Chapter 40: You're So Vain (August - October 1974)

23 August 1974

The Yardbirds - Kashmir

Released: 23 August 1974

Recorded: January - February 1974

Producer: Jimmy Page

Track listing[1]

Side A

In the Light
Custard Pie
Trampled Under Foot
Kashmir

Side B

Ten Years Gone
The Wanton Song
Sick Again
In My Time of Dying

By the end of 1973, following a rough start in the mid-1960s before a revival by the end of the decade, the Yardbirds had overtaken the Beatles as the most popular rock band in England. However, by the start of 1974, they had decided to take a break from touring and launched their own record label, Swan Song, after an unreleased song from the early 1970s. Some critics dismissed this as the Yardbirds trying to copy the formula the Beatles had achieved with Apple Records, now in its seventh year, in attempt to maintain their spot as England's most popular rock band.

ROBERT PLANT: "Those claims that we were copying the Beatles when we started Swan Song Records were nothing but pure bullshit. Yes, the albums sold well, but the singles weren't quite as huge. The Beatles did their own thing, as did the Yardbirds." (1994)

JIMMY PAGE: "We left Peter Grant [the Yardbirds' manager] in charge of Swan Song while we did our own thing, mostly recording and touring. When we started, we got the Pretty Things, Margaret Bell and Paul Rodgers' band Bad Company as part of the roster." (1988)

The Yardbirds with Peter Grant at the Swan Song label party in New York City, 1974.

For the band's eleventh album, their first under Swan Song, eight new songs were written and recorded, the combined length lasting longer than fifty minutes. Although initially considered for a double album, the only outtakes available were "Bron-Y-Aur Stomp" and "St. Tristan's Sword", both outtakes from Fight the Horde, and "Boogie with Stu", an outtake from Stairway to Heaven. Seeing as that wasn't enough to fill four sides, it was decided that the next album should only include the sessions from January and February 1974, although "Boogie with Stu" ended up being a B-side.

The resultant album, Kashmir, was the second to be released on Swan Song Records, following Bad Company's eponymous debut album from June. It was the Yardbirds' fifth consecutive album to hit #1 in the United Kingdom, and the fourth to do so in the United States (Stairway to Heaven having stalled at #2). The sole single, "Trampled Under Foot"/"Boogie with Stu", reached #38 in America but did not chart in the United Kingdom. Kashmir was met with positive reviews from critics, with some even calling it their greatest album; Robert Plant tended to share that opinion in later years, saying he preferred it to Stairway to Heaven. The album was even nominated for a Grammy for the best album of 1974.

6 September 1974

Electric Light Orchestra - The Falcons of El Dorado

Released: 6 September 1974

Recorded: February - August 1974

Producer: Jeff Lynne and Roy Wood

Track listing[2]

Side A

Intro/Eddy's Rock
Boy Blue
You Got Me Runnin'
Laredo Tornado
This is the Story of My Love (Baby)

Side B

Mister Kingdom
Crazy Jeans
Nobody's Child
Come Back Karen
Eldorado (Finale)

The Electric Light Orchestra's fourth album was a combination of two ideas by their two frontmen - Roy Wood's concept of a fictional band called Eddy and the Falcons and Jeff Lynne's concept about a daydreamer. For the first time, Lynne and Wood had hired an orchestra and choir arranged by Louis Clark to record alongside the band as opposed to overdubbing strings. During the recording, Mike de Albuquerque had departed the band to spend more time with his family. He was later replaced by Kelly Groucutt. Similarly, Mike Edwards was replaced by Melvyn Gale on cello. Bill Hunt also departed, but he was not replaced; Richard Tandy took over on piano duties full time.

With two different ideas taking place at once, The Falcons of El Dorado ended being an album in which every song was its own thing. The album reached #16 and #19 in both the United States and the United Kingdom, respectively. The preceding non-album single released August 12, "Rock and Roll Winter"/"Illusions in G Major", hit #6 in the United Kingdom, whilst the November 18 single, "Can't Get It Out of My Head"/"Are You Ready to Rock" also hit #6, but in the United States. It did, however, hit #8 in the United Kingdom. By now, the Electric Light Orchestra was gaining a greater following in the United States, but not all was well in the band, as Roy Wood was beginning to show signs of weariness with being part of the band...

4 October 1974

The Who - Who's Next

Released: 4 October 1974

Recorded: May - September 1973

Producer: The Who and Kit Lambert

Track listing[3]

Side A

I Am the Sea
Sea and Sand
Quadrophenia
We Close Tonight
Bell Boy

Side B

The Punk and the Godfather
Helpless Dancer
The Rock
I've Had Enough

The Who's follow-up album to Rock Is Dead - Long Live Rock featured nothing but outtakes from said album, and at one point, a working title was Odds and Sods. Who's Next reached #15 in the United States and #10 in the United Kingdom. John Entwistle had been in charge of the Who's Next project whilst Roger Daltrey, Pete Townshend and Keith Moon were making plans for a film adaptation of their 1969 rock opera Tommy, with the intentions of having Ken Russell as the director, per Townshend's suggestion. Among the castings for the film included actors Ann-Margret, Oliver Reed and Jack Nicholson, as well as musicians Eric Clapton, Tina Turner and Elton John, plus Daltrey as Tommy himself and Moon as Uncle Ernie. The film would not be released until next year, but by then, Moon's health was beginning to decline...

18 October 1974

Hunky Dory - The Gouster

Released: 18 October 1974

Recorded: February - May 1974

Producer: Hunky Dory and Nick Mason

Track listing[4]

Side A

Day By Day
I Need Somebody
Drive-In Saturday
Maisie
A Last Straw
Hangin' Around

Side B

Terrapin
Everybody's Sometime and Some People's All the Time Blues
Panic in Detroit
Make Up
Search and Destroy
Little Red Robin Hood Hit the Road

Between the release of Hunky Dory's Melting Pottery duology and the recording of the second (or third, depending on how one viewed Melting Pottery I and II) album, drummer Robert Wyatt had been involved in accident on 1 June during Gilli Smyth's and Lady June's shared birthday party in which he fell from a window, causing him to become paraplegic from waist down. Later in November, Pink Floyd performed two benefit concerts at the Rainbow Theatre alongside Wyatt's and Kevin Ayers' former band Soft Machine, raising ten thousand pounds for Wyatt.

ROBERT WYATT: "By the time we had reunited to record The Gouster, I was in a much happier state than I was in the late 60s. Before then, I did not drink alcohol, but I became an addict when drinking with Keith Moon. In a way, I'm actually glad I had the accident; if I hadn't, my lifestyle wouldn't have changed and I'd have kicked the bucket before or by 1980." (2012)

LOU REED: "Rob's accident meant that he couldn't play the drums rock and roll style anymore; he started to play the drums in more of a jazz fashion without his feet, and that made Hunky Dory more wild and varied than it already was." (1995)

Robert Wyatt and Nick Mason, 1974.

Wyatt, Ayers, Syd Barrett, David Bowie, Lou Reed and Iggy Pop reunited in Los Angeles in February 1974 to record the next Hunky Dory album, shortly after the final sessions for the Rolling Stones' The Diamond Dogs of Rock 'n' Roll. Barrett's former Pink Floyd bandmate Nick Mason was in the producer's chair; in between the sessions, the pair would catch up on what activities the other was going through. "I was happy that Syd was finally making a name for himself," Mason recalled years later. "Being surrounded by Robert and the others really helped."

During the sessions for The Gouster, Kevin Ayers had put out his fourth solo album, The Confessions of Dr. Dream and Other Stories, in May, his first since 1971's Whatevershebringswesing. Similarly, Lou Reed had already put out his solo debut, Berlin, in July 1973, and was recording his follow-up, Sally Can't Dance, for an August 1974 release.

The Gouster was finally released on 18 October 1974, charting at #28 in the United States and #10 in the United Kingdom. Like Melting Pottery, no singles were released from the album, as Iggy Pop and Lou Reed both said in interviews that Hunky Dory did not do single releases. "You get the full experience of the group by listening to the album as a whole," Syd Barrett added. Still, reviews for The Gouster were generally positive, with some critics seeing it as an improvement over Melting Pottery by having a more refined sound as a supergroup.

