Bee Gees single by single thread

Discussion in 'Music Corner' started by cut to the chase, Jul 15, 2018.

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  1. Manapua

    Manapua Forum Resident

    Location:
    Honolulu
    Living Eyes was definitely a better fit for what the world was used to from the Bee Gees but still feels rather lackadaisical to me in structure as well as execution. I'm guessing they took a gamble with He's A Liar, hoping they could distance themselves from the recent past due to all that BS backlash. Maybe working with other artists at the same time pulled focus away from their own output? Whatever the case, it seemed like they were giving away their A material.
     
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  2. Manapua

    Manapua Forum Resident

    Location:
    Honolulu
    I never saw the movie but remember the absolutely scathing reviews. Tomlin and Travolta as a couple seemed mismatched. I did buy the single but more so for the flip side - Sailing Ships - both sung by Yvonne Elliman. I believe the soundtrack was basically some instrumental themes interspersed with previous tracks by Dan Hill, Michael Franks and Steven Bishop as well as the title tune.
     
  3. Jarleboy

    Jarleboy Music was my first love

    Location:
    Norway
    "LIVING EYES" has that magic that so many of their singles have, and that was absent from "HE´S A LIAR". I don´t mind the latter - it´s an energetic and fine album track, but not single material. With more promotion, I think "LIVING EYES" could have taken its rightful place in the Bee Gees pantheon of songs. I like Bobby´s thoughts of being reminded of "SPIRITS (HAVING FLOWN)". To me, it also calls up memories of the live performance of "ONE". The studio version is inferior, I think - too hard and edgy. The studio version of "LIVING EYES" is not perfect either, but the song itself is perfect in my eyes. I really love it. Whether it would have been another No. 1 for them is hard to see - I don´t think the times were right. But the combination of the world tiring of the Bee Gees sound and the Gibbs not being that interested in promoting this particular project probably had more to do with its failure than the actual song.
     
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  4. Bobby Morrow

    Bobby Morrow Senior Member

    Living Eyes is classic Bee Gees, but might not have been a ‘big’ enough song to launch the album. It’s not like Tragedy which is a real showpiece. I’m sure they went with He’s A Liar because it’s the most unusual track on the album.
     
  5. Jarleboy

    Jarleboy Music was my first love

    Location:
    Norway
    I think you may be right. :agree: Most often you are.
     
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  6. sunspot42

    sunspot42 Forum Resident

    Location:
    San Francisco
    This one is OK, but it also meanders a bit and frankly sounds dated for '81. Should have avoided the falsettos entirely. I can see why their commercial fortunes collapsed so badly - the backlash started it, but it accelerated with this substandard material.

    They certainly seem to have given away their best material during this period. All of the singles from Guilty are better than this. So's "Heartbreaker".
     
    Last edited: Feb 19, 2019
  7. Jrr

    Jrr Forum Resident

    It feels like that when you follow their career during that time. And they always acted like it never existed ten minutes after it was released. They never talked about it later either, and they never played any of the songs. It was like it never happened...they spoke of A Kick In The Pants more than Living Eyes later in biographies. I don’t get it. Nothing at all to be ashamed of. It wasn’t like they dumped an album full of filler to fulfill their contract. We all seem to like it just fine here. I don’t really know anything about any personal issues they may have been having during that time, but I would love to know! Hint hint....
     
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  8. Jrr

    Jrr Forum Resident

    I love the One album because the songs are very strong again, but you are absolutely right about it sounding very cold. I hate the way it is produced but I think that was the sound the producer was going for. It has a sterile digital sound and it probably was recorded using that technology. In my opinion most digital recordings during that time could sound very harsh and cold, or in the right hands it really could sound good. It’s to their credit that the songs rose above it and I really enjoy the album. He’s A Liar and all the tracks from Staying Alive (except for the ballad) also sound cold and harsh and I just didn’t like that kind of recording method.
     
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  9. Castle in the air

    Castle in the air Forum Resident

    Location:
    South Carolina
    I don`t pretend to have any inside info but just piecing together things publicly known by now.

