Others paying tribute include Eric Clapton, Grammy-winning producer Mark Ronson and Justin Timberlake, who astutely observes he hears Barry's vocal on You Should Be Dancing like a horn part. In the documentary Mykaell Riley, formerly of the Black British political reggae band Steel Pulse, refers to them admiringly as “the chameleons of pop” and both Noel Gallagher (calling them “a brilliant chapter in the book of music”) and Nick Jonas, both in bands with brothers, speak of the Gibbs' magical harmonies where three voices blended as one. But we stayed around.”Īnd 55 years after their first hit – the minimal Spicks and Specks– their music gets a reappraisal with the documentary and a new album which has Barry and a roster of country stars exploring a dozen songs from the Bee Gees' vast back-catalogue. “We never really had a category,” Barry says. In the current Bee Gees documentary, How Can You Mend a Broken Heart, Barry – now 74 and the last Gibb standing after the deaths of Maurice in 2003 and Robin in 2012 –– reflects on a career which alternated the zenith of pop acclaim, indulgence and wealth with intervals of derision and marginalisation. That lead to another repositioning, as songwriters for the likes of Streisand, Dionne Warwick, Celine Dion and others. The Bee Gees' story is one of popular success, schisms between the siblings, separation and reconciliation, reinvention (the Miami R'n'B of Nights on Broadway which introduced Barry's falsetto, the Saturday Night Fever soundtrack) and being critically reviled and rejected by radio in the anti-disco mood of the late Seventies. In 1989, Robin Gibb told Q magazine that they were not, in fact, disco artists.When Brian Wilson of the Beach Boys, who knows a thing or two about siblings singing together, inducted the Bee Gees into the Rock and Roll Hall of Fame in 97 he called them “Britain's first family of harmony”.īut that Bee Gees aural signature was only part of their story.Īs songwriters with work performed by artists as diverse as Nina Simone, the Animals, Barbra Streisand, Ed Sheeran and, of course, Kenny Rogers and Dolly Parton with Islands in the Stream, the Bee Gees – brothers Barry, Robin and Maurice Gibb – were without peer.Īlthough most often identified with Seventies dance music during the disco era – which they anticipated and came to epitomise - their Sixties songs were often deeply melancholy, the sentiment conveyed by Robin on the funereal New York Mining Disaster 1941(an uncommon theme in the era of upbeat pop), Massachusetts, the cloyingly maudlin I Started a Joke and many other emotionally bleak songs.īut by the late Sixties they were also exploring psychedelic pop and in 69 delivered the ambitiously orchestrated double album Odessa which included the country-flavoured Marley Purt Drive, a signpost of things to come. With that success and association came the mark as disco singers. Saturday Night Fever had come to represent the disco era and the Bee Gees contributions to it brought them huge success.
BEE GEES DOCUMENTARY MUSIC MOVIE
The song was originally released a day before the movie and, due to it’s appearance in the trailer, it quickly climbed the charts. 1 hit singles off of the movie’s soundtrack. “Stayin’ Alive” was the second of four US No.
In fact, the band was widely known as a ‘blue-eyed soul’ group at the beginning of their career with singles such as “New York Mining Disaster 1941” and “I Started a Joke.” It was not until 1977, with the release of Saturday Night Fever, that the Bee Gees became known as a disco group. The Bee Gees are far more than a disco group.
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