recursal/Fanatic-Fandom huggingface dataset:
Keep Smiling People

**Keep Smiling People** is the second studio album by English rock band Pink Floyd. It was produced by Norman Smith and released on 29 June 1968 by Blackhill Records in the United Kingdom and distributed in the United States by Capitol. Albeit fairly more pop-driven, Keep Smiling People also dives in experimentation and flirts with avant-garde music on *Careful With That Axe, Eugene* and *The Massed Gadgets of Hercules* while developing a more polished sound for pop songs.

Following the mild success with Projection and a tour supporting the Jimi Hendrix Experience, Pink Floyd began to record their second album in October 1967. Seeking a balance between further experimentation and pop music, the lyrical themes of the album ranges between fantasy, troubled relationships, war-themed songs, abstract lyrics and the daily life. The core track from the album is *The Massed Gadget of Hercules*, with almost 12 minutes of length, it was part of the band's setlist until 1971.

Better received than Projection, Keep Smiling People reached number 9 on UK Album Charts and number 132 on Billboard Top LPs. In a retrospective review, the record is labeled unorthodox, considering the greater contribution of Richard Wright and less contributions of Roger Waters. *Corporal Clegg* and *It Would Be So Nice* were released as double A-side singles, while *Let There Be More Light* was released on the album's release. On the same day, Pink Floyd performed Keep Smiling People on its entirety at the Hyde Park Festival.

## Track listing

* I. "Something Else" (3:57)
* II. "Syncopated Pandemonium" (3:07)
* III. "Storm Signal" (1:34)
* IV. "Celestial Voices" (3:19)

## Personnel

**Pink Floyd**
* Richard Wright – Farfisa organ, piano, tack piano, Hammond organ, Mellotron, vibraphone, xylophone, vocals
* Roger Waters – bass guitar, vocals
* David Gilmour – guitars, kazoo, vocals
* Nick Mason – drums, percussion, vocals, kazoo

**Production**
* Norman Smith – producer, backing vocals, voice
* The Stanley Myers Orchestra
Soft Machine

**Soft Machine** were an English rock band from Canterbury formed in 1966 by Robert Wyatt, Kevin Ayers, Daevid Allen, and Mike Ratledge. As a central band of the Canterbury scene, the group became one of the first British psychedelic acts and later moved into progressive rock and art rock. While Kevin and Robert remained the most consistent members in every line-up, the line-ups have included former members such as Hugh Hopper, Ollie Halsall, Dave MacRae, and Phil Miller.

The group's eras are generally divided by the classic era (with varying line-ups), and the post-hiatus era. The first era of the group is characterized by experimentation, less poppier and more polished, progressive sound with relative commercial success. After a brief hiatus, pursuing solo careers and establishing a recording label, Soft Machine reformed as a trio with Ollie Halsall, with a more commercial sound, and collaborating with outside people, such as Ben Watt, Elvis Costello and Jackson Kaujeua. Following an four-year hiatus, Soft Machine returned to record what would become their final album after the unexpected death of lead guitarist Ollie Halsall.

A successful band, Soft Machine is often recognized for their idiosyncratic musical style, as well as being difficult to interview, earning them the honorific title of "Frankfurtians of Rock". Estimates sales varies between 25–30 million albums sold, while Soft Machine influenced the development of music genres and movements such as art rock, avant-garde and experimental pop, and nu-jazz scenes. A short name for the group is "the Softs".

## Discography

* *Hope for Happiness* (1968)
* *Exiled from Canterbury* (1969)
* *Magick Brother* (1970)
* *Kings and Queens* (1971)
* *Matching Mole* (1972)
* *Soft Machine's Little Red Record* (1973)
* *Confessions of Dr. Dream and Other Stories* (1974)
* *Rainbow Takeaway* (1978)
* *Soft Machine's Fictitious Sports* (1980)
* *Land of Cockayne* (1982)
* *Champagne and Valium* (1986)
* *Falling Up* (1988)
* *All Aboard the Ghost Train!* (1994)
The Prairie Wallflowers

**The Prairie Wallflowers** were a British–American supergroup consisting of The Beatles (Paul McCartney, John Lennon, George Harrison and Ringo Starr) and Billy Preston, with Yoko Ono and Linda McCartney considered honorary members. Originating from an idea discussed by the group during the sessions between *A Doll's House*, *Abbey Road* and *Get Back*, the band formed in January 1969, as a suggestion from John and Yoko to release an experimental record initially under The Beatles' name. Varying between recorded rehearsals, jams, and sound collages, the group released their collaboration in 1969 as *Back in Your Safely Beds*, with *You Know My Name (Look Up The Number)* as the lead single.

In 1976, after the first break-up, a few tapes recorded by John were delivered by Yoko to Paul mix, when the idea of a return of the Prairie Wallflowers was conceived. George eagerly helped Paul, but the frequent appearance of Linda in Paul's songs made the group shelve the album until its release in 1978 as *Back in Those Days*. Despite this, George Harrison and Billy Preston contributed with vocals in some songs in *Bye, Bye Love* and *Get Back* with Preston on the vocals.

