Bee Gees Comforts - The 90s +

Comforting Bee Gees Songs from The Nineties and Beyond

by Kristin Battestella

The Bee Gees toured the globe and remained hit makers everywhere but the U.S. until newfound awards and appreciations in the late nineties. I myself was blown away upon hearing their fresh material, shocked to believe these were those same overplayed disco kings bringing the epic pop ballads that still stir the soul.

The Only Love – High Civilization is a peculiar, kind of sort of concept album, and this lone slow song can seem out of place amid the experimental electronic tracks. Fortunately, it's a superb power ballad hearkening to the early days while providing bittersweet growth, regret, and memories.

Secret Love – The shortest and best song on High Civilization, this Motown revival style is effortless and feel good familiar, telling a catchy pop story alongside “When He's Gone” and “Happy Ever After” as the pulsing pace and strong vocals mirror the whirlwind affair.

For Whom the Bell Tolls – Not only did time have no effect on The Bee Gees musically, but their complexity grew with age – as proven with this gem from Size Isn't Everything. Barry's breathy delivery and Robin's powerhouse chorus volley back and forth, fitting each brother perfectly while knocking the listener's socks off with big crescendos and tenderness in between for a soulful, spirited session.

How to Fall in Love Part 1 – To me, this later day Barry essential should be the backtrack to every movie love scene. The slow opening beats rise toward harmony with a sophisticated, six minute sublime. It's stirring, mature, and adult without being winking or crass, and it's easy to surmise what would be happening in Part 2.

Alone – This Still Waters standout is one of the best later day Bee Gees songs, if not thee best of the nineties that remains millennial modern. Twenty years after disco, a whole generation of fans heard The Bee Gees anew – myself included. The bagpipes, upbeat tempo, and sad lyrics casually blended as an enchanting ear worm were nothing like I had heard before, much less what I expected to hear from The Bee Gees. Can I say that Barry’s verses and Robin’s chorus make for a life changing event? Yes.

I Will – Outside of “Alone,” this is probably my favorite song on Still Waters, a carefully orchestrated love triangle in song with separate vocal pleas culminating in a magical, old world sound. Still Waters may have an over produced design with too many dubs and echos, yet on the individual track, that high concept arraignment lets the lofty notes shine.

Rings Around the Moon – Where “I Will” unashamedly bellows, this B side is uplifting with its quiet whispers. It's poetic versus are peaceful and inspiring with a simmering assurance saying what it feels.

Emotion – You can't go wrong with the original Samantha Sang easy and breathless with Barry harmonies. However, the Brothers' recording on The Record tips a hat to the song's tender flexibility as Barry and Robin use the solid dual vocals to compliment the lyrical zest.

This is Where I Came In – This Is Where I Came In has a little bit of everything old and makes room for each brother to have something new, yet this single is retrospective with Maurice's rocking guitar rifts, alternating verses, and old school sass. There's a confidence with, why yes we are in the Rock and Roll Hall of Fame, but also a we aren't any grand pappy fuddy duddies, either. It's progressive and commands attention.

Walking on Air – Maurice's second track on This is Where I Came In isn't as dark as “Man in the Middle” but instead represents his catchy, fun side. The vocal overlays high and low as well as all the instruments are by Maurice, representing in many ways his own musical maturity here only a few years before his premature passing. Each refrain adds something, making for repeat listens that take on a bittersweet sound and keep you on your toes.

Wedding Day – The sappy woe is my love dittys are gone here, replaced with a lovely, confident song that may be the best Bee Gees song this century. Barry lays on the romantic verses and Robin brings the house down with the chorus. Their affirmations are finite thanks to top notch voices and strong, universal emotions. When you know, you know.

Embrace – Robin starts slow here in the same tempo as Barry's preceding “Loose Talk Costs Lives” before quickly escalating into a techno bop. It's surprising even as the modern beats come full circle, bringing the disco pedigree to the contemporary night club. The lovelorn echoes and up and down speeds actually make for a great workout song.

Bonuses:

Islands in the Stream – Another old is new track released on The Record, here Robin returns Kenny and Dolly's famed country duet back to its songwriting origins with a modern R and B beat complete with a verse including “Ghetto Supastar” once again showcasing the strong Gibb versatility.

Come Tomorrow – Barbra Streisand's fresh duet with brother Barry leads off the Guilty Pleasures sequel collaboration with a smooth and jazzy, everything retro is new again. Barry’s Sinatra style ad-libs show through the mood and melodies while Barbra's delivery of the title is worth the wait.

One Night Only – When I first saw this in the summer of 1997, I hated The Bees Gees, and I've converted a few more naysayers with this dynamite concert. For more video splendor, seek out 2001's Live By Request and the three hour In Our Own Time biography bu-ray.

