1 00:00:04,800 --> 00:00:08,119 Speaker 1: I'm Alec Baldwin and you're listening to Here's the Thing 2 00:00:08,600 --> 00:00:17,599 Speaker 1: from My Heart Radio. The recently released HBO documentary How 3 00:00:17,600 --> 00:00:21,079 Speaker 1: Can You Mend a Broken Heart mentions the term blood 4 00:00:21,079 --> 00:00:26,639 Speaker 1: harmony or bio harmony that unique Blendwin siblings sing together. 5 00:00:27,080 --> 00:00:30,960 Speaker 1: I think the Beach Boys, the Jackson Five, the Everly Brothers, 6 00:00:31,200 --> 00:00:47,440 Speaker 1: and the Bjs. My guest today is Barry Gibb with 7 00:00:47,520 --> 00:00:51,440 Speaker 1: his younger twin brothers, Robin and Morris. The b Gs 8 00:00:51,640 --> 00:00:57,360 Speaker 1: conquered the world with their ethereal harmonies. Today Barry misses 9 00:00:57,440 --> 00:01:01,120 Speaker 1: his brothers. Maurice died in two thousands three, Robin in 10 00:01:01,160 --> 00:01:04,160 Speaker 1: two thousand twelve. I wanted to know if he'd ever 11 00:01:04,240 --> 00:01:08,640 Speaker 1: considered what kind of solo career he might have had. Well, 12 00:01:08,720 --> 00:01:10,959 Speaker 1: I I don't know. I know what I wanted. I 13 00:01:11,000 --> 00:01:13,000 Speaker 1: wanted to be a pop star or a rock star, 14 00:01:13,120 --> 00:01:15,080 Speaker 1: or whatever it is that goes through our heads at 15 00:01:15,120 --> 00:01:17,720 Speaker 1: that point. At some point in your life, you wanted 16 00:01:17,720 --> 00:01:20,319 Speaker 1: to be an actor, you know. All I know is 17 00:01:20,360 --> 00:01:23,720 Speaker 1: that the moment that my brothers began to do individual things, 18 00:01:23,760 --> 00:01:26,080 Speaker 1: and I didn't know about them, but I thought, well, 19 00:01:26,080 --> 00:01:29,400 Speaker 1: it's okay. I can do individual things too. But I 20 00:01:29,400 --> 00:01:33,559 Speaker 1: I never did that before they did. And once that began, 21 00:01:33,600 --> 00:01:36,280 Speaker 1: I thought, oh, wow, they've gone and done this on 22 00:01:36,319 --> 00:01:38,760 Speaker 1: their own. Morris has done this, or Rob has done this. 23 00:01:39,200 --> 00:01:42,360 Speaker 1: It's pretty good. You know. Wow. I didn't know that 24 00:01:42,400 --> 00:01:46,080 Speaker 1: they did that without even a question. So I figured, 25 00:01:46,080 --> 00:01:49,160 Speaker 1: well it was okay. And once Barbara Streisan came along, 26 00:01:50,280 --> 00:01:52,280 Speaker 1: I just grabbed the bar you know. I thought, this 27 00:01:52,320 --> 00:01:56,160 Speaker 1: is a wonderful opportunity. And I love her and the 28 00:01:56,200 --> 00:01:59,160 Speaker 1: idea of working with her. I learned so much from that, 29 00:01:59,720 --> 00:02:02,720 Speaker 1: and I think you learn things from just about everyone 30 00:02:02,760 --> 00:02:04,920 Speaker 1: you work with. You just pick up something that you 31 00:02:05,000 --> 00:02:08,400 Speaker 1: didn't know before. Who brought you in stressand together? Was 32 00:02:08,400 --> 00:02:11,000 Speaker 1: it a producer and no, it was Barbara calling me 33 00:02:11,080 --> 00:02:15,239 Speaker 1: up about and she just called up and said, will 34 00:02:15,280 --> 00:02:18,640 Speaker 1: you make an album with me? And so after I 35 00:02:18,680 --> 00:02:22,359 Speaker 1: got up off up the ground, I told my wife 36 00:02:22,360 --> 00:02:24,400 Speaker 1: and I told everybody in my family that I just 37 00:02:24,440 --> 00:02:28,320 Speaker 1: had this call from Barbara Streisan, and of course everyone's going, 38 00:02:28,800 --> 00:02:30,520 Speaker 1: you gotta do it, you gotta do it, and I 39 00:02:30,600 --> 00:02:35,000 Speaker 1: was terrified. So I came to the conclusion that if 40 00:02:35,040 --> 00:02:39,680 Speaker 1: I call Neil Diamond, you don't bring me flowers that 41 00:02:39,840 --> 00:02:42,800 Speaker 1: he might give me some advice. So I called Neil 42 00:02:42,840 --> 00:02:46,359 Speaker 1: Diamond and I said, what is she like? What is it? 43 00:02:46,639 --> 00:02:49,799 Speaker 1: What's the experience like working with her? He just said, 44 00:02:49,840 --> 00:02:52,720 Speaker 1: don't worry about it. Just go do it. You know, 45 00:02:53,280 --> 00:02:56,679 Speaker 1: everything falls into place if the stars aligned. Don't worry. 46 00:02:57,080 --> 00:03:00,600 Speaker 1: He says. She's terrific and she's changeable, but that's fine. 47 00:03:00,960 --> 00:03:04,240 Speaker 1: Just go with her. You know, when you recorded with her, 48 00:03:04,680 --> 00:03:06,840 Speaker 1: were you in the same studio for some portion or 49 00:03:06,840 --> 00:03:09,040 Speaker 1: all of it or not all of it? We coult 50 00:03:09,080 --> 00:03:12,000 Speaker 1: all the tracks in Miami at Criteria, which is now 51 00:03:12,040 --> 00:03:15,359 Speaker 1: the Hit Factory. The interesting thing about Barbara was that 52 00:03:15,560 --> 00:03:18,960 Speaker 1: if she sang something, she considered it to be sung. 53 00:03:19,639 --> 00:03:22,080 Speaker 1: She didn't think she had to sing it again. And 54 00:03:22,160 --> 00:03:24,000 Speaker 1: that's old school, you know. It's like that's how she 55 00:03:24,040 --> 00:03:27,400 Speaker 1: grew up. And I would say, you know, especially on Guilty, 56 00:03:28,000 --> 00:03:29,800 Speaker 1: first song she sang, I said, can you give us 57 00:03:29,840 --> 00:03:32,120 Speaker 1: about four or five tracks? And she said, well, I 58 00:03:32,160 --> 00:03:35,560 Speaker 1: just sang it. No, No, can you give us choices? 59 00:03:35,640 --> 00:03:37,280 Speaker 1: Can you give us for five tracks so that we 60 00:03:37,280 --> 00:03:40,720 Speaker 1: can pick and choose which are the best moments? But 61 00:03:40,760 --> 00:03:47,800 Speaker 1: I just sang it. Boy, I'm gonna try that when 62 00:03:47,840 --> 00:03:49,760 Speaker 1: I got to work. I'm gonna that's it. I'm like 63 00:03:49,800 --> 00:03:54,880 Speaker 1: Bob Hope and that's one take fellas focus hit the spot, 64 00:03:55,000 --> 00:03:58,560 Speaker 1: say the words get out. You talk about, you know, 65 00:03:58,600 --> 00:04:01,080 Speaker 1: wanting multiple tracks to Cheo is from when you were 66 00:04:01,120 --> 00:04:04,119 Speaker 1: recording with your brothers. Was that a rule you had 67 00:04:04,160 --> 00:04:07,200 Speaker 1: where you had unanimity about what the take was and 68 00:04:07,200 --> 00:04:09,520 Speaker 1: what what worked or was there a decider there was 69 00:04:09,560 --> 00:04:12,360 Speaker 1: there a producer there that you will entrusted the decision 70 00:04:12,400 --> 00:04:17,839 Speaker 1: to um myself, but really also adhering to my brother's opinions. 71 00:04:18,160 --> 00:04:20,480 Speaker 1: We never did anything where it was two out of three. 72 00:04:21,160 --> 00:04:23,400 Speaker 1: It wasn't a democracy. You know. We had to be 73 00:04:23,880 --> 00:04:27,280 Speaker 1: in total agreement about everything we were doing. So if 74 00:04:27,400 --> 00:04:30,400 Speaker 1: if we love something, we were all on, you know, 75 00:04:30,680 --> 00:04:33,960 Speaker 1: and okay, what do we do next? What's the next step? Yeah, 76 00:04:34,000 --> 00:04:35,960 Speaker 1: we need a lead guitar on this, We need something here, 77 00:04:36,000 --> 00:04:38,120 Speaker 1: we need something there. But we were always in agreement. 78 00:04:39,480 --> 00:04:42,880 Speaker 1: Real life is very different, so you know, we didn't 79 00:04:42,920 --> 00:04:45,760 Speaker 1: live together, but we did have the van. We did 80 00:04:45,800 --> 00:04:48,040 Speaker 1: have the minivan with the BJS on the side. You know, 81 00:04:49,880 --> 00:04:54,440 Speaker 1: people talk about the documentary has introduced the least as 82 00:04:54,480 --> 00:04:57,159 Speaker 1: far as I'm concerned, it might have existed somewhere else 83 00:04:57,600 --> 00:05:01,120 Speaker 1: the term bio harmony. And when I first heard that phrase, 84 00:05:01,120 --> 00:05:03,159 Speaker 1: I was like, oh my god, I never thought about that, 85 00:05:03,160 --> 00:05:07,200 Speaker 1: that they sing differently and they interact differently because they're 86 00:05:07,200 --> 00:05:12,080 Speaker 1: actually related. I believe that's true, that I've never heard that, 87 00:05:12,240 --> 00:05:14,000 Speaker 1: But yeah, I agree with all of that, and there 88 00:05:14,000 --> 00:05:17,000 Speaker 1: are many different side stories to all of that. I mean, 89 00:05:17,040 --> 00:05:20,280 Speaker 1: the Beetles sound my brothers, So there's a lot. There's 90 00:05:20,279 --> 00:05:22,520 Speaker 1: a lot about where you come from. The Beatles come 91 00:05:22,560 --> 00:05:25,880 Speaker 1: from Liverpool. They all have the same accent, the same tone, 92 00:05:26,680 --> 00:05:30,480 Speaker 1: if you like, and so blending together was something special 93 00:05:30,480 --> 00:05:33,400 Speaker 1: for them. You didn't really have to be brothers. And 94 00:05:33,440 --> 00:05:36,040 Speaker 1: I was talking to a little big town yesterday and 95 00:05:36,600 --> 00:05:39,159 Speaker 