1969: Woodstock

Regarding Woodstock...

Yes, Woodstock is here too! 1969.

For Blackhill, August of 1969 was certainly a month of defining events. From the tour including Pink Floyd Sound, Syd Barrett, and Tailboard, which carried to the eventual crisis in the company during the 70s, to the Woodstock and Isle of Wight Festivals for promoting the artists, certainly, August 1969 was the month that transformed the company into a gateway between the underground and the mainstream.

Right before the Pink Floyd Sound/Syd Barrett/Tailboard tour begun, Blackhill negotiated some of their artists to perform in the Woodstock Festival, as did with the Isle of Wight. "The negotiations with... the Foulk Brothers were far more organized than the Woodstock one. I really can barely say if there was any negotiation with the Woodstock organizers since everything seemed so improvised.", Keith Noble.

In the end, Soft Machine, Edgar Broughton Band, Tailboard, and initially, Syd Barrett agreed to perform (declining to perform one day before the concert). David Bowie declined the idea since he was working on his upcoming album as did Pink Floyd Sound (although both performed later on the Isle of Wight Festival).

"Well, I was up to perform in the Isle of Wight, and I was preparing myself for the tour with the Floyd, and then, two weeks before, Drew [Andrew King] asked if I was going to perform in the Woodstock Festival and I agreed with that. I was scheduled for Sunday, so I had a good ammount of time to think about that decision, even if I was in NY at the time *laughs*. And honestly, until today I feel pity for Kevin and Robert, they didn't like large audiences and had to deal with a shit-ton of people. Actually, they influenced me to decline to perform. Tailboard seemed chilled about that, though."

 -Syd Barrett, 1984

Robert Wyatt leaving the stage in Woodstock.

Soft Machine was billed for the Saturday, right after Santana. When the band first arrived on stage, it was noticed a massive amount of people cheering the newcomers, shocking Kevin Ayers. "So, I didn't know about the audience until we went to the festival... When we were backstage, Robert just said to me to not see the outside, otherwise, I was going to panic. He was quite right, I panicked. But Daevid [Allen] handled the entire thing, so I chilled out a little bit.", said Ayers.

The performance of Soft Machine ended up being shorter, rearranging the setlist right on stage. The band decided to focus on Daevid's songs and instrumentals, including songs that weren't released at the time, such as Esther's Nose Job and Lunatics Lament. After the performance, Soft Machine attended a meeting with Jimi Hendrix back in New York, and then returned to England.

Tailboard's Woodstock was... different. The group was recently formed, and Woodstock was their first relevant performance, although, the band was billed to perform right after Crosby, Stills, Nash & Young. The group performed their entire (then unreleased) album, plus A Summer Song. According to the frontman Keith Noble, the crowd was very receptive to the band, even though it was 5 a.m. when they arrived on stage. In backstage, the band talked with CSN&Y, and the jazz group, Blood, Sweat & Tears. Tailboard would return to England on Wednesday.

Joe Cocker playing his well-known "air guitar" on stage.

Greasy Asylum was billed as the first band to perform on the daytime Sunday, arriving on stage 2:00 p.m. and performing throughout one and a half hours a big set consisting of tracks from Look Inside the Greasy Asylum and Delta Lady, two medleys and cover renditions of Joe Cocker and Leon Russell. The performance of Greasy Asylum is considered by many as one of the highlights of the festival, along with Jimi Hendrix, Creedence Clearwater Revival, and many others.

A few days ago, Delta Lady was released as the second Greasy Asylum's studio album by Shelter Records and distributed by Blue Thumb Records in the United States, as a way intended to promote the band with the Woodstock Festival. The strategy was effective since Delta Lady managed to be ranging between positions 43 and 45 for three months on Billboard. "It was Blue Thumb's idea, not ours. We've just agreed since we had a contract.", Leon Russell.

The Woodstock Festival served as a stair to bands such as the Greasy Asylum, becoming one of their most remarkable shows. Even though members expressed bitter feelings towards the audience, it was a consensus that the performance was pretty enjoyable to everyone, despite Cocker's reluctance to venture again after that year. "As I said, 1968 and '69 were pretty intense, but Woodstock was like an eclipse ... it was a very special day.", Joe Cocker.

Soft Machine, Live in Woodstock, August 15th, 1969

Setlist

1. "Memories" (Hugh Hopper)

2. "Hope for Happiness" (Kevin Ayers, Ratledge, Brian Hopper)

3. "You Don't Remember" (Daevid Allen, Robert Wyatt)

4. "I Should've Known" (Ayers, Ratledge, Wyatt, Allen, H. Hopper)

5. "5 and 20 Schoolgirls" (Allen)

6. "A Certain Kind" (H. Hopper) [sung by Daevid Allen]

7. "We Did It Again" (Ayers)

8. "Gong Song" (Allen)

9. "Esther's Nose Job" (Ratledge, Wyatt, H. Hopper)

10. "Lunatics Lament" (Ayers, Allen)

11. "Rational Anthem" (Allen)

12. "Magick Brother" (Allen)

13. "Why Are We Sleeping/Once I Awakened" (Ayers) [sung by Kevin Ayers and Daevid Allen]

14. "Singing a Song in the Morning" (Ayers)

Greasy Asylum, Live in Woodstock, August 17th, 1969

Setlist

1. "Dear Landlord" (Bob Dylan) [JC]

2. "Something's Coming On" (Joe Cocker, Chris Stainton) [JC]

3. "Delta Lady" (Leon Russell) [JC/LR]

4. "Feelin' Alright" (Dave Mason) [JC]

5. "Crystal Closet Queen" (Russell) [LR]

6. "Let's Go Get Stoned" (Nickolas Ashford, Valerie Simpson) [JC]

7. "Dixie Lullaby" (Russell, Stainton) [LR]

8. "Medley: Jumpin' Jack Flash/Young Blood" (Mick Jagger, Keith Richards, Jerry Leiber, Mike Stoller, Doc Pomus) [JC/LR]

9. "Hitchcock Railway" (Don Dunn, Tony McCashen) [JC]

10. "Something to Say" (Cocker, Peter Nichols) [JC]

11. "Medley: Of Thee I Sing/Yes I Am" (Don Preston, Russell) [LR]

12. "With a Little Help from My Friends" (John Lennon, Paul McCartney) [JC]

[JC] = Joe Cocker

[LR] = Leon Russell 

Tailboard, Live in Woodstock, August 18th, 1969

Setlist

All tracks composed and performed by Keith Noble, except when noted.

1. "Mr. Compromise"

2. "Narcissus"

3. "Secretary Jane"

4. "Red-Current Tide"

5. "Up and Down Way (of It All)"

6. "Only When I Laugh"

7. "Dandelions Have Their Day"

8. "Weather"

9. "King of the Icemen"

10. "Ashes and Silver"

11. "A Summer Song" (Keith Noble, David Stuart)

1969: Such a Crazy World

Most unfortunate

Syd and Iggy the Eskimo, 1969.

