Dei uma olhada e tem som pra todo tipo de gosto, de Bee Gees à um tributo ao The Clash... é uma boa pedida caso você queira variar seu repertório virtual, é fácil, basta abrir o baú de raridades da Amazon e sair à procura da batida perfeita, e além disso, não custa nada, é tudo na faixa!!

Para ter acesso ao acervo de mais de 3000 músicas grátis click em: Amazon Grátis

This week's featured Viral Video is The Evolution of Dance.

TEoD was part of last week's featured video, Weezer's Pork 'n' Beans music video. This week I want to tear this vid apart by posting the components of The Evolution of Dance. I had a LOT of fun looking up these dances.

First up, The Bee Gees have immortalized the 70's with their music, and "Staying Alive" is one of the dances included in TEoD. What's up with Andy's teeth, by the way? I don't remember them being so... veneer-like.

This song, in case you didn't know, was featured in the 70's movie "Saturday Night Fever". This movie secured disco's place in living memory, even those born after the seventies (like my children) recocnize this song and the movies moves... When I played the Bee Gees vid they were dancing around my room Travolta dance floor style. And speaking of the song and movie, what moments from the movie sticks in your head? Here's one of mine:

Okay, I know... it's actually from the second movie... AND in Italian, but I couldn't find the strut scene from the first movie on YouTube. If you have better luck, post it and let me know ;-)

Okay... If you ever go shopping at the Wal-mart with me and the following song plays on the overhead, know this: I WILL stop whatever I'm doing and I WILL dance. Consider yourself warned. I can't help but violently and uncontrollably laugh when I watch this video. The looks on the Cowboy's and the Biker's faces slay me! Was there actually a time when we thought this was cool? seriously?

And now, something I watched with the committed obsession of a religious zealot... The Brady Bunch:

AND now... OMG! Like this is so totally rad! Like, this video was like one of my favorites! Like it's totally gnarly, you know? Like, I actually got to like watch this before my dad like totally turned mideval and like totally banned MTV from our house. Like, whatever!

Oh gawd... I hated the Lawrence Welk show with an absolute passion! It would send me into a rage faster than a rabid cat being held over a bathtub full of hot sudsy water. And this clip gives you the directions to a dance I don't think anyone NOT comotosed is ignorant of. Seriously, if you don't know the following dance leave a comment to say so, because I can't believe there's a person alive, conscious and under the age of 80 who doesn't know it.

Oookay... so, I could actually put Vanilla Ice's actual "Ice Ice Baby" video in here, but why? I loved watching "In Living Color" and now that they have the full seasons on DVD at Family Video, I still watch it. Jim Carrey, Damon, Shawn, and Marlon Wayons, Jamie Foxx, all got their boosts from this show. It was (and still is, IMHO) some of the best sketch comedy in the history of television, and the only thing that can truly compete with SNL's early years (SNL is a crap shoot nowadays... and mostly it's just crap).

Now, originally... The song "Apache" was done by Tommy Seebach, then The Sugar Hill Gang had their Apache, as did Sir Mix-A-Lot, and Missy Elliot (Missy Miss Demeanor, to show my age) sampled it in "We Run This" for the movie "Stick It" (great gymnastics movie, BTW). However, as far as I can tell, the only time it's been danced like the dude does in TEoD is here:

I love watching Fresh Prince of Bel Air, and I still remember the first time this particular episode aired... yeah, now I am dating myself ;-)

Even though he really refused to dance it, I wanna put it in here anyway. It's another one of those dances you've had to live in a cave not to have caught. Like the Hokey Pokey and the Chicken Dance, this dance is played at every party, dance and skating rink I've ever been to.

And I wanted to save the best for last, even though it's out of order from the song. Doug and Steve Butabi are two of the most absurd and endearing characters in SNL history. They only ask one question: What is love?

Now it's your turn. There's tons of dances left in The Evolution of Dance video. Which one's are your favorite? Leave them in the comments, or EVEN BETTER! Blog your own V V W and leave the link! I'd love to share yours as well as mine!

Legendary record producer Jerry Wexler, who helped shape R&B music with influential recordings of Aretha Franklin, Ray Charles and other greats, and later made key recordings with the likes of Bob Dylan and Willie Nelson, has died, said his son, Paul. Paul Wexler said his father died at a hospice in Sarasota, Fla., about 3:45 a.m. Friday of congenital heart disease; the death was first confirmed to The Associated Press by David Ritz, co-author of Wexler's 1993 memoir, "Rhythm and the Blues." Both his son and daughter Lisa were present at the time of his death. Paul Wexler told the AP his father's death was "a tremendous loss." "The number of artists that he was involved with and helped significantly or just made great records with, the list is almost unbelievable," Paul Wexler added. "And many of them are gone now."  Wexler earned his reputation as a music industry giant while a partner at Atlantic Records with another legendary music figure, the late Ahmet Ertegun. Atlantic provided an outlet for the groundbreaking work of African-American performers in the 1950s and 1960s. Later, it was a home to rock icons like Led Zeppelin and the Rolling Stones. He later helped Dylan win his first Grammy by producing his 1979 "Slow Train Coming" album.  Wexler helped boost the careers of both the "King of Soul," Charles, and the "Queen of Soul," Franklin. Wilson Pickett, Solomon Burke and Percy Sledge were among the other R&B greats who benefited from Wexler's deft recording touch. He also produced Dusty Springfield's classic "Dusty in Memphis," considered a masterpiece of "blue-eyed" soul.  Burke said Wexler was the ultimate music man.  "He loved black music, R&B music and rhythm and blues was his foundation. He had a feeling for it, he had the knack to keep it going in his heart and recognize the talent that he felt was real," Burke told the AP after learning of his death. "Jerry Wexler didn't change the sound of America, he put the sound to the public. He open the doors and windows to the radio stations ... and made everybody listen."  Among the standards produced by Wexler: Franklin's "Respect," a dazzling, feminist reworking of an Otis Redding song; Sledge's deep ballad "When A Man Loves A Woman" and Pickett's "In the Midnight Hour," with a horn vamp inspired by Wexler's admittedly rhythmless dancing. Wexler was named to the Rock and Roll Hall of Fame in 1987. "No one really knew how to make a record when I started," he said in a profile on the rock hall's Web site. "You simply went into the studio, turned on the mike and said, 'Play.'" In the studio, Wexler was a hands-on producer. Once, during a session with Charles, the tambourine player was off the beat. Wexler, in his award-winning autobiography, recalled grabbing the instrument and playing it himself.  "Who's that?" asked Charles.  "Me," Wexler told the blind singer. "You got it, baby!" Charles said.  The son of Polish immigrants and a music buff since his teens, Wexler landed a job writing for Billboard magazine in the late 1940s after serving in World War II and studying journalism in college. There he coined the term "rhythm and blues" for the magazine's black music charts; previously, they were listed under "race records."  While working at Billboard, Wexler befriended Ertegun — a life-altering friendship for both. Ertegun and a partner had started Atlantic, then a small R&B label in New York. In 1953, when Ertegun's partner left for a two-year military hitch, Wexler stepped in as the label's co-director. He never left.  "In the early sessions, I just sat there watching (Ertegun) while I was cowering in fright," Wexler told The Associated Press in 2001. "But as time went on, we proved to be a very successful team. ... We went on the road together, we hung out together." He recalled that Ertegun "wrote many of the songs in the early days, and he drew upon his knowledge of jazz and the blues, because songs always have to have a source. ... This is not to say that there is not great originality."  While Ertegun enjoyed the more bohemian aspects of the music business, Wexler was a working partner. Wexler produced 16 albums and numerous hit singles for Franklin, who switched to Atlantic in the mid-1960s and rediscovered her gospel roots after several unhappy years singing show tunes for Columbia. "When it came to the studio, you could say the two of us were joined at the hip," he once said.  Franklin, in a 1980 interview with Rolling Stone, said their collaborations were "among my favorite sessions. I feel the things we did together were dynamite." In 1967, Wexler and Ertegun sold Atlantic to Warner Bros. for $17.5 million. Although they stayed on to run the company, the pair began moving in different directions. Wexler began working with a collection of Southern musicians in the 1970s, including guitar genius Duane Allman, Dr. John, and Delaney & Bonnie. He also produced albums for Willie Nelson.  In the 1980s, Wexler worked with Dire Straits, Carlos Santana and George Michael. In April 1988, Atlantic marked its 40th anniversary with an 11-hour concert at Madison Square Garden, with the stage shared by performers from Crosby, Stills & Nash to the Bee Gees to Ben E. King.  Wexler was the quintessential Jewish street kid who found a home in black music. He was born in 1917 in Manhattan's Washington Heights section, north of Harlem. He didn't take to school, preferring to hang out at places like Artie's Pool Room on 181st Street.  In his teens, he began haunting Harlem's jazz clubs and record stores, developing a lifelong passion for jazz and blues. When his mother tried to refocus his energies by sending him to Kansas State University in 1936, Wexler instead began taking the 100-mile drive to Kansas City, Mo., to see performers like Count Basie and Joe Turner. His poor grades put him back in New York within two years. Days after the attack on Pearl Harbor, Wexler was drafted into the Army. He spent the war stationed in Texas and Florida, then returned to college to earn a degree in journalism in 1947. Paul Wexler said a private service will take place in the coming weeks in Sarasota, and his tombstone will read: "He changed the world."  "I don't think I'm overreaching," he said. - Hillel Italie (Associated Press)

Thanks to the good folks at Beat Marketing for the lead.  Go Check them out.