1: they are incredible and they all come from the same 96 00:05:39,200 --> 00:05:41,880 Speaker 1: basic area of the country. So it wasn't that they 97 00:05:41,920 --> 00:05:45,640 Speaker 1: were blood. It was that they all had the same dialect, 98 00:05:45,680 --> 00:05:48,719 Speaker 1: the same kind of tonality, you know. And that's Nashville 99 00:05:49,279 --> 00:05:52,680 Speaker 1: when you're working with people that are your family, yea, 100 00:05:53,200 --> 00:05:56,760 Speaker 1: and God knows, um, yes, you have brothers. I have 101 00:05:56,839 --> 00:06:01,560 Speaker 1: brothers in that way that you want everyone to do well, 102 00:06:01,880 --> 00:06:03,680 Speaker 1: you know. I want my brothers to do well and 103 00:06:03,800 --> 00:06:06,760 Speaker 1: succeed and have what they want. And you realize that 104 00:06:06,800 --> 00:06:10,520 Speaker 1: the businesses uh is fragile. You know, you even when 105 00:06:10,520 --> 00:06:13,760 Speaker 1: you're successful, when you're with your brothers and you're recording 106 00:06:13,760 --> 00:06:17,240 Speaker 1: with your brothers and they've been gone for a while now, yeah, 107 00:06:17,320 --> 00:06:20,520 Speaker 1: about eight years since Robin left. So it's eight years 108 00:06:20,520 --> 00:06:23,640 Speaker 1: now where both of them are gone. And um when 109 00:06:23,720 --> 00:06:27,440 Speaker 1: when when when Maurice passed away, was it understood between 110 00:06:27,440 --> 00:06:30,479 Speaker 1: you and and Rob that you wouldn't continue just the 111 00:06:30,520 --> 00:06:33,599 Speaker 1: two of you know, Robin wanted us to wanted to continue, 112 00:06:34,320 --> 00:06:36,840 Speaker 1: and I didn't. I didn't think it was the right 113 00:06:36,880 --> 00:06:39,800 Speaker 1: thing to do. I felt we should suspend the group 114 00:06:40,320 --> 00:06:42,960 Speaker 1: as it stood, and if we were going to work 115 00:06:43,000 --> 00:06:46,600 Speaker 1: any more together, we would do it as as the 116 00:06:46,279 --> 00:06:49,240 Speaker 1: two brothers, you know, we wouldn't do it as the bjs. 117 00:06:50,000 --> 00:06:52,599 Speaker 1: So but but Robin didn't agree with me. He wanted 118 00:06:52,640 --> 00:06:57,720 Speaker 1: to continue being the bs and but then lo and behold. 119 00:06:57,760 --> 00:06:59,880 Speaker 1: What I didn't know is that Robin was getting ill 120 00:07:01,040 --> 00:07:04,599 Speaker 1: and as time went on he became more immoral, but 121 00:07:04,640 --> 00:07:08,360 Speaker 1: he didn't tell anybody, and so you could you could 122 00:07:08,360 --> 00:07:11,840 Speaker 1: see that something was wrong, but you didn't know what 123 00:07:11,880 --> 00:07:14,960 Speaker 1: it was. And he it wasn't like he was capable 124 00:07:14,960 --> 00:07:19,240 Speaker 1: of really doing anything because in my opinion, he wasn't 125 00:07:19,600 --> 00:07:22,360 Speaker 1: you know he was? He was going very frail, very quickly. 126 00:07:22,920 --> 00:07:25,920 Speaker 1: Did you guys when you went your separate ways, was 127 00:07:25,920 --> 00:07:29,120 Speaker 1: there always a sense of like the Eagles and like 128 00:07:29,320 --> 00:07:33,920 Speaker 1: Fleetwood Mac and like csn Y were they professed to 129 00:07:34,080 --> 00:07:36,520 Speaker 1: have some tension between them he had, They always got 130 00:07:36,520 --> 00:07:40,560 Speaker 1: back together because that band together whole was the cash 131 00:07:40,640 --> 00:07:43,080 Speaker 1: cow for them. It was never going to be as 132 00:07:43,080 --> 00:07:45,840 Speaker 1: successful as that did. The bjs go through the same 133 00:07:45,840 --> 00:07:48,160 Speaker 1: thing where you we were. Each of you had your 134 00:07:48,200 --> 00:07:51,360 Speaker 1: respective and you had a very successful solo career. Well, 135 00:07:51,560 --> 00:07:53,880 Speaker 1: the background to all of that, what you just said 136 00:07:53,960 --> 00:07:57,640 Speaker 1: is really important. The cash cow was not the center 137 00:07:57,680 --> 00:08:01,440 Speaker 1: of attention because because for us it was always tough 138 00:08:01,640 --> 00:08:04,840 Speaker 1: to get paid always that's the that's rock and roll, 139 00:08:05,120 --> 00:08:08,160 Speaker 1: you know. And we didn't really make any real money 140 00:08:08,320 --> 00:08:13,680 Speaker 1: until Saturday Night Fever. So success equals money that wasn't 141 00:08:13,680 --> 00:08:17,200 Speaker 1: happening for us, So we didn't worry about it. What 142 00:08:17,360 --> 00:08:20,560 Speaker 1: we're worried about was getting more hits, making more records, 143 00:08:20,560 --> 00:08:25,080 Speaker 1: writing more songs. You know, that was what preoccupied us. Crosby, Stills, 144 00:08:25,200 --> 00:08:28,119 Speaker 1: Nash and Young when we were doing Children of the World. 145 00:08:28,160 --> 00:08:31,080 Speaker 1: They would sitting along along the wall, four of them 146 00:08:31,080 --> 00:08:33,880 Speaker 1: watching us do the vocals, and they were in the 147 00:08:33,920 --> 00:08:36,120 Speaker 1: next studio. So the greatest thing about all of those 148 00:08:36,200 --> 00:08:40,280 Speaker 1: days is that the Eagles Leonard skinnerd were always in 149 00:08:40,720 --> 00:08:43,600 Speaker 1: the next room or two rooms away. And in those 150 00:08:43,679 --> 00:08:46,720 Speaker 1: days you could visit each other. There was no you know, 151 00:08:46,840 --> 00:08:48,600 Speaker 1: you can't come in here. There was none of that, 152 00:08:48,880 --> 00:08:52,560 Speaker 1: you know, and we enjoyed that I could go in 153 00:08:52,600 --> 00:08:55,760 Speaker 1: and listen to them. I played with them all night 154 00:08:56,480 --> 00:08:59,400 Speaker 1: without coming up with anything creative. We were just having 155 00:08:59,400 --> 00:09:03,520 Speaker 1: a blast, you know. Was there a sense from you 156 00:09:03,800 --> 00:09:06,800 Speaker 1: or all three of you that you had something special 157 00:09:07,120 --> 00:09:10,160 Speaker 1: and that was the hand you wanted to play? Well 158 00:09:10,160 --> 00:09:11,920 Speaker 1: there was a brand name, well, you know, then you 159 00:09:12,040 --> 00:09:14,840 Speaker 1: deally with the brand name, which wasn't even called that 160 00:09:14,920 --> 00:09:16,640 Speaker 1: when we were a group, you know, there was no 161 00:09:16,720 --> 00:09:19,559 Speaker 1: such thing as a brand name. You know, it's branding. Yeah, 162 00:09:19,760 --> 00:09:22,520 Speaker 1: So I've had people come up to me Clive Davis's 163 00:09:22,559 --> 00:09:26,199 Speaker 1: dinner a couple of years back. I worked for Forbes magazine. 164 00:09:26,360 --> 00:09:31,000 Speaker 1: I'd like to talk to you about branding. I don't 165 00:09:31,040 --> 00:09:34,480 Speaker 1: know anything about branding. You got there. We just became 166 00:09:34,520 --> 00:09:37,719 Speaker 1: a group, you know, so it wasn't really this is 167 00:09:37,800 --> 00:09:39,880 Speaker 1: the cash cow, this is what we gotta do. I 168 00:09:39,880 --> 00:09:41,520 Speaker 1: think it was that way for a lot of people. 169 00:09:42,160 --> 00:09:46,880 Speaker 1: But I remember the time when R. S O. The 170 00:09:46,960 --> 00:09:51,560 Speaker 1: company took away our song copyrights without telling us, and 171 00:09:51,640 --> 00:09:54,880 Speaker 1: so suddenly they owned all of our songs. How were 172 00:09:54,920 --> 00:09:57,440 Speaker 1: they able to do that? By forming a company in 173 00:09:57,480 --> 00:10:01,120 Speaker 1: Holland and playing all kinds of tax ga they managed 174 00:10:01,160 --> 00:10:04,400 Speaker 1: to acquire all of our copyrights without us knowing. And 175 00:10:04,440 --> 00:10:07,000 Speaker 1: that caused really like World War three, I mean, And 176 00:10:07,120 --> 00:10:09,319 Speaker 1: so you look at the period when the bags were 177 00:10:09,320 --> 00:10:12,760 Speaker 1: in trouble, look behind the scenes. You know there was 178 00:10:12,800 --> 00:10:16,200 Speaker 1: something else going on that was intense. Were you able 179 00:10:16,200 --> 00:10:18,840 Speaker 1: to get the rights back? Got them all back? But 180 00:10:18,960 --> 00:10:20,680 Speaker 1: that took a lot of energy out of me. It 181 00:10:20,679 --> 00:10:24,040 Speaker 1: took me about a year or two to finally get 182 00:10:24,120 --> 00:10:28,000 Speaker 1: things back in our own ownership. I told Robert stick 183 00:10:28,040 --> 00:10:30,080 Speaker 1: Would that I would never write another song if he 184 00:10:30,120 --> 00:10:34,520 Speaker 1: didn't get back the songs. And Morris and Rob they 185 00:10:34,520 --> 00:10:37,400 Speaker 1: didn't really want to fight. They were still too naive. 