1 00:00:00,520 --> 00:00:03,800 Speaker 1: This is Alec Baldwin and you're listening to Here's the 2 00:00:03,840 --> 00:00:08,119 Speaker 1: Thing from My Heart Radio. It's summer, and that means 3 00:00:08,119 --> 00:00:11,119 Speaker 1: it's time for our tradition at Here's the Thing, where 4 00:00:11,119 --> 00:00:15,200 Speaker 1: the staff share their favorite episodes from our archives in 5 00:00:15,280 --> 00:00:20,440 Speaker 1: our Summer Staff Picks series. Next up is producer Zach McNeice. 6 00:00:21,400 --> 00:00:24,800 Speaker 2: Thanks Alec. There are a few musical acts in history 7 00:00:25,000 --> 00:00:28,800 Speaker 2: less polarizing than the Bee Gees. I can't recall anyone 8 00:00:28,960 --> 00:00:31,320 Speaker 2: at any time in my life saying they weren't a fan. 9 00:00:32,280 --> 00:00:34,960 Speaker 2: It's impossible not to sing along with mega hits like 10 00:00:35,040 --> 00:00:38,040 Speaker 2: Staying Alive, How Deep is Your Love? More than a Woman, 11 00:00:38,240 --> 00:00:41,800 Speaker 2: Night Fever. The list goes on and on. I was 12 00:00:41,840 --> 00:00:44,520 Speaker 2: excited to have Barry Gibbon with Alec and the conversation 13 00:00:44,720 --> 00:00:48,320 Speaker 2: was wide ranging and full of surprises. Here's Alec with 14 00:00:48,400 --> 00:00:59,960 Speaker 2: Barry Gibb from twenty twenty one. 15 00:01:01,800 --> 00:01:08,920 Speaker 1: As a man. The recently released HBO documentary How Can 16 00:01:08,920 --> 00:01:12,680 Speaker 1: You Mend a Broken Heart mentions the term blood harmony 17 00:01:12,880 --> 00:01:17,760 Speaker 1: or bio harmony, that unique blend when siblings sing together. 18 00:01:18,319 --> 00:01:22,080 Speaker 1: Think The Beach Boys, The Jackson Five, The Everly Brothers, 19 00:01:22,319 --> 00:01:24,120 Speaker 1: and The Beg's. 20 00:01:26,319 --> 00:01:31,559 Speaker 3: Flag. 21 00:01:33,319 --> 00:01:34,480 Speaker 4: So Love somebod. 22 00:01:35,480 --> 00:01:40,280 Speaker 1: My guest today is Barry Gibb with his younger twin brothers, 23 00:01:40,400 --> 00:01:44,600 Speaker 1: Robin and Morris. The Begs conquered the world with their 24 00:01:44,680 --> 00:01:50,480 Speaker 1: ethereal harmonies. Today Barry misses his brothers. Morris died in 25 00:01:50,520 --> 00:01:54,400 Speaker 1: two thousand and three, Robin in twenty twelve. I wanted 26 00:01:54,400 --> 00:01:57,200 Speaker 1: to know if he'd ever considered what kind of solo 27 00:01:57,320 --> 00:01:58,760 Speaker 1: career he might have had. 28 00:01:59,560 --> 00:02:02,120 Speaker 4: Well, I don't know. I know what I wanted. I 29 00:02:02,120 --> 00:02:04,120 Speaker 4: wanted to be a pop star or a rock star 30 00:02:04,240 --> 00:02:06,160 Speaker 4: or whatever it is that goes through our heads at 31 00:02:06,200 --> 00:02:08,840 Speaker 4: that point. At some point in your life, you wanted 32 00:02:08,840 --> 00:02:11,440 Speaker 4: to be an actor, you know. All I know is 33 00:02:11,480 --> 00:02:14,480 Speaker 4: that the moment that my brothers began to do individual 34 00:02:14,560 --> 00:02:17,200 Speaker 4: things and I didn't know about them. Then I thought, well, 35 00:02:17,200 --> 00:02:20,200 Speaker 4: it's okay. I can do individual things too, but I 36 00:02:20,720 --> 00:02:24,640 Speaker 4: never did that before they did. And once that began, 37 00:02:24,760 --> 00:02:27,280 Speaker 4: I thought, oh, oh wow, they've gone and done this 38 00:02:27,320 --> 00:02:29,520 Speaker 4: on their own. Morris has done this, or Rob has 39 00:02:29,560 --> 00:02:33,120 Speaker 4: done this. It's pretty good, you know. Wow. I didn't 40 00:02:33,160 --> 00:02:35,840 Speaker 4: know that they did that without even a question, so 41 00:02:36,760 --> 00:02:39,680 Speaker 4: I figured, well it was okay, And once Barbara Streisan 42 00:02:39,760 --> 00:02:43,240 Speaker 4: came along, I just grabbed the bar. You know, I thought, 43 00:02:43,240 --> 00:02:46,799 Speaker 4: this is a wonderful opportunity and I love her and 44 00:02:47,160 --> 00:02:49,799 Speaker 4: the idea of working with her. I learned so much 45 00:02:49,840 --> 00:02:53,200 Speaker 4: from that. And I think you learn things from just 46 00:02:53,240 --> 00:02:55,720 Speaker 4: about everyone you work with. You just pick up something 47 00:02:55,840 --> 00:02:56,960 Speaker 4: that you didn't know before. 48 00:02:57,600 --> 00:03:00,000 Speaker 1: Who brought you in streisand together? Was it a produce? 49 00:03:00,360 --> 00:03:03,280 Speaker 4: And no, it was Barbara calling me up about eighty 50 00:03:03,320 --> 00:03:06,000 Speaker 4: one eighty two. And she just called up and said, 51 00:03:06,200 --> 00:03:09,640 Speaker 4: will you make an album with me? And so after 52 00:03:09,680 --> 00:03:13,040 Speaker 4: I got up off off the ground, I told my 53 00:03:13,120 --> 00:03:15,320 Speaker 4: wife and I told everybody in my family that I 54 00:03:15,440 --> 00:03:18,800 Speaker 4: just had this call from Barbra Streisen, and of course 55 00:03:18,800 --> 00:03:20,960 Speaker 4: everyone's going, you got to do it, you got to 56 00:03:21,000 --> 00:03:24,400 Speaker 4: do it. And I was terrified. So I came to 57 00:03:24,440 --> 00:03:29,440 Speaker 4: the conclusion that if I call Neil Diamond you don't 58 00:03:29,440 --> 00:03:32,200 Speaker 4: bring me flowers, that he might give me some advice. 59 00:03:32,720 --> 00:03:36,600 Speaker 4: So I called Neil Diamond and I said, what is 60 00:03:36,600 --> 00:03:36,960 Speaker 4: she like? 61 00:03:37,040 --> 00:03:37,440 Speaker 1: What is it? 62 00:03:37,800 --> 00:03:40,960 Speaker 4: What's the experience like working with her? He just said, 63 00:03:40,960 --> 00:03:43,800 Speaker 4: don't worry about it, just go do it. You know, 64 00:03:44,400 --> 00:03:47,440 Speaker 4: everything falls into place if the stars aligned. Don't worry. 65 00:03:48,200 --> 00:03:51,840 Speaker 4: He said, She's terrific and she's changeable. But that's fine. 66 00:03:52,160 --> 00:03:55,440 Speaker 1: Just go with her. You know when you recorded with her, 67 00:03:55,800 --> 00:03:57,920 Speaker 1: were you in the same studio for some portion or 68 00:03:58,000 --> 00:03:59,560 Speaker 1: all of it or not all of it? 69 00:04:00,080 --> 00:04:03,000 Speaker 4: Cut all the tracks in Miami at Criteria, which is 70 00:04:03,000 --> 00:04:06,240 Speaker 4: now the Hit Factory. The interesting thing about Barbara was 71 00:04:06,280 --> 00:04:10,120 Speaker 4: that if she sang something, she considered it to be sung. 72 00:04:10,760 --> 00:04:13,240 Speaker 4: She didn't think she had to sing it again. And 73 00:04:13,280 --> 00:04:15,080 Speaker 4: that's old school, you know. It's like that's how she 74 00:04:15,160 --> 00:04:18,520 Speaker 4: grew up. And I would say, you know, especially on Guilty, 75 00:04:19,120 --> 00:04:20,960 Speaker 4: first song she sang, I said, can you give us 76 00:04:20,960 --> 00:04:23,400 Speaker 4: about four or five tracks? She says, well, I just 77 00:04:23,440 --> 00:04:26,920 Speaker 4: sang it. No, No, can you give us choices? Can 78 00:04:26,960 --> 00:04:28,400 Speaker 4: you give us four or five tracks so that we 79 00:04:28,400 --> 00:04:31,800 Speaker 4: can pick and choose which are the best moments? But 80 00:04:31,880 --> 00:04:32,640 Speaker 4: I just sang it. 81 00:04:37,640 --> 00:04:39,520 Speaker 1: Boy, I'm going to try that when I go to work. 82 00:04:40,000 --> 00:04:42,240 Speaker 1: That's it. I'm like, Bob Hope, I'm like, that's one take, 83 00:04:42,279 --> 00:04:45,080 Speaker 1: fellas Bobby God, I hope. 84 00:04:45,000 --> 00:04:47,159 Speaker 4: So hit the spot say the words get out. 85 00:04:47,880 --> 00:04:50,839 Speaker 1: Yeah, you talk about, you know, wanting multiple tracks to 86 00:04:50,920 --> 00:04:54,240 Speaker 1: choose from when you were recording with your brothers. Was 87 00:04:54,279 --> 00:04:57,360 Speaker 1: that a rule you had where you had unanimity about 88 00:04:57,400 --> 00:04:59,680 Speaker 1: what the take was and what worked or was there 89 00:04:59,680 --> 00:05:02,320 Speaker 1: a there was there a producer there that you will, 90 00:05:02,480 --> 00:05:03,920 Speaker 1: entrusted the decision. 91 00:05:03,520 --> 00:05:09,000 Speaker 4: To myself but really also adhering to my brother's opinions. 92 00:05:09,320 --> 00:05:11,560 Speaker 4: We never did anything where it was two out of three. 93 00:05:12,279 --> 00:05:14,400 Speaker 4: It wasn't a democracy. You know. We had to be 94 00:05:15,040 --> 00:05:18,680 Speaker 4: in total agreement about everything we were doing. So if 95 00:05:18,720 --> 00:05:22,520 Speaker 4: we love something, we were all one, you know, and okay, 96 00:05:22,520 --> 00:05:25,080 Speaker 4: what do we do next? What's the next step? Yeah, 97 00:05:25,080 --> 00:05:27,080 Speaker 4: we need a lead guitar on this, We need something here, 98 00:05:27,120 --> 00:05:29,240 Speaker 4: we need something there. But we were always in agreement, 99 00:05:30,279 --> 00:05:33,719 Speaker 4: and real life is very different, so you know, we 100 00:05:33,760 --> 00:05:36,680 Speaker 4: didn't live together, but we did have the van. We 101 00:05:36,720 --> 00:05:38,839 Speaker 4: did have the minivan with the Beg's on the side. 102 00:05:41,000 --> 00:05:45,560 Speaker 1: People talk about the documentary has introduced, at least as 103 00:05:45,600 --> 00:05:48,279 Speaker 1: far as I'm concerned, it might have existed somewhere else, 104 00:05:48,720 --> 00:05:52,239 Speaker 1: the term bioharmony. And when I first heard that phrase, 105 00:05:52,279 --> 00:05:54,320 Speaker 1: I was like, my god, I never thought about that, 106 00:05:54,320 --> 00:05:58,320 Speaker 1: that they sing differently and they interact differently because they're 107 00:05:58,360 --> 00:06:01,080 Speaker 1: actually related. I believe that that's true. 108 00:06:02,080 --> 00:06:04,240 Speaker 4: That I've never heard that, But yeah, I agree with 109 00:06:04,279 --> 00:06:07,239 Speaker 4: all of that, and there are many different side stories 110 00:06:07,279 --> 00:06:09,480 Speaker 4: to all of that. I mean, the Beetles sound my brothers. 