1970/71: Two of Us (Special I)

If one special chapter was enough for 1970, so why not three special chapters for 1971? Most of them are Beatles-centered, by the way!

Just in time, springtime!

Paul McCartney recording Rock and Roll Springtime.

Besides the brief hiatus, the activities from the fellow Beatles in music industry never ceased. Ringo Starr released two albums (Beaucoups of Blues and Sentimental Journey, same as our timeline), while Paul began to record his then-debut solo album, as well, as George and John did the same. As a skilled multi-instrumentalist, Paul started recording his solo album alone, alternating between Apple Studios, his home and Morgan Studios.

Despite the official sessions started by June 1970, the desire of recording a solo album comes from as early as 1969 to Paul, in a session that delivered "The Lovely Linda" and "That Would Be Something", which would be later added to The Beatles' Abbey Road. As with much of the album, McCartney sang the composition accompanied by acoustic guitar before filling the remaining tracks with a second guitar part, bass and percussive accompaniment.

As for John, he first reassembled The Dirty Mac minus Keith Richards, who was replaced by longtime friend Klaus Voormann, Eric Clapton who kept in an in-and-out of the group as a member of Derek and the Dominoes, and Mitch Mitchell, former drummer from the now-disbanded Jimi Hendrix Experience. Clapton would be eventually replaced by Hugh McCracken, a consistent session musician between Paul and John's records at the time.

Eventually the sessions were interrupted as the Beatles were returning, and after a few sessions for John's album included Ringo and George. Paul brought three of his tracks, two of which were already known by the rest of the group, Teddy Boy and Junk, and Maybe I'm Amazed. Wild Life was developed after a jam session with the entire band.

The return for the solo albums came after the first session, and it was focused to finish the records, or wait until after the release of All Things Must Pass. "That deadline fucked me, because I had a lot of work to do with 'Let It Down' and Phil [Spector]. Paul and John were the only beneficiaries with this, since they had simpler records, so I needed to wait until March to touch my album again.", George Harrison.

Ringo and Klaus Voorman during The Dirty Mac sessions.

Paul's return to his solo work started with Linda, who suggested to hire a few more musicians to help him to not get too weary recording four albums in a row (this, from Abbey Road to his solo album). Moving to New York, Paul hold auditions to work with musicians, recruiting David Spinozza and Denny Seiwell. When Spinozza became unavailable, McCracken was also hired to help Paul, suggested by Lennon.

"Paul was overwhelmed by his solo album and then by the sessions with the Beatles, so I suggested to hire some people to work with, while he was recording with the band. He would compose the songs, give it to me and the group would rehearsal until he effectively resumed the recording sessions of the album."

-Linda McCartney 

In contrast to Paul, George and John hired Phil Spector as their producer, with Spector focusing more on George's debut album rather than John's, who produced his debut album largely on his own, with a few appearances of Yoko Ono. Mitchell sometimes recalls the behavior of John changing from being upbeat to highly emotional and would discuss his feelings with Ono as they listened to playbacks in the studio control room.

"There were times at those sessions that were fucking unbearable. John would come up screaming and shouting when we were recording the damn track. The things started to get better when Ringo and George came up to the sessions, we chatted a lot there until they had to return with the group. I had my fair share of contribution to Instant Karma!, so I was quite happy to contribute something to the Beatles."

-Mitch Mitchell

Paul and Linda's album was announced along with John's to February 1971, two months before All Things Must Pass. Originally titled just "Suicide", the label preferred to add "(Call It) Suicide" to avoid backlash. Both agreed with Brian Epstein to release the album before February 20th, with Lennon's album being released two days after Rock and Roll Springtime.

Paul and Linda McCartney – Rock and Roll Springtime

Paul and Linda McCartney - Rock and Roll Springtime (1971)

Genre: Indie pop, folk rock, lo-fi

Total: 40:33

All songs written by Paul McCartney, except when mentioned.

Side A - 19:17

1. "Smile Away" - 3:51

2. "The Lovely Linda" - 0:43

3. "Long Haired Lady" (Paul and Linda McCartney) - 5:54

4. "Hot as Sun/Glasses" - 1:57

5. "(Call It) Suicide" - 2:48

6. "Momma Miss America" - 4:04

Side B - 21:16

7. "Eat at Home" (P. & L. McCartney) - 3:18

8. "Man We Was Lonely" - 2:56

9. "Every Night" - 2:31

10. "Heart of the Country" (P. & L. McCartney) - 2:21

11. "Monkberry Moon Delight" (P. & L. McCartney) - 5:21

12. "Uncle Albert/Admiral Halsey" (P. & L. McCartney) - 4:49

Rock and Roll Springtime is the debut studio album by the husband-and-wife music duo Paul and Linda McCartney. The album was released on 17 February 1971 by Apple Records, with production credited to the duo. It is the first side-project of Paul McCartney outside the Beatles. Similarly to John Lennon/The Dirty Mac and Ringo Starr's Sentimental Journey, it was also recorded in-between the All Things Must Pass sessions. The photos of the cover were taken and arranged by Linda and Paul themselves.