Despite more album re-issues, collaborations with the next generation of the Gibb family, and Barry's solo In the Now record, strangely I've not listened to any of these new materials. Die hard fan as I am, I find a certain comfort in knowing that even without Andy, Maurice, and Robin, there is still more Brothers Gibb music out there to live on and be there when I need it to be.

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!

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!

Bee Gees Comforts - The 70s!

Comforting Bee Gees Disco Hits – and There are Others, Too.

by Kristin Battestella

You may immediately notice “Stayin' Alive” is notably absent from this list of famed feel good dance music from The Bee Gees. Although it is the song I like the least, maybe now in retrospect, I can say it isn't that bad. As an ardent Brothers Gibb fan, however, I object at its ubiquitous nature as the one Bee Gees song everyone knows – and it's often a mocking reference or at least not always favorable. They have a thousand songs, people! The already much beloved “Too Much Heaven” is also set aside here in favor of a few pre-disco grooves and more post-treats proving The Bee Gees were much, much more than disco.

Run to Me – The guitar cum heartstrings and vocal harmonies here are simply marvelous. Tender verses and a pleading chorus alternate whispers and swells while the lovelorn lyrics offer musical consolation. “Run to me, whenever you’re lonely”...That, after all is why we're here.

Please Don't Turn Out the Lights – This brief, two minute ditty also from To Whom It May Concern only has one problem: it's impeccable harmonizing is too damn short. I just repeat it three times in a row to make up the difference.

Mr. Natural – The Mr. Natural album and its eponymous track should definitely not be dismissed as it has been. The easy beats and ear worm refrains here are surprisingly upbeat, contrasting the hidden sadness in the lyrical story while mirroring the titular casual cool. Yeah, I'm dying inside, but I look like I'm feeling great! Barry's strong lines provide the macho front while Robin's wailing high notes represent that love lost lump in the throat.

Nights on Broadway – Before Fever, it was Main Course and this excellently arranged hit that changed Barry, Robin, and Maurice from brokenhearted to falsetto grooves. The pouting lyrics capture the bitter romance of the moment while the bridge and chorus refrains run the gauntlet in range. No need for auto tune – those notes are real, and they're spectacular!

Fanny Be Tender with My Love – You can hear all three brothers in the lofty, chorale harmonies here, yet each refrain remains tight, carefully crafted down to every echo with subtle changes on each chorus. We're hooked by the bittersweet mood while listening for the next uptick showcasing the bellowing mastery. Is it over the top? Yes. Do I care? No. Listening to this never sounds the same way twice.

Baby as You Turn Away – The last song on Main Course is my favorite for it's effortless breezy and catchy melodies once again cleverly disguising what is really a sorrowful song. Maurice's down contrasts Barry's high notes for a different, unique melancholy compared to the group's previous pathos.

You Should Be Dancing – How many movies have spoofed that white suit routine? More than a mere dance song, the full throttle here is embedded in the cultural lexicon thanks to rousing beats and get up and groove proclamations. Live arrangements and longer remixes elevate the complex rhythms, yet the simple, titular push remains hip moving essential. It's still a good dance song. Always has been, always will be.

Love Me – My mother hates this Children of the World power ballad, but I simply adore the croaking, lovelorn lyrics. It's moody, it's depressing, it's expertly handled by Robin. This is a great song to cry to, and that's perfectly okay.

Night Fever – This recognizable boogie is back in style! Cruising seventies lyrics capture the suave of the time. It's sexy and everyone can get down or cut a rug. Nostalgic fans can reminisce on the good old days in song and young listeners can immerse themselves in the not so innocent innocence with almost whimsical interludes and verses that vibe. After decades of gun shy, it's fascinating how this song came full circle, appearing in commercials and films whenever we need a pick me up bop.

How Deep is Your Love – Back then, it was unheard of for Robert Stigwood to release the Saturday Night Fever soundtrack before the film, but thanks to this excellent, most excellent Gibb staple, that's pretty much standard practice today. This sounds as good now as it did then – a penultimate love song with delivery from the soul. The emotion and artistry remain vital and fresh as the refrains tug on your heartstrings.

More Than a Woman – Even setting aside it's huge place in the Fever mythos, this swaying bliss provides musical genius with every verse. You can cha cha to the marvelous beat or indulge with the harmonious, pleasant lyrics.

If I Can't Have You – While Yvonne Elliman's powerful version brimming with female heartache showcases The Brothers versatile potential in writing for others, their flip side collected on Greatest highlights Barry's range. Three grown men screaming about love shouldn't be so catchy, but I'll be dang it is.

