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Saturday, October 28, 2017
Barry Gibb Love and Hope Ball 2012 (Tribute to Brothers)
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https://beegeesfanfever.blogspot.nl/
Wednesday, October 25, 2017
Sunday, October 22, 2017
The Gibb Collective are asking for your help to get on the Tonight Show Starring Jimmy Fallon!
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Wednesday, October 18, 2017
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
Day. http://beegeesfanfever.blogspot.nl/
A video made by Samantha and Spencer Gibb ,It is for UNICEF ftoday (October 17) being the International Eradication of Poverty
Day. http://beegeesfanfever.blogspot.nl/
Tuesday, October 17, 2017
Gibb collective part 6 ,7 8 and 9
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Monday, October 16, 2017
Gibb Collective Fan Submitted Questions
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Sunday, October 8, 2017
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
http://beegeesfanfever.blogspot.nl/
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
http://beegeesfanfever.blogspot.nl/
Saturday, October 7, 2017
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.
http://beegeesfanfever.blogspot.nl/
Friday, October 6, 2017
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.
http://beegeesfanfever.blogspot.nl/
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.
http://beegeesfanfever.blogspot.nl/
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