The Bee Gees

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The Bee Gees

Post  eddie on Mon Apr 16, 2012 2:56 am

Bedside vigil for Bee Gees star

Press Association


Robin Gibb's family have been keeping vigil at his bedside at a hospital in Chelsea

The family of Robin Gibb are maintaining their bedside vigil as the cancer-stricken Bee Gees star remains in a coma in hospital.

Wife Dwina smiled and son Robin-John waved to photographers as they entered the central London hospital.

Fans from all over the world left hundreds of messages of support and wishes for the star's swift recuperation on his Facebook page.

Emily Harrison, from Nova Scotia, Canada, wrote: "Get well, Robin, we don't want to lose another Bee Gee!! All your fans are thinking positive thoughts. May God bless you & all your families."

Narcisse Lacroix, from the Czech Republic, described how Mr Gibb's voice was one of the first she was permitted to hear as the strict ban on Western music was eased in the former socialist state.

Robin-John, 29, had been due to premier a collaborative classical work, 'The Titanic Requiem', with his father last week, but the event went ahead without Mr Gibb due to his poor health.

Other family members, including brother Barry, 65, daughter Melissa, 37, and son Spencer, 39, had also reported to have visited Mr Gibb, who is suffering from colon and liver cancer and pneumonia.

Mr Gibb had surgery on his bowel 18 months ago for an unrelated condition, but a tumour was discovered and he was diagnosed with cancer of the colon and, subsequently, of the liver. It had been thought his cancer was in remission as early as last month, but the latest deterioration in his health coincides with reports of a secondary tumour.

A statement on the singer's website RobinGibb.com said: "Sadly the reports are true that Robin has contracted pneumonia and is in a coma. We are all hoping and praying that he will pull through. Because of this situation, Robin's website is temporarily unavailable. Sorry for any inconvenience."

Mr Gibb's agent declined to comment on reports that the star may have only days left to live.
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Re: The Bee Gees

Post  eddie on Tue Apr 24, 2012 4:29 pm

Robin Gibb stuns doctors by waking from coma

Doctors put Bee Gees singer's recovery down to his 'iron will'

Sean Michaels

guardian.co.uk, Monday 23 April 2012 10.18 BST


'He has overcome incredible odds' … Doctors praise Robin Gibb's courage. Photograph: Kurt Kreiger/Allstar

Robin Gibb has woken after more than a week in a coma, "overcoming incredible odds," his doctor said. Although "the road ahead … remains uncertain," the singer is reportedly conscious, lucid and able to speak.

"Only three days ago, I warned Robin's wife, Dwina, son, Robin John and brother, Barry, that I feared the worst," Dr Andrew Thillainayagam said. Suffering from pneumonia and liver failure, the Bee Gees star had fallen into a coma; weakened from aggressive chemotherapy and two emergency operations, the 62-year-old was not expected to recover. "We felt it was very likely that Robin would succumb to what seemed to be insurmountable obstacles to any form of meaningful recovery," Thillainayagam said. "As a team, we were all concerned that we might be approaching the realms of futility."

Instead, Gibb's condition saw drastic improvements this weekend. He is alert and breathing unassisted, with the help of an oxygen mask. The singer is also able to nod and communicate with his family. "It is testament to Robin's extraordinary courage, iron will and deep reserves of physical strength that he has overcome quite incredible odds to get where he is now," Thillainayagam said.

Two months ago, Gibb spoke of his "spectacular" recovery from cancer. While he did not claim to be in remission, "from now on," he said, "it's just what they could describe as a mopping-up operation". Gibb performed live in February and was expected to appear at the 10 April premiere of The Titanic Requiem, a classical composition composed with his son, RJ. His recent illness forced him to cancel the appearance.

"Thousands of people are saying prayers [for Robin] every day," Dwina Gibb told the Impartial Reporter. Robin's brother, Barry, has been singing to him in hospital, and Robin's children were playing music, Dwina said, "to try and bring him back to us". According to the Daily Mail, Robin's first words after emerging from his coma were simply, "Hello RJ".

As their patient recovers his strength, doctors hope to remove Gibb's oxygen mask and that he will be able to eat and drink normally. "When this happens," Thillainayagam said, "we will be able to begin the process of nutritional and physical rehabilitation and may be able to move him from the intensive care unit to the ward."

Gibb's cancer was discovered about 18 months ago, during an unrelated bowel operation. His twin brother, Maurice, died of a twisted intestine in 2003.

As a member of the Bee Gees, Gibb has sold more than 220m records worldwide.

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Re: The Bee Gees

Post  Yakima Canutt on Wed May 02, 2012 4:37 pm

The Gibb's NIGHT FEVER is a nasty little behemoth, and a more damnable vision of sin than Rob Dylan or PF Sloane could ever mustaarr.