After a return from the North American leg of the tour, Syd returned to the studios in April 1969 under the supervision of Peter Jenner. Syd continued with Willie Wilson, but since Vincent Crane continued with Arthur Brown and Rick Wills started to work as a session musician for Jackie Lomax, he was with no options but to ask for his old friends to help him to record the successor of Rooftop in a Thunderstorm.

"I knew that the folks of  Pink Floyd did an amazing album [Are Going Insane!], and I looked for some help besides of Jenner who... couldn't do anything but produce. So technically I was kind of inclined to ask for help to the people I dismissed a few years earlier. Yeah, I was seeing the roles being reversed in that moment."

-Syd Barrett, 1984

As Pink Floyd was touring and performing throughout the United Kingdom, it was easy for Syd to approach the band in one of their gigs. "At first my reaction was something like 'Why did you travel from London to Birmingham just to ask us to help you in your album?' But, yeah, he was Syd, he could do whatever he wanted.", David Gilmour. In the same meeting between the band and the artist, Roger and Syd retreated and apologized to each other. In the end, the members agreed to help Syd on his record.

Back at the studios, Syd decided to dismiss Jenner while the band took control of the production. In most of the week, Syd recorded acoustic tracks such as Terrapin, (She's a) Dolly Rocker, Wouldn't You Miss Me? and Golden Hair under the supervision of Gilmour, who played the bass guitar along with Willie Wilson. Although the situation seemed comfortable to the crew, Peter Jenner and Andrew King established a deadline for three weeks.

"Yeah, that was one of the fucking problems that made me quit the music industry a few years later. Peter [Jenner] was becoming an asshole up to me, Andrew [King] was sometimes nice, but never changed his opinions, and Steve [O'Rourke] was virtually the only one in the management who understood me."

-Syd Barrett, 1986

In the next studios, Soft Machine [at the time, Robert Wyatt, Hugh Hopper (who provisionally replaced Kevin Ayers), and Mike Ratledge] were recording their second album, Exiled from Canterbury. Since both bands (including Syd) were friends since the UFO Club times, they would often visit each studio to see what both bands were doing. During a visit, Syd decided to invite Soft Machine to play along some of the songs that remained unrecorded.

On the same day, Soft Machine and Syd rehearsed and jammed, recording four songs in sequence, No Man's Land, No Good Trying, Clowns and Jugglers I, and Love You. "Syd's idea to bring Soft Machine and record some tracks with them was amazing, it spared us a lot of time.", Nick Mason. Most of the songs recorded with Soft Machine received little or no overdubs, except for "Love You" which included a piano performed by Richard Wright.

With a similar idea, Pink Floyd also rehearsed and performed the remaining tracks of Syd, including another version of Clowns and Jugglers that would become Clowns and Jugglers II and the single version. "To be honest, I think that Soft Machine's take on Clowns and Jugglers was bloody awful. Sometimes noisy, sometimes irregular, but Syd liked after all, even if I was saying to keep it out of the album.", Roger Waters.

Syd managed to finish his album, sparing two weeks until the deadline, leaving the album to his former bandmates to mix. "Hmm, yeah, most of the mixing portion was under my supervision, since I liked to do this more than the guys. Syd also liked the result of the final product, so everyone reached an agreement.", Nick Mason.

The album was entitled Clowns and Jugglers, after the two versions recorded for the album. Clowns and Jugglers II was released as single as Octopus, backed by Double O Bo. The single was quite successful in Britain and France but failed to reach the charts in the US. Syd decided to also release Silas Lang, Here I Go and Late Night as singles, with the last two being successful in Britain and throughout Europe. In the United States, Late Night received certain attention in the West Coast.

Syd Barrett – Clowns and Jugglers

Syd Barrett - Clowns and Jugglers (1969)
Genre: Psychedelic folk, acid rock
Total: 43:54
All tracks written by Syd Barrett, except when noted.

Side A - 21:34
1. "Butterfly" - 3:00
2. "Silas Lang (Swan Lee)" - 3:13
3. "No Man's Land" - 3:03
4. "No Good Trying" - 3:26
5. "Clowns and Jugglers I (The Madcap Laughs)" - 3:27

6. "Double 'O Bo" - 2:57
7. "Love You" - 2:30

Side B - 22:20
8. "Clowns and Jugglers II (Octopus)" - 3:47
9. "Here I Go" - 3:11

10. "Terrapin" - 5:04
11. "(She's a) Dolly Rocker" - 3:02
12. "Wouldn't You Miss Me?" - 2:02
13. "Golden Hair" (Syd Barrett, James Joyce) - 1:59
14. "Late Night" - 3:10

Clowns and Jugglers is the second studio album from English singer-songwriter Syd Barrett. The album was released on 16 September 1969 in the United Kingdom by Blackhill Records and on 24 September 1969, being distributed by Capitol Records in the United States. The album was produced by Pink Floyd under the pseudonym of Arnold Layne and is the last one featuring Willie Wilson.

In later years, Peter Jenner would sue Syd, earning the role as producer along with the Pink Floyd. The album was recorded in two weeks, most compromising of Syd's acoustic songs in a week, and another week with sessions featuring Pink Floyd and Soft Machine. The lyrical themes of Clowns and Jugglers include surrealism, personal feelings, and romantic songs in general.

The album is characterized by less experimentalism from the previous album (seen mostly in the first track) and more folk and rock-oriented tracks. The suggestion was given by Andrew King, who looked for songs similar to the ones found in Rubber Band records. At the time, the record became more popular than the predecessor, as the youth identified with some of Syd's lyrics.

After the release, the press reacted negatively first, but then the album received mixed-to-positive reviews in general. Syd released four songs as singles, Clowns and Jugglers II (released as Octopus), Silas Lang, Here I Go and Late Night. The public reaction was positive after all, with the album reaching number 5 in Britain while it reached number 99 in Billboard Top LPs. After Clowns and Jugglers, Syd wouldn't release an album until 1971, focusing on touring and the start of his career on acting.

A little swap

Marc Bolan and Mickey Finn, members of T. Rex, 1969.

After Beyond the Rising Sun or the Beginning of Doves, Marc Bolan and T. Rex would record and release three more albums in a year span: the folk-oriented My People Were Fair and Had Sky in Their Hair... But Now They're Content to Wear Stars on Their Brows (July 1968); Prophets, Seers & Sages: The Angels of the Ages (October 1968), and the more rock-oriented Unicorn (May 1969).

 

The second, third, and fourth albums by Tyrannosaurus Rex.

However, as time passed by, it was more than a fact that Marc Bolan was the frontman and the mind behind Tyrannosaurus Rex, while Rick Wills and Willie Wilson were becoming rather... side members. This being said, Bolan recruited Mickey Finn to be a part of the band, playing percussion instruments, except for the drums, still played by Willie, even though that line-up wouldn't stay for more than a few days, given the fact that Willie Wilson would leave the band for Tailboard.

