WEBVTT - Barry Gibb Keeps the Bee Gees Stayin’ Alive 0:00:04.800 --> 0:00:08.119 I'm Alec Baldwin and you're listening to Here's the Thing 0:00:08.600 --> 0:00:17.599 from My Heart Radio. The recently released HBO documentary How 0:00:17.600 --> 0:00:21.079 Can You Mend a Broken Heart mentions the term blood 0:00:21.079 --> 0:00:26.639 harmony or bio harmony that unique Blendwin siblings sing together. 0:00:27.080 --> 0:00:30.960 I think the Beach Boys, the Jackson Five, the Everly Brothers, 0:00:31.200 --> 0:00:47.440 and the Bjs. My guest today is Barry Gibb with 0:00:47.520 --> 0:00:51.440 his younger twin brothers, Robin and Morris. The b Gs 0:00:51.640 --> 0:00:57.360 conquered the world with their ethereal harmonies. Today Barry misses 0:00:57.440 --> 0:01:01.120 his brothers. Maurice died in two thousands three, Robin in 0:01:01.160 --> 0:01:04.160 two thousand twelve. I wanted to know if he'd ever 0:01:04.240 --> 0:01:08.640 considered what kind of solo career he might have had. Well, 0:01:08.720 --> 0:01:10.959 I I don't know. I know what I wanted. I 0:01:11.000 --> 0:01:13.000 wanted to be a pop star or a rock star, 0:01:13.120 --> 0:01:15.080 or whatever it is that goes through our heads at 0:01:15.120 --> 0:01:17.720 that point. At some point in your life, you wanted 0:01:17.720 --> 0:01:20.319 to be an actor, you know. All I know is 0:01:20.360 --> 0:01:23.720 that the moment that my brothers began to do individual things, 0:01:23.760 --> 0:01:26.080 and I didn't know about them, but I thought, well, 0:01:26.080 --> 0:01:29.400 it's okay. I can do individual things too. But I 0:01:29.400 --> 0:01:33.559 I never did that before they did. And once that began, 0:01:33.600 --> 0:01:36.280 I thought, oh, wow, they've gone and done this on 0:01:36.319 --> 0:01:38.760 their own. Morris has done this, or Rob has done this. 0:01:39.200 --> 0:01:42.360 It's pretty good. You know. Wow. I didn't know that 0:01:42.400 --> 0:01:46.080 they did that without even a question. So I figured, 0:01:46.080 --> 0:01:49.160 well it was okay. And once Barbara Streisan came along, 0:01:50.280 --> 0:01:52.280 I just grabbed the bar you know. I thought, this 0:01:52.320 --> 0:01:56.160 is a wonderful opportunity. And I love her and the 0:01:56.200 --> 0:01:59.160 idea of working with her. I learned so much from that, 0:01:59.720 --> 0:02:02.720 and I think you learn things from just about everyone 0:02:02.760 --> 0:02:04.920 you work with. You just pick up something that you 0:02:05.000 --> 0:02:08.400 didn't know before. Who brought you in stressand together? Was 0:02:08.400 --> 0:02:11.000 it a producer and no, it was Barbara calling me 0:02:11.080 --> 0:02:15.239 up about and she just called up and said, will 0:02:15.280 --> 0:02:18.640 you make an album with me? And so after I 0:02:18.680 --> 0:02:22.359 got up off up the ground, I told my wife 0:02:22.360 --> 0:02:24.400 and I told everybody in my family that I just 0:02:24.440 --> 0:02:28.320 had this call from Barbara Streisan, and of course everyone's going, 0:02:28.800 --> 0:02:30.520 you gotta do it, you gotta do it, and I 0:02:30.600 --> 0:02:35.000 was terrified. So I came to the conclusion that if 0:02:35.040 --> 0:02:39.680 I call Neil Diamond, you don't bring me flowers that 0:02:39.840 --> 0:02:42.800 he might give me some advice. So I called Neil 0:02:42.840 --> 0:02:46.359 Diamond and I said, what is she like? What is it? 0:02:46.639 --> 0:02:49.799 What's the experience like working with her? He just said, 0:02:49.840 --> 0:02:52.720 don't worry about it. Just go do it. You know, 0:02:53.280 --> 0:02:56.679 everything falls into place if the stars aligned. Don't worry. 