Bee Gees Comforts - The 80s! (Yes)

Comforting Bee Gees Eighties, Oddities, and Hits, Oh Yes.

by Kristin Battestella

Contrary to popular belief, The Bee Gees did not disappear after the disco demolition backlash. After going underground for several years and writing for the likes of Barbra Streisand, Diana Ross, Kenny Rogers, Dolly Parton, and Dionne Warwick, The Brothers Gibb embarked on various solo efforts before reuniting under the house name for more international hits.

Paradise – “He's a Liar” is one of three Gibb songs I really dislike, and this ballad should have been the single for Living Eyes instead. Rather than falsetto run amok like Spirits Having Flown, here the classic lyrics and harmonious crescendos in many ways return to the pre-disco sound. Sadly, the tired market didn't want to hear it.

Guilty – Guilty was the first Gibb-related record I actually bought, and the catchy scandalous is superbly arranged for Barbra Streisand's highs and Barry's accompaniment. The dual story telling and culminating chorus showcase Barry's award winning behind the scenes work, and this session is an important staple in appreciating their songwriting catalog.

Woman in Love – Likewise, this moody, desperate ode isn’t like anything else Barbra had done. It's soulful and mellow in emotion with Gibb echoes rising to a grand, epic feeling, and the duet “What Kind of Fool” bookends the love eyes fall out splendidly.

The Love Inside – This track written by just Barry might be my favorite on Guilty. Barbra’s delivery takes its time as the swells escalate to tearful understanding and bittersweet mood. It's okay to need a pause and take a few minutes to step back and reflect on our hurt.

Chain Reaction – This Gibb track for Diana Ross's Eaten Alive is a Motown throwback with deliciously naughty hooks to contrast the familiar finger snapping beat. Combined with Diana's notes and Barry's harmony, I'm still surprised this was not a stateside hit in 1985.

Islands in the Stream – Anyway you cut it this Kenny Rogers and Dolly Parton duet from Kenny's Eyes That See in the Dark is just a superb song. I loved this song then and had no clue it was really those dreaded Bee Gees! The Brothers themselves do a wonderfully catchy rendition live, and you can't help but sing along with the perfect melody, rhythm, lyrics, and harmony.

Heartbreaker – Dionne Warwick's effortless rendition is fine sublime, but it's a treat to hear the nuances in The Brothers' versions live or recorded in full on Love Songs.The amazing lyrical refrains and relatable, snappy chorus are perfectly imperfect. There are wording changes, wispy notes, and swaying beats to echo the gone wrong sentiments.

In and Out of Love – This ballad from Robin' solo How Old Are You has an eighties sound, but it's smooth, with time to pay attention to what Robin is saying as he stretches his range. Before disco, Robin always lead the melancholy songs, but with the falsetto gone, he returns to the group with the stronger, confident voice heard here.

The Longest Night – Robin continues the eighties five o'clock shadow mood with this complex ode of dark verses and serious feeling. It's a seedy, stream of consciousness ballad with intriguing notes and solid delivery. Indeed ESP coupled with Robin's Walls Have Eyes represents deeper, mature material that everyone seemed to miss. Pity.

You Win Again – This global hit from ESP has oh babies, booming drums, and fun word play to bop your head and stomp your feet. Hot damn. That is all.

One – Likewise brimming with effortless power, enchanting lyrics, and delicious riffs, this is another fun song live, remaining fresh and tropical as The Bee Gees returned to the American charts at the end of the decade with this timeless topper.

Bodyguard – And now onto what may be one of the steamier Gibb songs from One, even the then shocking slightly soft core music video here was very naughty. Robin’s delivery is again in romantic form with moaning words every woman wants to hear amid Barry's crescendos and objections. Let The Brothers Gibb take care of you, oh yes.

Bonuses:

Man on Fire – This eighties Andy Gibb torch song builds up more Gibb heat with saucy lyrics, juicy vocals, and sexy pleas. It's strong, validating the yes please with solid escalation and climax. Despite the echoing touch of Barry's post-production, it's bittersweet to hear Andy return to form in material just before his untimely death, but what a steamy swan song it is.

The One for All Tour – Once elusive, this 1989 Australian concert video is now freely available with its unique session line up including less often performed live tracks. Most of those are slightly dated rockers from One, but live the grooves are excellent. The acid wash jeans, maybe not so much.

Please visit our Bee Gees tag or our Music label for more analysis, but do excuse any empty codes, broken links, format errors, and beloved bias in our decades old Bee Gees reviews!