As for Rick Wills, the bass player would still stay in Tyrannosaurus Rex until 1971, being replaced by Steve Currie. After his departure, Wills would move to Peter Frampton's backing band, then the Small Faces, before finally settling in Foreigner for 14 years. And with that, Tyrannosaurus Rex, now known as T. Rex, would follow the same path as OTL for a few years until we jump back into it.

But all of it's going to burn

Arthur Brown during a performance.

The Crazy World of Arthur Brown, led by no other than the God of Hellfire himself, Arthur Brown, was another rising band under the Blackhill Records, and the first one outside the Rubber Band-Pink Floyd faction to make a hit song with Fire, ironically, becoming Blackhill's best-selling single for a while, reaching number 2 on Billboard Hot 100 and topping the UK Singles Charts.

However, his band often associated with singer-songwriter Syd Barrett due to Vincent Crane, the keyboardist for both, sometimes even performing or touring together. Drummer Drachen Theaker was replaced by Carl Palmer due to his aviophobia. Following the successful eponymous debut record, the band recorded their second album, Strangelands.

Crazy World of Arthur Brown's Strangelands. Certainly an album that no one will forget.

Arthur Brown's second album Strangelands was panned by critics at the time. In an article titled "Strangelands or How To Not Ruin Your Band's Rising Career", music critic XX harshly describes the album as 'dissonant', 'nonsensical', 'painfully experimental', and outside from everything that people expected from their last album. Strangelands was released only in 1971 and didn't chart in the United States, while in Britain the album reached number 19, before falling.

Personally, the band entered into a risky situation with the label that even the God of Hellfire himself was surprised, after temporarily retiring to a commune. The band itself avoided to talk about the record, and behind the scenes, requested to Brown more participation in the band's business and records, and the label wanted a change from style.

"Well, the high management wanted us to change our style. The thing is that we were already searching for a specific new style, even though things went wrong with Strangelands. I didn't want to stick with the same style we've used on The Crazy World [of Arthur Brown]."

 -Arthur Brown, 1973.

For Blackhill, Strangelands became their first failure, ironically, coming from the ones who gave them their best-selling hit. With the expensive Pink Floyd/Syd Barrett/Tailboard tour in September, the management started to be more cautious in a lot of ways, by avoiding 'too much experimental/nonsense' records and simply not doing such an ambitious tour.

For the Crazy World of Arthur Brown, a few things were reformed. The band itself, was dissolved, becoming Atomic Rooster. Arthur Brown, Vincent Crane, and Carl Palmer stayed in the group, being joined by guitarist Andy Dalby and bass player Desmond Fisher. From then, the band would take a progressive turn, sometimes flirting with the experimental and hard rock scenes.

As years passed, critics would reevaluate the record, being more moderate, and even considering it innovative in several aspects, developing a cult following around the album. Groups such as Animal Collective drawn a few inspirations from aspects of the album's ambiency.

Come on and enjoy us

Willy Prairie and Joe Prairie... perhaps; 1969.

As the band released the successful A Doll's House, John Lennon, influenced by his wife, wanted the group to release a full experimental record with the outtakes and tracks of the sessions, similarly to the then-unreleased Revolution 9.

"Well, John was deeply into Yoko's influence, and persuaded us to make something... similar to Revolution 9. Actually we wanted to do something different, and we had those jams recorded in 1968, but we didn't want to go under that avant-garde rubbishness, so we moved to do a 'novelty record'. And thus, teaming up with Billy Preston, The Prairie Wallflowers were born!"

-Paul McCartney, 2013 

"Well, Paul had his idea to that documentary about 'how does Beatles produce their albums', and I hooked with them to help to record it. And one day John came to me wondering if I would like to join them to record a few more stuff to an 'untitled alternate project' to Get Back, and then told me to choose a new name."

-Billy Preston, 1995

The idea for Joe Prairie & The Prairie Wallflowers popped up after a reunion of the Beatles in George's Kinfauns, after a listening of the unreleased tapes of the 1968 sessions. The name for the group came from the song Los Paranoias. The concept of a Beatles' record under an alias seemed interesting and was approved by the manager Brian Epstein, who booked sessions for them in secrecy at the Trident Studios.

Paul picked the frontman's name, Joe Prairie, while John named himself as Stu Prairie as a tribute to his late friend and early member of The Beatles, Stuart Sutcliffe, Billy Preston chose Willy, George used Nelson and Ringo chose Leon.

The album was recorded over three days, then mixed by George Martin, packed to release with a shot of The Beatles' rooftop concert. Joe Prairie's name was first mentioned in an interview with Paul McCartney and John Lennon on BBC, announcing the new, non-Beatle album, with the premiere release of the single 'Come and Get It' two days later. Next, Brian clarified that the album was made with recordings dating since the sessions of 1968.

Joe Prairie & The Prairie Wallflowers – Back in Your Safely Beds

Joe Prairie & The Prairie Wallflowers - Back in Your Safely Beds (1969)

Genre: Jam band, rock and roll, psychedelic folk, experimental

Total: 41:32

Side A - 20:51

1. "Can You Take Me Back? (There You Are, Eddie)" (Joe Prairie) - 4:05

2. "Dig It" (Joe Prairie, Stu Prairie, Tom Prairie, Nelson Prairie, Leon Prairie) - 0:50

3. "Suzy Parker" (J. Prairie, S. Prairie, T. Prairie, N. Prairie, L. Prairie) - 2:00

4. "Wild Honey Pie" (J. Prairie) - 0:54

5. "What's The New Mary Jane" (S. Prairie) - 6:12

6. "(You're So Square) Baby I Don’t Care" (Jerry Leiber, Mike Stoller) - 0:42

7. "Maggie Mae" (traditional, arr. The Prairie Wallflowers) - 0:40

8. "St. Louis Blues/Heart of the Black Country" (J. Prairie/W. C. Handy) - 1:10

9. "You Know My Name (Look Up The Number)" (S. Prairie) - 4:21

Side B - 20:41

10. "Blue Moon/I Will" (Richard Rodgers, Lorenz Hart/J. Prairie) - 2:57

11. "Come and Get It" (J. Prairie) - 2:30

12. "Apple Jam" (J. Prairie, S. Prairie, T. Prairie, N. Prairie, L. Prairie) - 2:20

13. "Medley: Rip It Up/Shake, Rattle And Roll/Blue Suede Shoes" (Robert Blackwell, John Marascalco/Charles Calhoun/Carl Perkins) - 3:18

14. "Step Inside Love" (J. Prairie) - 1:34

15. "Los Paranoias" (J. Prairie) - 3:58

16. "Ain't She Sweet" (Jack Yellen, Milton Ager) - 2:08

17. "Mailman, Bring Me No More Blues" (Bill Katz, Ruth Roberts, Stanley Clayton) - 1:56

Back in Your Safely Beds is a studio album, parallel to the Get Back project, released by The Beatles plus Billy Preston under the pseudonym of Joe Prairie & The Prairie Wallflowers. The album is filled with studio jams and remaining content spanning from the sessions back from Umbrella, A Doll's House, and the upcoming Abbey Road and Get Back albums. The album was recorded by the band in secrecy, then mixed and produced by George Martin.

