The Bee Gees singer Barry Gibb awarded knighthood in New Year's Honours list 2018

Congratulations to SIR Barry Gibb


The independer


Ringo Starr, Strictly Come Dancing judge Darcey Bussell, and acclaimed author Michael Morpurgo were also named in the 2018 honours list

The Beatles' Ringo Starr and Bee Gees co-founder Barry Gibb have both been awarded knighthoods in the New Year Honours.
Gibb, who rose to global fame as co-founder and frontman of one of the most successful groups of all time, dedicated the honour to his late brothers and former bandmates, and said he was "deeply honoured, humbled, and very proud".
"This is a moment to be treasured and never forgotten," he added. "I want to acknowledge how responsible my brothers are for this honour. It is as much theirs as it is mine."
His knighthood follows a triumphant set for the Legend Slot at 2017's Glastonbury Festival, where he performed classic hits such as "Stayin' Alive", "Tragedy" and "Night Fever".
Starr was honoured for his contributions to music 52 years after he received an MBE as part of the 'Fab Four'. The former Beatles' member's bandmate Sir Paul McCartney was appointed a knight in 1997.


Royal Center december 30 2017


Sir Barry Gibb has dedicated his knighthood to his late brothers and former bandmates, Robin and Maurice.
The 71-year-old Bee Gee has been named in The Queen’s New Year Honours list for services to charity and music

Sir Barry said: “I am deeply honoured, humbled, and very proud. This is a moment in life to be treasured and never forgotten.

“I want to acknowledge how responsible my brothers are for this honour. It is as much theirs as it is mine. The magic, the glow, and the rush will last me the rest of my life.”

Barry is the last surviving member of the Bee Gees. Maurice Gibb died unexpectedly in 2003 at the age of 53 in Florida due to complications of a twisted intestine.

Robin Gibb died in 2012 at the age of 62 from liver and kidney failure. He had been suffering from ill health for some time after being treated for a twisted intestine in 2010.

All three Bee Gees were awarded a CBE in 2002 by The Queen.



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No Place is My Home - The Tree Gees

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No Place is My Home - The Tree Gees Arranged by The Tree Gees Available on Vinyl Limited Edition Artwork and drawings : Maxo Ruggiero Video by Ted Vision Ap Beat Publishingvideo

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Robin Gibb A Brush With Fame

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rare. videoclip saw a new morning

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BOOK LAUNCH – MANCHESTER

 GSI was contacted this week about a new book which will be released the coming week about the area in Manchester where our Brothers Gibb grew up before leaving for Australia.
The writers of the book invited the family through me to be present at the book launch....
The evening will be opened by The Lord Mayor of Manchester and GSI will report about it of course as several of the Gibb Family members are planning to visit this book launch.
The book is called The Quirks of Chorlton-cum-Hardy.
The history of Chorlton from a very different angle, written by local historian Andrew Simpson, together with Manchester artist Peter Topping’s paintings.
This 200 page, full colour title, tells the stories of the unusual, the odd, the bizarre, the eccentric and our much loved Chorlton personalities and quirky buildings.



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Listen to Night Fever : The rise of the Bee Gees BBC Radio, November 15 2017.

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Ana Matronic marks today's 40th anniversary of the release of the blockbuster soundtrack. The 1977 soundtrack to Saturday Night Fever catapulted the Gibb brothers into the public consciousness. Fuelled by the movie's success, the soundtrack broke multiple industry records, becoming the highest-selling album in recording history up to that point. With more than 40 million copies sold, Saturday Night Fever is among music's top 5 selling soundtracks.
Featuring a stellar cast boasting an exclusive interview with Barry Gibb.



http://www.bbc.co.uk/programmes/b09dy9gs

videos Barry Gibb at MTSU 10-28-2013

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Singer-Songwriter Barry Gibb Named MTSU Inaugural Fellow

Music icon Barry Gibb easily traced the genealogy of the Bee Gees classic “How Can You Mend a Broken Heart?” for more than 900 fans and friends at MTSU’s Tucker Theatre Monday night, Oct 28.
Poignantly recalling his and his late brothers’ love for country music from their Australian childhood, the singer-songwriter-producer gently began picking out a Hank Locklin country classic on his acoustic guitar while talking with Beverly Keel, chair of MTSU’s Department of Recording Industry.
“The first country song I ever recall hearing was Johnny Tillotson’s [cover of] ‘Send Me the Pillow That You Dream On,’” Gibb said. “We only got the one radio station in Australia, and the people we heard classified as ‘rock ‘n’ roll’ were Roy Orbison and Johnny Cash.
“‘Crying’ was the first record I ever bought. … We love country. It all comes from the pathos. We always loved a sad story,” he continued, segueing smoothly into “How Can You Mend,” the brothers Gibb’s first U.S. No. 1 single.
The audience, which almost filled the 1,000-seat venue, rose and applauded Gibb for one of several standing ovations offered throughout the evening. Many spent the pre-show time singing along with Bee Gees hits on the PA system, and several called out happily to Gibb as he related family tales, career recollections and music history and played a handful of his hundreds of hits.
“What a fantastic, happy crowd!” Gibb said with a wide smile.
Gibb, one of the world’s most successful songwriters, has a career spanning more than 50 years. He recently concluded the European leg of his first solo tour, “Mythology,” which commemorates his late brothers Robin and Maurice and features performances by the next generation of Gibb musicians.
The evening’s visit to MTSU, part of the Department of

Music icon Barry Gibb, right, is caught off-guard by a question from Beverly Keel, chair of MTSU’s Department of Recording Industry, during a special performance-lecture inside the university’s Tucker Theatre Monday night, Oct. 28. (MTSU photos by Andy Heidt)

 Recording Industry Chair’s Speakers Series, was the first time Gibb has ever sat down for a public conversation and solo performance. John Merchant, a recording industry assistant professor who toured with Gibb for years as part of his concert sound production team, invited his former boss to the university.

Before the Tucker Theatre event, Merchant’s colleagues Michael Fleming and Matthew O’Brien introduced Gibb to several MTSU students who work on the student record label, Match Records. Fleming also showed Gibb’s son and touring partner, Stephen, and musical director Doug Emery one of the university’s state-of-the-art recording studios inside the Bragg Mass Communication Building.
Gibb and his family and friends also toured the Center for Popular Music in the Bragg building before the show, paying special attention to a colorful display of Bee Gees and Gibb memorabilia prepared by cataloging librarian Rachel Morris.
“That is GREAT!” Gibb said as he peered into the display case, grinning at several unexpected items. “There are lots of memories right there for me, oh yeah!”