Originally conceived as Paul's original debut album, Linda's inclusion came after the sessions for the album resumed after reuniting with the Beatles during the All Things Must Pass sessions, with Linda contributing and receiving credits afterwards. The first sessions happened with Paul alone, expanding to a number of session musicians in the songs credited to both Paul and Linda.

At the time, the album received negative to mixed reviews, despite being highly anticipated with The Dirty Mac. The album was harshly criticized being called 'half-baked', despite Paul's solo hit with Uncle Albert/Admiral Halsey, which received considerable airplay in the radio. Despite the critics, Paul album reached number 5 in the United States and number 3 in the United Kingdom.

In more recent years, reviews of Rock and Roll Springtime have been more favorable towards the record. The album was considered a crucial mark for DIY musicians, home recordings and lo-fi music styles, gaining a cult following with its successor, Another Day. It is praised by artists such as Neil Young, and even John's son Sean.

John Lennon – John Lennon/The Dirty Mac

John Lennon - John Lennon/The Dirty Mac (1971)
Genre: Rock, avant-pop
Total: 42:05
All songs written by John Lennon.

Side A - 21:47
1. "Power to the People" - 3:22
2. "Cold Turkey" - 5:01
3. "Well Well Well" - 5:59
4. "I Found Out" - 3:37
5. "Working Class Hero" - 3:48

Side B - 20:18
6. "Mother" - 5:34
7. "Hold On" - 1:52
8. "God" - 4:09
9. "Love" - 3:21
10. "Remember" - 4:33
11. "My Mummy's Dead" - 0:49

John Lennon/The Dirty Mac, sometimes simplified to just The Dirty Mac is John Lennon's debut album backed by The Dirty Mac. It was released on 19 February 1971 in tandem with the similarly titled album by his wife, Yoko Ono, and two days after Paul and Linda's Rock and Roll Springtime. It was produced by Phil Spector and has a similar cover to Yoko Ono's debut.

To record the album, John Lennon reassembled The Dirty Mac, replacing Keith Richards with Klaus Voorman in the bass, and later Eric Clapton with Hugh McCracken. The sessions for The Dirty Mac happened simultaneously with Rock and Roll Springtime and George Harrison's Let It Down, where a frequent exchange of session musicians happened, while Phil Spector also produced George album. During the same period, John was frequenting a primal scream therapy, which changed his behavior during the sessions.

John's album received mixed reviews, but it was viewed more favorably than Rock and Roll Springtime at the time, being considered "more cohesive" than the other one. "Power to the People" was John's most played track in the radio, as it was released earlier in 1970. The album reached number 10 in the United States and number 4 in the United Kingdom.

The Dirty Mac is revalued as one of John Lennon's masterpieces, and it would be quickly followed, and overshadowed, by the triple album It's So Hard, considered a response of John and Yoko to the husband-and-wife duo between Paul McCartney and Linda, igniting a friendly rivalry between the two couples.

Notes:

• Paul and Linda McCartney - Rock and Roll Springtime
• Paul McCartney - McCartney (1970)
• Paul and Linda McCartney - Ram (1971)
• John Lennon - John Lennon/The Dirty Mac
• John Lennon - John Lennon/Plastic Ono Band (1970) plus bonus tracks
• Plastic Ono Band - Cold Turkey/Don't Worry Kyoko (Mummy's Only Looking for Her Hand in the Snow)

1970/1971: From my country to the world!

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)

1970: Paths that unleash and finish

Dandelions having their day

The charming Keith Noble, 1970.

Between 1969 and 1970, it felt like a school reunion for Pink Floyd. The tour with Syd Barrett and Tailboard was something far from their routine as a proper band, which was the usual routine for Tailboard themselves. But the new promising band seemed a bit apart from what they were in a few months back, mostly disinterest coming from part of the members.

"There was times that the entire group didn't came to the sessions, like, what the hell? They are supposed to be here, record new stuff for the album, but none of them came!"

 -Roger Waters

In fact, the ones that were committed on finish the album were Keith Noble, the lead vocalist, and Bob Klose, former 'modern-era' Pink Floyd member and guitarist. Willie Wilson was sometimes absent as he was negotiating his entry to the country rock band Cochise, and Clive Metcalfe was nowhere to be found. Still, Andrew King gave a ultimatum to the group to release their album and fulfil their contract, if needed.

Thus, this was the case of Tailboard. The band finished the recording sessions of Mr. Compromise in April 1970, and just sorta entered into a hiatus until it effectively announced their break-up. Some of the members still pursued career as session musicians, while some others retired, becoming professors. That was the case of Keith Noble and Clive Metcalfe. And that's how we reach the end of Tailboard, folks. But not before I show their album, of course.

The album was named Mr. Compromise, an ironically fitting name to the sessions. It was promoted by Blackhill and it was promoted by the folk-oriented Ashes and Silver. The single failed to chart in the United States and reached number 28 in UK Singles Charts before falling out quickly. The group did a short tour as part of their contractual obligations before entering into a hiatus and breaking up.

"It was relatively a good period. It was nice to meet with the guys for a last time before we've parted on our own ways. I still gave a few shots as a songwriter, but nothing too radical, and I thank the Pink Floyd and Syd a lot by helping us during that time, but it was too much business that I preferred to stick around being a professor, haha!"

