Dutch release of Beegees -coversong by The Kik - Ik doe wat ik wil ( All by Myself)

 Ik Doe Wat Ik Wil

All by myself

De enige geleende song van de plaat, origineel door The BeeGees, maar dan wel uit hun oertijd.

Dave: "Ik vond het een heel goed nummertje, maar de opname die ik ervan had klonk eigenlijk nergens naar. Het heet All By Myself en werd door ze opgenomen toen ze een jaar of veertien waren, nog voor Spicks & Specks. The BeeGees zijn een soort kameleons, die zich aanpassen aan wat hip is. Nummers schrijven konden ze wel, en het arrangement jatten ze dan van een ander. Van The Everly Brothers bijvoorbeeld, of van The Who. Dit nummer is geschreven door Maurice Gibb

 

 

The only borrowed song of the album, originally by The Bee Gees, but only from their prehistoric times.

Dave: "I thought it was a really good song number, but the recording I had it actually sounded lame It's called All By Myself, and was recognized by them when they were fourteen years old, before Spicks & Specks The Bee Gees are.. a kind of chameleons, which adapt to what is hip. Writing songs they could do, and the arrangement steal them from another. From The Everly Brothers for example, or The Who. This song was written by Maurice Gibb

You can listen here:


http://3voor12.vpro.nl/nieuws/2014/april/The-Kik-track-by-track-interview.html





 

Barry Gibb among celebs who raise $100,000 to rescue children

for complete article see link below

Barry Gibb among celebs who raise $100,000 to rescue children

Barry gibb picks band

http://mashable.com/2014/04/16/barry-gibb-picks-band-that-serenaded-sxsw-victim-as-tour-opener/



Former Bee Gees front man Barry Gibb, the last surviving member of the genre-blurring music group, has chosen Jared & The Mill as the opening act of his U.S. tour. The Phoenix-based band memorably — and unselfishly — gave a private hospital-room concert last month to 18-year-old Mason Endres, days after she was struck by an intoxicated driver during South by Southwest in Austin, Texas.

rare interview

Robin Gibb: 'I don't sing with my voice, I sing with my heart' – a classic interview from 1969

To mark the sad death of robin Gibbwe visit rocks Backpages – the world's leading archive of vintage music journalism – for this interview with him by Keith Altham, first published after the Bee Gees' temporary split in August 1969 in Top Pops

With Robin Gibb hurtling up the charts with his first solo single, Saved by the Bell it would appear that the answer to the question, "Who was the key figure in the Bee Gees' success?" has been firmly given. If Robin had a motto it would be covered by that line from the Max Bygraves hit of yesteryear – "You've Gotta Have Heart."

Robin informed me during a recent interview. "I sing how I feel. I know I haven't got a great voice but I manage to touch something inside other people that they understand. It is an accident but the best kind of accident – one with no blood involved."

Robin quite rightly believes that his distinctive vocal style is an important ingredient in his success although he likes people to listen to the lyrics he writes as well. The imperfect, broken quality of his voice is something that he quite deliberately retains and regards the suggestion of taking singing lessons with understandable indignation.

"If I did that it would not be me, would it?" he says. "Dylan sings in the same way as me. He uses his heart as an instrument. Even I can't understand completely why this works but it does. It's not possible for any artist to jump outside themselves and see themselves for what they are. Even when you look in a mirror you get a reversed image!"

There has never been any secret made of the fact that Robin is an over-sensitive personality and he reacts like a finely strung instrument to the vibrations of life as those tensions and frustrations tear at him. He maintains that he has never objected to constructive criticism but that gossip in the press and those elements who seem intent upon prying into his private life both hurt and anger him.

"I actually like constructive criticism in the press but there is too little of it," said Robin. "The thing that really hurt me, and was the deciding factor on my splitting from the Bee Gees, concerned a feature which was conducted between a reporter and my wife. It took things entirely out of context which she had said and slandered both my character and her own. It made it look as though Molly was a bad influence on me instead of the inspiration she is."

What other inspirations does this talented young composer draw his work from?

"Perhaps because I am unduly sensitive, things like the Hither Green rail crash in which I was involved affect me deeply," said Robin. "That had a lasting effect upon me – I saw bodies and people being given the last rites. I'm frightened stiff of death.

"It also enabled me to work out who my friends were. The curious merely wanted to know whether I had seen any dead bodies – the friends were those who wanted to know how I felt.

"Sometimes things that I read touch me – writers like Lewis Carroll and Charles Dickens affect me. I read this piece in one of Dickens' books where he was trying to get published an article condemning the spectacle of public hangings. The law of the day slapped a writ on him for interfering with public entertainment!"

Not surprisingly for so delicately-balanced a personality, Robin is something of a sentimentalist and unashamedly admits to seeing the Julie Andrews' film Mary Poppins no less than five times.

"I love the music they write for Julie," said Robin. "I would love to write a song for her. I tried to get Mary Poppins for my home movie projector – the Sherman brothers write beautiful songs. Rogers and Hammerstein, I like all that kind of music."

For so sensitive a person it would seem that the very idea of a solo career might have been a frightening decision – was it?

