Parks) - 3:02

10. "Good Vibrations" (B. Wilson, Mike Love) - 4:15

11. "Cabin Essence" (B. Wilson, Parks) - 3:34

12. "Wind Chimes" (B. Wilson) - 2:33

13. "Surf's Up" (B. Wilson, Parks) - 4:11

14. "You're Welcome" (B. Wilson) - 1:08

Smiley Smile was released on 15 July 1967 by Capitol Records with production credited to Lou Adler and the Beach Boys. Following a controversial recording session period with the presence of poet and songwriter Van Dyke Parks, the drug abuse by the band members during the recording of Smiley Smile was very active. Most of the songs were credited to the partnership between Parks and Brian Wilson, with themes ranging between Western satires, physical fitness, philosophy and etc.

The album has been met with wide appraise to mixed reviews by music critics at the time, and with universal acclaim among the people. In the same week, Surf's Up was released as the lead and last single of the album, making into a hit in the US, peaking in number 7 in Billboard Hot 100, and number 6 in UK Single Charts. The album performed better than Pet Sounds, reaching number 8, and it topped in the United Kingdom as well. It remains as a cult favorite by fans, along with Landlocked., Holland and Pet Sounds.

The band, particularly Brian Wilson dubbed it as a belated answer to The Beatles' Revolver, and now to Sgt. Peppers, reaching number 3 in Billboard, and number 2 in Britain, both losing to The Beatles' Sgt. Peppers. The acclaim from the album came from several factors: the emergence of the Flower Power movement, the beginning of the Summer of Love, and Sgt. Peppers. Smiley Smile is considered the album that established The Beach Boys as a rising force, engaging in a 'friendly feud' with The Beatles.

The record was regarded as highly influential in later scenes like Shoegaze, Avant-rock and noise music scenes, and some people consider the record as the beginning of Beach Boys' golden age (although most consider Pet Sounds or The Beach Boys Today), and often considered one of the leading albums of the Summer of Love. Two months later, Beach Boys would release Lei'd in Hawaii, the first record released under their label, Brother Records. Differences aside, Bruce Johnston considered Smile a turning point for the band.

Something... Big was Coming

Beatles during the photo sessions for the cover of Sgt. Peppers.

Thanks to the promotional single Cabin Essence and the eventual release of Smile, the Beach Boys' new hit ended up confining The Beatles at the studios to focusing in next album, as EMI did pressure to the band and their producer George Martin now for something near for what Beach Boys did with Smile, and a quick release. Brian Epstein was trying to negotiate a half term with the label to help the band in it.

"Yeah, we were almost in the end of Sgt. Pepper's, but ended up that Beach Boys did some really good stuff and the executives came to us and listened to our project and wanted to do even more songs like 'oooh, it's good but it can be better'. So we can consider that they wanted something big to take Beach Boys off the spot."

-Paul McCartney, 2014

"I remember that one day George and I were talking about how EMI pressured us for Sgt. Peppers and how we were so fucking pissed about that. And basically that was how the idea of Apple Records was born. Paul told us about the Beach Boys' idea, and George and so did want to establish a new label as they were almost doing."

-John Lennon, 1987

According to engineer Geoff Emerick, present in the sessions of the album, the band spent 700 hours to record Sgt. Peppers. After the sessions, The Beatles attended a meeting of Maharishi Mahesh Yogi, who would lead them into traveling to Rishikesh to take part in a Transcendental Meditation. Although unsure about it, manager Brian Epstein allowed the band to take the course. They were accompanied by singer-songwriter Donovan.

The Beatles – Sgt. Pepper's Lonely Hearts Club Band

The Beatles - Sgt. Pepper's Lonely Hearts Club Band (1967)²

Genre: Psychedelic rock, art rock

Total: 41:39

All songs written by John Lennon & Paul McCartney, except when noted.