-Keith Noble

Tailboard – Mr. Compromise

Tailboard - Mr. Compromise (1970)

Genre: Folk rock, psychedelic folk

Total: 43:03

All lyrics written by Keith Noble.

Side A - 20:01

1. "Mr. Compromise" - 3:28

2. "Narcissus" - 3:53

3. "Secretary Jane" - 4:07

4. "Red-Current Tide" - 1:57

5. "Up and Down Way (of It All)" - 3:43

6. "Only When I Laugh" - 2:53

Side B - 23:02

7. "Dandelions Have Their Day" - 4:52

8. "Weather" - 7:01

9. "King of the Icemen" - 5:40

10. "Ashes and Silver" - 5:29

Mr. Compromise is the debut and only studio album by British folk group Tailboard. Tailboard was a group active between 1969 and 1971, with one-off reunions in 1979, 1991, and 2003. The group was mostly formed by former members of pre-Pink Floyd, except for Willie Wilson. Mr. Compromise was released in 29 May 1970 by Blackhill Records in the United Kingdom only, being released in the US in 1992.

The album was recorded between 1969 and 1970 with the assistance from the members of Pink Floyd. Tailboard was promoted by Blackhill as a new hot folk group, backing Syd Barrett in the tours throughout Europe and the United States. The setlist was composed by the album's catalogue, plus the hit song "A Summer's Song", composed by Keith Noble.

Although it was promoted by the label, Mr. Compromise only reached number 43 in the UK Album Charts., passing unnoticed by the general public, despite being well-received by the critics and attracting a fraction of fans and Pink Floyd fanatics. Currently, the record is quite overlooked by Pink Floyd completionists, while the publishing rights were bought by Pink Floyd Records, being re-issued in 2020. The cover was drawn by fellow singer-songwriter and friend Syd Barrett.

Locking doors and switching lights (Atomic Rooster)

Vincent Crane and his kitties.

As it was told before, the first line-up from the Atomic Rooster wasn't going to last too long. Carl Palmer would leave to form Emerson, Lake and Palmer, while Nick Graham would become an organiser to the Glastonbury Festival. To fill up the roles, John Du Cann picked the bass while Martin Steer picked the drums, beginning the second incarnation of Atomic Rooster in less than a year.

As a few remaining songs from the previous album were lying unreleased and not recorded, Atomic Rooster started to record their second album. The sessions of this album would prove to be very useful to the band, particularly to Du Cann, who was seen as a skilled songwriter, as Brown was mostly missing in action throughout the sessions.

The lead singer of  the group finally appeared consistently in the final stages of the album, and it was his idea to merge several unreleased songs from the past sessions into Creepy Monsters. Brown also suggested to re-record What's Happening, the B-side of Nightmare, a single from the Crazy World of Arthur Brown era. The idea was accepted due to Arthur Brown being seen as the frontman of the group by the label and because the length would increase.

By early September, Death Walks Behind You would be announced and the fans of the new band would be caught by surprise, as the album would be released late that month. At the same time, Atomic Rooster was rising as one of the main hard/progressive rock-driven bands at the time, along with Led Zeppelin, Black Sabbath and Deep Purple. The group would perform later that year at Top of the Pops to promote the album.

Atomic Rooster – Death Walks Behind You

Atomic Rooster - Death Walks Behind You (1970)

Genre: Progressive rock, hard rock

Total: 46:54

Side A - 22:35

1. "Death Walks Behind You" (John Du Cann, Vincent Crane) - 7:28

2. "What's Happening" (Arthur Brown, Crane) - 3:56

3. "I Can't Take No More" (Du Cann) - 3:33

4. "Gypsy Escape" (Brown, Crane, Du Cann) - 7:38

Side B - 24:19

5. "Tomorrow Night" (Crane) - 3:56

6. "Creepy Monsters" (Brown, Crane, Dalby, Du Cann) - 5:57

a. "Creep"

b. "Metal Monster"

c. "Night of the Pigs"

d. "Trouble"

7. "Gershatzer" (Crane) - 7:58

8. "No Time" (Brown, Du Cann) - 6:28

Death Walks Behind You is the second studio album by the British band Atomic Rooster, released on 21 September 1970. It was the first album with bass player John Du Cann, who co-wrote and sang in a lot of the songs. The album was produced by the band themselves and released by Blackhill Records, and features the William Blake monotype Nebuchadnezzar.

The album spawned one of the band's most successful singles, Tomorrow Night, which reached number 11 in the UK Singles Charts. The sessions of Death Walks Behind You lasted a month, while the new line-up of the band was formed in June of the same year, less than a month after the release of the more successful Galactic Zoo Dossier. Some songs were previously recorded and written by Arthur Brown, such as the medley of Creepy Monsters and What's Happening? (previously recorded as the Crazy World of Arthur Brown).

Atomic Rooster's new album was considered a bit underwhelming by the critics, while the fans considered a great effort. Throughout the years, Death Walks Behind You became re-evaluated and considered one of Atomic Rooster's classic records. It reached number 90 in the US Billboard 200 and number 12 in the UK Album Charts.