Kenny and Dolly's Once upon a Christmas

Festive Kenny and Dolly's Once upon a Christmas Remains Meaningful, too

by Kristin Battestella

A year after Eyes That See in the Dark and their “Islands in the Stream” duet success, Kenny Rogers and Dolly Parton re-teamed for the multi-platinum 1984 Once upon a Christmas, a short session nonetheless brimming with country cozy pop and spiritual touches.

County guitar rifts open I Believe in Santa Claus as Kenny and Dolly alternate on the lighthearted magic, hearth, and honesty. Initially, this doesn't seem like a December tune, however, the down home spirit stirs as religious lyrics and children's choirs join the seasonal fun keeping Once upon a Christmas catchy even if you don't like country. Dolly is likewise pleasant and countryside comforting in bringing the casual snowy mountain feeling to Winter Wonderland/Sleigh Ride. Extra beats and Tennessee twang add to the combination arrangement before the ad libs go out with some eighties groovy that could have been both songs in full rather than a quick three and a half minutes. The upbeat tempo of Christmas Without You belies the sophisticated lyrics as Kenny and Dolly create a mood of snug sweaters and fireside romance. This melancholy mixed with merriment has adult maturity as well as casual, able to sing along hooks. It's pop, it's easy on the ear, and it was a hit single, naturally.

The synthesizer notes feel slightly unnecessary for Kenny's first slower ballad The Christmas Song, but fortunately, his soft gruff builds as the verses escalate to the big long held notes. Once upon a Christmas is a short thirty-five minutes with only ten tracks of mostly new holiday songs, which is unusual since there are plenty of fun and familiar holiday tunes that would have fit in with the jovial, breezy A Christmas to Remember. Edgy jazz beats accent Kenny and Dolly's rhymes of fireside memories and Tahoe skiing. This is a fun snowball fight wrapped up in the adult simmer after – an easy listening single very of its time. However the maturity also feels quite contemporary for today's holiday radio play before the fast paced, get thee to the holiday hoe down of With Bells On. The toe tapping jingle mixed with Kenny and Dolly's duet style adds to the sing a long mood of Once upon a Christmas. Us listeners are welcome to join in as our stars have room to break out and harmonize, creating a good time Christmas feeling.

Next, Kenny adds some Spirit of the Season balladry with Silent Night. Surprisingly, the music seems louder than Kenny when it shouldn't be, but this is an older CD that may not be well mixed compared to digital sound. Fortunately, Kenny's raspy melody fits perfectly with the humble notes before one more big reverent refrain. Again, Once upon a Christmas may have benefited by having more of these tender, country carols. The subdued seasonal imagery continues with The Greatest Gift All. Kenny and Dolly mix candlelight romance and snowy love with church bells, peace on earth, and gospel accents for a shrewd single combining the suave pop and spiritual tender. Dolly also has the chance to take it slow with White Christmas, providing the session with some penultimate holiday nostalgia before the eponymous finale Once upon a Christmas. A spoken account of baby Jesus opens Kenny and Dolly's longest track before somber notes retell the story of the manger, gifts from three wise men, and the king come at last. Rather than being out of place compared to the holiday happy golly gee dominating Once upon a Christmas, this topper brings the spiritual sprinkled throughout the session to the forefront, reminding one and all of the reason behind the snowy country happiness.

A more reverent session can be found in Kenny Rogers' The Gift, and Dolly Parton takes on more classic carols in 1990's Home for Christmas. With so many original compositions on Once upon a Christmas, it helps to look up the lyrics, as many of the songs sound alike. This session plays like one long concert – which of course worked back then with Kenny and Dolly's accompanying television special. Fortunately, Once upon a Christmas takes multiple listens to pick up all the holiday happy and country catchy. Though slightly dated in its early eighties country crossover pop sound with nothing stand out or what one would call timeless, Once upon a Christmas remains a perennial feelgood listen all the same – a quick, lighthearted, and cozy festive for sentimental adults who remember Christmas then. 

 

Old Comedies We Love

Comedies We Love

By Kristin Battestella

It seems like every It star of the moment makes a headlining comedy at some point in his or her career. Sometimes it is the tops of their portfolio, other times it is best left forgotten. Good, bad, dated, cliché, hokey but nonetheless quotable – here’s a quintet of comedies that we still love!