"No, I was getting too hurt where I was," said Robin. "Music to me is an adventure and I can do far more on my own. It was restricting writing for the Bee Gees but I enjoyed it until they began to judge what I was doing. I'm not going to be judged. O.K. SO I KILLED A MAN – BUT I'M NOT GOING TO BE JUDGED!"

The stars are another influence on Robin – those in the sky – not on the stage. He explains his belief in astrology thus:

"It's a fact that the moon has an effect upon our seas and tides. It is a fact that some people behave strangely during certain phases of the moon. Multiply the effects of one small asteroid by all the billions of stars and that is why I believe in the influence of the stars".

Amongst his independent projects now are a musical around the character of Dickens' Scrooge and another around the figure of Henry VIII.

"I'm a British history fanatic," said Robin. "History fascinates me – my particular hero is Sir Winston Churchill. I doubt whether there will ever be a greater man.

"I've written the songs for Henry VIII and the story can be written around those songs. It's a happy-sad story rather like most of my work. Full of pathos."

Finally I talked to Robin about the choice of Saved By the Bell for his first single. Was it a difficult choice to make and did he write the song as a deliberate single?

"Everything I write I write to the best of my ability," said Robin. "That is every song I have written could be a single – I never write A-sides that would be an insult to my ego. Mother And Jack on the flip of Saved By the Bell could just as well have been an A-side. All the tracks for my first LP could be singles."

Robin Gibb -interview Bee Gees as producers 1981

Robin gibb on TV Show Who do you think you are?

Bee Gees star Robin Gibb was left feeling "helpless" after discovering his ancestors were poverty-stricken as he researched his roots for a genealogy TV show.

Gibb unearthed tragic secrets about his family tree while filming an episode of U.K. ancestry series Who Do You Think You Are? and he was heartbroken to find that his great-great grandfather William abandoned his young children to look for work when the collapse of the weaving industry caused mass unemployment - only to die penniless in a Scottish slum in 1874.

Gibb says, "It's a very sad story. You feel helpless because when you read about the situation and the ­conditions... you feel like you want to reach out and help."

But the singer was inspired after learning William's son Matthew had overcome his childhood poverty to become a decorated soldier.

He adds, "I admire him as he appears to be of great character and tough, great qualities to have

Robin Gibb - My Haven

My haven: The Bee Gee, Robin Gibb invites us into the living room of the 12th-century Oxfordshire home he found by accident on a Sunday drive

Robin gibb nodigde ons uit in zijn woonkamer van zijn  huis iuit de 12e eeuw in Oxfordshire dat hij per ongeluk vond tijdens een ritje met zijn auto op een zondag.

Last updated at 10:30 PM on 22nd July 2011


Treasure trove: Robin Gibb's living room is packed full with some of his favourite things

 
Robin's woonkamer ligt vol met zijn favoriete voorwerpen.

1 HISTORY MAN

Winston Churchill is a hero of mine. He’s one of the greatest men that ever lived. I’ve always had a romantic feeling about the past, always loved history, which is why I bought this house. I saw it and I had to have it. It was built in the 12th century and used to be a monastery. It’s older than Westminster Abbey, and it’s said Henry VIII visited with Anne Boleyn. It has its own chapel and there’s even a resident ghost.

Winston Churchill is een held van mij. Hij is een van de grootste mannen die ooit geleefd heeft. Ik heb altijd al een romantisch gevoel over het verleden, altijd al gek geschiedenis, dat is waarom ik dit huis kocht. Ik zag het en ik moest hebben. Het werd gebouwd in de 12de eeuw en was vroeger een klooster. Het is ouder dan Westminster Abbey, en het is aldus gezegd dat  Henry VIII het bezocht met Anne Boleyn. Het heeft een eigen kapel en er is zelfs een spook.

2 YOUNG GUNS

Here we are at Manchester Odeon – one of our earliest performances – in 1958. Me and Maurice are in shorts singing Lollipop, Lollipop in harmony at a kids’ matinée. Little did we know someone from the Manchester Evening News was in the audience and he took this picture. When our mum Barbara saw it in the paper she said, ‘What have you been up to?’ We hadn’t told her beforehand.

Hier zijn we bij Manchester Odeon - een van onze eerste optredens - in 1958. Ik en Maurice zijn in korte broek. We zongen  Lollipop in harmonie op een kids 'matinee. we wisten niet  dat iemand van  de Manchester Evening News in het publiek was en hij nam deze foto. Toen onze moeder Barbara het zag in de krant zei ze: 'Wat heb je gedaan?' We hadden haar van tevoren niets verteld.

3 MUM'S THE WORD

I had this picture of my mum, taken in 1923 when she was about two or three, blown up because it’s so beautiful. It’s almost sepia, very artistic, with that 1920s bob hairstyle she’s wearing. She’s 91 now and lives in my house in Miami, near my brother Barry. She loves the sun. She’s hard as nails, tough as old boots and sharp as a tack. My father, Hugh, who gave up work to travel with us, died in 1992.