Music icon Barry Gibb sings and plays the country classic “Send Me the Pillow That You Dream On,” the first country record he recalls hearing, during a performance-lecture at MTSU’s Tucker Theatre Monday night, Oct. 28.

The artist also was fascinated by the Center for Popular Music’s compact-shelving storage system, a customized archive that stretches more than 10.5 feet high to house the center’s extensive collection.
In a surprise announcement just a few minutes later in Tucker Theatre, the university recognized Gibb as the inaugural Fellow of the Center for Popular Music.
Gibb and his brothers have been topping the charts since the 1960s, becoming the only group in pop history to write, produce and record six straight No.1 hits. The Bee Gees had 16 Grammy nominations and nine Grammy wins.
Gibb also has had No. 1 songs in the 1960s, 1970s, 1980s 1990s and 2000s and is the only songwriter in history to write four successive U.S. No.1 hits.
“It’s obviously not possible for us to cover your entire career in one night, so the only solution is for you to come back again,” Keel said to the broadly smiling Gibb after the presentation.
“You’re a singer, a songwriter, a producer — most people would kill to have your level of success in just one of those fields. You’re a triple-threat icon.”
“Well, Maurice and Robin should be here tonight, too, but it’s just myself …” Gibb said softly.
He began smiling again as he launched into a list of artists he’d just seen inaugurated into the Country Music Hall of Fame the night before and how much he enjoyed their work.
“I love to be around people whose work I admire,” Gibb said. “… And I love being here.”

— Gina E. Fann (gina.fann@mtsu.edu)

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Barry Gibb Developing Bee Gees Musical

A Bee Gees musical is in the works, with Universal Theatrical Group securing rights to the legendary band's life story and music. Singer Barry Gibb, the group's only surviving member, will executive produce the as-yet-untitled project.
 

     

Their brotherly love and musical savvy turned the beat around to disco, and without Maurice it just won't be the same

UTG, Universal's live theater division, secured rights to the musical with Barry Gibb, Yvonne Gibb (wife of the late Maurice Gibb until the singers 2003 death) and the estate of Robin Gibb (who died in 2012). In a statement, Barry Gibb called the project a "wonderful opportunity" for his family.
"I'm personally very excited to be a part of the creative process along with Yvonne and Dwina," he said. "It's another adventure for us and a chance to throw the spotlight on all my brothers and finally the real story of us will be told. It's an honor to be working alongside the people I most respect. I can't wait to get started!" Universal has yet to reveal the project's full creative team, production timeline or performance location.
The Bee Gees, who formed in 1958, evolved through many stylistic changes in their decades-long run. Their early releases explored beat and psychedelic pop before their commercial peak in the late Seventies as figureheads of the disco era, epitomized by their string of ubiquitous hits, including "Stayin' Alive," "Night Fever" and "How Deep Is You Love," on 1977's Saturday Night Fever soundtrack.

In February, Demi Lovato, Little Big Town, Andra Day and Tori Kelly united for an all-star Bee Gees tribute at the Grammy Awards, marking Saturday Night Fever's 40th anniversary


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november 15 2017 broadcast night fever the rise of the Beegees on BBC radio

The 1977 soundtrack to Saturday Night Fever catapulted the Gibb brothers into the public consciousness. Fuelled by the movie's success, the soundtrack broke multiple industry records, becoming the highest-selling album in recording history up to that point. With more than 40 million copies sold, Saturday Night Fever is among music's top 5 selling soundtracks.

Featuring a stellar cast boasting an exclusive interview with Barry Gibb.

http://www.bbc.co.uk/programmes/b09dy9gs



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Barry Gibb Love and Hope Ball 2012 (Tribute to Brothers)

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Gibb collective part 13 and 14

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Gibb collective part 10, 11 and 12

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The Gibb Collective are asking for your help to get on the Tonight Show Starring Jimmy Fallon!

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Sam & Spencer Gibb for UNICEF

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A video made by Samantha and Spencer Gibb ,It is for UNICEF ftoday (October 17) being the International Eradication of Poverty


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Gibb collective part 6 ,7 8 and 9

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Gibb Collective Fan Submitted Questions

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review cd PP Arnold

Anyone who finds Eric Clapton and The Bee Gees’ Barry Gibb stepping up to offer their services as their producer is obviously special. It’s a view reinforced by knowing Rolling Stones’ manager Andrew Loog Oldham and Small Faces were already their champions. Only one person fits this unique bill.
P.P. Arnold has had no lack of starry support yet her passage through the music business has been disjointed. The release of The Turning Tide adds to what was known and also plugs gaps. The 13-cut album collects tracks she made with Clapton, Gibb and Elton John associate Caleb Quaye. All but two are previously unissued. While the music itself is as expected – powerful gospel-rooted soul-rock – this is a major release, bolstering the awareness that Arnold was integral to the higher echelons of late-Sixties/early Seventies British rock.


The US-born Pat Arnold – as she was before photographer Gered Mankowitz recast her name to make it more eye catching – arrived in Britain in September 1966 as an Ikette, Ike & Tina Turner’s backing singers. They were booked as support for The Rolling Stones’ September/October UK tour. The Stones’ manager Andrew Loog Oldham brought her to his label Immediate Records and “Everything’s Gonna be Alright”, her debut single, was issued in February 1967. Her follow-up 45s for the label included “The First Cut is the Deepest” and “Angel of the Morning”: the latter released on 14 June 1968 and her last for Immediate. There were also two albums for the label: The First Lady of Immediate (April 1968) and Kafunta (August 1968).
While with Immediate, she recorded and performed live with labelmates Small Faces and became embedded in the British music scene. Rod Stewart introduced her to Jim Morris, an employee of music business mover and shaker Robert Stigwood. She and Morris married in August 1968. The Bee Gees’ – managed by Stigwood – Barry Gibb was best man. Soon, Gibb signed her to his production company Diamond. Which was just as well as Immediate was in financial difficulties, which forced it into liquidation in February 1970.
The tie-in with Gibb resulted in one single, October 1969’s “Bury Me Down by the River”. Co-written by Barry and his brother Maurice, it was on The Bee Gees’ label Polydor and used their arranger Bill Shepherd. It was not a hit. A second non-Gibb related Polydor single, “A Likely Piece of Work”, emerged in October 1970. And that was it, P.P. Arnold henceforth disappeared into the world of session singing and the stage, and then, seemingly left music behind.