The album is comprised of several cover versions of rock and roll numbers, studio jams, and experimental compositions of the group. The album was revealed when Paul McCartney and John Lennon were interviewed, while a few days later, Apple/NEMS issued Come and Get It as the lead single for the album. Back in Your Safely Beds was received with a big interest and generally positive reviews by music critics, citing it as an impressive way to reuse discarded songs into a new work. The album peaked in number 3 in UK Albums Charts and reached number 7 in Billboard Top LP's.

Musicologist and author Ian MacDonald said that the pseudonym strategy to release more experimental music was very helpful, since if the band released the album under their own name it was going to be a critical failure similar to Magical Mystery Tour.

Beach Boy Carl Wilson mentioned Back in Your Safely Beds as a heavy influence on Beach Boys' Carl and the Passions. The same concept was revived on George Harrison's supergroup, The Traveling Wilburys, with Bob Dylan, Roy Orbison, Tom Petty, and Jeff Lynne. Forgotten for a while, the record was later re-evaluated by the fans and received a cult following status. John Lennon later referred to the album as one of his favorite records during The Beatles. The band would later revive the concept in 1976 as their last work before the hiatus, but shelved the album.


Author's comments:
The idea for Joe Prairie & The Prairie Wallflowers was loosely inspired by the Beatles' experimental albums in Strawberry Peppers and Something Creative, but I didn't want to... make another version of those albums (which are amazing, by the way). Then, the idea for the band emerged as a way to reutilize some of the unused material, like the cover numbers from The Beatles that were recorded during that period.

And, as I said, no more New Yardbirds, or any plot related to Led Zeppelin. Instead, however, there will be an alternative version of Atomic Rooster with the inclusion/fusion of Arthur Brown's Kingdom Come. The main issue is that Led Zeppelin and Renaissance had two very different styles to work with.

Sources:
Syd Barrett - Clowns and Jugglers:

• Syd Barrett - The Madcap Laughs
• Syd Barrett - Opel
• Pink Floyd - The Early Years

Joe Prairie & the Prairie Wallflowers - Back in Your Safely Beds:

• The Beatles - White Album (Deluxe Edition)
• The Beatles - Let It Be
• The Beatles - Anthology 2
• The Beatles - The Black Album [bootleg]

1969: All This Crazy Gift of Time

From the past!

Pink Floyd a few years back, performing as Sigma 6, 1963.

"Out of all years, one of the most strangest ones was 1969. I mean, I accidentally met Clive [Metcalfe] and Keith [Noble] during a walk in the park. And then, a few weeks later, there was me, David, Rick and Nick producing their album, their try to reach the stardom. Oh, and Rado [Klose] was there too, doing his guitar work as usual."

-Roger Waters, 1976

The meeting between Roger and his two former bandmates led to the entry of both to the Blackhill Records. At the time, Clive and Keith Noble were reforming their duo into a band, searching for a drummer and another guitarist. Roger suggested Rado Klose, who just returned from the military service and Willie Wilson, who recently left Tyrannosaurus Rex. The group was formed under the name of Tailboard. Andrew King was appointed as the manager of the band, leaving Steve O'Rourke to Pink Floyd and Peter Jenner to Syd Barrett.

Tailboard:

Keith Noble - lead vocals, acoustic guitar

Rado Klose - lead guitar

Clive Metcalfe - bass guitar, violin

Willie Wilson - drums, percussion

Tailboard started to perform as the backing band to Syd Barrett (joined by Egg's keyboardist Dave Stewart), sometimes performing their own acts with Keith Noble. "Tailboard was like the second half of Pink Floyd, an amalgam of previous incarnations of former members into one, solid ball.", Roger Waters. Through the second half of 1969, Syd Barrett and Tailboard (billed as Syd Barrett & Tailboard) joined Pink Floyd on a tour through the United Kingdom and Europe, rising their popularity on the Old World.

Dutch poster promoting a concert of Pink Floyd/Syd Barrett/Tailboard tour, 1969.

Pink Floyd, Syd Barrett & Tailboard
Setlist (excerpt from Antwerp, Belgium; September 30th, 1969):
Syd Barrett & Tailboard
1. "Clowns and Jugglers" (Syd Barrett)
2. "Here I Go" (Barrett)
3. "Mr. Compromise" (Keith Noble)
4. "Apples and Oranges" (Barrett)
5. "Up and Down Way" (Noble)
6. "Golden Hair/Terrapin" (Barrett, James Joyce/Barrett)
7. "Weather" (Noble)
8. "Arnold Layne" (Barrett, David Bowie)
9. "Only When I Laugh" (Noble)
10. "See Emily Play" (Barrett, Bowie)
11. "Late Night" (Barrett)

First Encore [Syd Barrett & Tailboard/Pink Floyd]
1. "Astronomy Domine" (Barrett)
2. "The Massed Gadgets of Hercules" (Roger Waters, Richard Wright, David Gilmour, Nick Mason)
3. "Interstellar Overdrive" (Barrett, Vincent Crane, Rick Wills, Willie Wilson)
4. "Careful With That Axe, Eugene" (Waters, Wright, Gilmour, Mason)

Pink Floyd
1. "Grantchester Meadows" (Waters)
2. "Biding My Time" (Waters)
3. "Set the Controls for the Heart of the Sun" (Waters)
4. "The Nile" (Waters, Gilmour)
5. "Ibiza Bar" (Waters, Gilmour)
6. "See-Saw" (Wright)
7. "Embryo" (Waters, Wright, Gilmour, Mason)
8. "Cymbaline" (Waters, Gilmour)

Second Encore [Pink Floyd/Syd Barrett & Tailboard]
1. "A Summer Song" (Noble, David Stuart)
2. "Point Me at the Sky" (Waters, Gilmour)
3. "The Bike Song (Singalong)" (Barrett)

Although the tour seemed enjoyable by the bands and artists involved, the expenses of the tour caused problems to everyone, especially to Blackhill Enterprises. The costs of the tour was one of the main reasons that forced their label, Blackhill Records, to become extinct a few years later. For those who were involved, the main exit was to record a new album to pay the charges.

"At least we had fun! *laughs*; But sure it was fantastic to tour with Pink Floyd [Sound] and Syd, the problems started to appear a few days after the last concert when the bill came to almost everyone in Blackhill. We almost had no chance to tour again, but Andrew [King] was very kind to talk with us about that. I even own a bootleg which I bought a few months after the tour. They didn't want to release a live record, so I bought one by myself."

-Keith Noble, 2009

"Recording 'Basking in the Sunshine...' was... quite spontaneous. Since Peter Jenner yelled at us due to the high cost of the tour, we were quite obliged to make a new record. Anyway, we met in the front of the studios and Roger said something like 'Well, let's make another record, aight?', and we just started jamming for a while until new ideas came during the jam. We also had a few bits from 'Are Going Insane!' which we started to work on it later. [...]"

