WEBVTT - Barry Gibb's Wild Ride 0:00:15.436 --> 0:00:25.996 Pushkin. A few bands have experienced such extreme highs and 0:00:26.116 --> 0:00:30.436 lows as The Beaches Throughout their decades long career, the 0:00:30.516 --> 0:00:34.156 Band of Brothers managed to be both grossly underrated and 0:00:34.356 --> 0:00:37.876 also one of the best selling live acts of all time. 0:00:40.996 --> 0:00:52.196 M Barry Gibb and his younger twin brothers Maurice and 0:00:52.276 --> 0:00:55.236 Robin started out in the late fifties as a teenaged 0:00:55.316 --> 0:00:59.396 pop group in Australia. Their impeccable three part harmony caught 0:00:59.396 --> 0:01:02.516 the ear of the prominent UK manager Robert Stigwood, but 0:01:02.716 --> 0:01:05.276 a heavy hand and molding the Beegis into a world 0:01:05.316 --> 0:01:09.196 renowned grew By nineteen sixty nine, though the band and 0:01:09.356 --> 0:01:13.436 imploded due to power struggles and battles with addiction. A 0:01:13.516 --> 0:01:16.196 year and a half later, the Bags were back together, 0:01:16.796 --> 0:01:19.596 and after a few fits and starts, in nineteen seventy six, 0:01:19.876 --> 0:01:24.036 Barry Gibb discovered his famed false set up. Their classic 0:01:24.116 --> 0:01:28.716 run of disco hits followed, including the Saturday Night Fever soundtracks, 0:01:28.716 --> 0:01:31.636 which was the highest selling soundtrack of all time until 0:01:31.676 --> 0:01:36.196 The Bodyguard in nineteen ninety two. On today's episode, Rick 0:01:36.276 --> 0:01:38.556 Ruban talks to Barry Gibb about his new Dave Cobb 0:01:38.596 --> 0:01:42.596 produced Appum, which features country music inspired renditions of the 0:01:42.596 --> 0:01:46.476 Gibbs Brothers Brilliant Songbook with guest features on every track. 0:01:47.676 --> 0:01:49.676 They also talked through them making as some of Rick's 0:01:49.676 --> 0:01:53.076 favorite big songs, and Barry recalls what it was like 0:01:53.156 --> 0:01:57.156 producing Barbra streisand who wouldn't sing a single note before 0:01:57.236 --> 0:02:03.956 two am? This is broken record liner notes for the 0:02:03.956 --> 0:02:12.756 digital age. I'm justin Richmondson. Here's Rick Ruman with Barry gibb. 0:02:13.876 --> 0:02:17.956 I have a question about songwriting. Yeah, Historically, do you 0:02:17.956 --> 0:02:20.516 write songs with a purpose in mind? Or do songs 0:02:20.556 --> 0:02:23.236 just come all the time? Well, they come more often 0:02:23.236 --> 0:02:25.276 than not in the middle of the night, you know. 0:02:25.396 --> 0:02:29.276 So if there's an idea or a chorus, you know 0:02:29.316 --> 0:02:31.236 what the chorus is, you know what the message of 0:02:31.276 --> 0:02:33.276 the song. I think that's the key is knowing what 0:02:33.316 --> 0:02:36.636 the song is about and then working backwards, you know. 0:02:36.876 --> 0:02:40.396 So you've got the chorus. And what I've always done is, okay, 0:02:40.516 --> 0:02:42.996 make sure you've got the chorus recorded, because I have 0:02:43.036 --> 0:02:46.076 a little thing next to my bed, and I if 0:02:46.156 --> 0:02:48.316 I love it, I'll record it and tomorrow it may 0:02:48.356 --> 0:02:51.316 be nonsense, but I got to record it. Anyway. Is 0:02:51.356 --> 0:02:54.676 it both melody and lyrics or is it just melody? No, No, 0:02:54.796 --> 0:02:56.996 it's it's it's all of the above. You've got to 0:02:56.996 --> 0:02:59.476 know where you're going, You've got to know, you've got 0:02:59.476 --> 0:03:01.996 to work. I like to work in levels because Roy 0:03:02.116 --> 0:03:05.836 Orbison is my freak. I just love him and all 0:03:05.876 --> 0:03:08.596 of his songs build all the time. And that was 0:03:08.636 --> 0:03:12.556 the greatest lesson for me. Songwriting is to keep keep rising, 0:03:12.636 --> 0:03:16.876 keep rising, reach some kind of climax, And to me, 0:03:16.996 --> 0:03:19.516 that's a great song, you know. And that's why I 0:03:19.556 --> 0:03:24.316 love Nashville because people are still writing great songs and 0:03:24.556 --> 