Ik had deze foto van mijn moeder , genomen in 1923 toen ze ongeveer twee of drie was , vergroot omdat het zo mooi is. Het is bijna sepia, erg artistiek, met dat jaren '20 bob kapsel dat ze draagt​​. Ze is 91 en woont nu in mijn huis in Miami, in de buurt van mijn broer Barry. Ze houdt van de zon. Ze is hard als spijkers, taai als oude laarzen en scherp als een overstag. Mijn vader, Hugh, die zijn werk opgaf om met ons  te reizen , stierf in 1992

 HIT MAKER

My brother Barry and I used this old Newman guitar to record songs like Jive Talkin’ and Stayin’ Alive. It’s our lucky instrument because we played it on so many hits. It’s wonderfully crafted and gives an outstanding sound. I bought it in Memphis in 1973. I’d never part with it because it means so much to me. I’ve had countless guitars since – but this one played the most important part in my career.

Myn broer Barry en ik gebruikte  dit oude Newman gitaar om  nummers als Jive Talkin 'en Stayin' Alive op te nemen. Het is ons geluksinstrument omdat  we het op zo veel hits gebruikte. Het is prachtig gemaakt en geeft een uitstekend geluid. Ik kocht hem in Memphis in 1973. Ik zal het nooit wegdoen, want het betekent zoveel voor mij. Ik heb talloze gitaren, - maar deze speelde de belangrijkste rol in mijn carrière.

 
5 SHIP SHAPE

Dwina, my wife, gave me a pen on Christmas. It’s actually made from a piece of a chandelier from the Titanic. I’m fascinated by the Titanic story. I’ve been writing a requiem and celebration with my son, RJ Gibb, who’s very talented. I’ve always wanted to write a classical piece, and the Royal Philharmonic Orchestra will perform it next year for the 100th anniversary. It’s not morbid at all.

Van mijn vrouw Dwina, kreeg ik een pen met Kerstmis. Het is eigenlijk gemaakt van een stuk van een kroonluchter van de Titanic. Ik ben gefascineerd door het Titanic verhaal. Ik heb  een requiem en viering met mijn zoon, RJ Gibb geschreven , die is erg getalenteerd. Ik heb altijd al een klassiek stuk willen schrijven, en het Royal Philharmonic Orchestra zal het   het volgend jaar voor de 100e . Het is helemaal niet morbide.

 
6 WORK OF ART

This 1920s record player, complete with the old large horn and needle, is really special to me. It signifies what my life has been about – making records. To me it’s just a wonderful piece of art. Today technology has replaced art, even with cars. Rolls-Royces don’t look like they used to. I think beauty is something that’s for ever – and something that’s for ever has to be something good.

Deze platenspeler (1920), compleet met de oude grote hoorn en de naald, is echt speciaal voor mij. Het betekent hoe mijn leven ongeveer is- het maken van platen. Voor mij is het gewoon een prachtig kunstwerk. Hedendaagse technologie heeft kunst vervangen, zelfs met auto's. Rolls-Royces zien er niet uit zoals ze gewend zijn. Ik denk dat schoonheid is iets dat ervoor altijd is - en iets dat voor altijd is  moet iets goeds zijn.

interview The Barry Gibb Mythology Tour Band may 5th 2013

Barry Gibb Mythlogy Tour Band

 
1. How does he fill in the last hours before the show? Does he wants to be left alone or is he comfortable with people surrounding him?
And most of all is he superstitous?

Barry is generally a very relaxed guy. He always has his family around and spends much of his time with them during the day and before the show. Sometimes there is a “Meet & Greet” with local friends or fans before the show, but it usually happens with enough time for him to collect his thoughts right before the show.

 Many times he will want to meet with the whole band and just express his happiness with how things are going, and tell us all to go have a good time and give the audience a great show.

If Barry is superstitious, we have never heard about it.

2. How are the rehearsal with Barry ,because we all know he is a perfectionist.

Rehearsals with Barry are relaxed, but productive. Everyone who works with him maintains the same high standards that he has, so things run very smoothly. If we are rehearsing a new song for the show, everyone in the band already knows their parts and is ready to go. Sometime we will suggest changes, or Barry will tell us that he would like to do something different than the original recording. Music is always evolving, and he is open to new ideas.

3. Does he still have a great sense of humor?

Yes he does! (And so does his whole family) He routinely causes the band to laugh during rehearsals or even the show. Although the show has a certain flow and direction, his commentary is not written down or memorized which allows him to improvise or add something that we may not have heard before.

4. What kind of Boss is he?

Barry is a dream to work for. He is such a professional on every level and he expects the same from those around him. That way he can maintain his high standards. He has a profound respect for those of us in the band and really treats us like family. Most of us in the band have known each other for 20 years or more. We are all friends first and co-workers second. Unlike many previous tours we have encountered, the band and crew all get along very well. Many of us are recording musicians or vocalists, have families, and steady work at home. It takes a lot to get some of us out on tour, but no one in Barry’s band thinks twice about it when he has work. Additionally, he is the only “boss” we know who actually asks the band if they are interested in doing shows and whether or not we will be available. We realize that we are all expendable in the big picture, but Barry doesn’t treat us that way.

