words@brothersgibb.com message digest 09/06/2015 15:01 (#2015-771)
2 messages included in this issue
Date: Sun, 6 Sep 2015 14:31:12 -0400
From: Salvatore Compoccia <compoccia@aol.com>
Subject: Re: Albhy
To me I was always intrigued by Joes interview with Albhy for Da Book. When
Albhy impressed on Barry that he now had the power for his projects to afford
the best musicians in the world not just be tied to the band. Being the studio
perfectionist that Barry was the conflict must have been immense. Even Maurice .
As good as they were they could now afford the best . From Dennis's book we can
see how basic his audition was. The same with Blue it was relatively
cavalier.
Mark
Yes, the difference between how they chose their musicians in the mid-70's (Dennis and Blue, etc.), with those impromptu, short auditions and the preference a few years later for the best session players is striking. It would point to several factors, I i
- Albhy's influence, in that he probably tapped into Barry's perfectionist tendencies and for Barry to have his songs played exactly the way he wanted, which is something I guess the band could not really do. Albhy was a formally trained musician who had
- The huge success Barry had during the late 70's probably fed into the belief that everything had to be perfect now in order to maintain that success or in just keeping to the high standard of record making that had evolved. Barry may have believed the b
- Also, perhaps a kind of "elitist" attitude had crept in. If you look at the incredible success Barry had, within and without the Bee Gees, from Main Course in 1975 up until the Guilty album with Streisand in 1980 (with Karlbhy at his side for almost all
Against those factors, the band didn't have a chance of sticking around, Strangely, Blue in his comments in Da Book seemed to recognize and accept the fact that their time with the Gibbs had come to an end. When he got the word of their dismissal, I recal
Lastly, and this concerns the many "broken promises" that Dennis stresses, Dennis seemed to have fell into the same kind of trap that a predecessor, Colin Peterson, had ten years earlier, which was over expectations. It was probably fueled by, with both C
You see, it comes down to that Trinity and Barry is God thing again!
Sal
Salvatore Compoccia
compoccia@aol.com
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Date: Sun, 6 Sep 2015 11:53:09 -0700
From: Yasmine Ghulamali <yasdaz17@fastmail.fm>
Subject: Re: Dennis bio
Hi, I never get a sense of what Robin's contribution was, except some
sort of amorphous, creative energy(?). Mo's role/contribution was
obviously clear and clearly expressed in terms of hitting those right
notes to inspire creativity. Barry, well, he was god, leader,
perfectionist, polisher, the main part of the engine... (I don't think I
need to go on). But Robin...? "He came and worked all night" says
nothing about what he did all night. Did he essentially do the same
things Barry did but on a "lesser" scale? Did he just come in when most
of the work was done and sprinkle creative fairy dust on it? Did he (as
one interview in one of those teen mags in the late '70's recounts) come
in and be able to choose which songs would be most commercially
sucessful? Inquiring minds want to know! Yasmine
On 9/5/2015 6:23 PM, kittyLarue wrote:
>
> Dennis said, "Mo was creative in production. Robin would come in at
> night and work all night. I loved singing with them".
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End words@brothersgibb.com message digest 09/06/2015 15:01 (#2015-771)