0:02:57.080 --> 0:03:00.600 He says. She's terrific and she's changeable, but that's fine. 0:03:00.960 --> 0:03:04.240 Just go with her. You know, when you recorded with her, 0:03:04.680 --> 0:03:06.840 were you in the same studio for some portion or 0:03:06.840 --> 0:03:09.040 all of it or not all of it? We coult 0:03:09.080 --> 0:03:12.000 all the tracks in Miami at Criteria, which is now 0:03:12.040 --> 0:03:15.359 the Hit Factory. The interesting thing about Barbara was that 0:03:15.560 --> 0:03:18.960 if she sang something, she considered it to be sung. 0:03:19.639 --> 0:03:22.080 She didn't think she had to sing it again. And 0:03:22.160 --> 0:03:24.000 that's old school, you know. It's like that's how she 0:03:24.040 --> 0:03:27.400 grew up. And I would say, you know, especially on Guilty, 0:03:28.000 --> 0:03:29.800 first song she sang, I said, can you give us 0:03:29.840 --> 0:03:32.120 about four or five tracks? And she said, well, I 0:03:32.160 --> 0:03:35.560 just sang it. No, No, can you give us choices? 0:03:35.640 --> 0:03:37.280 Can you give us for five tracks so that we 0:03:37.280 --> 0:03:40.720 can pick and choose which are the best moments? But 0:03:40.760 --> 0:03:47.800 I just sang it. Boy, I'm gonna try that when 0:03:47.840 --> 0:03:49.760 I got to work. I'm gonna that's it. I'm like 0:03:49.800 --> 0:03:54.880 Bob Hope and that's one take fellas focus hit the spot, 0:03:55.000 --> 0:03:58.560 say the words get out. You talk about, you know, 0:03:58.600 --> 0:04:01.080 wanting multiple tracks to Cheo is from when you were 0:04:01.120 --> 0:04:04.119 recording with your brothers. Was that a rule you had 0:04:04.160 --> 0:04:07.200 where you had unanimity about what the take was and 0:04:07.200 --> 0:04:09.520 what what worked or was there a decider there was 0:04:09.560 --> 0:04:12.360 there a producer there that you will entrusted the decision 0:04:12.400 --> 0:04:17.839 to um myself, but really also adhering to my brother's opinions. 0:04:18.160 --> 0:04:20.480 We never did anything where it was two out of three. 0:04:21.160 --> 0:04:23.400 It wasn't a democracy. You know. We had to be 0:04:23.880 --> 0:04:27.280 in total agreement about everything we were doing. So if 0:04:27.400 --> 0:04:30.400 if we love something, we were all on, you know, 0:04:30.680 --> 0:04:33.960 and okay, what do we do next? What's the next step? Yeah, 0:04:34.000 --> 0:04:35.960 we need a lead guitar on this, We need something here, 0:04:36.000 --> 0:04:38.120 we need something there. But we were always in agreement. 0:04:39.480 --> 0:04:42.880 Real life is very different, so you know, we didn't 0:04:42.920 --> 0:04:45.760 live together, but we did have the van. We did 0:04:45.800 --> 0:04:48.040 have the minivan with the BJS on the side. You know, 0:04:49.880 --> 0:04:54.440 people talk about the documentary has introduced the least as 0:04:54.480 --> 0:04:57.159 far as I'm concerned, it might have existed somewhere else 0:04:57.600 --> 0:05:01.120 the term bio harmony. And when I first heard that phrase, 0:05:01.120 --> 0:05:03.159 I was like, oh my god, I never thought about that, 0:05:03.160 --> 0:05:07.200 that they sing differently and they interact differently because they're 0:05:07.200 --> 0:05:12.080 actually related. I believe that's true, that I've never heard that, 0:05:12.240 --> 0:05:14.000 But yeah, I agree with all of that, and there 0:05:14.000 --> 0:05:17.000 are many different side stories to all of that. I mean, 0:05:17.040 --> 0:05:20.280 the Beetles sound my brothers, So there's a lot. There's 0:05:20.279 --> 0:05:22.520 a lot about where you come from. The Beatles come 0:05:22.560 --> 0:05:25.880 from Liverpool. They all have the same accent, the same tone, 0:05:26.680 --> 0:05:30.480 if you like, and so blending together was something special 0:05:30.480 --> 0:05:33.400 for them. You didn't really have to be brothers. And 0:05:33.440 --> 0:05:36.040 I was talking to a little big town yesterday and 0:05:36.600 --> 0:05:39.159 they are incredible and they all come from the same 0:05:39.200 --> 0:05:41.880 basic area of the country. So it wasn't that they 0:05:41.920 --> 0:05:45.640 were blood. It was that they all had the same dialect, 0:05:45.680 --> 0:05:48.719 the same kind of tonality, you know. And that's Nashville 0:05:49.279 --> 0:05:52.680 when you're working with people that are your family, yea, 