History - 1975

When Kaveret started working on their third album, they felt it had to be different in approach, and consisted of contributions from all of the members, and not only Danny Sanderson's (in previous albums, the others only co-wrote with Danny, with the exception of Yonny Rechter's Protest Song (Shir Mecha'a (Antibiotika)), which was a joke, probably improvised during recordings).

It was agreed that each and everyone of the members can offer a song, and that each song will be voted on. Later on, Danny said that democratically, it was the right thing to do, but artistically, it was wrong.

They worked in kibutz Givat Haim for six months. Some strange decisions were made during the polls, which created a tense atmosphere.

Only two 'pure' Sanderson songs were approved - Inspector Z. Greatest (Inspector Pikeach) and The Fastest Man Alive (HaIsh Hachi Mahir).

The Keyboard Has Seven Octaves (LaMikledet Yesh Sheva Octavot), a beautiful song which Yonny wrote, was rejected.

Efraim Shamir, who was into Samba music, suggested recording a Samba piece. Danny objected, because he didn't feel it would sound like Kaveret. Both Yonny and Alon Oleartchik were interested in trying something different, and finally, the song was approved. After Efraim composed the music, Alon and Danny sat down to write the sarcastic lyrics, in spite of Danny's objection. Araleh Kaminsky played percussion on this recording, which was finally titled as Samba (HaOlam Sameach).

Efraim suggested the song Childhood (Shi'ur Moledet), which he sang in his audition to the Nahal Band. The song was based on a Polish tune, and the lyrics were written by Eli Mohar. Danny thought it was a beautiful song, but that it wouldn't fit in with the rock-pop sound of the album. Despite his objection, the song was approved, and Yonny did the orchestral arangement.

The first performance took place in Givat Haim, and was a big disappointment, both to Kaveret's fans and to the members themselves.

Kaveret wasn't expected to change their style, and indeed, as Danny foresaw, the audience didn't like songs like Childhood (Shi'ur Moledet), Samba (HaOlam Sameach) and Idiot's Lament (Shir HaTembel), which was Yitzhak Klapter's first solo both as a composer and as a lead singer.

Even songs which sounded more like the old Kaveret failed. Tell It To Your Grandmother (Lech Saper LaSavta), which was supposed to follow Yo-Ya's style and success, didn't reach the charts. The only two successful songs were Goliath (Goliat) and Sailor Song (Shir Malachim).

The album Crowded In The Ear (Tzafuf BaOzen) was released and sold 30,000 copies by the end of the year, which was less than half the copies sold from Poogy Tales (Sipurey Poogy).

Looking back, the problem with Kaveret at that point was that after the huge success of the Poogy Tales show and album, Kaveret split into two parts: Danny, Gidi Gov and Meir Fenigstein wanted to follow the same formula as in Poogy Tales (Sipurey Poogy) and Poogy In A Pitah (Poogy BePita) and keep that unique Kaveret sound, or maybe, Sanderson sound. Alon, Efraim, Yonny and Yitzhak wanted to use their success for trying different things and develop a style of their own. Each of them was a walking album, as Danny later said.

In oppose to Poogy Tales (Sipurey Poogy), which was homogeneous in its sound and style, Crowded In The Ear (Tzafuf BaOzen), although being a superb album, sounded more like a "Best Of..." album, consisted of songs from different times and styles.