Birth

1951. Hard rocker (Captain Beyond, Armaggedon) turned one-hit balladeer ("What You Can't Do For Love") turned million selling songwriter ("The Next Time I Fall") turned musical actor ("The Rat Pack") Bobby Caldwell born in Manhattan, New York.

On The Road

1970. Derek McEwen, 32 year-old co-promoter of the Yorkshire Pop, Blues & Jazz Festival goes missing only hours after the event is abandoned because of bad weather. His car is spotted later in the morning on a Yorkshire/Lancashire motorway. Along with the other promoter, Brian Highley, it's thought that McEwen shares a loss of £ 12,000 on the event. A police search is later mounted of the moors near Scammonden Bridge close to his last sighting.

In Chains

1967. 19 year old telephonist, Deirdre Meehan, arrives outside Buckingham Palace at 3.30 p.m. and proceeds to chain herself to the railings. She then tells onlookers that she doesn't have a key for the set of handcuffs that she's used. After 20 minutes standing in the rain, a police van pulls up and she's quickly released before being ordered home. Deirdre and her 20 year old flat mate, Pat Cameron, have just returned from delivering a letter of protest to Prime Minister Harold Wilson while he was holidaying on the Isles Of Scilly. The girls are protesting at the order to deport two Australian members of The Bee Gees from the U.K.

In Custody

1997. Anthrax guitarist Scott Ian Rosenfield is arrested after breaking into the New York Yankees' training camp at Legend's Field in Tampa, Florida. He and his girlfriend, 23 year old Angela Roberts, are charged with burglary and grand theft after being caught on video trying to carry a large foam mat bearing the team's logo to their car. The couple are released on bail of $ 7,500 each after spending 6 hours in jail. Rosenfield later explains that he's been a life-long Yankees fan and while he's sorry he did have a great time running around the bases. He blamed the prank on too much wine.

On Television

1997. Rockpalast (WDR, Germany) Beck; Foo Fighters; Ash; Pavement; Veruca Salt (11Th Bizarre-Festival Köln, Butzweiler Hof). Here's Beck with "Derelict". 4m 50s.

Death

1984. Norman Petty, Buddy Holly's manager and record producer dies in Lubbock Texas, aged 57. He ceased to be Holly's manager in 1958 after disagreements over songwriting royalties (Petty claimed a percentage of all Holly's royalties) and Buddy's marriage. That didn't stop him continuing to re-release material and milk the legend of his client up to his death.

Babble

It's finally over! I gave up! After another fruitless day in Nairn trying to find last minute premises for my rock memorabilia exhibition, I realised it was turning into a waste of time.

By the time I'd got back to the office in the evening, I'd decided to get a new blog up. One for the Ballerina Ballroom and all the bands that played there. So far I've got a full listing for 1966 and half of 1967 along with period clips of some of the biggest names that played there. I say some because the real gem I discovered was a clip of The Poets from Shindig! A must-see if you're even vaguely interested in the British Beat Boom of the mid sixties.

I'm hoping to add a selection of adverts and pics of the Scottish bands that gigged there. All I've got to do is get them scanned and up. What I really want though is feedback from the folk that went to the ballroom. That's where the real social history in this lies. The blog's late up today as I've been working on that and also flyers to get in the Ballerina during the film festival which starts this afternoon.

I'd like to think of the blog as a virtual fringe event. You can check it out for yourselves here.

Strangely, the highlight yesterday was probably sitting in a wine bar in Nairn with a guy who was giving the gossip on what REALLY goes on in this sleepy wee town in the North of Scotland. Trouble is, I'm not sure I believe any of it. Think I'll stick to what I know - sex and dogs and rock 'n' roll.

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Perhaps what I need to do here is instead a reiteration of one of that purposes of my blog, that is, to help adult learners pick up the playing quickly and sing along while playing the piano. Call this “karaoke” piano or “sing-along” piano, if you like. :)

Here’s the video…

World Party Bang! (

Crysalis/EMI 1993)

pt. 1
http://sharebee.com/2bc56ec5
pt.2
http://sharebee.com/2d16401f

The Waterboys might not have been the sensation of their heroes, the Beatles, but what they didn't borrow in melodic craftsmanship from the fab four--they took quite a bit actually, they mimicked in distribution of labor. With Mike Scott hooting enough to fill the shoes of a Lennon and a McCartney, it left Karl Wallinger to take the diminutive, underemployed, role of George Harrison.

Wallinger adhered to the archetype and moved ahead with his own thing. World Party recorded five albums in the wake of his departure from the Waterboys (1985-?), all with their merits. But it was his 1993 album, Bang! an eco-social concept album, that was both his best, and most continually puzzling as it eluded broader context recognition.

World Paty was pretty well established by 1993, with indie hits like "Put the Message in the Box" and "Way Down Now", along with a critically-favored collaboration with Sinead O'Connor, but Bang! demonstrated Wallinger's push out of staid indie jangle to a self-made pastiche of pop-rock songwriting and crate-digger exploration. The Beatles, Beach Boys, and Stones, permeated the sound, braided in with Prince, Was Not Was, and early The The.

The very notion of a political record from 1993 sounds a bit precious given all that has happened since. But Wallinger, every bit the intellectual, took the Earth Day-era sensibility and crafted some lasting music. Didn't hurt that he could also fashion a hook and layer harmonies with the best of them.

"Is it Like Today?", probably the best charting single of his career, was a sci-fi allegory about the end of times, a bit of wistful folk with Wallinger plying his gorgeous one man-CSNY vocal strategy to glorious effect. Like any good sci-fi the key is to humanize the story, which he did--right down to the nominal "bang", forcefully whispered in mock compliance to T.S. Eliot's apocalyptic vision.

And though his entreaties of Ursula K. LeGuin were (probably for the best) limited, that subtle talent for pushing human warmth into pedantic, speculative spaces proved invaluable. The cautionary, "Give it All Away" (perhaps more in line with Rachel Carson, in fact) was a tuneful and hectic nod to Paul Hardcastle's "19", remembered not nearly as well, and yet sounding far less dated for the trouble.

For that matter, the Prince homage, "Rescue Me" was both unlikely, and prescient. At a time when the Mtv Unplugged zeitgeist pushed a lot of artists into begrudging (and as often flat-out fake) acoustic directions, Wallinger's nod to Prince's synth soul-pop was an improbable, lovingly unironic, retort.

Best among the set, however, were the pretty side two ballads. "Sunshine" had the easy blues of something spun from Led Zeppelin's Physical Graffiti (I'm thinking, "Down By the Seaside"), or that mostly elided fourth side of the White Album. But the zen moment occurred on the smiley-faced tearjerker, "All I Gave". It pooled the World Party resources of honeyed harmonies--here reaching dizzied Bee Gees heights, a sparkling guitar from McGuinn's best Byrds numbers, and a lyrical sentiment that--even to the naysayers of Wallinger's environmentalist agenda and other various lefty notions, must have been irresistable.

Bang! happened in the detente of Clinton's America (the birthing hour of Blair's England) when the do-gooding drive seemed only altruistic--as opposed to now when it feels positively dire. But such was Wallinger's great moment, a romantic lull during which he, nevertheless, felt compelled to sound the alarm to warn he future. The all-wasteful, hacking blacklung in me feels as though I missed the point fifteen years ago. The overly romantic, hacking blacklung in me remains content to have enjoyed it as I did...

De 1945 a 1960 - nascimento e iniciação no mundo da música

O grupo é formado por três irmãos, filhos de dois músicos regionais ingleses, Hugh Gibb e Barbara Pass, pais de mais duas crianças. Primeiro, o casal teve por filha Lesley Barbara Gibb, nascida em 1945 em Manchester e Andrew Roy Gibb, nascido em 1958. Depois a família se mudou para Douglas, na Ilha de Man. Lá nasceram os três integrantes dos Bee Gees: Barry Alan Crompton Gibb, em 1º de setembro de 1946; Robin Hugh Gibb e Maurice Ernest Gibb, gêmeos, em 22 de dezembro de 1949.

