Mp3 music: Bee Gees

Artist: Bee Gees: mp3 download    Genre(s):  Pop Other Rock Rock & Roll Dance: Pop Rock: Pop-Rock Blues     Bee Gees's discography:      Greatest (Special Edition) CD2    Year: 2007    Tracks: 15      Greatest (Special Edition) CD1    Year: 2007    Tracks: 12      Turn Around Look At Me    Year: 2004    Tracks: 16      Number Ones    Year: 2004    Tracks: 21      Megamix    Year: 2004    Tracks: 2      Their Greatest Hits CD01    Year: 2001    Tracks: 21      Their Greatest Hits The Record (Disk Two)    Year: 2001    Tracks: 19      CD 2    Year: 2001    Tracks: 19      One Night Only (LiVE)    Year: 1998    Tracks: 24      One Night Only    Year: 1998    Tracks: 24      Brilliant From Birth [CD2]    Year: 1998    Tracks: 31      Brilliant From Birth [CD1]    Year: 1998    Tracks: 32      Still Waters    Year: 1997    Tracks: 12      Size Isn't Everything    Year: 1993    Tracks: 12      High Civilization    Year: 1991    Tracks: 11      One    Year: 1989    Tracks: 11      E-S-P    Year: 1987    Tracks: 11      1987 - E.S.P    Year: 1987    Tracks: 11      Spirits Having Flown    Year: 1979    Tracks: 10      Bunbury Tails    Year: 1978    Tracks: 6      Robins Reign    Year: 1970    Tracks: 17      Odessa    Year: 1970    Tracks: 16      Inception Nostalgia    Year: 1970    Tracks: 24      Cucumber Castle    Year: 1970    Tracks: 12      Collection 1967 - 1970    Year: 1970    Tracks: 18      A Kick in the Head (Unreleased album)    Year: 1970    Tracks: 14      Idea    Year: 1968    Tracks: 13      Horizontal    Year: 1968    Tracks: 12      First    Year: 1967    Tracks: 14      Unreleased Demos From    Year: 1966    Tracks: 30      The Bee Gees Sing And Play 14 Barry Gibb Songs    Year: 1966    Tracks: 14      Rare Precious And Beautiful    Year: 1966    Tracks: 13      Unsorted    Year:     Tracks: 14      An Irresistible Force    Year:     Tracks: 7 No democratic music behave of the '60s, '70s, '80s, or '90s experient more ups and downs in popularity, or attracted a more than varied audience across the decades than the Bee Gees. Beginning in the mid to previous '60s as a Beatlesque ensemble, they immediate developed as songwriters in their possess right and style, perfecting in the swear kayoed a progressive pop wakeless all their have. Then, subsequently impinging a trough in their popularity in the early '70s, they reinvented themselves as perchance the to the highest degree successful white soul dissemble of all clip during the discotheque earned run modal. Their popularity washed-out with the passing of disco's appeal, only the Bee Gees made a successful comeback in near every corner of the earth. What remained a invariant through their history is their sinful singing, stock-still in trey voices that were likable severally and comprised so dead and by nature by melding together that they make such acts of the Apostles as the Beatles, the Everly Brothers, and Simon & Garfunkel -- all famous for their harmonies -- about appear arch and contrived. The grouping was likewise rock's nearly successful comrade play. Barry Gibb, born on September 1, 1946, in Manchester, England, and his fraternal twin brothers Robin Gibb and Maurice Gibb, born on December 22, 1949, on the Isle of Man, were leash of basketball team children of Hugh Gibb, a bandleader, and Barbara Gibb, a former isaac Merrit Singer. The leash of them gravitated toward music selfsame early on, bucked up by their father, wHO reportedly power saw his sons at first-class honours degree as a diminutive adaptation of the Mills Brothers, a '30s and '40s black American harmony chemical group. The leash Gibb brothers made their earlier performances at local motion-picture show theaters in Manchester in 1955, singing between shows. Their aim was but to pantomime to records as a novelty entertainment behave, only when the records got broken, they american ginseng for real and got a stirring response from the delighted consultation. They performed under a form of name calling, including the Blue Cats and (reportedly) the Rattlesnakes, and for a time, fell under the influence of England's skiffle business leader, Lonnie Donegan, and proto-rock & roller Tommy Steele. Their early lives were interrupted when the family moved to Australia in 1958, resettling in Brisbane. The leash, known as the Brothers Gibb -- with Barry composition songs by then -- continued acting at endowment shows and attracted the attention of a local DJ, Bill Gates, which light-emitting diode to an lengthened employment at the Beachcomber Nightclub. They finally got their possess local television picture in Brisbane, and it was about this time that they took on the diagnose the Bee Gees (for Brothers Gibb). In 1962, they landed their first recording shrink with the Festival Records label in Australia, debuting with the individual "III Kisses of Love." The leash was astoundingly popular among the press and on television, and performed