186 00:10:37,480 --> 00:10:40,000 Speaker 1: They just sort of, you know, it's having success, let's 187 00:10:40,040 --> 00:10:42,439 Speaker 1: not let's not argue with it. But did that fall 188 00:10:42,520 --> 00:10:45,320 Speaker 1: on you to be the more the business mind in 189 00:10:45,360 --> 00:10:48,400 Speaker 1: the trio would do. The other two were more pure artists, 190 00:10:48,480 --> 00:10:49,920 Speaker 1: and they were like, hey, man, I really don't have 191 00:10:49,960 --> 00:10:53,640 Speaker 1: the stomach for that. Well, I couldn't. I couldn't stomped 192 00:10:53,679 --> 00:10:56,560 Speaker 1: the idea that someone could take away your songs. I 193 00:10:56,640 --> 00:10:59,920 Speaker 1: just couldn't live with that. So if they were okay 194 00:11:00,080 --> 00:11:02,319 Speaker 1: with that, it wasn't really a matter of that's how 195 00:11:02,360 --> 00:11:04,920 Speaker 1: they felt. It was more a matter that Robert Stick 196 00:11:04,960 --> 00:11:09,080 Speaker 1: would on rso played divide and Conquer, you know, so 197 00:11:09,240 --> 00:11:11,960 Speaker 1: they would nurture and be nice to Robin and Morris, 198 00:11:11,960 --> 00:11:14,200 Speaker 1: and Robin and Morris wouldn't worry about it, you know. 199 00:11:15,120 --> 00:11:17,840 Speaker 1: So it's all about that. It's people whispering in your ears. 200 00:11:18,640 --> 00:11:21,120 Speaker 1: It's the same with every group. You know. There's always 201 00:11:21,160 --> 00:11:23,400 Speaker 1: going to be someone in the industry that thinks they 202 00:11:23,400 --> 00:11:25,680 Speaker 1: can make something out of you if you don't have 203 00:11:25,760 --> 00:11:29,040 Speaker 1: your brothers. And that was said to Robin, was said 204 00:11:29,080 --> 00:11:32,800 Speaker 1: to Morris, and was said to me, I want to 205 00:11:32,800 --> 00:11:35,280 Speaker 1: do a movie about your career. I'm gonna do a 206 00:11:35,400 --> 00:11:38,400 Speaker 1: narrative film, and I want to play the record executive 207 00:11:38,400 --> 00:11:40,839 Speaker 1: who gets each of you alone in the same evening. 208 00:11:40,960 --> 00:11:44,120 Speaker 1: It says, you know, Marris, if you just unloaded these 209 00:11:44,160 --> 00:11:46,920 Speaker 1: two losers. You have no idea that the heights we 210 00:11:46,960 --> 00:11:50,040 Speaker 1: could hit. And Robin, these guys are just dead weight 211 00:11:50,080 --> 00:11:53,280 Speaker 1: around your I mean your brother. I mean we've seen 212 00:11:53,320 --> 00:11:56,040 Speaker 1: every color they have, Barry, I mean, come on, these 213 00:11:56,040 --> 00:11:58,400 Speaker 1: guys are just dragging you down. Man. You know all 214 00:11:58,440 --> 00:12:01,800 Speaker 1: that stuff Divide and conquer, But industrial, yeah, not the 215 00:12:01,880 --> 00:12:04,960 Speaker 1: family is not the wives, but the people who who 216 00:12:05,080 --> 00:12:08,640 Speaker 1: sought to gain from something or to or in fact 217 00:12:08,640 --> 00:12:11,280 Speaker 1: to screw Robert stick, would you know. So it was 218 00:12:11,440 --> 00:12:14,160 Speaker 1: it was a huge industrial game. Armad hurt Kin and 219 00:12:14,600 --> 00:12:18,679 Speaker 1: who was the head of Atlantic Records, and Robert began 220 00:12:18,679 --> 00:12:23,000 Speaker 1: to fall out because Jive Talking in the movie Saturday 221 00:12:23,080 --> 00:12:26,360 Speaker 1: Night Fever, where Robert only used the live version of 222 00:12:26,400 --> 00:12:29,120 Speaker 1: give talking so you wouldn't have to pay the extra, 223 00:12:29,800 --> 00:12:32,960 Speaker 1: you know, and a Reef Mardin and Armored went berserk 224 00:12:33,840 --> 00:12:36,800 Speaker 1: because they didn't have a record in Saturday Night Fever. 225 00:12:37,600 --> 00:12:39,840 Speaker 1: They didn't know it's going to be successful. In fact, 226 00:12:39,840 --> 00:12:42,280 Speaker 1: most of the time I think they doubted us anyway. 227 00:12:42,720 --> 00:12:45,560 Speaker 1: So when that happened, they were unhappy. They were really unhappy. 228 00:12:45,679 --> 00:12:47,440 Speaker 1: And so I think that was the cause of a 229 00:12:47,480 --> 00:12:49,920 Speaker 1: lot of a lot of crisis points for us as 230 00:12:49,960 --> 00:12:59,800 Speaker 1: well as Robert. I'm Alec Baldwin. You were listening to 231 00:13:00,040 --> 00:13:05,200 Speaker 1: Here's the Thing. If you love conversations with legendary singers, 232 00:13:05,480 --> 00:13:08,200 Speaker 1: be sure to check out my episode with the incomparable 233 00:13:08,440 --> 00:13:12,640 Speaker 1: Barbara streisand we shared lunch and talked about our love 234 00:13:12,720 --> 00:13:17,439 Speaker 1: for food and Barbara's early dreams of fame. I read 235 00:13:18,080 --> 00:13:22,720 Speaker 1: Nancy Drew Mysteries. I read movie magazines, you know, and 236 00:13:22,840 --> 00:13:27,200 Speaker 1: dream that someday maybe I could be famous. Do you 237 00:13:27,240 --> 00:13:30,120 Speaker 1: have that dream? Then when you're here, I would have 238 00:13:30,200 --> 00:13:33,760 Speaker 1: my pint of coffee, ice cream Briers and sit in 239 00:13:33,840 --> 00:13:36,880 Speaker 1: my bed and dream go to the movies sometimes on 240 00:13:36,880 --> 00:13:40,439 Speaker 1: a Saturday afternoon the Lowise Kings. We had the greatest 241 00:13:40,520 --> 00:13:47,880 Speaker 1: ice cream, and we also well yeah. Here the rest 242 00:13:47,920 --> 00:13:51,680 Speaker 1: of my conversation with Barbara streisand at Here's the Thing 243 00:13:51,800 --> 00:13:55,920 Speaker 1: dot org. After the break, we talk about disco and 244 00:13:56,000 --> 00:13:59,560 Speaker 1: how the b GS soundtrack to Saturday Night Fever in 245 00:13:59,679 --> 00:14:04,440 Speaker 1: ninety brought them near total domination of the music charts 246 00:14:04,840 --> 00:14:22,920 Speaker 1: and the dance floor. Hi'm Alec Baldwin, and you're listening 247 00:14:22,960 --> 00:14:35,400 Speaker 1: to Here's the Thing. The BGS distinguished themselves vocally with 248 00:14:35,560 --> 00:14:40,600 Speaker 1: their lush harmonies. Robin had his distinctive vibrato, Maurice anchored 249 00:14:40,600 --> 00:14:44,160 Speaker 1: the melody, and then, like an ace pitcher discovering a slider, 250 00:14:44,680 --> 00:14:55,640 Speaker 1: Barry found his falsetto well. It first happened on a 251 00:14:55,720 --> 00:14:59,160 Speaker 1: song called Please Read Me that I did a few 252 00:14:59,240 --> 00:15:03,440 Speaker 1: different false know harmonies to that song, basically because because 253 00:15:03,440 --> 00:15:07,320 Speaker 1: of the Beach Boys and Brian Wilson and I forgot 254 00:15:07,320 --> 00:15:10,120 Speaker 1: all about that. So we were recording Nights on Broadway 255 00:15:10,320 --> 00:15:14,160 Speaker 1: and a ref Martina producer at that point said, can 256 00:15:14,200 --> 00:15:17,880 Speaker 1: anybody scream like Paul McCartney. We all looked at each 257 00:15:17,920 --> 00:15:19,760 Speaker 1: other and said, well, how do you mean? He said, well, 258 00:15:19,800 --> 00:15:22,600 Speaker 1: you know, like I saw her standing there and and 259 00:15:22,640 --> 00:15:27,000 Speaker 1: how Paul suddenly screams high note? Can anyone? Can any 260 00:15:27,040 --> 00:15:29,760 Speaker 1: of you guys do that? And I said, well, yeah, 261 00:15:29,760 --> 00:15:32,280 Speaker 1: I've done something like that way back, I said, but 262 00:15:33,120 --> 00:15:36,120 Speaker 1: I became the volunteer. Nobody else really wanted to take 263 00:15:36,160 --> 00:15:38,080 Speaker 1: a shot at that, So I went out there and 264 00:15:38,960 --> 00:15:42,360 Speaker 1: just discovered it. At first, it was tentative and nervous 265 00:15:42,360 --> 00:15:45,280 Speaker 1: and and I didn't know what it was. And then 266 00:15:45,320 --> 00:15:48,600 Speaker 1: it just began to get stronger and stronger. With you 267 00:15:49,360 --> 00:15:54,120 Speaker 1: and your brothers, there's such a quotient of beauty inside 268 00:15:54,160 --> 00:15:59,320 Speaker 1: the music. There's so much sensitivity inside of the lyrics 269 00:15:59,400 --> 00:16:02,600 Speaker 1: and the singing. And I'm wondering when you would perform live, 270 00:16:03,000 --> 00:16:06,320 Speaker 1: what was your ritual if you had one. On the 271 00:16:06,400 --> 00:16:09,120 Speaker 1: day of a live show, did you cardle your voice? 272 00:16:09,760 --> 00:16:12,080 Speaker 1: How did you prep for a show? I would wake 273 00:16:12,200 --> 00:16:15,880 Speaker 1: up singing because after a show you lose your voice. 