The Beautician and the Beast – James Bond himself Timothy Dalton (License to Kill) dons a mustache to play dictator to Fran Drescher in this hairdresser turned governess so annoying its charming 1997 comedy. In addition to the reverse New York fish out of water set up and a totally preposterous premise, there’s some stereotypical Eastern Europe designs and perhaps too many Jewish clichés, granted.  Every romantic movie staple is here as well – she shaves him, feeds him – even the big revelation at a ball where our titular gal looks the princess. Yes, Drescher is essentially playing Fran Fine in one supersized The Nanny episode. You either love or hate that voice and her tacky but wise and endearing style. Likewise, the social and political debates are a little on the nose and some of the quiet scenes with Dalton feel forced. Thankfully, some great quips and charming circumstances carry the viewer over the rough spots. Dalton is a lot of fun as the uber stuffy only to end up poking fun at the said stuffiness. It’s awkward, but I think it’s rather supposed to be – crisscrossed culture and all that.  The Prague scenery is pretty to look at, too. This one probably isn’t for everyone – fans of the cast only most likely – but it’s a fun time and actually a bit tough to find on DVD.

Big Business – Can two sets of mismatched twins turn New York on its ear? “Is a frog’s ass watertight?” Bette Midler (Beaches) and Lily Tomlin (Laugh-In) do double duty in this 1988 delight. From the opening Benny Goodman tunes to Midler’s yodeling – yes, yodeling – the zingers keep on coming thanks to wonderful support from Fred Ward (Tremors), Edward Herrmann (The Lost Boys), Michael Gross (Family Ties) and an early appearance by Seth Green (Buffy). The girls are perfect as their opposites, too – the shoulder pads, that pink polka dot dress, the tiara, Dynasty, “It’s pod people!” The mistaken plots and twin twists are a riot. Of course, the fashions and the premise are old hat now, and some of the split screen effects are obvious as well. How many times is New York going to get all the laughs, too? There are no subtitles on the bare bones blu-ray edition either, which is unfortunate, as some of the eighties references and jokes might be beyond today’s audience. Adults will pick up on the innuendo, but families can have a lot of fun at the circumstances here. “What’s a cow flop, Mommy?” Predictability and flaws aside, if you haven’t seen this one yet, multiple viewings and memorizations are a must. 

 

‘Crocodile’ Dundee – Future lovebirds Paul Hogan and Linda Kozlowski (also of the just as good Crocodile Dundee II and the woeful Crocodile Dundee in Los Angeles) steam it up in this 1986 romp from Down Under. Granted some of the Bushman in New York scenes don’t work today, the foreign slang will still be tough for some, and a few conversations are racially questionable. A lot of the music, styles, and customs are totally dated, too, and these typical explorations drag the middle of the film somewhat. Thankfully, there is still a lot of charm here, with great catch phrases such as “That’s a knife” and genuine onscreen chemistry. The classic New York scenery – World Trade Center alert – and wonderful Outback locales are also a lot of fun. Veiled subtext and hints of the politics of the time don’t get in the way, either, but multiple viewings are needed to pick up all the little gags and bemusements. Men can enjoy the skimpy eighties bra free fashions and healthy looking women along with the man’s man adventure, and women can delight in the round the world romance and escapism. Something for everyone, mate.

Straight Talk – “Get down off the cross honey, somebody needs the wood!” with that line, this 1992 Dolly Parton (9 to 5) sleeper remains ever fixed in my mind.  The Oscar nominated Queen of Plastic songstress is all-natural here, and her graduation from dumb blonde to fun airwaves Dollyisms feels refreshingly genuine. It’s also pleasant to see James “Holy moly” Woods (Casino) as a washed up journalist and not the wicked villain. Griffin Dunne (An American Werewolf in London), Michael Madsen (Species), Jay Thomas (Murphy Brown), Spalding Gray (The Killing Fields), Terri Hatcher (Desperate Housewives), and Jerry Orbach (Law and Order) also have wonderful appearances amid the mistaken circumstances and country bumpkin feel good, and it’s all accented by a few good tangos and original music from Dolly, of course.  There a nice morality as well – a touch of heart, truthfulness, and quiet moments that keep the story here much more mature and realistic than the recent Katherine Heigl romantic comedies or even the same old Meg Ryan staples. With bemusing witticisms such as, “I’m busier than a one legged man in a butt kicking contest!” there’s no need to resort to foul language, bathroom gags, sex, or nudity. There are, however, count ‘em six montages and a dated job search that hamper the middle pacing and make the ninety minutes seem short. Despite the nice Chicago scenery, the fish out of water radio doctor swindle is somewhat commonplace, and the finale is seriously predictable with honking horns instead of the slow clap. Sure, Dolly is just being herself, but nonetheless this cute outing is perhaps her best lead work – an older charmer for slightly older folks.