111 00:06:10,440 --> 00:06:13,080 Speaker 4: So there's a lot about where you come from. The 112 00:06:13,120 --> 00:06:15,720 Speaker 4: Beetles come from Liverpool. They all have the same accent, 113 00:06:16,200 --> 00:06:20,000 Speaker 4: the same tone, if you like, and so blending together 114 00:06:20,200 --> 00:06:23,520 Speaker 4: was something special for them. You didn't really have to 115 00:06:23,520 --> 00:06:25,680 Speaker 4: be brothers. And I was talking to a little big 116 00:06:25,720 --> 00:06:29,760 Speaker 4: town yesterday and they are incredible and they all come 117 00:06:29,760 --> 00:06:32,360 Speaker 4: from the same basic area of the country. So it 118 00:06:32,400 --> 00:06:35,600 Speaker 4: wasn't that they were blood. It was that they all 119 00:06:35,640 --> 00:06:38,520 Speaker 4: had the same dialect, the same kind of tonality. You know. 120 00:06:39,040 --> 00:06:43,880 Speaker 1: That's Nashville when you're working with people that are your family. Yeah, 121 00:06:44,320 --> 00:06:45,000 Speaker 1: and God. 122 00:06:44,839 --> 00:06:47,200 Speaker 4: Knows, yes, you have brothers. 123 00:06:47,640 --> 00:06:51,920 Speaker 1: I have brothers in that way that you want everyone 124 00:06:52,080 --> 00:06:54,320 Speaker 1: to do well, you know, I want my brothers to 125 00:06:54,360 --> 00:06:57,000 Speaker 1: do well and succeed and have what they want. And 126 00:06:57,040 --> 00:07:01,480 Speaker 1: you realize that the business is fragile, you know, even 127 00:07:01,480 --> 00:07:04,360 Speaker 1: when you're successful, when you're with your brothers and you're 128 00:07:04,400 --> 00:07:07,400 Speaker 1: recording with your brothers, and they've been gone for a 129 00:07:07,400 --> 00:07:08,159 Speaker 1: while now. 130 00:07:08,080 --> 00:07:10,520 Speaker 4: Yeah, about eight years since Robin left. 131 00:07:10,760 --> 00:07:13,200 Speaker 1: So it's eight years now where both of them are gone. 132 00:07:13,480 --> 00:07:18,760 Speaker 1: And when Morris passed away, was it understood between you 133 00:07:18,920 --> 00:07:22,480 Speaker 1: and Rob that you wouldn't continue just the two of you. 134 00:07:22,520 --> 00:07:26,120 Speaker 4: No, Robin wanted us to wanted to continue, and I didn't. 135 00:07:26,840 --> 00:07:28,520 Speaker 4: I didn't think it was the right thing to do. 136 00:07:29,320 --> 00:07:32,120 Speaker 4: I thought we should suspend the group as it stood, 137 00:07:32,640 --> 00:07:35,200 Speaker 4: and if we were going to work any more together, 138 00:07:35,720 --> 00:07:38,680 Speaker 4: we would do it as the two brothers, you know, 139 00:07:39,000 --> 00:07:41,960 Speaker 4: we wouldn't do it as the Begs. So. But but 140 00:07:42,080 --> 00:07:44,560 Speaker 4: Robin didn't agree with me. He wanted to continue being 141 00:07:44,600 --> 00:07:49,440 Speaker 4: the Beg's. But then lo and behold. What I didn't 142 00:07:49,480 --> 00:07:53,760 Speaker 4: know is that Robin was getting ill, and as time 143 00:07:53,800 --> 00:07:56,840 Speaker 4: went on he became more immorial. But he didn't tell anybody, 144 00:07:57,680 --> 00:08:00,160 Speaker 4: and so you could you could see that some thing 145 00:08:00,280 --> 00:08:03,880 Speaker 4: was wrong, but you didn't know what it was. And 146 00:08:04,720 --> 00:08:07,960 Speaker 4: it wasn't like he was capable of really doing anything, 147 00:08:08,000 --> 00:08:11,480 Speaker 4: because in my opinion, he wasn't, you know, he was. 148 00:08:11,640 --> 00:08:13,480 Speaker 4: He was going very frail, very quickly. 149 00:08:14,080 --> 00:08:17,040 Speaker 1: Did you guys when you went your separate ways, was 150 00:08:17,080 --> 00:08:20,360 Speaker 1: there always a sense of like the Eagles and like 151 00:08:20,440 --> 00:08:25,360 Speaker 1: Fleetwood Mac and like CSNY where they profess to have 152 00:08:25,400 --> 00:08:28,200 Speaker 1: some tension between them, yet they always got back together 153 00:08:28,240 --> 00:08:32,839 Speaker 1: because that band together whole was the cash cow for them. 154 00:08:33,040 --> 00:08:35,680 Speaker 1: It was never going to be as successful as that did. 155 00:08:35,679 --> 00:08:38,640 Speaker 1: The begs go through the same thing where where each 156 00:08:38,720 --> 00:08:40,720 Speaker 1: of you had your respective and you had a very 157 00:08:40,720 --> 00:08:42,000 Speaker 1: successful solo career. 158 00:08:42,120 --> 00:08:44,720 Speaker 4: Well, the background to all of that, what you just 159 00:08:44,760 --> 00:08:48,440 Speaker 4: said is really important. The cash cow was not the 160 00:08:48,440 --> 00:08:52,199 Speaker 4: center of attention because because for us it was always 161 00:08:52,320 --> 00:08:56,480 Speaker 4: tough to get paid. Always that's shock and roll, you know. 162 00:08:57,120 --> 00:09:00,640 Speaker 4: And we didn't really make any real money until Saturday 163 00:09:00,720 --> 00:09:05,559 Speaker 4: Night Fever. So success equals money that wasn't happening for us, 164 00:09:06,360 --> 00:09:09,280 Speaker 4: so we didn't worry about it. What we worried about 165 00:09:09,520 --> 00:09:12,600 Speaker 4: was getting more hits, making more records, writing more songs, 166 00:09:12,679 --> 00:09:16,520 Speaker 4: you know, that was what preoccupied us. Crosby, Stills, Nash 167 00:09:16,520 --> 00:09:19,240 Speaker 4: and Young When we were doing Children of the World, 168 00:09:19,320 --> 00:09:22,560 Speaker 4: they would sitting along the wall, four of them, watching 169 00:09:22,640 --> 00:09:25,680 Speaker 4: us do the vocals, and they were in the next studio. 170 00:09:25,800 --> 00:09:27,880 Speaker 4: So the greatest thing about all of those days is 171 00:09:27,880 --> 00:09:32,280 Speaker 4: that the Eagles Leonard Skinner were always in the next 172 00:09:32,360 --> 00:09:35,120 Speaker 4: room or two rooms away. And in those days you 173 00:09:35,120 --> 00:09:38,040 Speaker 4: could visit each other. There was no you know, you 174 00:09:38,120 --> 00:09:40,280 Speaker 4: can't come in here, there was none of that, you know, 175 00:09:41,320 --> 00:09:44,120 Speaker 4: and we enjoyed that I could go in and listen 176 00:09:44,120 --> 00:09:48,160 Speaker 4: to them. I played with them all night without coming 177 00:09:48,280 --> 00:09:51,040 Speaker 4: up with anything creative. We were just having a blast. 178 00:09:51,559 --> 00:09:51,839 Speaker 4: You know. 179 00:09:52,720 --> 00:09:55,720 Speaker 1: Was there a sense from you or all three of 180 00:09:55,760 --> 00:09:59,680 Speaker 1: you that you had something special and that was the 181 00:09:59,760 --> 00:10:00,920 Speaker 1: hand and you wanted to play. 182 00:10:01,120 --> 00:10:03,000 Speaker 4: Well it was a brand name. Well, you know, then 183 00:10:03,000 --> 00:10:05,880 Speaker 4: you're dealing with the brand name which wasn't even called 184 00:10:05,880 --> 00:10:07,680 Speaker 4: that when we were a group. You know, there was 185 00:10:07,679 --> 00:10:08,600 Speaker 4: no such thing as. 186 00:10:08,440 --> 00:10:10,000 Speaker 1: A brand name, you know, as branding. 187 00:10:10,080 --> 00:10:12,199 Speaker 4: Yeah. Yeah, So I've had people come up to me 188 00:10:12,720 --> 00:10:15,920 Speaker 4: at Clive Davis's dinner a couple of years back. I 189 00:10:15,960 --> 00:10:18,280 Speaker 4: worked for Forbes magazine. I'd like to talk to you 190 00:10:18,360 --> 00:10:23,920 Speaker 4: about branding. I don't know anything about branding, you know. 191 00:10:24,000 --> 00:10:24,800 Speaker 1: He got me there. 192 00:10:24,840 --> 00:10:28,760 Speaker 4: We just became a group, so it wasn't really this 193 00:10:28,800 --> 00:10:30,840 Speaker 4: is the cash cow, this is what we got to do. 194 00:10:30,920 --> 00:10:32,680 Speaker 4: I think it was that way for a lot of people. 195 00:10:33,240 --> 00:10:39,400 Speaker 4: But I remember the time when Rso the company took 196 00:10:39,400 --> 00:10:43,440 Speaker 4: away our song copyrights without telling us, and so suddenly 197 00:10:43,920 --> 00:10:45,199 Speaker 4: they owned all of our songs. 198 00:10:45,720 --> 00:10:46,920 Speaker 1: How were they able to do that? 199 00:10:47,400 --> 00:10:50,560 Speaker 4: By forming a company in Holland and playing all kinds 200 00:10:50,559 --> 00:10:53,080 Speaker 4: of tax games, they managed to acquire all of our 201 00:10:53,120 --> 00:10:56,920 Speaker 4: copyrights without us knowing, And that caused really like World 202 00:10:56,920 --> 00:10:59,480 Speaker 4: War three. I mean, so you look at the period 203 00:10:59,559 --> 00:11:02,679 Speaker 4: when the b were in trouble, look behind the scenes, 204 00:11:03,240 --> 00:11:06,160 Speaker 4: you know there was something else going on that was intense. 