Paul McCartney always reverenced the Prairie Wallflowers as an inside joke between the members, while its albums were seen as novelty records. The debut album was first released to The Beatles' fan-clubs around the United Kingdom and the United States, after releasing a small number of copies to the general public as a 'leftovers compilation'. Lennon considers the Prairie Wallflowers as one of the best things the group had made.

## Line-up

* Joe Prairie – Paul McCartney
* Stu Prairie (namesake is Stu Sutcliffe) – John Lennon
* Yogi Prairie (namesake is Maharishi Mahesh Yogi) – George Harrison
* Richie Prairie (namesake is Little Richard) – Billy Preston
* Lars Prairie (namesake is Lazarus, Ringo's old nickname) – Ringo Starr

### Side members

* Ono Prairie – Yoko Ono
* Suzy Prairie – Linda McCartney

## Discography

* *Back in Your Safely Beds* (1969, as Joe Prairie & the Prairie Wallflowers)
* *Back in Those Days* (1979, as Stu Prairie & the Prairie Wallflowers)
Basking in the Sunshine of a Bygone Afternoon

**Basking in the Sunshine of a Bygone Afternoon** is the fourth studio album by English rock band Pink Floyd. It is a double album and it was produced by Pink Floyd with the assistance of engineer Brian Humphries, being released on 7 November 1969 by Blackhill Records and distributed by Capitol Records in the United States. It is considered by many as Pink Floyd's most experimental record to date, with long-improvised songs and departing from the psychedelic pop sound of previous albums.

Following the release of Are Going Insane!, Pink Floyd toured with Syd Barrett and Tailboard, performing at the 1969 Isle of Wight festival, which ended up being too costly to the company and the artists themselves. To pay the tributes, Pink Floyd began to record a new album, assembling the material previously recorded, blending with tape effects, and recording new music in two weeks from jamming sessions to standard folk songs.

The album's reception was mild, with favourable and mixed reviews, despite being well-received by the fans. *Cymbaline* and *Cirrus Minor* were released as singles, with the first becoming a minor hit in Britain and the second one failing to chart. Basking in the Sunshine has since been looked upon unfavourably by the members of the band. According to Roger Waters, the work was the main reason to the band to distance themselves from the avant-garde scene, exploring other means of experimental music, culminating in the symphonic rock of the next album, Atom Heart Mother.

## Personnel

**Pink Floyd**
* David Gilmour – acoustic and electric guitars, lead vocals; drums, bass guitar, keyboards on The Narrow Way
* Roger Waters – bass guitar, tape effects, vocals; acoustic guitar on Grantchester Meadows
* Richard Wright – vibraphone, organ, piano, backing vocals
* Nick Mason – drums and percussion

**Production**
* Pink Floyd – producer
* Brian Humphries – engineering
* Peter Mew – engineering
* Hipgnosis – sleeve design

## Notes

1. ↑ *The Narrow Way - Part II*, Ummagumma
2. ↑ *Love Scene (Version 4)*, Zabriskie Point
3. ↑ *Unknown Song*, Zabriskie Point
4. ↑ *The Narrow Way - Part III*, Ummagumma
5. ↑ *The Narrow Way - Part I*, Ummagumma
6. ↑ *Love Scene (Version 2) and (Version 6)* interpolated, Zabriskie Point
The City on the Black Sea

**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 distributed 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 The Pretty Things' *S.F. Sorrow* and The Who's *Tommy*. It is the last album with Vince Melouney, who would leave the band during the recording sessions.

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 indie music, 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 *An Occasional Dream* and *Metrobolist*. 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.

## Track listing

All tracks are written by Barry, Robin and Maurice Gibb.
Death Walks Behind You

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

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

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

## Track listing

* "Creep"
* "Metal Monsters"
* "Night of the Pigs"
* "Trouble"

## Personnel

Atomic Rooster
* Arthur Brown – vocals
* Vincent Crane – Hammond organ, Rhodes piano, backing vocals
* John Du Cann – lead vocals, lead guitar, bass guitar
* Andy Dalby – guitar, backing vocals
* Carl Palmer – drums, percussion, congas
T. Rex

**T. Rex** were an English rock band, formed in 1968 by singer-songwriter, guitarist and frontman Marc Bolan. The band was initially called **Tyrannosaurus Rex**, and released five albums under this name. The group was formed by Marc Bolan and former The Flowers members Rick Wills and Willie Wilson. From 1969 onwards, Bolan began to change the band's style towards electric rock, shortening the name of band to T. Rex, and becoming pioneers of the glam rock movement in the following year.