5 What does he do right after the show? Which way he relax?

Doing a live show for this type of audience is always an adrenaline rush. We all take a little while to come down from the excitement. As soon as we get off stage there is usually some kind of hug, shake, or acknowledgement from him about the show. Then we usually change out of our “show” (sweaty) clothes. We don’t know of anything specific that Barry might do to relax. We, in the band may grab a bite to eat or a drink, see some local music, or check out the nightlife depending on where we are and what the next day’s schedule might be.

6. Are there any pranks going on?

Certainly if the opportunity presents itself, but there is a lot of respect for everyone on tour, so nothing has ever gotten out of hand.

Is he nervous before going on stage?

Nervous is probably not the right word. Anticipation is probably a better way to describe it. Barry always wants to give the audience a great show, but he wants to enjoy it as well. For him, the two things go hand in hand. If he doesn’t have a good time, the show will suffer, and then the audience will not be as satisfied.

8. Does the tour seems to bring Barry comfort and joy doing this?

Absolutely! He is surrounded by family, friends, and music. Of course there are certain pressures that go along with being a legend in the music business, but he handles all of it with grace.


.9. Will there be a different song list on the European tour?? and do you know which countries will be next? (after the UK)


There may be a few set list changes from the Australian leg, but we have yet to get any specifics.We have not received any info about future dates, but we try to keep this page updated whenever dates become public knowledge.

10 How is it working with Steve Gibb and Samantha Gibb?

Steve and Sami are both great to work with and very talented in their own right. Both of them have wonderful families who join us whenever possible. We also know that Barry enjoys having the next generation of Gibbs up on stage with him. He loves them to each have the spotlight during the show and in their own endeavors



11 How is it singing and rehearsing a duet with Barry Gibb?
 
It's amazing! Barry is very polite and sweet. He focuses on us together when we sing. Sometimes I freak out thinking about how I'm singing these songs that I loved on the radio, but he is so normal about it that it puts me at ease. I couldn't ask for a better duet partner.-Beth Cohen

 12. Do you have time to visit some of the sights from the places you visit during the tour?

That is one of the perks of touring with Barry. He prefers not to sing back to back shows, so we have days off in between. One of the reasons we started this page was to keep our friends and family up to date on what we were doing. Everyone in the band has access to post photos or comments from wherever we are. Not being out on tour at this exact moment, there is not a whole lot of those types of postings, but it will start up again as we gear up for the UK tour.

13.Are there things he has to do (like praying or any rituals or related acts) before going on stage?

Not that we know off,

n14:how does it feel being on tour with Barry Gibb again (John Merchant)

Amazing. Inspiring. Emotional. Blissful. And way too short-John Merchant

I want to thank the Barry Gibb Mythology Tour Band  !!!

© operator Bee Gees Fan Fever

Robin Gibb remembered in South Florida

von Ben Crandell, Sun Sentinel, 22. Mai 2012

Photo: AFP/Getty Images

Away from the spotlight, longtime Miami Beach residents Robin and Barry Gibb, opposites in temperament and creative impulses, had a relationship that was extraordinary even for two brothers. “They had a magical connection,” said John Merchant, veteran producer and engineer at the brothers' Middle Ear Inc. recording studio in Miami Beach.Robin Gibb, who with Barry and twin Maurice was one-third of the global pop superstar trio the Bee Gees, died on Sunday of complications from cancer at age 62.

Merchant began at Middle Ear as an intern in 1988, and through 2004 worked on many late-career Bee Gees albums, including “One,” “Size Isn't Everything,” several live recordings and projects produced by the brothers for the likes of Celine Dion, Michael Jackson, Barbra Streisand. The brothers were competitive and approached songwriting from very different angles, Merchant said from his home in Nashville. Robin wanted a pop groove, Maurice was interested in sophisticated textures, and Barry focused on the message in the lyrics. Their fights were legendary. “Sometimes Barry would go off left of center and Robin would go: ‘That's not a hit.' And I'd say ‘Oh, dear,'” Merchant recalled, with a laugh. “But they always found a way to work it out. They had an expression they learned from their father: ‘Let's put a kettle on.'”

Also legendary was Robin's wicked sense of humor, which often came in the form of “shockingly filthy” jokes, Merchant said. Robin was also a prolific doodler, again usually working in a profane motif, with the brothers' record company bosses a frequent target. “I still have to smile when I think about it,” Merchant said.

Fort Lauderdale singer Beth Cohen hooked up with the Bee Gees when she sang backup on their Streisand album “Guilty Pleasures,” and performed with the brothers at the 2009 Love and Hope Ball for diabetes research at the Westin Diplomat Hotel in Hollywood. She described a “very interesting dynamic” at rehearsals between a subdued Robin and the more boisterous Barry. “Most of the time they got along really well, and sometimes they'd look like two people just standing next to each other in a room.” Cohen, 41, said she wasn't very familiar with the pre-disco work of the Bee Gees, but nevertheless found herself caught up in the emotion when she joined Robin and Barry on “To Love Somebody,” filling the void left by Maurice's 2003 death. “Blending with these two guys, essentially taking the role of the third brother, was very meaningful,” Cohen said.

