Scruffs: the life and times of Apple Records
- Thread starter BlackentheBorg
- Start date
BlackentheBorg
Banned
Smile was actually the band Brian May and Roger Taylor were in before they formed Queen with Freddie Mercury.
The Queen, by sheer coincidence, was an early name of the Hollywood Brats, a glam punk band from the early 70s. Funnily enough, they had a bit of conflict with Mercury's Queen. There's actually a scene in "Sick on You", the autobiography of the Brats frontman, who hints that a certain effeminate rocker with big teeth pushed a finger at his chest and demanded he change the name, resulting in (who we assume is) Mercury being knocked flat on his back by a fist. Fun times.
BlackentheBorg
Banned
I need a fix 'cause I'm going down
1968/1969
In between the releases of the band's ninth and tenth albums, respectively, a rather worrying schism was developing in one band member's personal life.1968/1969
above: John and Julian, 1968
Their marriage had always been rocky, sure, maybe even broken at times, but divorce was something that didn't come to the mind of Cynthia or John up until the latter found himself in a possible tug of war between two American women in the arts scene. For years, Cynthia had grown suspicious of her husband's penchant for sleeping around, and the vacancy caused by his absence of interests quickly turned to resentment. When her lawyers presented him with severance papers, Lennon didn't even know to care, seeing as he was still mentally negotiating if it was worth cutting ties with Yoko Ono and going after Elaine Brown. John Winston Lennon and Cynthia Lillian Powell were officially divorced on November 8th, 1968. Ever the showman, a gallows humour Lennon told a gathering crowd of press outside the courtroom that the split was caused by “incorrigible musical differences”.
Out of good faith, McCartney found himself driving out to Weybridge to check in with Cynthia and Julian. It was during this long car ride, of which he usually spent singing out lyrics to see what stuck, he conceived the mainstay hit of the late sixties.
Paul McCartney: "I thought, as a friend of the family, I would motor out there and tell them that everything was all right: to try and cheer them up, basically, and see how they were. I had about an hour's drive. I would always turn the radio off and try and make up songs, just in case... I started singing: 'Hey Jules – don't make it bad, take a sad song, and make it better...' It was optimistic, a hopeful message for Julian: 'Come on, man, your parents got divorced. I know you're not happy, but you'll be OK.' I knew it was not going to be easy for him. I always feel sorry for kids in divorces..."
McCartney began fleshing out his new single upon his return to Abbey Road, changing 'Jules' to 'Jude', spending two days filling out the finer bits as he showed it off to visiting artists, which included The Barron Knights and Badfinger, of whom he was helping produce their next album.
above: McCartney plays piano and records vocals, 1969
John Lennon: "He said it was written about Julian. He knew I was splitting with Cyn and leaving Julian. He was driving over to say hi to Julian. He'd been like an uncle to him. You know, Paul was always good with kids. And so he came up with Hey Jude. But I always heard it as a song to me. He's saying, 'Hey, Jude – hey, John.' I know I'm sounding like one of those fans who reads things into it, but you can hear it as a song to me. The words 'go out and get her' – subconsciously he was saying, Go ahead, leave me. On a conscious level, he didn't want me to go ahead."While Lennon fumed, opting not to return to the studio for a long while until he resolved his personal conflicts, tensions continued to rise. During the rehearsals that followed the earlier departure. Harrison and McCartney had a handful of verbal disagreements over the lead guitar part for the song. Harrison's idea was to play a guitar phrase as a response to each line of the vocal, which wasn't at all what McCartney had in mind. This simple argument over song structure quickly evolved into Harrison was allowed little room to develop ideas on Lennon/McCartney compositions, then on how Harrison had been kept down by the other two when it came to album features, having to fight hard to get more than his standard two tracks. Harrison turned out to be the second member to storm out of sessions that week, letting lose a particularly bitter accusation before packing up and heading out; "Since when are you going to tell me what to play? I'm in The Beatles too, Paulie. You're oblivious to anyone else's feelings in the studio. You're not in charge here. We already got a new manager, and he isn't you."