Love You Inside and Out – I love the naughtiness of this feel good keeper – my favorite from Spirits Having Flown. You can dance, nudge, nudge, wink, wink, and sing along to this softer falsetto capturing the carefree in words, music, and mood. The Bee Gees actually have a lot of kinky tunes, but that's a whole 'nother topic!

Tragedy – This heyday hit doesn't feel 1979 dated thanks to progressive beats, synthesizers, and pulsing notes emphasizing the mellow rage lyrics and explosions. Yes, explosions. Live this one is also a lot of fun, an entire production rousing the crowd to sing along to such bitter lyrics with a smile on their faces.

Bonuses:

I've Gotta Get a Message to You Here at Last...Bee Gees Live – If I had to tell my utmost favorite Bee Gees song, this version has to be it. Is it perfect? No. There are certainly tighter tunes compared to the live mix here. However, the original's melancholy somber and Robin's quivering sadness escalate to a Barry ad-libbed rock out. It's sets the entire tone for the big brass concert session, and you can hear someone in the crowd shouting, “You rock, Barry!”

Oh, Darling – This Robin led cover from the bemusingly dreadful and deliciously so, so wrong Sgt. Pepper's Lonely Hearts Club Band film actually charted n 1978 thanks to the soulful delivery and edgy throwback. The movie is pretty infamous, but it does have a few gems like this.

I Just Want to Be Your Everything – I don't know how anybody can not like this lead off single from Andy Gibb's Flowing Rivers. Granted the vocals are a bit ‘Barryfied‘, and the rest of the album is a much more Andy country true to himself, but the extra Gibb orchestration is what makes this sound so good.

Shadow Dancing – This Andy Gibb hit is a great sing along song for the car. It's the only recorded song credited to all four brothers, and sometimes I fancy you can hear all of them, too. If this is what the entire family would have sounded like all together, wow.

One of the reasons I hated The Bee Gees growing up was because my ballet dancer sister made me practice the moves from Saturday Night Fever with her over and over again – at least until I broke the record. I much preferred Andy Gibb! Today, however, rather than dated like several infamous “Disco Duck” type extremes, the transformative dance music here takes you to another time and place to move your hips – no matter how bad you're feeling.

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!

Bee Gees Comforts - The 60s!

Comforting Bee Gees Songs from Their Early Era

by Kristin Battestella

Often in tough times I turn to one of my most favorite of favorites all time ever, The Bee Gees! The Brothers Gibb catalog keeps on giving with superb harmonies, catchy hooks, and memorable melodies. Here, in chronological order rather than preferential listing as if I could possibly choose, are some soothing and moving songs from Barry, Robin, and Maurice's sixties start and early seventies incarnation.

To Love Somebody – Simply put, this is THEE most excellent place to start. Although live versions are a close second, the original 1967 First rendition is best, instantly recognizable with classic Summer of Love lyrics and a belting, emotional finale. It is impossible to dislike this song, and the budding musical genius is evident here.

I Can't See Nobody – Hearing Robin's range and vocals on this one the first time blew my mind. The sound here is quiet different, switching styles with unique ups and downs amid telling lyrics and heartbreak. When falling in or out of a relationship, the other person is everything, and the relatable hook will get stuck in your head thanks to rhythms echoing the in love heights. Wow.

And the Sun Will Shine – The mellow sounds begin slow as if Robin were here whispering in your ear, but the chills up your spine finish goes over the top amid lyrical trees, skies, love, and life. The impeccable, quivering delivery and nonsensical words ring true with universal ideas such as, “Love to me is life, and I live you.” The One Night Only live rendition may even top the original, with a strong, almost orgasmic intensity. I said what I said!

Massachusetts – The Bee Gees first number one hit is one of the few upbeat rather than psychedelic sounds on Horizontal, and it remains a delightful against type song. Today, the effortless melodic is even more pleasing with talk of home comforts, and this one is my father’s favorite.

I've Gotta Get a Message to You – This execution ode, however, is my favorite! Somehow, the moody downbeats and haunting story make me giddy every time I hear them. Another deftly woven mix of swaying music belying the layered melancholy with big notes to hit the finale home.

Let There Be Love – This single from Idea has a very orchestral musical and vocal arrangement, stirring with Barry’s crescendos before Robin's entry raises the, well, rousing. Even if you think this starts off slow, in the end, you too are down with the titular proclamation. Yes. Why not?

I Started a Joke – Today, Robin's quirky, enigmatic, relatable in what it doesn't say signature song would probably never top the charts. It's brooding, personal, and will sends shivers up your spine.