Throughout the 1970s, T. Rex got on a streak of hit records, scoring six number one hits at the time. The band's 1971 album *Electric Warrior* received critical acclaim as a pioneering glam rock album: it reached number 1 in the UK. Following the success of its successors, the concept album *Billy Super Duper*, considered T. Rex's breakthrough in the United States, topped the UK Charts and reached the top 30 on Billboard.

Following the release of *Dandy in the Underworld* and two years of touring, T. Rex entered into a four-year hiatus, coming back in the 1980s recording *Dance in the Midnight*, touring until its final disbandment in 1996. After a few sporadic reunions, Marc Bolan, founder and sole constant member died of a heart attack in 2009. T. Rex have continued to influence a variety of subsequent artists, being inducted into the Rock and Roll Hall of Fame in 2020.

## Discography

As Tyrannosaurus Rex
* *Beyond the Rising Sun or the Beginning of Doves* (1968)
* *My People Were Fair and Had Sky in Their Hair... But Now They're Content to Wear Stars on Their Brows* (1968)
* *Prophets, Seers & Sages: The Angels of the Ages* (1968)
* *Unicorn* (1969)
* *A Beard of Stars* (1970)

As T. Rex
* *T. Rex* (1970)
* *Electric Warrior* (1971)
* *The Slider* (1972)
* *Tanx* (1973)
* *Zinc Alloy and the Hidden Riders of Tomorrow* (1974)
* *Billy Super Duper* (1975)
* *Futuristic Dragon* (1976)
* *Dandy in the Underworld* (1977)
* *Dance in the Midnight* (1985)
Landlocked

**Landlocked** (stylized as **LandLocked.**) is the sixteenth studio album by American rock band the Beach Boys, released on 30 August 1971 by Brother Records and distributed by Island Records. Considered a turning point in the history of the band, the album is the first in the Rieley Trilogy, when the group was under management of Jack Rieley, considered the Beach Boys' peak in creativity, ambitiousness, returning to the sophisticated music rooted back in *Pet Sounds*. Landlocked is lauded as one of the most influential albums in music history, and the rise of drummer Dennis Wilson as a prolific songwriter to the group.

With the release of two unsuccessful albums at the time and the image of the band plummeting across the American public, the Beach Boys hired record producer Jack Rieley as their manager after reaching the group. Initiatives taken by the manager were up to modernize the band's image, as the group seemed out of touch with the reality during the turn of the decade. The recording sessions of the album lasted from January to April, resuming in June as some of the tracks were recorded, such as Bruce Johnston's *Disney Girls (1957)*.

As a therapeutic exercise, Rieley suggested the group to focus on more socially conscious lyrics, and also to write songs to relieve their frustrations, similarly to other contemporary acts, as the album was developed under this concept. The idea was generally accepted by the band, despite a few objections of Mike Love and Bruce Johnston, which as a result, became the album with the least contributions of Love. Lyrically, Landlocked addresses environmental, social, and health concerns more than the group's previous releases, as well as recurring personal themes from previous records.

The album topped both the Billboard 200 and UK Album Charts, becoming the first Beach Boys studio album to do so. *Won't You Tell Me* and *Long Promised Road* were issued as singles, with the latter winning the category of Song of the Year in the 1972 Grammy Awards. Landlocked remains as one of the Beach Boys' best-selling records. The cover and artwork, based on James Earle Fraser's sculpture *End of the Trail*, became one of the most remarkable album covers of all-time.

## Personnel

Credits to the Beach Boys Wiki for the personnel.

The Beach Boys
* Al Jardine – vocals, guitars, banjo, drums
* Bruce Johnston – vocals, keyboards, mandolin
* Mike Love – vocals
* Brian Wilson – vocals, piano, Baldwin organ, harmonium, Hammond organ, harmonica
* Carl Wilson – vocals, guitars, tambourine, keyboards, fuzz guitar, bass guitar, drums
* Dennis Wilson – vocals, drums

Additional musicians and staff
* The Beach Boys – producers
* Stephen Desper – chief engineer and mixer, Moog synthesizer
* Daryl Dragon – guitar and Moog synthesizer, pipe organ, vibraphone
* Van Dyke Parks – vocals on "A Day in the Life of a Tree"
* Jack Rieley – lead vocals on "A Day on the Life of a Tree"
* Mike Kowalski - drums
* Dennis Dragon - drums
* Woody Thews - percussion
* Ed Thrasher – original art direction
Hashtag Adorable/Interviews

Gathered here are photos and interviews Hashtag Adorable have done through their year as a group.

Interviews are translated from Korean and Japanese so the translations and the wording might not be 100% accurate to English, but they will be as accurate as possible.

Interviews will have full credits listed too so if you want to know where the original article came from or if you want to go read the original article the sites will be listed.
Add Some Music to Your Day

**Add Some Music to Your Day** is the fifteenth studio album by American rock band the Beach Boys. The album was released on 6 April 1970, the first of the group under the Brother/Island Records partnership. In the same vein as its predecessor, Add Some Music to Your Day was collectively produced by the group. It is considered a natural follow-up of the group from Reverberation, as the songs share a similar influence.