With things already on a knife's edge in the studio, it wasn't long until Starr followed his former bandmates in order to get away from the increasingly domineering McCartney.
Ken Scott (studio engineer): "I remember Ringo being uptight about something, I don't remember what, and the next thing I was told was that he'd quit the band. But work continued."
Ringo Starr: "I left because I felt two things: I felt I wasn't playing great, and I also felt that the other three were miserable. I went to see John, who had been living in my apartment in Montagu Square with Yoko since he moved out of Kenwood. I said, 'I'm leaving the group because I'm not playing well and I feel unloved and out of it.' And John said, 'I thought it was just me!'"
Thusly, "Hey Jude" could be considered the first almost entirely McCartney single, discounting the splicing of earlier instrumental takes.
above: cover art used for the American release of “Hey Jude/Revolution” single
"Hey Jude" came prepackaged with "Revolution", Lennon's opener to their 1968 album of the same name, as the B-Side. Lennon would later claim that this offended him greatly, viewing the ordering as the relegation of his politically-charged composition to a second act. But at the time, he was rather preoccupied, deciding to make enough of a move on the two possible new interests, seeing as how he was a freed man. However, that would turn out to not be so simple.
above: Yoko Ono, 1969
Ono, despite admitting that the affection was mutual, was preoccupied with the legal battle concerning her daughter Kyoko, as well as an extended sabbatical to New York City. She had no time for fighting for custody of her child, a busy art career and a divorced musician all at once. When Ono left London for New York, she also left Lennon's life, for the time being.
above: Elaine Brown, pictured with Huey Newton, 1970
Brown, in Lennon's absence, had met a fellow Californian called Jay Richard Kennedy, who worked as a fiction writer and an 'amatuer psychatrist'. During that time, she had been introduced to the radical ideas that would later drive her to join the Black Panther Party in a years time. Not to mention, now that she was painfully aware of things like gender and race dichotomy, she denounced Lennon as a poster child for 'rich white entitlement', nevermind the fact that she was already in a relationship to begin with. She too turned him down and returned to America. Both rejections, coupled with the pressures of the divorce and the demands of the record label left Lennon shattered.
above: Lennon in the studio, 1968
Lennon: “I liked Yoko, I maybe even loved her. But I was liking Elaine a whole lot, too. It was something about those New York women. It was all too much for me to take, with my marriage going to tatters and the label wanting me to balance things on my nose to try and drum up more attention. I just crashed.”
A week after the release of "Junk", Lennon was found unconscious by his cleaning lady, alone in the London apartment he had been renting from Ringo, slumped on the floor, having overdosed on Heroin. He was later successfully revived by doctors at London Bridge Hospital, but for almost a solid half hour, the world almost lost the first-mentioned Beatle for good. After his recovery, Lennon would often credit the experience as the inspiration for his own single, "Cold Turkey".
Last edited:
Hopefully some of his demons did.
Also a John who's single in the late 60's should be interesting. I wonder if he'll still go the peace route?