She re-emerged in 1984 with the Don Was-produced single “Electric Dreams”, which was followed in 1988 by charting in the UK with The Beatmasters and “Burn it Up”. Since then, she has worked with, amongst others, Oasis, Ocean Colour Scene, Primal Scream, Paul Weller and Roger Waters. The Turning Tide is issued by a label connected to Ocean Colour Scene’s Steve Craddock.
Unfortunately, the new album  – credited to PP rather than P.P. – has no liner notes and the recording credits are patchy. However, scouring through what has been published on The Bee Gees and looking through related discographies reveals what it is The Turning Tide has brought to the world but, of course, does not explain how these tapes resurfaced. In short, there are three sources: material recorded with Barry Gibb in 1969 and 1970; material recorded with Clapton in 1970; material recorded with Quaye in 1971. It is not an unreleased album, but a collection of (mostly) shelved recordings from different sources.

The tracks break down as: “Bury Me Down by the River” and “Give a Hand Take a Hand”, recorded with Barry Gibb on 12 June 1969 at IBC Studios and issued as a single in October 1969; “High and Windy Mountain” and “The Turning Tide”, recorded with Barry Gibb on 3 November 1969 as a proposed single for The Bee Gees’ own aborted label (Curiously, Barry Gibb told the press Rosetta Hightower’s version of “Bury Me Down by The River” was to be its first single); “Born”, “Happiness”, “You’ve Made me so Very Happy” and “Spinning Wheel” (the latter pair drawn from a then-recent Blood, Sweat & Tears album), recorded with Barry Gibb on 4 April 1970
; “Medicated Goo”, “Brand New Day” and “You Can’t Always Get What You Want”, recorded with Eric Clapton at Advision Studios in May 1970; “If This Were my World” and “Children of the Last War”, recorded with Caleb Quaye in 1971.

Based on this, it’s unlikely Arnold’s piecemeal sessions with Barry Gibb were for a prospective album. Singles were the most likely outcome. His commitment to her is remarkable as this was a busy and fraught time for The Bee Gees. He and Maurice were keeping the name afloat after Robin Gibb had left. Of the eight tracks they made together, the epic Barry and Robin co-write “The Turning Tide” and the reflective Barry and Maurice song “Happiness” are the standouts.

Arnold came to record with Clapton as Robert Stigwood – who managed him as well as The Bee Gees – had booked her as support on his UK and continental European tour of November and December 1969 on the back of the “Bury Me Down by the River” single. In May 1970 at Advision, Clapton produced and played guitar. The other players and singers included Rita Coolidge, Jim Gordon, Jim Price, Carl Radle and Bobby Whitlock.
Effectively, this session was a dry run for Derek & The Dominoes. “Brand New Day” was from Van Morrison’s recent Moondance, “Medicated Goo” was from Traffic’s third album and “You Can’t Always Get What You Want” was from The Rolling Stones Let it Bleed. Of the three, the restrained, powerful “Brand New Day” is the winner. None of the tracks were issued and this liaison went no further.

The pair of tracks made with Caleb Quaye – “If This Were my World” and “Children of the Last War” – are most probably from 1971 as they feature members of his band Hookfoot, whose debut album was issued that year (they formed in 1970 though). The rolling “Children of the Last War” dips a little too much into gospel-rock cliché and, if recast, could pass for a contemporary Elton John album track but the “Handbags and Gladrags”-ish “If This Were my World”, written by Arnold and Quaye, is superb.
While The Turning Tide is a mixed bag, at its best it is great. It also raises multiple questions. What would have happened if P.P. Arnold and Barry Gibb had formed a lasting musical partnership? What if she had been co-opted into Derek & The Dominoes? And why were the two 1971 tracks recorded? Whatever the answers, despite its packaging shortcomings P.P. Arnold fans will need this fascinating window into previously unknown aspects of her career.

source :theartsdesk.com

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Barry Gibb – My Favourite Vinyl

We asked the Bee Gees icon Barry Gibb to dig through his song catalogue and reveal which of his classic hits mean the most to him…

Heartbreaker –  1979

“Funnily enough, Dionne Warwick didn’t like Heartbreaker when we first played it to her. She told me, ‘this song doesn’t get me off’.
I diplomatically said, ‘why don’t you do it anyway, and we can always toss it away if you dont like it?’. You have to be pateient in the studio sometimes and this one paid off.”

I Just Want To Be Your Everything – 1977

“This was our young brother Andy’s first No. 1. We never selected who should sing what in the old days, there was no sense of competition, Robin would sing one or I did. The sense of competition came when we had success.
That’s when everyone in the group wanted a bit of individual attention. But this one felt right for Andy and we loved hearing him sing it.”

Barry Gibb – Shadows – 2016

“This is a new one, it’s my Roy Orbison song, the constant drive upwards, like he did with Crying, which I consider to be the greatest pop song ever.
The shadows are looking through his eyes, but I also suppose it’s me reflecting on the idea that I still see my brothers when they aren’t there.”

Islands In The Stream – 1983

“It’s probably his biggest hit but Kenny Rogers stills says to me, ‘I dont understand what Islands In The Stream is all about’. It’s about a No. 1 record, Kenny, get over it! My brothers wanted us to record this one but it was at a time when nobody wanted to hear our music.
I figured we should become songwriters because the most important thing to me was the that the songs got heard.”

Love You Inside Out – 1979

“This was our sixth consecutive No. 1 on the Billboard Hot 100 and very special moment. It was Michael Jackson’s favourite song [of ours], we became friends through that song.”

Tragedy – 1979

“This song has a life all of its own. We have quite a few songs worthy of closing a live set but nothing quite beats Tragedy. It was a big compliment when Steps recorded it years later but I never learned their dance steps.”

Words – 1968

“I always love it when people tell me how they fell in love to a certain song of ours and Words is one of those. It was wonderful when Boyzone revived it.”

