One of the things the Beatles made, the magical way they felt when they first arrived was a clever way to match the look and sound of it all. For all their iconic differences, they have variations on equally thick billowy dark hair, shiny lemon-shaped smiles and Liverpool Singsong and joking shine. They seemed related like brothers.
B. Geese, of course, Were The brothers (there were three of them), a fact that is not significant in itself, yet like the Beatles they wrote poetry in a way that was at one time visual, temperamental, and sonic. Born in the UK and mostly raised in Australia, they had different versions of the same overbite (although Berry had a handsome-joke version, looked like Robin Gopher, and Maurice was that cute guy). The three men released the angel’s peace. And those sounds! To say that the Gibb brothers have merged with a unified perfection would not sound like they are doing justice. Combined by the silk wood that was in their DNA, the sounds, the skills and the high, often high register, blend beautifully like the colors of a rainbow.
“Be Geese: How You Can Mind a Broken Heart”, which aired Saturday, December 12, on HBO. But premieres, it’s a satisfying, traditional, heartfelt documentary that tells the story of one of the great pop groups, but part of the film’s excitement is that it thoroughly examines the question of where it fits into the B, Gees, pop pop firm. How great was his greatness? Even if you love them (as I do), it’s not an easy question to answer. There is, of course, a God-like class of musicians, the rare upper church of Olympus: the Beatles, the Stones, the Dylan. And B. Geese weren’t quite there There. Those artists were revolutionaries, whose music reconstructed the culture. B. Geese, illuminated by his fire and brilliantly coherent, worked in non-production experiments – in the late 60’s they sounded like the Beatles with a touch of Herman’s Hermits (while the Beatles sounded like no one but themselves), and in the 70’s they danced. -Pop avatars were playing with a form that they follow and more. You can still make a case (I’ll do that) with “Billy Jean” and “Stein ‘Alive” being the most reckless pop song of the last 45 years.
B. Geez enhanced the charm for a kind of transcendence. Joyful harmony, melodic ecstasy that has taken care of you with its harsh sweetness. (“How can you stop www … from the sun shining?… Does the world go round and round?”), The way unexpected strings were changed in his songs that could jump to the next dimension – if you don’t like B. Geese, it’s probably safe to say he doesn’t like pop music. They are U.S. And the U.K. Wrote more than 1000 songs, including 20 number one singles, and those songs became soundtracks for many people’s lives.
If you love B. Geese, or just like him, or even if you grew up with him and are curious, “How Can You Mend Broken Heart” is a movie you want to watch. Directed by Frank Marshall, it’s not just a nostalgia trip (though how can it not be?). It tells the story of B-Geese from the ground up, with never-before-seen archival footage and many published talking heads (clips of Robin and Maurice, who died in 2012 and 2003, respectively, taken from extensive interviews conducted in 1999).
Barry Gibb, who is now 74, appears on camera as a more magical version of himself, with thin white hair and a voice immersed in gravel, but his sense of looking back is very dynamic. This chart examines a wide array of B. Geese’s influence and design ups and downs in the chart, and although it doesn’t overdo it in their personal lives, it does touch on their rivalry – mostly between Barry and Robin – to you. Gives an idea of where they have messed with each other and where they are not. In his Midbro celebratory way, “How You Can Mend Broken Hearts”, B. Geese’s saga is considered one of the most captivating and at once fascinating pages in history.
We think of B Geez as extraordinarily popular, which he was, but my God, the fades and comeback whiplash series he experienced! Put on the map by their musical father, who was like Jackson or the Beach Boys’ dad minus sadism, they sang professionally together in Brisbane in the late 50’s (they started when Robin and Maurice were twins. Only five). ), And they sounded like a missing link between the Avery Brothers and the Fab Four. The Beatles, in fact, always wanted (floppy hair, three-part harmony, popped up as an elevated art form), so they sent a letter to Beatles manager Brian Epstein, who said: Was a collaborator).
Stigwood loved them and they signed. He was a true believer. And B. Geese, going to London, did something useless: they made themselves part of the British invasion. His first single, “New York Mining Disaster 1941”, was released in April 1967, and remained a hit; They never looked back. Then in another hit music video we saw a clip of Robin standing alone saying “I’ve started a joke,” and it’s one of the most beautifully adulterous things you’ve ever heard. But by 1969, B. Geese was able to play. Their records began to tank, and the rivalry between Barry and Robin, who were both lead singers, reached a tipping point.
They broke down – a dissolution that didn’t last. And when they reunited, in the mid-1970s, the music they created, “Lonely Days,” was much different: a more mature, more glorious song. I will testify that “How Can’t You Have a Broken Heart Mend”, released in late 1971, had a profound effect on the radio which carriers ” (they are going to be long) are close to you. Listening to that song, it is as if time has stood still and all the mess of counterculture has melted away.