Words – I cried the first time I heard Barry's classic sweet nothings on Bee Gees Gold. Anyone who has ever been tongue tied or said the wrong words can never tire of Barry in his element.

My World – This single from Best of Volume 2 again plays with harmony and lyrical juxtaposition. The words are seemingly simple with few refrains. Yours, mine, ours – what else is there? However the vocal overlays and three-part complexity remain surprisingly serious in their build.

Lamplight – It's tough to pick one track from the Odessa concept album, and my mother thinks Robin's shipwreck creaking is like nails on a chalkboard. o_O Fortunately, the old fashioned story, strong chorus, and harmonious woe perfectly capture the album tone with pretty echoes and yearning thoughts.

Lonely Days – Enough with the pathos! When you need a little pick me up, nothing does it like this dual rocker. Again, the slow start and nonchalant lyrics suggest something else before the raw, toe tapping uptick. This is one of those songs people may have heard but don't know it is The Bee Gees, and the ode remains a symbolic turning point that's also awesome live.

How Can You Mend a Broken Heart – The Brothers themselves defined their early career as “Broken Heart Bee Gees” and this reunion ditty from Trafalgar is steadfast and quintessential. Barry and Robin poured their feelings into a soothing, harmonious song asking one of life’s biggest questions.

Bonus:

Birth to Brilliance – Even The Bee Gees were kids once! This compilation set is one of many gathering the Brothers' early Australian tracks – silly fifties romps, cover songs, and teenage originals. Some are laughably charming with their pip squeaks and simple rhymes while others are impressive odes of what was to come.

I've always been quite adamant about this era of the group, as when I was growing up, everyone – including myself – was over the disco everywhere fallout. So it was fascinating to rediscover the early Gibb sounds later as a teenager. Some of my earliest reviews were glowing Bee Gees critiques, and while those writings are probably very dated now, the music remains good for the soul.

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!

Nostalgic Musical Merriments

Nostalgic Musical Merriments!

by Kristin Battestella

These sentimental and comforting but no less fun and informative musicals, movies, and documentaries provide nostalgic feeling and most importantly, some great tunes.

The Beatles: Eight Days a Week – The Touring Years – This hour and forty-five minute 2016 documentary from director Ron Howard (Apollo 13) traces the band's early formation and their epic tours from 1962 to 1966 with new interviews from Paul McCartney and Ringo Starr alongside archive film with George Harrison and John Lennon audio. Vintage photos accent concert footage of “She Loves You,” “Twist and Shout,” “I Saw Her Standing There,” “Can't Buy Me Love,” “Help,” “Nowhere Man,” “Don't Let Me Down,” and more classic tracks. Cues from the likes of “Please Please Me,” “I Wanna Hold Your Hand,” “I'll Cry Instead,” “A Hard Day's Night,” “I Feel Fine,” and of course “Eight Days a Week” set off onscreen timelines and locations – a linear narrative from Liverpool innocence and the risk of failure in America to initial newsreel interviews getting their names wrong and The Fab Four's humor over the baffling Beatlemania. More clips and radio reports capture the era as the relatable group transcended cultures thanks to welcoming, colorless music and freedom of expression. Their compassion was more important than the hysteria, and the Four historically refused to perform segregated concerts while writing fast on the road and sharing their experiences through songwriting. After their simplistic love songs made to appeal to the masses quickly caught on, they laughed at the thought of their music's lasting impact on western culture. However with the A Hard Day's Night movie spurring the out of control teen movement, John, Paul, George, and Ringo began to realize how big they really were. 30,000 seat tours and everybody wants a piece of them over the sheer logistics and money to be made even if the amplifiers couldn't carry the sound at Shea Stadium. They turn to the recording studio to express themselves deeper despite the rapid singles pace and album release pressure – uniting against touring as drug use escalates. New interests in art, Indian music, and life not lame photo sessions lead to album growth while controversies, negative interviews, and persona non grata threats begat apologies and increased security. The circus was no longer about the music, and the Sgt. Pepper sessions provided a chance to freely experiment with mature, innovative sounds rather than catering to the masses on the road. No longer mop top boys, our long haired sophisticated men go their own way before final, rare footage of the 1969 Savile Row rooftop concert. Although this may be nothing new to longtime, hardcore fans, this behind the scenes focus is a great starting point for new, younger listeners.

