![]() ![]() (Maurice and Robin, in fact, were fraternal twins.) Long after the Bee Gees arrived in Miami in search of a new beginning and new sound - they would find both, of course, thanks to keyboardist Blue Weaver, sound engineer Karl Richardson and producers Albhy Galuten and Arif Mardin - the core three held fast. What's so revelatory is just how creatively and vocally conjoined the brothers were. In exploring authorship of this huge catalog (1,000-plus songs), Marshall doesn't exactly subvert the popular notion that Barry was the primary force behind it. The rest of the world just kept riding one wave after another, genre after genre, hit after hit - Brit pop, R&B, funk, disco, top 40, country - oblivious to that genius.īy clicking Sign up, you agree to our privacy policy. Who knew? Clearly their collaborators, partners and record companies did. Its subject is vast, complicated and fraught, but distills the real contribution in exactly the right way: The Bee Gees were pop songwriters of genius. It tarries not on the tragedies, but flips through them in the final seconds, with a series of black cards announcing what we all knew (and dreaded) was coming anyway. MY SAY Marshall's portrait is big, generous and almost comprehensive. (Andy, the youngest of the Gibb brothers, died in 1988 at 30.) Barry Gibb, 74, is interviewed, while the film relies on archival interviews with brothers Maurice (who died in 2003) and Robin (who died in 2012). WHAT IT'S ABOUT This two-hour retrospective of the Bee Gees from five-time Oscar nominee Frank Marshall covers the British invasion years, the "Miami Sound" of the '70s, through to the '80s when they find new relevance as songwriters for Barbra Streisand, Dionne Warwick and (even) Dolly Parton, no slouch of a songwriter herself.
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