BlackentheBorg
Banned
Smile like you mean it
1970
It's no secret that Apple happened to have a particularly fantastic crop of talent as the new millenium broke. It was also no secret that there'd been a substantial amount of stumblings concerning said talent. Moby Grape, thought to be the next big acid rock group, fell apart when Skip Spence suffered a mental breakdown and attacked two hotel workers with an axe before being stopped from jumping off a fire escape. The fact that the debut boisterous MC5 album opened with lead vocalist shouting out "It's time to Kick of the Jams, motherfuckers!" brought more ire from conservative parents than it did adoration from anti-establishment kids. Last minute skittering had resulted in no Apple acts, the Beatles especially, accepting contracts to perform at the Woodstock concert, a massive oversight on the part of Press Officer Derek Taylor. And Syd Barrett, the former Pink Floyd frontman who'd been offered an apple contract at the behest of a somewhat guilty King, had failed to deliver on his promises of a new album, instead retreating further into his own damaged psyche. With their poster children The Beatles at each other's throats or in hospital, the label really needed a hail mary pass, one which they found they could easily manufacture themselves...1970
above: the first line-up of Smile, circa 1969 (L-R: Roger Taylor, Brian May, Tim Staffell, Chris Smith)
Formed at London's Imperial College, the first lineup of Smile had found marginal success upon their signing to Apple, with their singles doing mildly well in sales and their live shows drawing significant crowds. They first caught the attention of label scouts when they had claimed to had performed on BBC Radio 1, which they never actually did, but used as leverage to elbow into larger venues. On the back of this questionable success they put out a debut LP, which just managed to pierce the top 100.
Smile – Gettin' Smile
released April, 1969
SIDE 1
1. Doing Alright (May/Staffel)
2. Blag (Taylor)
3. April Lady (Lucas)
4. Earth (Staffell)
5. Step on Me (May/Staffell)
SIDE 2
1. Hold on I'm Wrong (May)
2. Knock on Wood (Floyd/Cropper)
3. How Can It Be (Wood)
4. Our Love Is Driftin' (May/Staffell)
5. Remember (Staffell)
In spite of this marginal success, the working relationships within the band wasn't as guaranteed. May and Taylor, who knew each other well enough before falling in with Staffell, but the latter was butting against the two former for more authority in band decisions, and all of them seemed united against Smith, quickly losing all patience for the keyboardist. Eventually, Staffell left to form Humpy Bong with former Bee Gees drummer Colin Petersen and Irish folk rock singer Jonathan Kelly. Smile was for all intensive purposes left in stasis as label affiliates figured out what to do next.
above: Wreckage, circa 1969 (L-R: Freddie Bulsara, Mike Bersin, John 'Tupp' Taylor, Mick 'Miffer' Smith)
above: the second line-up of Smile, circa 1970 (L-R: Roger Taylor, Freddie Bulsara, John Deacon, Brian May)
With the removal of Chris Smith and the introduction of John Deacon on bass, the transformation was complete. With their first single "Killer Queen", which Bulsara reportedly wrote about a rather icy secretary at the Apple Building, the newer Smile seemed to be an instant smash hit with listeners as the pop music ideal shifted to something glammier, something noiser, something flashier...
Smile – II
released September, 1971
SIDE 1
1. Keep Yourself Alive (May)
2. NSU (May)
3. Great King Rat (Bulsara)
4. Jesus (Bulsara)
4. Modern Times Rock 'n' Roll (Taylor)
5. Lover (Bulsara)
SIDE 2
1. Killer Queen (Bulsara)
2. Mad the Swine (Bulsara)
3. Son and Daughter (May)
4. Polar Bear (May)
5. The Night Comes Down (May)
Last edited:
above: the second line-up of Smile, circa 1970 (L-R: Roger Taylor, Freddie Bulsara, John Deacon, Brian May)
With the removal of Chris Smith and the introduction of John Deacon on bass, the transformation was complete. With their first single "Killer Queen", which Bulsara reportedly wrote about a rather icy secretary at the Apple Building, the newer Smile seemed to be an instant smash hit with listeners as the pop music ideal shifted to something glammier, something noiser, something flashier...
Smile – II
released September, 1971
SIDE 1
1. Keep Yourself Alive (May)
2. NSU (May)
3. Great King Rat (Bulsara)
4. Jesus (Bulsara)
4. Modern Times Rock 'n' Roll (Taylor)
5. Lover (Bulsara)
SIDE 2
1. Killer Queen (Bulsara)
2. Mad the Swine (Bulsara)
3. Son and Daughter (May)
4. Polar Bear (May)
5. The Night Comes Down (May)
So the Taylor in The Queen isn't Roger?