0:03:27.356 I really don't get too much of that anywhere else. Yeah, 0:03:27.756 --> 0:03:30.596 do you remember the first time you heard Roy Orbison? Yes, 0:03:31.356 --> 0:03:34.636 the first record I ever bought was Crying Wow. Just 0:03:34.676 --> 0:03:38.796 destroyed me. And it wasn't just the song in itself, 0:03:38.876 --> 0:03:41.796 it was the way he just kept slowing it down, 0:03:42.516 --> 0:03:44.796 taking the tempo, not the tempo, but the mood down, 0:03:44.796 --> 0:03:47.716 and then bringing it up again. And so for me, 0:03:47.836 --> 0:03:51.876 that's the greatest songwriter, pop songwriter I've ever known, you know. 0:03:52.236 --> 0:03:57.956 In Dreams Blew by You, Jesus unbelievable. And the voice, 0:03:58.036 --> 0:04:02.716 the voice is just it was otherworldly and very spiritual. 0:04:03.236 --> 0:04:05.596 And my father always said, yeah, but he's not in tune. 0:04:05.996 --> 0:04:09.196 I'm feeling what. That doesn't matter, dad, You know, it 0:04:09.236 --> 0:04:11.556 doesn't have to be bing Crosby, you know, it just 0:04:11.636 --> 0:04:15.116 has to move you. And and Roy Orbison moved me 0:04:15.276 --> 0:04:18.196 beyond anything I've ever known. Was was your dad a 0:04:18.276 --> 0:04:21.116 musician as well? I mean he was a drummer. Yeah, 0:04:21.156 --> 0:04:23.876 so I got a Yeah, so I got a lot 0:04:23.876 --> 0:04:27.316 of my rhythmic senses from my father, you know. So 0:04:27.356 --> 0:04:31.116 I was always, you know, I was always doing something rhythmic. 0:04:31.156 --> 0:04:33.876 I even had paint cans in the garden upside down 0:04:34.596 --> 0:04:37.436 so I could play them, and I didn't I don't 0:04:37.436 --> 0:04:40.756 know what the neighbors ever concerned about it, but it 0:04:40.796 --> 0:04:43.996 was noisy. But that's you know, that was my father's 0:04:44.036 --> 0:04:47.636 influence on me. There's an interesting history of great singers 0:04:47.636 --> 0:04:50.556 who come from a more rhythmic background, you know, drumming, 0:04:50.556 --> 0:04:53.676 like Steven Tyler, for example, was a drummer. And yeah, 0:04:53.716 --> 0:04:57.636 it's often the case. It's it definitely adds something. Yeah, 0:04:57.636 --> 0:05:00.996 It's it's something that's deep inside you and at some 0:05:01.196 --> 0:05:04.716 point somebody says something about that and you rise to it, 0:05:04.876 --> 0:05:09.156 you know. So the discovery of the falsetto and and 0:05:09.196 --> 0:05:11.876 the nonsense that came from all of that was so 0:05:11.956 --> 0:05:15.156 much rhythm involved, you know, and we had to kick 0:05:15.196 --> 0:05:16.596 it up. We were told to kick it up or 0:05:16.716 --> 0:05:19.916 we were gone, you know. So you know, I love 0:05:19.956 --> 0:05:23.116 them all. I love I love record companies that tell 0:05:23.116 --> 0:05:27.636 you they're gonna drop you. Wow, thank you. It's it's 0:05:27.676 --> 0:05:31.476 amazing that you've had the most roller coaster ride maybe 0:05:31.516 --> 0:05:33.876 of any artists I could think of, in terms of 0:05:34.396 --> 0:05:38.116 how high the highs were. It's it's really unusual. And 0:05:38.196 --> 0:05:42.156 I was thinking about it earlier. And the Bags are 0:05:42.756 --> 0:05:44.796 one of the most successful groups in the history of 0:05:44.836 --> 0:05:49.236 recorded music. Yeah, it's not arguable. It's you know, top three, 0:05:49.436 --> 0:05:51.996 top you know, right right up there. It might have 0:05:52.036 --> 0:05:54.596 been arguable in the past. But I think people, some 0:05:54.676 --> 0:05:58.196 of our people who've always followed us come back around 0:05:58.436 --> 0:06:01.036 and some of those songs really mean something now. And 0:06:01.076 --> 0:06:04.716 I don't understand that. But that's okay. But what's interesting 0:06:04.796 --> 0:06:06.756 about it is to be as successful as that and 0:06:06.836 --> 0:06:10.236 still be underrated. There is no explanation for it. You know. 0:06:10.396 --> 0:06:12.236 I think you can have maybe that you can have 0:06:12.276 --> 0:06:15.596 