A família viveu em Douglas até 1955, quando voltaram a Manchester, vivendo na localidade de Keppel Road. Em 1956, os pais Gibb descobriram o talento musical dos irmãos. Barry Gibb ganhou uma guitarra, e seu pai lhe ensinou a tocar na afinação havaiana. Enquanto isso, a harmonia natural nas vozes de Robin e Maurice era incentivada pelos pais. Então, os irmãos começaram a cantar nas ruas para conseguir uns trocados.

Parece ser que em dezembro de 1957, Lesley ganhara um disco como presente de Natal. Os irmãos decidiram então, como sempre faziam, cantar por cima dele quando fossem se apresentar no cinema Gaumont, mas no caminho até o lugar da apresentação Maurice tropeçou e deixou o disco cair, deixando-o em pedaços. Desta forma, os irmãos tiveram que cantar a cappella. Começava então a carreira dos irmãos.

Em março de 1958, nasce o último filho de Hugh e Barbara Gibb: Andrew Roy Gibb que, futuramente, também iria ingressar no mundo da música, entretanto não como um Bee Gee. Ainda em 1958, mas em agosto, o clã emigrou para a Austrália, vivendo na cidade de Brisbane. Lá começaram a tocar em clubes noturnos alcançando relativa audiência.

Até ali, o grupo ainda não tinha nome fixo. Primeiramente, adotaram alguns nomes como The Blue Cats e The Rattlesnakes que, entretanto, não vingaram. Mas em 1959, um DJ sugeriu-lhes que se pusessem o nome de "Bee Gees", já que em sua opinião haviam muitos Bs e Gs na vida deles (por exemplo: Barbara Gibb, a mãe deles; Barry Gibb, um deles; Bill Gates, esse DJ; Brothers Gibb, em inglês, "irmãos Gibb"; e por aí vai). Mais tarde, em 1966, decidiram que Bee Gees iria ficar por "Brothers Gibb".

Em 1959 começam a tocar em programas de televisão, tendo cada vez mais sucesso entre o povo australiano.

De 1961 a 1970 - o início da carreira profissional

Em 1961, Barry acaba os estudos, e a família se muda para a área de Surfers Paradise, gastando bom tempo, entre 1961 e 1962 se apresentando em tantos hotéis e clubes quanto podiam. Em setembro de 1962, os Bee Gees participaram de uma audição com Col Joye, grande artista australiano da época, e seu irmão e empresário Kevin Jacobsen. Impressionado com o talento daquelas crianças, Kevin conseguiu uma grande apresentação para eles, junto do grande artista do momento, Chubby Checker, o que deu visibilidade e prestígio a esses jovens.

Kevin conseguiu também com que os Bee Gees assinassem seu primeiro contrato musical com a maior gravadora de artistas independentes da Austrália, a Festival Records, sob a etiqueta Leedon, usando mesmo o nome Bee Gees. Inicialmente, quase chegaram à falir, mas com o sucesso "Wine and Women", que chegou ao top 20 em 1965, puderam gravar seu primeiro disco, The Bee Gees Sing and Play 14 Barry Gibb Songs, que trouxe cinco canções novas mais nove antigas.

Em 1966, os Bee Gees lançaram Spicks and Specks, já pela etiqueta Spin, também da Festival Records. Num certo dia de 1966, voltando de um dos concertos da turnê, Barry Gibb e seu pai, Hugh Gibb, sofreram um acidente de carro. Lembra Robin Gibb que acabou-se espalhando em Sydney, não se sabe como nem por que, que os Bee Gees tinham sido assassinados. As estações de rádio chegaram até a tocar todas as canções da banda e a ler mensagens de condolências.

Em outubro de 1966, os Bee Gees decidiram que iriam retornar à Inglaterra. Então, Nat Kipner cancelou o contrato e deixou-os ir, reservando, entretanto, os direitos de publicação da obra da banda na Austrália durante os próximos vários anos. Em 3 de janeiro de 1967, eles partiram no navio Fairsky, chegando a Southampton três dias após. Os Bee Gees tocavam em troca das passagens. Aliás, foi no navio que souberam que a canção "Spicks and Specks", single do segundo disco, chegara ao topo das paradas australianas.

Logo que os Bee Gees cancelaram o contrato, já começaram a procurar uma nova editora. Conta a história que, em novembro, Hugh Gibb mandou, otimista, para a NEMS, a produtora dos Beatles, um pacote com artigos da imprensa e dois discos dos Bee Gees, Spicks and Specks e um outro com outras gravações, esperando algum tipo de contrato. Enquanto os Bee Gees viajavam de volta para a Inglaterra, foi trocado o diretor da NEMS, entrando o australiano Robert Stigwood. O pacote que Hugh mandou naturalmente ficou numa pilha com muitos outros pacotes de outras centenas de grupos com o mesmo sonho. Entretanto, Robert, por ser australiano e ao ver um pacote vindo da Austrália, decidiu ouvir o disco da banda e gostou do que ouviu. Mas mal sabiam os Bee Gees que eles já estavam sendo considerados por uma relativamente pequena gravadora inglesa, a Polydor, subsidiária da grande gravadora alemã homônima, e que até fez contatos com a Festival Records para lançar o material dos Bee Gees na Inglaterra e, se fizesse sucesso, levá-los em uma turnê. Quando os Bee Gees chegaram na Inglaterra, logo começaram a bater de escritório em escritório de gravadora atrás de contrato. Quando apareceram na Polydor, logo o diretor Ronald Rennie ficou interessado e contactou seu velho amigo, o Stigwood, para empresariá-los. Stigwood falou então com Hugh Gibb e depois os irmãos fizeram um teste. Passando, assinaram contrato com a Robert Stigwood Organisation em 24 de fevereiro. No mesmo dia foi lançado Spicks and Specks na Europa, sob aquele acordo da Festival Records com a Polydor.

Durante o tempo que passaram na Austrália, dois amigos começaram a ajudar a banda como apoio: eram Colin Petersen e Vince Melouney. Na Inglaterra, eles entraram como membros permanentes da banda.

O primeiro single mundial da banda, lançado já pela Polydor, foi "New York Mining Disaster 1941" em abril de 1967. Lançado de maneira inusitada, representou um verdadeiro golpe de marketing: o artista vinha escrito como "Be...es", levando as pessoas a pensarem que era uma nova música dos Beatles. As pessoas compravam, acabavam gostando e depois descobriam que, em vez dos Beatles, eram os Bee Gees. Mas a canção que realmente lançou o trio ao estrelato foi "Massachusetts", de novembro de 1967, que foi o primeiro single a chegar ao topo das paradas mundiais, em mais de dez países.

Até o fim dos anos 1960, os Bee Gees formaram um quinteto de rock, com influências do country e do soul e letras românticas. Com essas características, conseguiram outros sucessos: "To Love Somebody", em 1967, "Words" e "I've Gotta Get a Message To You" em 1968, além de "I Started a Joke", a primeira canção dos Bee Gees a chegar no primeiro lugar no Brasil, em 1968.

No fim de 1968, os Bee Gees gravaram o álbum Odessa, lançado em 1969 e que culminou na trágica separação do grupo, com a saída de Vince Melouney, no fim de 1968, e a de Robin, em março de 1969. Colin Petersen ainda gravou algumas canções com Barry e Maurice mas só permaneceu até agosto de 1969, quando foi despedido, sendo substituído por Geoff Bridgeford. Ainda em 1969, Robin gravou seu primeiro disco solo, que lançaria em 1970. Barry e Maurice continuaram e gravaram como Bee Gees até dezembro de 1969, e o álbum resultante dessas gravações foi Cucumber Castle, lançado em abril de 1970.

Os Bee Gees começaram o ano de 1970 sem existir, sendo que cada um dos irmãos gravou um disco a ser lançado em 1970 mesmo. Entretanto, aos poucos o grupo voltou a gravar junto, e os projetos solo foram largados de lado. Após a reaproximação, os irmãos não perderam tempo e lançaram 2 Years On, que só tem três faixas compostas pelos três irmãos.

De 1971 a 1980 - quase falência, ressurgimento e auge

Em 1971, a banda teve seu primeiro grande sucesso na América: a balada "How Can You Mend a Broken Heart?", primeiro lugar na maior parte das paradas do continente e a terceira mais ouvida no Brasil em 1971. No ano seguinte foi a vez de "Run to Me" tocar na Europa. Mas a banda decaía. Os Bee Gees continuavam com esse ritmo pop rock, que nessa época estava ficando fora de moda com o fim dos Beatles. Os ritmos que começavam a fazer sucesso eram os ritmos negros: blues, soul e, posteriormente, a música disco. Mas os Bee Gees não notaram isso. Em 1973, lançaram o disco Life in a Tin Can, ficou mais country. Apostaram no estilo errado. O resultado foi uma vendagem irrisória, nível de sucesso perto do nulo, quase-falência. Os Bee Gees gravaram então outro álbum, A Kick in the Head is Worth Eight in the Pants, em que voltavam àquele pop rock dos anos 1960. Acabou sendo rejeitado pela gravadora pela baixa vendagem de Life in a Tin Can e do single "Wouldn't I Be Someone".