Footnotes

1. All tracks are sourced from Physical Graffiti.
2. Tracks are sourced from Introducing Eddy and the Falcons and Eldorado. "Intro" and "Eddy's Rock" are merged to form a single track, as are "Eldorado" and "Eldorado Finale".
3. All tracks are sourced from Quadrophenia with the exception of "We Close Tonight" from Odds & Sods. "I Am the Sea", "Quadrophenia" and "Helpless Dancer" all had their transitions at the end removed ("I Am the Sea" now runs at 1:09), and "The Rock" fades out earlier.
4. Tracks are sourced from Kevin Ayers' The Confessions of Dr. Dream and Other Stories, the Stooges' Raw Power, David Bowie's Aladdin Sane, Syd Barrett's Barrett and The Madcap Laughs, Robert Wyatt's Rock Bottom, and Lou Reed's Transformer.

Author's Comments

As an early Christmas gift to you all, here's four new albums from Strawberry Peppers! The Yardbirds' Kashmir is one of my personal favorite albums to make, especially since it tackles the challenge of whether or not you can make Physical Graffiti a single album instead of a double album mixing outtakes and new material. Despite the 1974 material exceeding fifty minutes, yes you can. I mean, the Rolling Stones' Aftermath (the UK version, at least) was over fifty minutes in length, and that was released in 1966. After that, we had Bob Dylan's Desire from 1976 that was fifty-six minutes long. So I don't see why Led Zeppelin (or the Yardbirds, in this instance) couldn't put out a fifty-three minute album in 1974/5. After all, they have already done so in Strawberry Peppers by including the outtakes from Physical Graffiti on the pre-1974 albums.

I don't have much to say about the other three albums, really. Roy Wood's not gonna last much longer in ELO, Who's Next kinda feels like a filler album, and The Gouster's finally given Robert Wyatt some vocal spots alongside his bandmates. Don't worry, I'll get to the solo albums of the Hunky Dory members soon enough; most likely as an Extra Scene focusing on the 1973-1976. And I might do one focusing on the Velvet Underground leading up to Lou Reed's joining of the supergroup. I'm wondering what other Extra Scenes I could do that focus on what I haven't throughout 1966-1976; maybe one focusing on the Tommy movie with a different director (maybe George Lucas)? So many ideas, so little time...

And on that note, I'd like to wish you all a Merry Christmas, a Happy New Year, and well, Happy Holidays in general. We'll see you all on January 13, 2020 with chapter 41 to Strawberry Peppers!

Chapter 39: Frankenstein (January - May 1974)

January 1974

Gene Wilder as Jim, the Waco Kid in Blazing Saddles, 1974.

Despite concerns over the content of the movie, Blazing Saddles was completed and ready for its worldwide release on the seventh of February. By now, Mel Brooks now had an idea as to what his next movie under Apple Films would be; it was an idea by actor Gene Wilder - who portrayed Jim the Waco Kid in Blazing Saddles and had previously starred in the 1967 cult classic The Producers - about the grandson of Victor Frankenstein inheriting his grandfather's mansion and his research. Among the actors decided upon before the film, soon to be called Young Frankenstein, included Peter Boyle and Marty Feldman, both clients under Wilder's agent Mike Medavoy.

GENE WILDER: "Young Frankenstein soon caught Mel's interest whilst we were in the midst of filming Blazing Saddles. Although not interested in another Frankenstein movie, when I told him about about the grandson who wanted nothing to do with his the family at all, even ashamed of those wackos, he said, 'That's funny.'" (1999)

MEL BROOKS: "Bit by bit, every night, Gene and I would meet at his bungalow at the Bel Air Hotel in Los Angeles with a pot of Earl Grey tea, a container of cream and a small kettle of brown sugar cubes, as well as British digestive biscuits. Step by step, we went down on the dark narrow twisting path to the final screenplay in which we threw caution and good sense out of the window. Madness ensued." (2016)

While it initially looked as if Wilder would take on the role of Frederick Frankenstein - pronounced "Fronkonsteen", as he insisted to his peers - it later turned out that the role would go to John Lennon, if he was interested.[1]

JOHN LENNON: "Despite the small cameo I had in Blazing Saddles, I had a fun time in Los Angeles during the filming of the movie, and when I was asked to be in Young Frankenstein, how could I say no? Mel and Gene were funny guys, so I was in. When I learned that Maddy was in the film as Elizabeth, it got better. Frederick 'Fronkonsteen' was one of my favorite roles ever." (1984)

February 7, 1974

The theatrical poster for Blazing Saddles.

Upon release, Blazing Saddles was met with mixed reviews from critics, but audience reactions were very positive and the film was a box office success, raking in $119.6 million against the $2.6 million budget, becoming Apple Films' most financially successful movie at the time. On top of that, it was the tenth movie at that point to pass the $100 million mark. At the premiere, Cleavon Little and Gene Wilder had turned up on horseback much like their characters in the movie.

Blazing Saddles was nominated three times for the Academy Awards, but lost each of them; Madeline Kahn for Best Supporting Actress (it went to Ingrid Bergman in Murder on the Orient Express), Best Film Editing (it went to The Towering Inferno), and Best Music, Original Song (the title song, which lost to "We May Never Love Like This Again", also from The Towering Inferno).

With the film's success, a television series called Black Bart was planned based on Andrew Bergman's original story to feature Louis Gossett Jr. as Bart and Steve Landesberg as his drunkard sidekick, Reb Jordan, a former Confederate officer. Production was soon underway for Black Bart, with the pilot episode set for a premiere date of the spring of 1975 on CBS.

February 10, 1974

New Musical Express

12 February 1974

Controversial producer Spector dead from car accident

Phil Spector with Ike and Tina Turner, 1966.

"On 10 February 1974, Phillip Harvey Spector was pronounced dead after a car accident in Hollywood, California at the age of thirty-five. He was thrown through the windshield of his own car and was killed instantly.[2]

Spector is known for his famed Wall of Sound that gave many artists from the late 1950s to early 1970s hit singles, including the likes of the Teddy Bears, the Crystals, Ike and Tina Turner, the Ronettes, the Righteous Brothers, as well as John Lennon, George Harrison and Ringo Starr of both the Beatles and the Ladders. His production style has also been a major influence to artists such as the Beatles, the Beach Boys, the Velvet Underground, and more recently, the Electric Light Orchestra with their 1973 hit, 'See My Baby Jive'.

However, for all of his influence comes controversy. For the last few years, Spector has been known for his erratic, volatile behavior, often arriving with bodyguards in the studio, and dressing as either a surgeon, karate master or a priest, according to some eyewitnesses. This would often result in violence and and one night, fired his gun in the studio, nearly causing some people to go deaf from the noise.

When NME went to speak with his widow, ex-Ronettes member and former Apple Records artist Ronnie Spector (born Veronica Yvette Bennett), she revealed that her husband had imprisoned her in his mansion in California and subjected her to psychological torment. She even had her career sabotaged by being forbidden to perform, which resulted in her leaving Apple Records at the start of 1972. At the time of Spector's death, Ronnie said that she was going to divorce from him, but she felt that God had saved her the trouble. She even claimed that he threatened to hire a hit man to kill her.

Artists who have also worked with Spector in the past, including John Lennon and Sonny Charles, had no comment on the subject.

These allegations against Phil Spector by his widow Ronnie, as well as reports of his erratic behavior in the studio, appear to be putting his entire career into question. We at NME will not deny the influence he had on the music scene, but it remains to be seen what will become of his reputation in years to come. We are not even three months into the year of 1974, but with recent #1 singles in America like Al Wilson's 'Show and Tell', Barbara Streisand's 'The Way We Were', and the Steve Miller Band's 'The Joker', this could potentially be a long year for music."

February 19 - May 3, 1974

Peter Boyle as the monster in Young Frankenstein, 1974.

The principal photography for Young Frankenstein began on the 19th of February. Apart from John Lennon and Madeline Kahn, the cast for the movie would also include Marty Feldman as Igor (pronounced "Eye-gor" in the film), Cloris Leachman as Frau Blücher, Teri Garr as Inga, Kenneth Mars as Inspector Kemp, and Peter Boyle as the monster. Mel Brooks and Gene Wilder would also make small cameo roles in the movie, though the former's appearances were merely off-camera appearances as a howling wolf, a shrieking cat, and Victor Frankenstein.[3]

PETER BOYLE: "I'd met Loraine Alterman whilst we were filming for Young Frankenstein. Back then, she was a reporter for Rolling Stone, and I was in my monster makeup when I asked her out and she said yes." (1987)

MADELINE KAHN: "When Peter told me about Loraine, I told him that I could relate to him. That was something he and I had in common in the 70s; we were actors who'd found love with people from the music industry. Loraine for journalism, and John for recording and producing. Speaking of, John and Peter became great friends while we made Young Frankenstein; it helped that they shared a lot of scenes together." (2005)

Harry Nilsson and John Lennon being thrown out of the Troubadour club, 1974.

