A TRIBUTE: The Songs of the BEE GEES

THE BEE GEES 1ST

Original released on LP ATCO 33-223 (mono)

(US 1967, August 9)

The debut international long-player by the Bee Gees may shock anyone who only remembers them for their mid- to late-'70s disco mega-hits, or their quirky early-'70s romantic balladry. Up until 1966, they'd shown a penchant for melodic songs and rich, high harmonies, in the process becoming Australia's answer to the Everly Brothers. When the Bee Gees arrived in London late in 1966, however, they proved quick studies in absorbing and assimilating the progressive pop and rock sounds around them. In one fell swoop, they became competitors with the likes of veteran rock bands such as the Hollies and the Tremeloes, and this long-player, "Bee Gees' 1st", is more of a rock album than the group usually got credit for generating. Parts of it do sound very much like the Beatles circa "Revolver", but there was far more to their sound than that. The three hits off of "Bee Gees' 1st", "To Love Somebody," "New York Mining Disaster 1941," and "Holiday," were gorgeous but relatively somber, thus giving "Bee Gees' 1st" a melancholy cast, but much of the rest is relatively upbeat psychedelic pop. 

"In My Own Time" may echo elements of the Beatles' "Dr. Robert" and "Taxman," but it's difficult to dislike a song with such delicious rhythm guitars and a great beat, coupled with the trio's soaring harmonies; "Every Christian Lion Hearted Man Will Show You" was close in spirit to the Moody Blues of this era, opening with a Gregorian chant backed by a Mellotron, before breaking into a strangely spaced-out, psychedelic main song body. Robin Gibb's lead vocals veered toward the melodramatic and poignant, and the orchestra did dress up some of the songs a little sweetly, yet overall the group presented themselves as a proficient rock ensemble who'd filled their debut album with a full set of solid, refreshingly original songs. In 2006, as part of the shift of the group's back catalog to Reprise Records, "Bee Gees' 1st" was reissued in remastered form, with seriously improved sound and expanded to two CDs with a brace of chronologically-related outtakes - comprising some of the most fascinating material of their history. (Bruce Eder in AllMusic)

No One's Gonna Change Our World

Original released on LP Starline SRS 5013

(UK 1969, December 12)

The Various Artists album "No One's Gonna Change Our World" was put together to raise money for the World Wildlife Fund. Today it is mostly known for its inclusion of the first version of The Beatles' "Across the Universe." This was the only song they released during their tenure that was not originally featured on one of their own records. There are a few other decent tunes on here, including a vibrant version of the Bacharach/David hit "What the World Needs Now is Love" by Cilla Black and Cliff Richard & The Shadows' "In the Country." The Spike Milligan stuff is dead on arrival as are the Rolf Harris and Harry Secombe performances. Clearly a mixed bag but nevertheless an intriguing timepiece capturing the wide world of UK pop circa 1969. (in RateYourMusic)

"ODESSA" - The BEE GEES Masterpiece

Original released on Double LP 

ATCO SD2-702 (US February 1969) /

Polydor 582 949/50 (UK 1969, March 30)

Recorded between July and December 1968 in London (IBC and Trident studios) and in New York (Atlantic studios), “Odessa” is regarded as the most significant of the Bee Gees's discography. It was initially released on Atco Records (US) in a red flocked cover with a gold lettering to the group's name and label symbol stamped in gold on the front and nothing but the flocking on the back. The gatefold has a large dotted image of people leaving a ship in a lifeboat. There are no photographs of the group and they are not named except as to all songs being written by B, R & M Gibb. Due to the high cost of production, as well as allergic reactions among workers during assembly, this design was discontinued. “Odessa” was indeed an ambitious project, originally intended as a concept album on the loss of a fictional ship in 1899, it created tension and disagreements in the band regarding the album's direction; finally, a dispute over which song to release as a single led to Robin Gibb temporarily leaving the band.

The album was not well received by the public or the music press on release, and led to a decline in the band's fortunes until their disco period in the mid 1970s. It was the group's fourth album released internationally, their sixth overall, and their only double album of original music. “Odessa” would be the final album for the band's original incarnation (in my opinion, the creative period of the Bee Gees). The originally intended name for the album was “An American Opera”. This later became “Masterpeace” and finally “Odessa”. Colin recalls about the country influence on “Odessa”: «It was my idea that we do that sort of thing, and Maurice is the one who will take more time out to listen to what I have to say, although within the group, the okay has to come from Barry». Their manager Robert Stigwood says, «Barry is the Bee Gees coordinator, I used the word advisedly, as there is no leader of the group as such. He has a tremendous feel for soul music, but he is also a fantastic solo singer in his own right». The first song recorded for the album was "I Laugh in Your Face" on 12 July 1968, the same day the group recorded "I've Gotta Get a Message to You" (released from the American version of the group's fifth album “Idea”). After recording eight songs for the album, guitarist Vince Melouney left the group amicably and joined the group Fanny Adams, wanting to pursue a more bluesy direction.