274 00:16:15,920 --> 00:16:19,160 Speaker 1: It's gone. So the next morning you just hope and 275 00:16:19,240 --> 00:16:21,040 Speaker 1: pray that it's going to come back again, you know, 276 00:16:21,520 --> 00:16:24,920 Speaker 1: so when you wake up, you start warming up, So 277 00:16:25,080 --> 00:16:28,600 Speaker 1: I'd be I'd been doing a lot of this different 278 00:16:28,680 --> 00:16:32,160 Speaker 1: range stuff. One set of principles for the falsetto another 279 00:16:32,160 --> 00:16:35,120 Speaker 1: set of principles for the real voice. Check out your 280 00:16:35,160 --> 00:16:38,880 Speaker 1: highest note, do it all day and it comes back 281 00:16:39,120 --> 00:16:41,400 Speaker 1: if you're lucky. And how much before you would do 282 00:16:41,440 --> 00:16:44,720 Speaker 1: a live show? How much would you rehearse prior to 283 00:16:44,720 --> 00:16:47,080 Speaker 1: going on the rope? Rehearsal would you would usually be 284 00:16:47,160 --> 00:16:51,680 Speaker 1: about a month with weekends out so you could work 285 00:16:51,760 --> 00:16:55,440 Speaker 1: your chops back again, and that way you develop strength 286 00:16:55,480 --> 00:16:59,400 Speaker 1: and you develop confidence. And these days I have had 287 00:16:59,480 --> 00:17:02,880 Speaker 1: these three eighties that are amazing, and so any song 288 00:17:03,400 --> 00:17:06,960 Speaker 1: where Robin might have sung, they cover me and they 289 00:17:06,960 --> 00:17:11,280 Speaker 1: do those things. But there's actually nothing like walking from 290 00:17:11,320 --> 00:17:13,240 Speaker 1: the dressing room to the stage. Nothing like it. In 291 00:17:13,280 --> 00:17:16,600 Speaker 1: the word I think Bruce Springsteen said it, there's there's 292 00:17:16,640 --> 00:17:20,040 Speaker 1: something magical about hearing the crowd two minutes before you 293 00:17:20,040 --> 00:17:23,120 Speaker 1: walk on the streak coming. You're getting closer to that. Yeah, 294 00:17:24,080 --> 00:17:28,960 Speaker 1: music occupies such a unique place in people's lives, and 295 00:17:29,000 --> 00:17:33,600 Speaker 1: really dwarfs of film and television, because film and television 296 00:17:33,640 --> 00:17:35,399 Speaker 1: is something you have to make an appointment with, you 297 00:17:35,440 --> 00:17:38,280 Speaker 1: have to sit and watch it. Where music is something 298 00:17:38,320 --> 00:17:40,679 Speaker 1: that you can have in your life anywhere. You can 299 00:17:40,720 --> 00:17:43,399 Speaker 1: be driving, you could be having sex, you could be 300 00:17:43,400 --> 00:17:48,800 Speaker 1: at the gym jogging. Music is in your ears at will, 301 00:17:48,920 --> 00:17:52,040 Speaker 1: whenever you want it to be. And therefore, and I 302 00:17:52,040 --> 00:17:53,840 Speaker 1: think when people I always say the same line when 303 00:17:53,880 --> 00:17:57,560 Speaker 1: you die, Uh, you don't remember an episode of Seinfeld? 304 00:17:58,040 --> 00:18:01,000 Speaker 1: You remember? How can you ment a broken heart? You 305 00:18:01,040 --> 00:18:03,240 Speaker 1: know what I mean? Yes, I do. And then the 306 00:18:03,359 --> 00:18:07,400 Speaker 1: question then becomes why why does music and harmonics and 307 00:18:07,800 --> 00:18:10,840 Speaker 1: vibrations and notes mean so much to us? You know, 308 00:18:10,920 --> 00:18:13,639 Speaker 1: I love Frank Sinatra as much as I love Pavarotti. 309 00:18:14,359 --> 00:18:17,880 Speaker 1: I love the Distant Past, the immigrant music as much 310 00:18:17,920 --> 00:18:21,000 Speaker 1: as I love country music. I don't have categories, you know, 311 00:18:21,080 --> 00:18:23,760 Speaker 1: I just love what I love and if it's not 312 00:18:23,800 --> 00:18:26,920 Speaker 1: turning music? But why why do we all do this? 313 00:18:27,200 --> 00:18:30,159 Speaker 1: You know? What is the need in us? So I 314 00:18:30,160 --> 00:18:32,240 Speaker 1: want to do something about that. I'd love to do 315 00:18:32,280 --> 00:18:35,480 Speaker 1: a program about trying to understand that. I mean, this 316 00:18:35,560 --> 00:18:38,879 Speaker 1: is a corny question, but like, have you ever stood 317 00:18:38,880 --> 00:18:41,840 Speaker 1: there and you were going to sing a lyric there 318 00:18:41,920 --> 00:18:46,160 Speaker 1: was a particularly exquisite lyric of one of your most 319 00:18:46,280 --> 00:18:48,840 Speaker 1: famous songs and you thought you were going to break 320 00:18:48,840 --> 00:18:52,720 Speaker 1: down crying? Yeah, have you over been almost overwhelmed by 321 00:18:52,760 --> 00:18:56,240 Speaker 1: the music you're singing? Yes, we wrote a song called 322 00:18:56,240 --> 00:18:59,760 Speaker 1: Wish You Were Here for Andy because he passed away 323 00:18:59,760 --> 00:19:02,320 Speaker 1: at the age at thirty, and we wanted to do 324 00:19:02,359 --> 00:19:06,239 Speaker 1: it on stage and we never could. So, you know, 325 00:19:06,280 --> 00:19:08,360 Speaker 1: we got through about two or three lines and then 326 00:19:08,400 --> 00:19:12,040 Speaker 1: looked at each other, we can't do this. We just 327 00:19:12,080 --> 00:19:14,960 Speaker 1: can't do this. It's it makes it just makes me cry. 328 00:19:15,000 --> 00:19:18,280 Speaker 1: I just can't sing it. At least the song is there, 329 00:19:18,359 --> 00:19:20,520 Speaker 1: you know, But yes, that was a moment. That was 330 00:19:20,560 --> 00:19:23,159 Speaker 1: a moment. It's all part of it. You're you're in 331 00:19:23,200 --> 00:19:26,600 Speaker 1: a way, you're sort of acting and you're pretending to 332 00:19:26,640 --> 00:19:29,080 Speaker 1: be someone that you probably don't believe you are anyway. 333 00:19:29,680 --> 00:19:32,520 Speaker 1: You know, the song has always moved me. How deep 334 00:19:32,560 --> 00:19:36,960 Speaker 1: is your love moves me? And and immortality the song 335 00:19:37,000 --> 00:19:40,199 Speaker 1: that Celine Dion. I can't believe you said that. Every 336 00:19:40,200 --> 00:19:42,440 Speaker 1: time I hear that song, I think I would break 337 00:19:42,480 --> 00:19:44,840 Speaker 1: down if I sang that song because just the meaning 338 00:19:44,880 --> 00:19:48,159 Speaker 1: of that song. You wrote that song? Yeah, yeah, what 339 00:19:48,400 --> 00:19:50,760 Speaker 1: is that song about in your mind? Well, I think 340 00:19:50,800 --> 00:19:53,679 Speaker 1: it's a it's at some point in your life you 341 00:19:53,760 --> 00:19:56,760 Speaker 1: reflect on who you are and what you are and 342 00:19:56,760 --> 00:20:00,640 Speaker 1: and the culmination of your opinion. And if you can 343 00:20:00,680 --> 00:20:03,840 Speaker 1: do that, then everything's okay, you know. So so for me, 344 00:20:03,880 --> 00:20:05,680 Speaker 1: it's like, so this is who I am, this is 345 00:20:05,720 --> 00:20:08,320 Speaker 1: all I know, and I must choose to live for 346 00:20:08,359 --> 00:20:10,480 Speaker 1: all that I can give the spot that makes the 347 00:20:10,520 --> 00:20:14,080 Speaker 1: power grow. But I also find it's kind of a poem, 348 00:20:14,119 --> 00:20:17,919 Speaker 1: if you will, about being a famous artist. You know, 349 00:20:18,040 --> 00:20:20,600 Speaker 1: like inside some of those lyrics, I hear someone sitting 350 00:20:20,600 --> 00:20:23,159 Speaker 1: They're going, there's no turning back for me. Now that's right, 351 00:20:23,720 --> 00:20:26,560 Speaker 1: that's right. But we don't say goodbye, And that to 352 00:20:26,640 --> 00:20:29,040 Speaker 1: me is the key part of the song. It doesn't 353 00:20:29,040 --> 00:20:31,320 Speaker 1: matter whether I'm here or not. There are no goodbyes, 354 00:20:31,840 --> 00:20:35,400 Speaker 1: you know. And it was written for Robert Stiegwood wanting 355 00:20:35,640 --> 00:20:38,160 Speaker 1: a song for the stage version of Saturday Night Fever, 356 00:20:39,160 --> 00:20:42,879 Speaker 1: and we'd already come up with the song, but he 357 00:20:42,960 --> 00:20:44,560 Speaker 1: wanted the guy in the show to sing it. And 358 00:20:44,600 --> 00:20:46,960 Speaker 1: I thought, but this is a woman's song. It's a 359 00:20:46,960 --> 00:20:49,680 Speaker 1: woman's song. Some songs of women and some songs of 360 00:20:49,720 --> 00:20:53,520 Speaker 1: the men, you know, so there's a masculinity in some music, 361 00:20:53,560 --> 00:20:55,760 Speaker 1: and there's a femininity. And that's why I went with 362 00:20:55,800 --> 00:20:59,640 Speaker 1: Barbara's right work with Diana Ross and the ability to 363 00:21:00,040 --> 00:21:04,000 Speaker 1: mean Selene, to lock in to the feminine side, you know, 364 00:21:04,640 --> 00:21:09,000 Speaker 1: and understand that a Barber Streisan still doesn't quite understand 365 00:21:09,320 --> 00:21:15,600 Speaker 1: what woman in love means, you know. It's it's a 366 00:21:15,720 --> 00:21:18,840 Speaker 1: right idea. Call her and get a rebuttals. It's a 367 00:21:18,920 --> 00:21:21,119 Speaker 1: right out offend, which is in the song. She just 368 00:21:21,240 --> 00:21:23,800 Speaker 1: what does that mean? It's a right out offend. And 369 00:21:23,840 --> 00:21:27,080 Speaker 1: I did spend some time explaining before the Me Too 370 00:21:27,160 --> 00:21:30,840 Speaker 1: movement that women can fall in love too without telling anybody. 