A dilemma over needs and desires

Soft Machine (except Kevin Ayers) in 1970 (Robert Wyatt, Mike Ratledge, Hugh Hopper and Daevid Allen).

Oh boy, and here we are with the Soft Machine again! After Woodstock, the group would gather at the Pye Studios and begin to record the sketches of what would become their third album. During the sessions, the rift between keyboard player Mike Ratledge and Daevid Allen would enlarge, as both were divergent in the direction that the band should take in the next few years. While Mike wanted the group to pursue a jazz-rock direction, Allen wanted the band to go further on the experimentation done in the last album.

The sessions of the new album were quite turbulent, with the rift between the two members: "We were kind of a powerful band on our own, I believe. But problems were caused by the ambitiousness of some members. Kevin was the good-looking boy of the group, I was the fun spirit, Rob was the typical drummer, Hugh was the quiet one, and Mike was the one who gave the texture to the music.", Daevid Allen.

At the time, Soft Machine was backed by the recently-formed backing band The Whole World, which assembled David Bedford on additional keyboards, Elton Dean on alto saxophone, Lol Coxhill on saxophone and zoblophone, a young Mike Oldfield on bass, guitar and backing vocals, and Bridget St. John on backing vocals. The group helped to increment the arrangements of the album and providing help in later tours.

During the same sessions, the band also recorded the unreleased album The Garden of Love, a fairly more avant-garde and jazz-rock project widely associated with David Bedford. The project was shelved due to objections of the management of Blackhill Enterprises, recalling the same fate as the Crazy World of Arthur Brown had. However, Facelift and Out-Bloody-Rageous, two of the songs which emerged from these sessions, were performed live by the Soft Machine after the departure of Daevid Allen, and released in the debut of Mike Ratledge's Pigling Band. The Dillema also originated from the same sessions.

"Magick Brother was the main reason to why we didn't make another double album. We like to experiment, we like jazz, but we most liked free-time. A lot of our songs are about living in peace and tranquillity and that's what we've always managed to do. And the sessions of that album were the opposite. I'd rather spend the rest of my life in Deià than touring."

 -Kevin Ayers, 1993

Blackhill Records announced Magick Brother as the third album of the Soft Machine. Lunatics Lament was released as the promotional single, reaching number 3 in the UK Singles Charts, number 37 in the Billboard Hot 100, and number 14 in the Billboard Hot Rock Songs. The album was widely promoted, focusing in the ambitiousness of the band as their newest peak in music. Pretty Miss Titty, released as Pretty Miss Diddy, also made a minor success in Europe.

"That record [Magick Brother] was a quite nice record. We put a lot of useless effort into it and that other failed project [The Garden of Love], but thankfully we were recompensed as we deserved."

 -Robert Wyatt, 2005

Soft Machine and the Whole World – Magick Brother

Soft Machine and The Whole World - Magick Brother (1970)

Genre: Canterbury scene, progressive rock, art jazz, experimental rock

Total: 91:14

Disc One (Early Morning) - 43:53

Side A - 19:33

1. "Chainstore Chant/May I?" (Daevid Allen, Kevin Ayers) - 4:52

2. "Pretty Miss Titty" (Allen) - 4:05

3. "Town Feeling" (Ayers) - 4:54

4. "Clarence in Wonderland" (Ayers) - 2:06

5. "Rational Anthem" (Allen) - 3:43

Side B - 24:20

6. "Mystic Sister & Magick Brother" (Allen) - 5:55

7. "We Know What You Mean" (Ayers) - 3:23

8. "Stop This Train (Again Doing It)" (Ayers) - 6:05

9. "Rivmic Melodies" (Ratledge, Wyatt, Hugh Hopper) - 8:57

a. "Hulloder"

b. "Dada Was Here"

c. "Thank You Pierrot Lunaire"

d. "Have You Ever Bean Green?"

e. "Out of Tunes"

Disc Two (Late Night) - 47:21

Side C - 25:22

10. "Lunatics Lament" (Ayers, Allen) - 4:53

11. "Ego" (Allen) - 3:57

12. "The Dilemma" (Robert Wyatt) - 6:14

13. "Princess Dreaming" (Allen) - 2:56

14. "Girl on a Swing" (Ayers) - 2:49

15. "Fredfish/Hope You Feel Okay" (Allen) - 4:33

Side D - 21:59

16. "Esther's Nose Job" (Mike Ratledge, Wyatt, H. Hopper) - 11:13

a. "Fire Engine Passing with Bells Clanging"

b. "Pig"

c. "Orange Skin Food"

d. "A Door Opens and Closes"

e. "10:30 Returns to the Bedroom"

17. "'Cos You Got Green Hair" (Allen) - 5:05

18. "Rheinhardt & Geraldine/Colores Para Dolores" (Ayers) - 5:41

Magick Brother is the third studio album by the Canterbury scene band Soft Machine (entitled Soft Machine and the Whole World). The album was co-produced by the Soft Machine and Peter Jenner and released in 14 October 1970 by Blackhill Records in the United Kingdom and Europe, and by CBS Records in the rest of the world. Magick Brother was recorded in a year period, right after the previous album, in late 1969 to August 1970. It is the last album featuring lead guitarist Daevid Allen, who left the band to form Gong.

