50+ videos Play all Mix - The Barry Gibb talk show (Remix) YouTube The Barry Gibb Talk Show: Bee Gees Singers - SNL - Duration: 5:39. Saturday Night Live 3,951,930 views. When your favorite song comes on the radio! ??? repost @jleighburnett. Full Concert (Last show) BBC - 2001. 184K views October 1. Justin Timberlake and Jimmy Fallon Revive The Barry Gibb Talk Show Theme. The Tonight Show Starring Jimmy Fallon. BeeGees Videos Happy Birthday 73th Dear Barry Gibb.
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Gibb Songs version 2by Joseph Brennan, copyright 2006—2013
This was the year that Barry Gibb songs dominated the charts. OnBillboard magazine’s Hot 100, Barry as a songwriter heldthe number 1 spot for half the year. His songs were number 1for 27 weeks out of 37 from December 24, 1977 to September 2, 1978(listed below). Aside from the top position these songs were high onthe charts for a long time. They got incessant airplay and competedwith each for chart position. Barry had as many as five songssimultaneously in the top ten and one week in March he had four of thetop five spots (‘Night Fever’ at 1, ‘Stayin’Alive’ at 2, ‘Emotion’ at 3, and ‘(Love Is)Thicker Than Water’ at 5). ‘Emotion’, wellremembered, never did make number 1 against this competition.
‘How Deep Is Your Love’ (Oct 1977) — 3 weeks, Dec 24 to Jan 7
. . . 3 weeks off ‘Stayin’ Alive’ (Dec 1977) — 4 weeks, Feb 4 to Feb 25 ‘(Love Is) Thicker Than Water’ (Nov 1977) — 2 weeks, Mar 4 to Mar 11 ‘Night Fever’ (Feb 1978) — 8 weeks, Mar 18 to May 6 ‘If I Can’t Have You’ (Dec 1977) — 1 week, May 13 . . . 4 weeks off ‘Shadow Dancing’ (Apr 1978) — 7 weeks, Jun 17 to Jul 29 . . . 3 weeks off ‘Grease’ (May 1978) — 2 weeks, Aug 26 to Sep 2
New work done in 1978 did not begin to appear until the second half ofthe year. All this songwriting for films and other artists had leftthe masses wondering what the Bee Gees themselves would do next. Atprecisely this pivotal moment the public were given, not the ultimatecarefully crafted artistic pièce de résistance that theBee Gees might have had a chance to create in some other kinderuniverse, but instead the absurdity of Sgt Peppers Lonely HeartsClub Band.
While all the chart madness was going on, starting in March the BeeGees did begin recording their new album, Barry thinking all the whilehow he was going to live up to the public’s expectations, andeventually thinking too how they were going to overcome the blot ofSgt Pepper. Whether it was getting to be too much for theweary public must have come to mind, but after all it had been twoyears since a Bee Gees studio album, so they went ahead. The backlashbegan in 1979.
songs
SHADOW DANCING
Barry Gibb, Robin Gibb, Maurice Gibb, Andy Gibb A side by Andy Gibb, April 1978; album cut by Andy Gibb, 1978
WHY
Andy Gibb, Barry Gibb album cut by Andy Gibb, 1978
AN EVERLASTING LOVE
Barry Gibb album cut by Andy Gibb, 1978
GREASE
Barry Gibb A side by Frankie Valli, May 1978;Grease soundtrack, 1978
AIN’T NOTHING GONNA KEEP ME FROM YOU
Barry Gibb A side by Teri De Sario, July 1978;album cut by Teri De Sario, 1978
TRAGEDY
Barry Gibb, Robin Gibb, Maurice Gibb A side by Bee Gees, February 1979;album cut by Bee Gees, 1979
TOO MUCH HEAVEN
Barry Gibb, Robin Gibb, Maurice Gibb A side by Bee Gees, November 1978;album cut by Bee Gees, 1979
LOVE YOU INSIDE OUT
Barry Gibb, Robin Gibb, Maurice Gibb A side by Bee Gees, April 1979;album cut by Bee Gees, 1979
REACHING OUT
Barry Gibb, Robin Gibb, Maurice Gibb album cut by Bee Gees, 1979
SPIRITS (HAVING FLOWN)
[ PASSING THOUGHT ] Barry Gibb, Robin Gibb, Maurice Gibb album cut by Bee Gees, 1979
SEARCH, FIND
Barry Gibb, Robin Gibb, Maurice Gibb album cut by Bee Gees, 1979
STOP (THINK AGAIN)
Barry Gibb, Robin Gibb, Maurice Gibb album cut by Bee Gees, 1979
LIVING TOGETHER
Barry Gibb, Robin Gibb, Maurice Gibb album cut by Bee Gees, 1979
I’M SATISFIED
Barry Gibb, Robin Gibb, Maurice Gibb album cut by Bee Gees, 1979;B side by Bee Gees, April 1979
UNTIL
Barry Gibb, Robin Gibb, Maurice Gibb B side by Bee Gees, February 1979;album cut by Bee Gees, 1979
DESIRE
[ MIDNIGHT ] Barry Gibb, Robin Gibb, Maurice Gibb A side by Andy Gibb, January 1980;album cut by Andy Gibb, 1980
WHERE DO I GO
Barry Gibb, Robin Gibb, Maurice Gibb, Andy Gibb album cut by Jimmy Ruffin, 1980
THE LOVE INSIDE
Barry Gibb, Robin Gibb, Maurice Gibb, Andy Gibb album cut by Barbra Streisand, 1980
FOREVER FOREVER
[ NOBODY ] Barry Gibb, Robin Gibb, Maurice Gibb album cut by Jimmy Ruffin, 1980
THIS COULD BE GOODBYE
probably Barry Gibb, Robin Gibb, Maurice Gibb reported title. no record
BACK IN YOUR ARMS
probably Barry Gibb, Robin Gibb, Maurice Gibb reported title. no record
CASTLES
probably Barry Gibb, Robin Gibb, Maurice Gibb demo by Barry. no record
ECSTASY
probably Barry Gibb, Robin Gibb, Maurice Gibb demo by Barry. no record
FEELINGS
probably Barry Gibb, Robin Gibb, Maurice Gibb demo by Barry. no record
THE LOVE THAT WAS LOST
Maurice Gibb promotional film soundtrack. US copyright March 1979
THE RESCUE OF BONNIE PRINCE WALLY
Barry Gibb, Robin Gibb, Maurice Gibb comedy skit (not music). fan club record by Bee Gees, 1978
WHIRLPOOL
Barry Gibb, David English screenplay (not music). US copyright January 1979
This year’s work included songs for a second Andy album and anew Bee Gees album that was released in 1979. The obvious idea of allfour brothers recording together was brought up, and the results werethe song ‘Desire’ with Andy on lead vocal, and two othersongs credited to all four as writers that were recorded later forother projects, ‘Where Do I Go’ and ‘The LoveInside’. Barry wrote a main title for the RSO film of themusical play Grease and a song for Teri De Sario.