A reel tape of mono mixes dated 24 November 1968 has "Odessa (City on the Black Sea)", "First of May" and "Melody Fair" called a rough mix with orchestra. Therefore, about as soon as they returned to the studio, they were with Bill Shepherd arranging and conducting orchestral tracks to complete the album. This puts the re-make of "First of May" early in the November sessions, yet the song would be the last Bee Gees band session for the album. However, after recording "First of May", the instrumental tracks, "Seven Seas Symphony", "With All Nations" and "The British Opera" were recorded by Bill Shepherd. Also done somewhere around here are the final vocals for the New York songs and the added organ part for "Edison". Prior to release there were disagreements over which song was to be released as a single when the Robin led "Lamplight" lost out (but it ended on the B side of the single) to "First of May", a Barry solo vocal. This ultimately led to Robin Gibb leaving the group in early 1969, though he would join again in August 1970. The split was a result of months of animosity, which concurred to the album's final mix. As Barry explained:

«Everything got out of hand and we didn't know which way we were heading. We'd never really finished the album. It was our own production and we were very proud of it, but it all turned out different. It marked a period of breaking up and we weren't talking to each other, so we weren't in the studio together half the time and weren't as friendly toward each other. The recording took three or four months which was a long time in those days. “Bee Gees 1st” was done in a month. It would be nice to re-master the album once and as a bonus maybe do a live version of some of the songs.» The last performances of the group including Robin were on early 1969, when they performed "First of May" (they also performed "I Started a Joke") on The Tom Jones Show (21 February) and Top of the Pops (6 March).

Maurice later described the album as 'heavy'. «People thought it was an in-depth album», he recalled, «like, 'What do they mean by those lyrics?' and 'What's this all about?' There's all sorts of different areas on it. It went up and down in places, but a lot of people regard it as our Sgt. Pepper. To us, I don't think it was the best album we made, but the main title “Odessa” I loved». Barry responded to Maurice saying, «I guess I have strong personal feelings about it because it was a time when the group was splitting up». Later, in July 1969, "Marley Purt Drive" was released as a single, backed with "Melody Fair", but only in South Africa (the reason why it became a rare item). The album has since received positive critical attention, and today it is generally regarded as the Bee Gees best album ever (it’a also my opinion). In 2009, January 13, it has been re-released in a gorgeous deluxe three CD box set (both mono and stereo mixes, plus a bonus CD of demos and alternate versions, called "Sketches For Odessa"). 

THE ORIGINAL DOUBLE ALBUM (mono + stereo):

A1. Odessa (City on the Black Sea)

A2 You’ll Never See My Face Again

A3. Black Diamond

B1. Marley Purt Drive

B2. Edison

B3. Melody Fair

B4. Suddenly

B5. Whisper Whisper

C1. Lamplight

C2. Sound of Love

C3. Give Your Best

C4. Seven Seas Symphony

C5. With All Nations (International Anthem)

D1. I Laugh In Your Face

D2. Never Say Never Again

D3. First of May

D4. The British Opera

THE BONUS TRACKS:

01. Odessa (City on the Black Sea) (demo)

02. You’ll Never See My Face Again (alternate mix)

03. Black Diamond (demo)

04. Marley Purt Drive (alternate mix)

05. Barbara Came to Stay

06. Edison (alternate mix)

07. Melody Fair (demo)

08. Melody Fair (alternate mix)

09. Suddenly (alternate mix)

10. Whisper Whisper, Part Two (alternate version)

11. Lamplight (demo)

12. Lamplight (alternate version)

13. Sound of Love (alternate mix)

14. Give Your Best (alternate mix)

15. Seven Seas Symphony (demo)

16. With All Nations (International Anthem) (vocal version)

17. I Laugh In Your Face (alternate mix)

18. Never Say Never Again (alternate mix)

19. First of May (demo)

20. First of May (alternate mix)

21. Nobody’s Someone

22. Pity

23. Odessa Promotional Spot

"When I was small, and Xmas trees were tall..."

"MELODY"

(S.W.A.L.K.)

PRODUÇÃO: David Hemmings e David Puttnam

(UK, 1971)

REALIZAÇÃO: Waris Hussein

ARGUMENTO: Alan Parker

CINEMATOGRAFIA: Peter Suschitzky

MONTAGEM: John Victor Smith

DIREÇÃO ARTÍSTICA: Roy Stannard

CAST:

Mark Lester ... Daniel

Tracy Hyde ... Melody

Jack Wild ... Ornshaw

Colin Barrie ... Chambers

etc.