Side A - 20:39

1. "Sgt. Pepper's Lonely Hearts Club Band" - 2:00

2. "With a Little Help from My Friends" - 2:42

3. "Strawberry Fields Forever" - 4:05

4. "Getting Better" - 2:48

5. "Penny Lane" - 3:00

6. "Fixing a Hole" - 2:36

7. "Lucy in the Sky with Diamonds" - 3:28

Side B - 21:00

8. "Within You Without You" (George Harrison) - 5:05

9. "Good Morning Good Morning" - 2:42

10. "Lovely Rita" - 2:42

11. "She's Leaving Home" - 3:35

12. "Sgt. Pepper's Lonely Hearts Club Band (Reprise)" - 1:18

13. "A Day in the Life" - 5:38

Sgt. Pepper's Lonely Hearts Club Band, produced by George Martin, and the eighth studio album by The Beatles, was considered a revolution in music at the time. Reviews varied to the harshed 'pretentious music' to predominantly favorable views as being The Beatles' magnum opus. Initially, with an ease time in the recording sessions, and following the release of Beach Boys' Cabin Essence, EMI Records started to push the band for new material.

In July, the band released another single, All You Need is Love, topping the UK Singles Chart for three weeks, and Billboard Hot 100 for a week only. A ground-breaking hit, Sgt. Pepper's was played in various American radio stations in a non-stop cycle, and topped Billboard Top LPs for fifteen weeks and UK Album Charts for 23 weeks. As soon as possible, the album exceeded Smile's sales. Although rumors, The Beatles' declined the invitation of the Monterey International Pop Festival, while the Beach Boys headlined.

Musicologists regard Sgt. Pepper's as an early example of conceptual album by The Beatles playing the role of their alter egos in the title band. Ranging in various genres, such as Baroque pop, Circus music, Indian classical music, and many others, the album was influential in musical scenes around the world, such as in Art rock, progressive rock, and psychedelic scene cycles. The album is ranked as number one in Rolling Stone's 500 Greatest Albums of All Time.

With the release of Sgt. Peppers and Smiley Smile, two of the numerous records to headline the emergence of the Summer of Love, people started to embrace the flower power movement. Sgt. Peppers would be followed by Magical Mystery Tour, a film soundtrack for the film of the same name done by The Beatles. After both albums, Brian Epstein and The Beatles would seek to establish Apple Records in association with EMI.

The Establishment of a Brand New Label

The first and only one logo of Blackhill Records.

But changes were about to come. In a reunion with the EMI's board, Peter Jenner and Andrew King could establish a subsidiary company named Blackhill Records. The sudden establishment of the label remained controversial due to problems with other labels which had contract with other bands inside the Blackhill Enterprises. Reaching an agreement, the artists that were in process of recording their albums would release under the current label, then move to Blackhill, while the bands that hadn't recorded anything would already move to the new label.

The first album released under Blackhill's label was Rubber Band's The Piper at the Gates of Dawn, with catalog number of BLHILL1, while the first single was Pink Floyd Sound's Paintbox/A Spanish Piece. Following Rubber Band's second album, there was Pink Floyd Sound's Keep Smiling People and Tomorrow's eponymous debut album.

Author's addendum:
Here they are, the two pieces which are often considered as a fight for the soundtrack of Summer of Love. The Beach Boys insist on finishing Smile, one way or another, and the Beatles release a... quite different version for Sgt. Pepper. On the other hand, it turns out that the Blackhill Records will have a similar role to Harvest Records (though Harvest would still exist in promoting a new line of bands turned into Hard rock and heavy metal music).

Notes:
[1] Most of the tracks are sourced from The Smile Sessions. Whistle In, Heroes and Villains, and Little Pad were sourced from Smiley Smile. In Blue Hawaii is actually Love to Say Da Da (sourced from Good Vibrations: Thirty Years of The Beach Boys), don't confuse with the BWPS version. Can't Wait Too Long is the Alternative Mix - Tag from 1967 – Sunshine Tomorrow.

[2] The tracks are sourced from Sgt. Pepper's Lonely Hearts Club Band and Magical Mystery Tour.

1967: Psychedelic Boom

Considered by many as the year of the boom of Psychedelic music, in 1967, Blackhill Enterprises saw many of their artists debuting in the music industry. Considered the peak of the 60's Counterculture, Summer of Love occurred that year. Throughout the year, Blackhill signed with the psychedelic band Tomorrow, garage rock band The Deviants and especially, the psychedelic band Pretty Things.

"It was insane to see many underground artists moving to Blackhill when in the previous year was, like, only Pink Floyd and Soft Machine. [Peter] Jenner and [Andrew] King did an impressive job by signing with a lot of groups."

-John Peel, 1994

Taking Four to Know

Promotional photo of Rubber Band, 1967. (L-R: Steve Took, David Bowie, Marc Bolan, Syd Barrett)

For Rubber Band, the success of Arnold Layne and Rubber Band's Theme reflected into their managers, who saw the group as potential golden-egg layers. The band produced the songs during the recording sessions of their debut album, There Is a Happy Land.