Several other titles are known from leaked demo tapes or rumors.‘Nobody’ was partly rewritten by Robin as ‘ForeverForever’ and recorded by Jimmy Ruffin. The others as listedwould probably have been credited to B R & M Gibbif released.
Maurice’s first outside work in a while was an instrumentalpiece, ‘The Love That Was Lost’.
There are two non-musical works too. The three brothers did a comedyskit called ‘The Rescue of Bonnie Prince Wally’ for a fanclub record. Barry and his friend David English wrote up a 32-pagetreatment for a movie that was never made, Whirlpool, aboutdrug traffic in Miami. David English, the first president of RSORecords, also acted in films and then began a career producing charitysports and entertainment events. He would do more projects with Barryin the years to come.
recording sessions
Andy Gibb
Andy Gibb — vocal
Joey Murcia — guitar Tim Renwick — guitar George Bitzer — keyboards, synthesizer Harold Cowart — bass Ron Ziegler — drums Joe Lala — percussion John Sambataro — vocal; slide guitar (‘Why’) The Boneroo Horns Peter Graves Whit Sidener Ken Faulk Bill Purse Neil Bonsanti Stan Webb orchestra arranged by Albhy Galuten; also Barry Gibb (‘Shadow Dancing’, ‘An Everlasting Love’, ‘One More Look at the Night’, ‘Good Feeling’); also Blue Weaver and Barry Gibb (‘Don’t Throw It All Away’) Paul Harris — keyboards (‘Don’t Throw It All Away’) Don Felder — guitar (‘I Go for You’) Jock Bartley — guitar (‘Why’) Barry Gibb — vocal (‘Shadow Dancing’, ‘Why’, ‘An Everlasting Love’, ‘Don’t Throw It All Away’) engineer: Karl Richardson; John Blanche, Dennis Hetzendorfer (Criteria); David Gertz (Wally Heider) producer: Albhy Galuten, Karl Richardson, Barry Gibb December 1977 to February 1978, Criteria Recording Studios, Miami; 1978, Wally Heider Studio, Los Angeles
Andy’s second album was made under the direction of AlbhyGaluten and Karl Richardson, mostly while Barry, Robin, and Mauricewere off filming Sgt Peppers Lonely Hearts Club Band (up toJanuary). Barry again was executive producer, and again he waspresent during recording of a few of the songs, the ones he wroteor co-wrote.
The recording order is not known. The ones with Barry must be amongthe later ones, so here the Andy songs are shown first, followed bythe songs Barry was involved with.
FOOL FOR A NIGHT
Andy Gibb (1978) undated 1978 stereo 3:20, lead vocal Andy Gibb Shadow Dancing, 1978
MELODY
Andy Gibb (1978) undated 1978 stereo 4:00, lead vocal Andy Gibb Shadow Dancing, 1978
I GO FOR YOU
Andy Gibb (1978) undated 1978 stereo 4:19, lead vocal Andy Gibb Shadow Dancing, 1978
GOOD FEELING
Andy Gibb (1978) undated 1978 stereo 3:46, lead vocal Andy Gibb Shadow Dancing, 1978
WAITING FOR YOU
Andy Gibb (1978) undated 1978 stereo 4:13, lead vocal Andy Gibb Shadow Dancing, 1978
ONE MORE LOOK AT THE NIGHT
Andy Gibb (1978) undated 1978 stereo 3:45, lead vocal Andy Gibb Shadow Dancing, 1978
This is a nice set of songs by Andy, all probably written in the yearand a half since he recorded his first album. They are a little lesscountry in style. It is worth listening to these separately from thecollaborations with Barry. ‘Melody’ for example has someof the same feeling of longing that Andy put into songs like‘Starlight’ on Flowing Rivers. They might soundeven more authentic played by a young band Andy’s age ratherthan note-perfect sessionmen.
WHY
Andy Gibb, Barry Gibb (1978) undated 1978 stereo 4:31, lead vocal Andy Gibb Shadow Dancing, 1978
Andy said that he wrote the melody for ‘Why’ but askedBarry to write lyrics for it. Barry on backing vocals.
John Sambataro, who sang backing and harmony vocals on the non-Barrysongs, plays slide guitar. Later in 1978 he left the Andy Gibb bandand went on tour with David Mason (ex-Traffic), and early in 1979 hebecame lead guitarist for McGuinn, Clark and Hillman, a band playingcountry rock along the lines of some of Andy’s songs— whatmight have been! Also on this track was Jock Bartley of the countryrock band Firefall, then recording their third album at Criteria.They had their Bee Gees connections: the first two albums had beenengineered by Karl Richardson, and Joe Lala was a regular guestmusician. And John Sambataro eventually joined Firefall in 1982 andrecorded two albums with them.
SHADOW DANCING
Barry Gibb, Robin Gibb, Maurice Gibb, Andy Gibb (1978) undated 1978 stereo 4:34, lead vocal Andy Gibb A side, April 1978; Shadow Dancing, 1978
The first song credited to all four brothers. There would be two moreover the next few months that were not released until some time later.There was loose talk about Andy appearing on Bee Gees disks and aboutsome sort of arrangement where he would tour and they would recordwith him, never quite confirmed. Barry sings backing vocals.
AN EVERLASTING LOVE
Barry Gibb (1978) undated 1978 stereo 4:06, lead vocal Andy Gibb Shadow Dancing, 1978; A side, July 1978
Barry writing for Andy, and providing a lot of falsetto backing vocalson the mechanically repeating chorus. This is very different from anyof Andy’s own songs.
(OUR LOVE) DON’T THROW IT ALL AWAY
Barry Gibb, Blue Weaver (1977) undated 1978 stereo 4:07, lead vocal Andy Gibb Shadow Dancing, 1978; A side, September 1978
‘Don’t Throw It All Away’ was the very good songBarry and Blue wrote during the Saturday Night Fever sessions.For this version Barry added a bridge section. Barry sings backingvocals.
Andy wrote six new songs for this album (plus ‘Why’), butonce again none of them was chosen as the A side of a single. Andywas now almost twenty— the age Barry was when he wrote‘Spicks and Specks’ with support from Maurice.Barry’s generosity toward Andy is praiseworthy, but nonetheless,perhaps this should have been the time to promote Andy’s owntalents.