Entretanto, os irmãos não se abateram e foram "correr atrás" do sucesso. Ainda em 1973, eles foram para os Estados Unidos. Lá contrataram o produtor Arif Mardin, em substituição a Robert Stigwood. Mardin mostrou-lhes a tendência do momento. Então os Bee Gees lançaram, em 1974, o disco Mr. Natural, que tem uma levada mais soul. Entretanto, com toda a decadência que os Bee Gees tinham sofrido, o disco foi praticamente esquecido pela mídia, sendo o menos vendido da banda.

Em 1975, foi lançado Main Course, contendo o sucesso "Jive Talkin'". Nessa época, KC and the Sunshine Band fazia sucesso com "That's the Way (I Like It)", o primeiro grande sucesso da música disco. Os Bee Gees então decidiram embarcar nesse estilo. No ano seguinte, eles lançaram Children of the World, o primeiro álbum disco da banda, que continha a balada "Love So Right" e o hit "You Should Be Dancing", um clássico da música disco.

Depois de lançarem um disco ao vivo, foram convidados a participar da trilha sonora do filme Os Embalos de Sábado à Noite, que na época bateu todos os recordes de vendagem (até hoje é um best-seller, já vendeu mais de quarenta milhões de cópias, só ficando atrás de Thriller, de Michael Jackson). "Stayin' Alive", "How Deep Is Your Love?" e "Night Fever" alcançaram o primeiro lugar em vários países, no auge da era disco. O grupo também assinou a faixa "If I Can't Have You", sucesso na voz de Yvonne Elliman, e a balada "Emotion", sucesso interpretado pela cantora australiana Samantha Sang.

Era mesmo o ano dos irmãos Gibb.Barry ainda compôs em 1978 a faixa-título do filme musical Grease - Nos Tempos da Brilhantina, essa interpretada por Frankie Valli. Os Bee Gees ainda arrumaram tempo para participar do filme musical Sgt. Pepper's Lonely Hearts Club Band, baseado no álbum homônimo dos Beatles.

Andy Gibb, o caçula da família Gibb, nunca quis fazer parte dos Bee Gees, mesmo tendo sido chamado várias vezes. Ele tentou a carreira solo, alcançando grande sucesso entre 1978 e 1980, com vários primeiros lugares nas paradas. Seus discos foram produzidos por Barry Gibb, o irmão mais velho.

Em 1979, os Bee Gees ainda mostraram sua força e emplacaram vários sucessos, como "Tragedy", "Too Much Heaven" e "Love You Inside Out", que foram bastante executadas nas rádios. O álbum Spirits Having Flown vendeu mais de 25 milhões de cópias (até hoje) e a turnê Spirits foi grandiosa, percorrendo cerca de sessenta lugares nos EUA.

Os irmãos terminaram a década de 1970 como artistas consagrados. Dando uma pausa na carreira, decidiram trabalhar como produtores para outros artistas. Assim, se dividiram em dois grupos, contudo sem deixar de comporem juntos, para produzirem discos a serem lançados em 1980. Robin Gibb e Blue Weaver produziram o disco Sunrise para Jimmy Ruffin. Em contrapartida, Barry Gibb, Karl Richardson e Albhy Galuten produziram After Dark para Andy Gibb e Guilty para Barbra Streisand. Nenhum dos discos produzidos fez sucesso, excetuando-se o produzido para Barbra Streisand, que vendeu mais de vinte milhões de cópias no mundo inteiro.

De 1981 a 2000 - colhem os louros da glória

Em 1981, os Bee Gees decidiram lançar mais um disco: Living Eyes fracassou devido ao pouco apoio das rádios, que já estavam saturadas de músicas dos Gibb nas paradas de sucesso, e começaram a promover outro ritmo emergente, o punk rock. Após isto, os irmãos decidiram se separar, mas antes gravaram mais canções, a serem lançadas na trilha de Os Embalos de Sábado Continuam.

Em meados dos anos 1980, as equipes começaram a desenvolver diversos trabalhos. A equipe de Robin e Maurice se concentrou em álbuns solos de Robin. Já a equipe liderada por Barry buscou a produção musical para outros artistas. As tentativas solo renderam certo sucesso que, porém, ficou restrito à Europa, Japão e América Latina. Baladas como "Juliet" (trabalho de Robin Gibb, de 1983), "Shine Shine" (Barry Gibb, de 1984) e "Like a Fool" (Robin Gibb, de 1985) nunca estouraram nos Estados Unidos, mas são conhecidas mundialmente. Já outras canções como "Hold Her in Your Hand" (Maurice Gibb, de 1984), "Fine Line" (Barry Gibb, de 1984) e "Toys" (Robin Gibb, de 1986) ficaram bem apagadas, sem estourar em quase nenhuma parte do mundo.

As investidas das equipes como produtores e compositores renderam trabalhos para Dionne Warwick (1982), Kenny Rogers (1983), Diana Ross (1985) e Carola (1986). Para Dionne Warwick, a equipe de Barry produziu Heartbreaker, que tornou-se um dos melhores discos da cantora, com destaques para a faixa-título, "All The Love In The World" e "Yours". Para Kenny Rogers, foi produzido Eyes That See in The Dark, que gerou sucessos como "Islands in the Stream" e "You and I". Para Diana Ross, foi feito o álbum Eaten Alive, do qual foram destaques as faixas "Eaten Alive", "Chain Reaction" e "Experience". Já para Carola Häggkvist, numa das únicas reuniões para produção para outros artistas da equipe de Robin Gibb e Maurice Gibb, brotou o disco Runaway, sucesso absoluto com "The Runaway" e "Radiate" na Suécia (país natal da cantora), e que rendeu a ela dois discos de platina.

Em 1985, os Bee Gees começaram a se reaproximar. Começaram a recompor juntos. Desse começo de reaproximação, surgem canções como "Toys", de 1986. Mas ainda não era a volta dos Bee Gees. Houve ainda algumas investidas em direção a produção para outros artistas e projetos solo, até que em outubro de 1986, os Bee Gees assinam com a Warner, voltando então a trabalhar juntos. Em 1987, lançaram o álbum E.S.P, que os devolveu ao primeiro lugar em boa parte do mundo, exceto na América, com o sucesso "You Win Again". Em 1988, a família sofreu um abalo com a morte de Andy Gibb, que sofria de uma problema cardíaco agravado após anos de uso de drogas e álcool. Mesmo assim, o álbum seguinte, One (1989) foi lançado em sua homenagem, e conseguiu popularidade na América, ficando no top 10 por quase um ano, e originando a turnê ONE FOR ALL, que percorreu Europa e Ásia e que foi registrada em VHS (lançado em DVD posteriormente).

Outros singles e álbuns foram lançados nos anos 1990, repetindo sucesso localizado na Europa, Ásia e América Latina. Canções como "For Whom the Bell Tolls" (1993) e "Secret Love" (1991) frequentaram paradas em diversas partes do mundo, exceto no mercado norte americano. Em 1997 o álbum Still Waters, que traz a balada "Alone", estourou também nos Estados Unidos, levando os Bee Gees novamente ao topo das paradas e resultando em um disco duplo de platina. Naquele ano, começaram a grande turnê One Night Only, que teve seu 1º show em Las Vegas, EUA e duraria até 1999 e teria sete apresentações, uma em cada canto do planeta. A mega-apresentação no luxuoso Hotel MGM Grand Las Vegas, em Las Vegas foi gravada e lançada em CD e DVD no ano seguinte. Os Bee Gees também escreveram, produziram e cantaram um mega hit de Céline Dion, "Immortality", que permaneceu durante um ano nas paradas de todo o mundo.

De 2001 até hoje - fim do grupo

Em 2001, lançaram o que foi o seu último álbum, This Is Where I Came In, um álbum pop rock, em que se destaca a canção/titulo "This Is Where I Came In", "Wedding Day", "Sacred Trust" e "Man In The Middle", álbum que também teve repercussão localizada em países diferentes: sucesso na Europa, frieza na América, estouro na Ásia. Depois, os Bee Gees decidiram dar um tempo. Em 2002, Robin Gibb começa a gravar seu quinto álbum solo. Entretanto, uma tragédia acontece em 12 de Janeiro de 2003: de ataque cardíaco, morre Maurice Gibb, instrumentista do grupo; curiosamente sua irmã Leslie faz aniversário nesses dia. Maurice tinha a fama de ser o mediador entre tais mentes conflitantes de Barry e Robin. Estes então anunciaram o fim do grupo, no dia 22. Durante sua carreira, os Bee Gees ganharam sete prêmios Grammy e foram incluídos no Songwriters Hall of Fame (Hall da Fama dos Compositores) e, em 1997, no Hall da Fama do Rock and Roll.