Fernando Perdomo of the Miami-based band Dreaming in Stereo and head of Forward Motion Records, got his start in the industry working with the Gibb brothers at Middle Ear. Just 31, Perdomo still finds the music of the Bee Gees relevant. He and buddy Vic Kingsley recently recorded a country-style version of “Staying Alive,” with banjo and a more reverential pace. “I always loved that song,” Perdomo said. “It's incredibly well-written … If you listen to the lyrics, it's not all that happy. It's about the struggle of surviving in the modern culture in a tough city.”

Merchant said that in later years Robin grew more reluctant to handle the lead vocal role, even on songs that Barry had arranged specifically as a showcase for "that wonderful, clear falsetto." "I'm not sure why. It was a shame, because, vocally, he was always great," Merchant said. "When he would step up to do a song like "I Started a Joke," it brought the house down every time in every city. It was haunting." Merchant said he had spoken frequently in the last several weeks with Barry, whom he described as “very sad but realistic.” Their last conversation, on Saturday, hours before Robin's death, kept to a more upbeat focus: production work on a recording of Barry's February concert at the Hard Rock in Hollywood, his first solo concert ever and a show Merchant called “amazing.”

Merchant recounted how Barry was haunted by the acrimonious final “tough love” phone conversation he had with youngest brother Andy just before Andy's 1988 death after years of alcohol and drug abuse. When Robin was hospitalized in England in November, Barry immediately flew to London. “Barry hates to fly,” Merchant said. “When you see Barry on a plane, you know he's motivated.” Merchant said the brothers were able to share some laughs over old times in the hospital. Their ability to reconnect, to “put a kettle on,” was instrumental to the Bee Gees' longevity, Merchant said. “They had a connection beyond what any of us are used to.”

THIS INTERVIEW IS EXCLUSIVE FOR BEE GEES FAN FEVER

CELEBRATING  OUR 5TH ANNIVERSAIRY!! (2011)

THIS INTERVIEW CONTAINS MORE PARTS 

 Dit interview is exclusief voor Bee Gees Fan Fever voor het vijfjarig jubileum dit jaar Dit interview bestaat uit meerdere delen en zal gedurende de maand augustus geheel worden geplaatst.

Questions to John Merchant

Vragen aan John Merchant

1.Hello John would you like to introduce yourself to the old and new Bee Gees Fans?.

1. Hallo John wil je je even voorstellen aan de oude en nieuwe Bee Gees fans?.

My name is John Merchant and I have worked with the Bee Gees sinceMarch of 1988.  (In fact, my first day working with them was the day that Andy died, March 10th, 1988.)

Mijn naam is John Merchant en ik werkte met de Bee Gees vanaf maart 1988. (In feite was mijn 1e werkdag de dag dat Andy overleed 10 maart 1988).

I began working at their studio, Middle Ear on Miami's South Beach as an intern, cleaning up and getting food, with limited involvement with the recording process.  At that time,Brian Tench was engineering and co-producing the One album, and I owe a great deal to him for graciously teaching me about the aesthetic and technological aspects of the studio.

Ik begon in de studio als manusje van alles, zoals opruimen, eten halen en maar met beperkte betrokkenheid bij het opnameproces. Toen der tijd was Brian Tech engineering en co producent van de One album , en ik ben hem veel verschuldigd met betrekking tot het leren over esthetische en technologische aspecten van de studio

In 1989, after they had completed the album, the Bee Gees decided to go on tour and asked me to join them as a keyboard technician, taking care of Maurice and Vic Martin's keyboard rigs and monitoring the modest sequencingsystem backstage.

In 1989 nadat het album klaar was , besloten de Bee Gees op tournee te gaan en vroegen mij om mee te gaan als keyboard technicus ,en zorg te dragen voor Maurice en Vic Martin's keyboard spullen en toezicht te houden op het bescheiden sequencing systeem achter het podium.

Returning home, I worked as the assistant engineer for the Size Isn't Everything and High Civilization albums, assisting for the amazing Femi Jiya (who is now working with Stevie Wonder in L.A.)  In addition, I served as the keyboard technician for the Highly Civilization tour in 1991 as well as other live performances for tv and radio throughout the early 90s.

  Eenmaal terug thuis werkte ik als assistent engineer voor het album Size isn't Everything  en de Civilization album , Ik assisteerde de geweldige Femi Jive ( deze werkt nu met Stevie Wonder in L.A.).

Tevens werkte ik als Keyboard technicus voor de High Civilization Tour 1991 en andere live optredens voor tv en radio gedurende begin jaren  '90.

In 1995, I was promoted to engineer and had the great pleasure to record much of the Still Waters album, getting to work with an amazing array of musicians, engineers, and producers, including Arif Mardin, David Foster, Russ Titelman, Hugh Padgham,and many others.  One of the best aspects of this position was that I recorded all of the Bee Gees' writingsessions, so I was able to watch their writing process from inception to completion on all of the songs, including "Alone", "Still WatersRun Deep", and "I Could Not Love You More", which was an eduction in itself.

In 1995 kreeg ik promotie tot engineer en had veel plezier met het opnemen van een groot deel van het Still Waters album. Ik was in de gelegenheid om te werken met een geweldig reeks van muzikanten ,engineers en producers inclusief Arif Mardin, David Foster , Russ Titelman , Hugh Padgham en vele andere.