205 00:11:06,800 --> 00:11:08,240 Speaker 1: Were you able to get the rights back? 206 00:11:08,360 --> 00:11:10,840 Speaker 4: Got them all back, But that took a lot of 207 00:11:10,960 --> 00:11:12,679 Speaker 4: energy out of me. It took me about a year 208 00:11:12,720 --> 00:11:17,119 Speaker 4: or two to finally get things back in our own ownership. 209 00:11:17,840 --> 00:11:20,400 Speaker 4: I told Robert Stigwood that I would never write another 210 00:11:20,440 --> 00:11:24,520 Speaker 4: song if he didn't give back the songs. And Morris 211 00:11:24,600 --> 00:11:27,719 Speaker 4: and rob they didn't really want to fight. They were 212 00:11:27,720 --> 00:11:29,920 Speaker 4: still too naive. They just sort of, you know, it's 213 00:11:30,160 --> 00:11:32,520 Speaker 4: having success, let's not argue with it. 214 00:11:32,679 --> 00:11:35,120 Speaker 1: But did that fall on you to be the more 215 00:11:35,280 --> 00:11:38,240 Speaker 1: the business mind in the trio would do? The other 216 00:11:38,240 --> 00:11:40,480 Speaker 1: two were more pure artists, and they were like, hey man, 217 00:11:40,480 --> 00:11:41,800 Speaker 1: I really don't have the stomach for that. 218 00:11:42,720 --> 00:11:46,000 Speaker 4: Well. I couldn't stomach the idea that someone could take 219 00:11:46,040 --> 00:11:49,120 Speaker 4: away your songs. I just couldn't live with that. So 220 00:11:49,960 --> 00:11:52,640 Speaker 4: if they were okay with that, it wasn't really a 221 00:11:52,679 --> 00:11:54,760 Speaker 4: matter of that's how they felt. It was more a 222 00:11:54,800 --> 00:11:58,959 Speaker 4: matter that Robert Stigwood and Rso played divide and conquer, 223 00:11:59,640 --> 00:12:02,640 Speaker 4: you know, so they would nurture and be nicer Robin 224 00:12:02,679 --> 00:12:04,800 Speaker 4: and Morris, and Robin and Morris wouldn't worry about it, 225 00:12:05,080 --> 00:12:08,320 Speaker 4: you know. So it's all about that. It's people whispering 226 00:12:08,360 --> 00:12:11,480 Speaker 4: in your ears. It's the same with every group. You know, 227 00:12:11,760 --> 00:12:13,600 Speaker 4: there's always going to be someone in the industry that 228 00:12:13,720 --> 00:12:16,440 Speaker 4: thinks they can make something out of you if you 229 00:12:16,480 --> 00:12:19,600 Speaker 4: don't have your brothers. And that was said to Robin, 230 00:12:19,880 --> 00:12:21,640 Speaker 4: was said to Morris, and was said to. 231 00:12:21,600 --> 00:12:25,439 Speaker 1: Me, I want to do a movie about your career. 232 00:12:25,800 --> 00:12:28,080 Speaker 1: I'm going to do a narrative film, and I want 233 00:12:28,080 --> 00:12:30,440 Speaker 1: to play the record executive who gets each of you 234 00:12:30,559 --> 00:12:33,920 Speaker 1: alone in the same thing. It says, you know, Marris, 235 00:12:33,960 --> 00:12:36,920 Speaker 1: if you just unloaded these two losers, you have no idea. 236 00:12:37,080 --> 00:12:39,240 Speaker 1: That's right, the heights we could hit and listen to Rob, 237 00:12:39,720 --> 00:12:42,160 Speaker 1: these guys are just dead weight around your I mean 238 00:12:42,200 --> 00:12:46,160 Speaker 1: your brother. I mean, we've seen every color they have, Barry, 239 00:12:46,360 --> 00:12:48,560 Speaker 1: I mean, come on, these guys are just dragging you down. 240 00:12:48,640 --> 00:12:48,840 Speaker 4: Man. 241 00:12:48,920 --> 00:12:51,559 Speaker 1: You know all that stuff divide and conquer. 242 00:12:51,320 --> 00:12:55,000 Speaker 4: But industrial Yeah, not the families, not the wives, but 243 00:12:55,120 --> 00:12:59,720 Speaker 4: the people who sought to gain from something, or in fact, 244 00:12:59,760 --> 00:13:02,640 Speaker 4: just through Robert Stigwood, you know. So it was. It 245 00:13:02,720 --> 00:13:06,040 Speaker 4: was a huge industrial game. Armored Urtekin and who was 246 00:13:06,080 --> 00:13:10,120 Speaker 4: the head of Atlantic Records, and Robert began to fall 247 00:13:10,200 --> 00:13:14,640 Speaker 4: out because jive talking in the movie Saturday Night Fever. 248 00:13:15,760 --> 00:13:18,320 Speaker 4: Robert only used the live version of jive talking so 249 00:13:18,360 --> 00:13:21,480 Speaker 4: you wouldn't have to pay the extra, you know, and 250 00:13:21,600 --> 00:13:25,959 Speaker 4: Areef Mardin and Armored went berserk because they didn't have 251 00:13:26,320 --> 00:13:29,439 Speaker 4: a record in Saturday Night Fever. They didn't know it's 252 00:13:29,480 --> 00:13:31,600 Speaker 4: going to be successful. In fact, most of the time, 253 00:13:31,640 --> 00:13:34,760 Speaker 4: I think they doubted us anyway. So when that happened, 254 00:13:34,760 --> 00:13:37,400 Speaker 4: they were unhappy. They were really unhappy, and so I 255 00:13:37,400 --> 00:13:39,400 Speaker 4: think that was the cause of a lot of a 256 00:13:39,440 --> 00:13:41,720 Speaker 4: lot of crisis points for us as well as Robert. 257 00:13:48,600 --> 00:13:51,880 Speaker 1: I'm Alec Baldwin. You were listening to Here's the Thing. 258 00:13:52,760 --> 00:13:57,040 Speaker 1: If you love conversations with legendary singers, be sure to 259 00:13:57,120 --> 00:14:01,240 Speaker 1: check out my episode with the incomparable barbous diceand we 260 00:14:01,320 --> 00:14:04,840 Speaker 1: shared lunch and talked about our love for food and 261 00:14:04,920 --> 00:14:07,199 Speaker 1: Barbara's early dreams of fame. 262 00:14:08,000 --> 00:14:13,679 Speaker 5: I read Nancy Drew Mysteries, I read movie magazines, you know, 263 00:14:13,760 --> 00:14:17,880 Speaker 5: and dream that someday maybe I could be famous. 264 00:14:18,000 --> 00:14:19,400 Speaker 1: Did you have that dream then? 265 00:14:19,440 --> 00:14:22,120 Speaker 5: When you were here, I would have my pint of 266 00:14:22,200 --> 00:14:25,520 Speaker 5: coffee ice cream Briers and sit in my bed and 267 00:14:25,680 --> 00:14:29,280 Speaker 5: dream go to the movies sometimes on a Saturday afternoon. 268 00:14:29,320 --> 00:14:33,240 Speaker 5: The Lowis Kings with had the greatest ice cream, and 269 00:14:33,280 --> 00:14:34,080 Speaker 5: we also. 270 00:14:35,600 --> 00:14:40,640 Speaker 1: Well, yeah, here the rest of my conversation with Barbara 271 00:14:40,720 --> 00:14:45,560 Speaker 1: streisand at Here'sthething dot org. After the break we talk 272 00:14:45,640 --> 00:14:49,800 Speaker 1: about disco and how the Beg's soundtrack to Saturday Night 273 00:14:49,840 --> 00:14:54,400 Speaker 1: Fever in nineteen seventy seven brought them near total domination 274 00:14:54,560 --> 00:15:12,360 Speaker 1: of the music charts and the dance floor. I'm Alec 275 00:15:12,400 --> 00:15:23,800 Speaker 1: Baldwin and you're listening to Here's the Thing. The bee 276 00:15:23,880 --> 00:15:29,040 Speaker 1: Gees distinguished themselves vocally with their lush harmonies. Robin had 277 00:15:29,040 --> 00:15:33,120 Speaker 1: his distinctive vibrato, Morris anchored the melody, and then, like 278 00:15:33,160 --> 00:15:44,200 Speaker 1: an ace pitcher discovering a slider, Barry found his falsetto. 279 00:15:45,160 --> 00:15:47,880 Speaker 4: Well. It first happened on a song call Please read 280 00:15:47,960 --> 00:15:52,440 Speaker 4: me that I did a few different falsetto harmonies to 281 00:15:52,480 --> 00:15:55,640 Speaker 4: that song, basically because of the Beach Boys and Brian 282 00:15:55,680 --> 00:15:59,760 Speaker 4: Wilson and I forgot all about that. So we were 283 00:16:00,360 --> 00:16:03,920 Speaker 4: nights on Broadway and a reef Mardenar, producer at that point, 284 00:16:04,640 --> 00:16:08,720 Speaker 4: said can anybody scream like Paul McCartney. We all looked 285 00:16:08,720 --> 00:16:10,400 Speaker 4: at each other and said, well, how do you mean? 286 00:16:10,440 --> 00:16:12,360 Speaker 4: He said, well, you know, like I saw her standing 287 00:16:12,400 --> 00:16:17,400 Speaker 4: there and how Paul suddenly screams a high note? Can 288 00:16:17,440 --> 00:16:20,840 Speaker 4: anyone Can any of you guys do that? And I said, well, yeah, 289 00:16:20,880 --> 00:16:23,280 Speaker 4: I done something like that way back, I said, but 290 00:16:24,240 --> 00:16:27,240 Speaker 4: I became the volunteer. Nobody else really wanted to take 291 00:16:27,280 --> 00:16:29,160 Speaker 4: a shot at that, so I went out there and 292 00:16:30,160 --> 00:16:33,440 Speaker 4: just discovered it. At first, it was tentative and nervous 293 00:16:33,480 --> 00:16:36,400 Speaker 4: and and I didn't know what it was. And then 294 00:16:36,440 --> 00:16:38,680 Speaker 4: it just began to get stronger and stronger. 295 00:16:39,200 --> 00:16:43,880 Speaker 1: With you and your brothers, there's such a quotient of 296 00:16:44,040 --> 00:16:49,720 Speaker 1: beauty inside the music. There's so much sensitivity inside of 297 00:16:49,760 --> 00:16:52,640 Speaker 1: the lyrics and the singing. And I'm wondering, when you 298 00:16:52,640 --> 00:16:56,760 Speaker 1: would perform live, what was your ritual if you had one. 299 00:16:57,200 --> 00:16:59,560 Speaker 1: On the day of a live show, did you coddle 300 00:16:59,600 --> 00:17:02,120 Speaker 1: your voice? How did you prep for a show? 301 00:17:02,640 --> 00:17:06,320 Speaker 4: I would wake up singing, because after a show you 302 00:17:06,359 --> 00:17:09,840 Speaker 4: lose your voice. It's gone. So the next morning you 303 00:17:09,920 --> 00:17:11,879 Speaker 4: just hope and pray that it's going to come back again, 304 00:17:11,960 --> 00:17:15,520 Speaker 4: you know, so when you wake up, you start warming up. 305 00:17:16,000 --> 00:17:20,480 Speaker 4: So I'd be doing a lot of this different range stuff. 