So B. Geese grew up again – and then, before you know it, they grew up again. Going into and out of culture was almost in their nature. They were, in a very real sense, saved by Eric Clapton, who would have rejuvenated his career with the “461 Ocean Boulevard,” registered in Miami. Clipton asked him to move out of England and into an album in the US – specifically, at the Miami recording studio, Critia, where he made his album. They took his advice, associated with evolving producer Arif Mardin, who worked with a number of leading R&B artists, and the result was a “main course”, including the best percolating “Jiv Talkin”. “It was a song that, in 1975, they were relaunched into the stratosphere like a dance band. And you know what happened next,” he said.
A story about how Robert Stevewood took Berry to see Otis Redding at the Apollo Theater in 1967, such as “How You Can Break a Broken Heart” is full of horror stories. He introduced the two and said he wanted Barry to write a song for Otis. “Love Someone” was the song, but Redding died before it could be recorded. And as timeless as the version of B Gees is, you can imagine how he would have done it.
Robin Gibb explains that the group always records the day they write their songs in the studio. Which suggests that these were not torn-the-heart poems; B. Geese was working in the Brill building tradition of hardening the song. There’s a funny joke about them all going to New York during the recording of “Main Course” and wanting to write a song about it, so they came up with a starred number called All Lights on Broadway. The head of Atlantic Records, Ahmet Ertegan, came to Miami, listened to the song, and said no. He said they needed to be more mature, and he changed it to “Knights Broadway.” It was a minor masterstroke (the song hinted at his sin), but it was only at the end of the session, when they were getting silly around, that Berry added the sunburst falsetto echo of the chorus. He changed his voice in an instantaneous moment. His signature will now be so falci falsetto, so pure gospel, so B. Geese That it was stopped by clouds. (Justin Timberlake compares his voices to trumpets.)
Stegwood tapped to write a handful of songs for a disco movie maker (people thought Stigwood was crazy to hire John Travolta, then Vinnie Barbarino was known to play the lead role), they went to live on the same “Honky Chateau” Were. Where Elton John recorded an album of that name and it was found to be a chili dump. But they hunted down.
We hear a tape composing “How Deep Is Love Is” working with keyboard wizard Blue Weaver, who helped make the song a noodle to its elegant ritual. And the movie offers a thrilling deconstruction of how “Stein ‘Alive” was made. B. Geese drummer Dennis Bryan left the sessions to meet his mother, who was diagnosed with Alzheimer’s. So the producer, Albie Galuten, took the drum line from “Night Fever”, slowing it down and turning it into a loop. That slowed down drum loop – a technique George Martin used for a hypnotic effect on many Beatles tracks – gave the song a kind of infectious gravity to it. They made it one piece from there: the bass, the distinctive guitar hook, and the vocals that seem to speak from behind Travolta’s strutting macho fad when the film finally came out.
“How You Can Control a Broken Heart”, how big makes B. Geese through “Saturday Night Fever”, and how he successfully captures and frightens them. That means they have nowhere to go but down – and with their roller-coaster karma, you believe it was in the cards. However, the movie has a serious angle on how and why it happened. It’s “Sergeant.” Leaves no mention. Marina’s Lonely Hearts Club Band “(1978), a Hollywood musical defeat produced by Stigwood that starred B. Geese and seriously tarnished his image. Given how honest the documentary is about previous failures, the subtraction is a bit strange.
However, these films, with greater depth than I have ever seen, led to the infamous “Disco Demolition Night” on July 12, 1979, at Comisky Park in Chicago, with anti-disco zeal looming in the shadows of disco popularity. . DJ Steve Dahl arranged for any patron to drop in at just 98 cents, if they would bring a disco record to be added to the pile and blown away. But producer and home-music innovation Vince Lawrence, which happened from the beginning of a youth stadium, points out that many of the records people brought in were not disco records; They were just R&B records. That’s true when he calls it “book burning,” and anyone can hear its resurgence in today’s inflammatory culture war.
We’ve been shown a clip of B. Geese on the talk show trying to keep himself away from the “disco” brand, and it’s a little sad because they have to defend it. Then again, the pressure they were under was tremendous. He received bomb threats and was blackmailed by the radio industry. This, ironically, led to one of his most creative chapters, which is that he turned himself into a behind-the-scenes composer-creator, creating timeless songs for artists such as Barbara Streisand (“In Love in Woman”), Dionne Werwick (“Heartbreaker”). , And Dolly Lee Parton and Kenny Rogers (“Islands in Stream”), all suffering from the resonant lusciousness of B. Geese’s voice, considering that they would start in the late 60’s, this was an extraordinary fourth act.
In the film, Barry Gibb speaks dynamically about his brothers, and how much he misses them. (Andy, his younger brother, who became a teenage idol, died at the age of 30 after years of struggling with addiction.) He says that, in the end, he will now trade that hit to live here. The movie captures the really charming fellows of B. Geese (m stage res, so very obscure on stage, it’s so obscure), and it misses you out of it too. But of course we don’t have to miss him, because his music never left. And one of the effects of a movie like this is to get you back on track with some of it, or find something you didn’t know. I will admit that I had only a distant awareness of the “main course” of “Fanny (Be tender with my love)”. But since I saw “How Can You Break a Broken Heart” I can’t stop playing it. It’s a song that does a lot of big B Gees songs. It breaks your heart and heals it at the same time.
