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

1969/1970: Going out in the midday sun

Wearing a crown and all the things

Barry and Maurice Gibb filming Cucumber Castle.

By 1969, as the hard times passed through, the Bee Gees had the idea to make a film. Based in the song Cucumber Castle, the concept of the film revolves into three heirs, Prince Frederick (Barry Gibb), Prince Edmund (Robin Gibb), and Prince Marmaduke (Maurice Gibb), and their dying father, the King (Frankie Howerd). The King orders his kingdom divided into three parts, the Kingdom of Jelly, Kingdom of Pudding and the Kingdom of Cucumbers. Before the king dies, Prince Frederick declares himself the "King of Cucumber", Prince Marmaduke becomes the "King of Jelly", and Prince Edmund becomes the "King of Pudding".

The film has several cameo appearances, such as the artists Lulu and Blind Faith, and also The Who's Roger Daltrey, Donovan, Rolling Stone Mick Jagger and his then-girlfriend, Marianne Faithfull. Cucumber Castle contains comedy sketches from the Bee Gees along with performances by Lulu, Blind Faith, and the Bee Gees themselves.

In the studios, things have been gone smoothly, except maybe for the drummer Colin Petersen, who was fired during the sessions. He was replaced by session drummer Terry Cox, who played in the remaining tracks. During the same time, the Bee Gees found themselves in several contemporaneous activities to the album, such as producing music to other artists, and fired Petersen, a decision later regretted by Robin.

"There were many things going on at that time. Similar to the other year too. But this time there were more people that we were helping, Samantha Sang, P.P. Arnold, Tin Tin, and then we agreed on fire Petersen? That was quite stupid, thinking now."

-Robin Gibb

By September, the group returned to the studios to finish the recording sessions, and the things weren't seem to be going on as previously. The brothers lost the enthusiasm, starting to drift apart when the album was finished, putting the band in a hiatus for a year, and then, each one would record a solo record at the same time.

"We lost our inspiration by doing... really ambitious stuff. I realised that when we finished the album. Tours, two concept albums, a goddamn movie and other artists. That was too much in two years, and we lost two members in less than a year. Everything there bummed us a lot, so we decided to stop being the Bee Gees for a while."

-Barry Gibb

The album was titled Cucumber Castle, even though the film wasn't released yet, and the track that the film was based on wasn't in the track list either. Don't Forget to Remember, Tomorrow Tomorrow, and Saved By the Bell were previously released as singles to become three of the Bee Gees' greatest hits by the end of the 1960s. Critics praised the songwriting from the brothers in general.

Bee Gees – Cucumber Castle

Bee Gees - Cucumber Castle (1970)

Genre: Baroque pop, folk rock, country folk

Total: 37:40

All songs written and composed by Barry Gibb, Robin Gibb & Maurice Gibb, except when noted.

Side A - 18:47

1. "If Only I Had My Mind On Something Else" - 2:33

2. "Tomorrow Tomorrow" - 4:05

3. "August October" (Robin Gibb) - 2:31

4. "Saved By the Bell" - 3:06

5. "Bury Me Down the River" (Barry Gibb, Maurice Gibb) - 3:25

6. "The Loner" (M. Gibb, Billy Lawrie) - 3:07

Side B - 18:53

7. "I Was The Child" - 3:14

8. "Railroad" (M. Gibb, Lawrie) - 3:37

9. "One Million Years" (R. Gibb) - 4:05

10. "My Thing" - 2:20

11. "Weekend" (R. Gibb) - 2:10

12. "Don't Forget to Remember" - 3:27

Cucumber Castle is the seventh studio album by the Bee Gees, produced by themselves and by their manager Robert Stigwood. The album consists of some songs composed as the soundtrack of their television special with the same name, being based in the song of the same name on their debut album. It was the last Bee Gees album featuring drummer Colin Petersen, and the last Bee Gees album before the short hiatus between late 1969 and mid 1970.

The record was released in 18 April 1970, as the Bee Gees were finishing their solo records, and still before the premiere of their television special. Considered a hit-driven album, three of the songs included in the album were incredibly successful, being regarded as some of their finest. Cucumber Castle peaked in number 2, displaced by The Beatles' Get Back, while it reached number 16 in Billboard 200.

Bee Gees' Cucumber Castle received mixed to positive reviews, being regarded as a faithful follow-up to the magnum opus The City in the Black Sea. Still, the unexpected hiatus of the band ended up affecting the album sales. One critic at the time regarded that the Bee Gees were a "hit-making machine, but also a very ambitious and unstable group".