In between filming, John Lennon had taken the time to get reacquainted with his son Julian, whom he had not seen in the past few years. Sometimes, Julian would appear on the set of Young Frankenstein and even landed up in a cameo role in the final production. He even had the chance to know his father's new lover (although neither adult would admit it at the time) Madeline Kahn.

However, earlier in the year, the elder Lennon had begun to get involved in drunken antics with Harry Nilsson which made headlines. One infamous incident in March, whilst Lennon was involved in filming, involved both men heckling a performance by the Smothers Brothers and were promptly thrown out by the staff of the Troubadour club. These antics were proving to be an inconvenience to many involved on the production of Young Frankenstein, with Mel Brooks asking Lennon to keep his drinking under control before filming days. "I don't want to keep adding to the movie's budget because you and Nilsson can't keep yourselves out of trouble," he added firmly. Acknowledging how frustrated a few of his co-stars were getting of his antics, John took the director's advice to heart. "He probably listened for Madeline's sake," Brooks speculated years later.

Despite the antics, Lennon was serious about producing Harry Nilsson's next album, titled Pussy Cats, even co-writing a song called "Mucho Mungo". Among the session musicians for the album were Klaus Voormann, Keith Moon, Jesse Ed Davis, Jim Horn, and even Ringo Starr. On the first day for producing the album, March 28, John Lennon had an unexpected visitor...

John Lennon and Paul McCartney, 1974.

PAUL McCARTNEY: "John and I hadn't been on good terms with each other since he, George and Ringo ditched me to form the Ladders. When I turned up with Linda at Burbank Studios in L.A., he started off by shaking my hand and joking, 'Valiant Paul McCartney, I presume?' I replied by saying, 'Sir Jasper Lennon, I presume?' John was first to asked me how my life was going. After that, we were talking and laughing together as if there was never any conflict between us to begin with. We'd been through several years' worth of sniping, and it took a single day for me and John to kiss and make up." (2009)

RINGO STARR: "George and I were also in Los Angeles when Paul turned up, but we were there mostly because George was overseeing Highway 61 Records' stable of artists and I didn't have anything else to do. Paul was in L.A. for a few days but he and George never once ran into each other, which was probably just as well. Whenever I saw Paul the few days he was here, he was always with John. I dare even say that was a near Beatles reunion right there." (1994)

The reunion between Lennon and McCartney had resulted in a jam session with the likes of Stevie Wonder, Harry Nilsson, Jesse Ed Davis, Bobby Keys and Ringo, the first time that Lennon and McCartney had recorded together since the final Everest sessions on January 3, 1970. The recording sessions did not produce anything of great quality, most notably a rendition of Little Richard's "Lucille" with Lennon and McCartney sharing vocals together.

PAUL McCARTNEY: "The day after we had that little jam session, John invited me to the set of Mel Brooks' Young Frankenstein for Apple Films, and it was there that he introduced me to Madeline. She was amazed to learn about mine and John's partnership as members of the Beatles, and I thought she'd scream like a fangirl or faint. Neither happened, but I could sense that John's marriage with Yoko was beginning to fall apart, and they hadn't even begun to finalize a divorce yet." (2009)

Micky Dolenz and Harry Nilsson, 1974.

The production on Young Frankenstein drew to a close on May 3 with fewer incidents or surprises. However, during the recording of Pussy Cats, Harry Nilsson had ruptured a vocal chord - either due to an infection he picked up after spending the night on the beach or during the March 28 sessions with Paul McCartney and friends - but not telling John about this resulted in Nilsson hemorrhaging his vocal chords to the point he had to be taken to hospital.

MICKY DOLENZ: "I drove Harry to the hospital and was there for him when he was told he shouldn't even talk for at least six months. He did not want to hear anything of it and wanted to continue recording, but I talked him out of it and insisted that it was for the best of his health, especially if he stayed away from the alcohol and cocaine." (1986)

HARRY NILSSON: "I was depressed about not being able to talk for half a year, let alone record any music. It didn't help that I was being divorced from Diane [Clatworthy, his second wife] and that Cass Elliot ended up dying at my London flat of heart failure. But by the end of '74, I got my voice back and I soon put out Duit on Mon Dei as my first album under Highway 61 Records, under John and Ringo's suggestion." (1991)[4]

24 May 1974

The Rolling Stones - The Diamond Dogs of Rock 'n' Roll

Released: 24 May 1974

Recorded: November 1973 - February 1974

Producer: The Glimmer Triplets

Track listing[5]

Side A

Future Legend/Diamond Dogs
If You Can't Rock Me
It's Only Rock 'n' Roll (But I Like It)
Rebel Rebel
Till the Next Goodbye

Side B

Rock 'n' Roll with Me
Silver Train
Hide Your Love
1984
Big Brother
If You Really Want to Be My Friend

The initial sessions for The Diamond Dogs of Rock 'n' Roll had taken place in Munich, West Germany before the Rolling Stones had decided to finish up the album in Los Angeles. By that time, Bill Wyman was working on his first solo album, Monkey Grip, which he'd hoped to put out on Apple Records. He even talked about it with John Lennon at a party in December, and in the same month, Lennon and Mick Jagger had partook in a jam session that became "Too Many Cooks", which would stay unreleased for over thirty years.

During the recording sessions in Los Angeles, David Bowie had taken some influence from soul and funk music and had two distinct ideas for the album; one being a musical based on a wild future in a post-apocalyptic city, and another being based upon George Orwell's famous novel 1984. However, the final track listing for The Diamond Rocks of Rock 'n' Roll did not follow either concept, although the Bowie track "1984" was named for Orwell's novel.

David Bowie in the music video for "Rebel Rebel", 1974.

The Diamond Dogs of Rock 'n' Roll was the first album to be self-produced by the Rolling Stones themselves, although Mick Jagger and Keith Richards had done most of it, with David Bowie's assistance, being known as "The Glimmer Triplets". It marked their fourth #1 album in a row in the United States (third in the United Kingdom) and received positive reviews from critics. The lead single, "Rebel Rebel"/"Time Waits for No One", was released in February, three months before the album itself did, and hit #5 and #12 in the United Kingdom and the United States, respectively. The second single, "It's Only Rock 'n' Roll (But I Like It)"/"Diamond Dogs", came out in June (#10 UK, #16 US) whilst the third, "Silver Train"/"1984", came out in September (#7 UK, #18 US).

DAVID BOWIE: "Mick and Keith had a lot of leftover material from the Diamond Dogs sessions, as did I. A couple of outtakes from them ended up on our next album, whilst several of my own either went to the next Hunky Dory album or on my solo album [Sweet Thing]." (1997)

Footnotes

1. In OTL, the role of Frederick Frankenstein went to Gene Wilder.
2. In OTL, Phil Spector survived, but he was physically scarred after his near-fatal accident, resulting in him wearing outlandish wigs to hide his scars. He was arrested in 2009 for the murder of Lana Clarkson in 2003.
3. In OTL, John Lennon was the best man to Peter Boyle's wedding with Loraine Alterman in 1977. Lennon and Boyle met because Alterman was a friend of Yoko Ono.
4. Harry Nilsson did indeed strain his voice during the recording sessions for Pussy Cats, and if you listen to that album against his recordings up to early 1974, you can hear the difference in vocal performance.
5. Tracks are sourced from Diamond Dogs, It's Only Rock 'n' Roll and Goats Head Soup. "It's Only Rock 'n' Roll (But I Like It)" is the single edit found on GRRR!.

Author's Comments

So now we enter 1974, one of the worst years for music and yet one of the best years for movies. It's pretty funny that this chapter focuses more on the latter than the former, and it's fitting that I post this chapter close to the 45th anniversary of Young Frankenstein. The first half of the year has been really productive for John Lennon in the midst of his separation from Yoko, and I figure that his life may be about to change for the better. How will I do it, you ask? Well, that's another chapter for another day.