Os irmãos continuaram seu trabalho de forma solo. E, mesmo com a morte do irmão, Robin lançou um disco solo em 2003, que vem com diversas baladas modernas, e que chegou a ser bem difundido na Europa. Trabalhou no ano seguinte com Alistar Griffin e, em 2005, com o G4. Produziu o single de lançamento de uma das ex-integrantes da banda Atomic Kitten, com sucesso estrondoso na Inglaterra e Europa. Entre 2004 e 2006 saiu em turnê pelo mundo, turnê esta que foi chamada MAGNETIC TOUR, da qual um dos concertos foi registrado em CD e DVD.

Em 2004 os irmãos Gibb receberam o título Doutor Honoris Causa da Universidade de Manchester e a Comenda de Cavaleiros do Império Britânico, em Londres. Barry trabalhou compondo e produzindo para Cliff Richard, em 2004, e para Barbra Streisand, em 2005, revivendo o sucesso de 1980. O álbum Guilty Pleasures, produzido para ela, foi bem visto em todo o mundo, e recolocou Barry na mídia.

Em 2006, os irmãos se reuniram para uma apresentação beneficente em Miami e para o Prince's Trust em Londres. Receberam no mesmo ano um prêmio da Academia Britânica da Música. Mas nada disso é fonte de reconciliação dos irmãos. Porém, em 2006, os Bee Gees assinaram com a Reprise Records, que começa a relançar seus álbuns.

Continuando a vida, Barry começa a lançar várias músicas no iTunes: lança seus novos singles "Doctor Mann" e "Underworld" e as demos dos álbuns produzidos por ele na década de 1980 — Guilty, Heartbreaker, Eyes That See in the Dark e Eaten Alive. Robin lança, em novembro de 2006, seu último álbum: My Favourite Christmas Carols, que contém vários hinos natalinos mais a faixa "Mother of Love", sua mais nova composição. Atualmente, Robin segue em sua carreira solo se apresentando em vários paises cantando sucessos dos Bee Gees e de sua carreira solo. Já Barry trabalha em seu 3º album solo, com lançamento previsto para 2008. Tudo indica que um álbum country está a caminho. Constantemente Barry participa de chats com fans em seu site oficial.

Curiosidades

• Em algumas entrevistas, Maurice Gibb revela que John Lennon o ensinou a beber.
• Maurice Gibb já chegou a sacar uma arma para Robin e Barry.
• A mulher do Robin Gibb é bisexual.
• Os Bee Gees herdaram alguns instrumentos musicais usados pelos Beatles.
• Maurice Gibb não aparece nas gravações caseiras na infância dos Bee Gees porque era ele quem filmava.

Turnês

• 1968 - Horizontal Tour: 42 shows
• 1971 - 2 Years On Tour: 7 shows
• 1971/1972 Trafalgar Tour: 30 shows
• 1972 - To whom it may concern Tour: 2 shows
• 1973 - Life in a tin can Tour: 23 shows
• 1974 - Mr. Natural Tour: 16 shows
• 1979 - Spirits Having Flown Tour: 38 shows
• 1989 - One For All Tour: 21 shows
• 1991 - High Civilization Tour: 21 shows
• 1997/1999 - One Night Only: 7 shows

Integrantes

Oficiais

• Barry Alan Crompton Gibb - vocal, guitarra, violão (1 de setembro de 1946)
• Robin Hugh Gibb - vocal (22 de dezembro de 1949)
• Maurice Ernest Gibb - vocal, baixo, teclado, piano, violão, guitarra (22 de dezembro de 1949 - 12 de janeiro de 2003)

Como visto, Robin Gibb é gêmeo (fraterno) de Maurice Gibb. Mas Robin nasceu 35 minutos antes.

Banda de apoio

Muitos músicos tocaram com os Bee Gees, aqui seguem os mais importantes:

• Colin Petersen - bateria (de 1966 a 1969)
• Geoff Bridgeford - bateria (de 1969 a 1972)
• Vince Melouney - guitarra (de 1967 a 1968)
• Robert Stigwood - produtor (de 1967 a 1972)
• Alan Kendall - guitarra (de 1971 a 1980, de 1989 a 2003)
• Geoff Bridgeford - bateria (de 1969 a 1972)
• Arif Mardin - produtor e arranjador (de 1973 a 1975, 1987)
• Dennys Bryon - bateria (de 1973 a 1979)
• Blue Weaver - teclados, piano, sintetizador (de 1975 a 1980)
• Albhy Galuten - sintetizador, produção, arranjos (de 1975 a 1986)
• Karl Richardson - engenheiro de som, produção (de 1975 a 1986)
• George Terry - guitarra (de 1979 a 1986)
• George Bitzer - piano, sintetizador (de 1977 a 1986)
• Rhett Lawrence - teclados, sintetizador, programação de bateria (1986-1987)
• George Perry - baixo (de 1990 a 2003)
• Brian Tench - engenheiro (1986-1987, 1990)
• Femi Jiya - engenheiro (1990), produção (1993)
• John Merchant - engenheiro (de 1990 a 2003)
• Ben Stivers - teclados (de 1996 a 2000)
• Matt Bonelli - baixo (de 1996 a 2000)
• Steve Rucker - bateria (de 1996 a 2003)
• John Merchant - engenheiro, programação (de 1992 a 2003)
• Ashley Gibb (filho de Barry Gibb) - engenheiro (de 1999 a 2003)

Álbuns

• 1965 - The Bee Gees Sing and Play 14 Barry Gibb Songs (AUS)
• 1966 - Spicks & Specks (AUS)
• 1967 - Bee Gees' 1st.
• 1968 - Horizontal
• 1968 - Idea
• 1969 - Odessa
• 1970 - Cucumber Castle
• 1970 - 2 Years On
• 1971 - Melody: Quando Brota o Amor (trilha sonora)
• 1971 - Trafalgar
• 1972 - To Whom It May Concern
• 1973 - Life in a Tin Can
• 1973 - A Kick in the Head is Worth Eight in the Pants (não-lançado)
• 1974 - Mr. Natural
• 1975 - Main Course
• 1976 - Children of the World
• 1976 - Alucinados do Som e da Guerra (trilha sonora)
• 1977 - Here at Last... Bee Gees... Live
• 1977 - Os Embalos de Sábado à Noite (trilha sonora)
• 1978 - Sgt. Pepper's Lonely Hearts Club Band (trilha sonora)
• 1979 - Spirits Having Flown
• 1981 - Living Eyes
• 1983 - Os Embalos de Sábado Continuam (trilha sonora)
• 1987 - E.S.P
• 1989 - One
• 1991 - High Civilization
• 1993 - Size Isn't Everything
• 1997 - Still Waters
• 1998 - One Night Only (AO VIVO)
• 2001 - This Is Where I Came In

• Singles mais relevantes no Brasil

• 1967 - "Massachusetts"
• 1968 - "I Started a Joke"
• 1969 - "Tomorrow Tomorrow"
• 1971 - "Lonely Days"
• 1971 - "How Can You Mend a Broken Heart?"
• 1972 - "Run to Me"
• 1976 - "You Should Be Dancing"
• 1976 - "Love So Right"
• 1977 - "How Deep Is Your Love?"
• 1978 - "Stayin' Alive"
• 1978 - "Night Fever"
• 1979 - "Too Much Heaven"
• 1979 - "Tragedy"
• 1989 - "One"
• 1990 - "Wish You Were Here"
• 1993 - "Palavras" (Words) (dueto com Chitãozinho e Xororó)
• 1994 - "For Whom the Bell Tolls"
• 1998 - "Immortality" (dueto com Céline Dion)
• Premiações

Grammys

• 1977 - Melhor grupo vocal pop, com "How Deep is Your Love?"
• 1978 - Melhor álbum, com "Saturday Night Fever"
• 1978 - Melhor grupo vocal pop, com "Saturday Night Fever"
• 1978 - Melhor arranjo vocal, com "Stayin' Alive"
• 1978 - Melhor produtor: Barry Gibb, Robin Gibb, Maurice Gibb, Karl Richardson e Albhy Galuten
• 1980 - Melhor grupo vocal pop (Barry Gibb e Barbra Streisand), com "Guilty"
• 2000 - Prêmio Pelo Conjunto Da Obra
• 2003 - Prêmio Lenda da música
• 2004 - Prêmio "Hall Da Fama" "Saturday Night Fever"

Os Bee Gees já fizeram algumas investidas rumo ao ramo da atuação. Desde 1967, já pensavam em fazer um projeto chamado Cucumber Castle, que seria uma comédia musical passada num reino medieval. Entretanto, o projeto foi empurrado com a barriga até 1969, quando em agosto deste ano, já sem Robin Gibb, a banda decide iniciar as gravações. A história foi lançada como um especial de televisão, transmitido pela BBC 2 num sábado, 26 de dezembro de 1970, às 13:30 GMT.