371 00:21:31,240 --> 00:21:33,480 Speaker 1: It's not all down to the guy, you don't know, 372 00:21:33,840 --> 00:21:36,520 Speaker 1: And I had to sort of talk her through that. 373 00:21:36,800 --> 00:21:39,040 Speaker 1: Kenny Rogers still doesn't know what Alans in the stream 374 00:21:39,119 --> 00:21:47,440 Speaker 1: is about. Come on, Kenny, well, let's let's let's throw 375 00:21:47,520 --> 00:21:49,880 Speaker 1: your cards on the table here. What songs that you've 376 00:21:49,880 --> 00:21:52,240 Speaker 1: immortalized do you not really know what they're about? Come on, 377 00:21:52,840 --> 00:21:55,280 Speaker 1: it's it's time for you to fest them saying you 378 00:21:55,280 --> 00:21:58,280 Speaker 1: don't really get the meaning of We never recorded a 379 00:21:58,320 --> 00:22:01,159 Speaker 1: song that we didn't understand. You know, there were some 380 00:22:01,359 --> 00:22:05,199 Speaker 1: very abstract songs lemons, never forget. I think he's a 381 00:22:05,280 --> 00:22:09,480 Speaker 1: very abstract song and not everybody's favorite. Everything had a 382 00:22:09,520 --> 00:22:12,000 Speaker 1: purpose to it. We began to learn from the Beatles 383 00:22:12,000 --> 00:22:14,359 Speaker 1: that you could write about anything. You could write about 384 00:22:14,560 --> 00:22:17,840 Speaker 1: life itself. You know. So you had Paperback Wright or 385 00:22:17,840 --> 00:22:21,680 Speaker 1: and you had Yellow Submarine, and and it was okay, 386 00:22:21,920 --> 00:22:24,600 Speaker 1: you know, you can write about these things. It doesn't 387 00:22:24,640 --> 00:22:27,600 Speaker 1: all have to be about having your heartbroken or falling 388 00:22:27,600 --> 00:22:31,080 Speaker 1: in love or they went through that, but then they understood, 389 00:22:31,160 --> 00:22:36,119 Speaker 1: they understood something about life. That's where Sergeant Pepper reached 390 00:22:36,119 --> 00:22:40,199 Speaker 1: its point, the culmination of the peak three creativity that 391 00:22:40,240 --> 00:22:43,240 Speaker 1: these guys were giving us. You know, well, when you 392 00:22:43,400 --> 00:22:46,480 Speaker 1: mentioned Sergeant Pepper, and I think when you go into 393 00:22:46,960 --> 00:22:51,399 Speaker 1: Saturday night Fever and when you're inside that experience and 394 00:22:51,440 --> 00:22:54,399 Speaker 1: you're recording the music to that. Did they show you 395 00:22:54,520 --> 00:22:56,960 Speaker 1: cuts of the film? Did you see some footage of 396 00:22:56,960 --> 00:22:59,679 Speaker 1: the film or the whole film to inspire you to 397 00:22:59,680 --> 00:23:01,240 Speaker 1: go write the music? Or you had to write the 398 00:23:01,320 --> 00:23:05,639 Speaker 1: music without any cinematic reference point. Robert sent us a script, 399 00:23:05,680 --> 00:23:08,280 Speaker 1: but we didn't read it. We just we just listened 400 00:23:08,320 --> 00:23:11,560 Speaker 1: to his verbial describing what it was, which to him, 401 00:23:11,600 --> 00:23:14,040 Speaker 1: it was you didn't see the film finished and then 402 00:23:14,040 --> 00:23:16,919 Speaker 1: write the music. Wow. He sent us a script, but 403 00:23:16,960 --> 00:23:19,679 Speaker 1: we didn't read it, and we just said, tell us 404 00:23:19,680 --> 00:23:21,959 Speaker 1: what you want, tell us what you think it's it is, Well, 405 00:23:22,000 --> 00:23:25,760 Speaker 1: it's tribal rites of a new Saturday Night, okay, and 406 00:23:25,800 --> 00:23:28,879 Speaker 1: as that was an article by Nick con And in 407 00:23:28,920 --> 00:23:31,639 Speaker 1: New York right. And he said, but I need a 408 00:23:31,680 --> 00:23:34,919 Speaker 1: better name for the film. And I said, well what 409 00:23:34,960 --> 00:23:41,840 Speaker 1: about night Fever? And he said, no, that's too pornographic. Okay. Um, 410 00:23:41,880 --> 00:23:43,520 Speaker 1: But then in the end it turned into Saturday in 411 00:23:43,600 --> 00:23:46,680 Speaker 1: Night Fever and I didn't know. So when you're inside 412 00:23:46,720 --> 00:23:50,800 Speaker 1: that experience of making that music, do you kind of 413 00:23:50,960 --> 00:23:53,399 Speaker 1: know that you're onto something or you had no idea 414 00:23:53,440 --> 00:23:55,520 Speaker 1: what that was going to become. We had no idea 415 00:23:55,560 --> 00:23:58,680 Speaker 1: what it was going to become and we were trying 416 00:23:58,760 --> 00:24:02,080 Speaker 1: to reinvent ourselves anyway. We just mixed a live album 417 00:24:02,119 --> 00:24:06,000 Speaker 1: that we've done in l a and then Robert called 418 00:24:06,040 --> 00:24:08,000 Speaker 1: up and said, I need five or six songs for 419 00:24:08,040 --> 00:24:12,920 Speaker 1: this film with this new gentleman named John Travolta. So okay, 420 00:24:13,119 --> 00:24:15,880 Speaker 1: all of that in itself is exciting enough. It's sort 421 00:24:15,880 --> 00:24:19,080 Speaker 1: of kickstarted the ideas, and staying alive was one of 422 00:24:19,080 --> 00:24:21,920 Speaker 1: those ideas. More than a woman, if I can't have you, 423 00:24:22,920 --> 00:24:26,919 Speaker 1: how deep your love obviously a night fever. So we 424 00:24:27,040 --> 00:24:31,119 Speaker 1: just started writing. Were fifty miles outside of Paris. We 425 00:24:31,160 --> 00:24:33,480 Speaker 1: didn't have, you know, television, we didn't have any of 426 00:24:33,480 --> 00:24:36,480 Speaker 1: those distractions if you like, and we just got on 427 00:24:36,600 --> 00:24:39,560 Speaker 1: with it and about three weeks, two or three weeks, 428 00:24:39,600 --> 00:24:41,679 Speaker 1: and then we got serious when we got back to 429 00:24:41,720 --> 00:24:45,240 Speaker 1: Miami and made the records for real. Well, I just 430 00:24:45,280 --> 00:24:48,080 Speaker 1: want to say as a reference point that I am 431 00:24:48,119 --> 00:24:51,040 Speaker 1: in Washington, d C. I went to college down there first, 432 00:24:52,000 --> 00:24:56,399 Speaker 1: my then girlfriend, who was very much of a nightclub dancing. 433 00:24:57,400 --> 00:25:01,040 Speaker 1: She and her roommate, I think there was like three couples. 434 00:25:01,440 --> 00:25:04,600 Speaker 1: We go see the movie Saturday Night Fever, and we 435 00:25:04,640 --> 00:25:07,000 Speaker 1: said to ourselves and the guys are looking at each other, going, 436 00:25:07,280 --> 00:25:10,080 Speaker 1: Jesus Christ, look at this. You think I'm gonna get 437 00:25:10,160 --> 00:25:12,000 Speaker 1: up there and do that in a room full of people, 438 00:25:12,040 --> 00:25:14,120 Speaker 1: Like she wants to go to clubs and go dancing 439 00:25:14,160 --> 00:25:18,800 Speaker 1: like this. I said, that's never happening, right, happening within 440 00:25:18,880 --> 00:25:22,560 Speaker 1: two weeks, I had the platform shoes. I had my 441 00:25:22,600 --> 00:25:26,400 Speaker 1: hair blow dried to death. My hair was blow dry 442 00:25:26,480 --> 00:25:30,200 Speaker 1: like it with some French pastry. I put more hair sprayed. 443 00:25:30,240 --> 00:25:34,080 Speaker 1: My hair was all poofed out and out. And the 444 00:25:34,160 --> 00:25:38,960 Speaker 1: shirt I got, the shirt opened right to I got 445 00:25:38,960 --> 00:25:43,320 Speaker 1: the I'm ready, I'm ready to go. It was a tsunami. 446 00:25:43,640 --> 00:25:47,080 Speaker 1: Saturday night. Fever was a tsunami. Yeah, whether you like 447 00:25:47,200 --> 00:25:49,480 Speaker 1: it or not, it was. It was gonna stay around, 448 00:25:49,520 --> 00:25:52,320 Speaker 1: It was gonna liked it. It was just every week. 449 00:25:52,359 --> 00:25:55,320 Speaker 1: Well that My story is that we were starting to 450 00:25:55,320 --> 00:25:59,480 Speaker 1: shoot Sagan Pepper the movie right and and we had 451 00:26:00,000 --> 00:26:03,000 Speaker 1: Peter Frampton had his own win a bagel, and we 452 00:26:03,080 --> 00:26:06,800 Speaker 1: had one Winner bagel between us, and about two weeks 453 00:26:06,840 --> 00:26:11,000 Speaker 1: into shooting, at the same time, Fever came out and 454 00:26:11,200 --> 00:26:13,760 Speaker 1: all of the dancers in the movie was suddenly dancing 455 00:26:13,760 --> 00:26:16,840 Speaker 1: to this music at the launch breaks and we could 456 00:26:16,840 --> 00:26:18,919 Speaker 1: hear it from Win a Bagel like, what what are 457 00:26:18,920 --> 00:26:21,439 Speaker 1: they doing? Why are they playing Saturday Fever? You know, 458 00:26:22,280 --> 00:26:25,360 Speaker 1: because at that point hadn't taken off, you know, And 459 00:26:25,400 --> 00:26:28,040 Speaker 1: with then about a week we had our own separate 460 00:26:28,040 --> 00:26:32,439 Speaker 1: Win a Bagel. So there's Hollywood right there. You know, 461 00:26:34,600 --> 00:26:36,760 Speaker 1: we made that up. But we made that movie. The 462 00:26:36,800 --> 00:26:39,679 Speaker 1: soundtrack to that movie. We're the only other group to 463 00:26:39,720 --> 00:26:43,400 Speaker 1: record the Hold of Sergeant Pepper with George Martin. Right, 464 00:26:43,480 --> 00:26:46,200 Speaker 1: So there's something that's something I'm proud of. How would 465 00:26:46,200 --> 00:26:50,280 Speaker 1: you describe that experience? You're performing somebody else's music. Oh yeah, 466 00:26:50,320 --> 00:26:53,359 Speaker 1: but we were learning serge Yes, the legendary music, and 467 00:26:53,400 --> 00:26:57,480 Speaker 1: we wanted to perform that music. And George Martin was 468 00:26:57,680 --> 00:27:01,159 Speaker 1: happy to show us the different ricks that that they 469 00:27:01,160 --> 00:27:04,360 Speaker 1: would all get up to, you know, the song Sun 470 00:27:04,520 --> 00:27:09,440 Speaker 1: King or because they all sang the same melody once 471 00:27:09,760 --> 00:27:12,680 Speaker 1: and then they would sing the harmony all together, the 472 00:27:12,800 --> 00:27:15,280 Speaker 1: same thing again, all singing the same melody, and then 473 00:27:15,280 --> 00:27:17,760 Speaker 1: they did the third harmony and they'd sing all that together, 474 00:27:18,760 --> 00:27:22,560 Speaker 1: so that you've got three guys on three tracks singing 475 00:27:22,560 --> 00:27:26,359 Speaker 1: each harmony, not three part harmony. And then you played 476 00:27:26,359 --> 00:27:29,359 Speaker 1: that back and it's mind blowing. So we just learned stuff. 