Stephen Stills
Stephen Stills — vocal, guitar, percussion
Andy Gibb — vocal Dave Mason — vocal John Sambataro — vocal Joey Murcia — guitar Mike Finnigan — piano (‘You Can’t Dance Alone’) Kenny Kirkland — piano (‘What’s the Game’) George Perry — bass Joe Vitale — drums Joe Lala — percussion engineer: ? producer: Stephen Stills, Ron Albert, Howard Albert February 1978, Criteria Recording Studios, Miami
YOU CAN’T DANCE ALONE
Stephen Stills (1978) undated 1978 stereo 4:30, lead vocal Stephen Stills Thoroughfare Gap, 1978
WHAT’S THE GAME
Stephen Stills (1978) undated 1978 stereo 3:30, lead vocal Stephen Stills Thoroughfare Gap, 1978 ![]()
Stephen Stills was back at Criteria to record his albumThoroughfare Gap. In 1976 he had visited the Bee Gees whilethey were making Children of the World, and this time he andAndy’s group visited each other. Andy and his usual backupsinger John Sambataro sing backup on two songs, ‘You Can’tDance Alone’ and ‘What’s the Game’. John sangon a third song, Albhy Galuten plays piano on another, and JoeyMurcia, Joe Lala, and ‘Chocolate’ Perry play on most ofthe album.
Frankie Valli
Frankie Valli — vocal
Barry Gibb — vocal Peter Frampton — guitar Gary Brown — sax (instrumental version) others engineer: Karl Richardson producer: Barry Gibb, Karl Richardson, Albhy Galuten around February 1978, Criteria Recording Studios, Miami
GREASE
Barry Gibb (1978) undated 1978 stereo 3:21, lead vocal Frankie Valli single May 1978; Grease soundtrack, 1978
Barry wrote a title song to order for the Robert Stigwood film of thestage musical Grease. Since it is heard only in the animatedopening credits, it did not need to be recorded before filming. Itwas recorded shortly after filming for Sgt Pepper, which wasprobably when Barry invited Peter Frampton to the session. The otheruncredited musicians were some of those from the Andy Gibb album thatwas being made around the same time.
Frankie Valli, falsetto lead singer of the immensely popular FourSeasons group of the early 1960s, was a natural choice to sing it.Barry touched up the vocal with his own falsetto. The film directorRandal Kleiser did not like ‘Grease’ and the new song‘You’re the One That I Want’ because they did notfit the fifties style musically or lyrically.
Teri De Sario
Teri De Sario — vocal
Barry Gibb — vocal Joey Murcia — guitar George Terry — guitar George Bitzer — keyboards Paul Harris — keyboards George Perry — bass Ron ‘Tubby’ Ziegler — drums The Boneroo Horns Peter Graves Whit Sidener Ken Faulk Bill Purse Neil Bonsanti Stan Webb orchestra arranged by Albhy Galuten engineer: Karl Richardson producer: Barry Gibb, Karl Richardson, Albhy Galuten around February 1978, Criteria Recording Studios, Miami
AIN’T NOTHING GONNA KEEP ME FROM YOU
Barry Gibb (1977) undated 1978 stereo 3:50, lead vocal Teri De Sario single, July 1978; Pleasure Train, 1978
Albhy Galuten heard Teri De Sario in a club, and got Barry involved inrecording a song for her. Barry sang backing vocals.song from 1977.
The musicians are again the usual group who did Andy’s sessions,and a few of them continued into the sessions for the new Bee Geesalbum. George Bitzer from Network appears again. Teri was marriedto Boneroo Horn player Bill Purse.
Sesame Street Fever
Robin Gibb — vocal
Frank Oz — vocal Jerry Nelson — vocal Carroll Spinney — vocal Jim Henson — vocal others engineer: Michael DeLugg producer: Joe Raposo possibly May 1978, New York
SESAME STREET FEVER
Joe Raposo (1978) undated 1978 stereo 5:40, lead vocal The Count, Grover, Ernie, Cookie Monster, Robin Gibb Sesame Street Fever, 1978 stereo 3:10, lead vocal The Count, Grover, Ernie, Cookie Monster, Robin Gibb single, 1978
TRASH
Joe Raposo (1978) undated 1978 stereo 6:13, lead vocal Robin Gibb Sesame Street Fever, 1978
C IS FOR COOKIE
Joe Raposo (1978) undated 1978 stereo 5:32, lead vocal Cookie Monster Sesame Street Fever, 1978
Robin made a guest appearance on the children’s televisionprogram Sesame Street in 1978, bringing along his four year olddaughter to visit the set. He then also contributed vocals to theiralbum Sesame Street Fever. The date is unknown, but would bethe first half of 1978. The songs are all by SesameStreet’s resident songwriter Joe Raposo, writer of ‘ItAin’t Easy Being Green’ and many others.
The cover of the album was a parody of the cover of Saturday nightfever, with the muppet Grover as the John Travolta figure. On thealbum Robin turns in a beautiful lead vocal on ‘Trash’ asOscar the Grouch. He also sings a few lines in ‘Sesame StreetFever’ and speaks briefly at the start of the SesameStreet classic ‘C Is for Cookie’. The muppetcharacter voices were by Frank Oz, Jerry Nelson, Carroll Spinney,and Jim Henson.
Bee Gees
Barry Gibb — vocal, guitar
Robin Gibb — vocal Maurice Gibb — vocal, bass, keyboard Blue Weaver — keyboards, synthesizer, programming Alan Kendall — guitar Dennis Bryon — drums George Terry — guitar Harold Cowart — bass Joe Lala — percussion Daniel Ben Zebulon — percussion Gary Brown — sax Herbie Mann — flute (‘Spirits Having Flown’) The Boneroo Horns Peter Graves Whit Sidener Kenny Faulk Bill Purse Neil Bonsanti Stan Webb The Chicago Horns (‘Too Much Heaven’, ‘Stop (Think Again)’) James Pankow Walter Parazaider Lee Loughnane orchestra arranged by Albhy Galuten; concertmasters Gene Orloff (Sound Mixers), Bob Basso (Criteria) engineer: Karl Richardson; Dennis Hetzendorfer, John Blanche producer: the Bee Gees, Karl Richardson, Albhy Galuten March to May, July to November 1978, Criteria Recording Studios, Miami; Sound Mixers Studio, New York (strings)
The Bee Gees spent much of 1978 on Spirits Having Flown, themost time they had ever spent on one album. Barry said that he feltit had to live up to the sensational success of Saturday NightFever. This only heightened any tendencies the Bee Gees hadtoward perfectionism, Barry in particular. No doubt each song hasmany, many recording dates, as they carefully recorded and re-recordedeach nuance, but none of the dates are known. There was a break fromabout the second week of May to the last week of July.