Sessions happened in a similar way to the previous album, except to the brief hiatus as the group needed to deal with leaving Capitol and signing with a new label, which was Island Records. The popularity and public image from the Beach Boys were also other issues, as the group was routinely being dropped in favor of other contemporary acts, despite their profit with previous albums. The expiration of their contract with Capitol pulled the band from the label's catalog, which cut off their royalty flow. Signing with Island, the group returned to record the follow-up to Reverberation.

The album was received with mixed and positive reviews, although they weren't effective to recover the band's image. Add Some Music reached number 15 in Billboard 200 and number 2 in Britain, better than the last album. Despite this, the erratic behavior of Brian Wilson also became a concern to the band's image. *Slip On Through*, *All I Wanna Do* and *Forever* were released as singles. A few months later, manager Fred Vail would be replaced by Jack Rieley, beginning the Rieley Trilogy era in the band. In 1974, the album would be reissued to newfound success.

## Personnel

The Beach Boys
* Al Jardine – vocals, guitar, finger snaps
* Bruce Johnston – vocals, bass, Rocksichord, piano, finger snaps
* Mike Love – vocals; finger snaps
* Brian Wilson – vocals, piano, Rocksichord, toy piano, organ, Moog synthesizer, finger snaps
* Carl Wilson – vocals, electric guitar, acoustic guitar, Chamberlin, bass, Rocksichord, electric sitar, clavinet, finger snaps, additional percussion
* Dennis Wilson – vocals, piano, guitar, drums, bongos, finger snaps, cowbell, tambourine

Additional musicians
* Ed Carter – guitar
* Daryl Dragon – organ, vibraphone, tack piano, electric harpsichord, tubular bells, chimes, bass
* Dennis Dragon – drums, congas, cowbells, timbales
* Carnie Wilson – background voice on “At My Window”
* Julia Tillman – backing vocals
* Carolyn Willis – backing vocals
* Edna Wright – backing vocals
* David Cohen – guitar
* John Guerin – drums
* Stan Levey – bass drum, cowbell
* Paul Beaver – Moog synthesizer
* Bernard Krause – Moog synthesizer
* The Wrecking Crew – guitars, mandolin, electric guitar, acoustic guitar, bass, six-string bass, double bass, electric bass, piano, drums, chimes, glockenspiel, shaker, tambourine, tympani, trumpets, French concertina, cello, pedal steel guitar, flutes, violins, violas, arco double bass

Production
* Stephen Desper – chief engineer and mixer, Moog synthesizer, wave effects, additional vocals
* Bill Lazarus – additional engineer
* Doc Siegel – additional engineer
* Ricci Martin – cover photo
* Ed Thrasher – original art direction, innerspread photography
Marley Purt Drive

**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 bandmates 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.

Barry Gibb frequently calls the album as the leftovers of *The 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 and performed by a Gibb brother, 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 and Latin America. After the album, the Bee Gees proceeded with the tours and recording The City on the Black Sea. Most memorable songs from the album were Words, Idea, Jumbo, and *Kitty Can*.

## Track listing

All tracks are written by Barry, Robin and Maurice Gibb, except "Such a Shame", written and composed by Vince Melouney.

## Personnel

Bee Gees
* Barry Gibb – lead, harmony and backing vocals, rhythm guitar
* Robin Gibb – lead, harmony and backing vocals, Hammond organ
* Maurice Gibb – harmony and backing vocals, bass guitar, piano, Hammond organ, Mellotron
* Vince Melouney – lead guitar, harmonica, lead vocals on "Such a Shame"
* Colin Petersen – drums

Additional musician and production
* Bill Shepherd – orchestral arrangement
* John Pantry, Damon Lyon Shaw – engineer
Projection

**Projection** is the debut album by British rock band Pink Floyd. The album was produced by Norman Smith and released on 4 August 1967 by EMI Columbia in the United Kingdom. The album was initially released a week later in the United States by Tower Records, having the distribution temporarily interrupted because the label omitted the entire second side, releasing the album as an extended play. Signing with Capitol instead, the album started to be released normally, with the extended play pressings becoming a rare item in the following years.

One of the leading acts of the UK Underground, Pink Floyd signed with EMI jointly with Rubber Band and Soft Machine, after the abrupt departure of Syd Barrett from the group. In the same period, the group recorded two tracks, *I Must Tell You Why* and *Do You Want to Marry Me?*, by Michel Magne for the soundtrack of the British-French drama *Two Weeks in September*, which were also included on the album. While the first side of the album was filled with poppier and less experimental songs, the second side was filled with two instrumental jam sessions.

In contemporary reviews, the album received mixed views, ranging from conservative elements such as Hans Keller who blamed the album for being 'too loud', to more progressive and supportive individuals such as BBC disc jockey John Peel. The album peaked in number 9 in the UK Album Charts and number 177 in the Billboard Top LPs. Despite the failure of the film, *I Must Tell You Why* was released as a single, proving to be a hit of the group, similar to *Remember a Day*.