Estreia em New York a 28 de Março de 1971

Estreia em Londres a 21 de Abril de 1971
Estreia em Portugal a 11 de Setembro de 1975

Quem se lembra deste filme? Eu conhecia todas as canções de cor e salteado, mas nunca tinha visto o filme. Até que em Outubro de 2015 o Daniel Bacelar me ofereceu uma cópia em DVD. É uma espécie de antecedente do "Friends", só que as idades dos protagonistas são uns anitos mais novas. Enquanto que no "Friends" a transição era da adolescência para a fase adulta, aqui assistimos mesmo ao primeirissimo amor, naquela época em que ainda não sabíamos lá muito bem as diferenças entre meninos e meninas. Para nós elas eram umas "chatas" que não apreciavam as nossas brincadeiras e para elas..., bom, acho que para elas nós não passávamos de uns "parvos". Escusado será dizer que "Melody" é um filme muito ternurento (só podia, com todas aquelas canções dos Bee Gees) e que hoje é capaz de não fazer lá muito sentido para a novissima geração. Mas a nós, guedelhudos grisalhos, faz-nos recordar a "nossa meninice" e traz-nos ainda alguns vestígios da era Vitoriana inglesa - julgo até que o Roger Waters se deve ter inspirado na figura do reitor para compor a personagem do seu teacher de "The Wall". Aqui vos deixo a banda-sonora original.

Starportrait International

This is by far the Bee Gees best compilation ever released. It first appeared as a double album inside a black box, in Germany, early 1970 (Polydor 2618001), containing 24 highlights from the band's golden years (1967-1969), at a time where they were five: the three Gibb brothers (Barry, Robin and Maurice) plus 2 australian friends, Colin Peterson (drums) and Vince Melouney (guitar). As everybody knows, the group was better known as hit makers, rather than essential albums artisans (the exception being the double "Odessa" from 1969). And this fabulous collection reunites the cream of the cream, between several singles and album's tracks. With the beginning of the new decade the band split (even Robin Gibb has left the other two for a short solo career) and in the mid 70's the brothers went disco, losing forever the inspirational touch. So take good care of all these gems cause they reflects the very best work of one of the greatest bands from the late sixties:

01. Don't Forget To Remember (originally released as a A-side single, August 1969)
02. I Started A Joke (originally released in album "Idea", August 1968)
03. Idea (originally released in album "Idea", August 1968)
04. The Singer Sang His Song (originally released as a B-side single, March 1968)
05. Tomorrow, Tomorrow (originally released as a A-side single, May 1969)
06. To Love Somebody (originally released as a A-side single, June 1967)
07. NY Mining Disaster 1941 (originally released as a A-side single, April 1967)
08. Harry Braff (originally released in album "Horizontal", February 1968)
09. Really and Sincerely (originally released in album "Horizontal", February 1968)
10. Never Say Never Again (originally released in album "Odessa", February 1969)
11. Swan Song (originally released in album "Idea", August 1968)
12. World (originally released as a A-side single, November 1967)

13. First Of May (originally released as a A-side single, February 1969)
14. I've Decided To Join The Air Force (originally released in album "Idea", August 1968)
15. Holiday (originally released in album "Bee Gees's First", July 1967)
16. Suddenly (originally released in album "Odessa", February 1969)
17. Indian Gin & Whisky Dry (originally released in album "Idea", August 1968)
18. Words (originally released as a A-side single, January 1968)
19. Massachusetts (originally released as a A-side single, September 1967)
20. Kitty Can (originally released as a B-side single, July 1968)
21. And The Sun Will Shine (originally released in album "Horizontal", February 1968)
22. Horizontal (originally released in album "Horizontal", February 1968)
23. I've Gotta Get A Message To You (originally released as a A-side single, July 1968)
24. Lamplight (originally released in album "Odessa", February 1969)

A Tribute To The BEE GEES

Original released on CD Eggbert Records 80012

(US, 1994)