    Robin and Mollys ugly divorce.
    The acrimony with Stigwood who had been their mentor.
    The division of production teams with differences in approach to song writing and recording.
    The Barry/Robin rivalry that in the day was all covered up but now we know how much it raged at times.

    I just think by the sounds of it all they just put it together more as a formality rather then a work of love or pride.
    And that is exactly how the finished product sounds to me,mostly really good songs recorded with no heart.
     
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  10. Hadean75

    Hadean75 Forum Moonlighter

    Here's an interesting video from 1981 where the brothers appeared on Donahue (who was before my time because I had no idea who he was) promoting the album. They lip-synced Living Eyes towards the beginning of the video.

     
    Last edited: Feb 20, 2019
  11. Hadean75

    Hadean75 Forum Moonlighter

    An interview from Capital Radio Interview UK in 1981 promoting the Living Eyes album:



    At around 49:21, they do a lovely acoustic version of Paradise.

     
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  12. Hadean75

    Hadean75 Forum Moonlighter

    Agreed. It was a rough time for the brothers both personally and professionally. :cry:
     
  13. tim_neely

    tim_neely Forum Hall Of Fame

    Location:
    Central VA
    "Living Eyes":

    I echo the consensus here: This should have been the first single from the album. When I got the album, shortly after it was released, "Living Eyes" immediately stuck out as the song that wouldn't have come and gone as quickly as "He's a Liar" had. It's not one of the Bee Gees' all-time greats, but it's not a dud, either, and it would have sounded great on pop radio in the fall of 1981. Perhaps it wouldn't have been consigned to oblivion if it had been the first single from a new project rather than the second single from what was already perceived as a failure.

    I wasn't paying really close attention, but I suspect that, once the first single failed, PolyGram just threw the second one onto the market at the same time the album came out, with little or no promotion, and hoped for the best. I'm not even sure in 1981 that I knew that "Living Eyes" was actually released as a single; no radio station added it where I lived, and of course I never heard Casey Kasem play it.

    No one could know this, but Living Eyes was the last album to be released on RSO that was neither a soundtrack nor a compilation, and its title song was the last RSO single without a direct or indirect movie tie-in. How far the mighty had fallen.

    ---

    In the November 7, 1981 Top Single Picks column in Billboard, "Living Eyes" was chosen as one of nine -- yes, nine -- new singles destined for the top 30 in the magazine's opinion: "The title track of the Bee Gees' new LP is more in line with their previous hits. Unlike 'He's A Liar' that deviated from the Gibbs' melodic pop appeal with a harder sound, this song has all the vocal, lyrical and melodic zest that have made them regulars at the top of the chart." The November 7 Record World had "Living Eyes" as one of its Page 1 single reviews: "The title cut from their long-awaited LP spotlights Barry's emotional lead. It's a simple. poignant ballad that finds its strength in the trio's trademark harmonies." Cash Box had it as one of its Hits Out of the Box the same week.

    There was sone disparity between the trades as to the popularity of "Living Eyes." It eked into the top 40 in Cash Box, peaking at #40. It fell a little short in Billboard (#45), and it wasn't close in Record World (#53). In all three magazines, it spent more weeks on the chart than "He's a Liar" had.

    Though it would have fit in well with the format, "Living Eyes" failed to make the adult contemporary chart in any of the three trade papers that had such a chart. This, as much as anything, likely reflects a lack of radio promotion, as AC charts already were entirely airplay-based, at least in Billboard and Radio & Records (I'm not sure if the Record World A/C Chart had a sales element).

    ---

    "Living Eyes" (4:15) backed with "I Still Love You" (4:23) was assigned the catalog number of RSO RS 1067, only one number after "He's a Liar" -- a reflection of both how quickly it was released and how few artists remained on RSO. Based on the reviews in the trades, the 45 was issued in the last week of October 1981, no more than 6-7 weeks after "He's a Liar." The two songs' listed label times were basically the same as their album versions. The 45 had no picture sleeve; it was issued in a generic white sleeve.