477 00:27:29,640 --> 00:27:34,720 Speaker 1: We learned stuff. Whose idea was it to do the documentary? Well, 478 00:27:34,760 --> 00:27:39,320 Speaker 1: it was Frank Marshall, Nigel Saint Clair, and they had 479 00:27:39,359 --> 00:27:41,760 Speaker 1: done this an Archer documentary. They've done a couple of 480 00:27:41,760 --> 00:27:45,600 Speaker 1: others that they were very proud of the Beatles eight 481 00:27:45,640 --> 00:27:48,280 Speaker 1: days a week, I think they did that. The day 482 00:27:48,320 --> 00:27:50,920 Speaker 1: that we signed with Capital was the day I met 483 00:27:50,920 --> 00:27:54,600 Speaker 1: Frank Marshall and Steve Barnett, the president of that point, 484 00:27:54,760 --> 00:27:57,640 Speaker 1: introduced me to Frank Marshall. Frank Marshall said, we're gonna 485 00:27:57,640 --> 00:28:01,119 Speaker 1: do this documentary and and tell us tell us something 486 00:28:01,119 --> 00:28:03,920 Speaker 1: about how it began for you guys. And I did. 487 00:28:04,480 --> 00:28:06,920 Speaker 1: I told him a story and he went, okay, we're 488 00:28:06,920 --> 00:28:09,520 Speaker 1: going to do this documentary. And that's how it began. 489 00:28:09,920 --> 00:28:12,200 Speaker 1: But it was it was two years, two and a 490 00:28:12,240 --> 00:28:15,520 Speaker 1: half years before we saw anything, you know, and the 491 00:28:15,600 --> 00:28:20,080 Speaker 1: verse cut didn't fly very well. Why uh, there were 492 00:28:20,119 --> 00:28:25,320 Speaker 1: too many untruths, too many misconceptions that were everyone was saying, well, 493 00:28:25,359 --> 00:28:27,840 Speaker 1: that's true, but it really wasn't. So I had to 494 00:28:27,880 --> 00:28:30,760 Speaker 1: take issue with some of the things. And I know 495 00:28:30,880 --> 00:28:33,840 Speaker 1: that in the end some of those things may still 496 00:28:33,880 --> 00:28:36,159 Speaker 1: be there, but I never. I could never watch it 497 00:28:36,200 --> 00:28:39,160 Speaker 1: again because I can't watch my family pass one up 498 00:28:39,160 --> 00:28:51,080 Speaker 1: to the other. That's not fun. Very GiB Subscribe to 499 00:28:51,240 --> 00:28:54,320 Speaker 1: Hear The Thing on the I Heart Radio app, Apple 500 00:28:54,440 --> 00:28:58,760 Speaker 1: Podcasts or wherever you get your podcasts. While you're there, 501 00:28:58,960 --> 00:29:02,080 Speaker 1: leave us a review. When we return from the break, 502 00:29:02,200 --> 00:29:05,520 Speaker 1: Barry talks about his regrets and will also hear from 503 00:29:05,560 --> 00:29:26,360 Speaker 1: his son Steve. I'm Alec Baldwin and you're listening to 504 00:29:26,480 --> 00:29:40,920 Speaker 1: Here's the Thing that is, of course more than a 505 00:29:41,000 --> 00:29:45,160 Speaker 1: woman from the soundtrack of Saturday Night Fever. It's been 506 00:29:45,160 --> 00:29:48,440 Speaker 1: a busy time for Barry Gibb. There's the new HBO 507 00:29:48,600 --> 00:29:52,880 Speaker 1: documentary about the Bigs, and earlier this year, Barry released 508 00:29:52,920 --> 00:29:56,600 Speaker 1: an album of big songs covered by some of Nashville's 509 00:29:56,680 --> 00:30:01,360 Speaker 1: biggest names. It's called Green Fields. These are people I 510 00:30:01,400 --> 00:30:04,640 Speaker 1: admired the most. These are country artists that have always 511 00:30:04,680 --> 00:30:07,240 Speaker 1: been in my blood so ever since I was a child. 512 00:30:08,000 --> 00:30:10,800 Speaker 1: Dolly Pardon has has been a really important part of 513 00:30:11,320 --> 00:30:22,920 Speaker 1: music for me. Hey day to me, I wanted to 514 00:30:23,120 --> 00:30:25,959 Speaker 1: get people I admired the most to sing our songs 515 00:30:26,240 --> 00:30:29,480 Speaker 1: and maybe it's volume two that it will happen in 516 00:30:29,520 --> 00:30:32,480 Speaker 1: the future. I don't know, but this was great fun 517 00:30:33,080 --> 00:30:35,840 Speaker 1: and I was more than intimidated. But it wasn't in 518 00:30:35,920 --> 00:30:38,280 Speaker 1: my hands. It was in Dave Cobbs sense. When you 519 00:30:38,320 --> 00:30:42,440 Speaker 1: say you were more than intimidated, absolutely, how so, well, 520 00:30:43,600 --> 00:30:46,920 Speaker 1: how many people do you truly admire? You know, so 521 00:30:46,960 --> 00:30:49,960 Speaker 1: when you're in their company, you just feel. When I 522 00:30:50,000 --> 00:30:54,400 Speaker 1: meet Paul McCartney, I don't know what to say. My 523 00:30:54,600 --> 00:30:57,280 Speaker 1: mouth won't won't say anything. You know. All I can 524 00:30:57,280 --> 00:31:04,880 Speaker 1: say is I feel fine. And you granted they must 525 00:31:04,880 --> 00:31:08,160 Speaker 1: have been intimidated to sing your music as well. Oh yeah, no, 526 00:31:08,240 --> 00:31:10,400 Speaker 1: it was all the way around, there's no question about that. 527 00:31:10,480 --> 00:31:13,240 Speaker 1: The only person I think was not intimidated by any 528 00:31:13,280 --> 00:31:16,640 Speaker 1: of us was Dave Cobble, the producer, So he was 529 00:31:16,680 --> 00:31:20,080 Speaker 1: the decider, he was the sider, he was the director. Well, 530 00:31:20,120 --> 00:31:23,160 Speaker 1: the cut you do with Dolly, What a beautiful rendering 531 00:31:23,240 --> 00:31:27,440 Speaker 1: that is of that song. When you hear other people 532 00:31:27,560 --> 00:31:31,440 Speaker 1: sing your songs, what goes through your mind? It's a 533 00:31:31,560 --> 00:31:35,520 Speaker 1: very flattering thing. It's like anytime over the years anyone's 534 00:31:35,560 --> 00:31:38,560 Speaker 1: sang one of our songs, it's someone's covering your song. 535 00:31:38,960 --> 00:31:42,560 Speaker 1: That's a huge compliment. So at the same feeling every 536 00:31:42,560 --> 00:31:45,560 Speaker 1: time and that goes back a long, long way. So 537 00:31:45,760 --> 00:31:49,240 Speaker 1: anyone's singing our songs is wow, why did that person 538 00:31:49,320 --> 00:31:52,520 Speaker 1: sing our song? Now, when someone wants to sing your songs, 539 00:31:53,280 --> 00:31:56,080 Speaker 1: is it open to anybody? Anyone who records our song 540 00:31:56,720 --> 00:31:59,200 Speaker 1: doesn't need to ask us. They don't. It's just the 541 00:31:59,200 --> 00:32:01,280 Speaker 1: way it works. No one needs to ask us to 542 00:32:01,320 --> 00:32:03,600 Speaker 1: sing one of our songs. If you're using one of 543 00:32:03,600 --> 00:32:06,400 Speaker 1: our songs in a movie or in a single license 544 00:32:06,840 --> 00:32:09,320 Speaker 1: like a commercial, you have to ask, and you have 545 00:32:09,360 --> 00:32:12,120 Speaker 1: to make a sure. But beyond that, anyone can record 546 00:32:12,120 --> 00:32:14,440 Speaker 1: our songs. But they pay you the royalties for you 547 00:32:14,480 --> 00:32:17,000 Speaker 1: as the songwriter, Well it will be we'd be paid 548 00:32:17,000 --> 00:32:20,920 Speaker 1: indirectly by the system that works, like mechanical royalties and 549 00:32:21,400 --> 00:32:24,360 Speaker 1: things like that. But what the only question I ever 550 00:32:24,440 --> 00:32:27,960 Speaker 1: had was, I don't like commercials about alcohol. I don't 551 00:32:28,000 --> 00:32:30,840 Speaker 1: like commercials about cigarettes. Is it true that you have 552 00:32:31,000 --> 00:32:34,520 Speaker 1: a someone's making a feature film about the Beach's. Yeah, 553 00:32:34,560 --> 00:32:38,080 Speaker 1: the biopics in its own process right now. Graham King 554 00:32:38,200 --> 00:32:40,880 Speaker 1: is in charge of that. He did the Bohemian Rhapsody movie. 555 00:32:41,640 --> 00:32:44,920 Speaker 1: You're gonna have some participation in that. Absolutely. I'm sort 556 00:32:44,920 --> 00:32:48,360 Speaker 1: of an agreement with Graham and that is that sometimes 557 00:32:49,080 --> 00:32:51,840 Speaker 1: the story can be a little different than the truth, 558 00:32:52,480 --> 00:32:57,840 Speaker 1: but not too much. You more than your two brothers. Um. 559 00:32:57,920 --> 00:33:01,320 Speaker 1: I'll say this only because this is my recollection of it. 560 00:33:01,360 --> 00:33:03,320 Speaker 1: You know, you guys would get out there and sing. 561 00:33:04,440 --> 00:33:06,440 Speaker 1: When you watched you sing on film, you know, it's 562 00:33:06,440 --> 00:33:08,560 Speaker 1: a different story when you're just listening to the music, 563 00:33:08,640 --> 00:33:14,560 Speaker 1: But when you'd watched you sing. Your brothers are pretty 564 00:33:14,600 --> 00:33:19,600 Speaker 1: straightforward musicians, and here you are, and the hair and 565 00:33:19,680 --> 00:33:24,160 Speaker 1: the clothes. He was like this preposterously handsome guy. And 566 00:33:24,200 --> 00:33:26,320 Speaker 1: then you'd open your mouth and you'd sing these like 567 00:33:26,440 --> 00:33:29,840 Speaker 1: heart stoppingly beautiful songs. And I want to ask you that, 568 00:33:29,960 --> 00:33:33,400 Speaker 1: when the bjs were at the zenith, when everything was 569 00:33:33,440 --> 00:33:35,920 Speaker 1: just clicking for you, what was the best part of 570 00:33:35,920 --> 00:33:37,960 Speaker 1: it and what was the what was the downside of 571 00:33:37,960 --> 00:33:40,440 Speaker 1: it for you? You know, I I there's a lot 572 00:33:40,480 --> 00:33:44,240 Speaker 1: of things I regret. Saturday Night People wasn't something I regretted. 