too much success. Maybe that's got something to do with it, 0:06:16.116 --> 0:06:19.556 and you can be overexposed and not know it. And 0:06:19.596 --> 0:06:22.396 I think that's happened to other artists apart from us, 0:06:22.916 --> 0:06:25.796 and we didn't really embrace that. You know. We were 0:06:25.876 --> 0:06:29.156 raising children and life changed, and yeah, we were a 0:06:29.196 --> 0:06:33.116 little pissed off, that's the right term. But you know, 0:06:33.236 --> 0:06:35.796 it didn't change us. It didn't change us from who 0:06:35.796 --> 0:06:38.236 we were. And really it wasn't me, it was the 0:06:38.476 --> 0:06:39.996 It was the three of us, and the three of 0:06:40.076 --> 0:06:43.196 us were determined and that's how it worked. And it's 0:06:43.276 --> 0:06:45.716 more than a pulp group. It's a family, you know. 0:06:45.836 --> 0:06:50.436 So pulp groups break up, families don't really break up, 0:06:50.956 --> 0:06:53.676 you know. Yes, that's another part of it that's interesting 0:06:53.836 --> 0:06:57.876 is that, yes, we've seen other artists reach tremendous highs 0:06:57.956 --> 0:07:00.916 and then have a backlash, but then they very rarely survive, 0:07:01.076 --> 0:07:03.116 and they very rarely come back to reach even the 0:07:03.196 --> 0:07:08.076 higher peaks. Almost none. That's it's really an unbelievable trajectory. 0:07:08.116 --> 0:07:11.596 And I'm just so happy that you did it. I 0:07:11.636 --> 0:07:14.316 don't I don't know what happened, you know. I think 0:07:14.356 --> 0:07:19.356 the connection with Dave Cobb and my love of Nashville 0:07:19.476 --> 0:07:22.476 music and bluegrass music, My god, I still love the 0:07:22.516 --> 0:07:25.156 Dixie Cheeks. I don't know what happens that I love 0:07:25.196 --> 0:07:28.036 them and I love the record you made with them, 0:07:28.276 --> 0:07:30.676 And I don't understand any of that crap, because that's 0:07:30.716 --> 0:07:34.796 freedom of speech, you know. Tell me about Besides roy 0:07:35.076 --> 0:07:39.436 were their other the earliest musical influences you can remember. 0:07:39.956 --> 0:07:42.196 The first thing that hit me hard was teenage queen 0:07:42.876 --> 0:07:47.996 Johnny Cash and his own legacy really affected me in 0:07:48.036 --> 0:07:50.316 a lot of different ways. He was like the voice 0:07:50.316 --> 0:07:54.716 of America, you know, and at that point and the 0:07:54.796 --> 0:07:58.236 real story, the real story about all of that is 0:07:58.276 --> 0:08:01.876 it's all stems from people like Frank Sinatra and Bing Crosby, 0:08:02.036 --> 0:08:04.956 and there was no rock and roll, there was no 0:08:04.996 --> 0:08:07.596 pop music. It was something that they led us all 0:08:07.636 --> 0:08:11.716 into in their time, you know. But once mister Robison, 0:08:11.916 --> 0:08:15.756 the big Oh, once he arrived, that was it changed 0:08:15.756 --> 0:08:19.596 me forever. It's interesting how how much of a royal 0:08:19.716 --> 0:08:22.276 country music played in your life when it didn't make 0:08:22.356 --> 0:08:24.076 some I mean, there were songs along the way that 0:08:24.116 --> 0:08:26.996 gave a clue, but it was never a feature in 0:08:27.036 --> 0:08:29.436 the beg oh. I know, I know, because someone else 0:08:29.516 --> 0:08:32.036 was always telling us what we should be recording. There 0:08:32.076 --> 0:08:34.396 was always somebody telling us what direction we should be 0:08:34.396 --> 0:08:38.436 going in, And I don't think we ever became independent 0:08:38.476 --> 0:08:41.676 in that in that respect. In life now you can be, 0:08:42.036 --> 0:08:44.476 but in those days you really couldn't. There was a 0:08:44.516 --> 0:08:47.996 stage where the guy from the record company would be 0:08:47.996 --> 0:08:50.396 sitting in the sound proof room making notes on what 0:08:50.436 --> 0:08:54.356 we were recording. And that was a pure aggravation. You know, 0:08:54.436 --> 0:08:58.036 you you just can't make it records like that. And 0:08:58.316 --> 0:09:00.836 I heard that, I've heard other people say that, you know, 0:09:00.956 --> 0:09:03.556 how can you be how can you be creatively independent 0:09:03.596 --> 0:09:06.196 if someone's telling you what's wrong and what's right about 0:09:06.236 --> 0:09:09.636 what you're doing. So that's part of it. With the 0:09:09.716 --> 0:09:13.956 Everly Brothers, ever in influence, Oh, come on, the Everly 0:09:14.036 --> 0:09:18.356 Brothers most powerful influence in our lives them and Royal Orbison. 