Poucos sabem, mas os Bee Gees também estrelaram um filme da Universal Studios produzido por Robert Stigwood e George Martin chamado Sgt. Pepper's Lonely Hearts Club Band, lançado em 21 de julho de 1978 nos Estados Unidos. Estrelavam também no filme Peter Frampton, Frankie Howerd, Paul Nicholas e Donald Pleasence, além de Sandy Farina no papel de Strawberry Fields, Dianne Steinberg como Lucy e Steve Martin como Dr. Maxwell Edison. Além dos Bee Gees e de Peter Frampton, contavam com a participação especial do Aerosmith, de Alice Cooper, Earth, Wind & Fire, Billy Preston, Stargard, e George Burns como Mr. Kite. O filme foi dirigido por Michael Schultz. Apesar de todo esse elenco estrelado, o filme, que tinha sim uma grande referência ao álbum homônimo dos Beatles, foi um fracasso de bilheteria.

Mesmo depois dessas investidas todas dos Bee Gees no ramo do cinema, Barry Gibb não desistiu e, em 1984 decidiu fazer o filme-musical Now Voyager. Além dele, no filme também estrelava Michael Hordern.

Good gawd, doesn't Barry look dreamy???? Rowr!

Thanks, Marc! :)

Birth

On Tour

1967. The Bee Gees announce they are cancelling nightclub bookings in Germany this weekend. Two Australian members of the group have been ordered to leave Britain by the middle of September. If they were to leave the country before then it seems certain they would be barred from re-entering. Until the matter is settled, the group will not undertake any overseas concerts.

All At Sea

1965. An air-sea search is launched after a crewman goes missing overboard from a yacht chartered by Frank Sinatra. The singer is cruising the waters off New England with actresses Rosalind Russell and Claudette Colbert, their husbands and other guests. Among them is Mia Farrow, the 19 year old actress whose name has been romantically linked with Sinatra. The missing man, 23 year old Robert Goldfarb, is thought to have been lost when the boat's dingy overturned.

In Court

1964. Mick Jagger is fined £ 32, and given two endorsements to his license, at Liverpool Magistrate's Court for driving without insurance, being unable to produce a valid drivers' license and driving at 48-50 m.p.h. in a 30 m.p.h. limit.

On Television

2003. The South Bank Show (ITV, U.K.) Tonight's show features Nick Cave. Today's clip will link to the other parts to give you the whole show. 10m 04s.

Death

2002. Guitarist Michael Houser (Widespread Panic) dies at his home in Athens, Georgia as a result of complications related to his pancreatic cancer. He is survived by his wife, Barbette and son, Walker. Houser (40) last played with the band on July 2nd. Since leaving due to his worsening condition, guitar duties have been taken on by George McConnell a longtime friend of Michael and the rest of the group. With the announcement of his death comes news that his family are setting up the Michael Hauser Music Fund "as a living memorial to Michael and his love of music".

Babble

I'm back in Elgin today and heading to Nairn soon. The plan to stage a memorabilia exhibition seems to have run into problems. With entrance to the cafe area being open to ticket holders only, public access is the main concern. Needless to say with strict fire safety laws, the number of people allowed in the venue at any time must be strictly adhered to.

With that in mind, I'm hoping either to find a compromise solution or see if one of the vacant shops near the Ballerina Ballroom can be used to house the show as a "fringe" event. I will, of course, keep you updated.

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Dare I appear as tragically unhip to my intern? I eventually answered his question by saying that I like pop and Top 40. He then asked me what it was about the music that I liked, and I said that I like the fact that I get introduced to such a variety of music. It's not just one thing like all country or R&B. It's a mix of everything. Then I asked him what he liked. And he said, "You probably won't believe me when I say this, but metal.... Really heavy metal.... Death metal." I asked him what that meant exactly and he explained it to me.

Then he asked me who my favorite artist was. Again, I wasn't sure about the possible scorn I would receive, so I meekly said, "At the moment, John Mayer." He said, "I like him! He's an awesome guitarist." I gushed with happiness, thrilled that even someone with very different tastes from my own could still appreciate them. From that point on, we were no longer boss and intern, we were friends.

I admit that to this day I still struggle with defending my musical taste because there are still mean people out there that pass judgment upon me, and I still feel the need to preface the music I talk about with, "I know this is lame, silly, goofy...." But I know I'm not alone out there because I read blogs all the time that use such wording and bloggers call certain artists their "guilty pleasures."

It's time, fellow prefacing bloggers, to be who we are. I've decided that today's post will be my first step to embracing what I enjoy musically. I will not feel bad about or defend what I say.

• John Mayer is my favorite, and I like Your Body is a Wonderland.
• I'm going to see the American Idols in concert later this month. David Cook rocks my socks!
• I have seen Clay Aiken in concert and it was a really good time.
• I saw New Kids on the Block in concert when I was in high school and wish I could see them on their current tour.
• I wish I could have seen NSYNC in concert at some point.
• I want to go to Las Vegas and see Barry Manilow or Tom Jones perform.
• One song that always makes me happy is Jive Talkin' by the Bee Gees.
• Another one is You Never Even Called Me by My Name by David Allan Coe and I sing it at the top of my lungs when I play it on my iPod.
• I love singing to Lynyrd Skynyrd songs

.

Well, that was refreshing! I feel good now. :)

Resposta: The Beatles. Ninguém teve mais músicas do que eles no primeiro lugar da parada de sucessos oficial dos EUA, a Billboard Hot 100, que completa 50 anos em 2008.

Veja a lista dos artistas que mais vezes chegaram ao topo nos EUA:

20 vezes: The Beatles
18 vezes: Mariah Carey
13 vezes: Michael Jackson
12 vezes: Madonna e The Supremes
11 vezes: Whitney Houston
10 vezes: Janet Jackson e Stevie Wonder
9 vezes: Bee Gees, Elton John e Paul McCartney
8 vezes: The Rolling Stones e Usher

Por que Elvis Presley não aparece nesta lista? Porque a maior parte de seus mais sucessos foi lançada antes da criação da Billboard Hot 100, que data de agosto de 1958.

[Fonte: Billboard]

• On this date in 1958, a 17-year-old Londoner (originally born in India) signed his first record deal in the UK ... and he was on his way to a very successful singing career! His name? Cliff Richard.
• 48 years ago yesterday (August 8), a 16-year-old discovered that his song, inspired by what his two-year-old daughter wore to the beach, made #1 on the Billboard charts. The song was Itsy Bitsy, Teenie Weenie, Yellow Polka Dot Bikini, and the singer was a young Bryan Hyland. (Yep ... I said "16"!)
• Today in 1962, a striving folksinger named Robert Zimmerman legally changed his name to Bob Dylan. (gee ... wonder if the kid ever made it!)
• Also happening on this date in 1963 was the debut of the popular UK TV show, Ready, Steady, Go!. The program lasted until December, 1966 -- and Dave Clark (of the DC5) allegedly owns the archival rights.
• Now, this one goes back to August 5, but didja know The Beatles first appeared on US record charts on that date in '93?? Yeah ... with From Me To You, which topped at ... #116!
• On this date in 1975, the Bee Gees' disco era began with a #1 hit called Jive Talkin'. But DIDJA KNOW THAT the inspiration for the song came to Barry Gibb while he was drivin' across a bridge in Florida? His wife said "Hey ... listen to that noise. It's the same every evening. It's our drive talking."

Okay ... we'll get back to more TWIR a little later. But, for now ...

TELL YA WHAT: I'LL DO THE LOOSE-END TIE-UP IN THE NEXT EDITION, K?? Yer Uncle Relic needs to catchup on his sleep so he can be mustered out tomorrow morning with relish! But, before I do ...

I got a rather gruff piece of RelicMail this AM, where somebody was a bit miffed over my words about The Jonas Brothers in an earlier post. Look -- I like the guys, but, as good as they are, they're still a sorta Hanson-meets-Three-Dog-Night (kids' version).
They're cute to listen to, I guess ... but, if ya want rock, ya still gotta go with The Fore! 'Sides, Disney has a knack for dissin' their talent after they've grown outta the teen frenzy!
So, before I (or anyone) can give a true assessment of these brothers, we've gotta give 'em at least a couple more years to see how they develop. Other Disney alumni (Timberlake and some chick named Spears) had to have some kinda gimmick to fall back on when they were canned! I just hope the Jonases keep it together, maybe work some serious rock over the years ... but they are good now!