Emotion – 1977

“Samantha Sang did a great job with this and Destiny’s Child had a huge hit too, years later. I still havent met Beyoncé, my daughter went to see her live. I would love to write a song for her but I’ll wait for the day she asks for it.
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Larry Gatlin talks about writing with Barry Gibb

2017
DN: You mentioned Barry Gibb. What was it like to co-write with him and other artists.

Gatlin: I wrote 34 top 40 hits for us. I didn’t do the co-writing thing; it wasn’t my deal. When I was in Nashville, it was not that big of a deal, a few people did co-writing. Mickey Newbury was a huge influence on me, and he told me he knew my heart and that I should sing my own songs. He told me if I had a hit and it was somebody else’s song it would break my heart if I had to sing it for years, so that’s how I built my career, and it worked. I’m in the top 10 of artists with number one songs without a co-writer.

Now when Barry Gibb asks you to co-write a song, you ask him where he wants you to be and when. It was a new experience for me and he is such a great friend. The result was “Indian Summer” which we recorded with Roy Orbison. Five years ago, I moved back to Nashville and did some writing with John Rich and Leslie Satcher and some folks. I enjoyed it … a little bit. I am not sure if I’ll do it again. It wasn’t my cup of tea.

DN: Staying on Barry Gibb for a moment, you must have had a connection, because you both worked with your brothers. I wonder if the family thing gets in the way sometimes.

Gatlin: It doesn’t really get in the way, it’s just another deal. The Barry Gibb meeting happened at a Grammy event 30 years ago. I think it was a songwriters event, and the brothers weren’t there. Barry was there without his brothers and he saw me and said, ‘You’re Larry Gatlin, my brothers and I love you and your brothers.’ He invited me up to the Waldorf, and Robin was there but Maurice wasn’t, and we sang Bee Gees and Gatlin Brothers songs all night. They filled in the harmonies and Gatlin Brothers songs and I filled in the other harmony part on the Bee Gees songs. It was an incredible experience. It was like we were brothers, and when he invited me down to Florida, it was wonderful. I would welcome the opportunity to write songs with him again. We have both been pretty busy.

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the 36 year anniversary of the song "Don't Fall In Love With Me" release this Sunday, Oct.1st.’

Here is the link for the video/post. It is for the 36year anniversary of the song "Don't Fall In Love With Me" release this Sunday, Oct.1st.’
Enjoy …. Spencer Gibb perform Don't Fall In Love in his studio.
"Don't fall In Love With Me" came off of the BG album "Living Eyes" on October 1st 1981.


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Almost eaten in Miami by an alligator, while me and that dipstick Rodders were shouting at a Bee Gee?

september 24  2017

Only on Fools And Horses! DAVID JASON on his pride at the comedy's family appeal

The Christmas special is a simple way to measure the growing success of Only Fools And Horses: in 1982, during the second series, we were obliged to pretend that the Dorset coast was Malaga in order to save money. In 1991, by contrast, we were off to Miami to film in and around the Everglades.

I can safely say without fear of contradiction that this was the first time I had ever acted alongside an alligator. They say you should never work with children or animals, and they may be right. But you should certainly never work with animals that have sharp teeth and snapping jaws.

The creature chosen for the part went by the unimaginative stage name of Al the Gator. Al was roughly the length of Ipswich and — in common with many of his kind — had a demeanour that said: ‘Don’t mess with me.’

His ROLE was to take a run at Nicholas Lyndhurst, as Rodney, and me, perched on a log, ready to sprint off in terror. No tricks, mirrors, screens or smoke were used: when you see Nick and me on our log, with Al just behind us, looking mean, moody and unmessable with, that’s how it was.

What you don’t see is the ranger with a loaded rifle standing by — a sight which was faintly reassuring, although you had to hope, in the absence of any concrete proof, that he was a good shot. You also don’t see the bucket of alligator-friendly titbits intended to get Al moving in the right direction.

hink we’ll all remember for ever the startling take in which Al set off at high speed as planned, but not in the direction of the food. Instead, he ran at the camera crew who, naturally, scattered to all corners of Florida.

Sue Holderness, who plays Boycie’s wife, Marlene, and happened to be videoing the action at this point, might have had some award-winning footage had she not panicked and ended up making a short movie of her feet running across the grass. No future for Sue alongside David Attenborough in the BBC’s Natural History department, one sensed.

 

Considerably less risky was the scene with Bee Gee Barry Gibb, who lived near where we were filming. I have no idea who set the wheels in motion to make his guest appearance happen. I only know John Sullivan was beside himself with excitement about having a multi-million-selling singing legend on the show.

 

 

It was a complex shoot. Barry was in his garden, which backs on to Miami Bay, and Nick and I were on a tourist boat from which we had to spot him, and from which I had to unleash the very Del line: ‘Oi, Bazza!’ The whole thing was co-ordinated by walkie talkies.

BBC budgetary concerns were, as ever, much in evidence. The tourist boat Nick and I were on wasn’t chartered by the production, which would have cost a lot of money, but was an actual Miami tourist boat, doing its routine rounds of the bay.

Had we messed up, we would have had to wait until the next tour before we could try again.

Barry, meanwhile, would have had to hang on in his garden, and maybe his patience would have run out because how long, ultimately, can you keep a Bee Gee waiting for someone to shout ‘Oi, Bazza!’ at him?

 

'Instead, he ran at the camera crew who, naturally, scattered to all corners of Florida. Sue Holderness, who plays Boycie’s wife, Marlene, ended up making a short movie of her feet running across the grass'

Thankfully, we nailed it first time, so I never found out. When the filming was done, Barry had me and Nick round for tea and biscuits. He was a lovely chap, and a massive fan of Only Fools who, in the days before the internet, had tapes of the latest episodes sent to him in the States.
 

I have a picture that I cherish, taken that afternoon, of me, Nick and Bazza Gibb standing at the end of Bazza’s jetty, Bazza in a police patrol T-shirt and shredded jeans and me in a flowery shirt and a Dolphins baseball cap.
 

Tremendous fun — and in the Florida sunshine, too. It’s staggering to reflect that we called this ‘work’. Isn’t that what only fools and horses do?