And even though that doesn't have much affect in the long run for nearly thirty years, Phil Spector is dead, but I'm wondering what affect that could have on music history. Maybe an earlier Me Too movement? The Spector effect? That would be interesting to see, especially if Spector's downfall becomes a cautionary tale to the media. But will Harry Nilsson survive past 1994? That's what I'm wondering might happen and he puts out the comeback album he never did in the mid-90s. But of course, not everything post-1985 is set in stone as of yet. Things can change.

Next week's chapter will be the last one before Christmas. After that is a three-week hiatus, which should give me plenty of time to write up chapters 41-50; I've got them all outlined, and I've a bit of a head start on the outline for Phase Three. Not sure when that will officially begin, but I'm predicting it will be around May at the earliest. We shall see in due time.

Chapter 38: Will It Go Round in Circles (January 1972 - December 1973)

General Affairs for Apple Corps Ltd.

Morris Levy, 1969.

Apple Corps had been hit with a pair of lawsuits. The first of them was from Bright Tunes Corps, alleging that the Ladders' 1971 single "My Sweet Lord" had sounded too much like the 1963 Chiffons hit "He's So Fine". George Harrison, the writer of "My Sweet Lord", had denied that he had previously listened to the Chiffons tune before, and that the idea for the song had come from the Edwin Hawkins Singers' "Oh Happy Day" from 1968. When John Lennon was questioned as to whether or not Harrison knew, he said, "He's smarter than that. If George had changed a few bars, no one could have tried to sue him."[1]

Speaking of Lennon, he had also been hit with a plagiarism lawsuit in 1973. This time, it was from Big Seven Music, owned by Morris Levy, claiming that a line from the Beatles' "Come Together" had taken the line "Here come ol' flattop" from Chuck Berry's 1956 single, "You Can't Catch Me". Both lawsuits would end up plaguing their respective targets for the next few years.

George Harrison, 1973.

Despite this, Harrison believed that Capitol was not giving all of Apple's artists the proper promotion in America, especially those that didn't originate from said country, likening it to a similar lack of promotion of EMI's acts by Capitol before 1964. Near the end of 1972, Harrison organized a meeting between himself, Peter Brown, Brian Epstein and Lord Beeching about reviving Cameo-Parkway Records as a branch of Apple to distribute and promote their artists. However, Apple was tied to Capitol as their distributors until the end of 1975 and both the Ladders and Paul McCartney were artists under both EMI and Capitol until January 26, 1976.

Bob Dylan, Neil Young and Elton John were also invited into the meeting, having similar feelings about reviving Cameo-Parkway Records, having not put out any new recordings since 1967, excluding the compilation albums. If the new label was going to have a fresh start, it would need a new name. Young suggested dubbing the label "Highway 61 Records", after Dylan's famous 1965 album.[2]

Highway 61 Records was soon set up by Harrison with help from Dylan, Elton and Young, as well as Asylum Records founder David Geffen and Shelter Records founder Leon Russell. A new studio and offices were set up in Los Angeles and by May 1973, Highway 61 Records was born from the ashes of Cameo-Parkway Records, with Denis O'Brien as manager. Asylum would be the distributors for America whilst Apple would be the distributor for the United Kingdom. The first album released under Highway 61 was Bob Dylan's Pat Garrett & Billy the Kid, featuring hit single "Knockin' on Heaven's Door".

Ringo Starr and Marc Bolan during the filming for Born to Boogie, 1972.

Born to Boogie had its premiere on December 18, 1972, directed and produced by Ringo Starr and featuring him, Marc Bolan, T. Rex and Elton John. The film consisted of concert footage along with recording studio scenes at Apple Studios in Savile Row, London. Starr had also appeared in the drama film That'll Be the Day as a Teddy Boy, and the Rolling Stones documentary Ziggy Stardust and the Spiders from Mars. Currently, he was filming for Son of Dracula, directed by Freddie Francis and featuring Harry Nilsson, whom the Ladders had befriended in Los Angeles.

Mel Brooks' Blazing Saddles was now in post-production and would be released in theaters on February 7 the following year. Epstein had attempted to block the film's release due to its content, but Brooks insisted on having it released, reportedly saying, "Brian baby, you can't censor art!"

The Artists of Apple Records

Old Signings

Yoko Ono, 1973.

The period of 1972 and 1973 was a mixed one for Apple's roster. Aphrodite's Child had broken up in January 1972 due to creative differences, and as a result, they had left Apple Records, although Vangelis stayed with Apple as a composer for Apple Films. Similarly, Mary Hopkin had released a single ("Water, Paper and Clay") at the start of the year, but it failed to leave an impression, and so she withdrew from the music business as well alongside Ronnie Spector, who recorded no follow up to Try Some, Buy Some.

Delaney & Bonnie had put out their last album, Country Life, in March 1972, backed with the single "Move 'Em Out", fulfilling their contract with Apple. The couple would divorce following the album's release. Jackie Lomax had put out his next album, Three, but no singles were released to promote it, and he went into a recording hiatus. Eric Clapton was still attached to Apple following Cream's breakup, but he did not record any music due to going into drug rehabilitation.

The last departure for previous signings was John Lennon's estranged wife, Yoko Ono. With neither Approximately Infinite Universe nor Feeling the Space charting in either country, she had decided to abandon her music career in favor of the underground art scene before the latter album was out in stores. She had even alleged that Apple Records were failing to properly promote her music, although Brian Epstein would claim otherwise. Either way, this was yet another bullet point to Lennon's second marriage failing.

James Taylor and his then-wife Carly Simon, 1972.

Following the underwhelming performance of Zoo, Badfinger were back in the studio in June to record an eponymous follow-up, with the first single "Love is Easy" being released in October. Recording for the album was completed in November, but it would not be ready in time for the Christmas rush.

Danny Kirwan had left Fleetwood Mac and was soon replaced by Dave Walker and Bob Weston in 1972, although they too would leave the following year. Their three albums during the period, Bare Trees, Penguin, and Mystery to Me, were all minor hits in the United States, but there no big singles from each of them.

James Taylor's One Man Dog was a success in the United States along with the single "Don't Let Me Be Lonely Tonight", although he had decided to take 1973 off. Billy Preston also achieved similar success with Music is My Life and the lead single, "Will It Go Round in Circles", earning him his first number one hit in America. However, Everybody Likes Some Kind of Music was not as successful, but the single "Space Race" was.

Elton John performing live, 1973.

Michael Jackson's debut solo albums, Got to Be There and Ben, were each Top 10 hits in the United States, but Music & Me was nowhere near as successful.

Outside of the Ladders, Paul McCartney & Smile and Crosby, Stills, Nash & Young, Apple's most successful artist during 1972-1973 was none other than Elton John; Honky Château, Don't Shoot Me I'm Only the Piano Player and Goodbye Yellow Brick Road were all #1 hits in both the United States and the United Kingdom, although Honky Château stalled at #2 in the latter country. Elton's most popular singles from the period were "Rocket Man" (a #1 hit in the United Kingdom), "Crocodile Rock" (a #1 hit in America), "Daniel", and "Goodbye Yellow Brick Road".

New Signings

Nazareth, 1973.

Brothers Lon and Derrek Van Eaton were picked up by George Harrison, who produced their debut album Brother, along with the lead single "Sweet Music", which came out in March. The album did not come out until September 1972, and was met with favorable reviews from critics, reaching the Top 20 in America. Yet despite this success, they had left Apple by mid-1973.

Chris Hodge also had a brief stint with Apple with his June 1972 single "We're On Our Way", which hit #35 in the United States. His January 1973 single, "Goodbye Sweet Lorraine", however, did not chart in America, so he too left Apple by mid-1973. The Sundown Playboys had a one-off single released under Apple, "Saturday Nite Special".

Alongside Freddie Mercury, Nazareth was the only other singing from the period who stuck around with Apple by the end of 1973 for a five-album contract. After the failure of their self-titled debut on Pegasus Records, they were signed up for Apple by Roy Thomas Baker, who helped to produce their next three albums, Exercises, Razamanaz and Loud 'n' Proud. The second album achieved success in the United Kingdom thanks to the lead single, "Broken Down Angel".

The only other new signing during 1973 was London-based vocal group Splinter, consisting of Bill Elliot and Bobby Purvis. So far, they have yet to put out an album or single.

The Artists of Highway 61 Records

Neil Young performing live with The Stray Gators, 1973.