Well, that's it for this go 'round! Until later today, remember:
Keep your eyes on the skies, your feet on the ground, your heart with the music ...

and I'll see ya on the FLIP SIDE!

Though I was going to play a few more political songs, I feel more like playing some funky music right now. So, naturally, I thought this song'd be appropriate:

Play That Funky Music - Wild Cherry

Funky music, bad hair, and bare chests. And, of course, some places are more appropriate then others to play funky music:

Funkytown - Lipps Inc

We're continuing the unmistakable energy and groove of the era. And somehow I'd like to cap this off with the Bee Gees:

Stayin' Alive - Bee Gees

I'll admit it; that high falsetto just amazes me, especially watching them sing.

Well now, I get low and I get high,
And if I cant get either, I really try.
Got the wings of heaven on my shoes.
I'm a dancin' man and I just cant lose.
You know it's all right. It's ok.
I'll live to see another day.
We can try to understand
The New York times effect on man.

]]> http://reiki4all.wordpress.com/?p=66 Wed, 06 Aug 2008 17:54:42 +0000 ChrisTina Maywald http://reiki4all.wordpress.com/?p=66 Genial - nach Jahren wieder gefunden - möchte ich sie euch nicht vorenthalten - waren damals - und sind auch heute noch meine mich am tiefsten berührendsten Songs der Geschichte:

Meine absoluten Favorites

Wolfgang Ambros - Atlantis

Nino de Angelo - Jenseits von Eden

Masquerade - Guardian Angel

mehr engelhaft (und mit Text)

Bee Gees - Tragedy

F.R. David - Words Don't Come Easy

Bee Gees - How deep is your love

Sarah Brightman - Scarborough Fair

und in der Version von Simon & Garfunkel

Sarah Brightman & Andrea Bocelli - Time To Say Goodbye

I suppose it is one of those titles that don't have so much deep meaning after you've come down. Kind of like "Peanut Butter Conspiracy", for instance. Unless you are stoned, it just sounds like a dorky title for an album.

Or maybe they meant that there are songs about major deep-discount sales on elastic at Sears or Fabricland or, in those days, Woolco. Some people might get excited about that, you never know. They are probably waiting for a sale on fabric that is neither paisley nor tie-dye.

In Texas in 1967, I am given to think that Jon and Robin were wearing what was considered to be "long hair" in those days. I find it hard to imagine these two travelling to Woodstock on a VW microbus.

There is no information that I can find anywhere on the group Furr.This is their self-titled album (OK, so maybe they didn't title it themselves).

I also have no idea even of the period this record came from, but it is a safe bet they were imitating ripping off tributing Kiss, so that places them later than 1975.

They would have made great Saturday Morning Cartoon superheroes. Superheroes that play in a rock band. OK, it's a bit derivative, but they are derivative already.

The Destitutes, as their cover says, come from Idaho.

At the beginning of one's music career, one may have to play all those venues that are filthy, full of graffiti, and frequented by a creepy clientele. The Destitutes here don't seem to mind. And they don't look too destitute themselves. They look more like the Beach Boys than Skid Row.

Once again, info on the genre is sketchy; although the cover says that steel drums are involved, along with the depicted guitar and sax. Jazz, maybe? An allmusic.com search on "Destitutes" brought me directly to their page for Destiny's Child.

OK. Now, this 1979 album cover design is the one the record company didn't want. This is an artist's rendition of Orion (actual name: Jimmy Ellis) rising from his coffin to sing you a song, entitled "Orion Reborn". The art is a bit half-assed, but it meant to tell you a true story.

Orion sang a Jerry Lee Lewis song "Save The Last Dance for Me" anonymously in early 1979, which apparently made the top 20. This aroused speculation as to who the singer was. It was decided that Elvis must have rose from the dead to sing it (this was the conclusion on a TV episode of "Good Morning America"). But the cover which told the story was just too morbid for the sensibilities of their clients, so ....

This design was the one they settled on. An Elvis lookalike without his requisite polyester jumpsuit that Orion was known to wear in concerts.

I liked the first design better. Here, he looks like an imitation of Batman. The mask over the eyes was apparently his trademark, and he is seen this way in nearly all of his publicity photos (at least the ones at allmusic.com).

After 1983, Jimmy Ellis finally took off the mask, and promised us he wouldn't wear it again. Unfortunately (or fortunately) he has a voice that really does sound a lot like Elvis's singing voice. It is simply a natural, uncanny resemblance. He was in fact trying to shed his reputation as an Elvis impersonator for a while.

While Bob McGilpin may have been big in the discotheques, and the title tune from this 1978 album "Superstar" filled the floors back then, that may have been because they didn't see the album cover (Clicking on the graphic gets you to bizarrerecords.com, where this graphic originated).

This album cover, like many in this series, has been a staple of many crappy albums lists all over the internet. He looks like Weird Al Yankovic-meets-John Travolta! Where's your accordion?

This record was put out a year after Saturday Night Fever, and all-white was how many males dressed for a night out at the disco. Here is a home-made video of the title track, along with an announcer (who has an excellent radio voice) who goes by the name of Music Mike, to give you more straight dope on Disco Bob in his intro:

Arthur Fiedler and his Boston Pops Orchestra, of course, tried to cash in on the sensation generated by the movie Saturday Night Fever.

So, the album cover was meant to be humorous. I don't understand, however, why so many tried to cash in on the music of the Beegeesus Heebeegeebees Bee Gees. It would seem to me that their fame was way overblown. I can only think that there was nothing better to fill the void. And there was (and in my opinion, there still is) a void in music that seems to be filled in by increasingly mediocre acts.

[caption id="attachment_36" align="aligncenter" width="450" caption="Não parece a capa do disco "Década Explosiva"?"][/caption]

16º Too much heaven (The Bee Gees): Mais um petardo dos irmãos Gibb! Aqueles falsetes inconfundíveis em uma canção única!

17º Without you (Nilsson): A música é dos membros do Badfinger, Pete Ham e Tom Evans, e foi gravada pela banda em 1970. Não fez sucesso algum. Um ano depois, Harry Nilsson gravou a canção e estourou nas paradas. Fez muito sucesso ainda com Air Supply e Mariah Carey. Segundo a letra, o narrador não pode viver sem o seu ser amado. Ironicamente os autores cometeram suicídio tempos após o estouro da música. Mas não foi por causa do seu sucesso...

18º All out of love (Air Supply): Graham Russell e Russell Hitchcock, o duo Air Supply, é outra fábrica de sucessos românticos. Seu "the best of" é realmente the best...

19º I can wait forever (Air Supply): Mais Air Supply: "eu posso esperar para sempre..." O amor é paciente, não é?

20º Love hurts (Nazareth): De longe o maior sucesso da banda escocesa de hard rock Nazareth. É a regravação de um sucesso dos Everly Brothers. Até hoje toca nas rádios e eternizou a voz rascante de Dan McCafferty, um dos grandes vocalistas do rock setentista. Pura dor de cotovelo amplificada pela guitarra econômica de Manny Charlton.

21º Never my love (Fifth Dimension): uma das mais belas canções de amor de todos os tempos. Simples, mas profunda. Coisa que não se faz mais hoje em dia. Fez sucesso também com o grupo The Association.

22º I need you (America): Houve um tempo em que a melodia era valorizada na música popular. Era o tempo do folk rock. O trio America, formado por Dewey Bunnell, Gerry Beckley e Dan Peek, fazia imenso sucesso com suas canções. O America vendeu milhões de discos e ainda hoje, reduzido a Beckley e Bunnell, tem um público fiel.

23º My love (Paul McCartney & Wings): Grande sucesso da carreira solo do grande Macca e sua banda. Mais uma canção de amor que o Macca fez para a sua esposa Linda, numa relação que só terminou com a morte desta. Depois ele se casou de novo, mas se arrependeu da brincadeira...

24º Wonderful tonight (Eric Clapton): Essa é uma canção para quem acha que a namorada/esposa demora a se vestir, ao se preparar para uma festa. E, em tempos de "lei seca", a música fala dos cuidados que uma mulher tem com o seu amado, que encheu demais o caneco. Bela canção, destruída posteriormente por uma versão fuleira do cantor Leonardo...

25º Me and Mrs. Jones (Billy Paul): É o relato de um adultério. Mas que relato! A senhora Jones é a amante... Belíssima e premiada canção de Gamble & Huff.

(continua...)