    Reflecting that RSO was fully back under PolyGram, two obvious changes were made to the labels:
    -- The 45 has matrix numbers other than the catalog number plus "AS" or "BS" for the first time since 1977. "Living Eyes" is 81 RS 101 and "I Still Love You" is 81 RS 106, indicative of their locations on the parent album.
    -- The perimeter print on all the 45s was now MANUFACTURED AND MARKETED BY POLYGRAM RECORDS, INC. · 810 SEVENTH AVENUE, NEW YORK, N.Y. 10019; with this change, PolyGram finally retired the tan label, which was still in use by the PRC pressing plant in Compton, CA more than a year after the silver label first appeared on RSO 45s from elsewhere.

    Stock copies, all on silver labels, were pressed at Bestway (19), PRC Compton (26), and PRC Richmond (72), with Compton copies on vinyl.

    Promo copies, with "Living Eyes" on both sides, mono/stereo, have the catalog number RS 1067 DJ and came from PRC Compton.
     
  14. tim_neely

    tim_neely Forum Hall Of Fame

    Location:
    Central VA
    The year 1981 was not very good for the USA division of PolyGram. By my quick count, only six albums from its family of labels made the Billboard top 10 all year, and two were by Rush (Moving Pictures and Exit Stage Left). The others: Celebrate! by Kool and the Gang; Long Distance Voyager by the Moody Blues; Another Ticket by Eric Clapton; and the soundtrack to Endless Love, spurred by the presence of the mega-hit Diana Ross/Lionel Richie duet (the single of which was on Motown). And on the Hot 100, I found only two PolyGram songs making the top 10 in 1981 -- "Celebration" and "I Can't Stand It."

    And 1982 wasn't much better: Only five PolyGram albums and four singles made the top 10, and two of the albums were unexpected (the Chariots of Fire soundtrack and the comedy album Great White North by Bob & Doug McKenzie). The other three: Blackout by Scorpions, American Fool by John Cougar, and Signals by Rush. The singles: "Chariots of Fire - Titles" by Vangelis, "Hurts So Good" and "Jack & Diane" by Cougar, and "Get Down On It" by Kool and the Gang.
     
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  15. bare trees

    bare trees Senior Member

    A few pages back, someone mentioned this track and I remarked that it would have been a substantial hit had it been issued as the first single. Listening to it a few more times, I'm not so sure. I love "Living Eyes" as an album track but I'm starting to believe that it wouldn't have dones well even if it had been the first single. It's definitely more commercial than "He's A Liar" but it lacks a certain undefinable element that helps to break a hit. I love how the song transitions from the verse to the chorus and then the bridge but I can also see how a radio programmer might hear a bunch of song fragments to fail to coalesce into a hit single.
     
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  16. Manapua

    Manapua Forum Resident

    Location:
    Honolulu
    Lol. He was the Oprah of the time. Highly celebrated but later, largely forgotten. He's also famously married to That Girl Marlo Thomas.
     
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  17. JeffMo

    JeffMo Format Agnostic

    Location:
    New England
    What a treat to hear live version of "Paradise".

    To my knowledge, no LE track was ever performed on a concert tour. What a shame.
     
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  18. tim_neely

    tim_neely Forum Hall Of Fame

    Location:
    Central VA
    Sidebar 17: The things we do for love

    In 1981, Andy Gibb and Dallas actress Victoria Principal met on a daytime TV talk show, The John Davidson Show. Shortly thereafter, they became an item in the tabloids and gossip columns. She was eight years older than him (31 vs. Andy's 23), and he was head over heels in love. Alas, the relationship lasted only 13 months, ending mostly because Andy had an even stronger affair with cocaine, an old "lover" that was difficult to break up with.

    When the two of them were a pair, Andy convinced Victoria that she had a good singing voice and that they should record together. The result of this brainstorm was a revival of the Everly Brothers' "All I Have to Do Is Dream":



    (The above clip was recorded when Andy was host of Solid Gold in the fall of 1981.)

    I used to hear this on a local adult-contemporary radio station and thought it was pleasant, though certainly not on the level of the original. Its reputation, though, is really bad; Jimmy Guterman and Owen O'Donnell named it in their 1991 book The Worst Rock 'n' Roll Records of All Time as one of the 50 worst singles ever made. I think the idea of the record -- hot pop star invites his attractive girlfriend with no prior professional singing experience to do a duet, and his record label decides to release it -- is worse than the execution.

