"I Laugh in Your Face" (released on Odessa in 1969) on 12 July 1968. This track was not recorded during the Idea sessions, which had concluded on 25 June 1968 with the recording of "I Started a Joke". As Barry explained, "Now that was a memorable night. The song we wrote together, all three of us. I think that night, I know for a fact, we didn't sing the choruses in harmony. Robert called us back to the studio at 11 o'clock at night and said, 'I want the choruses in harmony, I don't want them in just melody. I want three-part harmony choruses.' So we went in and attempted that 'round about midnight. Everyone drove back to the studio, and that's what we did." The song features bass guitar lines by Maurice Gibb as Barry explained, "He had a lot of intensity in his bass, Mo was a real McCartney bass freak, as a lot of us were. He would pick up on all the things that McCartney would [do]. Maurice was very good on different instruments, you know. Good lead guitarist, good bass player, good keyboard player. He was versatile. He loved playing bass more than anything else, I think, at that time." Release The song was the group's second UK number one single, also went to number one in Ireland and reached number eight in the US, their first top-ten hit in the Billboard Hot 100. In the UK, the song was released as a single only. The song appeared on the US edition of the Bee Gees' third album Idea, but not in the UK, where the Vince Melouney track "Such a Shame" appeared instead. Both songs appeared on CD editions of the album. The song was sent to Atlantic Records with "I Laugh in Your Face", so it would be reasonable to assume that the latter was the intended B-side. However, it was dropped in favour of "Kitty Can". Cash Box called it a "one of the most powerful outings from the Bee Gees in a while", with a "phenomenal arrangement" and "brilliant performance". Versions "I've Gotta Get a Message to You" has appeared in five versions, all made from the same recording, but heard at three different speeds, faded out at three different points, and with different elements mixed forward. As to the speed, Bill Inglot said in 1999 that the mix he made