0:05:53.200 --> 0:05:56.760 and God knows, um, yes, you have brothers. I have 0:05:56.839 --> 0:06:01.560 brothers in that way that you want everyone to do well, 0:06:01.880 --> 0:06:03.680 you know. I want my brothers to do well and 0:06:03.800 --> 0:06:06.760 succeed and have what they want. And you realize that 0:06:06.800 --> 0:06:10.520 the businesses uh is fragile. You know, you even when 0:06:10.520 --> 0:06:13.760 you're successful, when you're with your brothers and you're recording 0:06:13.760 --> 0:06:17.240 with your brothers and they've been gone for a while now, yeah, 0:06:17.320 --> 0:06:20.520 about eight years since Robin left. So it's eight years 0:06:20.520 --> 0:06:23.640 now where both of them are gone. And um when 0:06:23.720 --> 0:06:27.440 when when when Maurice passed away, was it understood between 0:06:27.440 --> 0:06:30.479 you and and Rob that you wouldn't continue just the 0:06:30.520 --> 0:06:33.599 two of you know, Robin wanted us to wanted to continue, 0:06:34.320 --> 0:06:36.840 and I didn't. I didn't think it was the right 0:06:36.880 --> 0:06:39.800 thing to do. I felt we should suspend the group 0:06:40.320 --> 0:06:42.960 as it stood, and if we were going to work 0:06:43.000 --> 0:06:46.600 any more together, we would do it as as the 0:06:46.279 --> 0:06:49.240 two brothers, you know, we wouldn't do it as the bjs. 0:06:50.000 --> 0:06:52.599 So but but Robin didn't agree with me. He wanted 0:06:52.640 --> 0:06:57.720 to continue being the bs and but then lo and behold. 0:06:57.760 --> 0:06:59.880 What I didn't know is that Robin was getting ill 0:07:01.040 --> 0:07:04.599 and as time went on he became more immoral, but 0:07:04.640 --> 0:07:08.360 he didn't tell anybody, and so you could you could 0:07:08.360 --> 0:07:11.840 see that something was wrong, but you didn't know what 0:07:11.880 --> 0:07:14.960 it was. And he it wasn't like he was capable 0:07:14.960 --> 0:07:19.240 of really doing anything because in my opinion, he wasn't 0:07:19.600 --> 0:07:22.360 you know he was? He was going very frail, very quickly. 0:07:22.920 --> 0:07:25.920 Did you guys when you went your separate ways, was 0:07:25.920 --> 0:07:29.120 there always a sense of like the Eagles and like 0:07:29.320 --> 0:07:33.920 Fleetwood Mac and like csn Y were they professed to 0:07:34.080 --> 0:07:36.520 have some tension between them he had, They always got 0:07:36.520 --> 0:07:40.560 back together because that band together whole was the cash 0:07:40.640 --> 0:07:43.080 cow for them. It was never going to be as 0:07:43.080 --> 0:07:45.840 successful as that did. The bjs go through the same 0:07:45.840 --> 0:07:48.160 thing where you we were. Each of you had your 0:07:48.200 --> 0:07:51.360 respective and you had a very successful solo career. Well, 0:07:51.560 --> 0:07:53.880 the background to all of that, what you just said 0:07:53.960 --> 0:07:57.640 is really important. The cash cow was not the center 0:07:57.680 --> 0:08:01.440 of attention because because for us it was always tough 0:08:01.640 --> 0:08:04.840 to get paid always that's the that's rock and roll, 0:08:05.120 --> 0:08:08.160 you know. And we didn't really make any real money 0:08:08.320 --> 0:08:13.680 until Saturday Night Fever. So success equals money that wasn't 0:08:13.680 --> 0:08:17.200 happening for us, So we didn't worry about it. What 0:08:17.360 --> 0:08:20.560 we're worried about was getting more hits, making more records, 0:08:20.560 --> 0:08:25.080 writing more songs. You know, that was what preoccupied us. Crosby, Stills, 0:08:25.200 --> 0:08:28.119 Nash and Young when we were doing Children of the World. 