0:09:18.756 --> 0:09:21.076 But I met Phil Eveley a few years back at 0:09:21.116 --> 0:09:25.156 BMI and I nearly fainted, you know. And the thing 0:09:25.316 --> 0:09:29.236 was he was standing with Dwayne Eddie and I went 0:09:29.276 --> 0:09:32.716 and grabbed Stephen and I said, Dwayne Eddie and Phil 0:09:32.756 --> 0:09:35.596 Eveley are in the other room standing to go. Come on, listen, 0:09:35.836 --> 0:09:37.516 let's go take a picture as fast as we can. 0:09:38.356 --> 0:09:40.156 So I have this picture of Phil Evily you're Duane 0:09:40.276 --> 0:09:45.396 Eddie in my study and an unforgettable moment. How great 0:09:45.476 --> 0:09:47.476 is it to be a music fan? Isn't it great? 0:09:47.556 --> 0:09:50.476 It's wonderful And you don't always have to be about yourself. 0:09:50.516 --> 0:09:52.596 You know, you can love a lot of other things, 0:09:52.716 --> 0:09:55.516 a lot of other artists, and it's okay. What would 0:09:55.556 --> 0:09:58.236 have been the first place that you guys heard three 0:09:58.276 --> 0:10:01.836 part harmony as opposed to Everley's two part harmony? Well, 0:10:01.876 --> 0:10:05.196 that the two part thing came from Robin really not 0:10:05.276 --> 0:10:07.916 wanting to sing socially. He would never sit in the 0:10:07.956 --> 0:10:10.916 lounge and sing with Morrison. It was just something that 0:10:11.796 --> 0:10:15.756 he just wasn't comfortable doing. But Morris and I, under 0:10:15.756 --> 0:10:19.956 those circumstances, became the elderly brothers and we would sing 0:10:19.996 --> 0:10:23.236 all of those songs, and my favorite is still let 0:10:23.316 --> 0:10:27.836 It Be Me and devoted to you, And you could 0:10:27.956 --> 0:10:30.556 not help it. If you couldn't be exactly like them, 0:10:30.636 --> 0:10:33.356 you could try. Do you remember the first influence of 0:10:33.396 --> 0:10:38.476 hearing three part harmony? Mills Brothers, Mills Mills brother Yeah, 0:10:38.636 --> 0:10:41.716 And it was our father, who is a real Mills 0:10:41.716 --> 0:10:43.996 Brothers fan, and he would bring these records home and 0:10:46.276 --> 0:10:49.316 we got to know songs like till then and up 0:10:49.316 --> 0:10:53.276 a lazy River and these amazing harmonies, and then they 0:10:53.316 --> 0:10:57.196 would impersonate instruments and do things like that, and the 0:10:57.276 --> 0:10:59.916 father was always on guitar at the back, and it 0:11:00.076 --> 0:11:04.676 was a family beautiful. The vocals were remarkable for that time. 0:11:05.236 --> 0:11:08.196 So I was in love. And eventually I met Donald 0:11:08.756 --> 0:11:12.036 Mill who was the who was the very soft vocalist, 0:11:12.756 --> 0:11:15.356 and Harry's brother was the rock and roller. You know. 0:11:16.596 --> 0:11:19.796 Tell me about Robert Stigwood. I never got to meet him. 0:11:20.396 --> 0:11:27.236 Well you better, Rath. Robert was a little bit um. 0:11:28.116 --> 0:11:30.356 He was a little bit of a dictator, you know. 0:11:30.476 --> 0:11:33.956 He was very very much believed in what he was saying. 