For the album, the band had Rick Wills and Willie Wilson, then from the Flowers backing them, and keyboardists Richard Wright, who was invited by Syd to help eventually, and Vincent Crane, who was recruited from the gigs in the British Underground. Mike Vernon was guaranteed to help the band to produce the album. Syd and Bowie recorded the album from 14 January to 25 April 1967, being released two months later.

"[...] I invited Rick because we still talked since that day when I left Pink Floyd and we had a cordial friendship. Vernon offered us other people, but Rick was quite fun to work with."

"When I still was in Pink Floyd, we recorded a session with our tunes, but we actually never released it until 2015, when Gilmour and I wanted to do it. I had other couple of new songs written, but I can say that about a half of my songs on There Is a Happy Land were written before 1966."

-Syd Barrett, 2018 (A Breath of Fresh Air - The Music Times)

The duo got old songs to record them, with Syd bringing old songs such as Lucy Leave and Candy and a Currant Bun, while Bowie brought his singles which failed to another opportunity, like Baby Loves That Way and You've Got a Habit of Leaving, recorded with his previous bands as Lower Third and The Buzz, while Marc Bolan brought his set of songs that haven't been recorded as demos. Steve Took was the only member that had any songs.

"I've seen a lot of potential coming in those songs, but it wasn't at the right time, y'know, and I felt that re-recording them would make'em better known. I also had a few new songs, as Syd had, because Jenner and King wanted a new set of music to perform to the public, so we shown a few new tracks."

-David Bowie, 2003

The recording sessions finished with the last takes and overdubs to the title track, There Is a Happy Land. Four days later, the group, backed by Vincent Crane (now a member of the Crazy World of Arthur Brown) and the Flowers, would present themselves at the 14 Hour Technicolor Dream, performing the entire album plus the then-unreleased Interstellar Overdrive (without David Bowie), and unreleased songs of the next album, The Piper at the Gates of Dawn.

Rubber Band – There is a Happy Land

Rubber Band - There is a Happy Land (1967)

Genre: Psychedelic pop, acid rock, mod, novelty, proto-punk

Total: 39:53

Side A - 20:28

1. "Lucy Leave" (Syd Barrett) - 2:53

2. "You've Got the Power" (Marc Bolan) - 2:35

3. "The London Boys" (David Bowie) - 3:20

4. "Matilda Mother" (Barrett) - 3:58

5. "You've Got a Habit of Leaving" (Bowie) - 2:31

6. "Desdemona" (Bolan) - 2:25

7. "Snowing" (Barrett) - 2:46

Side B - 19:25

8. "There is a Happy Land" (Bowie) - 3:11

9. "Mustang Ford (Go Go Girl)" (Bolan) - 2:37

10. "Let's Roll Another One (Candy and a Currant Bun)" (Barrett) - 2:45

11. "Rubber Band's Theme" (Bowie) - 2:17

12. "Midsummer Night's Scene" (Bolan) - 2:35

13. "Baby Loves That Way" (Bowie) - 3:03

14. "Arnold Layne" (Barrett) - 2:57

Released on 25 June 1967 and issued in both mono and stereo sounds, Rubber Band's debut album, There is a Happy Land, was received with mixed to positive critics. The characteristics of the album flirted with/merged Psychedelic music, folk tunes, blues sets and vaudeville into, mostly, novelty songs. Entirely written by Syd Barrett, Marc Bolan and David Bowie, the album is remembered by their unusual themes for the time, such as adultery, transvestism, explicit lyrics, which some critics harshed the content of the album.

The album was produced by Mike Vernon, with Syd Barrett playing the lead guitar, David Bowie playing the acoustic guitar, backed by The Flowers, composed by the former members of Jokers' Wild, the bass player Rick Wills, and drummer Willie Wilson, and featured the participation of Pink Floyd keyboardist Richard Wright.

There is a Happy Land had two songs released as singles before the album, the double A-side Arnold Layne and Rubber Band's Theme, backed by Candy and a Currant Bun. Both songs on A-side were successful. After the release, Bolan's Desdemona was released as single, being initially banned, but later was unbanned after the explicit verse was altered.