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

As long as they lie perfectly still

Robert Wyatt performing with Soft Machine at Ronnie Scott's, 1969. During that time, Soft Machine was temporarily reformed with Wyatt, Mike Ratledge, and Hugh Hopper.

In late 1968, the Soft Machine briefly disbanded. Kevin Ayers and Daevid Allen (along with his partner, Gilli Smyth) were found at their retreat in Deià, Robert Wyatt stayed with the Jimi Hendrix Experience in Laurel Canyon, and Mike Ratledge went back to England. After a month, Wyatt reformed the band with Mike Ratledge (keyboards), Hugh Hopper (bass) and Andy Summers (guitar), who left the band at the end of a series of gigs in the UK. Wyatt couldn't reach Kevin and Daevid Allen at the time.

"I never liked to have any kind of commitment or obligation, I always had a free spirit, actually the entire band had a free spirit, to be honest. That's why I never liked to tour and why I was afraid from the success in the United States. I was fearing that my lifetyle could be dragged from me, replacing it with a robotic lifestyle of touring and recording, and that almost happened. That's why I wrote 'Am I Really Marcel?', for an example.

But Jimi was the one who wanted me to continue with music. This was evident when he gave me my acoustic guitar. I was quite happy, and that gave me confidence enough to continue in the music business instead of simply retiring."

-Kevin Ayers, 2008 

In February, Soft Machine started to record their second album with Hibou, Anemone and Bear, and As Long as He Lies Perfectly Still. During the recording sessions, the band developed Esther's Nose Job (which was shelved to Magick Brother) while Hugh Hopper wrote Dedicated to You, But You Weren't Listening. "Yeah, part of the songs composed before the arrival of Kevin and Daevid were dropping a hint on 'em. And somehow they liked these songs.", Robert Wyatt.

During the recording sessions, Syd Barrett, who was recording his second studio album Clowns and Jugglers, invited Soft Machine to play along, recording four out of six songs of the first side of Syd's album. "I knew that Robert, Mike, and Hugh played along with Syd when I arrived in London and I was glad for them. Hopefully, I could bring him for our session right before he could embark on his tour with Pink Floyd.", Kevin Ayers.

Kevin, along with Daevid and Gilli arrived in London in late May 1969. Surprised with the sudden news that Robert reformed Soft Machine without both, Kevin and Daevid argued with Robert and Mike about the issue. "Well, that was the start of my departure from Soft Machine. I couldn't believe that they did that to us.", Daevid Allen. "The main problem there was Mike. He didn't want me to be on Soft Machine again.". The personal conflicts between Daevid and Mike would result in Daevid's departure from Soft Machine during the Magick Brother tour.

Throughout June and July, Soft Machine focused on the songs from Kevin and Daevid. Syd Barrett would be invited by Kevin to play the lead guitar on the track Singing a Song in the Morning. The album was named Exiled from Canterbury from the incident which Daevid wasn't allowed to enter the United Kingdom, with the entire band staying out of Britain for almost one year. After the sessions of Exiled from Canterbury were finished, the band immediately started to record their next album, Magick Brother.

Exiled from Canterbury was announced as the second album by Soft Machine, while the release was scheduled to October 1969. Singing a Song in the Morning b/w Gong Song was released as promotional single and earned a new hit from the band by topping in Britain Singles Charts and peaking in number 12 in Billboard Hot 100. The band did a promotional concert in London but opted to focus on the follow-up of the album.

Soft Machine – Exiled from Canterbury

(L-R): UK version; US version

Soft Machine - Exiled from Canterbury (1969)

Genre: Canterbury scene, psychedelic rock, jazz-rock

Total: 43:44

Side A - 21:11

1. "A Concise British Alphabet" (Robert Wyatt, Hugh Hopper) - 1:23

2. "5 and 20 Schoolgirls" (Daevid Allen) - 4:30

3. "Hibou, Anemone and Bear" (Mike Ratledge, Wyatt, H. Hopper) - 5:58

4. "Song for Insane Times" (Ayers) - 4:00

5. "As Long as He Lies Perfectly Still" (Ratledge, Wyatt) - 2:30

6. "Singing a Song in the Morning" (Ayers) - 2:50

Side B - 22:33

7. "Dedicated to You But You Weren't Listening" (H. Hopper) - 2:30

8. "Eleanor's Cake (Which Ate Her)" (Ayers) - 2:53

9. "Gong Song" (Allen) - 4:11

10. "Glad to Sad to Say" (Allen) - 3:43

11. "The Lady Rachel" (Ayers) - 5:17

12. "All This Crazy Gift of Time" (Ayers) - 3:57

Exiled from Canterbury is the second studio album by Canterbury scene band Soft Machine, produced by Nick Mason and Soft Machine. It is the first album with Hugh Hopper being credited as an official member. The album was recorded between February and July 1969 at the Abbey Road Studios and released on 10 October 1969 by Blackhill Records in the United States and 24 October 1969 by CBS Records in the United States. It was first recorded under the trio, Robert Wyatt–Mike Ratledge–Hugh Hopper, but then Kevin Ayers and Daevid Allen arrived to complete the band. The album's cover didn't have the participation of Daevid Allen, who appeared in the portrait on the wall.

The album differs from Hope for Happiness by having minimal or no extended jams (differently from the predecessor, which was mostly composed of suites and jams). Most of the album walks into a folk, psychedelic, rock-oriented direction, but still, jazz is the main element of the record. According to Robert Wyatt, the album has dadaist influences and was inspired by the Mothers of Invention's Absolutely Free. It is considered to have unusual lyrics for the time, and the central key to be considered an influent psychedelic record at the time.

With the release, the record received initially mixed reviews but as time passed, Exiled from Canterbury was considered Soft Machine's biggest effort in the 60's. The album peaked in number 2 in UK Album Charts and number 59 in US Billboard Top LPs. Most of the success of the album was due to the hit of the promotional single, Singing a Song in the Morning. After the release, Blackhill released The Lady Rachel as the second single, becoming one personal favorite of the fans being performed in later tours.

Back to the greasy asylum

Joe Cocker, 1969.

The Greasy Asylum has experienced a regular status as celebrities after the release of their debut album and the lead single With a Little Help From my Friends. In the United States, the group toured and performed at several large festivals, such as the Newport Music Festival and the Denver Pop Festival. And though the band was formed by six members, Joe Cocker and Leon Russell were mostly regarded as the frontmen and the minds behind the band's creative outputs.

After the end of the US tour, Greasy Asylum gathered at the ARS Studios and started to record the second album. The recording sessions of the group dragged the attention of the public after the contribution of Beatles' George Harrison and Ringo Starr in two songs (Dixie Lullaby and Hurtsome Body) and vocals from Jackie Lomax and Rolling Stones' Mick Jagger, working as an influence for the hype of the follow-up to Looking at the Greasy Asylum.

"Everything happened when the bosses [George Harrison and Ringo Starr] entered in the studio to see what we were doing there. At the time they were recording with Jackie Lomax, I think, because he contributed with some vocals later, and suddenly I see George and Ringo picking the instruments and playing along with the band. That was quite surprising, we jammed the two songs and edited to fit them in the record."