 

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THE BEE GEES: The BrandLaureate Premiere Award

september 19 2017

 In recognition of their success as a globally acclaimed band, The Asia Pacific Brands Foundation (APBF) recently awarded the last surviving member of the group, Barry Gibb, with The BrandLaureate Legendary Award; and on behalf of his band The Bee Gees with The BrandLaureate Premier Award.

Formed in 1958, the trio had their first hit in 1967, and became even more famous with their stirring ballads and catchy dance songs, especially the disco era in the mid-to-late 1970s, with hits like Stayin’ Alive, How Deep Is Your Love, and More Than a Woman from the Saturday Night Fever (1977) soundtrack.

Their earlier hits include: To Love Somebody (1967), I Started a Joke (1968), How Can You Mend a Broken Heart (1971), You Should Be Dancing (1976), Too Much Heaven (1979) and Tragedy (1979) amongst many others.

They wrote all their own hits as well as write and produce for other artists. The group sang recognizable three-part tight harmonies — Robin’s clear vibrato lead vocals were a hallmark of their earlier hits, while Barry’s R&B falsetto became their signature sound during the mid-to-late 1970s and 1980s.

 of July 2013, The Bee Gees, were amongst the world’s best-selling music artists of all time. They were inducted into the Rock and Roll Hall of Fame in 1997; The Bee Gees’ Hall of Fame citation says, “Only Elvis Presley, the Beatles, Michael Jackson, Garth Brooks and Paul McCartney have outsold the Bee Gees.”

RECENT YEAR Although the Bee Gees ended in 2003, Barry continues to perform today.
After the death of his brother Maurice in 2003, Barry and Robin retired the Bee Gees name. The surviving pair appeared together and worked hard to preserve their musical legacy, producing special collections of their previous work.  Barry performed as a solo act, after his brother, Robin, died from cancer in 2012.

Today, Barry spends much of his time in Florida where he lives with his wife, Linda. The couple has five children together. While not as active as he once was, Barry embarked on his first tour without his brothers in early 2013, and still gives concerts several times each year.

 source : Thebrandlaureate.net


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Celebrate the Saturday Night Fever 40th Anniversary

 

In honor of the 40th anniversary of Saturday Night Fever , the official soundtrack will be re-released in a brand new deluxe edition on November 17th! Including the original soundtrack on 2LP & 2CD (plus 4 remixes), the original movie on BluRay, a 24 page book, 5 art prints, a movie poster and turntable mat, the Bee Gees' Saturday Night Fever returns bigger and better than ever. Pre-order yours now!

 

 

 

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Happy 40th Anniversary to Andy Gibb’s debut album Flowing Rivers, originally released September 9, 1977

Andy Gibb's story is often told with an unfortunate lack of emphasis on his music, except when it fits into a backhanded narrative about 70s kitsch. The fact of the matter is that Andy was exceptionally talented, and his debut album Flowing Rivers brimmed with promise. The majority of the project showcased his original songs, many of which had been written prior to his arrival in the United States where he signed a recording contract in the summer of 1976 with RSO Records. Flowing Rivers was a culmination of about two years' worth of writing and recording, which Andy had begun while living and working in Australia—a training ground strongly suggested by his older brothers Barry, Robin, and Maurice as the experience was a critical catalyst in the evolution of the Bee Gees.


At the helm of those early sessions was famed Australian singer, songwriter, and producer Col Joye, who had, intriguingly, also produced his brothers' debut single, "The Battle of the Blue and The Grey,” in 1963. About a dozen or so of Andy's compositions were committed to tape, presumably to be included in a full album release under Joye's direction in 1976. The project, however, was scrapped when plans to bring him stateside to join the RSO stable began to develop. Impressed by the potential he heard in those recordings, RSO Records founder and Bee Gees manager Robert Stigwood invited Andy to his home in Bermuda to ink the deal and begin preparations for his first album with eldest brother Barry. He and co-producers Albhy Galuten and Karl Richardson, who had been recently added to the control booth for the recording of the Bee Gees' Children Of The World album, would oversee Andy's major-label introduction.

Galuten, who spoke to me via telephone a few weeks ago from Los Angeles, remembers the recording of Flowing Rivers as a joyous occasion. "Andy was just so full of just, I don't know, fire and brimstone, or piss and vinegar. He was just so excited and young and fired up about it. It was absolutely fantastic. Certainly for me it was a buzz because I'd been making records for ten years, but none of them were really successful. It's like I had been practicing for that time period for all those years, collecting my ten dollars an hour, so then when it was time to hire musicians and figure out how to produce things and how to overdub, put things on certain tracks, and arrange music, we had the experience."


Galuten's professional connections from previous session work in Miami resulted in him being charged with assembling session players for the album. Drummer Ron "Tubby" Ziegler, bassist Harold Cowart, guitarists Joey Murcia and George Terry, pedal steel player Don Buzzard, and pianist/keyboardist Paul Harris were soon enlisted, bringing with them an impressive number of credentials. "Harold and Tubby—bass and drums—were originally in a band called Cold Grits," Galuten recounted. "They're from Baton Rouge, Louisiana, and they played on records like [Brooke Benton's] ‘Rainy Night in Georgia,’ and they'd been session musicians at Atlantic Records for years. They came back to Miami and were living there and started doing odds and ends sessions. Harold was just a great, solid bass player, and one of his credits was [John Fred & His Playboys'] ‘Judy In Disguise (With Glasses).’ They were a great R&B rhythm section, and, you know, one of my connections with Barry was always that we loved rhythm and blues because of Stax and that sort of stuff. We never thought of that music as disco.”

Galuten continues, “George Terry I'd met when he was in a local band called Game, and he's a great and meticulous guitar player. I brought him in on some Eric Clapton sessions when we were doing 461 Ocean Boulevard. Every note is absolutely on purpose, thought out, always perfectly in tune. There are some nuances to playing guitar very carefully, where you place your fingers really in the proper position on the frets so that it doesn't pull any of the notes sharp. And you can do gymnastics with your fingers so the notes will ring into each other, and when you switch notes you don't lift your finger up. That was George." Recording sessions for Flowing Rivers took place in October 1976 at Criteria Recording Studios in the Gibbs' adopted hometown of Miami—strategically scheduled in between the release of the Bee Gees' Children of the World album and preparations for their North American tour. Barry was present solely for production of the two tracks he'd written ("I Just Want to Be Your Everything" and "(Love Is) Thicker Than Water"), although he'd retain an Executive Producer credit for the project. Otherwise, Galuten and Richardson were left to work closely with Andy and the session players to steer the album's creation.