0:08:28.160 --> 0:08:31.080 They would sitting along along the wall, four of them 0:08:31.080 --> 0:08:33.880 watching us do the vocals, and they were in the 0:08:33.920 --> 0:08:36.120 next studio. So the greatest thing about all of those 0:08:36.200 --> 0:08:40.280 days is that the Eagles Leonard skinnerd were always in 0:08:40.720 --> 0:08:43.600 the next room or two rooms away. And in those 0:08:43.679 --> 0:08:46.720 days you could visit each other. There was no you know, 0:08:46.840 --> 0:08:48.600 you can't come in here. There was none of that, 0:08:48.880 --> 0:08:52.560 you know, and we enjoyed that I could go in 0:08:52.600 --> 0:08:55.760 and listen to them. I played with them all night 0:08:56.480 --> 0:08:59.400 without coming up with anything creative. We were just having 0:08:59.400 --> 0:09:03.520 a blast, you know. Was there a sense from you 0:09:03.800 --> 0:09:06.800 or all three of you that you had something special 0:09:07.120 --> 0:09:10.160 and that was the hand you wanted to play? Well 0:09:10.160 --> 0:09:11.920 there was a brand name, well, you know, then you 0:09:12.040 --> 0:09:14.840 deally with the brand name, which wasn't even called that 0:09:14.920 --> 0:09:16.640 when we were a group, you know, there was no 0:09:16.720 --> 0:09:19.559 such thing as a brand name. You know, it's branding. Yeah, 0:09:19.760 --> 0:09:22.520 So I've had people come up to me Clive Davis's 0:09:22.559 --> 0:09:26.199 dinner a couple of years back. I worked for Forbes magazine. 0:09:26.360 --> 0:09:31.000 I'd like to talk to you about branding. I don't 0:09:31.040 --> 0:09:34.480 know anything about branding. You got there. We just became 0:09:34.520 --> 0:09:37.719 a group, you know, so it wasn't really this is 0:09:37.800 --> 0:09:39.880 the cash cow, this is what we gotta do. I 0:09:39.880 --> 0:09:41.520 think it was that way for a lot of people. 0:09:42.160 --> 0:09:46.880 But I remember the time when R. S O. The 0:09:46.960 --> 0:09:51.560 company took away our song copyrights without telling us, and 0:09:51.640 --> 0:09:54.880 so suddenly they owned all of our songs. How were 0:09:54.920 --> 0:09:57.440 they able to do that? By forming a company in 0:09:57.480 --> 0:10:01.120 Holland and playing all kinds of tax ga they managed 0:10:01.160 --> 0:10:04.400 to acquire all of our copyrights without us knowing. And 0:10:04.440 --> 0:10:07.000 that caused really like World War three, I mean, And 0:10:07.120 --> 0:10:09.319 so you look at the period when the bags were 0:10:09.320 --> 0:10:12.760 in trouble, look behind the scenes. You know there was 0:10:12.800 --> 0:10:16.200 something else going on that was intense. Were you able 0:10:16.200 --> 0:10:18.840 to get the rights back? Got them all back? But 0:10:18.960 --> 0:10:20.680 that took a lot of energy out of me. It 0:10:20.679 --> 0:10:24.040 took me about a year or two to finally get 0:10:24.120 --> 0:10:28.000 things back in our own ownership. I told Robert stick 0:10:28.040 --> 0:10:30.080 Would that I would never write another song if he 0:10:30.120 --> 0:10:34.520 didn't get back the songs. And Morris and Rob they 0:10:34.520 --> 0:10:37.400 didn't really want to fight. They were still too naive. 0:10:37.480 --> 0:10:40.000 They just sort of, you know, it's having success, let's 0:10:40.040 --> 0:10:42.439 not let's not argue with it. But did that fall 0:10:42.520 --> 0:10:45.320 on you to be the more the business mind in 0:10:45.360 --> 0:10:48.400 the trio would do. The other two were more pure artists, 0:10:48.480 --> 0:10:49.920 and they were like, hey, man, I really don't have 0:10:49.960 --> 0:10:53.640 the stomach for that. Well, I couldn't. I couldn't stomped 0:10:53.679 --> 0:10:56.560 the idea that someone could take away your songs. I 0:10:56.640 --> 0:10:59.920 just couldn't live with that. So if they were okay 0:11:00.080 --> 0:11:02.319 with that, it wasn't really a matter of that's how 0:11:02.360 --> 0:11:04.920 they felt. It was more a matter that Robert Stick 0:11:04.960 --> 0:11:09.080 would on rso played divide and Conquer, you know, so 0:11:09.240 --> 0:11:11.960 they would nurture and be nice to Robin and Morris, 0:11:11.960 --> 0:11:14.200 and Robin and Morris wouldn't worry about it, you know. 0:11:15.120 --> 0:11:17.840 So it's all about that. It's people whispering in your ears. 0:11:18.640 --> 0:11:21.120 It's the same with every group. You know. There's always 0:11:21.160 --> 0:11:23.400 going to be someone in the industry that thinks they 0:11:23.400 --> 0:11:25.680 can make something out of you if you don't have 0:11:25.760 --> 0:11:29.040 your brothers. And that was said to Robin, was said 0:11:29.080 --> 0:11:32.800 to Morris, and was said to me, I want to 0:11:32.800 --> 0:11:35.280 do a movie about your career. I'm gonna do a 0:11:35.400 --> 0:11:38.400 narrative film, and I want to play the record executive 0:11:38.400 --> 0:11:40.839 who gets each of you alone in the same evening. 