[caption id="attachment_25" align="aligncenter" width="457" caption="Não era bem assim que se dançava, mas é bem parecido..."][/caption]

Você sabe o que é um mela-cueca? Em meus tempos de juventude, era aquele tipo de música feita para "dançar coladinho". As festas começavam sempre com músicas agitadas. A pista começava a ferver aos poucos. Quando o clima estava armado, com todos dançando, o disc-jóquei colocava uma balada e pronto! O desespero: os rapazes procuravam as garotas. Quem tinha namorada estava garantido. Quem não tinha... ou ficava no canto bebericando cerveja ou vinho, ou dava uma de bonzão e partia para cima das mais bonitinhas (se bem que as bonitinhas quase sempre tinham namorado), ou ficava com a amiga da prima da namorada do cunhado do melhor amigo. E os casais que sentiam calor iam tomar um vento do lado de fora. E se a pista começava a esvaziar, o disc-jóquei emendava uma fileira de sons chacoalhantes para requentar a festa.

Muitos mela-cuecas resistem nas rádios saudosistas do Brasil. Há, com certeza, centenas de músicas que todos conhecem, mas não sabem quem canta ou como se chama. A melodia bate no ouvido e a memória é preenchida por momentos românticos do passado. A seguir uma lista de 50 hits do passado, para quem quiser se inteirar na arte do mela-cueca, ou produzir uma festa saudosista. Comente a lista! E acrescente aqueles mela-cuecas que você guarda no coração.

1º How deep is your love (Bee Gees): Os irmãos Gibb eram uma fábrica de hits e essa balada, tema do filme "Os embalos de sábado à noite", consegue ser bela e perene, apesar de ter a cara dos tempos da disco music;

2º If you leave me now (Chicago): Outra fábrica de hits, o Chicago trazia para a música pop arranjos maravilhosos e a voz de Pete Cetera. Clássico da dor de cotovelo: "se você me deixar, você levará a parte mais importante de mim. Meu bem, por favor, não se vá!"

3º Sailing (Christopher Cross): a introdução na guitarra era a senha para a rapaziada correr atrás das garotas. A música não fala necessariamente de amor. Na verdade, trata dos efeitos benéficos da navegação para o espírito. Mas ninguém ia dançar por causa da letra da música, não é mesmo?

4º Time after time (Cindy Lauper): O clip dessa música passava direto na televisão. Mais dor de cotovelo. Mais casais na pista.

5º Lover why (Century): Parece heavy metal. Mas embalou muitos romances. A banda Century é um daqueles "one-hit-wonders": fez um sucesso estrondoso e sumiu! A música, porém, está sempre nas FMs da vida...

6º Still loving you (Scorpions): Sucesso absurdo na época do primeiro Rock in Rio, as rádios não paravam de tocar. É a prova cabal de que os metaleiros também amam. Não dava para dançar, principalmente na parte final em que a guitarra toma conta. Mas marcou uma geração de apaixonados...

7º Over you (Lane Brody): "Any fool can see that love is blind/And here I am to prove it one more time..." Mais dor de cotovelo! Sucesso eterno! Clássico do country, tema do filme "Tender Mercies".

8º If you not here (Menudo): Houve um tempo de horror e suplício, quando o Brasil foi invadido pela menudomania. Milhares de meninas ficaram histéricas com a presença de uns bambis, que rebolavam e cantavam musiquinhas tétricas. Mas a baladinha citada, um de seus maiores sucessos, é até tolerável...

9º Betcha by golly wow (The Stylistics): Milhares de crianças no mundo foram geradas ao som desse grupo, trilha sonora de tudo quanto é motel no mundo. Em qualquer festa, em qualquer lugar do mundo, corações tremem ao escutarem os trinados desses veteranos...

10º You needed me (Anne Murray): Mais dor de cotovelo. O maior sucesso de Anne Murray, cantora canadense.

11º I should have known better (Jim Diamond): O "melô dos bombeiros" é a cara de uma época. Jim Diamond, cantor escocês, é outro que sumiu nas estradas do mundo...

12º Lost without your love (Bread): O último hit do Bread, outra fábrica de mela-cuecas!

13º I never cry (Alice Cooper): Vincent Furnier deixou um pouco o circo de lado e cometeu essa bela canção.

14º Classic (Adrian Gurvitz): O cara é um dos precursores do heavy metal (com a banda The Gun), tocou com Ginger Baker (no Baker Gurvitz Army) e escreveu uma canção sobre a necessidade de escrever um clássico. E escreveu...

15º Do that to me one more time (Captain & Tennille): Dupla de imenso sucesso, gravou essa canção sutil como uma jamanta na lama: "Faça aquilo comigo uma vez mais; uma só nunca é o bastante com um homem como você...". Aquilo o quê?

(continua...)

Number 581

Wham

"Club Tropicana"

(1983)
.
.

Genre:Pop

The song before this (No 580) & even the one after, (No 582) seem to have a common similar theme, hmmmm.
Now how does one describe Wham? Even the phenomenon that was "Wham"?
Well, as i tell my sprogs, we had many groups that were, er, different in the early 80's. Take, Frankie Goes To Hollywood or Dead or Alive, Culture Club, Bronski Beat and even Human League. Now i say to anyone who ask about these groups and i just give the straight (excuse the pun) plausible answer.... the music was really cool then, & all walks of life back then loved dancing to the sound, we didn't give a brass monkey's who sang it, as long as it sounded good. And in most cases it still does. Also i refuse to apologise for something that your parents bought!

Fantastic is the misguided 1983 debut release from the U.K. duo Wham. With Fantastic, George Michael and partner Andrew Ridgeley introduced themselves as leather jacket-clad, street-smart "rebels." This approach proved wildly popular in the U.K., where Fantastic was a Top Ten hit, but the album went largely unnoticed in the States. Fantastic is now notable only for its early appearance of Michael, who would become an international superstar by the mid-'80s. While Fantastic showcases the young (20 at the time of the album's release) George Michael's ability to craft engaging, hook-filled melodies, much of the material on Fantastic suffers from the duo's pretentious, tough-guy posturing. The empty funk of the U.K. hits "Bad Boys," "Young Guns (Go For It)," and the embarrassing "Wham Rap" barely registers, and Michael's smart-alecky, self-conscious lyrics are often unintentionally hilarious.

Although Michael eventually became well known as a reasonably successful emulator of R&B trends, neither these tunes nor Fantastic's stupefying remake of the Miracles' "Love Machine" give any indication of his abilities. At best, Fantastic can be viewed as a testament to George Michael's maturity. "Nothing Looks the Same in the Light" and "Club Tropicana," two of Fantastic's best tunes, lean toward the lush, adult pop of Michael's later solo work. These songs are ultimately more successful than the juvenile meanderings of "Bad Boys" and "Wham Rap." Fortunately, Michael and Ridgeley would later ditch the superficial, leather-jacketed approach for the more sophisticated pop of later Wham releases like "Everything She Wants" and "Freedom" (both from 1984's Make It Big) and "The Edge of Heaven" (from 1986's Music From the Edge of Heaven), finding major U.S. success in the process. Fantastic isn't a good album, but it's oddly entertaining. It's certainly interesting hearing the difference between the frothy Fantastic and Michael's later, "serious" solo work like Listen Without Prejudice and Older. And Fantastic is also good for a few chuckles. Unfortunately, that probably wasn't George Michael's intention. But even he might get a good laugh out of it. ~ [William Cooper, All Music Guide]

For Dead or Alive see Number 762
For Human League see Number 603 & Number 582
For George Michael see Number 821

Michael desired to create music targeted to a more sophisticated audience than the duo's primarily teenage fanbase. Therefore, Michael and Ridgeley announced the breakup of Wham! in the spring of 1986, destined to take place after a farewell single and album, along with a historic grand finale concert at Wembley Stadium on June 28, 1986, called The Final. British pop group Five Star declined George's invitation to be the supporting act, saying they needed to concentrate on their own career at the time.

The farewell single was "The Edge of Heaven" (which had on its flip-side "Where Did Your Heart Go?") which reached #1 in June 1986. "Where Did Your Heart Go?" was the group's final single in the United States. The song, originally recorded by art-rock ensemble Was (Not Was), was a downbeat and somber affair that telegraphed the intentions of George Michael for the next decade's work and would fit musically on any of his solo albums. The duo's last album was a double-LP collection of all the singles to date, mostly the extended versions, and was also called The Final (released in North America as the severely pared-down Music from the Edge of Heaven with alternate tracks). Wham! then said goodbye to their audience (73,000 of whom attended the eight-hour event) and each other with an emotional embrace at the end of the show. The band had been together five years, selling close to 20 million albums and 10 to 15 million singles. Foreign Skies, the film of their tour of China, received its world premiere as part of the festivities, making it the most highly-attended film premiere in history. ~ [source:wikipedia] (By the way george has his hand on his own knee)

What does Rolling Stone think about Wham?

Lyrics to the song

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