573 00:33:44,800 --> 00:33:48,840 Speaker 1: I didn't like people disregarding us after fever. I thought 574 00:33:48,880 --> 00:33:52,480 Speaker 1: that was unfair. But but that's the industry, you know, 575 00:33:53,480 --> 00:33:56,760 Speaker 1: it's very fragile. As you said earlier, it will it 576 00:33:56,760 --> 00:33:59,760 Speaker 1: will turn on you in a heartbeat. And so I 577 00:33:59,760 --> 00:34:03,680 Speaker 1: think generally, what I regret is that we became over exposed, 578 00:34:03,920 --> 00:34:07,640 Speaker 1: and I think that that was from fever, yeah yeah, 579 00:34:07,720 --> 00:34:11,520 Speaker 1: and everything else was just having five songs in the 580 00:34:11,560 --> 00:34:14,040 Speaker 1: top ten or three songs in the top five. We 581 00:34:14,080 --> 00:34:18,279 Speaker 1: were becoming pretty tainted. You know. We were beginning not 582 00:34:18,400 --> 00:34:22,319 Speaker 1: to really appreciate having a number one record. But we 583 00:34:22,440 --> 00:34:24,640 Speaker 1: equaled the Beatles record. We have six number ones in 584 00:34:24,640 --> 00:34:29,040 Speaker 1: a row, and that was all right. I can live 585 00:34:29,080 --> 00:34:32,040 Speaker 1: with that. I can lit work. That'll work, you know. 586 00:34:33,480 --> 00:34:35,479 Speaker 1: But I mean, my other thing is that I find 587 00:34:35,480 --> 00:34:38,000 Speaker 1: that the business is that people tend to look at 588 00:34:38,080 --> 00:34:40,880 Speaker 1: something that's super successful and say, well, if it's successful, 589 00:34:40,920 --> 00:34:44,720 Speaker 1: then it's like potato chips. It can't be really that great. 590 00:34:44,920 --> 00:34:47,480 Speaker 1: It's just it's just it's like a snack food. If 591 00:34:47,480 --> 00:34:50,160 Speaker 1: it's something that appeals to the general public too, masses 592 00:34:50,160 --> 00:34:52,560 Speaker 1: of the general publish. If you're selling tens of millions 593 00:34:52,560 --> 00:34:55,359 Speaker 1: of records, it can't really be that it's too commercial, right, 594 00:34:56,080 --> 00:34:58,600 Speaker 1: did you get You got it with that? Yes? But 595 00:34:58,880 --> 00:35:00,880 Speaker 1: you know, I look back a long way and I 596 00:35:00,960 --> 00:35:04,759 Speaker 1: see the final year of Elvis's life, the final year 597 00:35:04,800 --> 00:35:08,880 Speaker 1: of the Beatles, Michael Jackson and how they began to fragment, 598 00:35:09,600 --> 00:35:14,360 Speaker 1: you know, and because nothing ever really less a group 599 00:35:14,440 --> 00:35:17,520 Speaker 1: is not a natural state to be in, unless your relatives, 600 00:35:17,600 --> 00:35:20,719 Speaker 1: unless your brothers or sisters. So I see all that. 601 00:35:20,920 --> 00:35:24,440 Speaker 1: I see that in the end, people like Elvis Michael 602 00:35:25,120 --> 00:35:28,960 Speaker 1: Beatles began to make records that weren't quite up to 603 00:35:28,960 --> 00:35:33,839 Speaker 1: the scratch of Sergeant Pebble was well, when the disco inferno, 604 00:35:33,960 --> 00:35:37,560 Speaker 1: if you will, dies down, what happens to your songwriting 605 00:35:37,560 --> 00:35:41,279 Speaker 1: when you realize that's petered out that well because of 606 00:35:41,320 --> 00:35:43,640 Speaker 1: the backlash, we didn't base our lives on fever. We 607 00:35:43,760 --> 00:35:45,719 Speaker 1: just sort of well back to the studio, you know 608 00:35:46,320 --> 00:35:49,080 Speaker 1: that we were. You know, I've been married for fifty 609 00:35:49,160 --> 00:35:54,439 Speaker 1: years now. Last September was fifty years and and I've 610 00:35:54,440 --> 00:35:57,480 Speaker 1: had a wonderful time. You know. I love this that woman, 611 00:35:57,560 --> 00:36:00,080 Speaker 1: and we've been together for that long, and so I 612 00:36:00,760 --> 00:36:04,000 Speaker 1: always had her at my back. I always had I 613 00:36:04,080 --> 00:36:05,959 Speaker 1: never I never had to be out there on my own. 614 00:36:06,719 --> 00:36:09,920 Speaker 1: You had a home family. So at the end of EVA, 615 00:36:10,040 --> 00:36:12,920 Speaker 1: we were starting to raise kids, you know, and so 616 00:36:13,080 --> 00:36:18,280 Speaker 1: the distractions were plentiful, no plentiful. And you know, even 617 00:36:18,320 --> 00:36:20,520 Speaker 1: when that happens, you think to yourself. I know, I 618 00:36:20,560 --> 00:36:23,920 Speaker 1: thought to myself. Well, maybe that's it. That was warm, 619 00:36:24,080 --> 00:36:26,920 Speaker 1: that was great, that was wonderful. Maybe go back to Australia, 620 00:36:27,000 --> 00:36:30,240 Speaker 1: maybe go back to England and you start to question 621 00:36:30,280 --> 00:36:34,160 Speaker 1: your life and if it's time to change your life. 622 00:36:34,320 --> 00:36:37,480 Speaker 1: That was the moment you could have done it. Speaking 623 00:36:37,560 --> 00:36:42,200 Speaker 1: of family, your son plays with you from times. Yeah, 624 00:36:42,280 --> 00:36:44,480 Speaker 1: he's right, son, Stevie plays with you, and he also 625 00:36:44,520 --> 00:36:48,879 Speaker 1: plays some other types of music. He's like into heavy metals. 626 00:36:50,239 --> 00:36:52,279 Speaker 1: We need CTV to command just for one second, tell 627 00:36:52,320 --> 00:36:55,480 Speaker 1: us does he get the bends when he goes from 628 00:36:55,520 --> 00:36:59,120 Speaker 1: the music of Barry Gibb to the music of Metallica 629 00:36:59,239 --> 00:37:02,719 Speaker 1: or whatever you're doing. What's the seam in between that 630 00:37:02,800 --> 00:37:06,000 Speaker 1: kind of music? You know, I grew up watching the Bags. 631 00:37:06,400 --> 00:37:08,320 Speaker 1: I stood on the side of the stage as a kid, 632 00:37:09,040 --> 00:37:11,960 Speaker 1: and I thought my dad was the coolest guy on 633 00:37:12,000 --> 00:37:15,400 Speaker 1: planet Earth. You know, I really did. But what happened 634 00:37:15,480 --> 00:37:17,719 Speaker 1: was is there was a band called Kiss that came 635 00:37:17,719 --> 00:37:22,399 Speaker 1: out around a similar time, and that was my introduction 636 00:37:22,520 --> 00:37:25,560 Speaker 1: into hard rock and heavy metal. And I was always 637 00:37:25,600 --> 00:37:29,120 Speaker 1: fascinated with the guitar. So you know, when I saw 638 00:37:29,320 --> 00:37:31,640 Speaker 1: a guitar that was on fire, I said, Okay, I 639 00:37:32,160 --> 00:37:34,120 Speaker 1: don't know how or when I'm gonna get to do that. 640 00:37:34,160 --> 00:37:36,760 Speaker 1: But I gotta figure out how to do that. And 641 00:37:37,320 --> 00:37:40,520 Speaker 1: I knew enough to know that being a musician and 642 00:37:40,600 --> 00:37:45,200 Speaker 1: being Barry Gibb's son was probably a terrible idea, and 643 00:37:45,480 --> 00:37:49,320 Speaker 1: I knew that from a young age. So I followed 644 00:37:49,520 --> 00:37:52,759 Speaker 1: my joy with the guitar, and that took me a 645 00:37:52,880 --> 00:37:55,160 Speaker 1: lot of places. I I you know, I've played in 646 00:37:55,280 --> 00:37:57,799 Speaker 1: a bunch of heavy metal bands over the years, like 647 00:37:58,160 --> 00:38:02,239 Speaker 1: Black Label Society, Crowbar came to a sorrow, And the 648 00:38:02,239 --> 00:38:06,240 Speaker 1: thing is is that I figured it made me different 649 00:38:06,360 --> 00:38:09,000 Speaker 1: enough that I could maybe carve out a career and 650 00:38:09,080 --> 00:38:14,840 Speaker 1: not be compared to my dad. Well what happened is 651 00:38:15,080 --> 00:38:16,640 Speaker 1: my dad and I have always kind of, you know, 652 00:38:16,719 --> 00:38:19,120 Speaker 1: messed around a little bit, you know, writing songs and 653 00:38:19,120 --> 00:38:22,080 Speaker 1: stuff like that. So you know, I got to learn 654 00:38:22,120 --> 00:38:24,560 Speaker 1: about songwriting from the best, you know, and I got 655 00:38:24,560 --> 00:38:28,000 Speaker 1: to watch the BGS right many times over my you know, 656 00:38:28,040 --> 00:38:30,200 Speaker 1: the course of my life. So I'm I've been a 657 00:38:30,239 --> 00:38:34,520 Speaker 1: student of theirs. But you know, when when Robin passed away, 658 00:38:35,880 --> 00:38:40,120 Speaker 1: Dad was clearly struggling to