Het beste hiervan was dat ik het gehele schrijfproces van de Bee Gees opnam, dus kon ik het hele schrijfproces van begin tot het einde tot stand zien komen, zoals de nummers Alone"". "Still Waters Run Deep" en " I Could Not Love You More" dat een opleiding op zich was.

In 1997, I shifted from keyboard tech to monitor engineer for the live performances, including the One Night Only performance at the MGM Grand, which I later mixed in stereo and surround for the album and video. At the very end of the video, if you watch closely, Maurice introduces me along with the rest of the band. (I had a lot more hair then!)

 In 1997 veranderde ik van keyboard technicus naar monitor engineer voor de live optredens, inclusief  het One Night Only performance at the MGM Grand, welke ik later mixte in stereo en surround voor het album en video. Bijna aan het einde van de video, als je goed kijkt, introduceert Maurice me samen met de band .( Ik had toen nog wat meer haar ! )

Throughout the late 90s, I worked as engineer and co-producer with the brothers on the later recording projects, including This Is Where I Came In and outside artists like Michael Jackson and Barbra Streisand's Guilty Pleasures album.

Gedurende het einde van de jaren '90 werkte ik als engineer en co-producent met de broers aan de latere opname processen , inclusief This Is Where I Came In , en artiesten zoals Michael Jackson en Barbra Streisand 's Guilty Pleasure album.

Although I am now teaching audio production at Middle Tennessee State University, I am always ready to work with them whenever asked.  Earlier this year, I flew to Miami to help with sound for the Love and Hope Ball and last year did sound for the BeeGees' performances on Strictly Come Dancing and American Idol.

Hoewel ik nu lesgeef over audio producties op de Middle Tenessee State Universiteit , ben ik altijd bereid met ze te werken waneer ze me vragen. Begin dit jaar vloog ik naar Miami om met het geluid te helpen voor het Love en Hope Ball en afgelopen jaar voor de optredens voorde show Strictly Come Dancing en American Idols

2. Working with the Bee Gees had to be something special, which part of the proces of engineering/producing an album do you have the best memories off?

2. Werken met de Bee Gees moet iets  speciaals zijn geweest, van welke deel van het engineering/productieproces heb je de beste herinnering?

Looking back, it's funny what you remember.  I remember just about every live show,especially the ones from the late 90s. I remember most of the sessions from the Still Waters and This IsWhere I Came In albums, in part because they were the most recent recordings but also because there was a lot of drama making those albums:  Still Waters was exciting because of all of the amazing musicians and producers we worked with, and TIWICI was memorable because of the challenges in just getting it finished. Of course, I enjoyed all of the albums, and there are flashes of memories from each of them.  Honestly, some of the best moments were the personal ones, hanging out and sharing a laugh over a dirty joke rather than necessarily the recording process; it was a magical time, and I was very fortunate to have been a part of it

Terugkijkend is het grappig wat je herinnert. Ik herinner me bijna elke live show, vooral the One optredens van de latere jaren '90. Ik herinner me het meeste van de sessies van Still Waters en This Is Where I Came in albums, gedeeltelijk omdat zij de recentste opnames waren maar ook omdat er veel om zich heen afspeelde in het maken van deze albums: Still Waters was spannend door de vele geweldige muzikanten en producers waar we meewerkte,en TIWICI was gedenkwaardig vanwege de uitdagingen om het klaar te krijgen.

Natuurlijk genoot ik van alle albums en er zijn flitsen van herinneringen van elk album. Eerlijk gezegd waren de persoonlijke herinnering vaak de beste momenten. Het bij elkaar zitten en lachen om een schunnige grap in plaats van per se het opnameproces.

Het was een magische tijd en ik ben erg gelukkig dat ik er deel van ben geweest.

John Merchant

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3. All three brothers are know about their humor, but can you tell the fans a funny moment you shared with each of the brothers?

3 De drie broers zijn bekend om hun humor, kun je de fans een leuk moment dat je met de broers had vertellen?

There are so many, it's hard to choose just one.

 Dat zijn er veel en moeilijk om te kiezen.

Barry:  At the World Music Awards in Monaco, the stage set that Barry was standing on starting moving backstage, and he pretended he was on a cruise ship sailing away.

 Barry: Tijdends de World Music Awards in Monaco, begon het podium waarop barry stond naar achter te bewegen , en hij deed alsof hij op een cruiseship was en wegzeilde.

Robin:  Most of the jokes that Robin told were far too dirty for me to repeat.  Needless to say, they were extremely funny and completely filthy.

 Robin: De meeste grappen waren te schunnig om te herhalen,onnodig te zeggen dat ze ontzettend grappig waren en schunnig.

Maurice: Maurice loved to laugh and would bring in all sorts of games or gags or magic tricks to make that happen.  He loved gadgets, including this little rubber cone that made farting noises when you squeezed it - it was wonderfully silly.

 Maurice: Maurice hield van lachen en bracht allerlei spelletjes of spulletjes of goocheltrucs om iedereen aan het lachen te krijgen. Hij hield van gadgets zoals een rubberen zak dat het geluid van een wind  maakte als je erin kneep. Geweldig grappig.