In retrospect the decision to use Barry’s falsetto on almostevery song looks like a mistake. Albhy Galuten said years later thatBarry felt his falsetto voice was more expressive and had greaterrange, so he wanted to use it all the time. The songs on SpiritsHaving Flown are quite varied in style, but the sameness of thevocals makes them sound more alike than they are. Spirits HavingFlown is as varied in musical style as classic older Bee Geesalbums. ‘Tragedy’ is the only really ‘disco’song here.
Albhy recalls Spirits Having Flown as being created primarilyby Barry, Albhy, and Karl putting in long days and nights at Criteria.Blue Weaver recalls others being involved! Both agree that Robin wasactive behind the scenes in songwriting and offering feedback to therecording process, but Maurice contributes probably the least he didon any Bee Gees album. Not only was his alcoholism sapping hiscreativity, but he was having back pains finally diagnosed in 1980 ascaused by a bad disk. In the recording phase Robin and Maurice nowmainly played the role of backing and harmony vocalists, and even inthat capacity Barry did many of the vocal dubs himself as he went overand over the recorded work. Instrumentally Blue again made greatcontributions to the arrangements.
TRAGEDY
Barry Gibb, Robin Gibb, Maurice Gibb (1978) undated 1978 stereo 5:03, lead vocal Barry Gibb A side, February 1979; Spirits Having Flown, 1979
Blue Weaver plays most of ‘Tragedy’, including programmingthe newly invented sequencers for the bass and drum parts. Theso-called disco rhythm is similar to that of the Beatles’‘Get Back’ and the song’s halfway status betweenrock and disco could have been emphasized by a halfway falsetto vocal.Barry spent days just on the sound effect that ends the pause beforethe last chorus.
TOO MUCH HEAVEN
Barry Gibb, Robin Gibb, Maurice Gibb (1978) undated 1978 stereo 4:55, lead vocal Barry Gibb A side, November 1978; Spirits Having Flown, 1979
Illustrating the excess of these sessions, ‘Too MuchHeaven’ has 27 vocal tracks. Barry on falsetto lead 3 times,falsetto high harmony 3 times, falsetto low harmony 3 times. Barry onnatural voice lead 3 times, high harmony 3 times, low harmony 3 times.Barry, Robin and Maurice together on lead 3 times, high harmony 3 times,low harmony 3 times. The horn section from the band Chicago play onthe song, in return for the brothers’ appearance on a Chicagosong (see below).
LOVE YOU INSIDE OUT
Barry Gibb, Robin Gibb, Maurice Gibb (1978) undated 1978 stereo 4:11, lead vocal Barry Gibb Spirits Having Flown, 1979; A side, April 1979
A slow funk groove. If the brothers can be believed, they sent off toRobert Stigwood a special version with the alternate line ‘backwardsand forwards with my cock hanging out’ (instead of ‘withmy heart hanging out’) just to see if he was paying attention.He was.
REACHING OUT
Barry Gibb, Robin Gibb, Maurice Gibb (1978) undated 1978 stereo 4:05, lead vocal Barry Gibb Spirits Having Flown, 1979
A nice acoustic-guitar ballad, not disco or funk, but with synthesizerand falsetto.
SPIRITS (HAVING FLOWN)
Barry Gibb, Robin Gibb, Maurice Gibb (1978) undated 1978 stereo 5:19, lead vocal Barry Gibb Spirits Having Flown, 1979
Barry sings much of this in natural voice, breathy style, withnoticeable support from Robin and Maurice. Herbie Mann adds a bit offlute in the ending. This would have made an excellent single, on itsown merits and as a transition back to natural voice Bee Gees. Itsworking title was ‘Passing Thought’.
SEARCH, FIND
Barry Gibb, Robin Gibb, Maurice Gibb (1978) undated 1978 stereo 4:13, lead vocal Barry Gibb Spirits Having Flown, 1979
Uptown rhythm and blues, with horns and a driving rhythm section. Itwould have fit right in with the Arif Mardin arrangements on Mr Natural. The bass player adds some nice touches. Another naturalsingle that would have broken the disco mold.
STOP (THINK AGAIN)
Barry Gibb, Robin Gibb, Maurice Gibb (1978) undated 1978 stereo 6:40, lead vocal Barry Gibb Spirits Having Flown, 1979
Calling this a slow ballad makes it sound like a classic Bee Gees songbut it has a different sense of pacing, with a little hesitation,maybe Otis Redding in falsetto. The Chicago Horns played on thissong.
LIVING TOGETHER
Barry Gibb, Robin Gibb, Maurice Gibb (1978) undated 1978 stereo 4:21, lead vocal Barry Gibb, Robin Gibb Spirits Having Flown, 1979
Back to funk. On the verses Robin delivers a startlinglyfeminine-sounding solo falsetto lead for the one and only time. Nowlisten to the other songs again for possible double leads by Barry andRobin, with Robin using this voice.
I’M SATISFIED
Barry Gibb, Robin Gibb, Maurice Gibb (1978) undated 1978 stereo 3:55, lead vocal Barry Gibb Spirits Having Flown, 1979; B side, April 1979
Slightly reggae. The verses build in intensity and then fall backinto the groove.
UNTIL
Barry Gibb, Robin Gibb, Maurice Gibb (1978) undated 1978 stereo 2:27, lead vocal Barry Gibb B side, February 1979; Spirits Having Flown, 1979
The least worked-over song of the bunch, something Barry came up withand recorded quickly. It includes some of the highest notes he everreached.
DESIRE
Barry Gibb, Robin Gibb, Maurice Gibb (1978) undated 1978, 30 May 1979 stereo 4:24, lead vocal Barry Gibb unreleased stereo 4:24, lead vocal Andy Gibb A side, January 1980; After Dark, 1980
Blue Weaver recalls that ‘Desire’ was intended for theSpirits Having Flown album and originally had Barry singinglead. After they spent weeks on it, they dropped it from the albumlineup. Andy recorded a new vocal track to it in 1979, but it stillhad vocal backing tracks by Barry, Robin and Maurice. When it cameout as an Andy single in 1980 it was publicized as the first trackwith all four brothers on it (and it would be the only one).It’s similar to ‘Shadow Dancing’— light discowith not much to say.
Chicago
Peter Cetera — vocal, bass
Donnie Dacus — guitar Robert Lamm — keyboards Lee Loughnane — trumpet James Pankow — trombone Walter Parazaider — woodwinds Danny Seraphine — drums Laudir de Oliveira — percussion Barry Gibb, Robin Gibb, Maurice Gibb — vocal first half 1978, Criteria Recording Studios, Miami
LITTLE MISS LOVIN’
Peter Cetera (1978) undated 1978 stereo 4:41, lead vocal Peter Cetera Hot Streets, 1978
The Bee Gees sing backup vocals on a song by the band Chicago, whowere recording their Hot Streets album at Criteria in 1978.This backing vocal paid back Lee Loughnane and Walt Parazaider playingflugelhorn and flute on ‘Too Much Heaven’ (according toliner notes to the 2003 reissue of Hot Streets). Blue Weaveralso appears on the album playing synthesizer on the song ‘NoTell Lover’.