As the previous album was defined by its jazz tones, the experimentation of Magick Brother is considered wider and far more complex, and the key element of the album, alternating between structured the suites of Rivmic Melodies and Esther's Nose Job, and the more fast-forward and mainstream Lunatics Lament and Clarice in Wonderland, with surrealistic lyricism mostly charged by Kevin Ayers and Daevid Allen, influenced by comedy, philosophy, and love.

The record was considered the Soft Machine's breakthrough in the United Kingdom by leading the UK Album Charts for three weeks, and number 39 in the US Billboard 200, being certified Gold. Lunatics Lament was the first single to be released, followed by Pretty Miss Titty. We Know What You Mean was the last song released as single, backed by The Dilemma.

Rolling Stone defines the album as 'the perfect crossroads between experimental, pure jazz, and mainstream music', ranking it in number 167 in the 500 Greatest Albums of All-Time. The concept of the album is refined by the songs set 'in the early morning and the late night of a Saturday'. It was regarded very influential by its contemporaries, such as Brian Eno, and later recognised by David Byrne as a key record to the composition of Talking Heads' Remain in Light.

Too lovely to understand

Daevid Allen with Gong, ca. 1970s.

With the release and the success of Magick Brother, the Soft Machine begun to prepare themselves and rehearsal for the next tour. Daevid Allen was the one that was actually amused with the success and the subsequent tour, while Mike Ratledge and Hugh Hopper were indifferent, and Kevin Ayers and Robert Wyatt were far more worried.

"I'm not a man of performances. Knowing that we did great with the album, I panicked for the rest of the week, considered going to Deià to distress, but Jimi Hendrix called me a day and he calmed me down. He wasn't used to call people, but specifically that day he wanted to talk with us about the album and other stuff. That encouraged me to go on tours."

-Kevin Ayers

"That was the time that I drank the most, apart from certain tours. I was actually feeling anxious all the time, it certainly wasn't going to be a few tours here and there like with Exiled from Canterbury, it was going to be a longer tour that we were used to."

-Robert Wyatt

However, in the middle of the tour, in Marseille, the tensions between Daevid and Mike finally broke out. The fight led to Allen promptly quit the band in the middle of the tour, leading the band to rearrange themselves to the next gigs. Daevid's songs were taken off the setlist, except for Pretty Miss Titty being sung by Kevin, but most of the setlist was replaced by improvisations, previous songs, and unreleased songs from The Garden of Love.

The Magick Brother tour lasted from November 1970 to July 1971, and Daevid split off the band in February 1971. He went and formed Gong, while the group passed through various incarnations, such as Pierre Moerlen's Gong. As of Soft Machine, but mostly Kevin Ayers, who was already exhausted, he was the one that felt Daevid's departure more than anyone, while the company tried to ease such a casualty.

"If I learned something with his [Daevid Allen] departure, surely it was about building confidence enough, and overcome the fear to be the frontman. Probably the first exercise was The Hat Song. It was a singalong between the audience and the band, trying to give some good vibrations to the audience. It was very helpful, really, in a few months I was doing far better than in the previous tours altogether."

-Kevin Ayers

Author's comment:

In this chapter, we've seen a lot of new changes and ends for some bands. Tailboard was a special band that I wanted to do something with it, but only Keith Noble had an album so we are seeing them departing from this timeline sooner. Initially was planned to do a Soft Machine entirely with Daevid Allen, but in some point there the albums were just not as good as I thought. In Magick Brother, the only different track there is The Dilemma, which is a heavily edited version of Moon in June.

Oh, and by the way, sorry about the sudden absence! I'm having final exams in college, and I'm transferring to another one! So I'll be a little bit absent in the next two weeks, but I'll try to release a new chapter as soon as possible, then return to the regular schedule. Anyway, thank you for you patience, and to enjoy A Crazy Gift of Time! :)

Sources:

• Tailboard - Mr. Compromise
• Keith Noble and Bob Klose - Mr. Compromise
• Atomic Rooster - Death Walks Behind You
• Atomic Rooster - Death Walks Behind You
• Arthur Brown's Kingdom Come - Galactic Zoo Dossier
• The Crazy World of Arthur Brown - Nightmare/What's Happening?
• Soft Machine - Magick Brother
• Gong - Magick Brother
• Kevin Ayers - Joy of a Toy
• Kevin Ayers and the Whole World - Shooting at the Moon
• Soft Machine - Volume Two
• Soft Machine - Third

1969/1970: A Very Bee Gee Intermission

This post is mostly an intermission that encompasses the period that the Bee Gees entered into a brief hiatus.

Post-Cucumber Castle hangover

Bee Gees, with drummer Colin Petersen (far left), 1969.

Towards the end of 1969, the Bee Gees broke up informally, until when the brothers effectively confirmed their break-up. Several journalists were surprised with the decision, as the Bee Gees were a rising group with a successful album and a film set to be released in a few months. However, it was understood these ambitious factors were decisive in a stressful, and then a cold break-up. The only one that would interact with his brothers was Maurice, as the relations between Barry and Robin were cold.

