Bee Gees single by single thread

Sidebar 15: Extended personal rescue, 1979

"Spirits (Having Flown)" wasn't released as a single in the U.S., not even as a promo. The UK 45 was edited to around 3:55 from the original 5:17 length; this single edit, along with a few others, can be found on a 3-CD set that I've mentioned before: Too Much Heaven: Songs of the Brothers Gibb, a promo-only collection compiled by Warner/Chappell Music as a publisher's demo.

This is the single edit, which was made directly from a UK 45:



There is also an extended 12-inch mix from the UK that lasts more than seven and a half minutes.

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In the States, we had two 7-inch singles in 1979 that fall outside the normal boundaries of this thread.

1. The "Greatest" EP

As a promotional tool for Bee Gees Greatest, RSO chose to service radio stations with a relic from a different age -- a four-song extended play 7-inch single.

This EP, which has a small center hole and plays at 33 1/3 rpm, contains three of the "new" songs on the two-record set (one outtake and two formerly non-LP B-sides) plus an album cut from 1975 that also was a prior B-side.

The official title of this EP is Special Extended Play Sampler from the Album "Bee Gees Greatest". Its number is RSO EP-200. It was issued with a picture sleeve. Copies are known to exist from CBS Santa Maria (25) and CBS Terre Haute (73); the latter, at least, were pressed on styrene.

The contents:
Side 1
(Our Love) Don't Throw It All Away (4:02)
If I Can't Have You (3:25)
Side 2
Rest Your Love on Me (4:20)
Wind of Change (4:54)

I can't imagine the sound quality is very good, with almost 10 minutes of music on Side 2 of a seven-inch disc.

2. The Fan Club record

By 1979, the Bee Gees were almost certainly the most popular current group in the Western world. As was true of many artists, they decided to start an authorized fan club. Most of the time, these promised more than they delivered, though there are notable exceptions (R.E.M. and Pearl Jam, to name two, had excellent fan clubs; the annual records alone were worth the price of admission).

Enclosed with most copies of the Spirits Having Flown vinyl LP was a full-color insert for the first "official" Bee Gees Fan Club. At least initially, it delivered on its advertising.

For a $6 annual membership fee, the Bee Gees Official Fan Club sent its members a really nice introductory package, few of which remain intact today. It came in a three-sided folder with a full-color photo of the Brothers Gibb on the front. Inside were:
-- a membership card
-- a change of address card
-- a "refer a friend" card
-- a pink "gift membership application" card
-- a large poster of the group
-- an official membership certificate suitable for framing
-- a "Personal Biography of the Bee Gees" page
-- a newsletter (Volume 1, Number 1)
-- four 8x10 photos of the group (a trio photo and individual shots of Barry, Robin, and Maurice)
-- a 7-inch 33 1/3 rpm record

The record lives on as the collectible item today, because it contains recordings that never have been issued elsewhere. This disc is very similar in spirit to the Beatles' Christmas fan club discs of the 1960s.

On Side 1 of the disc is "A Personal Message from the Bee Gees," which they recorded late in 1978. On it, Barry, Maurice, and Robin talk about the new album, the upcoming tour, and the Music for UNICEF project, but it also contains about 55 seconds of music: The brothers sing a beautiful version of "Silent Night" with Barry on acoustic guitar. Their rendition starts about five minutes into the record.

A Personal Message From the Bee Gees

Side 2 is a skit called "The Rescue of Bonnie Prince Wally," recorded around the same time as Side 1. It is almost eight minutes of absurdist humor in the spirit of The Goon Show. Supposedly, they had to make some edits for language before they released it.

'The Rescue of Bonnie Prince Wally' (Bee Gees) audio only

The record has custom photo labels. The credits have "© ℗ 1979 Bee Gees" and "Produced by EMMC, N. Hollywood, CA". It was pressed on styrene by Monarch, and yes, it has delta numbers in the trail-off wax of both sides: △105680 and △105681. Those are the only numbers associated with the record.

I thought I had stumbled onto a copy of this record a few years ago as part of a box lot, but I guess not, because it's not with my Bee Gees singles.

 

Barbra Streisand - Woman in Love (1980)

Released: August 16, 1980
B-side: Run Wild
Charts: #1 (USA, UK, Australia, Austria, Belgium, Canada, France, Germany, Ireland, Italy, Netherlands, Norway, South Africa, Spain, Sweden, Switzerland),
#2 (New Zealand)

 

"Woman in Love" is a song performed by Barbra Streisand and taken from her 1980 album, Guilty. The song was written by Barry and Robin Gibb of the Bee Gees, who received the 1980 Ivor Novello award for Best Song Musically and Lyrically. It is her fourth of four Platinum records, and is considered her greatest international hit.