Bee Gees
Barry Gibb — talk, vocal, guitar
Robin Gibb — talk, vocal Maurice Gibb — talk, vocal David English — talk producer: the Bee Gees probably October or November 1978, Criteria Recording Studios, Miami
A PERSONAL MESSAGE FROM THE BEE GEES
talk (1978) undated 1978 stereo 7:21, voices of Barry Gibb, Robin Gibb, Maurice Gibb fan club disk, 1979
THE RESCUE OF BONNIE PRINCE WALLY
Barry Gibb, Robin Gibb, Maurice Gibb (1978) undated 1978 stereo 7:53, voices of Barry Gibb, Robin Gibb, Maurice Gibb, David English fan club disk, 1979
Members of the fan club got a special disk for Christmas 1978, or a little later. ‘A Personal Message’ is mostly the brotherstalking but it includes about a half minute of the three of themsinging ‘Silent Night’ with Barry on guitar.
‘The Rescue of Bonnie Prince Wally’ is a very silly skitwith funny voices in odd accents and sound effects. The Bee Gees wereknown privately for doing things like this, often on film, but this isthe only one made publicly available. They said they cleaned up thelanguage for this disk.
Osmonds
Merrill Osmond — vocal, possibly bass
Alan Osmond — vocal, possibly guitar Wayne Osmond — vocal, possibly guitar Jay Osmond — vocal, possibly drums Kitty Woodson — vocal (‘Love on the Line’) Denny Crockett — keyboards Blue Weaver — keyboards George Bitzer — keyboards Bruce Nazarian — guitar, bass, keyboards George Terry — guitar Rich Dixon — guitar Joey Murcia — guitar Ike Egan — bass George Perry — bass Sam Foster — drums Joe Lala — percussion Fred Wickstrom — percussion Richie Puente — percussion Ken Hodges — percussion The Boneroo Horns Peter Graves — trombone Russ Freeland — trombone Whit Sidener — sax Chris Colclessar — sax Ken Faulk — trumpet Vinnie Tanno — trumpet Jerry Peel — French horn Mike Lewis — sax (‘Steppin’ Out’) orchestra arranged by Mike Lewis engineer: Steve Klein producer: Maurice Gibb, Steve Klein last quarter of 1978, Kolob Recording Studios, Provo, Utah; Criteria Recording Studios, Miami
Maurice met with the Osmond brothers in Utah at their invitation inJuly or August of 1978, and took up their offer to produce an albumfor them toward the end of the year. The Osmonds, a little youngerthan the Gibb brothers (born 1949-1955), had, like the Gibbs, becomewell known as television performers in the early 1960s. They wereactors in the one-year series The Travels of Jaimie McPheetersand sang its theme song, the model for the Bee Gees’ version in1964. In the years since, they and younger siblings Donny, Marie, andJimmy had had occasional chart hits and were still well known figureson television. Donny and Marie had a variety show on the ABC networkfrom 1973 to 1979. During 1978 the press kept reporting on Marie andAndy Gibb spending time together.
Probably the Osmonds expected some of the Bee Gees magic to rub off byworking with Maurice, and on the face of it his experience in asuccessful brother act made it seem logical that he could work wellwith the Osmonds. However Maurice’s steady drinking made itimpossible. His creativity was in eclipse in any case, and in thisparticular situation he just had little common ground with theOsmonds’ cleaner lifestyle.
The album cover states that all backing tracks and vocals (except‘Emily’) were recorded at Kolob, and that ‘strings,horns, and additional recording’ were done at Criteria. Thosepresent in Utah report instrumental recording in sessions led mainlyby regular Osmond musicians Ike Egan and Denny Crockett. Maurice wasuncomfortable in Utah and not productive. His contributions to theproject were slight, and he certainly does not sing or play on any ofit. The Osmonds themselves sometimes played instruments on recordand in live shows, but the credits for this album are vague.
Vocal credits are not given although certainly the four brothers areall singing. Merrill was usually the lead singer and is so creditedhere. Two Osmond fans kindly pointed out a few songs with lead partsby Wayne. There are still some lame ‘other voice’ creditsawaiting help from someone familiar with the brothers’ voices.The LP sleeve credits Kitty Woodson on the duet.
The writer credits as shown here come from US copyright registrations.The album cover credits all songs to the four Osmond brothers exceptof course ‘Love Ain’t an Easy Thing’ and ‘RestYour Love on Me’. The copyrights show the addition of Egan andCrockett on some songs, and Jay Osmond missing on some. ‘LoveAin’t an Easy Thing’ was originally heard on NeilSedaka’s 1974 LP Laughter in the Rain. Barry’s‘Rest Your Love on Me’ had not yet been released when theOsmonds recorded it.
STEPPIN’ OUT
Alan Osmond, Wayne Osmond, Merrill Osmond (1978) undated 1978 stereo 3:24, lead vocal Merrill Osmond, other voice Steppin’ Out, 1979
EMILY
Alan Osmond, Wayne Osmond, Merrill Osmond, Ike Egan, Denny Crockett (1978) undated 1978 stereo 3:18, lead vocal Merrill Osmond Steppin’ Out, 1979
YOU’RE MINE
Alan Osmond, Wayne Osmond, Merrill Osmond (1978) undated 1978 stereo 5:02, lead vocal Merrill Osmond, Wayne Osmond Steppin’ Out, 1979
BABY’S BACK
Alan Osmond, Wayne Osmond, Merrill Osmond, Ike Egan, Denny Crockett (1978) undated 1978 stereo 3:27, lead vocal Merrill Osmond Steppin’ Out, 1979
LOVE ON THE LINE
Alan Osmond, Wayne Osmond, Merrill Osmond, Jay Osmond (1978) undated 1978 stereo 3:32, lead vocal Merrill Osmond, Wayne Osmond, Kitty Woodson Steppin’ Out, 1979
RAININ’
Alan Osmond, Wayne Osmond, Merrill Osmond (1978) undated 1978 stereo 4:33, lead vocal Wayne Osmond Steppin’ Out, 1979
I’ I’ I
Alan Osmond, Wayne Osmond, Merrill Osmond, Ike Egan, Denny Crockett (1978) undated 1978 stereo 4:18, lead vocal Merrill Osmond, other voice Steppin’ Out, 1979
LOVE AIN’T AN EASY THING
Neil Sedaka, Phil Cody (1974) undated 1978 stereo 3:38, lead vocal Merrill Osmond Steppin’ Out, 1979
HOLD ON
Alan Osmond, Wayne Osmond, Merrill Osmond, Jay Osmond (1978) undated 1978 stereo 3:20, lead vocal Merrill Osmond Steppin’ Out, 1979
REST YOUR LOVE ON ME
Barry Gibb (1976) undated 1978 stereo 4:15, lead vocal Merrill Osmond Steppin’ Out, 1979
Maurice Gibb
Blue Weaver — piano
orchestra arranged by Mike Lewis engineer: ? producer: Maurice Gibb 1978, Miami
THE LOVE THAT WAS LOST
Maurice Gibb (1978) undated 1978 stereo about 6:30, instrumental film score
Maurice composed ‘The Love that Was Lost’ for a shortpromotional film for the charity the United Way. His wrote it byplaying multiple parts on keyboard, and he sent the tape to Mike Lewisto be scored for orchestra. Mike was the usual arranger for K C andthe Sunshine Band, and he arranged the Osmonds album probably shortlybefore or after this. For the recording of ‘The Love that WasLost’ Maurice asked Blue Weaver to play piano, and Mike Lewisconducted the orchestra that was hired for the session. Mauricetherefore is not on the recording.