"We talked for a very few times throughout those months. I was the phone between Robin and Barry. They didn't have that big, heartbreaking fight, but they just lost their enthusiasm of working with each other, as I did myself. But I kept working with them, as they liked me as a session musician, and eventually I've seen myself as a mailman between the two, haha."

-Maurice Gibb, 1987

The effects of the break up ranged between affecting the popularity of the group at the time and music sales, to affecting later albums, such as From Trafalgar to Waterloo and To Whom It May Concern, when the Bee Gees became a singles group, making eventual appearances here and there. It wouldn't be until Main Course that the band would reassert their name in music industry by going Disco.

A new day is born with a trail of despair

Robin Gibb at his home studio, 1969.

The first one who decided to make a solo album was Robin. Actually, this decision was taken back when he still was recording The City on the Black Sea, as the tensions between Barry and him were high. As they've reached on release First of May and Lamplight as a double A-side single, the decision was left aside for a while. However, as Cucumber Castle was being such a another stressful project, Robin began to compose new, much more personal songs at his own home studio. As the Bee Gees broke up, Robin could finally focus into a solo debut soon.

"Things were going sour and I already knew that. I've had composed and recorded a lot of songs for Trail of Despair, some of then even during Cucumber Castle, and so much that I have some that still are unreleased until today. That album and that brief solo times were quite a therapeutic experience, as far I can say! But it wasn't the same thing without my brothers."

 -Robin Gibb

For the drums, Robin used a drum machine, while he mainly played an acoustic guitar, and the Hammond organ. Maurice also helped in the album, recording the double bass on Mother and Jack, and co-wrote the songs Alone Again and Sincere Relation. Kenny Clayton did the majority of orchestral arrangements, but Zack Lawrence also helped with Gone, Gone, Gone and The Worst Girl in This Town, while Vic Lewis was the conductor.

Robin's work was the first one to be shared to the general public with the release of the controversial C'est la vie, au revoir as the first single promoting his upcoming album, adding more to the controversy and rumours regarding his band's break up. Manager Robert Stigwood commented that Robin's songs were promising, as Robin was slowly becoming the main character of the solo period of the Bee Gees, conceding interviews and touring throughout the United Kingdom and the Netherlands.

"That song [C'est la vie, au revoir] was the song that made me go solo. I felt a lot from what Robin was saying at the time, and I knew that song was to me. It was the moment when I saw that he wasn't content with what was happening in the band. I needed to respond in the best way I could, and that's how I started to do The Kid's No Good."

 -Barry Gibb

The album was named Trail of Despair, based in a verse of Farmer Ferdinand Hudson ("Now it is dawn and a new day is born/But with a trail of despair"). As the first solo debut of a Bee Gee, the album was widely promoted and commented by the fans of the group and music critics in general of what people could expect from the second Bee Gee?

Robin Gibb – Trail of Despair

Robin Gibb - Trail of Despair (1970)¹

Genre: Baroque pop

Total: 40:35

All tracks written by Robin Gibb, except when noted.

Side A - 20:01

1. "Mother and Jack" - 4:06

2. "Gone Gone Gone" - 2:35

3. "Alone Again" (Robin Gibb, Maurice Gibb) - 3:00²

4. "The Worst Girl in This Town" - 4:30

5. "Give Me a Smile" - 3:05

6. "Down Came the Sun" - 2:45

Side B - 20:34

7. "Farmer Ferdinand Hudson" - 3:05

8. "Sincere Relation" (R. Gibb, M. Gibb) - 3:00²

9. "Lord Bless All" - 3:15

10. "I'm Weeping" - 2:45²

11. "C'est la vie, au revoir" - 3:17³

12. "Most of My Life" - 5:12

Trail of Despair is the debut solo album of Robin Gibb, released in 9 May 1970 by Polydor Records. The album was produced by Vic Lewis and Robin Gibb, and it is the first solo work done by a Bee Gee. It also features one of the early uses of a drum machine in a rock album by Robin. The album was promoted by his most-known single C'est la vie, au revoir.

The production of the album started during the sessions of The City in the Black Sea, as Robin was getting unsatisfied with the demands, particularly from his older brother Barry, and by a suspected favouritism of Robert Stigwood over Barry. Tensions eased with the release of the album, but the relation didn't get any better with Cucumber Castle, as Robin began to record Trail of Despair.

Aside from the album, C'est la vie, au revoir was Robin's most successful single reaching number 2 in the UK Singles Chart, but struggling to reach number 87 in Billboard Hot 100. In the end, Trail of Despair wasn't a commercial success, despite getting a mild reception by music critics. The album peaked at number 19 in UK Album Charts while it failed to chart in the United States. Robin wouldn't release another solo album until Secret Agent, in 1984.

Crying while wandering through the darkness

Barry Gibb in This is Tom Jones, 1969.

For Barry, the Bee Gees didn't officially break up until December 1st, when he announced that he was going solo. The oldest of the brothers began to record his solo album with the release of Robin's single C'est la vie, au revoir. Barry recruited singer P. P. Arnold and arranger Bill Shepherd, who he had already previously worked with in Cucumber Castle and previous albums with the Bee Gees. Maurice also was credited due to two songs that were written but not recorded during Cucumber Castle, playing the bass guitar in One Bad Thing.