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Re: The Bee Gees

Post  eddie on Wed May 02, 2012 9:49 pm

^

http://www.youtube.com/watch?v=FECFb1_YdII
Saturday Night Fever

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Re: The Bee Gees

Post  eddie on Wed May 02, 2012 9:53 pm

Alternative Travolta dance sequence:

http://www.youtube.com/watch?v=aLZl6R7JGCc
Pulp Fiction Twist contest

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Re: The Bee Gees

Post  Yakima Canutt on Wed May 02, 2012 10:21 pm

The Australian Beatles throw down the pop gauntlet for mopey Lennonterpretation



Melody and Harmony
Superficially, the melodic material of the song is straight away in the Major mode. However, one's interest in the tune is piqued on a more subtle level by a combination of the large number of appoggiaturas, the pseudo pentatonic nature of the bridge, and the prominent role given to the flat sixth scale degree (C-natural) in the backing vocals.

The flat sixth also bears some influence on the harmony, "forcing", as it were, the appearance of one of John's much favored minor iv chords in the context of a Major key.

A relatively small number of chords are used throughout, most of them being simple choices to boot. Aside from the minor iv chord already mentioned, the other point of harmonic interest here is found in the unusual iii -» IV progression; uncannily, the last time we had seen it used was in (no coincidence) a song by the same composer called "I Feel Fine" (And I do ).

Verse
The verse is only eight measures long and is made up of three phrases, the last one of which is equal in length to the sum of the first two.

The melody of this verse makes for an ironic contrast with the hook phrase of "Norwegian Wood" that we looked at so closely last time. Although both tunes share the downward traversal of an octave as their common backbone, the manner in which the octave is filled out here is both melodically and rhythmically much plainer than the other song; even a bit simpleminded by comparison. Also worth considering is that the octave run in "Norwegian Wood" is based on the fifth scale degree whereas in our current song it is based on the tonic first degree of the scale.

I would suggest that it is this certain blandness in the tune itself which allows our hook-thirsty attention to be diverted to the little guitar riff which trails every verse section. This riff also happens to traverse a downward octave (one based on the fifth scale degree) and its rhythmic syncopation and fanfare like arpeggiation nicely contrasts with the tune and at the same time resonates with the bassline.

The guitar solo verse further develops the characteristics of this little riff and concludes with a surprising gesture in which a sudden deep descent all the way down to the low, open E string is capped off by a ringing, harmonic high E.

Because of the F# in the melody on the downbeat of measure 5, there is a part of me that might want to parse the chord in that measure as a ii6/5 instead of IV with an added sixth. It's moot to the extent that both such chords function synonymously as subdominants.

Bridge
The bridge is also eight measures in length and breaks down into a phrasing pattern similar to the verse, except that the first two short phrases here are identical, and even the longer third phrase is merely an extension of the material heard in the first two.

Appropriate bridge-like contrast is provided by a number of factors. The melodic shape of this section is arch-like for a change, and harmonically, the start of this section away from I with a big finish on V that sets up the verse which follows.

The sustaining of the A chord through measure 7 provides a subtly slow syncopation to the harmonic rhythm. To my ears, the bassline of the first bridge is played differently than the other two, creating some confusion as to whether the chord in measures 6 - 7 is actually A or f#, but both other bridges make a clear case for A.

A comparatively large amount of dissonance between melody and chords is created in this bridge by a tendency in the tune to dwell on melodic notes which more properly belong to the chord that either precedes or follows the current one. This melodic effect is so pronounced that it combines with the already mentioned syncopation in the harmonic rhythm to create the illusion of a dissonant 4-3 suspension in the backing voices at the end of this section, whereas no such suspension actually exists!

Outro
The outro contains a Beatles-trademark triple repeat of the verse's final phrase. The guitar hook, as might be expected, is given the absolutely last word.

Next note Paul vocally upstages the others in this coda, crying out loudly with the melodic flat 6th placed high in his range.

Some Final Thoughts
Even if the lyrics here aren't quite the likes of Dylan (or even Barry McGuire ), it's worth recalling, at the risk of sounding like it's a case of damning with faint praise, that the mere fact of the Beatles essaying something this outspoken at this juncture of their career was historically remarkable.

For myself, there is a slightly uncomfortable preachiness about these lyrics that one tends to associate more with George than John. Even one of the more clever tag lines — "isn't he a bit like you and me" — which in theory ought to have blunted some of the exhortatory tone with it's well-needed dose of self-inclusive deprecation, still strikes me as a bit forced and awkward.

The title epithet, though, is, no question, still unabashedly worth the entire price of admission. If necessary, you can give it to me, straight on the shoulder; or anywhere else for that matter.

-Professor Alan




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Re: The Bee Gees

Post  woo on Thu Apr 11, 2013 2:25 pm

.


Last edited by woo on Wed Feb 25, 2015 7:35 am; edited 1 time in total

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Re: The Bee Gees

Post  felix on Fri Apr 12, 2013 1:52 am



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Re: The Bee Gees

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