Apart from Bob Dylan being signed onto Highway 61 Records, Neil Young saw this as an opportunity to use the label as an outlet for his solo projects outside of Crosby, Stills, Nash and Young. His first album there was the live album Time Fades Away, and prior to said albums release, he recorded for the bulk of his next studio album, Tonight's the Night, for a release of January 1974.[3]

George Harrison had signed up his friend Ravi Shankar, and later Tom Scott and L.A. Express onto the label. Similarly, Elton John helped Stackridge, Kiki Dee and Cliff Richard in joining the roster, and that was followed by the signing of Lynyrd Skynyrd, Aerosmith (who immediately signed up following a dispute with Columbia Records over the release of their debut album), ex-Monkees member Peter Tork and ex-Love Sculpture member Dave Edmunds. Highway 61 Records now had a healthy roster of artists like its big brother label.

Apple Records discography, January 1972 - December 1973

Albums

• Got to Be There by Michael Jackson - 24 January 1972 (#30 UK, #5 US) [Motown]
• Country Life by Delaney & Bonnie and Friends - 10 March 1972 (#98 US)
• Bare Trees by Fleetwood Mac - 17 March 1972 (#61 US)
• Songs for Beginners by Crosby & Nash - 7 April 1972 (#12 UK, #4 US)
• Manassas by Stephen Stills & Manassas - 12 April 1972 (#24 UK, #2 US)
• Ziggy Stardust and the Spiders from Mars by The Rolling Stones - 12 May 1972 (#1 UK and US)
• Honky Château by Elton John - 199 May 1972 (#2 UK, #1 US)
• Sisters, O Sisters by Yoko Ono - 5 June 1972
• Southbound Train by Crosby, Stills, Nash & Young - 9 June 1972 (#1 UK and US)
• Make Your Dream Last Longer Than the Night by Vangelis - 12 June 1972
• Tomorrow by Paul McCartney - 16 June 1972 (#8 UK, #10 US) [EMI]
• Three by Jackie Lomax - 30 June 1972 (#62 US)
• Bloody Sunday by The Ladders - 14 July 1972 (#8 UK, #11 US) [EMI]
• Exercises by Nazareth - 21 July 1972 (#37 UK)
• Ben by Michael Jackson - 4 August 1972 (#9 UK, #1 US) [Motown]
• Brother by Lon and Derrek Van Eaton - 22 September 1972 (#29 UK, #18 US)
• The Best of the Beatles: 1962-1966 by The Beatles - 6 October 1972 (#1 UK and US) [EMI]
• Music is My Life by Billy Preston - 8 October 1972 (#7 UK, #3 US)
• One Man Dog by James Taylor - 1 November 1972 (#19 UK, 2 US)
• Zoo by Badfinger - 1 December 1972 (#16 UK, #22 US)
• The Lost Planet by The Electric Light Orchestra - 15 December 1972 (#20 UK, #49 US)
• The Best of the Beatles: 1967-1970 by The Beatles - 12 January 1973 (#1 UK and US) [EMI]
• Approximately Infinite Universe by Yoko Ono - 12 January 1973
• Don't Shoot Me I'm Only the Piano Player by Elton John - 22 January 1973 (#1 UK and US)
• Penguin by Fleetwood Mac - 2 March 1973 (#40 US)
• Music & Me by Michael Jackson - 13 April 1973 (#85 US) [Motown]
• Down the Road by Stephen Stills & Manassas - 7 May 1973 (#19 US)
• Razamanaz by Nazareth - 25 May 1973 (#11 UK)
• Aladdin Sane by The Rolling Stones - 29 June 1973 (#1 UK and US)
• Photograph by The Ladders - 24 August 1973 (#1 UK and US) [EMI]
• Purple Highway by Paul McCartney & Smile - 16 September 1973 (#4 UK, #1 US) [EMI]
• Everybody Likes Some Kind of Music by Billy Preston - 23 September 1973 (#11 UK, #20 US)
• Goodbye Yellow Brick Road by Elton John - 5 October 1973 (#1 UK and US)
• Earth by Vangelis - 5 October 1973
• Mystery to Me by Fleetwood Mac - 12 October 1973 (#55 US)
• Pin Ups by David Bowie - 19 October 1973 (#1 UK)
• Hocus Pocus by Electric Light Orchestra - 9 November 1973 (#9 UK, #25 US)
• Loud 'n' Proud by Nazareth - 9 November 1973 (#10 UK)
• The King of Rhye by Freddie Mercury - 19 November 1973 (#5 UK, #49 US)
• Feeling the Space by Yoko Ono - 23 November 1973
• So Far by Crosby, Stills, Nash & Young - 30 November 1973 (#25 UK, #1 US)