BlackentheBorg
Banned
Take a Sad Song
1969
1969
Time had gone by. "Junk" was the first Beatles album of '69, and had garnered more than enough favourable reviews for such a 'rough diamond', as reviewers called it. Apple was floating well enough, too, with a new office building being opened in New York, referred to as the 'Big Apple building'. The Fabs, however, had not all been in the same room since the closing days of '68. It was high time that changed.
above: Lennon, 1969
above: Linda, Paul and baby Mary McCarthy (w/ sheepdog Martha), 1969
above: Harrison, 1969
above: Starr, 1969
When he got the call to come in and sit down with the other three, Starr, for the first time in a long time, was apprehensive. After he grew fed up with McCartney's micromanaging, he took a much-needed trip to Sardinia, on a yacht owned by comedian Peter Sellers. This is how he ended up cast in "The Magic Christian", a bawdy adaptation of the graphic novel of the same name by Terry Southern. In addition, to the surprise of many, he had written a few songs of his own, half decent ones, too.
While Brown wasn't as pointed and imposing as his predecessor, he still had enough facts on his side, as well as a double-edged sword to offer the four as the assembled in the Apple offices in Westminster. The label had just secured a new royalty agreement both EMI with Capitol Records, one that came primarily at the initial popularity of the label's artists. In return, the group were still contractually bound to produce three more albums, with a moratorium on their film agreement with United Artists ("Yellow Submarine", which released July 1968, would be discounted due to the band's minimal involvement). While Harrison and Lennon were frustrated at this, the latter calling it 'slave labour', Brown assured them that this was the best possible outcome the label could secure. It could be worse, he offered - they could be forced to make a new album AND a film simultaneously. They should just put aside their difficulties, knuckle under and get back in the studio.
In spite of this Lennon threw a spanner in the works by stating that he "didn't want to do this anymore."
When asked to clarify, Lennon shrugged and offered "the band, the label, this. All of it. I wanna quit the band."
There was a beat, then Harrison chimed in "Me too, if I have to keep fighting to get my songs on the fucking album."
All four members, after far too much cajoling, settled on the agreement that for the time being there would be three singles, one for John, one for George, and one for Paul. After that, they'd do another album, on which Harrison would get his due. Outside of going in and out of the studio, the label would hold off any additional faffe that might be thrown their way, such as interviews or promotional stunts. If they all still didn't feel like they wanted to keep going, if they still didn't have any fun then they'd formally announce a sabbatical and reassemble when the mood takes them. Nobody had to quit. For now.
While Brown wasn't as pointed and imposing as his predecessor, he still had enough facts on his side, as well as a double-edged sword to offer the four as the assembled in the Apple offices in Westminster. The label had just secured a new royalty agreement both EMI with Capitol Records, one that came primarily at the initial popularity of the label's artists. In return, the group were still contractually bound to produce three more albums, with a moratorium on their film agreement with United Artists ("Yellow Submarine", which released July 1968, would be discounted due to the band's minimal involvement). While Harrison and Lennon were frustrated at this, the latter calling it 'slave labour', Brown assured them that this was the best possible outcome the label could secure. It could be worse, he offered - they could be forced to make a new album AND a film simultaneously. They should just put aside their difficulties, knuckle under and get back in the studio.
In spite of this Lennon threw a spanner in the works by stating that he "didn't want to do this anymore."
When asked to clarify, Lennon shrugged and offered "the band, the label, this. All of it. I wanna quit the band."
There was a beat, then Harrison chimed in "Me too, if I have to keep fighting to get my songs on the fucking album."