Bummed by the band's break up, the cold relations with Robin, and with the help from manager Robert Stigwood, Barry Gibb started to sporadically tour in the United Kingdom, Germany, and a few months later, Australia. On the occasion, he was invited to act as a compere on Go-Set, and gave an interview to a magazine revealing that he wasn't ready to resume the activities with his brothers.

"No doubt those months were sad times. There was a certain part of the tour in Germany where I was thinking about giving it up, I didn't feel it was the same with my brothers, but I was trying to make my own way, and Robert [Stigwood] was helping me on that one, so I couldn't refuse his help."

-Barry Gibb

Barry's debut single was I'll Kiss Your Memory, backed by This Time. The song reached number 9 in UK Singles Charts, significantly worse than Robin's debut there, but it reached number 81 in the US, six positions better than his brother. The longing lyrics reflects similarly to the break up of the band, disguised as a song of love. Later reviews drew similarities between the arrangements of the single with the Bee Gees' hit single How Can You Mend a Broken Heart.

Polydor announced Barry's album as The Kid's No Good, and the second solo album from a Bee Gee after Trail of Despair. There was a certain hype thanks to Robin's album, and the rumours revolving around the brothers.

Barry Gibb - The Kid's No Good

Barry Gibb - The Kid's No Good (1970)¹

Genre: Country rock, baroque pop, folk

Total: 46:17

All tracks are written by Barry Gibb, except where noted.

Side A - 22:34

1. "Born" - 3:54

2. "One Bad Thing" (Barry Gibb, Maurice Gibb) - 3:32

3. "The Day Your Eyes Meet Mine" (B. Gibb, M. Gibb) - 3:07

4. "Happiness" - 3:28

5. "Peace in My Mind" - 4:10

6. "Clyde O'Reilly" - 5:23

Side B - 23:43

7. "I Just Want to Take Care of You" - 3:57

8. "I'll Kiss Your Memory" - 4:26

9. "The Victim" - 3:59

10. "This Time" - 3:24

11. "What's It All About" - 3:09

12. "Mando Bay" - 4:48

The Kid's No Good is the debut album of Barry Gibb, released in 27 May 1970 by Polydor Records, one month after Cucumber Castle, and three weeks after Robin Gibb's Trail of Despair. The production of the album is credited to Barry Gibb himself. The album is mostly known by its singles, I'll Kiss Your Memory, The Day Your Eyes Meet Mine, and One Bad Thing.

Recorded amidst the solo period of the Bee Gees, The Kid's No Good is the album that drew a lot of similarities and comparisons to the Bee Gees' work, as the orchestral arrangements were done by Billy Shepherd, and the Country-influenced sound is reminiscent from the Everly Brothers influence in the band. Some critics dubbed the album as a Sinatra-esque version of the Bee Gees.

Barry Gibb's solo debut peaked in number 20 in the UK Albums Chart, ironically displaced by Trail of Despair, however, it performed better in the US as it reached number 182 in Billboard 200. Barry released three singles, with the most successful being I'll Kiss Your Memory. The other ones were One Bad Thing and The Day Your Eyes Meet Mine, this one released when the Bee Gees had already reunited.

Troubles don't get me down

Maurice was one of the club of the third members. Generally the ones who are behind the scenes, and are regarded as 'the quiet ones' under the public view, such as George Harrison, John Entwistle, Richard Wright, the list is endless. Anyway, behind the scenes, Maurice had a good reputation inside the music industry, as a competent musician, skilled multi-instrumentalist, and sometimes producer, being a close friend to figures such as Eric Clapton and George Harrison. And that's because, ironically, Maurice was the one with the best tools in his hand, contrasting with the lo-fi production of Robin's Trail of Despair and Barry's Bee Gee-derived sounds of The Kid's No Good.

Maurice Gibb, somewhere in the 1970s.

As a competent multi-instrumentalist and producer, Maurice knew the people to work with, and also how to make his own way during the process, after all, he played a lot of instruments during the Bee Gees era. By helping both of his brothers in the process of their respective solo albums, and producing a few singles to the Australian group Tin Tin in late 1969, Gibb recruited Billy Lawrie as a songwriting partner, Steve Groves and Steve Kipner from Tin Tin to play guitar and piano, respectively, and guitarist Leslie Harvey. Other musicians were hired by Gibb to play in the album, like Gerry Shury, who made the orchestral arrangements for the album.

The sessions of Maurice were far more lighthearted than the lonesome sessions of Robin and the painful sessions of Barry. Many songs emerged from conversations between Maurice and Lawrie, and the recording sessions with Tin Tin were relaxed, with some instrumentals coming from jam sessions (such as Piano/Insight). For a time, Maurice even considered release the album under The Fut, a supergroup jokingly formed between him, Steve Groves, Steve Kipner, and Billy Lawrie, but the idea was soon discarded.

"The sessions of Something's Blowing were a mess, but in a good way actually! I felt like I was producing another album for Tin Tin, and I kept forgetting that I was the main artist, haha! The record really shown some of my abilities in every range, and it was a great exercise that helped me to throw the weight that was in my back."