## Personnel

**Pink Floyd**
* Roger Waters – vocals, bass guitar
* Richard Wright – vocals, Farfisa organ, piano, vibraphone, celesta
* David Gilmour – vocals, lead guitar, electric guitar, acoustic guitar
* Nick Mason – drums, percussion

**Production**
* Norman Smith – producer
* Michel Magne – producer (3, 6)
* Peter Bown – engineer
Clowns and Jugglers

**Clowns and Jugglers** is the second studio album by British artist Syd Barrett. The album was released on 16 September 1969 in the United Kingdom by Blackhill Records and on 24 September 1969 by Capitol in the United States. Clowns and Jugglers was produced by Pink Floyd under the pseudonym of *Arnold Layne*, while Peter Jenner was credited as producer a few years later. The album was produced a two-week deadline, with contributions from Pink Floyd, Soft Machine and several people from the UK Underground.

The album is characterized by less experimentation than its predecessor and more tracks rooted on folk and rock music, with no tracks surpassing the six-minute length. The suggestion was given by Andrew King, who looked for songs similar to the ones found in Rubber Band records. At the time, Clowns and Jugglers became more popular than Rooftop in a Thunderstorm. The lyrical themes of Clowns and Jugglers varies between surrealism, personal feelings, and love songs.

After its release, the album was met with a mixed response by the press, but was well-received by the public. *Clowns and Jugglers II* was released as a promotional single re-titled *Octopus*, becoming Syd's signature song. The song was followed by *Here I Go* and *Late Night*, who were met with a warm reception too. The public reaction was positive after all, with the album reaching number 5 in Britain while it reached number 99 in Billboard Top LPs.

In retrospective reviews, the album is considered a turning point of Barrett, and frequently considered his last attempt on "taking music business seriously", due to the given pressure by his label and manager. After Clowns and Jugglers, Syd wouldn't release an album until *Have You Got It Yet?* in 1971, focusing on touring and the start of his career on acting.

## Track listing

All tracks are written by Syd Barrett, except when noted.

## Personnel

* Syd Barrett – vocals, lead guitar, acoustic guitar, sleeve design
* Steve Peregrin Took – drums, percussion
* Paul Rudolph – bass guitar
* David Gilmour – bass guitar, 12-string acoustic guitar
* Richard Wright – keyboards
* Robert Wyatt – drums, percussion
* Mike Ratledge – keyboards
* Hugh Hopper – bass guitar

**Production**
* Arnold Layne (Pink Floyd) – production
* Peter Jenner – production
* Phil McDonald – engineer
* Peter Mew – engineer
* Mike Sheady – engineer
* Jeff Jarratt – engineer
* Tony Clark – engineer
Rock and Roll Springtime

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

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

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

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

## Track listing

All tracks are written by Paul McCartney, except when noted.

## Personnel

* Paul McCartney – lead and harmony vocals, acoustic and electric guitars, bass guitar, drums, piano, organ, percussion, wineglasses, Mellotron, effects
* Linda McCartney – harmony and backing vocals; co-lead vocals on "Long Haired Lady"
* David Spinozza – guitar
* Hugh McCracken – guitar
* Denny Seiwell – drums
* Heather McCartney – backing vocals on "Monkberry Moon Delight"
* Marvin Stamm – flugelhorn on "Uncle Albert/Admiral Halsey"
* New York Philharmonic on "Uncle Albert/Admiral Halsey"
Bee Gees

The **Bee Gees** were a music group formed in 1958, more notoriously featuring brothers Barry, Robin and Maurice Gibb. The trio were especially successful as a popular music act in the late 1960s and early 1970s, and later as prominent performers of the disco music era in the mid- to late 1970s. The group sang recognisable three-part tight harmonies; Robin's clear vibrato lead vocals were a hallmark of their earlier hits, while Barry's R&B falsetto became their signature sound during the mid- to late 1970s and 1980s. The Bee Gees wrote all of their own hits, as well as writing and producing several major hits for other artists and have been regarded as one of the most important and influential acts in pop music history.

Born on the Isle of Man to English parents, the Gibb brothers lived in England until the late 1950s. The family then moved to Australia. After achieving their first chart success there as the Bee Gees with *Spicks and Specks*, they returned to the UK in January 1967, when producer Robert Stigwood began promoting them to a worldwide audience. The Bee Gees' *Saturday Night Fever* soundtrack (1977) was the turning point of their career, with both the film and soundtrack having a cultural impact throughout the world, enhancing the disco scene's mainstream appeal. They won five Grammy Awards for *Saturday Night Fever*, including Album of the Year.  Fellow brother Andy Gibb would join the group later in 1988.