0:11:33.956 --> 0:11:38.996 He's very aristocratic. I've seen Robert throw absolute tantrums just 0:11:39.036 --> 0:11:42.796 to get his own way. So oh yeah, he was. 0:11:42.916 --> 0:11:47.676 He was an angry man, but he was creatively on fire. 0:11:48.036 --> 0:11:50.356 And so I think that maybe was that one of 0:11:50.396 --> 0:11:53.996 the last great managers that we've ever seen anyway, and 0:11:54.036 --> 0:11:56.076 it did it did seem like he was really on 0:11:56.116 --> 0:11:58.836 your side and really for it for you. Well, I 0:11:58.876 --> 0:12:01.396 think Robert was on the side of great business, you know, 0:12:01.596 --> 0:12:04.076 and that's the deal. That's how it is, and you're 0:12:04.116 --> 0:12:06.756 better off just looking the other way and getting on 0:12:06.796 --> 0:12:09.916 with what you do. But he was a businessman down 0:12:09.916 --> 0:12:13.636 to the core, and we were lucky and fortunate to 0:12:13.676 --> 0:12:16.076 be signed to EMS because that was the Beatles Company, 0:12:16.076 --> 0:12:19.436 and so it all rubbed off on us in some way. 0:12:19.916 --> 0:12:22.676 But I remember the days when you could dress anyway. 0:12:22.716 --> 0:12:27.996 You felt like dressing flower power dictated everything. And my 0:12:28.116 --> 0:12:32.396 favorite memory is being in the elevator at nem's going 0:12:32.516 --> 0:12:36.396 up to Brian Epstein's offices with Eric Clapton, who was 0:12:36.476 --> 0:12:39.916 dressed as a cowboy and I was dressed as a priest. 0:12:40.276 --> 0:12:44.036 So you know, it's like I both looked at each 0:12:44.036 --> 0:12:46.836 other and maybe we both send something crazy about all 0:12:46.836 --> 0:12:51.956 of this, you know, fantastic. Was there something about growing 0:12:51.996 --> 0:12:56.036 up in Australia that you think had an effect profoundly? 0:12:56.556 --> 0:12:58.316 I don't know if you're aware of all these people, 0:12:58.316 --> 0:13:04.116 but Johnny O'Keeffe, Cold Joy and eventually Billy Thorpe dominated 0:13:04.396 --> 0:13:07.916 Australian radio and dominated Australian pop, and it was Cold 0:13:07.996 --> 0:13:10.676 Joy and his brother Kevin Jacobson that got us our 0:13:10.716 --> 0:13:14.516 first record contract. So the link is powerful, you know, 0:13:14.596 --> 0:13:17.676 and the influences were powerful, and I could I could 0:13:17.756 --> 0:13:20.836 name a dozen artists that influence does in Australia, but 0:13:20.996 --> 0:13:24.396 you can't. You're better up being influenced and not really 0:13:24.556 --> 0:13:27.276 dealing with all of it. But I love Carl and 0:13:27.996 --> 0:13:30.196 I love all I love his family. We actually stayed 0:13:30.236 --> 0:13:32.396 with his family and this was the biggest pop star 0:13:32.396 --> 0:13:35.556 in Australia. You know, it's their own world. It's their 0:13:35.596 --> 0:13:38.876 own world, and they don't take much notice of anything else. Yeah, 0:13:38.996 --> 0:13:40.796 if you wouldn't mind when we finish, if you could 0:13:40.796 --> 0:13:44.196 make a list of the songs from then, Yeah, because 0:13:44.196 --> 0:13:48.236 we could share a playlist of Australian music that most 0:13:48.276 --> 0:13:50.996 of the people listening have never heard anywhere. I love 0:13:51.116 --> 0:13:52.716 I love it when we get to hear new music, 0:13:52.756 --> 0:13:55.596 you know. Yeah, it will be a pleasure to do that. 0:13:55.756 --> 0:13:57.916 And I can already think of half a dozen songs 0:13:57.996 --> 0:14:01.796 that you might hear and go, oh wow, that's actually 0:14:01.796 --> 0:14:04.236 really good, but no one ever heard of it outside 0:14:04.236 --> 0:14:07.436 of Australia. Great. What were your first impressions when you 0:14:07.476 --> 0:14:10.436 went to London. We were just delighted to be able 0:14:10.436 --> 0:14:12.876 to get into the race. You know, we wanted to 0:14:12.916 --> 0:14:15.396 be We just wanted to be famous. You know, it 0:14:15.436 --> 0:14:17.796 sounds really silly, but that's what we wanted, you know, 0:14:18.276 --> 0:14:21.756 and whatever we needed to do creatively to become famous. 0:14:22.156 --> 0:14:25.796 We were ready, and that's not true. We were very naive, 0:14:26.116 --> 0:14:30.036 but at the same time we were ready to learn. 0:14:30.116 --> 0:14:32.316 We were ready to learn and grow, and so we 0:14:32.436 --> 0:14:36.796 arrived in London a thrill of our lifetime. Personally, I 0:14:36.836 --> 0:14:38.796 would have been just as happy to stay in Australia. 