The album reached number 6 in UK Album Charts and number 126 in Billboard 200. In the following years, the duo expressed favorable opinions about the album, as did the members of Pink Floyd. John Lennon's opinion on the album was favorable, regarding it as the best thing that came out from 1967. There is a Happy Land was very well-received by the public, mostly by the UK Underground, and in later years, it outstands as one of the records of the Summer of Love.

"After the sessions of A Coeur Joie, Michael [Magne] came to me and Nick and said commented how There is a Happy Land, mostly Arnold Layne, Desdemona and Rubber Band were big inspirations to write the soundtrack for the film. We shared that Syd was our friend and Rick contributed for the album."

-David Gilmour, 2015

Still, the Rubber Band didn't stop going to the studios. A week after the Games for May concert, both started to record their second album with the working name, Astronomy Dominé, working in the scheme of touring and recording the album. The band also began to tour in France, Netherlands, Belgium, Sweden, and Denmark.

Pink Floyd in 1967, before a BBC Session.

And the Pink Floyd saw the surprising success of their former frontman, so then Roger Waters demanded to record Pink Floyd's debut album. Norman Smith was hired as Pink Floyd's new producer, mentored by engineer Pete Bown.

During the sessions, musician Michael Magne approached the band to record two songs in the soundtrack for the upcoming film, A Coeur Joie. Obliged to stay at the EMI Studios, Magne and the band reached a deal, with Rick needing to record the songs with the Pink Floyd . The band recorded two Magne's compositions, I Must Tell You Why and Do You Want to Marry Me?. Later asked, Magne agreed to let the band to feature the songs in their debut album.

In the same week, Pink Floyd recorded two jams, both entitled Nick's Boogie and Reactioning, the first one credited to the entire band, and the second to the entire band plus Syd (since the group performed it with him before). The last song to be recorded was Rick's Remember a Day, when the There is a Happy Land sessions ended, with Norman Smith playing drums, since Nick couldn't play the right part. The name, Projection, was suggested by Syd, after a private listening with Gilmour and Wright.

"The sessions of Projection were really different from There is a Happy Land, it looked like an alternate universe, or something. Whilst the time I passed with Syd and Bowie remained happy and mellowed, the sessions with Pink Floyd were... a bit cold, y'know? Certainly Roger was competitive, and with Syd, the man who dared to leave the band, surely it wouldn't be so different." 

-Richard Wright, 2001 (Wearing the Inside Out: Stories Inside the Pink Floyd)

"I never broke my ties with the guys [members of Pink Floyd]. Me and Roger we technically avoided each other since that day. We just started to talk with each other again... two years later, I guess. Even I suggested to them the Projection name, it surely combined with the amazing album that was."

-Syd Barrett, 2007 

Although Pink Floyd finished the sessions in the first week of June, they've performed the album in its entirety at the 14 Hour Technicolor Dream and Games For May. In the first, the band co-headlined with Rubber Band, performing at the festival around 5AM after a concert in the Netherlands on the same night. In the latter, both bands performed the albums, with Pink Floyd featuring Syd Barrett and without Roger, performing Reactioning and Interstellar Overdrive. The concert was known by both bands being banned from the Queen Elizabeth Hall and the steal of the mixer, the Azimuth Co-ordinator.

Blackhill Enterprises released I Must Tell You Why b/w Nick's Boogie, peaking in number 10 in UK Singles Charts, and being Pink Floyd's debut and first hit in France. One month after the release, Pink Floyd decided to release Remember a Day b/w Take Up Thy Stethoscope and Walk. Remember a Day peaked in number 4 in Britain, while the backing single failed to chart.

Pink Floyd – Projection

Pink Floyd - Projection (1967)

Genre: Psychedelic rock, freakbeat, experimental

Total: 40:39

Side A  - 21:32

1. "Remember a Day" (Richard Wright) - 4:33¹

2. "Walk With Me Sydney" (Roger Waters) - 3:11²

3. "I Must Tell You Why" (Michael Magne, David Gilmour) - 2:36³

4. "Take Up Thy Stethoscope and Walk" (Waters) - 3:054

5. "Set the Controls for the Heart of the Sun" (Waters) - 5:27¹

6. "Do You Want To Marry Me?" (Magne, Gilmour) - 2:40³

Side B - 19:07

7. "Nick's Boogie" (Waters, Wright, Gilmour, Nick Mason) - 11:49²

8. "Reactioning" (Waters, Wright, Gilmour, Mason) - 7:18²

Pink Floyd's debut album, named Projection, was released on 4 August 1967 in the United Kingdom by EMI Records. The album had a controversy when Tower Records, responsible to distribute the album in the US, released the first pressings as an Extended play, omitting the entire second side. Fulfilling the contract with subsidiary Tower, the distribution in the US was briefly interrupted until the creation of Blackhill Records and signing with the main label, Capitol, when the albums started to be released with Side B. The extended play pressings became a rare item in the following years.