The Bee Gees have sold over 220 million records worldwide, making them among the best-selling music artists of all time. They were inducted into the Rock and Roll Hall of Fame in 1997; the Hall's citation says, "Only Elvis Presley, the Beatles, Michael Jackson, Garth Brooks and Paul McCartney have outsold the Bee Gees." With nine number-one hits on the Billboard Hot 100, the Bee Gees are the third-most successful band in Billboard charts history behind only the Beatles and the Supremes.

Following Robin's death in May 2012 at the age of 62, Barry, Maurice and Andy retired the group's name after 45 years of activity. Despite several attempts from the remaining brothers to reform and perform again, Maurice Gibb would die in April 2018 from heart failure, leaving Barry and Andy as the only surviving members of the group.

## Discography

* *The Bee Gees Sing and Play 14 Barry Gibb Songs* (1965)
* *Spicks and Specks* (1966)
* *Bee Gees' 1st* (1967)
* *Horizontal* (1968)
* *Marley Purt Drive* (1968)
* *The City on the Black Sea* (1969)
* *Cucumber Castle* (1970)
* *From Trafalgar to Waterloo* (1971)
* *To Whom It May Concern* (1972)
* *A Kick in the Head Is Worth Eight in the Pants* (1973)
* *Mr. Natural* (1974)
* *Main Course* (1975)
* *Children of the World* (1976)
* *Spirits Having Flown* (1979)
* *Living Eyes* (1981)
* *How Old Are You?* (1983)
* *Now Voyager* (1985)
* *E.S.P.* (1987)
* *One* (1989)
* *High Civilization* (1991)
* *Size Isn't Everything* (1993)
* *Still Waters* (1997)
* *This Is Where I Came In* (2001)
Reverberation

**Reverberation** is the fourteenth studio album by American rock band the Beach Boys, released on 23 April 1969 by Brother Records and distributed by Capitol Records. The album was produced by the band themselves, and considered a stepback from the lo-fi and baroque sounds from the previous three albums into straightforward rock music while attempting to record music without Brian Wilson. It consists of outtakes from previous albums, singles and a few songs recorded to the new album. It is the last album from the Beach Boys in Capitol.

The sessions for Reverberation occurred in two occasions: in 1968 without Brian, who was admitted into a psychiatric hospital, and in 1969 with his brief return to the studios. Reverberation was recorded primarily at the Beach Boys' personal studio, but also in Wally Heider Recording, Gold Star Studios and Western Studios. During the same sessions, Carl and Dennis Wilson produced a few songs for Charles Manson, which remain unreleased to this day. *Never Learn Not to Love*, once considered to be included in the record, was cut off by objections of Mike Love and Bruce Johnston.

The album was met with mixed reviews, and is often considered the least successful release by the Beach Boys during their Golden Age, being overshadowed by *Wild Honey* and *Add Some Music to Your Day*. Despite this, the album reached number 3 in the United Kingdom and number 21 in the United States, with *Break Away* becoming their last single to hit in the 1960s. *Do It Again* and *All I Want to Do* were also released as singles. As a result from the reception, as well as the issues with Capitol, The Beach Boys signed with Island Records in the same year.

## Personnel

The Beach Boys
* Al Jardine – vocals, acoustic guitar, handclaps
* Bruce Johnston – vocals, organ, handclaps, piano, Fender Rhodes
* Mike Love – vocals, handclaps
* Brian Wilson – vocals, piano, organ, Chamberlin, handclaps
* Carl Wilson – vocals, acoustic guitar, electric guitar, bass, handclaps, congas, tambourine
* Dennis Wilson – vocals, drums, handclaps, piano

Additional musicians
* Ed Carter – guitar, bass
* Daryl Dragon – marimba, vibraphone
* Mike Kowalski – bongos, sleigh bells, snare drum
* Marilyn Wilson – additional vocals on "Time to Get Alone"
* Diane Rovell – additional vocals on "Time to Get Alone"
* The Wrecking Crew – upright bass, drums, violas, trumpets, tenor saxophone, French horn, cornet, guitars, percussion, timbales, woodblocks, tambourine, sleigh bells, cellos, bass, baritone saxophone, violins, piccolo, flute, fife, bass saxophone, electric bass, piano, organ, bass trombone, dobro

Production
* The Beach Boys – producers
* Steve Desper – engineer
Hope for Happiness

**Hope for Happiness** is the debut album by British rock band Soft Machine, produced by Chas Chandler and Brian Hopper. It was released on 29 June 1968 by Blackhill Records in the United Kingdom and Europe while distributed on 1 August 1968 in the United States by CBS Records. Despite playing bass guitar on the record, future Soft Machine bass player Hugh Hopper would be credited as a session musician. It is part of the Allen era, one of the three albums with Daevid Allen.