Going good with the soul

The Beach Boys during Halloween, ca. 1969~70.

The release of 20/20 saw the popularity of the Beach Boys declining towards the 1970s. Even though Smiley Smile and Wild Honey were generally regarded as memorable records, the audience was consistently diminishing and the tours were generally regarded as 'underwhelming' and 'old-fashioned'. 20/20 became their second lowest-selling album at the time, and the group was amidst a lawsuit against Capitol for unpaid royalties.

By 1969, the mental conditions of Brian Wilson, whose reclusiveness and eccentric behavior were getting worse, since he began to use cocaine. Brian's behavior heavily affected his reputation in music industry, and to a lesser extent, the band found the distribution of their albums severely compromised as various labels deemed the band too risky to sign. The band's manager Nick Grillo was trying to negotiate with international labels, as the popularity from the band seemed higher than in the United States.

"I find it kinda bizarre when we are referred as America's Band by Mike. In the late 60's, nobody there wanted to listen to that 'Beach Boys bullcrap', even after Smiley Smile and Wild Honey, but a lot of people preferred us outside the United States, where we mostly went. The thing is, the audience liked all the albums, and expected music from and like both albums, but Mike wanted to stay with the surf stuff, as it was already out-of-fashion. Nobody liked that same surf-cars-girls-thing in the late 60s. Jack [Rieley] really opened my eyes about that."

 -Dennis Wilson, 2003

In late 1969, a deal was signed between The Beach Boys, Brother Records, and Island Records, arranged by manager Grillo. The contract stipulated Brian's proactive involvement with the band in all albums. And a wave of optimism and inspiration reached the band, which recorded a lot of material between November 1969 and January 1970.

In February 1970, the forthcoming album, Add Some Music to Your Day, was submitted to Island Records, and announced in March 1970. The title track was release as the promotional single, which would be well-received by the critics and by the fans of the band. It peaked in number 32 in Billboard Hot 100. The band started a campaign with the same name of the album and title track for the development of music in school.

"We have to thank a lot to Island Records to help to re-establish us in the United States. The thing is that we weren't that bad in music sales at all, the main problem was how tarnished our reputation was by that time. I mean, in one hand we had Brian and his drug problem, in the other hand, and the view that the general public had of the band was that we were stuck in the 1960s, using the same wardrobe, performing songs about love, cars and all that stuff, you know?"

 -Carl Wilson, 1990

The Beach Boys – Add Some Music To Your Day

The Beach Boys - Add Some Music To Your Day (1970)
Genre: Rock, progressive pop
Total: 39:55

Side A - 18:47
1. "Slip on Through" (Dennis Wilson) - 2:17
2. "Susie Cincinnati" (Al Jardine) - 2:57
3. "Got To Know The Woman" (D. Wilson) - 2:41
4. "It's About Time" (D. Wilson, Bob Burchman, Jardine) - 2:55
5. "This Whole World" (Brian Wilson) - 1:56
6. "Soulful Old Man Sunshine" (B. Wilson, Rick Henn) - 3:27
7. "All I Wanna Do" (B. Wilson, Mike Love) - 2:34

Side B - 21:08
8. "Take a Load Off Your Feet" (Jardine, B. Wilson, Gary Winfrey) - 3:27
9. "Tears In The Morning" (Bruce Johnston) - 4:07
10. "At My Window" (Jardine, B. Wilson) - 2:30
11. "Add Some Music To Your Day" (B. Wilson, Joe Knott, Love) - 3:34
12. "Deirdre" (Johnson, B. Wilson) - 3:27
13. "Where is She?" (B. Wilson) - 2:21
14. "Forever" (D. Wilson, Gregg Jakobson) - 2:40

Add Some Music To Your Day is the fifteenth studio album by the Beach Boys. The production is credited to the band, and released in 6 April 1970 by the Brother/Island Records, the first one under the label. Recorded and produced during a hard time for the band, the album sold better than 20/20, however, it sold poorly compared to the band's standards. The album had working names such as Reverberation and The Fading Rock Group Revival.

The recording sessions for the album began in January 1969, being completed a year later, in 1970. During this process, the band was struggling to search for a new record contract, signing with Island, and completing the album by January. Along with 20/20 and Landlocked, Add Some Music To Your Day is part of the stage where drummer Dennis Wilson was emerging as a creative force in the group, symbolised by the success of the single Forever.