The album was promoted by Syd Barrett, having mixed opinions about the wide different sound from Rubber Band's There is a Happy Land. Two of the songs were featured in Serge Bourguignon's Two Weeks in September (À Coeur Joie), credited to guitarist David Gilmour and composed Michael Magne. Highlighted songs were Remember a Day, released as single, and Set the Controls for the Heart of the Sun, and the Side B on its entirety. The lyrics verge between being sick, love and nostalgia, while Side B are two experimental instrumentals.

Produced by Beatles' engineer Norman Smith, Projection peaked in number 9 in UK Album Charts and number 177 in US Billboard 200. David Gilmour played the lead guitar, Roger Waters was the bass player, Richard Wright played the keyboards, and Nick Mason played the drums (except Remember a Day).

In contemporary opinions, interviewer Hans Keller blamed the album for being too loud, and Syd Barrett expressed his passion for the album. In later opinions, Iggy Pop said the album was highly influential on The Stooges, while Nirvana's Kurt Cobain affirmed that Projection is one of his favorite albums. David Gilmour and Roger Waters later expressed their dissatisfaction with Projection, contrasting with the opinions of Richard Wright and Nick Mason.

Author's addendum:
And there are the first debut albums! Syd, Bolan and Bowie, as a group, manages to rise into an early fame in Britain and throughout Europe, while Pink Floyd still tries to carve their path to success in Europe (for a while in the United Kingdom and France). In the next part, there'll be the plots of Soft Machine, Beatles and Beach Boys.

Track sources:
Rubber Band - There is a Happy Land:
[1] Pink Floyd - The Early Years: Cambridge Sta/tion
[2] Pink Floyd - The Piper at the Gates of Dawn
[3] David Bowie - Early On (1964-1966)
[4] David Bowie - David Bowie (1967)

Pink Floyd - Projection:
[1] Pink Floyd - A Saucerful of Secrets
[2] Pink Floyd - The Early Years: Cambridge Sta/tion
[3] Michel Magne ‎- Bande Originale Du Film "A Cœur Joie"
[4] Pink Floyd - The Piper at the Gates of Dawn

1966/1967: Rubber Band

From Canterbury to the Underground

Soft Machine in their original formation, 1967. (L-R: Kevin Ayers, Robert Wyatt, Mike Ratledge, and Daevid Allen).

Recently formed by former members of the Daevid Allen Trio and The Wilde Flowers, The Soft Machine became involved by playing along with other bands in the UK Underground in clubs of London, and soon attracted attention of many people, including Peter Jenner by their different sound by merging Psychedelic rock and Jazz, what would come to be known as the Canterbury scene.

Soft Machine signed with Blackhill Enterprises, which was circling around the Underground surroundings, signing previously with Pink Floyd Sound and David Bowie.

"We were a bit unsure about the deal. Initially Kevin [Ayers] and me, we felt that was some sort of scam, y'know, but in the past next days Nick [Mason] came to us and told about how Blackhill would stabilize the situation of the band and convinced us about the deal, so we signed with them, aiming to some sort of self-management in a near future."

-Robert Wyatt, 2001

Though the contract was signed in late 1966, The Soft Machine wouldn't record a full-length album until mid-1968 with Hope for Happiness, recorded during the tour as opening act to Jimi Hendrix Experience. In January 1967, Soft Machine and Pink Floyd Sound signed a contract with EMI in the same day.

"In the beginning we weren't much of record anything, we just entered at the studio just because of contractual obligations, and that's pretty much of the story of Shooting at the Moon and Hope for Happiness. Honestly, if you asked to me at that time if I liked that, I would immediately deny."