"We cut live tracks with the band," Galuten recalls of the recording process. "I think this was in a period before multiple multi-tracks. It was done on one multi-track tape recorder. We went in with the band and rehearsed in the studio at that point. I don't remember specifically how long it took to cut each track, but we probably did a couple each day. The rhythm section was all there, and any strings or horn sections were overdubs. It was really made very much the way records were made back then—you sat in with the band, they played, we arranged some things on the floor and worked out guitar parts and recorded it. And then we'd do a vocal, and background parts, and sweetening. I don't think it took us more than a few weeks to do the whole thing." The album's opening track and first single, "I Just Want to Be Your Everything,” was reportedly written by Barry in a matter of a few hours.

To say the eldest Gibb brother is a proficient songwriter is an understatement, and he became notorious for what was almost a mechanical ability to crank out hit records in a matter of minutes. "Barry writing those songs, he was always just...he was amazing," Galuten confirmed. "When you do anything with Barry...at this point in his career [he] was so hot. You'd sit down and write a song with him...I would call it ‘The Barry Gibb Gift Society.’ He'd sit down and he'd play, like, two chords, and the next thing you know the song was done. It had all the melody and the lyrics, and it happened in no time." "I Just Want to Be Your Everything" was stylistically closer to the R&B fusion the Bee Gees had recently laid down on Children of the World than Andy's own compositions, which leaned a bit closer to country-rock. Its mid-tempo bounce is punched up with a distinctively syncopated rhythm guitar lick. "That was Joey Murcia," Galuten insists. "He used to work a lot at TK [Records], so he played on records like [Betty Wright's] ‘Clean Up Woman.’ He definitely had that funky R&B thing. The strings were me playing an ARP 2600 synthesizer." The release of “…Everything” marked the first time the Gibb-Galuten-Richardson production team, which would eventually evolve into one of the most successful collaborative powerhouses in pop music, launched material outside of the Bee Gees' wheelhouse.

 Barry was also still experimenting with his falsetto voice and the modern R&B flavors he'd unearthed on the Bee Gees' previous two albums, so it's interesting to theorize how he might have worked with Andy to develop a cohesive vocal blend and match styles. The song has a compelling amount of movement between the verses and choruses, driven by its indelible melody. Even if the song may not be your jam, chances are your brain won't escape it. It's a remarkably effective pop record. While it may be easy to dismiss the song's lyrics as youthfully benevolent ("If I stay here without you, darlin', I will die" is about as emo as ‘70s pop music gets), its vulnerability is precisely what makes it work as a single. The emphasis on the word "just" in the title as an absolute declaration of devotion was critically important to Barry as the song's writer and co-producer.

"I Just Want to Be Your Everything" sent Andy immediately to the top of the Billboard Hot 100 singles chart in the US, where it spent four weeks at number one in July 1977 and became the most played song of the year. It has enjoyed a rather robust shelf life over the past four decades—in 2013, Billboard produced a 55th anniversary ranking of its all-time top Hot 100 singles, which landed "…Everything" at number 26. "(Love Is) Thicker Than Water,” co-penned by Barry and Andy, was issued as Flowing Rivers' second single. "In some ways, '…Thicker Than Water'...I don't know if I'd call it underrated, but it's a really, really unusual song,"

 Galuten asserts. Structurally, the track is a significant departure from much of what the Bee Gees or Andy had written to date, instead borrowing its soundscape from classic blues rock that would have been more characteristic of Steve Miller than the Gibbs. The refrain, which is typically used in the brothers' compositions to propel the verses into the melodic stratosphere, contains them instead. Galuten invited the Eagles’ Joe Walsh to the session as the band happened to be at Criteria at the same time to place the finishing touches on their album Hotel California. Walsh’s intriguing, searing guitar solo brings the four-minute song to a dramatic climax just a quarter of the way into its elapsed time. When the intensity subsides, Andy's honey-drizzled voice plays almost at a whisper on top of Tubby Ziegler's hi-hats. At two-and-a-half minutes, the chorus-verse negotiation is finished, and the song slides into a gently rolling coda of nonchalant 'da da da's. As a commercial single, “Thicker Than Water” was a bit of an artistic gamble compared to its explicitly catchy predecessor. Released in September 1977, the song was a bit of a slow burn on the US charts. But the combination of "I Just Want to Be Your Everything"'s longevity and the arrival of new music by the Bee Gees in the form of the Saturday Night Fever soundtrack certainly didn't hurt its progress.


Eventually, Andy would achieve his second Billboard Hot 100 number one single on March 4, 1978 when "Thicker Than Water" displaced his brothers' ubiquitous "Stayin' Alive" from the pole position. "Words and Music" was written by sixteen-year-old Andy on his own in 1974 and was released as his first-ever commercial single in Australia and New Zealand in late 1975, becoming a minor hit in both countries. It was re-recorded with his new band during the Flowing Rivers sessions, maintaining much of its original feel save for a slight change in tempo. A key change and some falsetto ad libs near the end of the revised version gives it a bit of drama that hadn't been present on the first iteration.

Galuten co-wrote two new songs with Andy while they were in the studio at Criteria. "Dance to the Light of the Morning" is a buoyant country stroll, evoking similarities to the Bellamy Brothers' "Let Your Love Flow." The interplay of Don Buzzard's pedal steel and Paul Harris' electric piano underneath Ziegler's playful rim-clicks add to its momentum and authenticity. "Don was a great steel player," explains Galuten. "He played out of Texas swing band kind of stuff. He was really, really good. The stuff he did on that record was not pedal steel kind of stuff at all. He was doubling in parts that sounded more like an electric piano, harmonics and stuff. And Paul—he said something really interesting to me once. I asked what he was working out on the piano. And he said 'I'm focusing on the difference between how you would play the equivalent of a [guitar] up-pick as opposed to a down-pick on the piano.' He was very thoughtful...and played with a lot of heart." "Too Many Looks In Your Eyes" veers back into purer pop territory. As much as Andy's reputation would eventually become folded into overly generalized disco stereotyping, his sincerity and warmth in ballads was one of his greatest strengths. Perhaps one of his most overlooked compositions is "Starlight,” an incredibly pretty track that once again benefits from Paul Harris' competent piano work. Andy’s gentle, reflective vocal has an opportunity to really shine in the mix.