to very enthusiastic interview response. They finally released an LP, The Bee Gees Sing and Play 14 Barry Gibb Songs, just factual reach records eluded them in Australia. They were witness during 1963 and 1964 to the explosion of British get music half a world away with the success of the Beatles, whose harmony-based approaching to stone & roll and reliance on original songs only encouraged the trey Gibb brothers to keep pushing in those directions. By belated 1966, however, they'd distinct to halt trying to conquer the Australian music earthly concern, or to reach the catch one's breath of the world from Australia, and return to England -- which, thanks to the Beatles, was at once the center of rock and popular music for the whole public. It was patch on the boat, in mid-ocean, that the Gibb family learned that the Bee Gees had in the end topped the charts back in Australia with their last release, "Spicks and Specks." Just as the Seekers had done upon going Australia, the radical had sent demonstration recordings ahead of them to England, and "Spicks and Specks" had attracted the stake of Robert Stigwood (an associate of Brian Epstein). The trio was signed by Stigwood to a five-year contract upon their arrival, and they began shaping their sound afresh in the environment of Swinging London in 1967. Barry Gibb and Robin Gibb alternated the lead vocal touch, harmonizing together and with Maurice Gibb. Barry played speech rhythm guitar as well, spell Maurice, in addition to his support outspoken spotlight, was the triple-threat player in the core card, playacting bass, forte-piano, pipe organ, and Mellotron, among other instruments. The brothers before long expanded the group with the addition of guitarist Vince Melouney and drummer Colin Petersen, whose front turned them into a in full functional playacting grouping. Their number one English transcription, "Fresh York Mining Disaster 1941," released in mid-1967, made the Top 20 in England and America and established a traffic pattern for the group's work for the next iI age. As an original by the mathematical group, it had a haunting melody and a foreign lyrical; it wasn't so practically psychedelic (though it could slip away for psychedelia in a pop vein) as it was surreal. They had successful follow-ups with "Holiday" and "To Love Somebody." Henry M. Robert Stigwood arranged for Polydor to release the Bee Gees' records in England and Europe, and for Atlantic Records to issuing their work in America. Atlantic had missed out on the entire British Invasion and at once they had a mathematical group whose music resembled that of the Beatles at their most accessible. The Bee Gees' records had gorgeous melodies and arrangements and were steeped in quixotic even complex lyrics, many of them containing a funnily downbeat modality that no one seemed to mind. One curious branch of their appeal was that Stigwood was capable to convert Atlantic Records, as portion of the take for the Bee Gees, to accept and release the recordings of a relatively strange triplet called Cream. At the time, Eric Clapton was non practically more than a cultus figure in the United States, more "rumor" than asterisk (his recordings with the Yardbirds had never even appeared in America with his name mentioned on them), merely Atlantic -- which recorded Disraeli Gears -- helped change that, selling millions of records in the bargain. The Bee Gees individual "Massachusetts" was a chart-topper in England and launched the group on their number 1 wave of stardom. Their music was made even more attractive by the fact that their albums were remarkably well put together. Reflecting the influence of the Beatles, a draw of tending was lavished on the group's LP tracks rather than relying on the front of a come to or two to justify their being. Bee Gees first, cut in early 1967, had its weaker muscae volitantes, precisely non a flier path on it, piece Horizontal and Idea were potent LPs filled with beautiful and unusual songs and lavish arrangements (courtesy of conductor Bill Shepherd), all carefully recorded, mixing electric instruments and orchestra. What made their process even more impressive was that afterward Bee Gees first, which was produced by their Australian friend Ossie Byrne, the iII Gibb brothers took all over producing their records; regular more surprising, as is now known from divers corn john Barleycorn releases of lively performances of the full point, the group -- with Melouney and Petersen in the card -- was likewise able to execute their music note-perfect, with spot-on vocals piece onstage, something that the Beatles had never fifty-fifty attempted severely with their post-1965 efforts. The group enjoyed 2 major hits in 1968, "I Started a Joke" and "I've Gotta Get a Message to You," both from Idea. Whatever they arrange out seemed to ferment, including the delicious psychedelic crop up ode "Barker of the UFO," a B-side that is a spot-on perfect example