0:11:40.960 --> 0:11:44.120 It says, you know, Marris, if you just unloaded these 0:11:44.160 --> 0:11:46.920 two losers. You have no idea that the heights we 0:11:46.960 --> 0:11:50.040 could hit. And Robin, these guys are just dead weight 0:11:50.080 --> 0:11:53.280 around your I mean your brother. I mean we've seen 0:11:53.320 --> 0:11:56.040 every color they have, Barry, I mean, come on, these 0:11:56.040 --> 0:11:58.400 guys are just dragging you down. Man. You know all 0:11:58.440 --> 0:12:01.800 that stuff Divide and conquer, But industrial, yeah, not the 0:12:01.880 --> 0:12:04.960 family is not the wives, but the people who who 0:12:05.080 --> 0:12:08.640 sought to gain from something or to or in fact 0:12:08.640 --> 0:12:11.280 to screw Robert stick, would you know. So it was 0:12:11.440 --> 0:12:14.160 it was a huge industrial game. Armad hurt Kin and 0:12:14.600 --> 0:12:18.679 who was the head of Atlantic Records, and Robert began 0:12:18.679 --> 0:12:23.000 to fall out because Jive Talking in the movie Saturday 0:12:23.080 --> 0:12:26.360 Night Fever, where Robert only used the live version of 0:12:26.400 --> 0:12:29.120 give talking so you wouldn't have to pay the extra, 0:12:29.800 --> 0:12:32.960 you know, and a Reef Mardin and Armored went berserk 0:12:33.840 --> 0:12:36.800 because they didn't have a record in Saturday Night Fever. 0:12:37.600 --> 0:12:39.840 They didn't know it's going to be successful. In fact, 0:12:39.840 --> 0:12:42.280 most of the time I think they doubted us anyway. 0:12:42.720 --> 0:12:45.560 So when that happened, they were unhappy. They were really unhappy. 0:12:45.679 --> 0:12:47.440 And so I think that was the cause of a 0:12:47.480 --> 0:12:49.920 lot of a lot of crisis points for us as 0:12:49.960 --> 0:12:59.800 well as Robert. I'm Alec Baldwin. You were listening to 0:13:00.040 --> 0:13:05.200 Here's the Thing. If you love conversations with legendary singers, 0:13:05.480 --> 0:13:08.200 be sure to check out my episode with the incomparable 0:13:08.440 --> 0:13:12.640 Barbara streisand we shared lunch and talked about our love 0:13:12.720 --> 0:13:17.439 for food and Barbara's early dreams of fame. I read 0:13:18.080 --> 0:13:22.720 Nancy Drew Mysteries. I read movie magazines, you know, and 0:13:22.840 --> 0:13:27.200 dream that someday maybe I could be famous. Do you 0:13:27.240 --> 0:13:30.120 have that dream? Then when you're here, I would have 0:13:30.200 --> 0:13:33.760 my pint of coffee, ice cream Briers and sit in 0:13:33.840 --> 0:13:36.880 my bed and dream go to the movies sometimes on 0:13:36.880 --> 0:13:40.439 a Saturday afternoon the Lowise Kings. We had the greatest 0:13:40.520 --> 0:13:47.880 ice cream, and we also well yeah. Here the rest 0:13:47.920 --> 0:13:51.680 of my conversation with Barbara streisand at Here's the Thing 0:13:51.800 --> 0:13:55.920 dot org. After the break, we talk about disco and 0:13:56.000 --> 0:13:59.560 how the b GS soundtrack to Saturday Night Fever in 0:13:59.679 --> 0:14:04.440 ninety brought them near total domination of the music charts 0:14:04.840 --> 0:14:22.920 and the dance floor. Hi'm Alec Baldwin, and you're listening 0:14:22.960 --> 0:14:35.400 to Here's the Thing. The BGS distinguished themselves vocally with 0:14:35.560 --> 0:14:40.600 their lush harmonies. Robin had his distinctive vibrato, Maurice anchored 0:14:40.600 --> 0:14:44.160 the melody, and then, like an ace pitcher discovering a slider, 0:14:44.680 --> 0:14:55.640 Barry found