Soft Machine was another leading act from the UK underground, having released the extended play *Shooting at the Moon* in 1967. After Daevid Allen experienced a few problems, his entry was denied in the United Kingdom. Because of this, the group moved their activities to France and the United States, mainly touring with and supporting Jimi Hendrix Experience. Following the tour, Soft Machine moved to New York to record their debut album, in which during the sessions, met fellow Blackhill colleague David Bowie, who was also recording his debut album there. The band recorded Hope for Happiness in a month while it was mixed by Chas Chandler and Brian Hopper at the Olympic Studios in London.

The album was mildly successful, reaching number 4 in the UK Album Charts, topping in France, and reaching number 79 on Billboard, spending three weeks there before falling out. *A Certain Kind* was released as the leading single, becoming a hit in Britain and France, while *Why Are We Sleeping?* received airplay in the West Coast of the United States, being recommended by Jimi Hendrix himself. In later years, Hope for Happiness gained a status as a cult favorite. It is regularly reissued with the Shooting at the Moon EP.

## Personnel

Soft Machine
* Robert Wyatt – lead vocals (all except on 10, 12), drums and percussion
* Kevin Ayers – lead vocals (10, 12), backing vocals, bass guitar
* Daevid Allen – lead guitar, backing vocals
* Mike Ratledge – Lowrey Holiday De Luxe organ, piano

Additional personnel
* Hugh Hopper – bass guitar
* The Cake – backing vocals (12)

Production
* Chas Chandler – producer
* Brian Hopper – assistant producer

## Notes

1. ↑ Hope for Happiness, Joy of a Toy and Hope for Happiness (reprise); Soft Machine – The Soft Machine
Are Going Insane!

**Are Going Insane!** (alternatively titled **Pink Floyd Are Going Insane!**) is the third studio album by English rock band Pink Floyd. It was produced by the band and engineer Brian Humphries, with Norman Smith as executive producer. The album was released on 13 June 1969 by Blackhill Records in the United Kingdom and Europe while distributed by Capitol Records in the United States. Considered Pink Floyd's most successful album at the time, it followed the same production style from its predecessor, flirting with experimentation and pop songs.

Establishing themselves as a rising force in British music from the underground movement, Pink Floyd started writing and performing new material as early as September 1968, such as *The Embryo* and *Biding My Time*. Some of the songs were eventually performed during *The Man and The Journey tour*, altogether with a few other songs which were later included on the next album. The concept of the core track, *Second Coming*, caused a reaction on Humphries, who shouted "are you going insane?", ultimately becoming the title of the record.

Some of the songs recorded to this album were shelved and released a few months later on *Basking in the Sunshine of a Bygone Afternoon*, and then only in the box set The Early Years. *Point Me at the Sky* was released as the lead single to a warm success in Europe and Britain. *Ibiza Bar* was also released as a single, backed by *The Nile*, to a significant success compared to the previous one.

Are Going Insane! reached number 2 on UK Album Charts and number 76 on Billboard 200. In contemporary reviews, the album was claimed as one of the most progressive records at the time, in the same vein of *Keep Smiling People*. Despite this, the record was considered crucial to the emergence of the progressive rock movement, and the establishment of Pink Floyd as one of the leading artists of the genre.

## Track listing

* I. "Seabirds" (4:20)
* II. "Gabriel's Revelation" (4:35)
* III. "Turnin' Into Wine" (3:18)
* IV. "Embryo" (4:43)

## Personnel

**Pink Floyd**
* David Gilmour – guitars, vocals
* Roger Waters – bass guitar, tape effects, vocals
* Richard Wright – keyboards, vibraphone, glockenspiel, backing vocals
* Nick Mason – drums, percussion

**Production**
* Pink Floyd – producer
* Brian Humphries – producer, engineering
* Norman Smith – executive producer
* Hipgnosis – sleeve design

## Notes

1. ↑ *Roger's Boogie*, Pink Floyd – The Early Years 1965—1972
2. ↑ *Song 1*, Pink Floyd – The Early Years 1965—1972
3. ↑ *Main Theme (Beat Version)*, Pink Floyd – The Early Years 1965—1972
Rooftop in a Thunderstorm Row Missing the Point

**Rooftop in a Thunderstorm Row Missing the Point** is the debut solo album by British artist Syd Barrett. It was produced by Norman Smith and released on 19 August 1968 by Blackhill Records and distributed in the United States by Capitol Records. The recording sessions of the album began during the final sessions of Rubber Band's last album, finishing in April 1968. It is the first solo effort by Syd, who was backed by bassist Paul Rudolph, fellow keyboardist Vincent Crane, and former Rubber Band's drummer Steve Took.

Being characterized as controversial due to its lyrical content, with themes such as fairy tales being considered double entendres for drugs, to more personal and introspective lyrics. The music of the album ranges from pastoral songs such as *The Gnome* and *Scarecrow*, to experimental and elaborated instrumental tracks like *Pow. R Toc H.* and *Interstellar Overdrive*. The album was first promoted and performed during Hyde Park Festival in 1968, where Syd played it entirely, featuring David Gilmour and Richard Wright. Syd toured Europe and North America for the first time as a solo artist.