selected record releases
Bee Gees : single
US: RSO, February 1978; UK: RSO, February 1978.
ANIGHT FEVER
BDOWN THE ROAD (live 1976)
The Bee Gees’ third and last single from Saturday NightFever, propelled by the momentum of the other two still on thecharts, had the longest run at number 1 on Billboard’scharts, eight weeks. It also went number 1 in Britain. Radiostations were sent a version that faded a minute early at 3:52.
CD: ‘Night Fever’ on Saturday Night Fever; ‘Downthe Road’ on Here at Last.
Graham Bonnet : single
UK: Ring O’Records, March 1978.
AWARM RIDE
B10/12 OBSERVATION
Graham Bonnet recorded the extra Saturday Night Fever song‘Warm Ride’ and scored a top ten hit in Australia and NewZealand. The British release was one of the last on RingoStarr’s vanity label Ring O’Records.
Rare Earth : single
US: Prodigal/Motown, April 1978.
AWARM RIDE
BWOULD YOU LIKE TO COME ALONG
This was the American release of ‘Warm Ride’. Rare Earthwere a Detroit-based white rock band signed to Motown. Their firstrecords were on the Rare Earth vanity label and as of this single theyswitched to Prodigal, another Motown-owned label. They performed thesong on American Bandstand in June 1978, and issued asix-minute-plus version on a promo disk, but it was not a hit. Theband were: Gil Bridges (vocals, flute, sax), Ray Monette (guitar),Mark Olson (vocals, keyboards), Mike Urso (bass), Pete Rivera (drums),Eddie Guzman (percussion).
Andy Gibb : single
US: RSO, April 1978.
ASHADOW DANCING
BLET IT BE ME
Andy Gibb : single
UK: RSO, April 1978.
ASHADOW DANCING
BTOO MANY LOOKS IN YOUR EYES
Andy Gibb’s third single became his third American number 1.This was the song credited to all four Gibb brothers. Barry singsbacking vocals. The B sides were from his first album. This justmissed top forty in Britain. Andy was mainly an American sensation.
CD: ‘Shadow Dancing’ on Andy Gibb and Andy GibbMillennium.
Frankie Valli : single
US: RSO, May 1978; UK: RSO, May 1978.
AGREASE
BGREASE (instrumental)
The title song to Grease was yet another American number 1 forBarry as songwriter, and it made top five in Britain as well. The B sidewas the instrumental track, and in the US only it had a sax solo by GaryBrown.
The song was also on the soundtrack album Grease and FrankieValli’s own album Frankie Valli... Is the Word.
CD: Grease.
Andy Gibb : Shadow Dancing
US: RSO, April 1978; UK: RSO, September 1978.
A 1SHADOW DANCING
A 2WHY A 3FOOL FOR A NIGHT A 4AN EVERLASTING LOVE A 5(OUR LOVE) DON’T THROW IT ALL AWAY B 1ONE MORE LOOK AT THE NIGHT B 2MELODY B 3I GO FOR YOU B 4GOOD FEELING B 5WAITING FOR YOU
Andy Gibb’s second album was hugely successful in themarketplace. Musically it continued the uneasy juxtaposition ofBarry’s hit songs for Andy and Andy’s own songs, thelatter confined mostly to side 2 of the LP. All are again played to apolish by the best session players Barry, Albhy, and Karl could hire.
American release was considerably in advance of that elsewhere, andthe next several Andy singles were quite different.
CD: ‘Shadow Dancing’, ‘An Everlasting Love’,and ‘(Our Love) Don’t Throw It All Away’ on AndyGibb and Andy Gibb Millennium.
Andy Gibb : single
US: RSO, June 1978.
AAN EVERLASTING LOVE
BFLOWING RIVERS
Andy’s fourth American single did not reach number 1 like thefirst three, but did go top five. Barry sings backing vocals. The Bside was again off his first album, not the new one.
CD: ‘An Everlasting Love’ on Andy Gibb; both onAndy Gibb Millennium.
Sgt Peppers Lonely Hearts Club Band
US: RSO, July 1978; UK: A & M, July 1978.
A 1Bee Gees, Nicholas : SGT PEPPERS LONELY HEARTS CLUB BAND
Frampton, Bee Gees : WITH A LITTLE HELP FROM MY FRIENDS A 2Farina : HERE COMES THE SUN A 3Frampton, Bee Gees : GETTING BETTER A 4Steinberg, Stargard : LUCY IN THE SKY WITH DIAMONDS A 5Bee Gees, Steinberg, Nicholas, Pleasance, Stargard : I WANT YOU (SHE’S SO HEAVY) B 1Nicholas, Frampton, Bee Gees : GOOD MORNING, GOOD MORNING B 2Bee Gees, MacIntosh, Wheeler : SHE’S LEAVING HOME B 3Nicholas, Steinberg : YOU NEVER GIVE ME YOUR MONEY B 4Robin Gibb : OH! DARLING B 5Martin : MAXWELL’S SILVER HAMMER B 6Bee Gees : POLYTHENE PAM Frampton, Bee Gees : SHE CAME IN THROUGH THE BATHROOM WINDOW Bee Gees : NOWHERE MAN Frampton, Bee Gees : SGT PEPPERS LONELY HEARTS CLUB BAND (REPRISE) C 1Earth Wind and Fire : GOT TO GET YOU INTO MY LIFE C 2Farina : STRAWBERRY FIELDS FOREVER C 3Howerd, Farina : WHEN I’M SIXTY-FOUR C 4Howerd : MEAN MR MUSTARD C 5Burns : FIXING A HOLE C 6Cooper, Bee Gees : BECAUSE C 7Frampton, Bee Gees : GOLDEN SLUMBERS / CARRY THAT WEIGHT D 1Aerosmith : COME TOGETHER D 2Maurice Gibb, Frampton, Burns, Bee Gees : BEING FOR THE BENEFIT OF MR KITE! D 3Frampton : THE LONG AND WINDING ROAD D 4Barry Gibb, Bee Gees : A DAY IN THE LIFE D 5Preston : GET BACK D 1the cast: SGT PEPPERS LONELY HEARTS CLUB BAND (finale)
Robin Gibb : single
US: RSO, July 1978; UK: RSO, July 1978.