-Leon Russell, 1978

In July, producer Denny Cordell convinced the organizer of Woodstock Festival, Artie Kornfeld of booking the Greasy Asylum for the Festival. At the time, the group had finished the sessions and embarked on a short UK tour followed by another leg in the United States, both supported by Jackie Lomax and Rita Coolidge. "Looking back then, the early Greasy Asylum years were pretty intense for everyone on that recording-touring routine. We liked that, but at the same time it just looks that we sort of abused our bodies during the tours.", Joe Cocker.

Greasy Asylum released Delta Lady, the title track, backed with another, longer, version sung by Leon Russell. The song managed to be a hit in Britain, but a minor hit in the United States. The album was scheduled to be released on 12 August 1969, three days before the Woodstock Festival.

Greasy Asylum – Delta Lady

Greasy Asylum - Delta Lady (1969)

Genre: Rock, pop-rock, blues rock

Total: 40:10

Side A - 19:46

1. "That's Your Business Now" (Joe Cocker, Chris Stainton) - 2:56

2. "Dixie Lullaby" (Leon Russell, Stainton) - 2:35

3. "She's So Good to Me" (Cocker, Stainton) - 2:56

4. "Hurtsome Body" (Russell) - 3:39

5. "Something" (George Harrison) - 3:32

6. "A Song for You" (Russell) - 4:08

Side B - 20:24

7. "Hummingbird" (Russell) - 4:02

8. "Delta Lady" (Russell) - 2:51

9. "I Put a Spell on You" (Russell) - 4:12

10. "Bird on the Wire" (Leonard Cohen) - 4:30

11. "Darling Be Home Soon" (John Sebastian) - 4:49

Delta Lady is the second studio album by the British-American rock band Greasy Asylum. The album was produced by Leon Russell and Denny Cordell and released on 12 August 1969 in the United States by Shelter Records and on 18 August 1969 in the United Kingdom by Apple Records. Delta Lady was Greasy Asylum's last album under the Apple Records label after the disagreement of the band with Allen Klein, who became Apple Records' manager until early 1971.

The album is comprised of Leon Russell's songs, some of them performed by Joe Cocker, and cover versions by Cocker himself. Delta Lady is also remembered by the contributions of Beatles George Harrison and Ringo Starr in two songs and backing vocals of Rolling Stone Mick Jagger. Something, written by George, would be later performed by himself on The Beatles' Abbey Road.

In the United States, the record reached number 43 in Billboard Top LPs while reached number 3 in UK Album Charts. Greasy Asylum released the title track as single, becoming a hit in Britain and a minor hit in the US. That's Your Business Now was released as single in 1970 backed by Death of the Flowers, failing to chart. Something and A Song for You were released simultaneously, both of them being reasonably successful.

Author's notes:
Hello everyone!
Finally back with a new band, and the return from another band. Anyway, in the next post, Woodstock! There'll not be a lot of changes, but I'll mostly focus on Woodstock.
And regarding Tailboard, recently I've discovered that Keith Noble, a member of previous incarnations of Pink Floyd released an album in 1970 (with contributions of Rado Klose!). The initial idea was to sign Keith as a solo artist, but I found that Clive Metcalfe, another member, had a duo with Keith called "The Tailboard Duo", so the idea evolved to a band.

Hope you like it! :)

Source:
Soft Machine - Exiled from Canterbury

• Soft Machine - Volume Two
• Kevin Ayers - Joy of a Toy (plus Bonus Tracks)
• Gong - Magick Brother

Greasy Asylum - Delta Lady

• Joe Cocker - Joe Cocker!
• Leon Russell - Leon Russell (1970)

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: Brand New Beginnings

Take a look inside

Greasy Asylum's debut album was expected to be released on December 1968. The lead single, a cover version of The Beatles' With a Little Help from My Friends, reached the top of UK Singles Charts and peaked number 68 on the Billboard Hot 100. The song featured the then-Yardbirds guitarist Jimmy Page and Procol Harum drummer B.J. Wilson. Backed by Marjorine, it was the first biggest hit of Greasy Asylum, while the upcoming album was being hyped as a potential groundbreaking record.

Greasy Asylum – Look Inside the Greasy Asylum

Greasy Asylum - Look Inside the Greasy Asylum (1968)¹

Genre: Psychedelic rock, blues rock, art rock

Total: 38:20

Side A - 18:51

1. "With a Little Help from My Friends" (John Lennon-Paul McCartney) - 5:12

2. "Indian Style" (Leon Russell, Marc Benno) - 3:46

3. "Change In Louise" (Joe Cocker, Chris Stainton) - 3:22

4. "Death of the Flowers" (Russell, Benno, Greg Dempsey) - 3:15

5. "Sandpaper Cadillac" (Cocker, Stainton) - 3:16

Side B - 19:29

6. "Medley: N.Y. Op./Land of Dog/Henri the Clown" (Cocker, Stainton, Russell, Benno) - 6:07

7. "Marjorine" (Cocker, Stainton) - 2:38

8. "Soul Food" (Bill Boatman, James Markham) - 2:10

9. "Something's Coming" (Cocker, Stainton) - 2:15

10. "The New Age of Lily" (Cocker, Stainton) - 2:15

11. "Thieves in the Choir" (Russell, Benno, Jerry Riopelle) - 4:04

The debut album of Greasy Asylum was produced by Denny Cordell, being released on 17 December 1968. Look Inside the Greasy Asylum was the fifth release of the Apple Records label, and one of the two records released by the group under that label. The album is full of original numbers by the members of the group, except for two cover numbers, With a Little Help from My Friends (by Joe Cocker), and Soul Food (by Leon Russell). It is the best-selling record of the group, followed by Mad Dogs & Englishmen and I Can Stand a Little Rain.

The Greasy Asylum's version of With a Little Help from My Friends was so successful that it became a classic song in their setlist, being included on Joe Cocker's solo tours later. The album peaked in number 10 on UK Album Charts and number 35 on Billboard. Besides the lead single, Death of Flowers was released as single in early 1970 but failed to chart. The album is commonly regarded as very influential in Blues, Soul music, and R&B. Jimi Hendrix listed Look Inside the Greasy Asylum as one of his all-time favorite records.

"I became interested on their sound when they released that single, and then I bought the record and the stuff inside was... mindblowing. [...] I met Joe Cocker at the Woodstock Festival, and we chatted a bit about his career, his group, and he was such a great person..."

-Jimi Hendrix, 1990 

Apples and Umbrellas

Apple Studios, at 3 Saville Row.

Before the trip for India, the band reunited with their manager to persuade him to establish a new company to give them more creative freedom. By reaching an agreement, Brian and The Beatles established the Apple/NEMS, and along with it, the new recording label, Apple Records. The company had a contract with EMI to the distribution of the songs and albums.