Notable Singles

• "Water, Paper and Clay" / "Streets of London" by Mary Hopkin - 10 January 1972
• "Tiny Dancer" / "Razor Face" by Elton John - 31 January 1972 (#48 UK, #23 US)
• "Tumbling Dice" / "Life on Mars" by The Rolling Stones - 4 February 1972 (#3 UK, #7 US)
• "Rockin' Robin" / "Love is Here and Now You're Gone" by Michael Jackson - 11 February 1972 (#3 UK, #2 US) [Motown]
• "Give Ireland Back to the Irish" / "Mama's Little Girl" by Paul McCartney - 25 February 1972 (#16 UK, #21 US) [EMI]
• "Sweet Music" / "Song of Songs" by Lon and Derrek Van Eaton - 3 March 1972 (#24 US)
• "Baby Blue" / "Flying" by Badfinger - 6 March 1972 (#18 UK, #3 US)
• "The Luck of the Irish" / "Coochy Coochy" by The Ladders - 17 March 1972 (#18 UK, #26 US) [EMI]
• "Rocket Man" / "Suzie (Dramas)" by Elton John - 24 March 1972 (#1 UK, #2 US)
• "Chicago" / "Cowboy Movie" by Crosby & Nash - 3 April 1972 (#10 US)
• "Starman" / "Sweet Black Angel" by The Rolling Stones - 10 April 1972 (#10 UK, #6 US)
• "Sisters, O Sisters" / "Open Your Box" by Yoko Ono - 24 April 1972
• "I Wanna Be Where You Are" / "Ain't No Sunshine" by Michael Jackson - 2 May 1972 (#8 UK, #16 US) [Motown]
• "Move 'Em Out" / "Where There's a Will There's a Way" by Delaney & Bonnie and Friends - 5 May 1972 (#59 US)
• "Mary Had a Little Lamb" / "Little Woman Love" by Paul McCartney - 12 May 1972 (#10 UK, #24 US) [EMI]
• "Sentimental Lady" / "Sunny Side of Heaven" by Fleetwood Mac - 19 May 1972
• "It Doesn't Matter" / "Fallen Eagle" by Stephen Stills & Manassas - 26 May 1972 (#20 US)
• "We're On Our Way" / "Supersoul" by Chris Hodge - 2 June 1972 (#35 US)
• "All Down the Line" / "Rock and Roll Suicide" by The Rolling Stones - 12 June 1972 (#5 UK, #22 US)
• "War Song" / "Singin' Call" by Crosby, Stills, Nash & Young - 19 June 1972 (#23 UK, #1 US)
• "Back Off Boogaloo" / "How?" by The Ladders - 30 June 1972 (#8 UK, #2 US) [EMI]
• "Ben" / "You Can Cry on My Shoulder" by Michael Jackson - 12 July 1972 (#1 US) [Motown]
• "Honky Cat" / "Slave" by Elton John - 31 July 1972 (#22 UK, #5 US)
• "Immigration Man" / "Words (Between the Lines of Age)" by Crosby, Stills, Nash & Young - 4 August 1972 (#47 UK, #14 US)
• "When I Say" / "Do You Mind" by Badfinger - 18 September 1972 (#14 US)
• "Yesterday" / "Eight Days a Week" by The Beatles - 2 October 1972 (#2 UK, #5 US) [EMI]
• "Ball Park Incident" / "Momma" by The Electric Light Orchestra - 16 October 1972 (#6 UK, #18 US)
• "Crocodile Rock" / "Elderberry Wine" by Elton John - 27 October 1972 (#3 UK, #1 US)
• "Saturday Nite Special" / "Valse De Soleil Coucher" by The Sundown Playboys - 31 October 1972
• "Don't Let Me Be Lonely Tonight" / "Woh, Don't You Know" by James Taylor - 6 November 1972 (#8 US)
• "Now or Never" / "Move on Fast" by Yoko Ono - 13 November 1972
• "Change Partners" / "Frozen Smiles" by Crosby, Stills, Nash & Young - 17 November 1972 (#40 UK, #8 US)
• "Hi, Hi, Hi" / "The Night Comes Down" by Paul McCartney & Smile - 1 December 1972 (#5 UK, #10 US) [EMI]
• "Christmas Time (Is Here Again" / "Hey Bulldog" by The Beatles - 11 December 1972 (#2 UK, #3 US) [EMI]
• "Goodbye Sweet Lorraine" / "Contact Love" by Chris Hodge - 8 January 1973
• "Roll Over Beethoven" & "See My Baby Jive" by The Electric Light Orchestra - 15 January 1973 (#1 UK, #17 US)
• "Page 43" / "Games" by Crosby, Stills, Nash & Young - 19 January 1973 (#35 US)
• "While My Guitar Gently Weeps" / "Let It Be" by The Beatles - 5 February 1973 (#6 UK, #10 US) [EMI]
• "Seaside Woman" / "C Moon" by Suzy and the Red Stripes - 5 February 1973 (#45 US)
• "One Man Parade" / "Hymn" by James Taylor - 12 February 1973 (#46 US)
• "Death of Samantha" / "Yang Yang" by Yoko Ono - 26 February 1973
• "Warm Woman" / "More Than Words" by Lon and Derrek Van Eaton - 9 March 1973
• "Will It Go Round in Circles" / "God Loves You" by Billy Preston - 12 March 1973 (#1 UK and US)
• "Give Me Love (Give Me Peace on Earth)" / "Oh Yoko!" by The Ladders - 23 March 1973 (#7 UK, #1 US) [EMI]
• "Daniel" / "Skyline Pigeon" by Elton John - 26 March 1973 (#4 UK, #2 US)
• "Broken Down Angel" / "Witchdoctor Women" by Nazareth - 21 April 1973 (#9 UK)
• "With a Child's Heart" / "Morning Glow" by Michael Jackson - 5 May 1973 (#50 US) [Motown]
• "Isn't It About Time" / "Down the Road" by Stephen Stills & Manassas - 18 May 1973
• "Live and Let Die" / "Son and Daughter" by Paul McCartney & Smile - 1 June 1973 (#5 UK, #2 US) [EMI]
• "Bad, Bad Boy" / "Razamanaz" by Nazareth - 22 June 1973 (#14 UK)
• "Happy" / "Music and Me" by Michael Jackson - 10 July 1973 (#52 UK) [Motown]
• "Saturday Night's Alright for Fighting" / "Jack Rabbit" by Elton John - 17 July 1973 (#6 UK, #10 US)
• "Angie" / "The Jean Genie" by The Rolling Stones - 24 July 1973 (#2 UK, #1 US)
• "Photograph" / "Meat City" by The Ladders - 27 August 1973 (#3 UK, #1 US) [EMI]
• "Space Race" / "We're Gonna Make It" by Billy Preston - 3 September 1973 (#15 UK, #4 US)
• "I Can Hear Music" / "Goin' Back" by Freddie Mercury [as Larry Lurex] - 10 September 1973
• "Showdown" & "Angel Fingers" by Electric Light Orchestra - 17 September 1973 (#2 UK, #30 US)
• "My Love" / "Keep Yourself Alive" by Paul McCartney & Smile - 21 September 1973 (#7 UK, #1 US) [EMI]
• "Woman Power" / "Men, Men, Men" by Yoko Ono - 24 September 1973
• "Sorrow" / "Amsterdam" by David Bowie - 28 September 1973 (#3 UK)
• "Goodbye Yellow Brick Road" / "Screw You" by Elton John - 15 October 1973 (#4 UK, #2 US)
• "Love is Easy" / "My Heart Goes Out" by Badfinger - 19 October 1973 (#23 UK, #15 US)
• "This Flight Tonight" / "Called Her Name" by Nazareth - 26 October 1973 (#11 UK)
• "Mind Games" / "If Not for You" by The Ladders - 16 November 1973 (#8 UK, #5 US) [EMI]
• "Step into Christmas" / "Ho, Ho, Ho (Who'd Be a Turkey at Christmas)" by Elton John - 23 November 1973 (#10 UK)
• "Happy Xmas (War is Over)" / "Don't Let Me Wait Too Long" by The Ladders - 3 December 1973 (#2 UK, #1 US) [EMI]
• "Seven Seas of Rhye" / "Mad the Swine" by Freddie Mercury - 3 December 1973 (#9 UK)
• "I Wish It Could Be Christmas Everyday" / "Daybreaker" by Electric Light Orchestra - 10 December 1973 (#4 UK)

Highway 61 Records discography, July - December 1973

Albums

• Pat Garrett & Billy the Kid by Bob Dylan - 13 July 1973 (#29 UK, #16 US)
• Lynyrd Skynyrd (Pronounced 'Lĕh-'nérd 'Skin-'nérd) by Lynyrd Skynyrd - 13 August 1973 (#44 UK, #27 US)
• Time Fades Away by Neil Young - 15 October 1973 (#20 UK, #22 US)
• Loving and Free by Kiki Dee - 27 November 1973

Notable Singles

• "Knockin' on Heaven's Door" / "Turkey Chase" by Bob Dylan - 13 July 1973 (#14 UK, #12 US)
• "Amoureuse" / "Rest My Head" by Kiki Dee - 31 August 1973 (#13 UK)
• "Gimme Three Steps" / "Mr. Banker" by Lynyrd Skynyrd - 5 November 1973

Apple Artists, as of December 1973

• Badfinger (since 1968)
• The Beatles (since 1968; contracted to EMI)
• George Harrison, John Lennon and Ringo Starr as The Ladders (since 1970)
• Paul McCartney (since 1971; affiliated with Smile since 1972)
• Eric Clapton (since 1968; member of Cream 1968-1971)
• Crosby, Stills, Nash & Young (since 1968)
• Stephen Stills & Manassas (1971-1973)
• Neil Young (1971; solo works released on Highway 61 Records since 1973)
• David Crosby and Graham Nash as Crosby & Nash (since 1972)
• Electric Light Orchestra (since 1970)
• Fleetwood Mac (since 1968)
• Michael Jackson (since 1971; contracted to Motown)
• Elton John (since 1969)
• Jackie Lomax (since 1968)
• Freddie Mercury (since 1973)
• Nazareth (since 1972)
• Billy Preston (since 1969)
• The Rolling Stones (since 1970)
• David Bowie (since 1971)
• Smile (since 1969; affiliated with Paul McCartney since 1972)
• Splinter (since 1973)
• James Taylor (since 1968)
• Vangelis (since 1972; member of Aphrodite's Child 1967-1972)

Departed Apple Artists

• Aphrodite's Child (1970-1972)
• Brute Force (1969)
• Delaney & Bonnie (1969-1972)
• Cream (1968-1971)
• Chris Hodge (1972-1973)
• Mary Hopkin (1968-1972)
• Hot Chocolate (1969)
• Radha Krishna Temple (1969)
• Yoko Ono (1969-1973)
• Ronnie Spector (1971-1972)
• The Sundown Playboys (1972)
• White Trash (1969)
• Doris Troy (1969-1971)
• Lon and Derrek Van Eaton (1972-1973)

Highway 61 Artists

• Aerosmith
• Kiki Dee
• Bob Dylan
• Dave Edmunds
• L.A. Express
• Lynyrd Skynyrd
• Cliff Richard
• Tom Scott
• Ravi Shankar
• Stackridge
• Peter Tork
• Neil Young

Various Artists - The Best of Apple Records Vol. 3: 1972-1973

Released: 20 February 2009

Recorded: 1971-1973

Producer: Various

Track listing

Sweet Music [Lon and Derrek Van Eaton]
Rocket Man [Elton John]
Sisters, O Sisters [Yoko Ono]
Move 'Em Out [Delaney & Bonnie]
We're On Our Way [Chris Hodge]
War Song [Crosby, Stills, Nash & Young]
Ben [Michael Jackson]
When I Say [Badfinger]
Saturday Nite Special [The Sundown Playboys]
Don't Let Me Be Lonely Tonight [James Taylor]
See My Baby Jive [The Electric Light Orchestra]
Will It Go Round in Circles [Billy Preston]
Broken Down Angel [Nazareth]
Live and Let Die [Paul McCartney & Smile]
Angie [The Rolling Stones]
Photograph [The Ladders]
Seven Seas of Rhye [Freddie Mercury]

The third Best of Apple Records compilation reached #1 in the United States upon release, whereas in the United Kingdom, it charted very appropriately at #3. Although not received as strongly as the first two compilations, it is still regarded as a fine collection of songs, and was dubbed as the start of a transitional period for Apple.