his falsetto well. It first happened on a 0:14:55.720 --> 0:14:59.160 song called Please Read Me that I did a few 0:14:59.240 --> 0:15:03.440 different false know harmonies to that song, basically because because 0:15:03.440 --> 0:15:07.320 of the Beach Boys and Brian Wilson and I forgot 0:15:07.320 --> 0:15:10.120 all about that. So we were recording Nights on Broadway 0:15:10.320 --> 0:15:14.160 and a ref Martina producer at that point said, can 0:15:14.200 --> 0:15:17.880 anybody scream like Paul McCartney. We all looked at each 0:15:17.920 --> 0:15:19.760 other and said, well, how do you mean? He said, well, 0:15:19.800 --> 0:15:22.600 you know, like I saw her standing there and and 0:15:22.640 --> 0:15:27.000 how Paul suddenly screams high note? Can anyone? Can any 0:15:27.040 --> 0:15:29.760 of you guys do that? And I said, well, yeah, 0:15:29.760 --> 0:15:32.280 I've done something like that way back, I said, but 0:15:33.120 --> 0:15:36.120 I became the volunteer. Nobody else really wanted to take 0:15:36.160 --> 0:15:38.080 a shot at that, So I went out there and 0:15:38.960 --> 0:15:42.360 just discovered it. At first, it was tentative and nervous 0:15:42.360 --> 0:15:45.280 and and I didn't know what it was. And then 0:15:45.320 --> 0:15:48.600 it just began to get stronger and stronger. With you 0:15:49.360 --> 0:15:54.120 and your brothers, there's such a quotient of beauty inside 0:15:54.160 --> 0:15:59.320 the music. There's so much sensitivity inside of the lyrics 0:15:59.400 --> 0:16:02.600 and the singing. And I'm wondering when you would perform live, 0:16:03.000 --> 0:16:06.320 what was your ritual if you had one. On the 0:16:06.400 --> 0:16:09.120 day of a live show, did you cardle your voice? 0:16:09.760 --> 0:16:12.080 How did you prep for a show? I would wake 0:16:12.200 --> 0:16:15.880 up singing because after a show you lose your voice. 0:16:15.920 --> 0:16:19.160 It's gone. So the next morning you just hope and 0:16:19.240 --> 0:16:21.040 pray that it's going to come back again, you know, 0:16:21.520 --> 0:16:24.920 so when you wake up, you start warming up, So 0:16:25.080 --> 0:16:28.600 I'd be I'd been doing a lot of this different 0:16:28.680 --> 0:16:32.160 range stuff. One set of principles for the falsetto another 0:16:32.160 --> 0:16:35.120 set of principles for the real voice. Check out your 0:16:35.160 --> 0:16:38.880 highest note, do it all day and it comes back 0:16:39.120 --> 0:16:41.400 if you're lucky. And how much before you would do 0:16:41.440 --> 0:16:44.720 a live show? How much would you rehearse prior to 0:16:44.720 --> 0:16:47.080 going on the rope? Rehearsal would you would usually be 0:16:47.160 --> 0:16:51.680 about a month with weekends out so you could work 0:16:51.760 --> 0:16:55.440 your chops back again, and that way you develop strength 0:16:55.480 --> 0:16:59.400 and you develop confidence. And these days I have had 0:16:59.480 --> 0:17:02.880 these three eighties that are amazing, and so any song 0:17:03.400 --> 0:17:06.960 where Robin might have sung, they cover me and they 0:17:06.960 --> 0:17:11.280 do those things. But there's actually nothing like walking from 0:17:11.320 --> 0:17:13.240 the dressing room to the stage. Nothing like it. In 0:17:13.280 --> 0:17:16.600 the word I think Bruce Springsteen said it, there's there's 0:17:16.640 --> 0:17:20.040 something magical about hearing the crowd two minutes before you 0:17:20.040 --> 0:17:23.120 walk on the streak coming. You're getting closer to that. Yeah, 0:17:24.080 --> 0:17:28.960 music occupies such a unique place in people's lives, and 0:17:29.000 --> 0:17:33.600 really dwarfs of film and television, because film and television 0:17:33.640 --> 0:17:35.399 is something you have to make an appointment with, you 0:17:35.440 --> 0:17:38.280 have to sit and watch it. Where music is something 0:17:38.320 --> 0:17:40.679 that you can have in your life anywhere. You can 0:17:40.720 --> 0:17:43.399 be driving, you could be having sex, you could be 0:17:43.400 --> 0:17:48.800 at the gym jogging. Music is in your ears at will, 0:17:48.920 --> 0:17:52.040 whenever you want it to be. And therefore, and I 0:17:52.040 --> 0:17:53.840 think when people I always say the same line when 0:17:53.880 --> 0:17:57.560 you die, Uh, you don't remember an episode of Seinfeld? 