of late-'60s English freakbeat, hardly a genre on which the Bee Gees are commonly idea to receive contributed. It was easy, amid the vapourous beauty of their records, to command the reach of influences that went into their sound -- the Bee Gees may make been making pop/rock, merely their underlying sounds came from a battalion of sources, including American area euphony and soul music. Indeed, one of the group's biggest hits, "To Love Somebody," had been scripted for Otis Redding to book, only the Stax/Volt singing legend didn't alive prospicient enough to record it himself. At this point in their story, they were most comfortable deconstructing elements in the vocalizing and harmonies of inglorious American music and rebuilding them in their dash, as the Beatles had through with with the euphony of the Shirelles and assorted Motown acts of the Apostles. It was in 1969 when the trio bemused all the momentum they'd reinforced up, ironically over a difference involving their well-nigh challenging recording to date. They'd just finished a double-LP set, called Odessa, a lushly orchestrated, heavily overdubbed, and thoroughly haunting body of euphony. The seven-minute-long title trail was filled with eery images and ideas and gorgeous choruses just about a haunting lead performance and it was just the jumping-off point for the album. The brothers, withal, were unable to agree on which song was to be the unmarried and in the resulting difference, Robin distinct to percentage party with Barry and Maurice. They held on to the Bee Gees nominate for one LP, Cucumber Castle, spell Robin released the album Robin's Reign, on which he was manufacturer, adapter, and songwriter, and american ginseng all of the parts himself. Eventually, level Barry and Maurice Gibb parted company. Melouney had left at the commencement of the Odessa sessions and Petersen left the two-man mathematical group behind a few days into Cucumis sativus Castle, though non without a well deal of effectual squabbling. (At one power point the drummer, in a flaky twist, filed a suit claiming that he owned the Bee Gees nominate.) Without a group to hitch behind or even make tV appearances promoting it, the Odesa album never sold the way it mightiness take in, regular with a hit, "First of May." Cucumber Castle was at least peripherally connected to a British tV special of the same name -- sort of the Bee Gees' better (and funnier) answer to the Beatles' Charming Mystery Tour pic -- and generated several singles that were successful in England and/or Germany, including the reggae-influenced "I.O.I.O." and "Don't Forget to Remember." Ironically, even during a geological period with their music partnership in tatters, the Gibb brothers were piece of writing and recording deeply beautiful songs -- Robin Gibb's "Protected by the Bell," with its profuse, ornate multi-layered vocals, justifiably topped the British charts, and the two-man Bee Gees B-side "Sun in My Morning" was one of the prettiest songs ever so issued by the grouping. In 1970, they finally distinct to try and reform. Almost deuce years elderly and a full make out wiser, they related to each other better and had as well evolved musically out of pop-psychedelia and into a kind of pop-progressive rock sound, similar to the Moody Blues of the same eRA merely with bettor telling and more attractive songs. They came back up on a high note with deuce dazzling songs: "Lonely Days," the group's first-class honours degree number one strike in America and their first-class honours degree gold record in the United States. The early was "Dawn of My Life," a song originally known as "In the Morning," primitively authored by Barry Gibb; included on the soundtrack to the picture show Melody, it proved so popular with fans that the mathematical group was tranquil doing it in concert several old age afterwards. They enjoyed some other vast outside success with "How Can You Mend a Broken Heart" in 1971, just the incidental album, Trafalgar, lacked some of the variety of sounds that had made their earlier LPs so interesting. Moreover, it and the 2 Years On LP that preceded it never reached higher than the mid-30s on the American charts (and ne'er charted in England at all), a considerable drop-off from their '60s albums' gross revenue. In 1972, the group had another Top 20 hit with "Campaign to Me," just their album that year, To Whom It May Concern, was forgotten close outright subsequently a brief run to telephone number 35. Thither was a signified that they were losing ground, especially as the music world was increasingly defined by albums and driven by album gross revenue. Pop/rock was developing around them in unexampled and harder directions and the trio's Beatlesque harmonies and Paul McCartney-like melodies were starting to campaign a little thin at the source. Their 1973 record album Biography in a Tin Can and the sequent individual, "Saw a New Morning," which were used