After the success enjoyed by the Bee Gees in the late 1970s, the band was asked to participate in musical endeavors for other artists, and Streisand asked Barry Gibb to write an album for her. This album ultimately became Guilty. "Woman in Love", as the lead single, became one of the most successful songs of Streisand's music career. It reached the number-one position on the Billboard Hot 100 chart, Streisand's fifth (and last to date) number one hit on that chart. It notably replaced Queen's mega smash hit "Another One Bites the Dust", spent three weeks at number one, and was itself replaced by "Lady" by country singer Kenny Rogers. It also spent five weeks atop the adult contemporary chart, her sixth number one on that tally. The song also proved very popular internationally, reaching number one in many countries, including in the UK Singles Chart. The song sold more than 2.5 millions till December 1981, according to Billboard. The lyrics refer to Streisand's eternal devotion to her lover. No matter the obstacles they face, they will always be in love with one another.

Streisand has openly stated that she does not like "Woman in Love" because she doesn't believe in the meaning of the lyrics. She has rarely performed the song live; she did, however, sing it on a couple of dates on her 2013 European tour and the Barbra: The Music, The Mem'ries, The Magic.



Music video
The music video for the song included clips from A Star Is Born, starring Streisand and Kris Kristofferson and other movies she made in the 1970s.

Liz McClarnon version
Atomic Kitten member Liz McClarnon covered "Woman in Love" after the band's split in 2005. Produced by original songwriter Robin Gibb—whom McClarnon accompanied on his 2005 tour—the cover was released in February 2006 as McClarnon's debut solo single. In the United Kingdom, the song was released as a double A-side with a cover of Jackie Wilson's 1968 hit "I Get the Sweetest Feeling". The double A-side peaked at number five on the UK Singles Chart on February 19, 2006, staying in the top 100 for six weeks. Elsewhere, "Woman in Love" reached number 21 in Ireland and became a minor hit in Belgium and the Netherlands.

McClarnon would go on to record another song entitled "Lately", but the track was not released as a single.

Barry Gibb version
"Woman in Love" is the first demo Barry Gibb recorded for Barbra Streisand's album Guilty. This composition by the Gibb brothers Barry and Robin would become the album's very successful first single. And it was due to this demo that Barry Gibb became the first male artist to sing the song, though it was originally recorded for Streisand alone in order for her to sing the song for her album.

Woman in Love - Wikipedia

 

'Woman in Love' is one of the very few songs that reached number one in every country with an official chart in all 3 continents (Europe, North America and Oceania) - the only exception being New Zealand where it 'only' peaked at number 2.

It took four years until a single became an equally successful international chart topper. That song was Stevie Wonder's 'I Just Called to Say I Love You', which reached number one in all countries including New Zealand.

 

I love that era from 1980-1986 when the Bee Gees concentrated on writing songs for other major artists.
The results are all outstanding, as is 'Woman in Love', the best song Streisand has ever recorded.

 

I’d agree that Woman In Love is one of Streisand’s best songs. She sings it perfectly. Showing great restraint for the most part, but not afraid to ‘belt’ when she has to. Many of today’s singers could learn a thing or two from Babs...While she can hit all the notes you want, she always shows great respect for the songs she’s performing and doesn’t wreck them by oversinging.

WIL is a fantastic song. The best one on the Guilty album. It’s a perfect marriage between Babs and the Bee Gees. While you can certainly tell the latter wrote the song, their production/vocal styles don’t overpower Streisand.

It’s no surprise to me that WIL was a worldwide #1. Even though by 1980 Babs was no longer flavour of the month, the song and the interpretation of it are so amazing you just have to listen.

 

Desire is my favorite Andy Gibb song hands down.

I'm a Streisand fan going all the way back to People. Woman In Love is a worthy song for her but there are others I prefer. Guilty, for example, is my favorite from that album.

 

Though not the best song on the album, IMO, "WOMAN IN LOVE" is of the same high standard as the rest of the album. I don´t know which song is my favourite - it changes from day to day. I love all he songs on the album, and as Bobby mentioned, these songs are a perfect marriage between Gibb and Streisand. I play this album often, and I always enjoy it. Ever since I bought the album in 1980, I have ever once grown tired of it.

 

But, I still prefer the title cut. "Woman In Love" is a little too syrupy for me.

 

"Desire":

I remember when this came out early in 1980. It definitely sounded like a new Bee Gees single. But I remember thinking it was half to two-thirds of a good song.

I really liked the almost jaunty melody of the verses. The pre-chorus was pretty good, too. But the chorus was a letdown; it just didn't flow nicely from the "ah" sounds before it. And that line in the chorus -- "you are the woman I base my whole existence on"?? Really? Does this guy have no self-esteem at all?