Footnotes

1. John Lennon said a similar quote in his 1980 Playboy interview.
2. Highway 61 Records is a composite of both George Harrison's Dark Horse Records and Elton John's Rocket Record Company.
3. Tonight's the Night was initially planned for a 1974 release, but it was held back for a year.

Author's Comments

Things were quite eventful for Apple during this period, weren't they? Yeah, there were a lot of albums and singles being put out during this time, it's kind of tricky to keep track of them all! And don't worry; there will be a Best of Highway 61: Volume 1 compilation at some point in the future. I'll just need to figure out who gets signed up during the remainder of the 1970s. I'll try not to spoil much, but I do plan to include the likes of Tom Petty, Heart, Alice Cooper and the Ramones onto the Highway 61 roster.

Chapter 37: Happy Xmas (War is Over) (September - December 1973)

17 September 1973

The Electric Light Orchestra recording with Marc Bolan, 1973.

The initial recording sessions for the Electric Light Orchestra's third album had begun back in April and May, with the final sessions taking place in August, a month before the release of their next single, consisting of Jeff Lynne's "Showdown" and Roy Wood's "Angel Fingers". Although the B-side would turn up on the album, Hocus Pocus, the A-side did not. During the sessions for the album, violinist Wilfred Gibson had left the group due to a dispute over money and was subsequently replaced with Mik Kaminski.

"Showdown" managed to reach #2 in the United Kingdom, being kept out of the top spot by Donny Osmond's cover of "Young Love", but managed to reach #30 in the United States. The single showcased ELO's evolution in sound by incorporating a funkier back beat beneath the group's trademark sweeping strings, as well as the inclusion of a clavinet. The song was a favorite of John Lennon at the time, having the single as part of his personal collection.

9 November 1973

The Electric Light Orchestra - Hocus Pocus

Released: 9 November 1973

Recorded: April - May, August 1973

Producer: Jeff Lynne and Roy Wood

Track listing[1]

Side A

Ocean Breakup/King of the Universe
Meet Me at the Jailhouse
Dreaming of 4000

Side B

Angel Fingers
Oh No Not Susan
Buffalo Station/Get On Down to Mephis
Ma-Ma-Ma Belle
Gotta Crush (About You)

Hocus Pocus fared marginally better in the United States than the "Showdown" single, topping out at #25. However, it fared worse than the single in the United Kingdom at #9. The songs were significantly shorter than those on The Last Planet, barring the thirteen-and-a-half minute "Meet Me at the Jailhouse", Wood's response to "Kuiama".

During the August sessions, the Electirc Light Orchestra recorded a Christmas song written by Wood, "I Wish It Could Be Christmas Everyday". When it was released on 10 December, it was paired with Lynne's "Daybreaker", originally recorded with Wilfred Gibson, his final ever contribution to ELO. The single reached #4 in the United Kingdom but did not chart in the United States. Despite being beaten by Slade's "Merry Xmas Everybody", "I Wish It Could Be Christmas" has since been regarded as a Christmas classic.

November 30, 1973

Crosby, Stills, Nash & Young - So Far

Released: November 30, 1973

Recorded: December 28, 1969 - 1973

Producer: Crosby, Stills, Nash & Young

Track listing[2]

Side A

Ohio [1970 non-album A-side]
Horses Through a Rainstorm [Déjà Vu outtake]
Laughing ["Tell Me Why" B-side]
Frozen Smiles ["Change Partners" B-side]
Go Back Home ["Music Is Love" B-side]
Till the Morning Comes [Remember Our Names outtake]

Side B

What Are Their Names ["Love the One You're With" B-side]
Singin' Call ["War Song" B-side]
On the Line [Human Highway outtake; new song]
Games ["Page 43" B-side]
Words (Between the Lines of Age) ["Immigration Man" B-side]
Find the Cost of Freedom [1970 non-album B-side]

Crosby, Stills, Nash & Young's So Far came about in an unusual way. In the summer of 1973, the quartet had regrouped to record their next studio album, to be dubbed Human Highway. It was believed at the time that depending on how much quality material the group had put out, the album could've had anywhere between ten and twenty songs.

GRAHAM NASH: "It wasn't as easy as it seemed at the time; David, Steve, Neil and I had very much exhausted our material from the early 1970s not just for CSNY, but for the side projects as well. By then, Neil had finished up recording for Tonight's the Night, which he would put out on Apple's American subsidiary label, Highway 61. And Stephen had just put out Down the Road with Manassas that May." (2000)

Originally intended for a release in early 1974, the few songs the group managed to complete for Human Highway were Stephen Stills' "See the Changes", "First Things First" and "As I Come of Age" (the latter of which having origins tracing back to 1971), Graham Nash's "And So It Goes", "On the Line" and an early take of "Prison Song". With David Crosby and Neil Young having nothing to offer, although the latter was working on the title track, it was decided by the group to delay the album until the end of 1974 at best.

Crosby, Stills, Nash & Young, 1973.

STEPHEN STILLS: "We were left wondering what we could put out for the Christmas rush, but then David suggested that we take our previously released material, mostly released as B-sides, and put them out on a compilation." (1988)

DAVID CROSBY: "It seemed the only possible course of action at that point. Human Highway had barely begun and only half of us had plenty of material to choose from. We even included a couple of tracks that we'd previously recorded but never considered for album inclusion. It kept the fans' appetites for more CSNY music wet whilst we worked on writing more material." (2010)

Despite Neil Young disparaging the album as a "cash grab" (1979) in later years, So Far managed to reach #1 in the United States, despite the confusion surrounding the release of previously released B-sides and a couple of outtakes thrown in. However, it only reached #25 in the United Kingdom. After the confusion wore off, the album was generally positively received, with fans pleased that there were able to get non-album tracks onto a single album rather than simply buying all the singles to complete their collection. And with Graham Nash's "On the Line", the only newly recorded track for the album, serving as a preview to their next "real" studio album Human Highway, nothing could possibly go wrong for the band now, right?

Right?

December 3, 1973

President George McGovern addressing a crowd of reporters, 1973.

RICHARD NORTON SMITH: "When George McGovern became President following Richard Nixon's downfall, one of the first priorities of President McGovern was to end the war with Vietnam. The Democratic party was in favor of cutting off American funds for the war to withdraw our troops have have our prisoners of war freed. South Vietnamese President Nguyen Thieu had initially resisted in signing the peace treaty in Paris, but McGovern was persistent that Thieu do so if he wanted Vietnam to be whole again." (George S. McGovern: A Modern President, 2013)

Gunfire and fighting had ceased by the end of April, with the last of the American troops having left at the end of March. In June, the Case-Church Amendment had been approved in Congress which prohibited American military activity in Vietnam after August 15, although the United States would still provide military equipment and economic support to the South Vietnamese government.

In response to the ending of America's involvement with the Vietnam War on the battlefield, the Ladders' "Happy Xmas (War is Over)" from 1971 was reissued with "Don't Let Me Wait Too Long" as the new B-side. It topped the charts in the United States over the Christmas season, but it was not re-released in the United Kingdom.

Despite the relief of America's citizens knowing that they were no longer involved in the war, the scars would never completely heal to those who had been involved, and the war would not end for another year with a North Vietnamese victory, and as a result, the reunification of Vietnam. But President George McGovern's work in the White House was far from finished, as he now had bigger fish to fry...

Footnotes

1. Tracks are sourced from On the Third Day and the 2006 reissue of Wizzard Brew. "Ocean Breakup/King of the Universe" and "Oh No Not Susan" are edited down to eliminate transitions, and "Ma-Ma-Ma Belle" is the single edit found on All Over the World: The Very Best of Electric Light Orchestra.
2. Tracks are sourced from So Far, the first disc of the CSN box set, David Crosby's If I Could Only Remember My Name, Crosby & Nash's Graham Nash David Crosby, Stephen Stills' Stephen Stills and Stephen Stills 2, Neil Young's After the Gold Rush and Harvest, and Graham Nash's Wild Tales.

Author's Comments

It's kind of appropriate that I posted this chapter close to the Christmas season, isn't it? There's not really much to say as it's a shorter chapter than usual. It's basically meant to serve as a bit of a filler chapter before we get into the 1974-1975 period.