In contemporaneous reviews, the album received favourable reviews, although it sold poorly compared to their previous albums (except for 20/20). It reached number 15 in Billboard 200 and number 2 in UK Album Charts intermittently for a few weeks. In later years, the album would be re-evaluated by the fans and the general public, and considered a favourite by the fans of the Beach Boy Golden Age.

The singles released by the group were the title track, receiving favourable reviews, Slip On Through, failing to chart either in the US and UK, and the two hits, All I Wanna Do, considered a precursor do chillwave and shoegaze, peaking in number 15 in Billboard Hot 100, number 3 in Billboard Hot Rock Singles, and number 7 in UK Single Charts, and Forever, reaching number 4 in Billboard Hot 100, and topping UK Singles Charts.

Aftermath

With the release of Add Some Music To Your Day, the band was seeking to re-establish themselves as a powerful force in the United States once again. In July 1970, Brian closed his health food store called Radiant Radish, and in the same day, he would met someone that would help the Beach Boys into reinvigorate themselves at the verge of the 1970's.

Bruce Johnston and Jack Rieley.

Jack Rieley was a record producer, songwriter and disc jockey based in North Hollywood, who gave space to the Beach Boys in his show on July 29, 1970. A week later, Rieley would send a six-page memo that explained how to stimulate "increased record sales and popularity". At instigation of Mike Love and Bruce Johnston, the co-manager Fred Vail is replaced by Rieley, beginning a new era for the band.

"It has been quite since... late '68 I've seen the Beach Boys declining at that time, and Brian rambling about the band's problems during that interview only confirmed my suspicions. The band seemed unsatisfied with the charts, the audience dissipating from their shows, and Fred was not helping, according to Mike and Bruce. The band needed to be revitalised."

 -Jack Rieley

Don't put a price on my soul (Greasy Asylum)

Joe Cocker, 1970.

At the time, the Greasy Asylum fulfilled their contract with Apple Records due to problems with Allen Klein, moving to EMI in the United Kingdom, who would distribute Shelter Records in the country and in Europe. The decision was personally and privately supported by Paul McCartney, who was against Allen's administration of the label.

In September 1969, the group began to record their third album at Abbey Road Studios, but some members in the group wanted more space in the albums. "Until Delta Lady, the vocals were just Joe and me, sometimes Marc [Benno], then Henry shared us his songs as he wanted to sing something, and we've agreed. I see Greasy Asylum something more like a collective group, instead of a band, so everybody was open to contribute besides us. I didn't like the spotlight anyway.", Leon Russell.

The group would have the album finished by January 1970, leaving to Denny Cordell and Glyn Johns to mix the album. By March, Leon Russell would recruit a large number of musicians and backing vocalists from his association with Delaney & Bonnie. The tour's name was Mad Dogs & Englishmen, which the live album and the documentary name's were based on. The most remarkable concert was at Filmore East, recorded in the live album.

During the tour, EMI would announce and release the band's third album Hello, Little Friend, seeking capitalise from the tour's success. Feelin' Alright would be released as single reaching number 33 in US charts, backed by the title track. The single would be received with a warm reception by critics and the public, becoming another song performed during Joe Cocker's tours post-Greasy Asylum.

"People saw Russell and Cocker as the masterminds behind Greasy Asylum, but Cocker was the real frontman on the gigs. Leon appeared once or twice because he also sang, but Joe Cocker had an unique performing style onstage, playing air guitar, waving idiosyncratically to the song, and the audience liked him because of that. Greasy Asylum was mostly formed by unique people there."

-Denny Cordell, 1989

Greasy Asylum – Hello, Little Friend

Greasy Asylum - Hello, Little Friend (1970)

Genre: Blues rock, roots rock, folk rock

Total: 44:16

Side A - 22:47

1. "Dear Landlord" (Bob Dylan) - 3:23

2. "My Baby Left Me" (Arthur Crudup) - 3:06

3. "Shoot Out on the Plantation" (Leon Russell) - 3:13

4. "Feelin' Alright" (Dave Mason) - 4:10

5. "Mistake No Doubt" (Henry McCullough) - 4:20

6. "I Shall Be Released" (Dylan) - 4:35

Side B - 21:29

7. "Give Peace a Chance" (Russell, Bonnie Bramlett) - 2:23

8. "Hitchcock Railway" (Don Dunn, Tony McCashen) - 4:41

9. "Roll Away the Stone" (Russell, Greg Dempsey) - 3:10

10. "Prince of Peace" (Russell, Dempsey) - 3:05

11. "Hello, Little Friend" (Russell) - 3:52

12. "To the Lord" (McCullough) - 4:18

Hello, Little Friend is the third studio album by the British-American band Greasy Asylum. The album was produced by Danny Cordell and Glyn Johns, and released on 24 April 1970 by Shelter Records in the United States, and distributed by EMI Records in the United Kingdom. The album features the debut songs and vocals of Henry McCullough, and it is the first one after leaving Apple Records.