to plunge the unexampled RSO Records label, marked a change in the group's substructure of operations from England to America. Despite a wakeless promotional spell, the unmarried never made the Top 40 and the record album stalled after mounting to the mid-60s. When their proposed side by side album, tentatively highborn A Kick in the Head (Is Worth Eight in the Pants), was jilted by Stigwood, the triple knew they were in a deep creative and commercial hole. Rescue came in the form of a suggestion by their RSO labelmate, Eric Clapton, that they render recording at the studio where he'd just switch off 461 Ocean Boulevard, at Criteria Studios in Miami, FL. Stigwood in agreement and the Bee Gees came back up in 1974 with Mr. Natural, produced by Arif Mardin. This record was a departure for them with its heavily Americanized, R&B-flavored wakeless. The record album didn't even sell as substantially as Biography in a Tin Can and it yielded no hits, simply it got punter reviews and it pointed in a commission that seemed promising. It too seemed to free up the brothers' thought about the kinds of songs they could do. The side by side year, with Mardin again producing, they plunged headfirst into the new profound with Independent Course. This was the beginning of the Bee Gees' second (or third base, if you bet their Australian period) era. The vehemence was now on dance rhythms, senior high school harmonies, and a funk beat. They had a new band in place, with Alan Kendall on track guitar, Dennis Byron at the drums, and Blue Weaver on keyboards, simply arheading the new profound was Barry Gibb, world Health Organization, for the number one time, american ginseng falsetto and observed that he could delight audiences in that register. "Jive Talkin'," the number one single off the album, became their second base American number unitary exclusive, just it was a long way from Lonely Days" in expressive style. It was followed up with the hit "Nights on Broadway" and then the record album Children of the World, which yielded the hits "You Should Be Dancing" and "Love So Right." In the midst of this string of unexampled hits, the group released their first base concert LP, Bee Gees Live, which gingerly walked a telephone set line between their old and unsanded hits. Then in 1977, approach off of their recent success, the chemical group was approached about contributory to the soundtrack of a forthcoming moving picture, called Sabbatum Night Fever. Their featured numbers -- "Stayin' Alive," "How Deep Is Your Love," and "Night Fever" -- each made number one on the charts and the album stayed in the teetotum spot for 24 weeks, even as the film stony-broke existing box role records. In the process, the disco earned run average was born -- or more properly, born-again. It had already interpreted root in Europe, where it had become passé, and in the black and gay subcultures in America as well, merely there it had stalled out. Sat Night Fever, as an record album and a film, supercharged the phenomenon and broadened its hearing to tens of millions of middle class and wage-earning white River listeners, with the Bee Gees at the head of the music. On the spur of the moment, they were outstripping the gross revenue that the Beatles had enjoyed with their records in the 1960s, and were even eclipsing Paul McCartney's multi-platinum '70s-era popularity. It was a profound moment, joining the ranks of their sometime idols in the highest reaches of music success, if non musical or social significance. They could (and did) fill arenas across the nation with their unexampled fans, although some of their elder admirers -- wHO were confessedly a nonage in the context of the tens of millions of record gross sales they were enjoying in the mid-'70s -- resented the group's new sound and the discotheque geological era that it corporal. Ironically, there wasn't that much divergence in the grouping between the two eras. Apart from Barry Gibb's falsetto, the voices were the like and as good as of all time, and they had a brilliant band and all of the production resources that a recording act could want. And amid the saltation numbers, the group motionless did a goodly circumstances of quixotic ballads that each offered a high school "stalk" reckon and memorable meat hooks. They'd simply distinct, at Arif Mardin's urgency, to forget the fact that they were e. B. White Englishmen -- or the reticence that went with it -- and plunged head showtime into psyche music, emulating, in their own terms, the funkier Philadelphia individual sounds that all ternion brothers knew and loved. Luckily for them, they had the voices, the band, and the songwriting skills to do it convincingly, so a lot so that by 1977 the Bee Gees were getting played on black radiocommunication stations that were ordinarily unwilling to go whatsoever ovalbumin acts. What's more than, "Nights on Broadway" or "Honey So Right" were no less beautiful songs or