0:17:58.040 --> 0:18:01.000 You remember? How can you ment a broken heart? You 0:18:01.040 --> 0:18:03.240 know what I mean? Yes, I do. And then the 0:18:03.359 --> 0:18:07.400 question then becomes why why does music and harmonics and 0:18:07.800 --> 0:18:10.840 vibrations and notes mean so much to us? You know, 0:18:10.920 --> 0:18:13.639 I love Frank Sinatra as much as I love Pavarotti. 0:18:14.359 --> 0:18:17.880 I love the Distant Past, the immigrant music as much 0:18:17.920 --> 0:18:21.000 as I love country music. I don't have categories, you know, 0:18:21.080 --> 0:18:23.760 I just love what I love and if it's not 0:18:23.800 --> 0:18:26.920 turning music? But why why do we all do this? 0:18:27.200 --> 0:18:30.159 You know? What is the need in us? So I 0:18:30.160 --> 0:18:32.240 want to do something about that. I'd love to do 0:18:32.280 --> 0:18:35.480 a program about trying to understand that. I mean, this 0:18:35.560 --> 0:18:38.879 is a corny question, but like, have you ever stood 0:18:38.880 --> 0:18:41.840 there and you were going to sing a lyric there 0:18:41.920 --> 0:18:46.160 was a particularly exquisite lyric of one of your most 0:18:46.280 --> 0:18:48.840 famous songs and you thought you were going to break 0:18:48.840 --> 0:18:52.720 down crying? Yeah, have you over been almost overwhelmed by 0:18:52.760 --> 0:18:56.240 the music you're singing? Yes, we wrote a song called 0:18:56.240 --> 0:18:59.760 Wish You Were Here for Andy because he passed away 0:18:59.760 --> 0:19:02.320 at the age at thirty, and we wanted to do 0:19:02.359 --> 0:19:06.239 it on stage and we never could. So, you know, 0:19:06.280 --> 0:19:08.360 we got through about two or three lines and then 0:19:08.400 --> 0:19:12.040 looked at each other, we can't do this. We just 0:19:12.080 --> 0:19:14.960 can't do this. It's it makes it just makes me cry. 0:19:15.000 --> 0:19:18.280 I just can't sing it. At least the song is there, 0:19:18.359 --> 0:19:20.520 you know, But yes, that was a moment. That was 0:19:20.560 --> 0:19:23.159 a moment. It's all part of it. You're you're in 0:19:23.200 --> 0:19:26.600 a way, you're sort of acting and you're pretending to 0:19:26.640 --> 0:19:29.080 be someone that you probably don't believe you are anyway. 0:19:29.680 --> 0:19:32.520 You know, the song has always moved me. How deep 0:19:32.560 --> 0:19:36.960 is your love moves me? And and immortality the song 0:19:37.000 --> 0:19:40.199 that Celine Dion. I can't believe you said that. Every 0:19:40.200 --> 0:19:42.440 time I hear that song, I think I would break 0:19:42.480 --> 0:19:44.840 down if I sang that song because just the meaning 0:19:44.880 --> 0:19:48.159 of that song. You wrote that song? Yeah, yeah, what 0:19:48.400 --> 0:19:50.760 is that song about in your mind? Well, I think 0:19:50.800 --> 0:19:53.679 it's a it's at some point in your life you 0:19:53.760 --> 0:19:56.760 reflect on who you are and what you are and 0:19:56.760 --> 0:20:00.640 and the culmination of your opinion. And if you can 0:20:00.680 --> 0:20:03.840 do that, then everything's okay, you know. So so for me, 0:20:03.880 --> 0:20:05.680 it's like, so this is who I am, this is 0:20:05.720 --> 0:20:08.320 all I know, and I must choose to live for 0:20:08.359 --> 0:20:10.480 all that I can give the spot that makes the 0:20:10.520 --> 0:20:14.080 power grow. But I also find it's kind of a poem, 0:20:14.119 --> 0:20:17.919 if you will, about being a famous artist. You know, 0:20:18.040 --> 0:20:20.600 like inside some of those lyrics, I hear someone sitting 0:20:20.600 --> 0:20:23.159 They're going, there's no turning back for me. Now that's right, 0:20:23.720 --> 0:20:26.560 that's right. But we don't say goodbye, And that to 