Still in Greasy Asylum, Hello, Little Friend would consolidate Joe Cocker as a standards singer rather than a singer-songwriter, and as the lead vocalist of the group. A few songs of the album would be part of the set of Joe Cocker's future tours, such as Hitchcock Railway and the hit single Feelin' Alright. The album would reach number 6 in UK Album Charts and number 22 in Billboard 200. It would be eventually overshadowed in the band's catalogue by the live Mad Dogs & Englishmen, released in August.

Aside from good critics, the album is generally regarded as the lowest-selling album of Greasy Asylum, thanks a combination of the hype for the band slightly diminishing, little to no promotion of the album (the campaign to associate it with the Mad Dogs & Englishmen failed), and few differences to the predecessor, Delta Lady.

Sources:

Bee Gees - Cucumber Castle:

• Bee Gees - Cucumber Castle
• Bee Gees - Tales from the Brothers Gibb
• Robin Gibb - Robin's Reign

The Beach Boys - Add Some Music to Your Day:

• The Beach Boys - Sunflower
• The Beach Boys - Surf's Up
• The Beach Boys - 15 Big Ones
• The Beach Boys - Endless Harmony Soundtrack
• The Beach Boys - Hawthorne, CA
• The Beach Boys - Made in California

Greasy Asylum - Hello, Little Friend:

• Joe Cocker - Joe Cocker!
• Leon Russell - Leon Russell (1970)
• The Grease Band - The Grease Band (1971)

1968/1969: A Lot of Things

The formula to a better follow-up

The Beatles shouldn't be there, 1968.

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

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

 -Paul McCartney

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

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

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

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

The Beatles – A Doll's House

The Beatles - A Doll's House (1969)

Genre: Hard rock, soft rock, folk-rock

Total: 43:59

Side A - 22:00

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

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

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

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

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

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

Side B - 21:59

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

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

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

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

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

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

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

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

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

By going insane, it can give you a great album

Pink Floyd charmingly posing for a promotional photo, 1968.

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

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

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

 -Roger Waters, 1998

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

Poster promoting The Man and The Journey tour.

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

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

-David Gilmour, 1971

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

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

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

-Roger Waters, 1986

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

Pink Floyd – Are Going Insane!

Pink Floyd - Are Going Insane! (1969)

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

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

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

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

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

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

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

-David Gilmour, 2003

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

David Bowie, 1969. Stop smoking David, please.

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

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

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

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

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

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

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

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

9. Can you tell us how it is?

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

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

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

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

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

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

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

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

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

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

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

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

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

Reaching success can cause you problems

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

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

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

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

-Maurice Gibb, 1997

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

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

Bee Gees – The City on the Black Sea

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

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

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

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

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

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

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

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

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

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

-George Harrison, "I, Me, Mine"

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

-Barry Gibb, 2007

Sources:

The Beatles - A Doll's House

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

Pink Floyd - Are Going Insane!

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

Bee Gees - The City on the Black Sea

• Bee Gees - Odessa
• Bee Gees - Idea

1968: A Different Wave

With a Little Help from my Friends

Joe Cocker and Leon Russell.

The frontman of Grease, Joe Cocker, a band formed along with keyboardist Chris Stainton and drummer Bruce Rowland, enjoys the rising success of his group, with the single Marjorine, the most successful hit of Grease until then. Furthermore, he joined Asylum Choir, of musicians Leon Russell and Marc Benno, eventually merging both bands into The Greasy Asylum, adding Alan Spinner in the bass guitar.

Greasy Asylum was one of the first bands which arouse the interest of Apple Records. Managed by Denny Cordell, Cocker and Russell were greeted by Brian Epstein to sign along the new-established label. Accepted by Cordell, the group started to record their debut album at the Olympic Studios. The band was backed by Yardbirds' Jimmy Page and Procol Harum's Matthew Fisher and B.J. Wilson.

"Back to '68, after a performance in East London... If I remember, Brian [Epstein] came along with me and Leon, chatting about music and our likely future, when he came up with the idea to sign with Apple. We were one of the firsts, along with The Iveys, you know, and our manager was about to sign us with Regal. Actually we all saw the opportunity to rise quickly by joining The Beatles' side, and it was pretty much of it."