306 00:17:20,760 --> 00:17:23,600 Speaker 4: One set of principles for the falsetto another set of 307 00:17:23,600 --> 00:17:26,920 Speaker 4: principles for the real voice. Check out your highest note. 308 00:17:27,359 --> 00:17:30,920 Speaker 4: Do it all day and it comes back if you're lucky. 309 00:17:31,240 --> 00:17:33,400 Speaker 1: And how much before you would do a live show, 310 00:17:33,960 --> 00:17:36,480 Speaker 1: how much would you rehearse prior to going on the road. 311 00:17:36,680 --> 00:17:40,480 Speaker 4: Rehearsal you would usually be about a month with weekends 312 00:17:40,600 --> 00:17:43,840 Speaker 4: out so you could work at your chops back again, 313 00:17:44,480 --> 00:17:47,879 Speaker 4: and that way you develop strength and you develop confidence. 314 00:17:48,200 --> 00:17:52,240 Speaker 4: And these days I had these three ladies that are amazing, 315 00:17:53,000 --> 00:17:57,040 Speaker 4: and so any song where Robin might have sung, they 316 00:17:57,080 --> 00:18:00,879 Speaker 4: cover me and they do those things. But there's actly 317 00:18:00,880 --> 00:18:03,720 Speaker 4: nothing like walking from the dressing room to the stage. 318 00:18:03,800 --> 00:18:04,680 Speaker 4: Nothing like it in the world. 319 00:18:04,680 --> 00:18:04,960 Speaker 1: Really. 320 00:18:05,200 --> 00:18:08,800 Speaker 4: I think Bruce Springsteen said it, there's something magical about 321 00:18:08,880 --> 00:18:11,560 Speaker 4: hearing the crowd two minutes before you walk on. 322 00:18:11,520 --> 00:18:13,440 Speaker 1: The stake coming. You're getting closer to them. 323 00:18:13,520 --> 00:18:13,960 Speaker 4: Yeah. 324 00:18:14,040 --> 00:18:20,000 Speaker 1: Yeah, music occupies such a unique place in people's lives, 325 00:18:20,040 --> 00:18:24,119 Speaker 1: and really dwarfs of film and television. Yeah, because film 326 00:18:24,160 --> 00:18:26,160 Speaker 1: and television is something you have to make an appointment 327 00:18:26,200 --> 00:18:28,959 Speaker 1: with you have to sit and watch it. Where music 328 00:18:29,040 --> 00:18:31,560 Speaker 1: is something that you can have in your life any anywhere. 329 00:18:31,600 --> 00:18:34,240 Speaker 1: You can be driving, you could be having sex, you 330 00:18:34,240 --> 00:18:38,040 Speaker 1: can be at the gym, it could be jogging. Music 331 00:18:38,160 --> 00:18:40,840 Speaker 1: is in your ears at will, whenever you want it 332 00:18:40,840 --> 00:18:41,040 Speaker 1: to be. 333 00:18:41,200 --> 00:18:41,800 Speaker 4: That's true. 334 00:18:42,000 --> 00:18:44,240 Speaker 1: And therefore, and I think when people I always say 335 00:18:44,280 --> 00:18:47,479 Speaker 1: the same line. When you die, you don't remember an 336 00:18:47,480 --> 00:18:51,280 Speaker 1: episode of Seinfeld? You remember? How can you ment a 337 00:18:51,320 --> 00:18:52,600 Speaker 1: broken heart? You know what I mean? 338 00:18:52,920 --> 00:18:55,680 Speaker 4: Yes, I do. And then the question then becomes why 339 00:18:56,680 --> 00:19:00,720 Speaker 4: why does music and harmonics and vibrations and means so 340 00:19:00,800 --> 00:19:03,439 Speaker 4: much to us? You know, I love Frank Sinatra as 341 00:19:03,520 --> 00:19:07,320 Speaker 4: much as I love Pavarotti. I love the Distant Past, 342 00:19:07,600 --> 00:19:10,240 Speaker 4: the immigrant music, as much as I love country music. 343 00:19:10,520 --> 00:19:13,159 Speaker 4: I don't have categories, you know, I just love what 344 00:19:13,200 --> 00:19:16,480 Speaker 4: I love and it's not to any music. But why 345 00:19:17,040 --> 00:19:18,000 Speaker 4: why do we all do this? 346 00:19:18,359 --> 00:19:18,600 Speaker 5: You know? 347 00:19:18,840 --> 00:19:21,560 Speaker 4: What is the need in us? So I want to 348 00:19:21,600 --> 00:19:23,920 Speaker 4: do something about that. I'd love to do a program 349 00:19:23,960 --> 00:19:25,320 Speaker 4: about trying to understand that. 350 00:19:26,240 --> 00:19:28,320 Speaker 1: I mean, this is a corny question, but like have 351 00:19:28,440 --> 00:19:31,680 Speaker 1: you ever stood there? And you were going to sing 352 00:19:31,720 --> 00:19:36,719 Speaker 1: a lyric? There was a particularly exquisite lyric of one 353 00:19:36,720 --> 00:19:39,520 Speaker 1: of your most famous songs, and you thought you were 354 00:19:39,520 --> 00:19:40,720 Speaker 1: going to break down crying. 355 00:19:41,000 --> 00:19:42,280 Speaker 4: Yeah, have you ever. 356 00:19:42,200 --> 00:19:45,000 Speaker 1: Been almost overwhelmed by the music you're singing? 357 00:19:45,440 --> 00:19:48,040 Speaker 4: Yes, we wrote a song called Wish You Were Here 358 00:19:48,080 --> 00:19:51,720 Speaker 4: for Andy because he passed away at the age of thirty, 359 00:19:52,440 --> 00:19:55,320 Speaker 4: and we wanted to do it on stage and we 360 00:19:55,400 --> 00:19:58,359 Speaker 4: never could. So, you know, we got through about two 361 00:19:58,480 --> 00:20:01,280 Speaker 4: or three lines and then looked at each other. We 362 00:20:01,359 --> 00:20:04,159 Speaker 4: can't do this. We just can't do this. It's it 363 00:20:04,560 --> 00:20:07,120 Speaker 4: makes it just makes me cry. I just can't sing it. 364 00:20:08,200 --> 00:20:10,560 Speaker 4: At least the song is there, you know. But yes, 365 00:20:10,640 --> 00:20:13,119 Speaker 4: that was a moment. That was a moment. It's all 366 00:20:13,160 --> 00:20:15,080 Speaker 4: part of it. You're you're in a way, you're sort 367 00:20:15,080 --> 00:20:18,560 Speaker 4: of acting, and you're pretending to be someone that you 368 00:20:18,640 --> 00:20:22,520 Speaker 4: probably don't believe you are anyway. You know, the song's 369 00:20:22,520 --> 00:20:24,560 Speaker 4: always moved Me? How deep is your Love Moves Me? 370 00:20:24,960 --> 00:20:28,920 Speaker 4: And and immortality the song that's Celindian. 371 00:20:29,400 --> 00:20:31,880 Speaker 1: I can't believe you said that. Every time I hear 372 00:20:31,960 --> 00:20:34,040 Speaker 1: that song, I think I would break down if I 373 00:20:34,080 --> 00:20:36,520 Speaker 1: sang that song because just the meaning of that song. 374 00:20:36,560 --> 00:20:40,439 Speaker 1: You wrote that song? Yeah, yeah, what is that song about? 375 00:20:40,520 --> 00:20:41,160 Speaker 1: In your mind? 376 00:20:41,400 --> 00:20:44,320 Speaker 4: Well, I think it's it's at some point in your 377 00:20:44,359 --> 00:20:46,840 Speaker 4: life you reflect on who you are and what you 378 00:20:46,920 --> 00:20:51,560 Speaker 4: are and the culmination of your opinion, and if you 379 00:20:51,600 --> 00:20:54,560 Speaker 4: can do that, then everything's okay, you know. So so 380 00:20:54,680 --> 00:20:56,440 Speaker 4: for me, it's like, so this is who I am, 381 00:20:56,520 --> 00:20:59,080 Speaker 4: this is all I know, and I must choose to 382 00:20:59,080 --> 00:21:01,080 Speaker 4: live for all that I can and give the spark 383 00:21:01,160 --> 00:21:02,200 Speaker 4: that makes the power grow. 384 00:21:02,520 --> 00:21:05,400 Speaker 1: But I also find it's kind of a poem, if 385 00:21:05,400 --> 00:21:09,280 Speaker 1: you will, about being a famous artist. You know, like 386 00:21:09,359 --> 00:21:12,200 Speaker 1: inside some of those lyrics, I hear someone sitting there going, 387 00:21:12,320 --> 00:21:13,600 Speaker 1: there's no turning back for me. 388 00:21:13,680 --> 00:21:16,040 Speaker 4: Now that's right, you know, that's right. But we don't 389 00:21:16,040 --> 00:21:18,760 Speaker 4: say goodbye, and that to me is the key part 390 00:21:18,800 --> 00:21:21,280 Speaker 4: of the song. It doesn't matter whether I'm here or not, 391 00:21:21,520 --> 00:21:24,959 Speaker 4: there are no goodbyes, you know. And it was written 392 00:21:25,040 --> 00:21:28,240 Speaker 4: for Robert Stigwood wanting a song for the stage version 393 00:21:28,240 --> 00:21:32,359 Speaker 4: of Saturday Night Fever, and we'd already come up with 394 00:21:32,440 --> 00:21:35,160 Speaker 4: the song, but he wanted the guy in the show 395 00:21:35,160 --> 00:21:36,439 Speaker 4: to sing it, and I thought, but this is a 396 00:21:36,440 --> 00:21:39,760 Speaker 4: woman's song. It's a woman's song. Some songs are for 397 00:21:39,800 --> 00:21:42,840 Speaker 4: women and some songs are for men, you know. So 398 00:21:42,880 --> 00:21:45,639 Speaker 4: there's a masculinity in some music, and there's a femininity 399 00:21:45,680 --> 00:21:47,639 Speaker 4: in music. That's why I work with Barbara. That's right 400 00:21:47,880 --> 00:21:52,639 Speaker 4: with Diana Ross and the ability to to Selene to 401 00:21:52,720 --> 00:21:56,480 Speaker 4: lock in to the feminine side, you know, and understand 402 00:21:56,560 --> 00:22:01,119 Speaker 4: that Barbara Streisen still doesn't quite understand what woman in 403 00:22:01,200 --> 00:22:07,760 Speaker 4: love means. You know, it's it's a right her and 404 00:22:07,800 --> 00:22:11,040 Speaker 4: get a Rebuddal says it's a right at offend, which 405 00:22:11,040 --> 00:22:13,520 Speaker 4: is in the song. She'ays what does that mean? It's 406 00:22:13,520 --> 00:22:15,960 Speaker 4: a right at offend? And I did spend some time 407 00:22:16,040 --> 00:22:20,200 Speaker 4: explaining before the Me Too movement that women can fall 408 00:22:20,240 --> 00:22:23,160 Speaker 4: in love too without telling anybody. It's not all down 409 00:22:23,160 --> 00:22:25,880 Speaker 4: to the guy, you know, and I had to sort 410 00:22:25,880 --> 00:22:29,240 Speaker 4: of talk her through that. Kenny Rogers still doesn't know 411 00:22:29,280 --> 00:22:30,639 Speaker 4: what I was in the streamers about. 