figure out where to go 659 00:38:40,600 --> 00:38:43,359 Speaker 1: in life. And at that point I was like, Dad, 660 00:38:43,600 --> 00:38:47,359 Speaker 1: you gotta channel this into music, like you can't sit 661 00:38:47,440 --> 00:38:51,280 Speaker 1: here and and and mourn forever, you know. And he said, okay, 662 00:38:51,280 --> 00:38:54,719 Speaker 1: well let's do let's do a show. And I said, yeah, 663 00:38:54,760 --> 00:38:56,520 Speaker 1: you should do that, and he goes, well, I only 664 00:38:56,560 --> 00:38:58,080 Speaker 1: want to do it if you do it with me. 665 00:38:58,840 --> 00:39:00,560 Speaker 1: I mean, I definitely didn't feel like I could step 666 00:39:00,560 --> 00:39:05,080 Speaker 1: into those roles that Robin and or Morris had. But 667 00:39:05,800 --> 00:39:08,480 Speaker 1: over the course of a few years, you know, with 668 00:39:08,560 --> 00:39:12,880 Speaker 1: his patients and uh and kindness, I found my place 669 00:39:13,440 --> 00:39:16,000 Speaker 1: with him. You know. I sometimes joke that I'm his 670 00:39:16,040 --> 00:39:19,719 Speaker 1: emotional support animal. But the fact of the matter is 671 00:39:19,719 --> 00:39:24,200 Speaker 1: is we've come to understand it. Even especially recently. Now 672 00:39:24,280 --> 00:39:27,080 Speaker 1: I know how to harmonize with him, which I didn't 673 00:39:27,080 --> 00:39:30,400 Speaker 1: really know how to do. I began to learn that 674 00:39:30,560 --> 00:39:33,040 Speaker 1: really by being thrown in the fire with him. And 675 00:39:33,239 --> 00:39:36,239 Speaker 1: to be honest, it's been probably the greatest gift of 676 00:39:36,280 --> 00:39:40,360 Speaker 1: my life to come full circle and actually be with 677 00:39:40,560 --> 00:39:44,040 Speaker 1: him making us to Australia. Yeah, we told England, we 678 00:39:44,160 --> 00:39:48,839 Speaker 1: told America, and that was an incredible year of just 679 00:39:49,040 --> 00:39:53,520 Speaker 1: finding yourself again. Stevie said that he thought his father 680 00:39:53,640 --> 00:39:56,239 Speaker 1: was the coolest guy. Let me tell you something, stev 681 00:39:56,560 --> 00:40:00,680 Speaker 1: your father is the coolest guy. Your father that reminds 682 00:40:00,719 --> 00:40:04,040 Speaker 1: me of Nat King Cole. Your father reminds me of 683 00:40:04,200 --> 00:40:07,320 Speaker 1: a guy that could sing and just bring you to tears. 684 00:40:07,360 --> 00:40:11,200 Speaker 1: He was so beautiful and the songs were so beautiful, 685 00:40:11,480 --> 00:40:15,520 Speaker 1: and he sang them perfectly. And then when you'd watch 686 00:40:15,600 --> 00:40:17,879 Speaker 1: him on film doing you go, oh my god, he's 687 00:40:17,920 --> 00:40:20,440 Speaker 1: also the coolest guy I've ever seen in my life. 688 00:40:20,560 --> 00:40:22,840 Speaker 1: Look at this guy. You know. I don't know that 689 00:40:22,880 --> 00:40:25,640 Speaker 1: anybody will ever be able to relate to this, because 690 00:40:26,040 --> 00:40:28,439 Speaker 1: I do feel a little unique in that I've had 691 00:40:28,480 --> 00:40:33,040 Speaker 1: this experience. But I think that for me, we all 692 00:40:33,080 --> 00:40:35,680 Speaker 1: have great memories throughout our life, whether it's the you know, 693 00:40:35,719 --> 00:40:38,359 Speaker 1: the birth of our children, or or you know, that 694 00:40:38,400 --> 00:40:41,360 Speaker 1: first big accomplishment that you make, or whatever it is 695 00:40:41,400 --> 00:40:44,680 Speaker 1: in life. But I have to tell you that I 696 00:40:44,760 --> 00:40:47,800 Speaker 1: was talking about that show that we did after Robin died, 697 00:40:48,560 --> 00:40:52,840 Speaker 1: and there was a moment where he was singing and 698 00:40:52,920 --> 00:40:57,040 Speaker 1: I was off to his right on stage, and and 699 00:40:57,160 --> 00:40:59,719 Speaker 1: he was really in a I have to say, he 700 00:41:00,280 --> 00:41:04,120 Speaker 1: kind of transcending into another level in front of my eyes. 701 00:41:04,239 --> 00:41:07,680 Speaker 1: I was like, I could not I was reduced to 702 00:41:07,840 --> 00:41:11,320 Speaker 1: tears while I was on stage watching him sing because 703 00:41:11,880 --> 00:41:14,880 Speaker 1: you know, I remember being a very small kid standing 704 00:41:14,920 --> 00:41:17,239 Speaker 1: on the side of the stage going hey, Dad, you know, 705 00:41:17,400 --> 00:41:20,960 Speaker 1: I'm over here type of thing. And then two, you know, 706 00:41:21,080 --> 00:41:24,319 Speaker 1: thirty something years later, I'm standing on stage with him, 707 00:41:24,920 --> 00:41:27,640 Speaker 1: and there was a moment where he took a breath 708 00:41:27,880 --> 00:41:30,960 Speaker 1: and just looked at me, and it was he winked 709 00:41:31,000 --> 00:41:34,360 Speaker 1: at me, and there was the most pure expression of 710 00:41:34,440 --> 00:41:37,560 Speaker 1: love with no words, between a father and son in 711 00:41:37,600 --> 00:41:41,560 Speaker 1: that moment. And I remember thinking to myself, I'll never 712 00:41:41,600 --> 00:41:45,200 Speaker 1: forget this moment for the rest of my life, because 713 00:41:45,960 --> 00:41:49,240 Speaker 1: there are no words for that kind of love between 714 00:41:49,280 --> 00:41:51,279 Speaker 1: a son and a father. And I tell him this 715 00:41:51,320 --> 00:41:54,319 Speaker 1: all the time. I said, Dad, it's okay that you 716 00:41:54,360 --> 00:41:56,960 Speaker 1: don't think you're the greatest of all time, but just 717 00:41:57,400 --> 00:42:00,080 Speaker 1: don't ever forget that there is in a set and 718 00:42:00,480 --> 00:42:03,239 Speaker 1: that I don't believe that you're the greatest of all time. 719 00:42:03,560 --> 00:42:08,960 Speaker 1: Just be true to yourself and and do what you love. 720 00:42:09,200 --> 00:42:13,400 Speaker 1: Because his love is pure and his expression of it 721 00:42:13,520 --> 00:42:18,760 Speaker 1: is incredible, and I'll never get tired of it. Listen. 722 00:42:18,800 --> 00:42:22,439 Speaker 1: I say this only because it's true, and I feel 723 00:42:22,480 --> 00:42:24,919 Speaker 1: that we all are seekers of the truth, your truth 724 00:42:24,960 --> 00:42:28,600 Speaker 1: and beauty, and that is Stevie your father knows full 725 00:42:28,640 --> 00:42:30,800 Speaker 1: well that he's the greatest of all time. He knows, 726 00:42:31,040 --> 00:42:33,400 Speaker 1: and this modesty thing, it's just a part of an act. 727 00:42:33,480 --> 00:42:35,640 Speaker 1: It's a part of a public It's always like this, 728 00:42:35,760 --> 00:42:38,160 Speaker 1: Oh thank you, Oh God, that's so nice of you 729 00:42:38,200 --> 00:42:40,640 Speaker 1: to say that, Oh thank you. No no please, no, 730 00:42:40,640 --> 00:42:43,960 Speaker 1: no please. Your father is fully aware of who he 731 00:42:44,080 --> 00:42:48,200 Speaker 1: is and what his towering achievements in the music industry are. 732 00:42:48,280 --> 00:42:50,160 Speaker 1: Him and his brothers and him on his own frozen 733 00:42:50,200 --> 00:42:53,759 Speaker 1: for that matter. I want to say I have loved you, 734 00:42:53,880 --> 00:42:56,560 Speaker 1: and I have loved your music. I mean, I'm good 735 00:42:56,600 --> 00:42:59,759 Speaker 1: music is good music, and I have loved you and 736 00:42:59,800 --> 00:43:02,799 Speaker 1: I loved your music forever. I mean, I have so 737 00:43:02,880 --> 00:43:07,319 Speaker 1: many Begs albums, so every now and then I gotta here, 738 00:43:07,560 --> 00:43:11,080 Speaker 1: I can't see nobody. I play that song and I'm oh, 739 00:43:11,600 --> 00:43:14,160 Speaker 1: you know, I can't see nobody. Was written in a 740 00:43:14,280 --> 00:43:20,040 Speaker 1: dressing room with strippers. I thought it was you were 741 00:43:20,040 --> 00:43:22,840 Speaker 1: like in church. It was one of it's one of 742 00:43:22,840 --> 00:43:28,279 Speaker 1: my greatest memory bad bums. And here's a song. You know. 743 00:43:29,840 --> 00:43:32,399 Speaker 1: Let's stop right there and let me just say I'm 744 00:43:32,480 --> 00:43:35,120 Speaker 1: so grateful to you. You are one of the greatest 745 00:43:35,239 --> 00:43:39,120 Speaker 1: musicians that ever lived. And one of the greatest vocalists 746 00:43:39,120 --> 00:43:41,879 Speaker 1: that ever lived. And I never get tired of listening 747 00:43:41,920 --> 00:43:44,920 Speaker 1: to your music. Never very kind. Thank you both for 748 00:43:45,040 --> 00:43:46,719 Speaker 1: making time to do this. This has been a joy. 749 00:43:46,800 --> 00:43:48,239 Speaker 1: This has been a real joy. It's been a real 750 00:43:48,360 --> 00:43:56,160 Speaker 1: joy for us too. I'm Alec Baldwin and you're listening 751 00:43:56,200 --> 00:44:08,640 Speaker 1: to Here's the Thing, When to Be if you need 752 00:44:09,239 --> 00:44:30,560 Speaker 1: show Indeed, we're produced by Kathleen Russo, Carrie donohue and 753 00:44:30,760 --> 00:44:35,160 Speaker 1: Zach McNeice. Our engineer is Frank Imperial. Thanks for listening 754 00:44:41,040 --> 00:44:44,359 Speaker 1: to open up your to love