AOH! DARLING
BSHE’S LEAVING HOME
The soundtrack album to Sgt Pepper. One musical number in thefilm is missing: George Martin’s instrumental medley of SgtPeppers Lonely Hearts Club Band as played by the original SgtPepper’s band over the years, recorded under the titles‘Charleston’, ‘Hoedown’, ‘SwingDance’, ‘World War II’, and ‘DyingSequence’. The legacy passed to his grandson Billy Shears,played by Peter Frampton, and his band, played by Barry, Robin, andMaurice.
Following is the order of music in the film itself:
SGT PEPPERS LONELY HEARTS CLUB BAND (instrumentals) SGT PEPPERS LONELY HEARTS CLUB BAND / WITH A LITTLE HELP FROM MY FRIENDS FIXING A HOLE GETTING BETTER THE LONG AND WINDING ROAD (instrumental) HERE COMES THE SUN I WANT YOU (SHE’S SO HEAVY) GOOD MORNING, GOOD MORNING NOWHERE MAN POLYTHENE PAM / SHE CAME IN THROUGH THE BATHROOM WINDOW SGT PEPPERS LONELY HEARTS CLUB BAND (REPRISE) THE LONG AND WINDING ROAD (I) MEAN MR MUSTARD SHE’S LEAVING HOME LUCY IN THE SKY WITH DIAMONDS OH! DARLING MAXWELL’S SILVER HAMMER BECAUSE STRAWBERRY FIELDS FOREVER BEING FOR THE BENEFIT OF MR KITE! WHEN I’M SIXTY-FOUR (instrumental) YOU NEVER GIVE ME YOUR MONEY GOT TO GET YOU INTO MY LIFE WHEN I’M SIXTY-FOUR COME TOGETHER GOLDEN SLUMBERS / CARRY THAT WEIGHT THE LONG AND WINDING ROAD (II) A DAY IN THE LIFE GET BACK SGT PEPPERS LONELY HEARTS CLUB BAND (finale)
Sgt Peppers Lonely Hearts Club Band was one of the most ineptmovie musicals ever made. For one thing Peter Frampton, Barry, Robin,and Maurice were not professional actors. But the entire project wasill-conceived and executed, quite apart from anything involving theBee Gees, who reportedly asked to back out of it before it was made.
On the strength of the Bee Gees’ success RSO (US) manufacturedtwo million copies of the expensive two-LP set, which had an embossedfront cover, special inner sleeves, and a poster. Counterfeiters whohad made a tidy profit on Saturday Night Fever managed to getcopies of the music and artwork ahead of release and added to theoverabundance of product. Sales were terrible. At that time storeswere allowed to return unsold albums for credit. Record businessinsiders said that it was the first album to ‘returnplatinum’, and that because of the counterfeiting it returnedmore than it shipped. RSO destroyed hundreds of thousands of copies,and despite that the album was a familiar sight in cutout bins foryears to come.
The single of ‘Oh! Darling’ was credited as Robin Gibb.It went top twenty in America, very good considering thecircumstances. The only song from the album that sold better wasEarth Wind and Fire’s ‘Got to Get You Into My Life’.
In some countries in Europe a second single credited as Barry Gibb wasissued, ‘A Day in the Life’ / ‘Nowhere Man’,with the B side lengthened by editing in a repeat section.
CD: Sgt Peppers Lonely Hearts Club Band.
Teri De Sario : single
US: Casablanca, July 1978; UK: Casablanca, July 1978.
AAIN’T NOTHING GONNA KEEP ME FROM YOU
BSOMETIME KIND OF THING
Teri De Sario’s single did not reach top forty. Barry wrote andsang backup on the A side. He was not involved with the B side, a recentcomposition by Miami-based Betty Wright.
Sesame Street Fever
US: Sesame Street, August 1978; UK: Sesame Street, August 1978.
SESAME STREET FEVER
TRASH C IS FOR COOKIE
Robin sang lead vocal on ‘Trash’ and contributed some vocalto the other two songs.
Bee Gees : Monday’s Rain
US: Pickwick, August 1978.
A 1WHERE ARE YOU (1966)
A 2SPICKS AND SPECKS (1966) A 3PLAY DOWN (1966) A 4BIG CHANCE (1966) A 5GLASS HOUSE (1966) B 1HOW MANY BIRDS (1966) B 2SECOND HAND PEOPLE (1966) B 3I DON’T KNOW WHY I BOTHER WITH MYSELF (1966) B 4MONDAY’S RAIN (1966)
Bee Gees : Take Hold of That Star
US: Pickwick, August 1978.
A 1I WAS A LOVER, A LEADER OF MEN (1965)
A 2FOLLOW THE WIND (1965) A 3CLAUSTROPHOBIA (1964) A 4THEME FROM ‘THE TRAVELS OFJAIMIE MCPHEETERS’ (1964) A 5EVERY DAY I HAVE TO CRY (1965) B 1TAKE HOLD OF THAT STAR (1963) B 2COULD IT BE (1964) B 3TO BE OR NOT TO BE (1965) B 4THE THREE KISSES OF LOVE (1963)
Bee Gees : Turn Around, Look at Me
US: Pickwick, August 1978.
A 1WINE AND WOMEN (1965)
A 2I DON’T THINK IT’S FUNNY (1965) A 3TURN AROUND, LOOK AT ME (1964) A 4I AM THE WORLD (1966) A 5THE BATTLE OF THE BLUE AND THE GREY (1963) B 1HOW LOVE WAS TRUE (1966) B 2AND THE CHILDREN LAUGHING (1965) B 3YOU WOULDN’T KNOW (1965) B 4I WANT HOME (1966)
Bee Gees : Peace of Mind A 1TIMBER (1963)US: Pickwick, August 1978. A 2I WAS A LOVER, A LEADER OF MEN (1965) A 3PEACE OF MIND (1964) A 4CHERRY RED (1966) A 5ALL OF MY LIFE (1966) B 1DON’T SAY GOODBYE (1964) B 2JINGLE JANGLE (1966) B 3TINT OF BLUE (1966) B 4BORN A MAN (1966)
Virtually a reissue of the three Rare Precious and Beautifulalbums, but on four disks. Monday’s Rain, Take Hold ofThat Star, and Turn Around, Look at Me each contain thefirst nine songs respectively of Rare Precious and Beautifulvolumes 1, 2, and 3. The fourth album Peace of Mind thencontains the last three songs of volume 3, last three of volume 2, andlast three of volume 1, in that order. The songs are in the same‘electronically rechanneled to simulate stereo’ mixes usedfor Rare Precious and Beautiful, and once again ‘I Was aLover, a Leader of Men’ appears twice for no particular reason.