0:14:38.876 --> 0:14:42.476 I really were the most incredible country, and we were 0:14:42.476 --> 0:14:44.556 growing up there and I was still growing up there 0:14:44.556 --> 0:14:48.156 when we left, so I missed that. When you went 0:14:48.196 --> 0:14:52.076 back to Australia with the BGS, how was the welcome, Well, 0:14:52.076 --> 0:14:54.916 it was always great. I mean, you know, sometimes you 0:14:55.036 --> 0:14:57.676 sold out and sometimes you didn't. But that was early days, 0:14:57.676 --> 0:15:02.836 about ninety seventy one, seventy two, and eventually over time 0:15:03.956 --> 0:15:08.276 after Fever, we did the new Olympic Stadium and that 0:15:08.436 --> 0:15:10.636 was the thrill of a lifetime because this was where 0:15:10.676 --> 0:15:14.756 we came from in a way amazing beautiful. Yeah, great days. 0:15:15.516 --> 0:15:19.236 So there's a beautiful song about to love somebody that 0:15:19.316 --> 0:15:22.316 you wrote it for Otis Redding, Yes, sir, after he 0:15:22.396 --> 0:15:25.676 passed and you had the song, was there any question 0:15:25.756 --> 0:15:28.436 whether or not you should record it for yourself? Well, 0:15:28.436 --> 0:15:32.356 only because we lost Odish Redding, you know, and we 0:15:32.356 --> 0:15:34.916 wouldn't have touched it because it wasn't written for us, 0:15:34.916 --> 0:15:37.996 were written for Otis Redding. And the only reason we 0:15:37.996 --> 0:15:40.596 actually came around, oh let's just record it ourselves, you know. 0:15:41.276 --> 0:15:44.476 And I missed the fact that he would have blown 0:15:44.516 --> 0:15:46.956 it away, you know, and we all loved Odish Redding. 0:15:47.036 --> 0:15:51.156 So that's another that's another incredible influence. It's it's such 0:15:51.196 --> 0:15:55.036 an interesting thing because the song is such a quintessential 0:15:55.236 --> 0:15:58.316 Beiji song. The idea that you might not have sung 0:15:58.356 --> 0:16:02.276 it is a radical idea, right, But you can hear 0:16:02.356 --> 0:16:05.716 me trying to sound like Otish Redding. Yeah, you know, 0:16:05.836 --> 0:16:08.596 you can sort of hear that influence, you know, only 0:16:08.636 --> 0:16:11.956 after hearing the story. Though I've never heard it until 0:16:12.116 --> 0:16:17.596 hearing the story. Okay, I always heard that. And we 0:16:17.676 --> 0:16:21.716 love Dotis reading, and Robin particularly love Dotish Reading. And 0:16:21.836 --> 0:16:23.916 he had that kind of voice where he could deliver 0:16:23.956 --> 0:16:27.316 that kind of thing, you know, Robin was unique. The 0:16:27.396 --> 0:16:29.876 problem for rob was he didn't believe in it enough. 0:16:29.916 --> 0:16:32.436 He didn't believe in his own voice enough, and so 0:16:32.476 --> 0:16:35.556 over the years he tried to sound differently than he 0:16:36.076 --> 0:16:39.996 really should have sounded because if he'd been honest to him, 0:16:40.236 --> 0:16:43.116 if he'd been him, I think he would have seen 0:16:43.236 --> 0:16:46.116 a lot of mileage, a lot of mileage. But he didn't. 0:16:46.436 --> 0:16:48.996 He didn't believe in it enough. Wow, he's got one 0:16:49.036 --> 0:16:52.476 of the most beautiful voices in the history of recorded music. 0:16:52.476 --> 0:16:57.356 It's unbelievable. No argument from me. Would you mind if 0:16:57.396 --> 0:17:00.316 we listen to a song? I don't mind it at all. 0:17:00.796 --> 0:17:02.836 I'm gonna play you. I want to play one of 0:17:02.876 --> 0:17:05.396 my favorite of your songs. It's not a well known song, 0:17:05.476 --> 0:17:07.516 but it's one of my favorites. It's wanted to see 0:17:07.516 --> 0:17:08.716 what it brings up, and then you can tell me 0:17:08.756 --> 0:17:11.356 about it after. Could you please listen to lamp Light? 0:17:11.876 --> 0:17:55.316 Oh my goodness, Yeah, II they am she to bye, 0:17:58.116 --> 0:18:22.036 I close my hide and I die, said she, And 0:18:22.316 --> 0:18:50.996 she said she lies. Keevy Wild is my lies? Keevy 0:18:53.476 --> 0:19:14.756 like yoursis. I sat thelone with my ble li and 0:19:16.196 --> 0:19:57.036 saw your face in the crime Rise keep on bur wild, 0:19:59.596 --> 0:20:20.236 mind Rise keeper to. That's brilliant. It's incredible. I haven't 0:20:20.316 --> 0:20:25.316 heard that since nineteen sixty nine. Wow, isn't that amazing? 