The album was critically acclaimed by the public, despite the mixed reviews from the music press. *Apples and Oranges* was first released as a promotional single, backed by *Pow R. Toc H.*, peaking in number 3 in Britain and number 25 in Billboard Hot 100. The single was followed by *The Gnome*, backed with *Pink Theme*, becoming a popular song between the youth in the United Kingdom and Europe.

In the following years, the record became a fan favorite while most of the songs being part of Syd's regular setlist. The album is regarded as highly influential in the Neo-psychedelic and Indie scenes, and also as Syd Barrett's *magnum opus*. Along with *Have You Got It Yet?* and the 1972 self-titled album, Syd cited the album as his favorite record by its effervescing authenticity and creative freedom at the time.

## Track listing

All tracks are written by Syd Barrett, except when noted.

## Personnel

* Syd Barrett – vocals, lead guitar, acoustic guitar
* Steve Peregrin Took – drums, percussion, backing vocals
* Vincent Crane – keyboards, organ, backing vocals
* Paul Rudolph – bass guitar

**Production**
* Norman Smith – producer
* Hipgnosis – sleeve design
Galactic Zoo Dossier

**Galactic Zoo Dossier** is the debut album by the British band Atomic Rooster, and the first album of most members after the failure of *Strangelands*. The album was released in 23 February 1970 in the United Kingdom and 5 March 1970 in the United States and the rest of the world. Galactic Zoo Dossier is one of the first conceptual albums of the first wave of progressive rock, and considered a primal example of space rock.

The album was recorded after the American tour as the Crazy World of Arthur Brown, and after the release and the critical reception of Strangelands. After the tour, the group reformed into Atomic Rooster, with a far more democratic approach to each members. The band started to tour around London and the United Kingdom before gathering and recording Galactic Zoo Dossier plus a few more tracks which were released a few years later in reissues.

Atomic Rooster's Galactic Zoo Dossier would be released to a great appraisal by the critics and well-received by the public in general. The album would peak in number 3 in Britain while it would reach number 86 in Billboard 200. *Devil's Answer* would be released as a promotional single, reaching number 8 in the UK Single Charts and number 10 in Billboard Hot Rock Charts, backed by Space Plucks. Galactic Zoo Dossier would be considered a 'redemption album' after the disastrous Strangelands.

It is the only album to feature drummer Carl Palmer and bassist Nick Graham. Palmer would later leave Atomic Rooster to form the supergroup HELP with Jimi Hendrix, Keith Emerson and Greg Lake, while Nick Graham moved to Skin Alley, replacing Thomas Crimble. The remaining members would form the main core of Atomic Rooster for the rest of the first era. The album would receive a lot of appraise by its contemporaries.

## Personnel

Atomic Rooster
* Arthur Brown – lead vocals
* Vincent Crane – Hammond organ, Rhodes piano, backing vocals
* Nick Graham – lead vocals, bass guitar, flute
* Andy Dalby – lead guitar, backing vocals
* Carl Palmer – drums, percussion, congas
John Lennon/The Dirty Mac

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

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

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

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

## Personnel

* John Lennon – vocals, acoustic guitar, electric guitar, piano, tack piano
* Ringo Starr – drums
* George Harrison – electric guitar
* Klaus Voormann – bass guitar
* Mitch Mitchell – drums
* Hugh McCracken – guitar
* Phil Spector – piano
* Billy Preston – grand piano
* Yoko Ono – "wind"
* Mal Evans – "tea and sympathy"
The Stars Are Screaming Loud

**The Stars Are Screaming Loud** is a live album by English progressive rock band Pink Floyd. It was the last album of the group released by Blackhill Records, before moving to EMI-friendly Harvest. The album was recorded throughout 1970 and 1971 in a series of venues, along with two songs developed in studios, *One of These Days* and *Echoes*. It is a triple album.

While working on material for the next album, *Obscured by Clouds*, the band needed to release an album in 1971 as part of the contractual obligations with Blackhill. Having no material to work on and with Obscured by Clouds still under development, the group opted to stick with Syd Barrett formula he used for *Have You Got It Yet?*, by searching for some live material while recording something to exercise the ideas to the next album. The ideas, named *Nothings*, evolved to the only studio songs in the album. Around the same time, the group produced Marianne Faithfull's *Rich Kid Blues*.

The album was well received by critics upon its release, and was commercially successful in the United Kingdom, but lacklustre publicity on the part of the band's American label Capitol Records led to poor sales there upon initial release. The cover, an antique fresco named *Sacrifice of Iphigenia*, was shot in Pompeii, where the band recorded the documentary *Live in Pompeii*.

## Personnel

* David Gilmour – vocals, electric guitar, bass guitar
* Richard Wright – vocals, Hammond organ, piano, Farfisa organ, synthesisers
* Roger Waters – bass guitar
* Nick Mason – drums, percussion