4. Making an album is an extensive production process, on which album did you spent the longest time, and what song was the most time-consuming to perfect.?

4, Een album maken is een uitgebreid proces, aan welk album werkte je het langst, en welk nummer nam de meeste tijd in beslag om te perfectioneren??

We spent quite a long time on the High Civilization album, in part because we tried so many different approaches on each song.  Once the songs were written, they were recorded with the full band, and then edited, adjusted,tweaked, edited, time shifted, and then re-recorded, often with a slightly different groove or chord structure. Since this was my first full album as an assistant, I loved taking that much time on every aspect of the production process.  In the end, there were more than 5 different versions of"Paying The Price Of Love" before we arrived at the approach for the released track.

 We hebben een behoorlijk lange tijd aan de High Civilization album gewerkt , deels omdat we zo veel verschillende benaderingen  op elk nummer geprobeert hebben . Nadat de nummers waren geschreven, werden ze opgenomen met de volledige band, en vervolgens bewerkt, aangepast, getweaked, bewerkt, de tijd verschoven, en vervolgens opnieuw opgenomen, vaak met een iets andere groove of akkoord structuur. Aangezien dit  mijn eerste volledige album als een assistent was, hield ik ervan veel tijd over elk aspect van het productieproces te nemen. Op het einde waren er meer dan vijf verschillende versies van "Paying The Price Of Love " voordat we aangekomen bij de aanpak van de uiteindelijk uitgebrachte versie..

5. What was your favorite album to work on and why?

5. wat was jouw favoriete album en waarom?

I loved the One album as an introduction to the brothers and the opportunity to work in their studio.  It's still one of my favorites.

Ik hield van de One album omdat het mij introduceerde bij de broers en ik de gelegenheid kreeg in hun studio te werken. Het is nog steeds 1 van mijn favorieten.

I loved working with Femi and Tim Moore for months on the end for the Size Isn't Everything and High Civilization albums.

Ik hield van het maandenlang werken met Femi en Tim moore voor het einde van de Size isn't Everything en High  Civilizations albums.

I loved watching Barry, Robin & Maurice interact with the producers ont he Still Waters album.  In particular, it was a great honor towork with Arif Mardin, who was an incredible producer and brought an elegant presence to the studio.

 Ik hield ervan om Barry Robin en Maurice te zien werken met de producers van tijdens het Still Waters album. Het was vooral een grote eer om met Arif Mardin te werken. Een geweldige producer en hij was een elegante aanwezigheid binnen de studio.

I really enjoyed making the One Nigh tOnly album, since it was a chance to hang out with a bunch of my friends inVegas for 2 weeks!

Ik heb vooral genoten van het One Night Only album omdat het me in de gelegenheid stelde om een stel van mijn vrienden  gedurende 2 weken in Vegas te zien.

I wish we could go back and make all of them again, but it was great to be there while it happened.

  Ik wenste dat ik de klok terug kon draaien en alle album opnieuw kon maken, maar het was geweldig er deel van te zijn toen het gebeurde.

6. What song was the best to produce, and what song has never become as you thought?

 6. Welk nummer was het best om te produceren en welk nummer is nooit helemaal geworden wat je ervan gehoopt had.?

That's a good question.  I loved the demo and writing processfor "Just In Case" and I wish that more people had gotten to hear that song.  Hugh Padgham recorded an alternate version of "Still Waters" in New York that I really liked but that was not released; in addition, Brian Tench did an amazing remix of "Still Waters" that was totally cool was also not released.  Some day, they could release an entire album of demos,remixes, and unused songs just from the Still Waters project.

 Dat is een goede vraag. Ik hield van de demo en het  schrijfproces van "Just In Case" en ik wens dat meer mensen  dat nummer te horen hadden gekregen. Hugh Padgham nam  een alternatieve versie van "Still Waters" in New York op dat ik goed vond , maar dat niet werd vrijgegeven, daarnaast,  heeft Brian zelf een geweldige remix van "Still Waters 'gemaakt , dat was helemaal cool maar was ook niet vrijgegeven. Op een dag, kunnen een heel album van demo's, remixes, en ongebruikte songs alleen uit de Still Waters project vrijgeven.

7. How was working with the Bee Gees ? And what did you learn during working with them?

7. Hoe was het om met de Bee Gees te werken? En wat heb je geleerd tijdens deze periode?

It was great, amazing, life-changing, and the foundation for my entire career. It was also a job, which required focus and effort and, while very cool,could be very challenging, both from technical and an artistic standpoint.

Het was geweldig, verbazingwekkend, en de basis van mijn volledige carriere. Het was een baan die eiste dat je je focus hield en alles van je vroeg. Hoewel erg cool het was heel uitdagend zowel technisch als artistiek gezien.

What did not learn from them?!  I got a history in British record production; an introduction to some of the most influential people in the record industry; learned patience, diligence, and persistence when it came to the craft of making records; how to write a beautiful, memorable melody, and how to then use the recording process to make that melody shine; how to take a song and set it on fire (in the best way); and how to deal with challenges and disappointments professionally.