Dirty Dancing – My sister the dancer and I watched this 1987 hip grinding fest starring Jennifer Grey (Ferris Bueller's Day Off), Jerry Orbach (Law & Order), and Patrick Swayze (I prefer North and South myself) a lot. I mean a lot. At least the dance scenes anyway. I think she went along with us getting a pool just so we could do that lift in the water, too. Though specifically set in the summer Catskills with mid century cars, frocks, pearls, and budding sixties flair; there are also heaps of eighties hairstyles, sneakers, hip dialogue, and thirty year olds playing teenagers to match the original Swayze tune “She's Like the Wind,” “Hungry Eyes,” and the massive “I've Had the Time of My Life” hit. Whether ticklish traditional routines or forbidden steamy – that “Cry to Me” scene, come on – the dance moves remain energetic. The characters are cliché thanks to the fifties elite mentality and the poor boy from across the tracks social barriers, yet everyone's likable thanks to subtle humor and quirky charm. For what on the surface seems to be nothing more than a dance movie, there are some progressive abortion and pre-marital sex debates. Here women are supposed to go from daddy's little girl to the wholesome wife of a doctor with no other options– dating the bad boy or having career dreams were unacceptable. While some of the life imitating art coming of age is heavy handed and melodramatic, the female focus retains surprising depth. When recently catching this on television late at night, I thought the sweet, sweet oldies like “Be My Baby,” “Do You Love Me,” “Will You Still Love Me Tomorrow” and more would just be great background noise. However, the comforting storytelling and sexy dancing put a smile on my face. After all, “Nobody puts Baby in a corner!”

Hello, Dolly! – Gene Kelly (Singin' in the Rain) directs this 1969 musical adaptation starring Barbra Streisand (Funny Girl), Walter Matthau (King Creole), and Michael Crawford (Phantom of the Opera) – an overlong two and a half hours with excessively orchestrated, meandering set pieces and dull, unnecessary songs that all feels ten years too late. At times the battle of the sexes banter, zingers, and personality shine better without the music. There are too many misunderstood couples creating more confusion than comedy, and it's easy to zone out or skip around once viewers stop caring about whether this is supposed to be about the matches or the matchmaker. The fast talking backtalk stalls the momentum rather than moving the chemistry along, and the exaggerated, tip toe, butt in the air dance steps are so awkward it borders on parody. This over the top performing for the back row never actually breaks the fourth wall to let the audience in on any meta wink, and sometimes it's all just an hour and a half exercise in making it to the titular show stopping Louis Armstrong (High Society) number. Having said all that, the specific attention to turn of the century New York detail is superb nonetheless thanks to on location pretty, period storefronts, lovely trains, trolleys, and carriages. Feathers, lace, parasols, spats, hats, waistcoats, buttons, bows, and baubles add flair to the wonderful costumes. The bumbling couples are both so flamboyant with their fawning over each other yet completely repressed in their pesky Victorian high collars. Despite the fifties whoopee safe tunes, these corseted women are about to explode and the cross legged men are so grateful to be near enough to a lady to dance. The it's complicated and for love or money hi jinks may be cheeky – the one on one battle of wills where performances are allowed room to maneuver are best – but there's a nostalgic comfort and innocence to the slightly out of touch simplicity. This musical denouement in changing times provides enough whirlwind charm and visual splendor to keep the golly gee giving for young and old.

Stevie Nicks: In Your Dreams – With weepy fan voiceovers, airplane arrival montages, shaky cam introductions, and made to look retro footage, this 2013 documentary chronicling Stevie Nicks' In Your Dreams album collaboration with the Eurythmics' David Stewart is very slow to start. Fortunately, rainy California scenery sets the ethereal mood and we're all here for Stevie's recorded messages and interview sit downs on her pen and paper approach to writing or music production and inspirations. Poetic genesis, military impetus, literary references, and more background on each of the songs from the titular 2011 album pack these 100 minutes with “Everybody Loves You”, “You May Be the One,” “Wide Sargasso Sea,” “Secret Love,” “New Orleans,” “Annabel Lee,” “Italian Summer,” and more. At times, it's difficult to know which tune samples you're hearing because Stevie's lyrics and titles don't always immediately reveal themselves. However, onscreen notes, music video snips, and raw, home recording studio sessions balance the sometimes heated discussions about which tracks sound best – it takes hours, sometimes days for just a few minutes of music. This fly on the wall viewer perspective provides an inside peak at the stress, difficulty, nuances, and all the little things that go into such pretty, sweeping orchestration. Chats with Mick Fleetwood, fun moments with crew, childhood audio clips, early photographs, and home movies create a personal touch. Though occasionally pretentious over waxing on life, love, and music being one and the same with heavy spiritual and emotional thoughts, humorous moments and sarcastic quips keep the time lighthearted. Our rock stars don't forget to rock, and by sampling enough songs and sharing the touching inspirations behind them, this documentary does what it is supposed to do – make you want to buy the album. Why wouldn't you anyway?