records than, say, "Melodic phrase Fair" or "Outset of May," and if one recognised Dennis Byron's and Maurice Gibb's driving beat on "You Should Be Dancing," it was unsufferable not to be impressed with the vocal acrobatics and the bluff style of the strain. In one fell swoop, the grouping had managed to combine every influence they'd ever so embraced, from the Mills Brothers and the Beatles and early-'70s individual, into something of their possess that was virtually resistless. The cosmopolitan sales of the 1979 Hard liquor Having Flown record album topped 30 one thousand thousand and was accompanied by triad more identification number unitary singles in "Tragedy," "Overly Much Heaven," and "Honey You Inside Out." As a running light to the group's success, a fourth Gibb brother, Andy Gibb, was enjoying massive graph success during this same menstruum as a singer, on the job in a slightly lighter-textured dance nervure. By the end of the '70s, however, the discotheque epoch was on the wane, from a combination of the high-risk economy, political chaos domestically and around the cosmos (in the lead to the election of Ronald Reagan), and a general burnout of the participants from excessively many drugs and profligate sex (which would precipitate an epidemic of sexually familial diseases and annunciate the irruption of AIDS in the United States). There had already been an ad hoc reaction against the group's dominance of the airwaves with mass burnings of Bee Gees posters and albums at public forums spurred on by DJs and ordinary listeners weary of the terpsichore hits by the group that seemed to soar effortlessly to the top of the charts; in the meantime, some radiocommunication stations of the Cross began looking at askance at new releases by the group after 1979. The group itself helped add to the end of the party with their possess excesses, in special their involvement (at Stigwood's insistence) in the pic Sergeant Pepper's Lonely Hearts Club Band, "inspired" (if that's the word) by the Beatles' album and songs. The picture was a box office and critical catastrophe and an embarrassment to all implicated; the incidental soundtrack LP was a $1.99 scratch out only sise months afterwards its 1978 freeing, lingering in steal bins and warehouses for days subsequently. In 1981, the group's new LP, Surviving Eyes, was recorded after an lengthened layoff in the wake of four years of hard influence, simply didn't fifty-fifty make the Top 40. Suddenly, with the disco era over and verboten of favor, the Bee Gees couldn't even get arrested and were existence shunned for the excesses that it delineate. The most tragic of all was the destiny of Andy Gibb. The aged Gibb brothers had, at various times, struggled with personal demons such as alcohol and do drugs use, just the youngest sibling fell very concentrated when the '70s over, eventually losing his life in 1988, basketball team years after his 30th natal day at the end of a awful downward personal spiral. In America, the Bee Gees were near invisible as recording artists for most of the '80s. Instead, Barry Gibb pursued ferment as a manufacturer for other artists, creating hits for Barbra Streisand and Diana Ross, among others; the Bee Gees had songs on the soundtrack to Stayin' Alive, the lukewarm continuation to Sabbatum Night Fever, but they were no yearner taken earnestly by the music urge on. They made their showtime endeavor at a retort in 1987 with E.S.P., an album that got favourable reviews and sold well in every turning point of the globe except the United States, yielding a number one individual (outside of the U.S.) in "You Win Again." A new album in 1989, One, got a good reception around the existence and even generated a Top Ten U.S. individual in the form of its title of respect track. Polygram Records, which had bought out the RSO Records catalog, struggled long and over the release of Tales from the Brothers Gibb, a box place anthology that was real aimed more at the external market preferably than the United States, although it has sold well enough to remain in photographic print in America. High Civilization (1991) and Size Isn't Everything (1993) attracted more or less less care, but their initiation into the Rock and Roll Hall of Fame in 1997 light-emitting diode to the loss of Still Waters. In 1998, they issued the s live album in their history, Unrivalled Night Only, cut at their low concert appearance in America in virtually a decade, at the MGM Grand Hotel. In 2000, they participated in the qualification of the biographic video recording, This Is Where I Came In, which covered their hale history, and an resultant album of the same name. The Bee Gees remained active until the death of Maurice in January 2003. While receiving treatment for an enteral obstruction, he suffered cardiac arrest and died at the long time of 53. Following his death, Robin and Barry distinct to cease playacting as the Bee Gees.

I-Kyong Sin