Wat heb ik niet van hun geleerd?! Ik heb een verleden in de Britse platen productie, een introductie tot enkele van de meest belangrijke mensen in de platenindustrie, leerde geduld, ijver, en doorzettingsvermogen als het  kwam tot maken van platen, hoe een mooie, gedenkwaardige melodie te schrijven, en hoe  vervolgens met het opname-proces die melodie te laten stralen. hoe een  gekozen nummer tot een geweldig succes te maken. En hoe professioneel  om te gaan met uitdagingen en teleurstelingen.

8, How big was your influence during the recording of the album?

8. Hoeveel invloed had je tijdens de opnames van een album?

My influence was extremely limited. On my best days, I just tried to stay out of the way, so that you listen to the song and not the recording.

On one occassion, Barry said that I was their only link to Earth, which sounds reasonable.

Mijn invloed was zeer beperkt. Als het een goede dag was ,dan bleef ik gewoon uit de buurt zodat je alleen naar het nummer luistert en niet naar de opname zelf.

Op een gegeven moment zei Barry dat ik hun enige link naar de aarde was wat begrijpelijk is.

9. If the Bee Gees would produce another artist which artist would be their favorite choice?

9.Als de Bee Gees een andere artiest konden produceren, welke artiest zou dan hun favoriet zijn?

Good question - you'd have to ask them!  I would have loved for them to work with Paul McCartney, because I think they could have challenged him in a way that few producers and songwriters could. I'd love to hear what a collaboration with a top R&B artist like Jay Z or a top country artist lik eCarrie Underwood would sound like as well.

 Goede vraag ,maar dat zou je hun zelf moeten vragen.  Persoonlijk had ik graag dat ze nog eens met Paul McCartney werkte, Omdat ik geloof dat ze hem nog meer kunnen uitdagen dan andere producers en songwriters zouden kunnen doen.

Een samenwerking met een top R & B artiest als Jav Z of een top country artiest zoals Carrie Underwood  zou ik ook klasse vinden.

10. Were you also involved in activities such as live performances of the brothers one night only concerts?

10. Was je ook betrokken bij evenementen zoals de live optredens van de ONO concerten?

Yes, I did a lot of the pre-production and rehearsals with the band before all of the One Night Only preformances and then ran the monitors (on-stage sound) for the band and Bee Gees.  Looking back, these were some of themost stressful but rewarding experiences.

Jazeker. Ik deed veel voorbereidend productiewerk en repetities met de band voor de ONO optredens en zorgde voor de monitors(podiumgeluid) voor de band en de Bee Gees.

Terugkijkend waren dat de meest stresserende maar lonende ervaringen.

 1. You make music technically how is it to work with people who do not put notes on paper, yet yielded practical problems?

11. Jij maakt muziek met techniek , hoe is het om te werken met mensen die geen noten op papier kunnen schrijven, lgaf dit praktische problemen?

I think people in the studio are like a team of horses:  if they work together, they can movequickly and powerfully to drive an artist ahead; however, if they work inopposite directions, they can pull an artist apart.

Mensen in een studio zijn een team. Als ze goed samenwerken kunnen ze een artiest snel en krachtig vooruit drijven. Als het team dit niet kan dan valt alles uiteen.

Of course, the brothers certainly express themselves clearly to musicians and producers, and it's our job to translate what they ask into practical application.  That's true for any artist and production team.  Ideally,each can trust the other to understand their job and help propel the songforward.

De broers kunnen zich goed uitdrukken richting muzikant en producent en het is onze taak om datgene wat gevraagd wordt om te zetten in een in de praktijk werkbaar iets. Dat geldt voor elke artiest en productieteam.  In het ideale geval kan het vertrouwen in elkaars werk de voortgang van het lied helpen.

Music is not a written tradition, it's an aural one, so being able to read and write music is unnecessary to be creative, in the same way that you do not need to read or write in English or Dutch to be a great storyteller.  I believe that their legacy of work speaks (sings?) for itself in terms of success in communicating their ideas,both to those in the studio and ultimately to the audience.
Muziek is niet een schriftelijke traditie, Het is een auditieve , zo het kunnen lezen of schrijven van muziek is niet nodig om creatief te zijn, net zoals je geen engels of nederlands hoeft te kunnen lezen en schrijven om een goed verhaal te kunnen schrijven.

Ik geloof dat hun nalatenschap van hun werk voor zich spreekt (of zingt?) wat betreft de mate van succes in het overbrengen van hun ideeën, zowel in de studio als uiteindelijk het publiek.

12. What was the most pronounced characteristic of each individual brother?

12. Wat is het meest uitgesproken karakter van elke broer?

Barry -inventive, creative; and business-minded.

Barry: inventief - creatief - zakelijk

Robin - commercial-minded,clever and ambitious.

Robin- commercieel - slim en ambitieus

Maurice - extremely talented, likeable, and terribly missed.

 Maurice - ontzettend getalenteerd - aardig en word vreselijk gemist.
A special thank you to John Merchant for making this interview possible and for taking the time to answer these fanquestions from all over the world.
And ofcourse a big thank you also for celebrating the 5th anniversary of the website with us .

© operator Bee Gees Fan Fever