"The director's board always had a cordial relationship with Brian and Beatles. The establishment of Apple/NEMS would've been a big loss for EMI and Capitol if they let them just go, but offer the distribution of albums and singles was a big move by the label."

-Bob Spitz, The Beatles: The Biography

The Beatles recording 'Umbrella', 1968.

Following the return from Maharishi's course in India, and with a big quota of new material written, The Beatles gathered at the EMI Studios to once record a new album. Though arguments inside the group were increasing, mainly between George and Paul, Brian Epstein always had to appease the situation.

"George was emerging on his songwriting period, and wanted more space from Paul and John, and both were complaining about it. After the release of Umbrella, I reunited with the boys to determine the issue with the track listings. We've agreed that George could fit four tracks on the albums, three only if Ringo had something in his hands."

-Brian Epstein, 1972.

"Actually was funny in terms. During A Doll's House, John and Paul called me frequently and to try to give me their songs to suppress George's space. But Brian himself discovered that quite quickly and warned both about the problems that they would have later." 

 -Ringo Starr, 2015.

In the same period, John Lennon's relationship with avant-garde artist Yoko Ono was flourishing. In May 1968, both recorded the Two Virgins album in one night. John's relation with Yoko would deteriorate his relationship with Cynthia. One time, John brought Yoko into a recording session, but she was dismissed after Brian wanting John to follow the policy regarding that wives and girlfriends couldn't attend the sessions. Still, Yoko was somewhere at the studios.

The band recorded Umbrella in a three-month-run. One of the songs, Ob-La-Di, Ob-La-Da involved several days of work, which annoyed George and John over Paul's perfectionism for the track, who continuously would work on the track. Both expressed vocally their dislike of the song, with George referencing it later on Savoy Truffle.

Despite Umbrella being finished, The Beatles still proceeded to go to the studios to record the remaining songs for the follow-up of the album. The album was announced in late July, to be released in September of the same year. The band released Savoy Truffle backed with Ringo's rendition of Johnny Mercer's Dream. The song's performance on charts was disappointing, peaking number 4 in Billboard Hot 100 and number 2 in UK Singles Charts.

The Beatles – Umbrella

The Beatles - Umbrella (1968)²

Genre: Rock, pop, folk-rock, blues, lo-fi

Total: 43:42

Side A - 21:08

1. "Glass Onion" (John Lennon-Paul McCartney) - 2:17

2. "O-Bla-Di, O-Bla-Da" (Lennon-McCartney) - 3:08

3. "The Continuing Story of Bungalow Bill" (Lennon-McCartney) - 3:14

4. "Birthday" (Lennon-McCartney) - 2:42

5. "Don't Pass Me By" (Richard Starkey) - 4:45

6. "Why Don't We Do It On the Road?" (Lennon-McCartney) - 1:41

7. "Only a Northern Song" (Harrison) - 3:24

Side B - 22:34

8. "Martha My Dear" (Lennon-McCartney) - 2:28

9. "I'm So Tired" (Lennon-McCartney) - 2:03

10. "Savoy Truffle" (George Harrison) - 2:54

11. "Yer Blues" (Lennon-McCartney) - 4:01

12. "Mother Nature's Son" (Lennon-McCartney) - 2:48

13. "Everybody's Got Something To Hide Except Me and My Monkey" (Lennon-McCartney) - 2:24

14. "Sexy Sadie" (Lennon-McCartney) - 3:15

15. "Honey Pie" (Lennon-McCartney) - 2:41

Umbrella, the ninth studio album by The Beatles, was released on 21 September 1968, produced by Paul McCartney and John Lennon, but credited to The Beatles. The name of the album was introduced by McCartney while the band was in India when he conceived a new record with the songs composed during that period. The album was recorded at the EMI Studios and at the recently inaugurated Apple Recording Studios. The sessions of the album were remarked by growing tensions by the members of the group.

Most of the lyrics of the album were written in India, except for Only a Northern Song, Birthday, Don't Pass Me By and Savoy Truffle. For the sessions of the album, The Beatles wished for full autonomy on production, while they kept George Martin as arranger for the record. With the differences growing between the Fab Four, particularly due to Paul's perfectionism, The Beatles avoided being involved in producing their albums until the 70's.

The performance of the album was disappointing to the band and bad for Apple Records' early reputation. Umbrella topped in the United Kingdom but peaked number 4 on Billboard. After the repercussion, manager Brian Epstein decided to bring George Martin back to the producer role, leaving The Beatles to record the songs. In later years, The Beatles expressed dissatisfaction with the record. Yer Blues was later released as John's solo single, being played at The Rolling Stones' Rock and Roll Circus. The album was target from Rolling Stone's controversial article in the following week: The Fall of the Giants. Both the releases of Wild Honey and Umbrella were dubbed as the truce between The Beatles and The Beach Boys.

"You can see by my face in the cover what I feel about the album. I mean, [Umbrella] has very few bad songs in general, but it was stressful and tiresome to produce, and we ended up unsatisfied with the final result. It was a goddamn inconsistent record, a result of all the sessions and our year. Probably the next thing to an 'annus horribilis' to all of us."

-John Lennon, 1976

Apples and oranges, an old woman with a casket...

Syd Barrett in April 1968, in front of a Hendrix poster.

Meanwhile, the former Rubber Band guitarist Syd Barrett was recording his first solo effort after two break-ups with his former bands. He and his backing band, formed by Vincent Crane, fellow drummer Steve Took, and The Deviants' bass player Paul Rudolph, recorded the album throughout February and April, being assisted by Norman Smith, who was in charge of produce the album. In January, Syd recorded Apples and Oranges, Scream Thy Last Scream and Jugband Blues. To Interstellar Overdrive, recorded previously during the sessions of The Piper at the Gates of Dawn, it was added overdubs to the song.

During the recording sessions, Syd decided to step back from drugs, realizing that it was influencing his decisions in the music business. His sister, Rosemary, helped him during the rehabilitation period while both lived in the same apartment in London. In the period, Syd decided to call the album: Rooftop in a Thunderstorm Row Missing the Point; a reference to a lost song from Pink Floyd times. After the sessions, teamed with Crazy World of Arthur Brown, Syd went to another tour in the United Kingdom, France, and the Netherlands.

"I remember using drugs a lot between '66 and '67, L.S.D., sugar cubes, but then I realized that it was harming me and people around me, and I needed to stop for a little while. I still smoked pot until these days occasionally, but not at the same levels of what I was doing at that time."

-Syd Barrett, 2004 

Blackhill Records released Apples and Oranges, backed by Pow R. Toc. H., as a promotional single for Syd's upcoming album. The song peaked in number 3 in Britain but fell out quickly, and reached number 25 on Billboard Hot 100, surprisingly hitting in the Western Coast of the United States. Despite being released without Syd's consent, he expressed happiness by the success of his debut single.

Syd Barrett – Rooftop in a Thunderstorm Row Missing the Point

Syd Barrett - Rooftop in a Thunderstorm Row Missing the Point (1968)³

Genre: Psychedelic rock, space rock, acid rock, psychedelic folk

Total: 43:35

All songs written by Syd Barrett, except when noted.