Regardless, I still liked the song back then, though at the time this was out, I was listening more to "Crazy Little Thing Called Love" by Queen, "Another Brick in the Wall Part II" by Pink Floyd, "Don't Do Me Like That" by Tom Petty and the Heartbreakers, and "Call Me" by Blondie. Those 45s got a lot more spins on my turntable.

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Of course, the trades anxiously awaited the first official new Andy Gibb single in more than a year. Somehow (later deadlines, perhaps), Record World got a scoop, as its review of "Desire" appeared it its January 19, 1980 edition, a week before its competitors. Naturally, it appeared on Page 1: "From his forthcoming 'After Dark' LP comes this temptingly exotic single. Andy's soft and lush vocal, with some intelligent percussion, incites."

Cash Box had "Desire" as one of the eight Feature Picks in its January 26, 1980 issue, writing, "The youngest Gibb is well-served by his illustrious brothers here, who lend their songwriting talents as well as trademark falsetto harmonies to this single from Andy’s forthcoming 'After Dark' LP. A glowing instrumental, provides a pleasant base for this potential Top 40 smash." In Billboard the same week, "Desire" led the Top Single Picks column: "Gibb ends a yearlong absence from the marketplace with a breathy falsetto ballad with a semi-reggae beat. All five of the singer's previous singles have gone top 10 and gold and this one enters at a lofty 44."

"Desire" indeed debuted very high in all three trades. The #44 in Billboard was in the middle; it debuted at #39 in Record World and #49 in Cash Box, all in their respective January 26 editions. In Radio & Records, it debuted at #30, a week earlier than in the other trades (January 18, 1980), either because of leaks or because RSO sent promos before the stock copies. But "Desire," though it became Andy Gibb's sixth straight Top 10 single, didn't live up to the strong debut. In both Billboard and Record World, it peaked at #4; it got to #6 in Cash Box; and it stalled at #7 in Radio & Records. Sadly, it would also prove to be his last Top 10 pop hit.

"Desire" briefly crossed over to the R&B charts but didn't last long. It peaked at #49 in Billboard and #57 in Record World; it doesn't appear to have made the chart at all in Cash Box. A completely different song called "Desire" by a group called The Masqueraders was a bigger R&B hit around the same time.

In its February 16, 1980 issue, Record World started publishing an adult contemporary chart for the first time since 1972. On this newly reconstituted 50-position list, "Desire" peaked at #5. On the Billboard Adult Contemporary chart, it got as high as #9. That was also its peak on the Radio & Records P/A (Pop/Adult) chart.

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"Desire"/"Waiting for You" was released as RSO RS 1019 in January 1980. The listed time on the A-side is 4:24 (it's closer to 4:27) and on the B-side is 4:13. Every copy, regardless of pressing plant, states that "Desire" is from Andy Gibb's forthcoming album "After Dark." I suspect that RSO never went back to press more copies; its initial run was sufficient.

I have seen copies of "Desire" from eight different pressing plants:
Presswell (18)
Bestway (19)
CBS Santa Maria (25)
PRC Compton (26)
Peter Pan (30)
CBS Pitman (56)
CBS Terre Haute (72)
PRC Richmond (73)

Promo 45s of "Desire" are mono/stereo, white labels. They contain an edited version on both sides; the time is listed as 3:36 with an intro of :18 for a total of 3:54. The actual time is 3:59. This is a straight early fade of the stock version without any other edits; one can start fading at 3:42 and continue to 3:59 to create the promo version. Copies were pressed at Santa Maria (25), Pitman (56), and Terre Haute (72).

 

Woman In Love is a good song and Streisand does it very well.
Barrys demo is a bit more driving on the versus but I like to listen to it as well.

I still contend that yes there was over exposure by late 1979 but regardless the record buying public still loved Bee Gees songs at that time.

 

Not really a fan of the song or Barbara Streisand for that matter.

Agreed. They did some great work during this time for other artists. I always loved when they did little snippets of these various songs during their concerts.

 

I don’t think Woman In Love sounded so much like a Bee Gees song as it did a great Babs song..

A similar thing was Liza Minnelli’s Results album in 1989. The Pet Shop Boys could put as many of their beats and idiosyncrasies on there as possible, but it still sounded like a Liza Minnelli record. You can only push these divas so far.

 

My favourites on Guilty haven’t really changed...Woman In Love, Promises, The Love Inside and Life Story. Never Give Up is the weakest track. Would have loved to have heard Barbra’s version of Carried Away. Bet it was amazing.