All four members, after far too much cajoling, settled on the agreement that for the time being there would be three singles, one for John, one for George, and one for Paul. After that, they'd do another album, on which Harrison would get his due. Outside of going in and out of the studio, the label would hold off any additional faffe that might be thrown their way, such as interviews or promotional stunts. If they all still didn't feel like they wanted to keep going, if they still didn't have any fun then they'd formally announce a sabbatical and reassemble when the mood takes them. Nobody had to quit. For now.
above: cover art for the "Cold Turkey/Maxwell's Silver Hammer" single
above: cover art for the "You/This Is Some Friendly" single
Out of the seemingly bottomless well of originals Harrison had demoed during his alone time in Abbey Road, perhaps the most catchy was 'You', a track inspired by Doris Troy, whom Harrison was personally introduced to when working with fellow Apple act Billy Preston (who he actually knew since his days as a member of Little Richard's backing band). It was the perfect antidote to 'Cold Turkey', unlike the rather trite 'Maxwell's Silver Hammer', being soulful, happy and quite simple. It was backed by the country-inspired melody 'This Is Some Friendly', one of the first to be credited to Starr in the band's entire discography.
BlackentheBorg
Banned
Soon we'll be away from here
1969/1970
.jpg)
1969/1970
The sessions that lead to the last Beatle album of the decade was decidedly mixed. Producer George Martin, having been present for the arduous prior meeting in which Lennon and Harrison threatened to quit, convinced the group that they used to, just sitting in a studio and riffing off each other, no silly overdubs or grand production. McCartney was quick to support this idea, freely admitting that his blunt attitude was a catalyst for the Hey Jude sessions breakdown. Starr agreed, eager to see if some sense of normality could be restored. Harrison, while cautious that things could be so simply reset after verging on catharsis, was more concerned with seeing if his side of the deal would be kept and his songs featured. Lennon was ultimately apathetic to the whole thing, still intent on leaving the band when recording was finished.
George Martin: "Nobody knew for sure if it was going to be the last album – but everybody felt it was. The Beatles had gone through so much and for such a long time. They'd been incarcerated with each other for nearly a decade, and I was surprised that they had lasted as long as they did. I wasn't at all surprised that they'd be splitting up because they all wanted to lead their own lives – and I did, too. It was a release for me as well."
For the most part, the sessions that yielded the first singles where oddly chummy. In between takes for "You", the four where their familiar banterous selves, trading well-meaning barbs. This positive studio air also helped yield some of the last actual collaborative songs, as Lennon/McCartney had been rather symbolic for the last few years. It wasn't long before the barbs turned sour, however, when Lennon mocked the overtly sweet nature of 'Maxwell's Silver Hammer' as "music for the grannies to dig". In response, rather acrimonious, quipped that Lennon was verging off on a "stupid revolutionary kick that you use to shout in public". This was a bit contradictory, considering that McCartney was on a similar belief spectrum to his bandmate, not far off from his eventual conversion to veganism, and the two had gleefully produced the scandalous 'Her Majesty' (which was eventually banned by BBC radio), but it still stung all the same. Following that, the studio returned to a much more aggressive state as they'd left it in 1968.
George Harrison: "For me, to come back into the winter of discontent with The Beatles was very unhealthy and unhappy. But I can remember feeling quite optimistic about it. I thought, 'OK, it's the New Year and we have a new approach to recording.' I think the first couple of days were OK, but it was soon quite apparent that it was just the same as it had been when we were last in the studio, and it was going to be painful again. There was a lot of trivia and games being played."
By the time the sessions had concluded, the four had started recording their compositions in different studios, when it could be helped using the technicians as intermitiantries to overdub what they said would be required. Any time they were in the same room together tended to lead to some sort of argument. A particularly strenuous point came when Harrison, who had been looking for feedback on his track 'Something', received rather joking answers in response; struggling to find a link (which eventually became 'attracts me like no other lover'), McCartney offered "attracts me like a cauliflower", with Lennon interjecting "attracts me like a pomegranate". This irked Harrison, who'd been offered less and less input on Lennon/McCartney tracks as he grew as a songwriter in his own right, came to blows with both when he was ordered to keep in time, spitting "It seems like I gotta play what you want me to play or not play at all."