-Kevin Ayers, 1997

 Love Makes Sweet Music/Feelin' Reelin' Squeelin'

 The Soft Machine - Love Makes Sweet Music/Feelin' Reelin' Squeelin' (Single)

Genre: Psychedelic rock, canterbury scene

Released: February 17, 1967

Produced by: Chas Chandler, Kim Fowley

Total: 5:08

Side A - 2:17

1. "Love Makes Sweet Music" (Kevin Ayers)

Side B - 2:51

2. "Feelin' Reelin' Squeelin'" (Ayers)

Love Makes Sweet Music was well-received by the critics at the time, reaching number 29 in UK Singles Charts, while Feelin' Reelin' Squeelin' was comically criticized. With regards to Love Makes Sweet Music, Blackhill Enterprises was highlighted as potential managers to rise, citing other songs such as the successful Arnold Layne and Pink Floyd Sound's psychedelic pop-esque song Do You Want to Marry Me? featured in the film A Coeur Joie, written by Michael Magne and David Gilmour.

Poles Apart

David Bowie... probably, and Syd Barrett during the recording sessions of Rubber Band's There Is a Happy Land, 1967.

Throughout 1966 and 1967, the new friendship between Syd, David and Marc made the then-frontman of Pink Floyd to distance himself from his band. Skipping rehearsals, band reunions, and even backing his friends, those moments were becoming an inconvenience that would lead to a break-up between Syd and Pink Floyd. In once a night, Bowie performed with Pink Floyd, a fact recalled by his ex-girlfriend, Lindsay Korner; and by the members of the Pink Floyd:

"It was at the Marquee Club, in August, if I'm not mistaken, a few days before Syd told me that he was out of Pink Floyd [Sound]. And was magical to see how the performance was assembling perfectly between the band and Bowie's music."

-Lindsay Korner, 1997

 A few days later, tensions between Syd and the rest of the band arose. Roger was the first to express his discontentment towards Syd. Richard Wright and Nick Mason sided with Roger while Syd was defending himself. Aubrey Powell and Andrew King were involved in the confusion, that would ultimately result on Syd's departure:

"As I remember, everything started with Roger stating that Syd was collaborating lesser and lesser everyday, as he was showing that he wasn't interested anymore to be in the band. Me and Rick followed Roger because most of the time we were bothered that Syd was showing up to the rehearsals and reunions. Poor David [Bowie], *laughs* he was there as the defendant, as if he was guilty for being a good friend to Syd."

 -Nick Mason, 2015

Then, Syd took the pretentious decision to leave the Pink Floyd Sound. Besides the persistence of the members of the band, except a bit for Roger, Syd decided to take his songs, and form a new trio (at the time) with David Bowie and Marc Bolan: the Rubber Band (A pun of one of Bowie's songs).

"I don't blame Syd for leaving the Pink Floyd, but hell, he was so fucking self-centered about this. I don't care that you're priorizing a few new friendships, as long as this won't coincide with his band's stuff, that's really important, you're working on something with people to make money to live."

-Roger Waters, 1969.

Syd and Roger avoided each other for almost two years, while Rick and Nick remained friends, even after his departure. "It hurted us, a lot. We didn't talk with Syd for some time, probably a week or two, and then we reconciliated with him, even faster than Roger, who kept angry with him.", Nick Mason. With Syd's unexpected but expected departure, all seemed lost to the former Pink Floyd, which was at the point of break-up. But, a few things come for a good end.

David Gilmour.

David Gilmour was the lead guitarist and part-time frontman of The Joker's Wild, a Cambridge-based band, with bass player Rick Wills and drummer Willie Wilson, and also a long-time friend of Syd Barrett and Roger Waters. He was also known by some members of the Pink Floyd. He was the target, by ironically both Roger and Syd, to fill the vacant position in the band.

"Let's say, Syd and I were in a road trip through Europe, when we reached the topic about Pink Floyd, and I was still kinda surprised that he left the group to some people that he met a few months ago. He offered me the position, and as Pink Floyd had an already-established name, I talked with the others and jumped on the bandwagon. And that was a few weeks before Roger and Nick approached me about that."

-David Gilmour, 1992

Ironically, the same guy who almost broke up his own band, he had the idea to appoint David and save them. By doing rehearsals with Pink Floyd, the band found David as a very skilled guitarist, and far more technical than improvised, a contrast with Syd Barrett. A set of gigs and performances were scheduled, to a quite approved, less psychedelic, and a more formal Pink Floyd. 