412 00:22:32,560 --> 00:22:39,080 Speaker 1: Come on, Kenny, well, let's let's let's throw your cards 413 00:22:39,119 --> 00:22:41,760 Speaker 1: in the table here. What songs that you've immortalized do 414 00:22:41,800 --> 00:22:44,160 Speaker 1: you not really know what they're about? Come on, it's 415 00:22:44,200 --> 00:22:45,920 Speaker 1: it's time for you to fess about. What song are 416 00:22:45,920 --> 00:22:47,760 Speaker 1: you saying you don't really get the meaning of. 417 00:22:48,440 --> 00:22:51,560 Speaker 4: We never recorded a song that we didn't understand, you know. 418 00:22:51,720 --> 00:22:55,879 Speaker 4: There were some very abstract songs Lemon's Never Forget. I 419 00:22:55,880 --> 00:22:59,360 Speaker 4: think he's a very abstract song and not everybody's favorite. 420 00:23:00,000 --> 00:23:02,440 Speaker 4: Everything had a purpose to it. We began to learn 421 00:23:02,440 --> 00:23:04,800 Speaker 4: from the Beatles that you could write about anything. You 422 00:23:04,800 --> 00:23:07,960 Speaker 4: could write about life itself. You know. So you had 423 00:23:08,080 --> 00:23:12,000 Speaker 4: Paperback Writer or and you had Yellow Submarine, and it 424 00:23:12,040 --> 00:23:14,679 Speaker 4: was okay, you know, you can write about these things. 425 00:23:15,280 --> 00:23:17,720 Speaker 4: It doesn't all have to be about having your heart 426 00:23:17,760 --> 00:23:20,879 Speaker 4: broken or falling in love or they went through that, 427 00:23:21,160 --> 00:23:25,240 Speaker 4: but then they understood, they understood something about life. That's 428 00:23:25,280 --> 00:23:29,320 Speaker 4: where Sergeant Pepper reached its point, the culmination of the 429 00:23:29,359 --> 00:23:32,480 Speaker 4: peak create creativity that these guys were giving us. 430 00:23:32,600 --> 00:23:36,239 Speaker 1: You know, well, when you mentioned Sargant Pepper, Yeah, and 431 00:23:36,280 --> 00:23:40,000 Speaker 1: I think when you go into Saturday Night Fever and 432 00:23:40,440 --> 00:23:43,840 Speaker 1: when you're inside that experience and you're recording the music 433 00:23:43,880 --> 00:23:46,639 Speaker 1: to that, did they show you cuts of the film? 434 00:23:46,720 --> 00:23:48,679 Speaker 1: Did you see some footage of the film or the 435 00:23:48,680 --> 00:23:51,680 Speaker 1: whole film to inspire you to go write the music? 436 00:23:51,760 --> 00:23:54,320 Speaker 1: Or you had to write the music without any cinematic 437 00:23:54,440 --> 00:23:55,160 Speaker 1: reference point. 438 00:23:55,720 --> 00:23:58,719 Speaker 4: Robert Center's a script, but we didn't read it. We 439 00:23:58,400 --> 00:24:01,879 Speaker 4: just we just listened to his verbal describing what it was, 440 00:24:01,920 --> 00:24:03,919 Speaker 4: which is to him it was so you didn't. 441 00:24:03,640 --> 00:24:05,720 Speaker 1: See the film finished and then write the music. 442 00:24:05,760 --> 00:24:08,400 Speaker 4: No. Wow. He sent us a script, but we didn't 443 00:24:08,440 --> 00:24:11,200 Speaker 4: read it, and we just said, tell us what you want, 444 00:24:11,240 --> 00:24:13,679 Speaker 4: tell us what you think it is. Well, it's tribal 445 00:24:13,720 --> 00:24:17,320 Speaker 4: rites of a new Saturday Night okay. And that was 446 00:24:17,359 --> 00:24:21,080 Speaker 4: an article by Nick conn And in New York Magazine, right. 447 00:24:21,640 --> 00:24:24,080 Speaker 4: And he said, but I need a better name for 448 00:24:24,119 --> 00:24:26,800 Speaker 4: the film. And I said, well, what about night Fever? 449 00:24:27,840 --> 00:24:32,600 Speaker 4: And he said, no, that's too pornographic. I said, okay. 450 00:24:33,000 --> 00:24:34,880 Speaker 4: But then in the end it turned into Saturday Night 451 00:24:34,880 --> 00:24:35,840 Speaker 4: Fever and I didn't know. 452 00:24:36,480 --> 00:24:41,119 Speaker 1: So when you're inside that experience of making that music, yeah, 453 00:24:41,160 --> 00:24:43,679 Speaker 1: do you kind of know that you're onto something or 454 00:24:43,720 --> 00:24:45,560 Speaker 1: you had no idea what that was going to become. 455 00:24:45,840 --> 00:24:47,679 Speaker 4: We had no idea what it was going to become. 456 00:24:48,160 --> 00:24:51,879 Speaker 4: And we were trying to reinvent ourselves anyway. We just 457 00:24:51,920 --> 00:24:56,320 Speaker 4: mixed a live album that we'd done in La and 458 00:24:56,359 --> 00:24:58,200 Speaker 4: then Robert called up and said, I need five or 459 00:24:58,240 --> 00:25:01,320 Speaker 4: six songs for this film with this new gentleman named 460 00:25:01,400 --> 00:25:05,600 Speaker 4: John Travolta. So okay, all of that in itself is 461 00:25:05,640 --> 00:25:09,520 Speaker 4: exciting enough. It sort of kickstarted the ideas and staying 462 00:25:09,560 --> 00:25:11,639 Speaker 4: alive was one of those ideas. More than a woman. 463 00:25:12,080 --> 00:25:15,320 Speaker 4: If I can't have you, how deep your love? Obviously 464 00:25:15,320 --> 00:25:19,399 Speaker 4: a night fever. So we just started writing. We were 465 00:25:19,640 --> 00:25:23,879 Speaker 4: fifty miles outside of Paris. We didn't have, you know, television, 466 00:25:23,920 --> 00:25:26,080 Speaker 4: we didn't have any of those distractions, if you like, 467 00:25:26,960 --> 00:25:29,840 Speaker 4: and we just got on with it. And about three weeks, 468 00:25:29,960 --> 00:25:32,280 Speaker 4: two or three weeks, and then we got serious when 469 00:25:32,280 --> 00:25:35,720 Speaker 4: we got back to Miami and made the records for real. 470 00:25:36,000 --> 00:25:38,119 Speaker 1: Well, I just want to say as a reference point 471 00:25:38,119 --> 00:25:40,800 Speaker 1: that I am in Washington, d C. I went to 472 00:25:40,840 --> 00:25:44,720 Speaker 1: college down there first my then girlfriend who was very 473 00:25:44,800 --> 00:25:50,639 Speaker 1: much of a nightclub dancing She and her roommate, I 474 00:25:50,680 --> 00:25:53,240 Speaker 1: think there was like three couples. We go see the 475 00:25:53,280 --> 00:25:56,520 Speaker 1: movie Saturday Night Fever, and we said to ourselves, and 476 00:25:56,720 --> 00:25:59,479 Speaker 1: the guys are look at each other, going, Jesus Christ, 477 00:25:59,520 --> 00:26:01,520 Speaker 1: look at this. You think I'm gonna get up there 478 00:26:01,520 --> 00:26:03,240 Speaker 1: and do that in a room full of people, Like 479 00:26:03,280 --> 00:26:05,520 Speaker 1: she wants to go to clubs and go dancing like this. 480 00:26:05,760 --> 00:26:10,679 Speaker 1: I said, that's never happening. Right within two weeks, I 481 00:26:10,680 --> 00:26:14,760 Speaker 1: had the platform shoes, I had my hair blow dried 482 00:26:14,920 --> 00:26:17,879 Speaker 1: to death. My hair was blow dried like it was 483 00:26:17,960 --> 00:26:21,720 Speaker 1: some French pastry. I put more hairspray. My hair was 484 00:26:21,760 --> 00:26:25,880 Speaker 1: all poofed out and born out. And the shirt I got, 485 00:26:25,880 --> 00:26:30,920 Speaker 1: the shirt opened right to I got the I'm ready, 486 00:26:30,960 --> 00:26:35,480 Speaker 1: I'm ready to go. It was a tsunami Saturday night. 487 00:26:35,480 --> 00:26:36,840 Speaker 1: Fever was a tsunami. 488 00:26:37,400 --> 00:26:40,000 Speaker 4: Yeah, whether you liked it or not, it was gonna 489 00:26:40,040 --> 00:26:40,560 Speaker 4: stay around. 490 00:26:40,640 --> 00:26:40,800 Speaker 6: It was. 491 00:26:41,320 --> 00:26:43,439 Speaker 1: We liked it. It was just everywhere. 492 00:26:43,480 --> 00:26:46,439 Speaker 4: Well that my story is that we were starting to 493 00:26:46,480 --> 00:26:50,639 Speaker 4: shoot Sogeant Pepper the movie, right and and we had 494 00:26:51,080 --> 00:26:54,400 Speaker 4: Peter Frampton had his own Winter Bagel, and we had 495 00:26:54,440 --> 00:26:58,200 Speaker 4: one Winter Bagel between us, and about two weeks into 496 00:26:58,240 --> 00:27:02,600 Speaker 4: shooting the same time, Fever came out and all of 497 00:27:02,600 --> 00:27:05,119 Speaker 4: the dancers in the movie were suddenly dancing to this 498 00:27:05,240 --> 00:27:08,199 Speaker 4: music at the lunch breaks, and we could hear it 499 00:27:08,200 --> 00:27:10,520 Speaker 4: from our winter a bagel, Like, what what are they doing? 500 00:27:10,560 --> 00:27:13,959 Speaker 4: Why are they playing Southern feva? You know, because at 501 00:27:13,960 --> 00:27:16,800 Speaker 4: that point it hadn't taken off, you know, And within 502 00:27:16,840 --> 00:27:20,760 Speaker 4: about a week we had our own separate Winner bagels. 503 00:27:21,080 --> 00:27:23,120 Speaker 4: So there's Hollywood right there. 504 00:27:23,280 --> 00:27:25,520 Speaker 1: You know, I don't do that. 505 00:27:25,720 --> 00:27:27,879 Speaker 4: We made that out, but we made that movie. The 506 00:27:27,920 --> 00:27:30,800 Speaker 4: soundtrack to that movie we're the only other group to 507 00:27:30,880 --> 00:27:34,479 Speaker 4: record the Whold of Sergeant Pepper with George Martin. Right, 508 00:27:34,640 --> 00:27:36,439 Speaker 4: so there's something that's something I'm proud of. 509 00:27:36,960 --> 00:27:40,879 Speaker 1: How would you describe that experience? You're performing somebody else's music. 510 00:27:40,920 --> 00:27:44,320 Speaker 4: Oh yeah, but we were learning sergendary music, yes, legendary music, 511 00:27:44,400 --> 00:27:47,800 Speaker 4: and we wanted to perform that music, and George Martin 512 00:27:48,560 --> 00:27:52,080 Speaker 4: was happy to show us the different tricks that that 513 00:27:52,160 --> 00:27:55,119 Speaker 4: they would all get up to, you know, the song 514 00:27:55,320 --> 00:27:59,560 Speaker 4: sun King or because they all sang the same melody 515 00:28:00,200 --> 00:28:02,960 Speaker 4: once and then they would sing the harmony all together, 516 00:28:03,800 --> 00:28:06,240 Speaker 4: the same thing again, all singing the same melody, and 517 00:28:06,280 --> 00:28:08,320 Speaker 4: then they do the third harmony and they'd sing all 518 00:28:08,359 --> 00:28:12,200 Speaker 4: that together, so that you've got three guys on three 519 00:28:12,240 --> 00:28:16,880 Speaker 4: tracks singing each harmony, not three part harmony. And then 520 00:28:17,000 --> 00:28:19,600 Speaker 4: you play that back and it's mind blowing. So we 521 00:28:19,720 --> 00:28:21,560 Speaker 4: just learned stuff. We learned stuff. 522 00:28:22,000 --> 00:28:25,000 Speaker 1: Whose idea was it to do the documentary? 523 00:28:25,640 --> 00:28:30,439 Speaker 4: Well, it was Frank Marshall Nigel Sinclair, and they had 524 00:28:30,480 --> 00:28:33,200 Speaker 4: done the Sinarchi documentary, they'd done a couple of others 525 00:28:34,359 --> 00:28:37,000 Speaker 4: that they were very proud of. The Beatles eight days 526 00:28:37,000 --> 00:28:39,520 Speaker 4: a week, I think they did that the day that 527 00:28:39,560 --> 00:28:42,280 Speaker 4: we signed with Capital was the day I met Frank 528 00:28:42,320 --> 00:28:46,360 Speaker 4: Marshall and Steve Barnett, the president at that point, introduced 529 00:28:46,400 --> 00:28:48,760 Speaker 4: me to Frank Marshall. Frank Marshall said, we're going to 530 00:28:48,760 --> 00:28:53,600 Speaker 4: do this documentary and tell us something about how it 531 00:28:53,640 --> 00:28:56,160 Speaker 4: began for you guys, and I did. I told him 532 00:28:56,160 --> 00:28:58,400 Speaker 4: a story and he went, Okay, we're going to do 533 00:28:58,440 --> 00:29:02,239 Speaker 4: this documentary. That's how it began. But it was it 534 00:29:02,360 --> 00:29:04,320 Speaker 4: was two years, two and a half years before we 535 00:29:04,360 --> 00:29:08,760 Speaker 4: saw anything, and the Verse Cup didn't fly very well. 536 00:29:09,480 --> 00:29:14,320 Speaker 4: Why there were too many on truths, too many misconceptions 537 00:29:14,560 --> 00:29:17,920 Speaker 4: that everyone was saying, well, that's true, but it really wasn't. 538 00:29:18,440 --> 00:29:20,400 Speaker 4: So I had to take issue with some of the things. 539 00:29:21,040 --> 00:29:24,200 Speaker 4: And I know that in the end some of those 540 00:29:24,240 --> 00:29:27,200 Speaker 4: things may still be there. But I could never watch 541 00:29:27,240 --> 00:29:30,120 Speaker 4: it again because I can't watch my family pass one 542 00:29:30,200 --> 00:29:34,960 Speaker 4: up to the other. That's not fun. 543 00:29:39,440 --> 00:29:44,840 Speaker 1: Barry Gibb Subscribe to Here's the Thing on the iHeartRadio app, 544 00:29:45,160 --> 00:29:49,840 Speaker 1: Apple Podcasts or wherever you get your podcasts. While you're there, 545 00:29:50,120 --> 00:29:53,240 Speaker 1: leave us a review. When we return from the break, 546 00:29:53,360 --> 00:29:56,600 Speaker 1: Barry talks about his regrets, and we'll also hear from 547 00:29:56,640 --> 00:30:17,480 Speaker 1: his son Steve. I'm Alec Baldwin and you're listening to 548 00:30:17,600 --> 00:30:32,080 Speaker 1: Here's the Thing that is, of course more than a 549 00:30:32,120 --> 00:30:36,280 Speaker 1: woman from the soundtrack of Saturday Night Fever. It's been 550 00:30:36,320 --> 00:30:39,560 Speaker 1: a busy time for Barry Gibb. There's the new HBO 551 00:30:39,720 --> 00:30:44,040 Speaker 1: documentary about the Beg's, and earlier this year, Barry released 552 00:30:44,040 --> 00:30:47,760 Speaker 1: an album of Beg's songs covered by some of Nashville's 553 00:30:47,800 --> 00:30:51,040 Speaker 1: biggest names. It's called Greenfields. 554 00:30:51,760 --> 00:30:55,240 Speaker 4: These are people I admired the most. These are countrilogists 555 00:30:55,240 --> 00:30:57,680 Speaker 4: that have always been in my blood so ever since 556 00:30:57,720 --> 00:31:01,080 Speaker 4: I was a child. Dolly Pardons has been a really 557 00:31:01,120 --> 00:31:03,160 Speaker 4: important part of music for me. 558 00:31:05,200 --> 00:31:11,760 Speaker 3: Inxting words take them to me. 559 00:31:13,480 --> 00:31:16,240 Speaker 4: I wanted to get people I admired the most to 560 00:31:16,320 --> 00:31:20,040 Speaker 4: sing our songs. And maybe it's volume two that it 561 00:31:20,080 --> 00:31:22,800 Speaker 4: will happen in the future. I don't know. But this 562 00:31:22,960 --> 00:31:26,160 Speaker 4: was great fun and I was more than intimidated. But 563 00:31:26,440 --> 00:31:28,680 Speaker 4: it wasn't in my hands. It was in Dave Cobbs sense. 564 00:31:29,120 --> 00:31:32,880 Speaker 1: When you say you were more than intimidating, absolutely, how 565 00:31:32,960 --> 00:31:36,560 Speaker 1: so well, how many people do you truly admire? 566 00:31:36,880 --> 00:31:40,080 Speaker 4: You know, so when you're in their company you just 567 00:31:40,120 --> 00:31:43,520 Speaker 4: feel When I meet Paul McCartney. I don't know what 568 00:31:43,600 --> 00:31:48,080 Speaker 4: to say. My mouth won't say anything. You know. All 569 00:31:48,120 --> 00:31:50,280 Speaker 4: I can say is I feel fine. 570 00:31:53,560 --> 00:31:57,400 Speaker 1: And you granted they must have been intimidated to sing 571 00:31:57,400 --> 00:31:58,360 Speaker 1: your music as well. 572 00:31:58,760 --> 00:32:00,560 Speaker 4: Oh yeah, no, it was all the way aroun There's 573 00:32:00,560 --> 00:32:03,160 Speaker 4: no question about that. The only person I think was 574 00:32:03,200 --> 00:32:06,680 Speaker 4: not intimidated by any of us was Dave Cobb, the producer, 575 00:32:07,280 --> 00:32:10,160 Speaker 4: So he was the decider, was the decider, he was 576 00:32:10,200 --> 00:32:10,680 Speaker 4: the director. 577 00:32:11,000 --> 00:32:13,320 Speaker 1: Well the cut you do with Dolly, Yeah, what a 578 00:32:13,320 --> 00:32:17,000 Speaker 1: beautiful rendering that is of that song. When you hear 579 00:32:17,920 --> 00:32:21,880 Speaker 1: other people sing your songs, yeah, what goes through your mind? 580 00:32:22,320 --> 00:32:25,880 Speaker 4: It's a very flattering thing. It's like anytime over the 581 00:32:25,960 --> 00:32:29,240 Speaker 4: years anyone sang one of our songs. If someone's covering 582 00:32:29,280 --> 00:32:32,800 Speaker 4: your song, that's a huge compliment. So I have the 583 00:32:32,800 --> 00:32:35,960 Speaker 4: same feeling every time, and that goes back a long, 584 00:32:36,000 --> 00:32:39,720 Speaker 4: long way. So anyone singing our songs is wow, why 585 00:32:39,760 --> 00:32:41,080 Speaker 4: did that person sing our song? 586 00:32:41,520 --> 00:32:44,440 Speaker 1: Now, when someone wants to sing your songs, yeah, is 587 00:32:44,480 --> 00:32:45,600 Speaker 1: it open to anybody. 588 00:32:45,800 --> 00:32:49,080 Speaker 4: Anyone who records our song doesn't need to ask us. 589 00:32:49,320 --> 00:32:49,760 Speaker 1: They don't. 590 00:32:49,880 --> 00:32:51,880 Speaker 4: It's just the way it works. No one needs to 591 00:32:51,880 --> 00:32:54,080 Speaker 4: ask us to sing one of our songs. If you're 592 00:32:54,160 --> 00:32:56,080 Speaker 4: using one of our songs in a movie or in 593 00:32:56,600 --> 00:32:59,960 Speaker 4: a sing license like a commercial, you have to ask, 594 00:33:00,120 --> 00:33:00,800 Speaker 4: can you have to make it? 595 00:33:00,800 --> 00:33:01,240 Speaker 1: Sure? 596 00:33:01,520 --> 00:33:03,760 Speaker 4: But beyond that, anyone can record our songs. 597 00:33:03,800 --> 00:33:06,440 Speaker 1: Would they pay you the royalties for you as the songwriter? 598 00:33:06,720 --> 00:33:10,080 Speaker 4: Well, it we'd be paid indirectly by the system that works, 599 00:33:10,640 --> 00:33:14,760 Speaker 4: like mechanical royalties and things like that. Sure. The only 600 00:33:14,840 --> 00:33:18,560 Speaker 4: question I ever had was, I don't like commercials about alcohol. 601 00:33:18,760 --> 00:33:20,520 Speaker 4: I don't like commercials about cigarettes. 602 00:33:21,120 --> 00:33:23,600 Speaker 1: Is it true that you have a someone's making a 603 00:33:23,600 --> 00:33:24,880 Speaker 1: feature film about the bechees? 604 00:33:25,400 --> 00:33:28,960 Speaker 4: Yeah, the biopics in its own process right now. Graham 605 00:33:29,040 --> 00:33:31,200 Speaker 4: King is in charge of that. He did the Bohemian 606 00:33:31,240 --> 00:33:32,600 Speaker 4: Rhapsody movie, right. 607 00:33:32,680 --> 00:33:34,320 Speaker 1: Are you going to have some participation in that? 608 00:33:34,680 --> 00:33:37,920 Speaker 4: Absolutely? I'm sort of in agreement with Graham, and that 609 00:33:38,080 --> 00:33:42,400 Speaker 4: is that sometimes the story can be a little different 610 00:33:42,440 --> 00:33:44,480 Speaker 4: than the truth, but not too much. 611 00:33:46,200 --> 00:33:49,960 Speaker 1: You more than your two brothers. I'll say this only 612 00:33:50,000 --> 00:33:52,800 Speaker 1: because this is my recollection of it. You know, you 613 00:33:52,840 --> 00:33:56,240 Speaker 1: guys would get out there and sing. When you watched 614 00:33:56,280 --> 00:33:58,160 Speaker 1: you sing on film, you know, it's a different story 615 00:33:58,200 --> 00:34:00,480 Speaker 1: when you're just listening to the music. But when you'd 616 00:34:00,640 --> 00:34:07,920 Speaker 1: watch you sing. Your brothers are pretty straightforward musicians, and 617 00:34:08,000 --> 00:34:12,480 Speaker 1: here you are, and the hair and the clothes. He 618 00:34:12,640 --> 00:34:16,000 Speaker 1: was like this preposterously handsome guy. And then you'd open 619 00:34:16,040 --> 00:34:19,520 Speaker 1: your mouth and you'd sing these like heart stoppingly beautiful songs. 620 00:34:19,960 --> 00:34:22,200 Speaker 1: And I want to ask you that, when the Beegs 621 00:34:22,239 --> 00:34:25,400 Speaker 1: were at the zenith, when everything was just clicking for you, 622 00:34:25,920 --> 00:34:27,640 Speaker 1: what was the best part of it and what was 623 00:34:28,160 --> 00:34:30,160 Speaker 1: the downside of it for you? 624 00:34:30,160 --> 00:34:33,560 Speaker 4: You know, there's a lot of things I regret. Saturday 625 00:34:33,640 --> 00:34:37,320 Speaker 4: Night Fever wasn't something I regretted. I didn't like people 626 00:34:38,000 --> 00:34:41,440 Speaker 4: disregarding us after fever. I thought that was unfair. But 627 00:34:42,520 --> 00:34:45,759 Speaker 4: that's the industry, you know, it's very fragile. As you 628 00:34:45,840 --> 00:34:49,160 Speaker 4: said earlier, it will it will turn on you in 629 00:34:49,200 --> 00:34:52,560 Speaker 4: a heartbeat. And so I think generally what I regret 630 00:34:52,680 --> 00:34:55,840 Speaker 4: is that we became overexposed. And I think that that 631 00:34:56,080 --> 00:35:01,720 Speaker 4: was from fever, Yeah, yeah, and everything else. Just having 632 00:35:01,840 --> 00:35:03,920 Speaker 4: five songs in the top ten or three songs in 633 00:35:03,960 --> 00:35:07,400 Speaker 4: the top five. We were becoming pretty tainted. You know, 634 00:35:08,400 --> 00:35:11,879 Speaker 4: we were beginning not to really appreciate having a number 635 00:35:11,880 --> 00:35:14,920 Speaker 4: one record, but we equaled the Beatles record. We are 636 00:35:14,960 --> 00:35:18,959 Speaker 4: six number ones in a row, and that was all right. 637 00:35:19,680 --> 00:35:22,799 Speaker 4: I can live with that. I can little work that'll work, 638 00:35:22,920 --> 00:35:23,160 Speaker 4: you know. 639 00:35:24,600 --> 00:35:26,600 Speaker 1: But I mean my other thing is that I find 640 00:35:26,600 --> 00:35:29,160 Speaker 1: that the business is that people tend to look at 641 00:35:29,160 --> 00:35:32,000 Speaker 1: something that's super successful and say, well, if it's successful, 642 00:35:32,040 --> 00:35:35,840 Speaker 1: then it's like potato chips. It can't be really that, right, great, 643 00:35:36,040 --> 00:35:39,480 Speaker 1: it's like a snack food. If it's something that appeals 644 00:35:39,520 --> 00:35:42,240 Speaker 1: to the general public. Two masses of the general publish. 645 00:35:42,320 --> 00:35:44,719 Speaker 1: If you're selling tens of millions of records, it can't 646 00:35:44,719 --> 00:35:45,600 Speaker 1: really be that it's. 647 00:35:45,480 --> 00:35:47,160 Speaker 4: Too commercial, right right? 648 00:35:47,200 --> 00:35:48,600 Speaker 1: Did you get it? You got a whiff of that. 649 00:35:49,120 --> 00:35:51,600 Speaker 4: Yes, But you know, I look back a long way 650 00:35:51,719 --> 00:35:55,200 Speaker 4: and I see the final year of Elvis's life, the 651 00:35:55,280 --> 00:35:59,080 Speaker 4: final year of the Beatles, Michael Jackson, and how they 652 00:35:59,120 --> 00:36:03,920 Speaker 4: began to fragment, you know, and because nothing ever really less. 653 00:36:05,120 --> 00:36:07,000 Speaker 4: A group is not a natural state to be in 654 00:36:07,760 --> 00:36:11,279 Speaker 4: unless you're relatives, unless you're brothers or sisters. So I 655 00:36:11,320 --> 00:36:14,320 Speaker 4: see all that. I see that in the end, people 656 00:36:14,360 --> 00:36:18,920 Speaker 4: like Elvis Michael Beatles began to make records that weren't 657 00:36:19,560 --> 00:36:21,560 Speaker 4: quite up to the scratch of Sergeant Pebble. 658 00:36:21,440 --> 00:36:26,400 Speaker 1: Was well when the Disco inferno, if you will dies down. 659 00:36:27,080 --> 00:36:30,760 Speaker 1: What happens to your songwriting when you realize that's petered 660 00:36:30,800 --> 00:36:31,480 Speaker 1: out that. 661 00:36:31,400 --> 00:36:34,160 Speaker 4: Well because of the backlash, We didn't base our lives 662 00:36:34,160 --> 00:36:36,400 Speaker 4: on Fever. We just sort of well back to the studio, 663 00:36:36,600 --> 00:36:39,840 Speaker 4: you know, we were. You know, I've been married for 664 00:36:39,880 --> 00:36:43,440 Speaker 4: fifty years now, last September it was fifty years, and 665 00:36:45,360 --> 00:36:48,239 Speaker 4: I've had a wonderful time. You know, I love that 666 00:36:48,320 --> 00:36:50,920 Speaker 4: woman and we've been together for that long, and so 667 00:36:51,160 --> 00:36:55,160 Speaker 4: I always had her at my back. I always. I 668 00:36:55,200 --> 00:36:57,080 Speaker 4: never I never had to be out there on my own. 669 00:36:57,840 --> 00:37:00,680 Speaker 4: You had a home family. So at the end of 670 00:37:00,680 --> 00:37:03,799 Speaker 4: FEVA we were starting to raise kids, you know, and 671 00:37:03,880 --> 00:37:08,400 Speaker 4: so the distractions were plentiful. They were plentiful. And you know, 672 00:37:09,160 --> 00:37:11,520 Speaker 4: even when that happened, you think to yourself. I know, 673 00:37:11,600 --> 00:37:15,040 Speaker 4: I thought to myself, well maybe that's it. That was warm, 674 00:37:15,200 --> 00:37:18,080 Speaker 4: that was great, that was wonderful. Maybe go back to Australia, 675 00:37:18,120 --> 00:37:21,319 Speaker 4: maybe go back to England, and you start to question 676 00:37:21,400 --> 00:37:25,360 Speaker 4: your life and if it's time to change your life. 677 00:37:25,440 --> 00:37:26,960 Speaker 4: That was the moment that you could have done it. 678 00:37:28,160 --> 00:37:32,120 Speaker 1: Speaking of family, your son plays with you from. 679 00:37:31,960 --> 00:37:33,959 Speaker 4: Time, Yes, Steevie direct, Yeah, he's right here. 680 00:37:33,960 --> 00:37:36,759 Speaker 1: Son, Stevie plays with you, and he also plays some 681 00:37:36,920 --> 00:37:39,680 Speaker 1: other types of music. He's like into heavy metal or 682 00:37:39,840 --> 00:37:42,759 Speaker 1: absolutely right, we need Stevie to come on just for 683 00:37:42,800 --> 00:37:45,000 Speaker 1: one second. Tell us, yeah, does he get the bends 684 00:37:45,680 --> 00:37:48,719 Speaker 1: when he goes from the music of Barry gibb to 685 00:37:48,840 --> 00:37:52,239 Speaker 1: the music of Metallica or whatever you're doing. What's the 686 00:37:52,280 --> 00:37:54,560 Speaker 1: scene in between that kind of music? 687 00:37:54,960 --> 00:37:57,120 Speaker 3: You know, I grew up watching the Begs. 688 00:37:57,520 --> 00:37:59,480 Speaker 6: I stood on the side of the stage as a kid, 689 00:38:00,160 --> 00:38:03,080 Speaker 6: and I thought my dad was the coolest guy on 690 00:38:03,160 --> 00:38:03,840 Speaker 6: planet Earth. 691 00:38:03,960 --> 00:38:06,920 Speaker 3: You know, I really did. But what happened was is 692 00:38:06,920 --> 00:38:09,080 Speaker 3: there was a band called Kiss that came. 693 00:38:08,880 --> 00:38:13,400 Speaker 6: Out around the similar time, and that was my introduction 694 00:38:13,680 --> 00:38:16,680 Speaker 6: into hard rock and heavy metal. And I was always 695 00:38:16,719 --> 00:38:20,400 Speaker 6: fascinated with the guitar. So you know, when I saw 696 00:38:20,440 --> 00:38:22,800 Speaker 6: a guitar that was on fire, I said, Okay, I 697 00:38:23,280 --> 00:38:24,759 Speaker 6: don't know how or when I'm going. 698 00:38:24,680 --> 00:38:25,919 Speaker 3: To get to do that, but I got to figure 699 00:38:25,960 --> 00:38:26,719 Speaker 3: out how to do that. 700 00:38:27,600 --> 00:38:31,560 Speaker 6: And I knew enough to know that being a musician 701 00:38:31,560 --> 00:38:36,080 Speaker 6: and being Barry Gibbs' son was probably a terrible idea. 702 00:38:36,200 --> 00:38:38,440 Speaker 3: And I knew that from a young age. 703 00:38:39,360 --> 00:38:42,399 Speaker 6: So I followed my joy with the guitar, and that 704 00:38:42,480 --> 00:38:46,160 Speaker 6: took me a lot of places. You know, I've played 705 00:38:46,200 --> 00:38:48,720 Speaker 6: in a bunch of heavy metal bands over the years, 706 00:38:48,800 --> 00:38:52,840 Speaker 6: like a Black Label Society, crow Bar, Kingdom of Sorrow. 707 00:38:53,040 --> 00:38:56,560 Speaker 6: And the thing is is that I figured it made 708 00:38:56,600 --> 00:38:59,400 Speaker 6: me different enough that I could maybe carve out a 709 00:38:59,440 --> 00:39:04,799 Speaker 6: career and not be compared to my dad. You're singing good, now, Well, 710 00:39:05,080 --> 00:39:07,560 Speaker 6: what happened is my dad and I have always kind of, 711 00:39:07,600 --> 00:39:09,800 Speaker 6: you know, messed around a little bit, you know, writing 712 00:39:09,840 --> 00:39:12,920 Speaker 6: songs and stuff like that. So you know, I got 713 00:39:12,920 --> 00:39:15,360 Speaker 6: to learn about songwriting from the best, you know, and 714 00:39:15,400 --> 00:39:18,399 Speaker 6: I got to watch the Beg's write many times over 715 00:39:18,440 --> 00:39:20,200 Speaker 6: my you know, the course of my life. 716 00:39:20,320 --> 00:39:23,680 Speaker 3: So I've been a student of theirs. But you know, 717 00:39:23,960 --> 00:39:25,279 Speaker 3: when when Robin. 718 00:39:24,960 --> 00:39:31,200 Speaker 6: Passed away, Dad was clearly struggling to figure out where. 719 00:39:30,960 --> 00:39:32,800 Speaker 3: To go in life. 720 00:39:32,840 --> 00:39:35,320 Speaker 6: And at that point I was like, Dad, you gotta 721 00:39:35,960 --> 00:39:38,880 Speaker 6: channel this into music, like you can't sit here and 722 00:39:39,600 --> 00:39:42,840 Speaker 6: mourn forever, you know. And he said, okay, well let's 723 00:39:42,840 --> 00:39:45,960 Speaker 6: do let's do a show. And I said, yeah, you 724 00:39:45,960 --> 00:39:47,879 Speaker 6: should do that, and he goes, well, I only want 725 00:39:47,880 --> 00:39:50,160 Speaker 6: to do it if you do it with me. I mean, 726 00:39:50,200 --> 00:39:52,239 Speaker 6: I definitely didn't feel like I could step into those 727 00:39:52,360 --> 00:39:57,279 Speaker 6: roles that Robin and or Morris had. But over the 728 00:39:57,320 --> 00:40:00,000 Speaker 6: course of a few years, you know, with his page 729 00:40:00,680 --> 00:40:05,600 Speaker 6: and kindness, I found my place with him. You know, 730 00:40:05,840 --> 00:40:08,960 Speaker 6: I sometimes joke that I'm his emotional support animal. But 731 00:40:09,680 --> 00:40:11,759 Speaker 6: the fact of the matter is is we've come to 732 00:40:11,880 --> 00:40:16,560 Speaker 6: understand it. Even especially recently, now I know how to 733 00:40:16,600 --> 00:40:19,279 Speaker 6: harmonize with him, which I didn't really know how to do. 734 00:40:20,280 --> 00:40:22,799 Speaker 6: I began to learn that really by being thrown in 735 00:40:22,840 --> 00:40:25,680 Speaker 6: the fire with him, And to be honest, it's been 736 00:40:26,040 --> 00:40:28,800 Speaker 6: probably the greatest gift of my life to come full 737 00:40:28,840 --> 00:40:32,360 Speaker 6: circle and actually be with him making. 738 00:40:32,239 --> 00:40:36,040 Speaker 4: Music toward Australia. Yeah, we toward England, we taught America 739 00:40:36,920 --> 00:40:41,160 Speaker 4: and that was an incredible year of just finding yourself again. 740 00:40:41,880 --> 00:40:45,719 Speaker 1: Stevie said that he thought his father was the coolest guy. 741 00:40:46,239 --> 00:40:48,719 Speaker 1: Let me tell you something, stev your father is the 742 00:40:48,800 --> 00:40:53,799 Speaker 1: coolest guy. Your father reminds me of Nat King Cole. Oh, 743 00:40:54,000 --> 00:40:56,640 Speaker 1: your father reminds me of a guy that could sing 744 00:40:56,840 --> 00:40:59,880 Speaker 1: and just bring you to tears. He was so beautiful 745 00:41:00,320 --> 00:41:03,600 Speaker 1: and the songs were so beautiful, and he's sang them 746 00:41:03,600 --> 00:41:07,239 Speaker 1: thank you perfectly. And then when you'd watch him on film, 747 00:41:07,280 --> 00:41:09,960 Speaker 1: do it you go my god, he's also the coolest 748 00:41:10,000 --> 00:41:12,399 Speaker 1: guy I've ever seen in my life. Look at this guy. 749 00:41:12,840 --> 00:41:15,120 Speaker 6: You know, I don't know that anybody will ever be 750 00:41:15,160 --> 00:41:17,960 Speaker 6: able to relate to this, because I do feel a 751 00:41:17,960 --> 00:41:20,440 Speaker 6: little unique in that I've had this experience. 752 00:41:20,960 --> 00:41:24,600 Speaker 3: But I think that for me, we all have great 753 00:41:24,640 --> 00:41:25,879 Speaker 3: memories throughout. 754 00:41:25,560 --> 00:41:27,319 Speaker 6: Our life, whether it's the you know, the birth of 755 00:41:27,320 --> 00:41:31,000 Speaker 6: our children, or or you know, that first big accomplishment 756 00:41:31,040 --> 00:41:33,640 Speaker 6: that you make, or whatever it is in life. But 757 00:41:33,760 --> 00:41:36,520 Speaker 6: I have to tell you that I was talking about 758 00:41:36,560 --> 00:41:41,120 Speaker 6: that show that we did after Robin died, and there 759 00:41:41,200 --> 00:41:44,319 Speaker 6: was a moment where he was singing and I was 760 00:41:44,360 --> 00:41:49,240 Speaker 6: off to his right on stage, and he was really 761 00:41:49,440 --> 00:41:51,719 Speaker 6: in a I have to say, he was kind of 762 00:41:51,719 --> 00:41:55,480 Speaker 6: transcending into another level in front of my eyes. I 763 00:41:55,560 --> 00:41:59,360 Speaker 6: was like, I could not I was reduced to tears 764 00:41:59,480 --> 00:42:03,279 Speaker 6: while I was on stage watching him sing, because you know, 765 00:42:03,400 --> 00:42:06,239 Speaker 6: I remembered being a very small kid standing on the 766 00:42:06,280 --> 00:42:08,680 Speaker 6: side of the stage going hey dad, you know, I'm 767 00:42:08,719 --> 00:42:12,080 Speaker 6: over here type of thing, and then too, you know, 768 00:42:12,200 --> 00:42:15,399 Speaker 6: thirty something years later, I'm standing on stage with him 769 00:42:16,040 --> 00:42:18,840 Speaker 6: and there was a moment where he took a breath 770 00:42:19,000 --> 00:42:22,120 Speaker 6: and just looked at me and it was he winked 771 00:42:22,120 --> 00:42:25,520 Speaker 6: at me, and there was the most pure expression of 772 00:42:25,560 --> 00:42:28,640 Speaker 6: love with no words between a father and son and 773 00:42:28,719 --> 00:42:32,640 Speaker 6: that moment, and I remember thinking to myself, I'll never 774 00:42:32,719 --> 00:42:36,280 Speaker 6: forget this moment for the rest of my life, because 775 00:42:37,080 --> 00:42:40,360 Speaker 6: there are no words for that kind of love between 776 00:42:40,400 --> 00:42:41,320 Speaker 6: a son and a father. 777 00:42:41,600 --> 00:42:43,000 Speaker 3: And I tell him this all the time. 778 00:42:43,040 --> 00:42:46,040 Speaker 6: I said, Dad, it's okay that you don't think you're 779 00:42:46,080 --> 00:42:49,600 Speaker 6: the greatest of all time, but just don't ever forget 780 00:42:49,880 --> 00:42:53,040 Speaker 6: that there is a second that I don't believe that 781 00:42:53,080 --> 00:42:55,920 Speaker 6: you're the greatest of all time. Just be true to 782 00:42:55,960 --> 00:43:01,759 Speaker 6: yourself and do what you love. Because his love is 783 00:43:01,840 --> 00:43:07,920 Speaker 6: pure and his expression of it is incredible, and I'll 784 00:43:07,960 --> 00:43:09,040 Speaker 6: never get tired of it. 785 00:43:09,520 --> 00:43:13,279 Speaker 1: Listen, I say this only because it's true, and I 786 00:43:13,320 --> 00:43:15,719 Speaker 1: feel that we all are seekers of the truth here, 787 00:43:15,800 --> 00:43:19,360 Speaker 1: truth and beauty, and that is Stevie. Your father knows 788 00:43:19,480 --> 00:43:21,920 Speaker 1: full well that he's the greatest of all time. Who knows? 789 00:43:22,200 --> 00:43:24,560 Speaker 1: And this modesty thing, it's just a part of an act, 790 00:43:24,600 --> 00:43:26,759 Speaker 1: it's a part of a public It's always like this, 791 00:43:26,880 --> 00:43:29,200 Speaker 1: Oh oh thank you, Oh God, that's so nice of 792 00:43:29,200 --> 00:43:32,240 Speaker 1: you to say that, Oh thank you. No no, please, no, no, please, 793 00:43:32,600 --> 00:43:36,040 Speaker 1: Your father's fully aware of who he is and what 794 00:43:36,200 --> 00:43:40,160 Speaker 1: his towering achievements in the music industry are. Himnist brothers 795 00:43:40,160 --> 00:43:42,640 Speaker 1: and him on his ownA frozen for that matter, I 796 00:43:42,680 --> 00:43:45,400 Speaker 1: want to say I have loved you, and I have 797 00:43:45,520 --> 00:43:48,680 Speaker 1: loved your music. I mean, good music is good music, 798 00:43:49,160 --> 00:43:51,719 Speaker 1: and I have loved you and I have loved your 799 00:43:51,800 --> 00:43:55,320 Speaker 1: music forever. I mean, I have so many Beg's albums, 800 00:43:55,760 --> 00:43:58,799 Speaker 1: so every now and then I got to hear I 801 00:43:58,840 --> 00:44:01,480 Speaker 1: can't see Nobody. I play that song and. 802 00:44:01,640 --> 00:44:04,120 Speaker 4: Yeah, oh my, you know, I con't see no Buddy 803 00:44:04,200 --> 00:44:06,960 Speaker 4: was written in a dressing room with strippers. 804 00:44:10,040 --> 00:44:11,880 Speaker 1: I thought it was you were like in church. 805 00:44:13,040 --> 00:44:18,000 Speaker 4: It was one of my greatest memory bad bums. And 806 00:44:18,239 --> 00:44:18,919 Speaker 4: here's a song. 807 00:44:19,160 --> 00:44:22,600 Speaker 1: You know. Let's stop right there and let me just 808 00:44:22,680 --> 00:44:25,400 Speaker 1: say I'm so grateful to you. You are one of 809 00:44:25,440 --> 00:44:28,920 Speaker 1: the greatest musicians that ever lived and one of the 810 00:44:28,960 --> 00:44:32,600 Speaker 1: greatest vocalists that ever lived. And I never get tired 811 00:44:32,640 --> 00:44:33,799 Speaker 1: of listening to your music never. 812 00:44:34,200 --> 00:44:35,040 Speaker 4: You're very kind. 813 00:44:35,360 --> 00:44:37,160 Speaker 1: Thank you both for making time to do this. This 814 00:44:37,200 --> 00:44:38,719 Speaker 1: has been a joy. This has been a real joy. 815 00:44:38,800 --> 00:44:40,279 Speaker 4: This has been a real joy for us too. 816 00:44:45,000 --> 00:44:48,359 Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing, 817 00:44:58,880 --> 00:45:05,319 Speaker 1: If shown you. 818 00:45:06,040 --> 00:45:13,080 Speaker 2: SOB so you. 819 00:45:18,160 --> 00:45:22,759 Speaker 1: We're produced by Kathleen Russo, Carrie Donahue and Zach McNeice. 820 00:45:23,239 --> 00:45:26,320 Speaker 1: Our engineer is Frank Imperial. Thanks for listening. 821 00:45:29,480 --> 00:45:34,880 Speaker 6: Oh my odes to open up your eyes to