  

War of the Roses – Pairing for the third and final time to date, Kathleen Turner, Michael Douglas, and director Danny DeVito poke fun at their previous Romancing the Stone and Jewel of the Nile adventures in this dark 1989 divorce comedy.  All the creative domestic violence you need is here – from the standard throwing china and appliances mayhem to sauna dangers, almost cooked pets, and one tricked out chandelier. It sounds nasty, I know, but a sharp, innuendo loaded script is made all the more clever by the leads’ delivery, physicality, and divided chemistry.  Their grand house is the perfect setting for the fun and sexy suggestions, and the naughty gymnastics and other such “Bald Avenger” talk isn’t for kids. Sure, the wit instead of out and out sauce is probably tame for today’s audiences, but youths who can’t appreciate the evolution and devolution of marriage insanities won’t enjoy this movie.  Some of the age changes, time transitions, and hairstyles of the past may look iffy now, too. However, there is something to be said for the classy façade and decades old splendors. The stars are perhaps at their performance peak, and the derange package makes for an entertaining 2 hour crescendo. The DVD set here is also a pleasant surprise, with DeVito hosting some fun menus, a commentary, over 20 minutes of deleted scenes, storyboards, scripts, and more.

 

Who knew?

Eyes That See In The Dark

Would Having Eyes That See In The Dark Be Cool?!
by Kristin Battestella

I should listen to the real Kenny Rogers album before I proceed but eh. I got the record at a thrift shop and the best thing about it is the lyrics inside the sleeve. Being just a bit Gibb biased, I listen to the Barry demo sessions instead. Where Walls Have Eyes seems more like a Bee Gees album that has Robin doing all the leads, the 1982/83 Eyes Demo Sessions is like a Bee Gees album sung totally by Barry. Pretty cool, huh?!

This Woman is one of two tracks penned by Barry and Albhy Galuten. It has a catchy vibe and some cool lyrics. Although he did all that Gambler stuff, the duet version of the song seems a bit too rough for Kenny. You and I, however, is the complete opposite of Woman. It’s just an incredible soft Barry ballad written by all three brothers. Even the duet version isn’t that bad. I don’t think they are actually duets between Barry and Kenny, just tapes mixed together, but Rogers here has a soft tone right on keel with Barry’s. Proof you can’t go wrong with a good Gibb song!

Buried Treasure is the first true country-esque song of the album. Again one of five songs done by Barry, Robin, and Maurice. I’m not sure what extent Robin and Maurice participated in the recordings but sometimes the tracks sound so professionally arranged you keep expecting them to come in somewhere. Most of these demos are indeed in quality condition. I traded How Old Are You for them. Thanks Wendy!

Ah yes, Islands In The Stream. Anyway you cut it this is just a superb song. When I was a kid I liked country music, my favorites being The Stone Canyon Band, The Judds, and Dolly Parton. I loved this song and had no clue it was really those dreaded Bee Gees! Several different mixes of this song are floating around. Barry, Barry and Kenny, Kenny and Dolly, or all three. All work superbly. Living With You sounds a little less country and a little more rock like the songs from Staying Alive. Again it sounds a little too harsh for Kenny but fits fine with Barry. Go fig.

Evening Star is the first of three tracks written by just Barry and Maurice. It’s the perfection of country, and is it me or is Maurice singing on this one, too? Where Star would be the Maurice song if this were a Bee Gees Album, the next track Hold Me is definitely the Robin song. Barry’s breathy delivery here is on form, but the lyrics and sound have Robin written all over it! It’s fun to listen and guess which brother would have been what, even if the demos hold their own twenty years later!

Midsummer Nights continues this trend. This ‘Barry song’ is the second penned with Albhy Galuten. Nights has that tropical easy feel that most of the Barry solo tunes have. This whole album is just an easy listening pleasure. Midsummer Nights has a cheerful tune, where I Will Always Love You is the broken hearted ballad of the album. Barry for the most part sings these demos in just his normal easy voice. Parts of I Will Always Love You sound like he’s straining to stay in that vain or trying not to break into falsetto. The result sound dang cool, almost epic, which fits the song perfectly.

I also found an odd demo called Saying Goodbye which is supposed to be from this session. It’s written by Barry and Maurice, yet it has the same woe as me vibe as Hold Me. It’s not bad, but it’s tough to have two such tracks on one album, and with Kenny Rogers in mind, I can see why they went without it.

Speaking of Kenny, remember these demos were supposed to be all about him. 80) Eyes That See in the Dark can be found in a Barry version and a duet version. The duet blends from Barry to Kenny effortlessly. Again written with Maurice, Eyes has that easy country feel the brothers were looking for. It represents the album well and is fittingly the title track.

Eyes That See In The Dark is an interesting set to say the least. It’s tough to believe such quality stuff was only demos for another artist. Not that it’s going to stop us from listening anytime soon!