Budget label Pickwick can be faulted for needlessly expanding threealbums into four, but at least they charged a low price for them, andthe LPs were quality pressings. This was the first release in Americaof all nine songs on Turn Around, Look at Me and the first andthird songs on Peace of Mind, something the Pickwick folksprobably did not realize since nothing is said about it on thesleeves. (Atco had released only the first two Rare Precious andBeautiful albums.)
The timing of these releases was obviously meant to cash in on the BeeGees’ success with very different music, and maybe once againthe expectations for Sgt Pepper played into it. But if therewere going to be reissues at this time, it’s too bad they werenot reissues of better albums— most of the Bee Gees catalog wasnow out of print.
CD: All on Brilliant from Birth.
Bee Gees : Birth of Brilliance
Australia: Infinity, 1978.
A 1WINE AND WOMEN (1965)
A 2I WAS A LOVER, A LEADER OF MEN (1965) A 3TIMBER (1963) A 4CLAUSTROPHOBIA (1964) A 5COULD IT BE (1964) A 6PEACE OF MIND (1964) A 7TO BE OR NOT TO BE (1965) A 8I DON’T THINK IT’S FUNNY (1965) B 1THE THREE KISSES OF LOVE (1963) B 2THE BATTLE OF THE BLUE AND THE GREY (1963) B 3THEME FROM ‘THE TRAVELS OFJAIMIE MCPHEETERS’ (1964) B 4TURN AROUND, LOOK AT ME (1964) B 5EVERY DAY I HAVE TO CRY (1965) B 6HOW LOVE WAS TRUE (1966) B 7YOU WON’T SEE ME (1970) B 8LONELY WINTER (1970) C 1MORNING OF MY LIFE (1970) C 2LIKE NOBODY ELSE (1970) C 3ALL BY MYSELF (1970) C 4THE STORM (1970) C 5BUTTERFLY (1970) C 6TERRIBLE WAY TO TREAT YOUR BABY (1970) C 7EXIT, STAGE RIGHT (1970) C 8COALMAN (1970) A 4I AM THE WORLD (1966) A 4CHERRY RED (1966) B 4I WANT HOME (1966) B 3MONDAY’S RAIN (1966) B 1HOW MANY BIRDS (1966) B 2SECOND HAND PEOPLE (1966) B 4BORN A MAN (1966) A 2SPICKS AND SPECKS (1966)
Released only in Australia, Birth of Brilliance was a landmarkcollection that fans worldwide gradually became aware of over manyyears’ time.
All of the songs are in the original mono, without the distortionsintroduced by being ‘electronically rechanneled’. Tensongs from the Inception / Nostalgia album (1970), recorded in1966, finally made their début in Australia.‘Monday’s Rain’ has the vocal track used on theoriginal single, appearing here on LP for the first time anywhere.Lastly the gatefold sleeve has inside several rare photographs of theBee Gees in Australia, a few of them in color.
The sequence was intended to be roughly chronological assuming ascompiler Glenn A Baker did that the Australian Turn Around, Look atUs LP (1967) should be considered the second album and that theInception / Nostalgia songs come before those fromSpicks and Specks. Such was the state of known Bee Geeshistory as late as this. But the inclusion of five songs by otherwriters rather than more Gibb originals suggests a greatermisunderstanding of what the group were about.
Birth of Brilliance was issued as a 2-CD set in 1994. Near theend of 1998 Festival issued a new and more comprehensive set of the BeeGees’ Australian recordings confusingly titled Brilliantfrom Birth. Since it includes all of the songs that were onBirth of Brilliance, it should have replaced it, but for somereason Festival kept both 2-CD sets available for the next severalyears. Brilliant from Birth is preferable for sound qualityand completeness. The LP version of Birth of Brilliance mightstill be of interest for the photographs on the inner gatefold.
CD: All on Brilliant from Birth.
Andy Gibb : single
US: RSO, September 1978.
A(OUR LOVE) DON’T THROW IT ALL AWAY
BONE MORE LOOK AT THE NIGHT
Andy Gibb : single
US: RSO, September 1978.
AWHY
BONE MORE LOOK AT THE NIGHT
Andy Gibb : single
UK: RSO, September 1978.
AWHY
BFOOL FOR A NIGHT
Different singles for the American and British markets. The two USsingles have consecutive catalog numbers and the same B side, as if‘Why’ was a quick replacement for ‘(Our Love)Don’t Throw It All Away’— although ‘(Our Love)Don’t Throw It All Away’ was in fact the American hit.Barry on backing vocals on ‘(Our Love) Don’t Throw It AllAway’.
CD: ‘(Our Love) Don’t Throw It All Away’ on Andy Gibb and Andy Gibb Millennium.
Chicago : Hot Streets
US: Columbia, September 1978; UK: CBS, September 1978.
LITTLE MISS LOVIN’
Bee Gees on backing vocals.
Stephen Stills : Thoroughfare Gap
US: Columbia, September 1978; UK: CBS, September 1978.
YOU CAN’T DANCE ALONE
WHAT’S THE GAME
Andy Gibb on backing vocals.
Bee Gees : single
US: RSO, November 1978; UK: RSO, November 1978
ATOO MUCH HEAVEN
BREST YOUR LOVE ON ME
The lead single for the new Bee Gees album. It was not a disco songbut had plenty of Barry Gibb falsetto. Number 1 in America and top five in Britain. Barry, Robin, and Maurice donated the incomefrom this song to UNICEF, a gift that is still active since the songhas been continuously available on the Spirits Having Flownalbum and on several albums of Bee Gees hits.
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‘Rest Your Love on Me’, dating to the Children of theWorld sessions in 1976, was finally released. It just beat outthe Osmonds version recorded under Maurice’s direction not longbefore but not yet released. In January Andy Gibb and OliviaNewton-John would perform it at the Music for UNICEF show, the firsttime most people heard it. As a country song it did not fit in withwhat the Bee Gees were putting on their albums, even though theycontinued to write the occasional country song, like ‘Where Do IGo’, also left off the forthcoming album.
CD: ‘Too Much Heaven’ on Spirits Having Flown;‘Rest Your Love on Me’ on Bee Gees Greatest.
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