-Joe Cocker, 1998. 

It's a Saucerful of Secrets

Pink Floyd, 1968.

Pink Floyd entered at the De Lane Lea Studios in October 1967 to record Paintbox, written by Richard Wright, before taking a break on recording, and subsequently started their first US tour. The tour, entitled Pink Floyd World Tour, spanned from February 1968 until December of the same year, and by June, the band started to promote their second album, Keep Smiling People. Pink Floyd's tour was considered average by the band, except the stolen instruments near San Francisco, in the US leg of the tour.

"The tour was particularly nice, but we had those issues with freaks robbing our instruments, except for Rick instruments and some amplifiers, and we needed to recuperate them. But we stood at a home of Alice Cooper, and we borrowed their instruments. Actually they were very kind with us, and we could recover the instruments later. Some of them were damaged, but we did it, though."

 -David Gilmour, 2015, Wider Horizons.

Pink Floyd entered at the De Lane Lea again in January to rehearsals of Waters-penned songs. On 24-25 January, the band recorded throughout these days, "The Most Boring Song I've Ever Heard Bar 2" (later renamed to See-Saw), Let There Be More Light and Corporal Clegg. In February, the band recorded Wright's It Would Be So Nice and Waters' Julia Dream. In a conflict with Blackhill, the band resolved to release Wright's song and Waters' Corporal Clegg as a double A-side. Both singles were released in April, with It Would Be So Nice peaking in number 11 in UK Singles Charts, but failing to chart in the US.

"It was hard to come with songs for the album. We actually weren't great songwriters at the time, we had written... ten songs at the time, I guess? Counting both Projection and Keep Smiling People, because Gilmour in fact 'borrowed' Michael Magne's compositions. And for a while, King and Jenner saw Wright as the true figure of a frontman for the band, goddamn."

-Roger Waters, 1984.

With not enough material, the band recorded at the studio a jam which was being performed by the band throughout the tour called Keep Smiling People, at the time. In the final sessions, the band added lyrics to the track, changing the name to Careful With That Axe, Eugene. Keep Smiling People was retained as the name for the album. The group also recorded an experimental, avant-garde piece called The Massed Gadgets of Hercules, which was also performed on the tour. Both tracks angered producer Norman Smith, who alleged that the band couldn't fill the rest of the album with a bunch of unintelligible noises.

Avoiding complications with the band's management, Let There Be More Light was released as single b/w the edited section of Syncopated Pandemonium, being successful in the US, peaking in number 29, and peaking in number 11 in UK Singles Charts. It was the lead single for Pink Floyd's second album. The band resumed the tour shortly after finishing to record the album.

Pink Floyd – Keep Smiling People

Pink Floyd - Keep Smiling People (1968)

Genre: Space rock, psychedelic pop, experimental

Total: 39:29

Side A - 20:12

1. "Let There Be More Light" (Roger Waters) - 5:38

2. "See-Saw" (Richard Wright) - 4:36

3. "Careful With That Axe, Eugene" (Waters, Wright, David Gilmour, Nick Mason) - 5:45

4. "Corporal Clegg" (Waters) - 4:13

5. "Julia Dream" (Waters) - 2:37

Side B - 19:17

6. "The Massed Gadgets of Hercules" (Waters, Wright, Gilmour, Mason) - 11:57¹

a. "Something Else" - 3:57

b. "Syncopated Pandemonium" - 3:07

c. "Storm Signal" - 1:34

d. "Celestial Voices" - 3:19

7. "Paintbox" (Wright) - 3:33

8. "It Would Be So Nice" (Wright) - 3:47

Keep Smiling People was produced by Norman Smith and recorded by Pink Floyd, being their second studio album, released on 29 June 1968. It was the second album released under the Blackhill Records label, a subdivision of EMI Records. Although less raw than the debut album, Keep Smiling People is filled with experimentation by Pink Floyd mixed with Psychedelic pop. The Massed Gadgets of Hercules was called a Space anthem. The lyrics of the album vary from Fantasy, troubled relationships, war-themed songs and the everyday.

The album received better reviews than Projection, such as a firmer release by the band, with Psychedelic pop original tunes that go well along with the space and experimental themes through the record. Keep Smiling People reached number 9 in UK Album Charts and went to number 132 in Billboard, slightly better than the last album. David Gilmour played the lead guitar and kazoo, Richard Wright played keyboards and vibraphone, Roger Waters played bass guitar and Nick Mason the drums. Side A is oriented to pop tunes while Side B is mostly filled with The Massed Gadgets of Hercules.