George Martin: "Nobody knew for sure if it was going to be the last album – but everybody felt it was. The Beatles had gone through so much and for such a long time. They'd been incarcerated with each other for nearly a decade, and I was surprised that they had lasted as long as they did. I wasn't at all surprised that they'd be splitting up because they all wanted to lead their own lives – and I did, too. It was a release for me as well."
For the most part, the sessions that yielded the first singles where oddly chummy. In between takes for "You", the four where their familiar banterous selves, trading well-meaning barbs. This positive studio air also helped yield some of the last actual collaborative songs, as Lennon/McCartney had been rather symbolic for the last few years. It wasn't long before the barbs turned sour, however, when Lennon mocked the overtly sweet nature of 'Maxwell's Silver Hammer' as "music for the grannies to dig". In response, rather acrimonious, quipped that Lennon was verging off on a "stupid revolutionary kick that you use to shout in public". This was a bit contradictory, considering that McCartney was on a similar belief spectrum to his bandmate, not far off from his eventual conversion to veganism, and the two had gleefully produced the scandalous 'Her Majesty' (which was eventually banned by BBC radio), but it still stung all the same. Following that, the studio returned to a much more aggressive state as they'd left it in 1968.
George Harrison: "For me, to come back into the winter of discontent with The Beatles was very unhealthy and unhappy. But I can remember feeling quite optimistic about it. I thought, 'OK, it's the New Year and we have a new approach to recording.' I think the first couple of days were OK, but it was soon quite apparent that it was just the same as it had been when we were last in the studio, and it was going to be painful again. There was a lot of trivia and games being played."
By the time the sessions had concluded, the four had started recording their compositions in different studios, when it could be helped using the technicians as intermitiantries to overdub what they said would be required. Any time they were in the same room together tended to lead to some sort of argument. A particularly strenuous point came when Harrison, who had been looking for feedback on his track 'Something', received rather joking answers in response; struggling to find a link (which eventually became 'attracts me like no other lover'), McCartney offered "attracts me like a cauliflower", with Lennon interjecting "attracts me like a pomegranate". This irked Harrison, who'd been offered less and less input on Lennon/McCartney tracks as he grew as a songwriter in his own right, came to blows with both when he was ordered to keep in time, spitting "It seems like I gotta play what you want me to play or not play at all."
The Beatles - Inclinations
released August, 1969
SIDE A
1. Because (Lennon-McCartney-Harrison-Starr) - 2:24
2. Get Off (Lennon-McCartney) - 2:41
3. Here Comes The Sun (Harrison) -3:06
4. Octopus' Garden (Starr) - 2:48
5. Her Majesty (Lennon-McCartney) – 2:19
6. Something (Harrison) - 3:03
7. Instant Karma (Lennon) -3:27
SIDE B
1. Give Peace a Chance (Lennon) - 2:20
2. Apple Scruffs (Harrison) - 3:01
3. Everybody's Got A Feeling (Lennon-McCartney) - 3:31
4. Taking a Trip to Carolina (Starr) - 2:22
5. Don’t Let Me Down (Lennon) - 3:39
6. On A Sunny Island (McCartney) - 2:51
7. I Want You (Lennon) - 4:33
8. Goodbye (McCartney) - 2:25
The end result, "Inclinations", was interpreted by fans to be the Beatles' swan song. The sabbatical as announced on the back of the album's release, resulting in the Apple offices being flooded with calls from both distraught fans and concerned investors alike. Their concerns where somewhat reassured when Apple announced a slew of Solo Beatles released shortly thereafter. In order for the four to grow as artists and return to the slog renewed, the press release claimed, they should be entitled to play on their own for a while. The reaction to this, like the album's mood, was mixed too. But the former Fab Four couldn't really care. They were already off to the races.