0:20:25.556 --> 0:20:30.116 It's epic majesty, It's monstrous, and it should have been 0:20:30.156 --> 0:20:33.556 a single. There's no question about it. It's just brilliant, 0:20:33.636 --> 0:20:38.236 and he was brilliant. And I think Robert was always 0:20:38.316 --> 0:20:42.196 choosing singles. We didn't choose singles. Roberts chose choosing singles, 0:20:42.236 --> 0:20:45.956 and that that was where it really became rivalry between us, 0:20:46.796 --> 0:20:48.756 because he wanted that to be a single, and you 0:20:48.796 --> 0:20:52.036 know what, he was dead right and Robert was dead wrong. 0:20:52.836 --> 0:20:55.116 And it's just the way it was. You couldn't you 0:20:55.116 --> 0:20:58.156 couldn't really make Robert put out something he didn't believe in. 0:20:58.876 --> 0:21:01.796 But that was just madness. It's interesting, I'll say from 0:21:01.836 --> 0:21:05.356 as a listener. Yeah, I don't always know who sings what, 0:21:05.476 --> 0:21:08.356 and I never questioned who does what. It's just like 0:21:08.396 --> 0:21:10.316 this is coming from the group and it's brilliant and 0:21:10.956 --> 0:21:13.356 I didn't know, but it's I wanted to ask about, 0:21:13.396 --> 0:21:16.756 just like the writing first of all, hearing the day 0:21:17.076 --> 0:21:19.436 for this conversation, I would have never made the connection 0:21:19.476 --> 0:21:23.476 to Roy Orbison, right. I do not claim any any 0:21:23.516 --> 0:21:26.636 credit for the song. Robin came in with it, and 0:21:26.916 --> 0:21:28.996 when Robert didn't choose it as a single, he was 0:21:29.196 --> 0:21:32.476 really angry. And I think that we just didn't have 0:21:32.516 --> 0:21:35.556 control over those things and so I think the single 0:21:35.636 --> 0:21:39.476 became first of May, and now that I hear it again, 0:21:39.956 --> 0:21:42.756 my god, there's no question that that should have been 0:21:42.796 --> 0:21:46.116 an aside. I really want to know, how does this 0:21:46.156 --> 0:21:49.236 song exist? Because it's just so beautiful. Well, it had 0:21:49.236 --> 0:21:51.116 a lot to do with them, the fact that the 0:21:51.156 --> 0:21:54.876 group had become really popular in Germany, and Robin loved 0:21:54.876 --> 0:21:58.716 that whole aspect of music, and that, you know, the 0:21:58.716 --> 0:22:03.316 the virile in type of song, the wartime types of songs. 0:22:03.956 --> 0:22:06.996 He loved all that. So as long as Robin was 0:22:07.036 --> 0:22:11.316 happy singing something, he blew it away. It was when 0:22:11.356 --> 0:22:14.676 he tried to adapt to other kinds of music that 0:22:14.876 --> 0:22:18.756 wasn't rub It wasn't wrong, but this was wrong. We'll 0:22:18.796 --> 0:22:20.916 be back with more from Barry Gibb and Rick Rubin. 0:22:21.276 --> 0:22:27.556 After a break, We're back with more from Barry Gibb 0:22:27.836 --> 0:22:31.236 and Rick Rubin. Should we listen to I can't see nobody? 0:22:31.276 --> 0:22:33.476 Would that be a good one to listen to? Oh? Sure, 0:22:45.836 --> 0:22:55.316 I'll walk below this streets. I'll watch the people I 0:22:55.556 --> 0:23:01.996 used to smile, follow the far off dust a popping 0:23:02.356 --> 0:23:17.636 up but still it bok. I'll just comple myself. I 0:23:17.876 --> 0:23:25.956 guessing all just time to pay I can't see by 0:23:26.276 --> 0:23:34.196 it now. I can't see now body. My eyes can't out. 0:23:34.196 --> 0:23:44.436 Only love got you you. I used to have the play. 0:23:45.516 --> 0:23:54.196 I used to thin opennything. I watch the ball, Holy boad, 0:23:55.196 --> 0:24:02.676 I listen to sleep PU see, don't ask me why 0:24:04.716 --> 0:24:11.956 I love you time I told I can see every 0:24:12.036 --> 0:24:17.836 breath that I'm doing. You are my months on my hand. 0:24:20.276 --> 0:24:26.396 I dan't see now body now, I can't see no 0:24:26.876 --> 0:24:38.916 body my eyes you you now. I can tell you 0:24:38.996 --> 0:24:42.596 now how that came about? Yes, that that was written 0:24:43.076 --> 0:24:47.396 in an Australian returned soldiers clubs in a room with strippers. 