For the fans, the album was acclaimed at the time, with Pink Floyd playing on its own entirety at the Hyde Park concert on 29 June 1968, on the same day that the album was released. Then, the group resumed again with the tour to promote Keep Smiling People across continental Europe. The album was a hit in France and West Germany.

Thank you, Jim, for our exposure to the crowd

Jimi Hendrix with Kevin Ayers, 1968.

After a tour in France, Soft Machine was preparing for the return for the United Kingdom when lead guitarist Daevid Allen had his entry denied. Allen was Australian, and not satisfied with the situation, Kevin Ayers decided to return to France with Allen, while Mike Ratledge and Robert Wyatt returned to the UK. The moment was considered a brief break-up to the band, but in three weeks, the group reconciled, and Soft Machine reallocated their activities to France for the next two years.

Though the incident, the group was reformed after an invitation of Jimi Hendrix to open the concert for the band during the US leg of the tour. Approved by the band, the band performed across the United States with Jimi Hendrix. Soft Machine performed on their set, the extended play with a few more, unreleased, songs, about to be recorded during the break. During the break, the band entered at the Record Plant Studios in New York and recorded the album through the entire April 1968. Through the recordings, they encountered David Bowie, who was also recording his debut album there.

The management of the band decided to release A Certain Kind as single, backed with Jet-Propelled Photograph. The single was approved by the band, the producer and friend Brian Hopper, and by Jimi Hendrix, who called the song a romantic, raw and energetic song. A strong hit in Britain, the single topped the UK Singles Charts while it peaked in number 8 in Billboard Hot 100. The band become quite famous thanks to their new single.

"I felt funny when the song became a hit. Actually I just released for fun, it was really something that I was waiting for. I recall that Hendrix came to me when the song went famous like, 'I knew it, it was a great song, hah!'. It was a good moment, to be honest."

-Kevin Ayers, 2008 

Got to go to a Sunday drive

Bee Gees – Marley Purt Drive

Bee Gees - Marley Purt Drive (1968)

Genre: Baroque pop, country rock

Total: 39:49

All songs written by Barry, Robin & Maurice Gibb, except when noted.

Side A - 19:42

1. "Idea" - 2:51

2. "Jumbo" - 2:07

3. "Whisper Whisper" - 3:24

4. "Indian Gin and Whisky Dry" - 1:55

5. "Marley Purt Drive" - 4:26

6. "Kitty Can" - 2:31

7. "Such a Shame" (Vince Melouney) - 2:28

Side B - 19:07

8. "Let There Be Love" - 3:28

9. "Words" - 3:13

10. "Edison" - 3:07

11. "The Singer Sang His Song" - 3:07

12. "Swan Song" - 2:55

13. "The British Opera" - 3:17

Marley Purt Drive was released as the fifth studio album by the Bee Gees. Produced by the Bee Gees and Robert Stigwood, the album was released amidst tensions between the group and the sessions for what would become the next album. The album is oriented from the traditional Baroque pop that the band was widely known at the time, but some of the tracks were influenced by other styles, such as the title track, Marley Purt Drive, and Such a Shame to country music, and the symphonic remnants of The British Opera.

Barry Gibb frequently calls the album as the leftovers of City on the Black Sea, since most of the songs of both albums were written and recorded around the same period. The record features the only track which wasn't written by a Bee Gee, with Vince Melouney's Such a Shame. The themes of some songs, such as Swan Song and Such a Shame itself reflects the tensions inside the studios. Maurice Gibb participated the most on the production of the album, although it was credited to the band and manager Robert Stigwood. He also played the bass guitar, piano, organ, and the mellotron. Barry Gibb played rhythm guitar, Vince Melouney played the lead guitar, Robin Gibb played organ and Colin Petersen played the drums. Maurice is featured in the cover.

With the release, the album reached number 4 in UK Albums Chart while peaked in number 17 in Billboard. The album is remembered by its successes such as Idea, Jumbo, and Words, the last one being a hit in the United States, Latin America, and Brazil. After the album, the Bee Gees proceeded with the tours and recording City on the Black Sea. Most memorable songs from the album were Words, Idea, Jumbo, and Kitty Can.

Notes:

[1] The Massed Gadgets of Hercules is OTL A Saucerful of Secrets.