George Harrison - All Things Must Pass
Released September, 1969
SIDE 1
1. I Me Mine
2. What Is Life?
3. Beautiful Girl
4. Awaiting On You All
5. I Dig Love
6. Everybody Nobody
7. If Not For You
8. Beware of Darkness
SIDE 2
1. All Things Must Pass
2. Cosmic Empire
3. Going Down to Golders Green
4. Deep Blue
5. Behind That Locked Door
6. Isn't It a Pity
7. Nowhere to Go
Harrison: "That was the great thing about [the Beatles] splitting up: to be able to go off and make my own record ... And also to be able to record with all these new people, which was like a breath of fresh air."
Ringo Starr - Sentimental Journey
released October, 1969
SIDE 1
1. Sentimental Journey
2. Night and Day
3. Whispering Grass (Don't Tell the Trees)
4. Bye Bye Blackbird
5. I'm a Fool to Care
6. Nobody's Child
SIDE 2
1. Boys
2. Love Is a Many Splendoured Thing
3. Dream
4. You Always Hurt the One You Love
5. Have I Told You Lately That I Love You?
6. Let the Rest of the World Go By
Starr on the other hand had a much more wholesome reason for compiling his debut, "Sentimental Journey". Seeing as how the drummer didn't have enough original compositions to fill even half an EP, still having only three original songs to his name, two of which were already put out under the Beatles. So instead of sitting down and forcing the songs out, he indulged the more invocative standards from his past, ones easily fitting of his limited tenor range. It was released on the 19th of October, his mother's birthday.
Ringo Starr: "I wondered, what shall I do with my life now that it's over? I was brought up with all those songs, you know, my family used to sing those songs, my mother and my dad, my aunties and uncles. They were my first musical influences on me. So I went to see George Martin and said: 'Let's do an album of standards.""
Paul McCartney - McCartney
released March, 1970
SIDE 1
1. Teddy Boy
2. Oh, Darling!
3. Why So Blue?
4.Because I Know You Love Me So
5. Maybe I'm Amazed
SIDE 2
1. Two of Us
2. I Left My Home
3. Women Kind
4. Every Night
5. The Long and Winding Road
Paul McCartney: "I was like a professor in his laboratory. Very simple, as basic as you can get ... Even now that album has an interesting sound. Very analogue, very direct."
John Lennon - Isolation
released December, 1970
SIDE 1
1. Mother
3. I Found Out
4. Julia
5. Well Well Well
6. Isolation
SIDE 2
1. Remember Love
2. When A Boy Meets A Girl
3. Look at Me
4. Hold On
5. The Dream Is Over
John Lennon: "This time it was my album. It used to get a bit embarrassing in front of George and Paul 'cause we know each other so well: 'Oh, he's trying to be Elvis, oh he's doing this now,' you know. We're a bit supercritical of each other. So we inhibited each other a lot. And now I was alone in my home. And I relaxed. I've got a studio at home now and I think it'll be better next time 'cause that's even less inhibiting than going to EMI. It's like that."
Last edited:
BlackentheBorg
Banned
Other major album releases on Apple Records, 1969/1970
Moby Grape - Omaha
released January, 1969
SIDE 1
1. The Place and the Time
2. Murder in My Heart for the Judge
3. Bitter Wind
4. Can't Be So Bad
5. Motorcycle Irene
6. Three-Four
7. Seeing
SIDE 2
1. Funky-Tunk
2. He
3. Rose-Coloured Eyes
4. Millers Blues
5. Naked, If I Want To
6. Stop
Jackie Lomax & the Heavy Jelly - Is This What You Want?
released March, 1969
SIDE 1
1. You Better Let Me Know
2. Is This What You Want?
3. Born For Something
4. Too Complicated
5. Just Don’t Feel So Good
SIDE 2
1. F-F-F-Females
2. Bio-Blues
3. If You’d Like Too
4. Little Yellow Pills
5. Take Me Down To The Water
MC5 - Kick Out The Jams!