The album's title track is another of Andy's earlier compositions—a presumably autobiographical account of a singer's ethical dilemma in choosing between his love for music (“I've got to go / I've finished what I came for / playing every city, state to state”) and the arms of a woman (“Ah, you're standing there / tears in your eyes / you once called me a man / and loving you was never in my plans”). It's a steady country-rock anthem that had enough lyrical and musical strength to be a single—a possibility RSO had allegedly considered and decided against. Along with the equally engaging "Let It Be Me,” it would instead be used as a B-side for singles from Andy's second album, Shadow Dancing. Another piano ballad, the appropriately titled "In the End,” closes the album—another re-work from his sessions with Col Joye early in 1976. Its melancholy is in palpable contrast to the rest of the record's generally upbeat subject matter, but it shows definitive range in Andy's abilities as a growing songwriter.


Flowing Rivers was an unqualified success, landing in the top twenty of Billboard's Top 200 albums chart and selling over a million copies. "I Just Want to Be Your Everything" and “(Love Is) Thicker Than Water,” combined with "Shadow Dancing" the following year, would earn Andy the distinction of being the first-ever solo artist in the United States to have their first three consecutive singles reach number one. Within months, Andy would achieve a level of popularity and exposure that would overshadow most of his contemporaries.

The album was finally re-issued solely on compact disc in 1998 by Polydor, the parent company that printed and distributed RSO’s releases when it was still a functioning label. It’s since gone out of print, but remains available for digital download and streaming via iTunes/Apple Music, Amazon, and Spotify. A swath of Flowing Rivers tracks were also included on the Bee Gees’ 2010 retrospective Mythology.

Although the accolades were certainly heartening, Galuten stresses that the music was the most important thing to Andy, especially as he and the players took Flowing Rivers on tour after its release. "One of the great things for Andy was being on the road...and having a band of high-quality musicians so he could just be himself. When you're having your first success and you're young, it's such a great buzz."

Life became increasingly complicated for Andy on a number of levels after 1977, and many of the trials and tribulations that eventually culminated in his untimely death from myocarditis in 1988 are absolutely heartbreaking. But Flowing Rivers is a respite—a portrait of Andy as a blossoming creative spirit who poured himself into the craft with enthusiasm and focus.



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us.

Ronan Keating has reflected on the amazing time he spent working with Bee Gees legend Barry Gibb in the late 90s

Ronan Keating says getting to spend a week writing songs with Bee Gees legend Barry Gibb was an "amazing experience".

The former Boyzone singer was involved in the recording of the disco legends' compilation LP 'Love Songs' and co-wrote and produced the song 'Lovers and Friends' in 1999 with Barry and his late brother Maurice, who sadly died four years later at the age of 53.

Speaking during his first ever Breakfast Show for Magic Radio on Monday (04.09.17), Ronan recalled: "We spent five days away together writing and recording. It goes without saying how special The Bee Gees are and for me to work and spend time with Barry who's such a legendary writer is always such an amazing experience."

The Bee Gees - which also included the late Robin Gibb, who died of cancer in Mary 2012 - released the album consisting of all of their ballads in 2005 and it features some lesser known hits including 'Secret Love' and 'For Whom the Bell Tolls'.

It followed after the success of 2004's 'Number Ones', containing their biggest hits.
Boyzone famously covered Bee Gees' hit 1977 single 'Words' and the two groups even performed the song live together in the 90s.

Speaking about how the band took the 'No Matter What' hitmakers "under their wing", Ronan said when Robin passed away: "We were lucky enough to work with him, to sing with him, perform a song called 'Words' together and they really took us under their wing and they were great to Boyzone."

Listen to 'The Magic Radio Breakfast Show' with Ronan Keating and Harriet Scott weekdays from 6-10am. magic.co.uk

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source: www.list.co.uk

Vote for the Bee Gees

BEST MUSIC LEGENDS IN THE WORLD

 check it out and VOTE FOR THE BEE GEES. Here Is the link:

https://www.thetoptens.com/best-music-legends/page6.asp

https://www.thetoptens.com/best-music-legends/page5.asp?57105287#i571052

Bee Gees interview Brit Awards Special

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the adoration Trilogy

The Adoration Trilogy
A collaboration between Roger Daltrey and Alistair Morrison in aid of children's cancer charities. The Adoration Trilogy - Searching for Apollo. 13th November 2017
http://theadorationtrilogy.com/
 Barry Gibb will cooperate together with many more artists!
More info when available.

Part One: Searching for Apollo Where the legendary men of music meet
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Watch video of Barry Gibb

https://www.facebook.com/theadorationtrilogy/?pnref=story

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THE BEE GEES - DAVID LETTERMAN SHOW 1987

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Sgt. Pepper's Lonely Hearts Club Band - Official Trailer (HD)

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GSI ANNOUNCEMENT ANDY GIBB IN MEMORY

A letter to all fans about some plans to create a special memory for Andy Gibb in Miami Beach, next March. etc. GSI was asked to assist by spreading the word of this special idea to some other fangroups around the world and to all the Gibb fans. GSI has signed a letter which will be send to the City Of Miami Beach in name of all fans of GSI website and GSI Facebookgroup!! Fans do not have to sign individually! 

 We hope you will like the idea. More information will follow as soon as available Thank you Deborah for starting this initiative. Marion / GSI FOR ANDY GIBB'S MEMORY 

 Deborah CRISTINA, Sicily (Italy) My Dear Lifelong Fans of our beloved Andy GIBB, I decided to embark on this adventure because some years ago Andy GIBB touched my heart in a very special way. Since then, I deeply feel the desire that the memory of this young artist, whose smile and talent are indelibly imprinted in the memory of innumerable fans, is honored in the most beautiful way. The things that made Andy unique were out of the simple performance, which always excelled, and came straight to the people's heart because they had to do with the qualities that make a human being really special: I refer to respect, altruism, sincerity, good manners and, special note, the sense of humor. Andy GIBB was all this and anyone who had the privilege of meeting him knows it perfectly. That's why I like to say that, if there was Andy, the world would be a pretty better place! In March 2018 we celebrate 30 years since the premature death of Andy GIBB: as I’ve written, he will be always remembered, not only as a talented and charismatic performer, but as a beloved family member and a special friend who gave so much of himself to others, especially as an honorary member of the Diabetes Research Institute Foundation in Miami.