0:20:26.640 --> 0:20:29.040 me is the key part of the song. It doesn't 0:20:29.040 --> 0:20:31.320 matter whether I'm here or not. There are no goodbyes, 0:20:31.840 --> 0:20:35.400 you know. And it was written for Robert Stiegwood wanting 0:20:35.640 --> 0:20:38.160 a song for the stage version of Saturday Night Fever, 0:20:39.160 --> 0:20:42.879 and we'd already come up with the song, but he 0:20:42.960 --> 0:20:44.560 wanted the guy in the show to sing it. And 0:20:44.600 --> 0:20:46.960 I thought, but this is a woman's song. It's a 0:20:46.960 --> 0:20:49.680 woman's song. Some songs of women and some songs of 0:20:49.720 --> 0:20:53.520 the men, you know, so there's a masculinity in some music, 0:20:53.560 --> 0:20:55.760 and there's a femininity. And that's why I went with 0:20:55.800 --> 0:20:59.640 Barbara's right work with Diana Ross and the ability to 0:21:00.040 --> 0:21:04.000 mean Selene, to lock in to the feminine side, you know, 0:21:04.640 --> 0:21:09.000 and understand that a Barber Streisan still doesn't quite understand 0:21:09.320 --> 0:21:15.600 what woman in love means, you know. It's it's a 0:21:15.720 --> 0:21:18.840 right idea. Call her and get a rebuttals. It's a 0:21:18.920 --> 0:21:21.119 right out offend, which is in the song. She just 0:21:21.240 --> 0:21:23.800 what does that mean? It's a right out offend. And 0:21:23.840 --> 0:21:27.080 I did spend some time explaining before the Me Too 0:21:27.160 --> 0:21:30.840 movement that women can fall in love too without telling anybody. 0:21:31.240 --> 0:21:33.480 It's not all down to the guy, you don't know, 0:21:33.840 --> 0:21:36.520 And I had to sort of talk her through that. 0:21:36.800 --> 0:21:39.040 Kenny Rogers still doesn't know what Alans in the stream 0:21:39.119 --> 0:21:47.440 is about. Come on, Kenny, well, let's let's let's throw 0:21:47.520 --> 0:21:49.880 your cards on the table here. What songs that you've 0:21:49.880 --> 0:21:52.240 immortalized do you not really know what they're about? Come on, 0:21:52.840 --> 0:21:55.280 it's it's time for you to fest them saying you 0:21:55.280 --> 0:21:58.280 don't really get the meaning of We never recorded a 0:21:58.320 --> 0:22:01.159 song that we didn't understand. You know, there were some 0:22:01.359 --> 0:22:05.199 very abstract songs lemons, never forget. I think he's a 0:22:05.280 --> 0:22:09.480 very abstract song and not everybody's favorite. Everything had a 0:22:09.520 --> 0:22:12.000 purpose to it. We began to learn from the Beatles 0:22:12.000 --> 0:22:14.359 that you could write about anything. You could write about 0:22:14.560 --> 0:22:17.840 life itself. You know. So you had Paperback Wright or 0:22:17.840 --> 0:22:21.680 and you had Yellow Submarine, and and it was okay, 0:22:21.920 --> 0:22:24.600 you know, you can write about these things. It doesn't 0:22:24.640 --> 0:22:27.600 all have to be about having your heartbroken or falling 0:22:27.600 --> 0:22:31.080 in love or they went through that, but then they understood, 0:22:31.160 --> 0:22:36.119 they understood something about life. That's where Sergeant Pepper reached 0:22:36.119 --> 0:22:40.199 its point, the culmination of the peak three creativity that 0:22:40.240 --> 0:22:43.240 these guys were giving us. You know, well, when you 0:22:43.400 --> 0:22:46.480 mentioned Sergeant Pepper, and I think when you go into 0:22:46.960 --> 0:22:51.399 Saturday night Fever and when you're inside that experience and 0:22:51.440 --> 0:22:54.399 you're recording the music to that. Did they show you 0:22:54.520 --> 0:22:56.960 cuts of the film? Did you see some footage of 0:22:56.960 --> 0:22:59.679 the film or the whole film to inspire you to 0:22:59.680 --> 0:23:01.240 go write the music? Or you had to write the 0:23:01.320 --> 0:23:05.639 music without any cinematic reference point. Robert sent us a script, 0:23:05.680 --> 0:23:08.280 but we didn't read it. We just we just listened 0:23:08.320 --> 0:23:11.560 to his verbial describing what it was, which to him, 0:23:11.600 --> 0:23:14.040