    Supposedly, the two also recorded a version of "Will You (Still) Love Me Tomorrow," a song that Andy had released on his Greatest Hits album in a duet with P.P. Arnold, but the Gibb/Principal version has never been released.

    Because it has never been on an album, even in the CD era, not much is known about the recording of "All I Have to Do Is Dream" other than what is listed on the 45 rpm label. It was recorded in Los Angeles in late spring or early summer of 1981, produced by Andy with Michael Barbiero and arranged by Leon Pendarvis. Studio musicians backed up the singers. None of Andy's older brothers was involved.

    "All I Have to Do Is Dream" was the last Andy Gibb recording released during his lifetime.

    ---

    Billboard thought that the duet worked, predicting a Top 30 peak in its Top Single Picks of August 8, 1981: "Gibb and 'Dallas' ' Principal duet on this Everly Brothers evergreen. Gibb carries most of the vocal load with Principal supplying delicate supporting vocals. The arrangement sticks close to the original and the mellow orchestration makes this perfect for Hot 100 and a/c formats." Cash Box had "All I Have to Do Is Dream" as one of its Hits Out of the Box in the August 8 edition.

    A review in the August 29, 1981 Record World suggested a future track for Andy, as "All I Have to Do Is Dream" was reviewed as a potential hit on the country charts: "Sweet vocals blend perfectly for an excellent version of a classic love song. Already an established pop act, Gibb deserves country attention with this delicate duet."

    The song was not a big hit on the pop charts. "All I Have to Do Is Dream" peaked at #51 in Billboard, #59 in Cash Box, and #66 in Record World.

    On the adult contemporary charts, the song did better; it got to #25 in Billboard and #28 in Record World. It probably made the Radio & Records top 30 as well, but research is lacking and I don't have easy access to the issues from the second half of 1981.

    Oh yes: Despite RW's review, it did not make the country charts.

    ---

    When "All I Have to Do Is Dream" was issued as a 45, RSO put yet another song from the Shadow Dancing album, "Good Feeling," on the B-side. Its catalog number was RSO RS 1065, and it was released probably at the tail end of July 1981. The single has a nice photo of Andy and Victoria on its picture sleeve. (Andy Gibb now led his brothers 3-0 in U.S. picture sleeves.) The listed time for "All I Have to Do Is Dream" is 2:35; for "Good Feeling," it's 3:46.

    Stock copies were made by what by now were the usual RSO plants: Bestway (19), PRC Compton (26), and PRC Richmond (72). The Compton 45s are on vinyl with tan labels; the Bestway and Richmond labels are on styrene with silver labels. Promo copies are on tan labels from PRC Compton (26) with "All I Have to Do Is Dream" on both sides, mono/stereo.
     
    Last edited: Feb 20, 2019
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  19. John54

    John54 Senior Member

    Location:
    Burlington, ON
    Ya know, I've never even heard most of these Bee Gees songs post-Main Course! I stopped way back when, pre-disco. I've listened to a couple mentioned in the thread though.
     
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  20. pablo fanques

    pablo fanques Somebody's Bad Handwroter In Memoriam

    Location:
    Poughkeepsie, NY
    Good Lord I remember this! I HEARD this! More than once...
     
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  21. sunspot42

    sunspot42 Forum Resident

    Location:
    San Francisco
    It occurs to me that if Victoria Principal actually could sing, she might have been a huge act in the MTV era...
     
  22. Manapua

    Manapua Forum Resident

    Location:
    Honolulu
    She could have just done what I did and got someone to do it for her!
    - Linda Evans

     
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  23. Castle in the air

    Castle in the air Forum Resident

    Location:
    South Carolina
  24. cut to the chase

    cut to the chase Forum Resident Thread Starter

    Location:
    Germany
    The next Bee Gees song to enter the international charts was Leo Sayer's 'Heart (Stop Beating in Time)'.
    It peaked at number 22 in the UK in July 1982.

     
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  25. cut to the chase

    cut to the chase Forum Resident Thread Starter

    Location:
    Germany
    This is very dull, probably a leftover of the leftovers of the Gibb Brothers' compositions.
     
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