0:24:47.836 --> 0:24:51.356 That should tell you something. It's amazing and they were 0:24:51.356 --> 0:24:54.876 all changing and we're both just sitting there and that's 0:24:55.036 --> 0:24:58.356 a song I can't see nobody became an obvious title. 0:24:59.276 --> 0:25:01.916 It's amazing that it's it's got this tremendous R and 0:25:01.956 --> 0:25:05.556 B melody. It's got almost like a breakbeat drum pattern 0:25:06.076 --> 0:25:10.396 and strings. It doesn't really sound like anything else. It 0:25:10.476 --> 0:25:13.396 sounds like the Beg's But yeah, one, what I'm hearing 0:25:13.476 --> 0:25:16.236 now and that's a long time stuff heard that. What 0:25:16.316 --> 0:25:19.316 I'm hearing now is too much orchestra. But I would 0:25:19.316 --> 0:25:21.996 have loved no orchestra until at least the first chorus. So, 0:25:23.036 --> 0:25:25.676 like Roy Orbison, it needed to take its time and 0:25:25.796 --> 0:25:28.396 build and build, and so that that would be my 0:25:28.476 --> 0:25:32.476 only thing. But boy, what a voice, what a song, 0:25:32.716 --> 0:25:35.796 Just a beautiful song. And did you guys get involved 0:25:35.796 --> 0:25:40.156 in the orchestration. And I always did the strings with 0:25:40.396 --> 0:25:44.396 Bill Shepherd, who first worked with us in Australia, and 0:25:44.436 --> 0:25:46.676 when we came back, I did. I did things like 0:25:46.716 --> 0:25:49.916 Massachusetts with Bill. Wow. I did a lot of different 0:25:49.996 --> 0:25:54.156 orchestrations because Robin loved it, but he really didn't want 0:25:54.156 --> 0:25:57.836 to be bothered with that. I understood, So that's I 0:25:57.916 --> 0:26:00.636 did some of that stuff. But Bill, you know, he 0:26:00.756 --> 0:26:03.316 was You couldn't control what Bill was going to do 0:26:03.556 --> 0:26:05.396 until the day of the orchestra, day of the session. 0:26:05.516 --> 0:26:08.796 So what I hear now is we would have been 0:26:08.836 --> 0:26:11.516 real wise to have left the strings out until maybe 0:26:11.556 --> 0:26:13.876 the second version. Well I love it. I love it 0:26:13.916 --> 0:26:15.676 just the way it is. I tell you, it takes 0:26:15.756 --> 0:26:17.916 me away. I love it. You know I do too, 0:26:18.076 --> 0:26:22.196 It's just that I haven't heard it in what forty years? Yeah? Yeah, yeah, wow, 0:26:22.236 --> 0:26:24.676 there's oldish reading for you right there, you know. Yeah. 0:26:25.436 --> 0:26:29.556 His influences were strong beautiful. Do you remember any of 0:26:29.556 --> 0:26:32.036 the other R and B singers that might have influenced 0:26:32.116 --> 0:26:35.956 some of the singing Marvin Gay, No question, a lot 0:26:35.996 --> 0:26:38.716 of the other people that were making records in those days. 0:26:38.756 --> 0:26:42.036 Because once, once I met Armad Urchikin in New York, 0:26:42.076 --> 0:26:45.316 he took me along with Robert to the Apollo and 0:26:45.396 --> 0:26:47.476 I saw, for the first time in my life a 0:26:47.556 --> 0:26:52.196 full black show, and Tammy Terrell and Marvin Gay and 0:26:52.796 --> 0:26:55.916 Otis Redding blew my shocks off, you know so, and 0:26:55.996 --> 0:26:57.676 I was sitting right in the middle of the theater, 0:26:58.516 --> 0:27:01.276 so it couldn't have been more powerful to me than 0:27:01.316 --> 0:27:04.956 it was. And I know that Robin Robin would have 0:27:04.996 --> 0:27:07.156 loved it. Do you think Ahmed brought you with the 0:27:07.236 --> 0:27:11.276 idea of potent soul for writing in that style, or 0:27:11.276 --> 0:27:12.876 do you just bring you because he thought you'd enjoyed 0:27:12.876 --> 0:27:15.956 the show. He did come to Miami when we were 0:27:15.956 --> 0:27:20.916 recording Nights on Broadway and we our title was Lights 0:27:20.956 --> 0:27:24.796 on Broadway, and he said, no, you can't call it 0:27:24.876 --> 0:27:27.076