As for the Rubber Band, now composed by Syd, Bolan and Bowie, they were the first group under the Blackhill Enterprises to sign with EMI Records, the next day after the opening day of the UFO Club. Responding to an advert on Melody Maker, the group recruited a young drummer called Stephen Ross, better known as Steve Peregrin Took, who became the youngest between his bandmates.

Indicated and brought by Gilmour and Syd, bassist Rick Wills and drummer Willie Wilson became Flowers, and the touring band for the Rubber Band, as Peregrin Took also played bass. Throughout January-February 1967, the crew hired producer Mike Vernon and produced the double A-side single with Arnold Layne and Rubber Band's Theme as the lead singles. Candy and a Currant Bun was selected as B-side.

"Rubber Band was kind of a mess from the beginning to the end. Two members who part-time played acoustic guitar, Syd, who was the one who actually had a filled position, then you had Took, who couldn't decide to be between drums and bass guitar. It was easier to deal with this on stage, but behind the scenes was quite bad."

 -David Bowie, 1990

Arnold Layne was received with moderate success as a debut single of Rubber Band, peaking in number 20 in UK Singles Chart. The song became known by its controversial lyrics and unusual theme, being banned by Radio London. Otherwise, Rubber Band's Theme was better received by the pirate radio station, being played in the place of Arnold Layne but reaching number 24 in UK Singles Charts. Candy and a Currant Bun was a minor hit.

The U.F.O.

Pink Floyd Sound performing at the U.F.O. Club, 1966.

Established by Joe Boyd and John Hopkins, the UFO Club soon became the center of the UK Underground activity. Pink Floyd Sound, Rubber Band, and Soft Machine were billed as the headlines for the opening day. As the popularity of Rubber Band and Pink Floyd Sound grew and moved on from the UFO, Soft Machine became the new house band of the UFO, although the previous bands still performed regularly, but less frequently.

Called the land of opportunities by Bowie, U.F.O. Club spent a quarter of its life at the Blarney Club, then, moved to the Champagne Lounge, offered by Brian Epstein, localized at the Saville Theatre, remaining the last one and a half year held in the venue.

A Smile to beat a Revolver

The Beatles - Revolver (1966)

Brian Wilson and Van Dyke Parks during the recording sessions of SMiLE.

The Beatles responded Beach Boys' Pet Sounds with Revolver, released nearly three months after the latter. Evidently influenced by Pet Sounds, Revolver popularized the psychedelic sounds on music and paved a path to The Beatles' magnum opus, Sgt. Pepper's Lonely Hearts Club Band. Still, Brian Wilson got inspired by their new album, and as Capitol determined: it was time to record a new album.

By hiring agent Derek Taylor and inviting writer Van Dyke Parks to the project, SMiLE was described as a "teenage symphony to God" by Brian himself and was officially first announced by Capitol in January 1967 after the release of the hit Good Vibrations. Halfway through, the sessions were doing relatively well, asides the amount of psychedelic drugs in the studio.

"Yeah, it was complicated to work with Brian since he wanted to change the arrangements every time. I think we certainly have... almost a day of unused stuff. And Van Dyke Parks... he was a quirky but quite nice fella. But Mike couldn't get his lyrics straight, with that whimsical stuff going on."

-Dennis Wilson, 1980

On the other side of the Atlantic, The Beatles started to record their upcoming album in late 1966, with initially the concept being about Beatles' childhood in Liverpool. Misheard by Paul McCartney, the condiments salt and peppers became "Sgt. Pepper", in which McCartney decided to make an alter-ego for The Beatles. The idea was embraced by producer George Martin and the rest of the Beatles.

Pressured by Brian Epstein and the label, The Beatles released Strawberry Fields Forever/Penny Lane as single, being the band's first release since Revolver, ultimately receiving to universal acclaim to mixed reviews, such as 'confusing' by the critics. Along with Good Vibrations, both singles are said to refine the growing psychedelic scene.

Brian Wilson and his Corvette. What will happen?

Back to that side of the Atlantic, Brian Wilson was along with Michael Vosse in his car when the radio first played Strawberry Fields Forever. Amidst the confusion to finish the Smile project, and according to author Steven Gaines, the "wondrous and different-sounding" quality of the Beatles' single was one of several factors that accelerated Wilson's emotional descent during the production of the album.

"[Wilson] just shook his head and said, 'They did it already – what I wanted to do with Smile. Maybe it's too late.'. We laughed at the moment he said it, but he sounded very serious."

-Michael Vosse