Side A - 21:39

1. "Vegetable Man" - 2:31

2. "Apples and Oranges" - 3:04

3. "In the Beechwoods" - 4:43

4. "Pow R. Toc H." (Syd Barrett, Vincent Crane, Paul Rudolph, Steve Took) - 4:26

5. "Scarecrow" - 2:11

6. "Scream Thy Last Scream" - 4:42

Side B - 21:56

7. "Interstellar Overdrive" (Barrett, Crane, Rudolph, Took) - 16:40

8. "The Gnome" - 2:13

9. "Jugband Blues" - 3:02

Rooftop in a Thunderstorm Row Missing the Point is the debut studio album by the British singer-songwriter Syd Barrett. The sessions for the album started immediately after the break-up of his band, Rubber Band. The album was released on 19 August 1968 by the Blackhill Records in the United Kingdom and distributed by Capitol in the United States. It was produced by Norman Smith, who produced Rubber Band's final album and was backed by The Deviants' Paul Rudolph, former Rubber Band drummer and friend Steve Took, and Crazy World of Arthur Brown keyboardist Vincent Crane.

Syd's album was successful at the time by reaching number 8 on UK Albums Charts and number 130 on Billboard, with its performance better than Bowie's debut album. The Gnome was released after Apples and Oranges, and it was backed by Pink Theme. The single became very popular among the youth, but eventually, it was noticed ambiguous interpretations of the song, such as allegories to psychedelic drugs to an ordinary fairy tale to children. Syd later commented that the song was based on J. R. R. Tolkien's fiction.

Despite the album being released in August 1968, Syd first played it entirely at the Hyde Park Festival in June, backed by his studio band, and featuring Pink Floyd members Richard Wright and David Gilmour. Besides the songs from Rooftop, Syd also played a set of songs from the Rubber Band years. He also toured in Europe and North America for his first time.

The record became a fan favorite in the following years, with most of the songs from the album being part of the regular set. The album is regarded as highly influential in the Neo-psychedelic and Indie scenes. Along with "Clowns and Jugglers" and the 1972 album, Syd cited the album as his favorite record by its effervescing authenticity and creative freedom at the time.

"The more I was becoming a successful musician, the stress of recording/releasing/touring was becoming intense. That thing started to happen when I was recording Clowns and Jugglers, when the label put me a deadline. That's why I did Have You Got It Yet?, y'know, the pressure that [Peter] Jenner was putting upon me was exhausting! And that's why I like my debut album, because I had time and creative freedom to do what I wanted."

-Syd Barrett, 1979

Flowers to a tyrannosaurus...

Marc Bolan, 1968.

As for Marc, a few things were already set to him to make a debut album. Quicker than Syd and Bowie, Marc grabbed The Flowers' Rick Wills and Willie Wilson founding Tyrannosaurus Rex, with Marc Bolan as the frontman. Tyrannosaurus Rex was, in fact, somewhat of a solo project of Bolan, since he was the major contributing force to the group while Rick and Wilson were just sort-of the backing band for him.

Blackhill hired Tony Visconti, who was appointed by Marc Bolan to produce his debut album under Tyrannosaurus Rex. For Bolan, the album's music represented a rejection of the electric guitar-driven music he'd been playing with his previous band, Rubber Band, and a protest to the suggestions that Bowie and Syd had given back during the sessions.

Throughout the first semester of 1968, Bolan, Wills and Wilson were confined in the Advision Studios recording two albums at once. "I had actually a lot of short songs. The longer ones I generally saved for the end, but most of them were in the two-minute range.", Marc Bolan. The first album was Beyond the Risin' Sun or the Beginning of Doves, while the second one was My People Were Fair and Had Sky in Their Hair... But Now They're Content to Wear Stars on Their Brows. The former was far more concentrated on the catalogue back from the pre-Rubber Band days, while the latter was pushed through new content and far more into the psychedelic folk scene.

"Beyond the Rising Sun [or the Beginning of Doves] was not a bad album, but it sure sounded like an audition or a demo album, haha! It clearly is a taste of what would come years after that 'mystical phase'."

 -Marc Bolan

Tyrannosaurus Rex - Beyond the Rising Sun or the Beginning of Doves

Tyrannosaurus Rex - Beyond the Rising Sun or the Beginning of Doves (1968)

Genres: Psychedelic folk, psychedelic rock, blues rock, mod

Total: 30:07

All songs written by Marc Bolan.

Side A - 14:29

1. "Jasper C. Debussy" - 2:11

2. "Observations" - 2:14

3. "Misty Mist" - 1:56

4. "Jasmine Forty-Nine" - 2:27

5. "Rings of Fortune" - 2:33

6. "Black and White Incident" - 1:46

7. "Cat Black" - 1:22

Side B - 15:38

8. "Beyond the Risin' Sun" - 2:18

9. "Lunacy's Back" - 2:17

10. "Pictures of Purple People" - 2:22

11. "One Inch Rock" - 2:16

12. "The Beginning of Doves" - 1:47

13. "Sally was an Angel" - 2:43

14. "Charlie" - 1:55

Beyond the Rising Sun or the Beginning of Doves is the debut album of the British rock band Tyrannosaurus Rex. It is the first album released by Marc Bolan after his departure from Rubber Band, and the first album from a member after Rubber Band. The album was produced by Tony Visconti and released on 13 April 1968 under Blackhill Records. The album merges some of Marc's older works involving rock and roll and mod influences and mystical psychedelia.

Marc's album was midly received by the press at the time, with mixed views, reaching number 24 at UK Album Charts and failing to chart in the US. Marc preferred to not release a single, even though Jasper C. Debussy was released, reaching number 30 on the UK Single Charts. The album cover was made by reusing a poster from earlier gigs with Tyrannosaurus Rex.

To the mainstream public at the time, the album passed virtually unnoticed, but it was warmly received by more Underground fans. In 1972, it was re-released separately, along with the double album with My People Were Fair and Prophets, Seers & Sages, reaching number 15 on the United Kingdom. The rock and roll influence, that would later return on Unicorn and future T. Rex records would be absent for the next two albums.

Notes:
[1] All songs are sourced from Joe Cocker's With a Little Help from My Friends and Leon Russell & Marc Benno's Look Inside the Asylum Choir.

[2] All songs are sourced from The Beatles' White Album, except for Only a Northern Song, from the Yellow Submarine soundtrack.

[3] All songs are sourced from Pink Floyd's The Piper at the Gates of Dawn, A Saucerful of Secrets, London '66-'67, and The Early Years (1965-1972).

[4] Tyrannosaurus Rex's debut album is exactly the same, except that Mustang Ford was swapped with Debora.

Author's addendum:
1) So basically, the Greasy Asylum have two frontmen, Joe Cocker and Leon Russell. Both represent the group on interviews, and on stage, Cocker and Russell are the only two voices singing beside the background singers... by now. Yeah, Greasy Asylum is rising quickly to the fame.