 -Maurice Gibb

Far more modest than his brothers, Maurice did a very short tour in England along with Tin Tin and Stone the Crows. The first copies were distributed by Maurice himself as a gift to his family and friends, being very complimented by his brothers. The album was announced as Something's Blowing by Polydor, with Soldier Johnny being released as a single, becoming a hit.

Maurice Gibb – Something's Blowing

Maurice Gibb - Something's Blowing (1970)¹

Genre: Rock, progressive pop, folk rock

Total: 39:39

All tracks written and composed by Billy Lawrie and Maurice Gibb.

Side A - 21:29

1. "Journey to the Misty Mountains" - 3:05

2. "Soldier Johnny" - 2:45

3. "Please Lock Me Away" - 2:36

4. "I've Come Back" - 2:41

5. "She's The One You Love" - 3:00

6. "Have You Heard The Word" - 4:18

7. "'Till I Try" - 3:04

Side B - 18:10

8. "Piano/Insight" - 2:58²

9. "Lay It on Me" - 2:07³

10. "Leave Me Here" - 2:26

11. "Laughing Child" - 3:13

12. "Something's Blowing" - 2:33

13. "Danny" - 2:40

14. "Silly Little Girl" - 2:13

Something's Blowing is the debut and only solo album released by Maurice Gibb. The album was produced by himself and released by Polydor Records in 10 July 1970. Recorded during the solo period of the Bee Gees, and in contrast with his brothers' records, although being promoted by Polydor, Something's Blowing had little to no hype, despite spawning Maurice's hit Soldier Johnny.

Maurice was the last one that planned to do a solo album, recruiting a few people that he previously worked with. The inspiration came after contributing to the sessions for his own brothers' albums, desiring to do a record as an exercise on composition, nothing similar to the friendly rivalry between Barry and Robin at the time. Most of the lyrics were written by Billy Lawrie while the music was composed by Maurice himself.

The album didn't chart in the United States, and reached number 43 in the UK Album Charts. The only hit, Soldier Johnny, also failed to chart in the US, but became a minor hit in Europe and a hit in Britain, reaching number 15 in UK Singles Charts. In following years, Maurice's album is regarded by many fans as the best one between the three solo albums. Barry appointed that the album has shown the abilities that Maurice had as a great music composer.

Good morning mister sunshine

Bee Gees and, at least, their happy ending, 1970.

Somewhere in the middle of 1970, Robin and Maurice Gibb reunited with new drummer Geoff Bridgford, who played drums on Maurice's album, and recorded new music. According to Barry, his return happened when Robin rang him in the middle of a vacation in Spain to 'do it again'. From there, the Bee Gees would never break-up again, and quite literally, since they even contributed to each solo records. But don't be mistaken, because their plot doesn't end here.

The group recorded a set of four songs that would be released in the comeback extended play 2 Years On. At the time, the band was preparing another adventure, going back in time, with a... Napoleonic approach, if I say so. But first, the group needed to finish the sessions of the EP, which they did by early October of that year.

The extended play was named 2 Years On, and secured a very warm reception of a comeback with the worldwide hit single Lonely Days, which was regarded by the harmonies reminiscent of The Beatles' Because and Carry That Weight, and marked the turning point of the Bee Gees as a successful singles band rather than an album band. The simple lyrics reflected the time that the band broke up and was done in ten minutes.

Bee Gees – 2 Years On

Bee Gees - 2 Years On (1970)

Genre: Baroque pop

Total: 12:33

Side A - 6:56

1. "2 Years On" (Robin Gibb, Maurice Gibb) - 3:57

2. "Man For All Seasons" (Barry Gibb, R. Gibb & M. Gibb) - 2:59

Side B - 5:37

3. "Back Home" (B. Gibb, R. Gibb & M. Gibb) - 1:52

4. "Lonely Days" (B. Gibb, R. Gibb & M. Gibb) - 3:45

2 Years On is the third extended play of the Bee Gees, and the first one released internationally. The production of the album was credited to Robert Stigwood and the Bee Gees, being released in 15 November 1970. It is the first Bee Gees work after the brief solo period, and contains the hit single Lonely Days. The album cover didn't contain new drummer Geoff Bridgford.

The album reached number two in UK Record Retailer EPs chart and number nine in Billboard Hot 100. Apart from Lonely Days, the work is overshadowed by the predecessor Cucumber Castle and successor From Trafalgar to Waterloo.

Author's note: Well, here's the deal, every time the members of a band decides to do solo albums in a short space of time between one and another, there will be an intermission focused just on solo albums. And that's what happened now, wow! Now, let's calm down, because this will not happen with the Bee Gees anymore, but with another quite famous band that you may know, and you can be sure that will happen more than once.

Sources and references:

• Robin Gibb - Trail of Despair

1. Robin Gibb - Robin's Reign
2. Bee Gees - 2 Years On
3. Robin Gibb - Saved by the Bell: The Collected Works of Robin Gibb 1969-1970

• Barry Gibb - The Kid's No Good

1. Barry Gibb - The Kid's No Good (bootleg)

• Maurice Gibb - Something's Blowing

1. Maurice Gibb - The Loner
2. Combination of "Improvisation on Piano" and "Insight".
3. Bee Gees - 2 Years On

• Bee Gees - 2 Years On

1. Bee Gees - 2 Years On