Chapter 36: Live and Let Die (February - November 1973)

February 1973

Paul McCartney performing live with Smile, October 1972.

During the second half of 1972, Paul McCartney and Smile had a small tour across Europe, with the setlist consisting of the songs Smile had previously performed live (some of which were never recorded in the studio) as well as newer material such as "Some Day One Day" and "Modern Times Rock 'n' Roll". Denny Laine's material consisted of some songs he'd performed during his time as part of the Moody Blues, and Paul McCartney's consisted largely of solo material, but nothing by the Beatles save for covering Little Richard's "Long Tall Sally". This would help to refine the band before they went back to the studio to record new material.

PAUL McCARTNEY: "When we first went into the studio at the start of February, I'd noticed that Brian and Roger had brought in someone I'd not met before. He had long dark hair and a prominent overbite. He was born Farrokh Bulsara, but everyone knows him by the name of Freddie Mercury." (2008)

FREDDIE MERCURY: "I was familiar with Tim Staffell from art college and had wanted to join Smile even before Paul had come into the picture, and Roger and I were roommates. When I first entered the studio, Paul was doubtful of my singing ability because of the extra teeth in my mouth, but I wanted to prove to him that I was still a good singer despite this. I went over to the piano, and began to play 'Maybe I'm Amazed' from his solo album. Brian and Roger even began to play along with me, and when I'd finished, Paul just stared in amazement and said, 'Wow.' Nothing else. Just 'wow'." (1992)

Freddie Mercury, 1973.

The twenty-six-year-old British Zoroastrian singer had also penned eleven songs that he wanted to get out to the world on record and that he'd needed a band to help make that possible. Paul, Brian May, Roger Taylor and Denny were all happy to help Freddie Mercury to make that happen.

BRIAN MAY: "We began recording both the Smile album and for Fred's album at the same time. Our co-producer for the projects was Roy Thomas Baker, who was working with fellow Apple band Nazareth and had been previously associated with the Rolling Stones. At first, we wanted to put out a double album with all the material we had, but Roy insisted that we put out individual albums; one by Paul McCartney and Smile, and one by Freddie Mercury. With hindsight, he had the right idea." (1997)

ROGER TAYLOR: "Freddie still provided vocals to Purple Highway, especially with 'Keep Yourself Alive', which was Brian's song. I don't think Paul or Brian could've done that one much justice by themselves. Nor me, for that matter." (1983)

During the sessions for both albums, Mercury recorded a non-album single under the pseudonym of Larry Lurex, which was inspired by glam rock singer Gary Glitter. They were respective covers of the Ronettes' "I Can Hear Music" and Dusty Springfield's "Goin' Back"; the single was released on Apple on September 10, but it failed to chart either in the United States or the United Kingdom. Since then, Mercury has considered the single to be an old shame of his.

1 June 1973

The cast of Live and Let Die, the eighth entry in the James Bond film series. From left: Julius Harris (Tee Hee), Jane Seymour (Solitaire), Geoffrey Holder (Baron Samedi), Roger Moore (James Bond), Yaphet Kotto (Dr. Kananga/Mr. Big) and Earl Jolly Brown (Whisper).

At the time of its release, Smile's second non-album single, "Live and Let Die"/"Son and Daughter", was the most successful James Bond theme song, reaching #2 in the United States and #5 in the United Kingdom. The A-side had been nominated for the Grammy Awards and an Academy Award for Best Original Song. While it lost at the Academy Awards to the theme to The Way We Were by Barbra Streisand, "Live and Let Die" managed to take home a Grammy, credited to Smile and George Martin. To this day, it remains one of Paul McCartney's greatest songs, played at nearly every concert he's ever performed, and people have ranked this as the greatest James Bond theme of all time.

16 September 1973

Paul McCartney & Smile - Purple Highway

Released: 16 September 1973

Recorded: February - August 1973

Producer: Paul McCartney and Roy Thomas Baker

Track listing[1]

Side A

Keep Yourself Alive [w/ Freddie Mercury]
My Love
Some Day One Day
The Loser in the End
Get on the Right Thing

Side B

I Lie Around
Loup (1st Indian on the Moon)
Modern Times Rock 'n' Roll
Only One More Kiss
Single Pigeon
Little Lamb Dragonfly

The first album by Paul McCartney & Smile was released to positive reception from both critics and fans alike. "Paul isn't dead after all," Melody Maker crowed. "Paul finally responds to the Ladders," sang Rolling Stone. The album reached #1 in the United States - knocking the Ladders' Photograph off of the top spot - as did the lead single "My Love", backed with "Keep Yourself Alive". Although the songs crossfaded together on the album, they did not for the single. In the United Kingdom, however, the album reached #4 and the single #7.

PAUL McCARTNEY: "Purple Highway was sort of a transition for me, Denny, Brian, and Roger, as well as Freddie Mercury. It's no Everest or Merseyside, but still, I think it's a great showcase of where we came from when we got together for Smile, and it even gave off hints as to what you'd eventually expect for A Night at the Rock Show and Band on the Run. I've got a soft spot for it, really." (2013, liner notes for the 40th anniversary release)

19 November 1973

Freddie Mercury - The King of Rhye

Released: 19 November 1973

Recorded: February - August 1973

Producer: Paul McCartney, Freddie Mercury and Roy Thomas Baker

Track listing[1]

Side A

Seven Seas of Rhye (Prologue)
Great King Rat
My Fairy King
Liar
Jesus

Side B

Ogre Battle
The Fairy Feller's Master-Stroke
Nevermore
The March of the Black Queen
Funny How Love Is
Seven Seas of Rhye

Freddie Mercury's debut album on Apple Records topped out at #5 in the United Kingdom, but it went below the Top 40 in the United States at #49. The lead single, "Seven Seas of Rhye"/"Mad the Swine" (a non-album B-side), reached #9 in the United Kingdom. Mercury described The King of Rhye as having two ideas on one album:

FREDDIE MERCURY: "The first side contains a prelude to 'Seven Seas,' and after that is the self-contained songs - 'Great King Rat,' 'Jesus,' 'Liar.' The second side has something of a thematic approach like the Beatles did on Merseyside in '67. It's really bombastic and over the top, leading to a great finale that brings the album full circle." (1973, Rolling Stone interview)

With both Purple Highway and The King of Rhye being successful in the United Kingdom, Paul McCartney and Smile went on a European tour with Freddie Mercury as their opening act (with Brian May and Roger Taylor acting as sidemen). The tour was received very positively, further affirming that McCartney seemed to be regaining lost ground. The most common criticism was the lack of Beatles material from Paul, although he would cover "Long Tall Sally" as part of the encore.

Paul McCartney performing live with Smile, 1973.

Paul McCartney & Smile w/ Freddie Mercury - Smiling Over Europe Tour[2] (1973)
4 shows each in France, West Germany, Sweden and The Netherlands, 3 shows in Denmark, 2 shows each in Switzerland and Finalnd, one show each in Norway and Belgium (23 September - 18 November)
Average setlist:
Freddie Mercury
1. Ogre Battle
2. Great King Rat
3. Keep Yourself Alive
4. Liar
5. The Fairy Feller's Master-Stroke
6. Seven Seas of Rhye
Paul McCartney & Smile
1. Soily
2. Blue Moon of Kentucky
3. Son and Daughter
4. 1882
5. Say You Don't Mind (sometimes swapped out for I Would Only Smile)
6. C Moon
7. Modern Times Rock 'n' Roll
8. Live and Let Die
9. Maybe I'm Amazed
10. My Love
11. See What a Fool I've Been
12. Go Now
13. The Mess
14. Hi Hi Hi
Encores: Doing All Right, Long Tall Sally

Now that Paul McCartney had regained the spotlight, the question still remained as to where he could go next, and how he could keep his new band on the run...

Footnotes

1. For both albums, tracks are sourced from Queen and Queen II. For Purple Highway, the McCartney/Laine tracks are sourced from Red Rose Speedway.
2. Some of the tracks were actually performed by Paul McCartney during the Wings Over Europe Tour and 1973 UK Tour, and by Queen during the Queen II Tour.

Author's Comments

A bit shorter than some previous chapters, but at long last, we meet with Freddie Mercury! Much of the bulk of this chapter had originally been written the year before, now with a bit of new material in it, as well as a setlist for a 1973 Freddie Mercury/Paul McCartney & Smile joint tour! There's... not much else to say here, I'm afraid.