Finally, a tribute LP worth buying! This is not an ironic, silly joke, like the Rutles or R.E.M. "tributes." Sure, we all think '70s disco stench when we think Bee Gees, of contemptible falsettos, and Saturday Night Fever. But knowledgeable fans know that this blockbuster period all but obliterated from public awareness an initial decade of great hit singles, of eight LPs that remain a massive treat for anyone who has ever claimed to love the Beatles, and that's the material mined by the 21 bands here; hell, even the one disco-era song here, the deplorable "How Deep Is Your Love," is done by clever Baby Lemonade as if covering Teenage Fanclub! Best is the Young Fresh Fellows' pouncing "Craise Finton Kirk Royal Academy of Arts," and Fastbacks' "Turn of the Century," off Bee Gees 1st. Sneetches do a bang-up "Mrs. Gillespie's Refrigerators," the little-known Appleseeds rave-up the "Taxman," rip "Exit Stage Right," and Jigsaw Seen open with an absolutely Badfinger-esque "Melody Fair," off "Odessa"! And it's good that there's so many numbers from "Horizontal" and "Idea" (Spindle terrific; Michael Nold dripping; Kristian Hoffman psychedelic; Dramarama surprisingly OK; Idle Wilds and Insect Surfers average), there are no less than four tracks from the typically non-acknowledged but still alright early-'70s LPs: "2 Years On", Phil Seymour does a nice "The First Mistake I Made," off "Trafalgar", Nick Celeste minor-muffs "The Greatest Man in the World," and though it's no shock to hear Material Issue do an uninspired but serviceable "Run to Me" off "To Whom It May Concern", Chris Von Sneidern's damn-lovely "You Know It's For You" is as unpredicted as a Panama snowstorm. Consider that there are no tracks here from their three-four albums' worth of pre-Bee Gees 1st LP material, nothing off "Cucumber Castle", and all those huge hit singles remain untouched. Even without the variety and artist coverage, this is fantastic music. This sucker puts all those shabby tribute LPs of super artists to shame. (Jack Rabid in AllMusic)

"I've Gotta Get A Message To You" By THE BEE GEES

THE BEE GEES: "2 Years On"

Original released on LP Polydor 2310.069 (UK) / 

Atco SD-33-353 (US) - (January 1971)

The Bee Gees split apart in the wake of a dispute regarding the single to be released from their album "Odessa", spent a year with Barry and Maurice Gibb recording together (and doing a television special) while Robin Gibb cut music on his own, and fighting a lawsuit in which their ex-drummer tried to claim the name "the Bee Gees." Finally, they regrouped with this "2 Years On" and surprised everyone with their biggest selling single to date, "Lonely Days," and a surprisingly hard-edged accompanying album, on which the supposed Beatles influences of their earlier days were pushed aside (it also didn't hurt that the Beatles were now history). The music is somewhat less fey and more progressive here, and at times they sound like a lighter-weight version of the Moody Blues of the same era, with sharper vocals. The surprises on this album, apart from the overall tone and quality, include the sprightly title track, which was one of the first Bee Gees songs to feature surreal lyrics that weren't downbeat, and "Back Home," with the loudest guitar ever heard on a Bee Gees record. The quality of the recording itself was also improved over their earlier releases, with a much wider range and less compression, and between that and the song selection, the Bee Gees suddenly found themselves right back in the thick of popular music, and as close to the cutting edge of pop/rock as they'd ever been. (Bruce Eder in AllMusic)

THE BEE GEES: "Horizontal" (in mono + stereo)

Original released on LP ATCO 33-233

(US, January 1968)

The group's second album, cut late in 1967 amid their first major British success, is less focused than their first, but also presents a more majestic sound than its predecessor. The opening track, "World," is a poignant, even somber yet gorgeous ballad filled with clever lyrics, and highlighted by a quavering Mellotron accompaniment, a very close grand piano sound (anticipating elements of the "Odessa" album), and twangy fuzz-tone guitar. "And the Sun Will Shine" is an even more serious, regretful ballad that is bearable because it is also prettier than "World." The enigmatically titled "Lemons Never Forget" breaks up the mood with a harder rocking sound, just the group without any orchestra, dominated by a pounding piano and volume-pedal guitar. The most interesting aspect of "Really and Sincerely" - a song that descends into an even more emotionally melodramatic mood than "And the Sun Will Shine" - is its opening, which contains a musical phrase that seems to anticipate the group's disco-era "Nights on Broadway." "Birdie Told Me" is another tale of lost love that offers the variety of some leaner and tasteful electric guitar accompaniment. 

Side two of the original LP was more upbeat, opening with the group's catchy chart-topping British hit, "Massachusetts," followed by the cheerful "Harry Braff." "The Earnest of Being George" and "The Change Is Made" are attempts at a harder rock sound, featuring heavy guitar on both and an attempt at bluesy feel on the latter, while the title track is a trippy psychedelic number that closes the album on an upbeat note. [In 2006, as part of the shift of the group's back catalog to Reprise Records, "Horizontal" was reissued in remastered form, with seriously improved sound and expanded to two CDs with a brace of chronologically-related outtakes - comprising some of the most fascinating material of their history] (Bruce Eder in AllMusic)