 

It still has their touch all over it though,the sweeping musical intro,their lilting almost dreamy melody on the verses and then the chorus at or near full throttle.
She does soften the edges to make it a sound of hers and it is excellent for that.

 

It’s a shame Babs didn’t make more records like this. 1977-84 were her ‘pop’ years, but she never moved far away from those stagey ballads she loves so much.

 

Guilty, Woman In Love, and What Kind Of Fool are all fantastic. Goosebumps galore.

 

As much as I respect her for what she has accomplished, these are the only songs by her that I like.

 

Even though the brothers considered themselves songwriters first and foremost, it's really a shame that some of their best work as writers could not be issued under the The Bee Gees banner that would have added many gems to their growing catalog. Had it not been for the inane blacklisting by American DJs, The Bee Gees may have thrived in the 80's with all the hits they penned for others. A song like "Woman In Love" could have been easily done by Barry as he did on Live By Request in 2001. "You are a woman in love".

 

Has anybody ever crammed more drama into less than 4 minutes? Spine-tingling. Not a huge fan of Babs, but man does she knock this one out of the park. That breathy, half-whispered, slightly reedy delivery in the verses, with that pinpoint diction and phrasing, and then she just opens it up and lets it waaaaaaaaailllllll in the chorus. "It's a riiiiiiiiiiiiiiiiiiiiiiight I defeeeeeeeeennnnnddddd!" Damn straight, Babs!

Aspiring divas, this is how it's done.

Doesn't hurt that this is one of Barry's very best compositions, with that slight touch of Asian melodic influence that was so popular during this era, and which Barry deployed on a few other Bee Gees hits. Really enhances the delicacy of the verses, providing even more dramatic contrast with that chorus.

Dear god, that chorus! The build-up, the climax...it's all high pop sexual drama. Somebody get that woman a fan and a cigarette.

The production on this one is flawless as well. Clearly Bee Gees, but a little crisper and clearer I think, the mix has more depth, you can hear into it better, it's a bit less muddy. The perfect landscape for Streisand's voice to prowl.

Guilty is easily the best album of hers that I've ever heard. I think she finally found a writer/producer who had so much clout and success she couldn't push them around and pretty much had to do as instructed. And I think the instincts and wants of her yin were perfectly offset by Barry's yang.

No snickering from the peanut gallery!

(Based on the album cover, I always wondered if she got in a tug or two on that yang...)

 

Yeah, I can get behind that. It's this or "Evergreen" in my book.

Exactly. Everything about her delivery works. It's completely over the top but I still love it. And really, who else could have done this? Nobody. It needed that Broadway staginess to set it apart, and also her astounding pipes - she was in peak form at this point.

Well, their vocals were all about drama by this point, and who did drama better than Babs? Match made in heaven.

Really? I think it's a bit bombastic but I wouldn't call it syrupy. In fact I find the grinding arrangement of the opening very dramatic and somewhat stern, almost menacing. It's always hit me like a blast of arctic air - sobering.

 

Still, it's interesting how people see things from a different point of view. I think the lyrics are great, but the music and arrangement leave me cold.

 

Must say, a dead on accurate analysis of said album! And WIL is about as perfect a song as can be. I can’t believe how impeccable the production is. I wouldn’t change a single thing. I wish the same effort had been put into Dionne’s album because I love most of that album too (though the collection of songs on Guilty are much better as a whole). The production isn’t nearly up to the standards of Barbara’s, though one guess is Columbia gave Barry a blank check. I doubt Arista would have been as generous with an artist that wouldn’t have sold as well. It’s a good sound for Dionne, but I would have loved a more lush richness that ran all over Barbara’s album. Would have loved to see the bill for the incredible amount of studio time it must have taken, even just to mix Woman In Love. I wish the same effort was put into recording today. I think it’s become a lost art form in many ways.

I’ll tell you, I think by far the biggest lost opportunity was with Diana’s Eaten Alive album. She is one of my favorites, but that album for the most part is a turkey, and the sound is awful. I dare anyone to turn it up very loud without it ringing your ears. I do think the Gibb’s were running on empty at that point, having given so much already to other artists. I wish she had been closer up in line!

 

You seem grumpy the past day. I’m surprised too by your comment, but as you say it is definitely fascinating how the same song can be heard differently by each person. I thought they nailed it perfectly, and I don’t feel that way about very many songs.

 

I'm not grumpy. I may be a bit miffed about how when some people cannot tolerate a certain viewpoint, they have the power shut it down, and may not recognize their bias. It's just a shame that people cannot express an opinion unless it agrees with the majority. (This refers to another topic in another thread).

Again, I always thought the lyrics were brilliant, but them music, arrangement, and even Babs' performance leave a lot to be desired, and that's my opinion, and I don't care how many people around the world disagree with me.