released March, 1969
SIDE 1
1. Ramblin' Rose
2. Kick Out the Jams
3. Come Together
4. Rocket Reducer No. 62 (Rama Lama Fa Fa Fa)
5. Tonight
SIDE 2
1. Borderline
2. Motor City Is Burning
3. I Want You Right Now
4. Starship
5. Shakin' Street
The Spiders - Pretties for You
released June, 1969
SIDE 1
1. Titanic Overture
2. 10 Minutes Before the Worm
3. Sing Low, Sweet Cheerio
4. Badge
5. Living
6. Fields of Regret
SIDE 2
1. No Longer Umpire
2. Levity Ball
3. B.B. on Mars
4. Reflected
5. Today Mueller
6. Earwigs to Eternity
7. Changing Arranging
Syd Barrett – If It’s In You
released July 1970
SIDE 1
1. Golden Hair
2. Late Night
3. Clowns and Jugglers
4. Silas Lang
5. Lanky (Part One)
6. It's No Good Trying
SIDE 2
1. Swan Lee
2. Opel
3. Terrapin
4. No Man’s Land
5. Lanky (Part Two)
6. Love You
Badfinger - Friends Are Hard to Find
released November, 1970
SIDE 1
1. I Don't Mind
2. It Had to Be
3. Friends Are Hard to Find
4. Midnight Caller
5. No Matter What
6. Without You
SIDE 2
1. Blodwyn
2. Better Days
3. I Can't Take It
4. Watford John
5. Believe Me
6. We're for the Dark
Moby Grape - Omaha
released January, 1969
SIDE 1
1. The Place and the Time
2. Murder in My Heart for the Judge
3. Bitter Wind
4. Can't Be So Bad
5. Motorcycle Irene
6. Three-Four
7. Seeing
SIDE 2
1. Funky-Tunk
2. He
3. Rose-Coloured Eyes
4. Millers Blues
5. Naked, If I Want To
6. Stop
Jackie Lomax & the Heavy Jelly - Is This What You Want?
released March, 1969
SIDE 1
1. You Better Let Me Know
2. Is This What You Want?
3. Born For Something
4. Too Complicated
5. Just Don’t Feel So Good
SIDE 2
1. F-F-F-Females
2. Bio-Blues
3. If You’d Like Too
4. Little Yellow Pills
5. Take Me Down To The Water
MC5 - Kick Out The Jams!
released March, 1969
SIDE 1
1. Ramblin' Rose
2. Kick Out the Jams
3. Come Together
4. Rocket Reducer No. 62 (Rama Lama Fa Fa Fa)
5. Tonight
SIDE 2
1. Borderline
2. Motor City Is Burning
3. I Want You Right Now
4. Starship
5. Shakin' Street
The Spiders - Pretties for You
released June, 1969
SIDE 1
1. Titanic Overture
2. 10 Minutes Before the Worm
3. Sing Low, Sweet Cheerio
4. Badge
5. Living
6. Fields of Regret
SIDE 2
1. No Longer Umpire
2. Levity Ball
3. B.B. on Mars
4. Reflected
5. Today Mueller
6. Earwigs to Eternity
7. Changing Arranging
Syd Barrett – If It’s In You
released July 1970
SIDE 1
1. Golden Hair
2. Late Night
3. Clowns and Jugglers
4. Silas Lang
5. Lanky (Part One)
6. It's No Good Trying
SIDE 2
1. Swan Lee
2. Opel
3. Terrapin
4. No Man’s Land
5. Lanky (Part Two)
6. Love You
Badfinger - Friends Are Hard to Find
released November, 1970
SIDE 1
1. I Don't Mind
2. It Had to Be
3. Friends Are Hard to Find
4. Midnight Caller
5. No Matter What
6. Without You
SIDE 2
1. Blodwyn
2. Better Days
3. I Can't Take It
4. Watford John
5. Believe Me
6. We're for the Dark
Last edited: