WEBVTT - Barry Gibb - Summer Staff Picks 0:00:00.520 --> 0:00:03.800 This is Alec Baldwin and you're listening to Here's the 0:00:03.840 --> 0:00:08.119 Thing from My Heart Radio. It's summer, and that means 0:00:08.119 --> 0:00:11.119 it's time for our tradition at Here's the Thing, where 0:00:11.119 --> 0:00:15.200 the staff share their favorite episodes from our archives in 0:00:15.280 --> 0:00:20.440 our Summer Staff Picks series. Next up is producer Zach McNeice. 0:00:21.400 --> 0:00:24.800 Thanks Alec. There are a few musical acts in history 0:00:25.000 --> 0:00:28.800 less polarizing than the Bee Gees. I can't recall anyone 0:00:28.960 --> 0:00:31.320 at any time in my life saying they weren't a fan. 0:00:32.280 --> 0:00:34.960 It's impossible not to sing along with mega hits like 0:00:35.040 --> 0:00:38.040 Staying Alive, How Deep is Your Love? More than a Woman, 0:00:38.240 --> 0:00:41.800 Night Fever. The list goes on and on. I was 0:00:41.840 --> 0:00:44.520 excited to have Barry Gibbon with Alec and the conversation 0:00:44.720 --> 0:00:48.320 was wide ranging and full of surprises. Here's Alec with 0:00:48.400 --> 0:00:59.960 Barry Gibb from twenty twenty one. 0:01:01.800 --> 0:01:08.920 As a man. The recently released HBO documentary How Can 0:01:08.920 --> 0:01:12.680 You Mend a Broken Heart mentions the term blood harmony 0:01:12.880 --> 0:01:17.760 or bio harmony, that unique blend when siblings sing together. 0:01:18.319 --> 0:01:22.080 Think The Beach Boys, The Jackson Five, The Everly Brothers, 0:01:22.319 --> 0:01:24.120 and The Beg's. 0:01:26.319 --> 0:01:31.559 Flag. 0:01:33.319 --> 0:01:34.480 So Love somebod. 0:01:35.480 --> 0:01:40.280 My guest today is Barry Gibb with his younger twin brothers, 0:01:40.400 --> 0:01:44.600 Robin and Morris. The Begs conquered the world with their 0:01:44.680 --> 0:01:50.480 ethereal harmonies. Today Barry misses his brothers. Morris died in 0:01:50.520 --> 0:01:54.400 two thousand and three, Robin in twenty twelve. I wanted 0:01:54.400 --> 0:01:57.200 to know if he'd ever considered what kind of solo 0:01:57.320 --> 0:01:58.760 career he might have had. 0:01:59.560 --> 0:02:02.120 Well, I don't know. I know what I wanted. I 0:02:02.120 --> 0:02:04.120 wanted to be a pop star or a rock star 0:02:04.240 --> 0:02:06.160 or whatever it is that goes through our heads at 0:02:06.200 --> 0:02:08.840 that point. At some point in your life, you wanted 0:02:08.840 --> 0:02:11.440 to be an actor, you know. All I know is 0:02:11.480 --> 0:02:14.480 that the moment that my brothers began to do individual 0:02:14.560 --> 0:02:17.200 things and I didn't know about them. Then I thought, well, 0:02:17.200 --> 0:02:20.200 it's okay. I can do individual things too, but I 0:02:20.720 --> 0:02:24.640 never did that before they did. And once that began, 0:02:24.760 --> 0:02:27.280 I thought, oh, oh wow, they've gone and done this 0:02:27.320 --> 0:02:29.520 on their own. Morris has done this, or Rob has 0:02:29.560 --> 0:02:33.120 done this. It's pretty good, you know. Wow. I didn't 0:02:33.160 --> 0:02:35.840 know that they did that without even a question, so 0:02:36.760 --> 0:02:39.680 I figured, well it was okay, And once Barbara Streisan 0:02:39.760 --> 0:02:43.240 came along, I just grabbed the bar. You know, I thought, 0:02:43.240 --> 0:02:46.799 this is a wonderful opportunity and I love her and 0:02:47.160 --> 0:02:49.799 the idea of working with her. I learned so much 0:02:49.840 --> 0:02:53.200 from that. And I think you learn things from just 0:02:53.240 --> 0:02:55.720 about everyone you work with. You just pick up something 0:02:55.840 --> 0:02:56.960 that you didn't know before. 0:02:57.600 --> 0:03:00.000 Who brought you in streisand together? Was it a produce? 0:03:00.360 --> 0:03:03.280 And no, it was Barbara calling me up about eighty 0:03:03.320 --> 0:03:06.000 one eighty two. And she just called up and said, 0:03:06.200 --> 0:03:09.640 will you make an album with me? And so after 0:03:09.680 --> 0:03:13.040 I got up off off the ground, I told my 0:03:13.120 --> 0:03:15.320 wife and I told everybody in my family that I 0:03:15.440 --> 0:03:18.800 just had this call from Barbra Streisen, and of course 0:03:18.800 --> 0:03:20.960 everyone's going, you got to do it, you got to 0:03:21.000 --> 0:03:24.400 do it. And I was terrified. So I came to 0:03:24.440 --> 0:03:29.440 the conclusion that if I call Neil Diamond you don't 0:03:29.440 --> 0:03:32.200 bring me flowers, that he might give me some advice. 0:03:32.720 --> 0:03:36.600 So I called Neil Diamond and I said, what is 0:03:36.600 --> 0:03:36.960 she like? 0:03:37.040 --> 0:03:37.440 What is it? 0:03:37.800 --> 0:03:40.960 What's the experience like working with her? He just said, 0:03:40.960 --> 0:03:43.800 don't worry about it, just go do it. You know, 0:03:44.400 --> 0:03:47.440 everything falls into place if the stars aligned. Don't worry. 0:03:48.200 --> 0:03:51.840 He said, She's terrific and she's changeable. But that's fine. 0:03:52.160 --> 0:03:55.440 Just go with her. You know when you recorded with her, 0:03:55.800 --> 0:03:57.920 were you in the same studio for some portion or 0:03:58.000 --> 0:03:59.560 all of it or not all of it? 0:04:00.080 --> 0:04:03.000 Cut all the tracks in Miami at Criteria, which is 0:04:03.000 --> 0:04:06.240 now the Hit Factory. The interesting thing about Barbara was 0:04:06.280 --> 0:04:10.120 that if she sang something, she considered it to be sung. 0:04:10.760 --> 0:04:13.240 She didn't think she had to sing it again. And 0:04:13.280 --> 0:04:15.080 that's old school, you know. It's like that's how she 0:04:15.160 --> 0:04:18.520 grew up. And I would say, you know, especially on Guilty, 0:04:19.120 --> 0:04:20.960 first song she sang, I said, can you give us 0:04:20.960 --> 0:04:23.400 about four or five tracks? She says, well, I just 0:04:23.440 --> 0:04:26.920 sang it. No, No, can you give us choices? Can 0:04:26.960 --> 0:04:28.400 you give us four or five tracks so that we 0:04:28.400 --> 0:04:31.800 can pick and choose which are the best moments? But 0:04:31.880 --> 0:04:32.640 I just sang it. 0:04:37.640 --> 0:04:39.520 Boy, I'm going to try that when I go to work. 0:04:40.000 --> 0:04:42.240 That's it. I'm like, Bob Hope, I'm like, that's one take, 0:04:42.279 --> 0:04:45.080 fellas Bobby God, I hope. 0:04:45.000 --> 0:04:47.159 So hit the spot say the words get out. 0:04:47.880 --> 0:04:50.839 Yeah, you talk about, you know, wanting multiple tracks to 0:04:50.920 --> 0:04:54.240 choose from when you were recording with your brothers. Was 0:04:54.279 --> 0:04:57.360 that a rule you had where you had unanimity about 0:04:57.400 --> 0:04:59.680 what the take was and what worked or was there 0:04:59.680 --> 0:05:02.320 a there was there a producer there that you will, 0:05:02.480 --> 0:05:03.920 entrusted the decision. 0:05:03.520 --> 0:05:09.000 To myself but really also adhering to my brother's opinions. 0:05:09.320 --> 0:05:11.560 We never did anything where it was two out of three. 0:05:12.279 --> 0:05:14.400 It wasn't a democracy. You know. We had to be 0:05:15.040 --> 0:05:18.680 in total agreement about everything we were doing. So if 0:05:18.720 --> 0:05:22.520 we love something, we were all one, you know, and okay, 0:05:22.520 --> 0:05:25.080 what do we do next? What's the next step? Yeah, 0:05:25.080 --> 0:05:27.080 we need a lead guitar on this, We need something here, 0:05:27.120 --> 0:05:29.240 we need something there. But we were always in agreement, 0:05:30.279 --> 0:05:33.719 and real life is very different, so you know, we 0:05:33.760 --> 0:05:36.680 didn't live together, but we did have the van. We 0:05:36.720 --> 0:05:38.839 did have the minivan with the Beg's on the side. 0:05:41.000 --> 0:05:45.560 People talk about the documentary has introduced, at least as 0:05:45.600 --> 0:05:48.279 far as I'm concerned, it might have existed somewhere else, 0:05:48.720 --> 0:05:52.239 the term bioharmony. And when I first heard that phrase, 0:05:52.279 --> 0:05:54.320 I was like, my god, I never thought about that, 0:05:54.320 --> 0:05:58.320 that they sing differently and they interact differently because they're 0:05:58.360 --> 0:06:01.080 actually related. I believe that that's true. 0:06:02.080 --> 0:06:04.240 That I've never heard that, But yeah, I agree with 0:06:04.279 --> 0:06:07.239 all of that, and there are many different side stories 0:06:07.279 --> 0:06:09.480 to all of that. I mean, the Beetles sound my brothers. 0:06:10.440 --> 0:06:13.080 So there's a lot about where you come from. The 0:06:13.120 --> 0:06:15.720 Beetles come from Liverpool. They all have the same accent, 0:06:16.200 --> 0:06:20.000 the same tone, if you like, and so blending together 0:06:20.200 --> 0:06:23.520 was something special for them. You didn't really have to 0:06:23.520 --> 0:06:25.680 be brothers. And I was talking to a little big 0:06:25.720 --> 0:06:29.760 town yesterday and they are incredible and they all come 0:06:29.760 --> 0:06:32.360 from the same basic area of the country. So it 0:06:32.400 --> 0:06:35.600 wasn't that they were blood. It was that they all 0:06:35.640 --> 0:06:38.520 had the same dialect, the same kind of tonality. You know. 0:06:39.040 --> 0:06:43.880 That's Nashville when you're working with people that are your family. Yeah, 0:06:44.320 --> 0:06:45.000 and God. 0:06:44.839 --> 0:06:47.200 Knows, yes, you have brothers. 0:06:47.640 --> 0:06:51.920 I have brothers in that way that you want everyone 0:06:52.080 --> 0:06:54.320 to do well, you know, I want my brothers to 0:06:54.360 --> 0:06:57.000 do well and succeed and have what they want. And 0:06:57.040 --> 0:07:01.480 you realize that the business is fragile, you know, even 0:07:01.480 --> 0:07:04.360 when you're successful, when you're with your brothers and you're 0:07:04.400 --> 0:07:07.400 recording with your brothers, and they've been gone for a 0:07:07.400 --> 0:07:08.159 while now. 0:07:08.080 --> 0:07:10.520 Yeah, about eight years since Robin left. 0:07:10.760 --> 0:07:13.200 So it's eight years now where both of them are gone. 0:07:13.480 --> 0:07:18.760 And when Morris passed away, was it understood between you 0:07:18.920 --> 0:07:22.480 and Rob that you wouldn't continue just the two of you. 0:07:22.520 --> 0:07:26.120 No, Robin wanted us to wanted to continue, and I didn't. 0:07:26.840 --> 0:07:28.520 I didn't think it was the right thing to do. 0:07:29.320 --> 0:07:32.120 I thought we should suspend the group as it stood, 0:07:32.640 --> 0:07:35.200 and if we were going to work any more together, 0:07:35.720 --> 0:07:38.680 we would do it as the two brothers, you know, 0:07:39.000 --> 0:07:41.960 we wouldn't do it as the Begs. So. But but 0:07:42.080 --> 0:07:44.560 Robin didn't agree with me. He wanted to continue being 0:07:44.600 --> 0:07:49.440 the Beg's. But then lo and behold. What I didn't 0:07:49.480 --> 0:07:53.760 know is that Robin was getting ill, and as time 0:07:53.800 --> 0:07:56.840 went on he became more immorial. But he didn't tell anybody, 0:07:57.680 --> 0:08:00.160 and so you could you could see that some thing 0:08:00.280 --> 0:08:03.880 was wrong, but you didn't know what it was. And 0:08:04.720 --> 0:08:07.960 it wasn't like he was capable of really doing anything, 0:08:08.000 --> 0:08:11.480 because in my opinion, he wasn't, you know, he was. 0:08:11.640 --> 0:08:13.480 He was going very frail, very quickly. 0:08:14.080 --> 0:08:17.040 Did you guys when you went your separate ways, was 0:08:17.080 --> 0:08:20.360 there always a sense of like the Eagles and like 0:08:20.440 --> 0:08:25.360 Fleetwood Mac and like CSNY where they profess to have 0:08:25.400 --> 0:08:28.200 some tension between them, yet they always got back together 0:08:28.240 --> 0:08:32.839 because that band together whole was the cash cow for them. 0:08:33.040 --> 0:08:35.680 It was never going to be as successful as that did. 0:08:35.679 --> 0:08:38.640 The begs go through the same thing where where each 0:08:38.720 --> 0:08:40.720 of you had your respective and you had a very 0:08:40.720 --> 0:08:42.000 successful solo career. 0:08:42.120 --> 0:08:44.720 Well, the background to all of that, what you just 0:08:44.760 --> 0:08:48.440 said is really important. The cash cow was not the 0:08:48.440 --> 0:08:52.199 center of attention because because for us it was always 0:08:52.320 --> 0:08:56.480 tough to get paid. Always that's shock and roll, you know. 0:08:57.120 --> 0:09:00.640 And we didn't really make any real money until Saturday 0:09:00.720 --> 0:09:05.559 Night Fever. So success equals money that wasn't happening for us, 0:09:06.360 --> 0:09:09.280 so we didn't worry about it. What we worried about 0:09:09.520 --> 0:09:12.600 was getting more hits, making more records, writing more songs, 0:09:12.679 --> 0:09:16.520 you know, that was what preoccupied us. Crosby, Stills, Nash 0:09:16.520 --> 0:09:19.240 and Young When we were doing Children of the World, 0:09:19.320 --> 0:09:22.560 they would sitting along the wall, four of them, watching 0:09:22.640 --> 0:09:25.680 us do the vocals, and they were in the next studio. 0:09:25.800 --> 0:09:27.880 So the greatest thing about all of those days is 0:09:27.880 --> 0:09:32.280 that the Eagles Leonard Skinner were always in the next 0:09:32.360 --> 0:09:35.120 room or two rooms away. And in those days you 0:09:35.120 --> 0:09:38.040 could visit each other. There was no you know, you 0:09:38.120 --> 0:09:40.280 can't come in here, there was none of that, you know, 0:09:41.320 --> 0:09:44.120 and we enjoyed that I could go in and listen 0:09:44.120 --> 0:09:48.160 to them. I played with them all night without coming 0:09:48.280 --> 0:09:51.040 up with anything creative. We were just having a blast. 0:09:51.559 --> 0:09:51.839 You know. 0:09:52.720 --> 0:09:55.720 Was there a sense from you or all three of 0:09:55.760 --> 0:09:59.680 you that you had something special and that was the 0:09:59.760 --> 0:10:00.920 hand and you wanted to play. 0:10:01.120 --> 0:10:03.000 Well it was a brand name. Well, you know, then 0:10:03.000 --> 0:10:05.880 you're dealing with the brand name which wasn't even called 0:10:05.880 --> 0:10:07.680 that when we were a group. You know, there was 0:10:07.679 --> 0:10:08.600 no such thing as. 0:10:08.440 --> 0:10:10.000 A brand name, you know, as branding. 0:10:10.080 --> 0:10:12.199 Yeah. Yeah, So I've had people come up to me 0:10:12.720 --> 0:10:15.920 at Clive Davis's dinner a couple of years back. I 0:10:15.960 --> 0:10:18.280 worked for Forbes magazine. I'd like to talk to you 0:10:18.360 --> 0:10:23.920 about branding. I don't know anything about branding, you know. 0:10:24.000 --> 0:10:24.800 He got me there. 0:10:24.840 --> 0:10:28.760 We just became a group, so it wasn't really this 0:10:28.800 --> 0:10:30.840 is the cash cow, this is what we got to do. 0:10:30.920 --> 0:10:32.680 I think it was that way for a lot of people. 0:10:33.240 --> 0:10:39.400 But I remember the time when Rso the company took 0:10:39.400 --> 0:10:43.440 away our song copyrights without telling us, and so suddenly 0:10:43.920 --> 0:10:45.199 they owned all of our songs. 0:10:45.720 --> 0:10:46.920 How were they able to do that? 0:10:47.400 --> 0:10:50.560 By forming a company in Holland and playing all kinds 0:10:50.559 --> 0:10:53.080 of tax games, they managed to acquire all of our 0:10:53.120 --> 0:10:56.920 copyrights without us knowing, And that caused really like World 0:10:56.920 --> 0:10:59.480 War three. I mean, so you look at the period 0:10:59.559 --> 0:11:02.679 when the b were in trouble, look behind the scenes, 0:11:03.240 --> 0:11:06.160 you know there was something else going on that was intense. 0:11:06.800 --> 0:11:08.240 Were you able to get the rights back? 0:11:08.360 --> 0:11:10.840 Got them all back, But that took a lot of 0:11:10.960 --> 0:11:12.679 energy out of me. It took me about a year 0:11:12.720 --> 0:11:17.119 or two to finally get things back in our own ownership. 0:11:17.840 --> 0:11:20.400 I told Robert Stigwood that I would never write another 0:11:20.440 --> 0:11:24.520 song if he didn't give back the songs. And Morris 0:11:24.600 --> 0:11:27.719 and rob they didn't really want to fight. They were 0:11:27.720 --> 0:11:29.920 still too naive. They just sort of, you know, it's 0:11:30.160 --> 0:11:32.520 having success, let's not argue with it. 0:11:32.679 --> 0:11:35.120 But did that fall on you to be the more 0:11:35.280 --> 0:11:38.240 the business mind in the trio would do? The other 0:11:38.240 --> 0:11:40.480 two were more pure artists, and they were like, hey man, 0:11:40.480 --> 0:11:41.800 I really don't have the stomach for that. 0:11:42.720 --> 0:11:46.000 Well. I couldn't stomach the idea that someone could take 0:11:46.040 --> 0:11:49.120 away your songs. I just couldn't live with that. So 0:11:49.960 --> 0:11:52.640 if they were okay with that, it wasn't really a 0:11:52.679 --> 0:11:54.760 matter of that's how they felt. It was more a 0:11:54.800 --> 0:11:58.959 matter that Robert Stigwood and Rso played divide and conquer, 0:11:59.640 --> 0:12:02.640 you know, so they would nurture and be nicer Robin 0:12:02.679 --> 0:12:04.800 and Morris, and Robin and Morris wouldn't worry about it, 0:12:05.080 --> 0:12:08.320 you know. So it's all about that. It's people whispering 0:12:08.360 --> 0:12:11.480 in your ears. It's the same with every group. You know, 0:12:11.760 --> 0:12:13.600 there's always going to be someone in the industry that 0:12:13.720 --> 0:12:16.440 thinks they can make something out of you if you 0:12:16.480 --> 0:12:19.600 don't have your brothers. And that was said to Robin, 0:12:19.880 --> 0:12:21.640 was said to Morris, and was said to. 0:12:21.600 --> 0:12:25.439 Me, I want to do a movie about your career. 0:12:25.800 --> 0:12:28.080 I'm going to do a narrative film, and I want 0:12:28.080 --> 0:12:30.440 to play the record executive who gets each of you 0:12:30.559 --> 0:12:33.920 alone in the same thing. It says, you know, Marris, 0:12:33.960 --> 0:12:36.920 if you just unloaded these two losers, you have no idea. 0:12:37.080 --> 0:12:39.240 That's right, the heights we could hit and listen to Rob, 0:12:39.720 --> 0:12:42.160 these guys are just dead weight around your I mean 0:12:42.200 --> 0:12:46.160 your brother. I mean, we've seen every color they have, Barry, 0:12:46.360 --> 0:12:48.560 I mean, come on, these guys are just dragging you down. 0:12:48.640 --> 0:12:48.840 Man. 0:12:48.920 --> 0:12:51.559 You know all that stuff divide and conquer. 0:12:51.320 --> 0:12:55.000 But industrial Yeah, not the families, not the wives, but 0:12:55.120 --> 0:12:59.720 the people who sought to gain from something, or in fact, 0:12:59.760 --> 0:13:02.640 just through Robert Stigwood, you know. So it was. It 0:13:02.720 --> 0:13:06.040 was a huge industrial game. Armored Urtekin and who was 0:13:06.080 --> 0:13:10.120 the head of Atlantic Records, and Robert began to fall 0:13:10.200 --> 0:13:14.640 out because jive talking in the movie Saturday Night Fever. 0:13:15.760 --> 0:13:18.320 Robert only used the live version of jive talking so 0:13:18.360 --> 0:13:21.480 you wouldn't have to pay the extra, you know, and 0:13:21.600 --> 0:13:25.959 Areef Mardin and Armored went berserk because they didn't have 0:13:26.320 --> 0:13:29.439 a record in Saturday Night Fever. They didn't know it's 0:13:29.480 --> 0:13:31.600 going to be successful. In fact, most of the time, 0:13:31.640 --> 0:13:34.760 I think they doubted us anyway. So when that happened, 0:13:34.760 --> 0:13:37.400 they were unhappy. They were really unhappy, and so I 0:13:37.400 --> 0:13:39.400 think that was the cause of a lot of a 0:13:39.440 --> 0:13:41.720 lot of crisis points for us as well as Robert. 0:13:48.600 --> 0:13:51.880 I'm Alec Baldwin. You were listening to Here's the Thing. 0:13:52.760 --> 0:13:57.040 If you love conversations with legendary singers, be sure to 0:13:57.120 --> 0:14:01.240 check out my episode with the incomparable barbous diceand we 0:14:01.320 --> 0:14:04.840 shared lunch and talked about our love for food and 0:14:04.920 --> 0:14:07.199 Barbara's early dreams of fame. 0:14:08.000 --> 0:14:13.679 I read Nancy Drew Mysteries, I read movie magazines, you know, 0:14:13.760 --> 0:14:17.880 and dream that someday maybe I could be famous. 0:14:18.000 --> 0:14:19.400 Did you have that dream then? 0:14:19.440 --> 0:14:22.120 When you were here, I would have my pint of 0:14:22.200 --> 0:14:25.520 coffee ice cream Briers and sit in my bed and 0:14:25.680 --> 0:14:29.280 dream go to the movies sometimes on a Saturday afternoon. 0:14:29.320 --> 0:14:33.240 The Lowis Kings with had the greatest ice cream, and 0:14:33.280 --> 0:14:34.080 we also. 0:14:35.600 --> 0:14:40.640 Well, yeah, here the rest of my conversation with Barbara 0:14:40.720 --> 0:14:45.560 streisand at Here'sthething dot org. After the break we talk 0:14:45.640 --> 0:14:49.800 about disco and how the Beg's soundtrack to Saturday Night 0:14:49.840 --> 0:14:54.400 Fever in nineteen seventy seven brought them near total domination 0:14:54.560 --> 0:15:12.360 of the music charts and the dance floor. I'm Alec 0:15:12.400 --> 0:15:23.800 Baldwin and you're listening to Here's the Thing. The bee 0:15:23.880 --> 0:15:29.040 Gees distinguished themselves vocally with their lush harmonies. Robin had 0:15:29.040 --> 0:15:33.120 his distinctive vibrato, Morris anchored the melody, and then, like 0:15:33.160 --> 0:15:44.200 an ace pitcher discovering a slider, Barry found his falsetto. 0:15:45.160 --> 0:15:47.880 Well. It first happened on a song call Please read 0:15:47.960 --> 0:15:52.440 me that I did a few different falsetto harmonies to 0:15:52.480 --> 0:15:55.640 that song, basically because of the Beach Boys and Brian 0:15:55.680 --> 0:15:59.760 Wilson and I forgot all about that. So we were 0:16:00.360 --> 0:16:03.920 nights on Broadway and a reef Mardenar, producer at that point, 0:16:04.640 --> 0:16:08.720 said can anybody scream like Paul McCartney. We all looked 0:16:08.720 --> 0:16:10.400 at each other and said, well, how do you mean? 0:16:10.440 --> 0:16:12.360 He said, well, you know, like I saw her standing 0:16:12.400 --> 0:16:17.400 there and how Paul suddenly screams a high note? Can 0:16:17.440 --> 0:16:20.840 anyone Can any of you guys do that? And I said, well, yeah, 0:16:20.880 --> 0:16:23.280 I done something like that way back, I said, but 0:16:24.240 --> 0:16:27.240 I became the volunteer. Nobody else really wanted to take 0:16:27.280 --> 0:16:29.160 a shot at that, so I went out there and 0:16:30.160 --> 0:16:33.440 just discovered it. At first, it was tentative and nervous 0:16:33.480 --> 0:16:36.400 and and I didn't know what it was. And then 0:16:36.440 --> 0:16:38.680 it just began to get stronger and stronger. 0:16:39.200 --> 0:16:43.880 With you and your brothers, there's such a quotient of 0:16:44.040 --> 0:16:49.720 beauty inside the music. There's so much sensitivity inside of 0:16:49.760 --> 0:16:52.640 the lyrics and the singing. And I'm wondering, when you 0:16:52.640 --> 0:16:56.760 would perform live, what was your ritual if you had one. 0:16:57.200 --> 0:16:59.560 On the day of a live show, did you coddle 0:16:59.600 --> 0:17:02.120 your voice? How did you prep for a show? 0:17:02.640 --> 0:17:06.320 I would wake up singing, because after a show you 0:17:06.359 --> 0:17:09.840 lose your voice. It's gone. So the next morning you 0:17:09.920 --> 0:17:11.879 just hope and pray that it's going to come back again, 0:17:11.960 --> 0:17:15.520 you know, so when you wake up, you start warming up. 0:17:16.000 --> 0:17:20.480 So I'd be doing a lot of this different range stuff. 0:17:20.760 --> 0:17:23.600 One set of principles for the falsetto another set of 0:17:23.600 --> 0:17:26.920 principles for the real voice. Check out your highest note. 0:17:27.359 --> 0:17:30.920 Do it all day and it comes back if you're lucky. 0:17:31.240 --> 0:17:33.400 And how much before you would do a live show, 0:17:33.960 --> 0:17:36.480 how much would you rehearse prior to going on the road. 0:17:36.680 --> 0:17:40.480 Rehearsal you would usually be about a month with weekends 0:17:40.600 --> 0:17:43.840 out so you could work at your chops back again, 0:17:44.480 --> 0:17:47.879 and that way you develop strength and you develop confidence. 0:17:48.200 --> 0:17:52.240 And these days I had these three ladies that are amazing, 0:17:53.000 --> 0:17:57.040 and so any song where Robin might have sung, they 0:17:57.080 --> 0:18:00.879 cover me and they do those things. But there's actly 0:18:00.880 --> 0:18:03.720 nothing like walking from the dressing room to the stage. 0:18:03.800 --> 0:18:04.680 Nothing like it in the world. 0:18:04.680 --> 0:18:04.960 Really. 0:18:05.200 --> 0:18:08.800 I think Bruce Springsteen said it, there's something magical about 0:18:08.880 --> 0:18:11.560 hearing the crowd two minutes before you walk on. 0:18:11.520 --> 0:18:13.440 The stake coming. You're getting closer to them. 0:18:13.520 --> 0:18:13.960 Yeah. 0:18:14.040 --> 0:18:20.000 Yeah, music occupies such a unique place in people's lives, 0:18:20.040 --> 0:18:24.119 and really dwarfs of film and television. Yeah, because film 0:18:24.160 --> 0:18:26.160 and television is something you have to make an appointment 0:18:26.200 --> 0:18:28.959 with you have to sit and watch it. Where music 0:18:29.040 --> 0:18:31.560 is something that you can have in your life any anywhere. 0:18:31.600 --> 0:18:34.240 You can be driving, you could be having sex, you 0:18:34.240 --> 0:18:38.040 can be at the gym, it could be jogging. Music 0:18:38.160 --> 0:18:40.840 is in your ears at will, whenever you want it 0:18:40.840 --> 0:18:41.040 to be. 0:18:41.200 --> 0:18:41.800 That's true. 0:18:42.000 --> 0:18:44.240 And therefore, and I think when people I always say 0:18:44.280 --> 0:18:47.479 the same line. When you die, you don't remember an 0:18:47.480 --> 0:18:51.280 episode of Seinfeld? You remember? How can you ment a 0:18:51.320 --> 0:18:52.600 broken heart? You know what I mean? 0:18:52.920 --> 0:18:55.680 Yes, I do. And then the question then becomes why 0:18:56.680 --> 0:19:00.720 why does music and harmonics and vibrations and means so 0:19:00.800 --> 0:19:03.439 much to us? You know, I love Frank Sinatra as 0:19:03.520 --> 0:19:07.320 much as I love Pavarotti. I love the Distant Past, 0:19:07.600 --> 0:19:10.240 the immigrant music, as much as I love country music. 0:19:10.520 --> 0:19:13.159 I don't have categories, you know, I just love what 0:19:13.200 --> 0:19:16.480 I love and it's not to any music. But why 0:19:17.040 --> 0:19:18.000 why do we all do this? 0:19:18.359 --> 0:19:18.600 You know? 0:19:18.840 --> 0:19:21.560 What is the need in us? So I want to 0:19:21.600 --> 0:19:23.920 do something about that. I'd love to do a program 0:19:23.960 --> 0:19:25.320 about trying to understand that. 0:19:26.240 --> 0:19:28.320 I mean, this is a corny question, but like have 0:19:28.440 --> 0:19:31.680 you ever stood there? And you were going to sing 0:19:31.720 --> 0:19:36.719 a lyric? There was a particularly exquisite lyric of one 0:19:36.720 --> 0:19:39.520 of your most famous songs, and you thought you were 0:19:39.520 --> 0:19:40.720 going to break down crying. 0:19:41.000 --> 0:19:42.280 Yeah, have you ever. 0:19:42.200 --> 0:19:45.000 Been almost overwhelmed by the music you're singing? 0:19:45.440 --> 0:19:48.040 Yes, we wrote a song called Wish You Were Here 0:19:48.080 --> 0:19:51.720 for Andy because he passed away at the age of thirty, 0:19:52.440 --> 0:19:55.320 and we wanted to do it on stage and we 0:19:55.400 --> 0:19:58.359 never could. So, you know, we got through about two 0:19:58.480 --> 0:20:01.280 or three lines and then looked at each other. We 0:20:01.359 --> 0:20:04.159 can't do this. We just can't do this. It's it 0:20:04.560 --> 0:20:07.120 makes it just makes me cry. I just can't sing it. 0:20:08.200 --> 0:20:10.560 At least the song is there, you know. But yes, 0:20:10.640 --> 0:20:13.119 that was a moment. That was a moment. It's all 0:20:13.160 --> 0:20:15.080 part of it. You're you're in a way, you're sort 0:20:15.080 --> 0:20:18.560 of acting, and you're pretending to be someone that you 0:20:18.640 --> 0:20:22.520 probably don't believe you are anyway. You know, the song's 0:20:22.520 --> 0:20:24.560 always moved Me? How deep is your Love Moves Me? 0:20:24.960 --> 0:20:28.920 And and immortality the song that's Celindian. 0:20:29.400 --> 0:20:31.880 I can't believe you said that. Every time I hear 0:20:31.960 --> 0:20:34.040 that song, I think I would break down if I 0:20:34.080 --> 0:20:36.520 sang that song because just the meaning of that song. 0:20:36.560 --> 0:20:40.439 You wrote that song? Yeah, yeah, what is that song about? 0:20:40.520 --> 0:20:41.160 In your mind? 0:20:41.400 --> 0:20:44.320 Well, I think it's it's at some point in your 0:20:44.359 --> 0:20:46.840 life you reflect on who you are and what you 0:20:46.920 --> 0:20:51.560 are and the culmination of your opinion, and if you 0:20:51.600 --> 0:20:54.560 can do that, then everything's okay, you know. So so 0:20:54.680 --> 0:20:56.440 for me, it's like, so this is who I am, 0:20:56.520 --> 0:20:59.080 this is all I know, and I must choose to 0:20:59.080 --> 0:21:01.080 live for all that I can and give the spark 0:21:01.160 --> 0:21:02.200 that makes the power grow. 0:21:02.520 --> 0:21:05.400 But I also find it's kind of a poem, if 0:21:05.400 --> 0:21:09.280 you will, about being a famous artist. You know, like 0:21:09.359 --> 0:21:12.200 inside some of those lyrics, I hear someone sitting there going, 0:21:12.320 --> 0:21:13.600 there's no turning back for me. 0:21:13.680 --> 0:21:16.040 Now that's right, you know, that's right. But we don't 0:21:16.040 --> 0:21:18.760 say goodbye, and that to me is the key part 0:21:18.800 --> 0:21:21.280 of the song. It doesn't matter whether I'm here or not, 0:21:21.520 --> 0:21:24.959 there are no goodbyes, you know. And it was written 0:21:25.040 --> 0:21:28.240 for Robert Stigwood wanting a song for the stage version 0:21:28.240 --> 0:21:32.359 of Saturday Night Fever, and we'd already come up with 0:21:32.440 --> 0:21:35.160 the song, but he wanted the guy in the show 0:21:35.160 --> 0:21:36.439 to sing it, and I thought, but this is a 0:21:36.440 --> 0:21:39.760 woman's song. It's a woman's song. Some songs are for 0:21:39.800 --> 0:21:42.840 women and some songs are for men, you know. So 0:21:42.880 --> 0:21:45.639 there's a masculinity in some music, and there's a femininity 0:21:45.680 --> 0:21:47.639 in music. That's why I work with Barbara. That's right 0:21:47.880 --> 0:21:52.639 with Diana Ross and the ability to to Selene to 0:21:52.720 --> 0:21:56.480