 Andy, born in England and raised in Australia, loved Miami and the ocean so much and fans of all over the world still miss him, not only for his string of multi-platinum albums, for his two Grammy Award nominations and for his unforgettable Broadway debut, but, as Robin GIBB said, “especially for his capacity to reach the hearts of the people, because it isn’t just about the sound or the song, but the human connection”. Now… HERE IS THE MOMENT THAT ANDY’S MEMORY NEEDS OUR HELP! His virtuous lyrics of Everlasting Love, and Flowing Rivers are ageless. We as the United Fans of Andy Gibb’s memory want to show our “Everlasting Love” for Andy by declaring our desire to see his memory memoralized in his adopted city of Miami Beach, Florida. Andy was always recognized as a Son of Miami, or should we say ‘the Sun of Miami”. His devoted love of the water and his love of yachtsmanship with the MOTOR YACHT MARIE, along with his Family of Brothers and parents and close friends, were his foundation for his creativity and life long dreams. Andy would be at home in Miami today had he not been called heavenly homeward. So we’re going to ask the City of Miami to celebrate Andy GIBBS great talent, generosity, kindness, huge contribution by allowing the naming of a street and the affixing of a monument to be enjoyed by visitors from all over the world. 

 Every year so many people come to Miami to visit the places regularly frequented by Andy GIBB and that's why countless fans want, with all their heart, that Miami, the city that Andy loved so deeply, devotes to him a road or that affords a monument to honor the memory of this extraordinary artist. Let’s remember that, already in March 1989, the Miami mayor unveiled "Andy Gibb Drive”, but, after a very short time, maybe it was dropped due to a rezoning of the property and was never revisited. Thanks from the bottom of my heart for your thoughtful help. Your support can make all the difference in our formal presentation and will be the sign of our Everlasting Love! Deborah Cristina, Sicily (Italy)

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Robin Gibb 31st March 2008

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Stockton schoolboy vows to help terminally ill dad by releasing Bee Gees charity single

AN EIGHT-year-old boy is determined to make his terminally ill father proud by releasing a poignant charity single penned by former Bee Gee, Barry Gibb.
Schoolboy Callum Lane-Tingle vowed to raise £5,000 for Cancer Research UK after his dad, Andrew Tingle, was given a devastating diagnosis that he has only months to live.
Mr Tingle, a 47-year-old operations director, had a kidney and his adrenal gland removed in April 2016, but doctors discovered last month that his cancer had spread to his lungs, pancreas and lymph nodes and was now incurable.

However, his young son, a pupil at Stockton’s Fairfield Primary School, decided to enlist the help of seasoned North-East singer, Keith Hammersley, who has recorded his version of the moving Bee Gees song, Morning Of My Life.

Middlesbrough-born crooner, Mr Hammersley, who has performed alongside Bob Monkhouse, Bradley Walsh and Des O’Connor, said: “It is a very touching song and it really registers with the remarkable charity work of young Callum.
“His family are coping amazingly well under the most horrendous of personal circumstances.
“People kept telling me to release the song and they would buy the CD or download the tune and aid the Tingle family and their target for Cancer Research.
“I went into the Mirage Studios based inMarske, owned by musician John Taylor, and we recorded the track in just a few hours.
“It was hugely emotional to record as I was so aware of the sad situation that the lovely Tingle family were facing.”
Little Callum came up with the idea of releasing a single to support Cancer Research UK and the track, which was originally released by the Bee Gees in 1970, was played by BBC Tees DJ, Paul “Goffy” Gough.
The song for Mr Tingle has now been made available to download online.
Mr Tingle, who is married to Cheryl and has a two-year-old daughter, Chloe, said: “It really is a beautiful song that gets me every time.
“Keith has helped to make very special memories for my family and for that I can’t thank him enough.

“We have a big 80s event at the Hardwick Social Club, in Stockton, this Sunday night and Keith is coming along to perform the song for us – it will be a very emotional time for us all.”
Goffy will host the 80s-themed fundraiser on Sunday, August 6, and tickets are available from £3 per person at the club, off Harrowgate Lane, 

 The single is available online on iTunes, Spotify and Amazon.

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Bee Gees Sgt. Pepper Film Coming to Blu-ray

 

 

 

 

As the world celebrates the 50th anniversary of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band, Shout! Factory will release the film of the same name on Blu-ray on Sept. 26. The film is available for pre-order now.

The 1978 musical features reinterpretations of over 20 classic Beatles songs. Special features on Sgt. Pepper’s Lonely Hearts Club Band include an audio commentary with pop culture historian Russell Dyball, galleries and the original theatrical trailer.

The film synopsis, according to a press release: “The one and only Billy Shears (multi-platinum recording artist Peter Frampton) and his best friends the Hendersons (Rock and Roll Hall of Famers The Bee Gees) are four young men from the quaint little town of Heartland. With superstardom calling, this fabulous foursome leaves Heartland—and Billy’s beloved Strawberry Fields (Sandy Farina)—vulnerable to mean Mr. Mustard, who steals Sgt. Pepper’s magical instruments for a fiendish, ‘evil force that would poison young minds, pollute the environment, and subvert the democratic process.’ It’s up to our heroes to save everything they hold dear with the power of music, kindness, and heart.”

 

The film also features performances by Aerosmith, George Burns, Steve Martin, Earth, Wind & Fire and more. It originally opened on July 24, 1978, and was conceived and produced by music mogul Robert Stigwood, manager of the Bee Gees, with Peter Frampton‘s manager Dee Anthony serving as executive producer.

 

The film, upon its release, was not met with many positive reviews. As New York Times critic Janet Maslin pondered in her review: “Is it a film? Is it a record album? Is it a poster, or a T-shirt, or a specially embossed frisbee? Sgt. Pepper’s Lonely Hearts Club Band is the ultimate multimedia mishmash, so diversified that it doesn’t fully exist in any one medium at all. This isn’t a movie, it’s a business deal set to music.”

 

source :/bestclassicbands.com

 

 

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