LYCOS RETRIEVER 
Bee Gees: Robert Stigwood
built 199 days ago
The Bee Gees' follow-up to Saturday Night Fever was the Spirits Having Flown album. It yielded three more #1 hits: "Too Much Heaven", "Tragedy", and "Love You Inside Out." This gave the act six consecutive #1 singles in America within a year and a half (a record surpassed only by Whitney Houston). "Too Much Heaven" ended up as the Bee Gees' musical contribution to the Music for UNICEF Concert at the United Nations General Assembly in January 1979, a benefit organized by the Bee Gees, Robert Stigwood, and David Frost for UNICEF that was broadcast worldwide. The brothers donated the royalties from the song to the charity.
Source:
The Bee Gees are the most successful band of brothers in music history and remain the only recording artists to write and co-produce six straight #1 singles. Their legendary career includes seven platinum albums, over 60 charting singles, eight Grammys, and induction into the Rock and Roll and Songwriters Halls of Fame. Born in England and raised in Australia, the group was signed by Robert Stigwood and rose to global superstardom with the five-man lineup featured on their early classics: harmonizing brothers Barry, Robin, and Maurice Gibb, and Australian instrumentalists Vince Melouney and Colin Petersen.
Source:
The Bee Gees' otherwise brilliant manager Robert Stigwood, intoxicated on the movie business, herded them into this horrible movie at the height of their success. The resulting soundtrack album, well...it's not something you'd want in your house. Strangely enough, much of the blame must be laid mostly at the feet of drunken (?) Sir George Martin, who proves that "lightning DOESN'T strike twice" by creating backing tracks that are just barely better than something you'd find on an album called Sounds Like The Beatles on Pickwick Records. Peter Frampton and the Bee Gees didn't exactly thrive in each other's presence, and tracks sung by elderly alcoholics like Alice Cooper and George Burns are even worse. Robin's solo version of "Oh! Darlin'" is possibly the only thing on the entire double album that isn't bad, and in fact it was released as a single.
Source:
The debut long-player by the Bee Gees may shock anyone who only remembers them for their mid- to late-'70s disco mega-hits, or their quirky early-'70s romantic balladry. Up until 1966, they'd shown a penchant for melodic songs and rich, high harmonies, in the process becoming Australia's answer to the Everly Brothers. When the brothers arrived in London late in 1966... they proved quick studies in absorbing and assimilating progressive pop and rock sounds around them. In one fell swoop, they became competitors to the likes of veteran rock bands such as the Hollies and the Tremeloes, and their debut long-player is more of a rock album than the group usually got credit for generating. Parts of it do sound very much like the Beatles circa Revolver, but there was far more to their sound than that. The three hits off of Bee Gees 1st, "To Love Somebody," "New York Mining Disaster 1941," and "Holiday," were gorgeous but relatively somber, thus giving Bee Gees 1st a melancholy cast, but much of the rest is relatively upbeat psychedelic pop. "In My Own Time" may echo elements of "Dr. Robert" and "Taxman," but it's difficult to dislike a song with such delicious rhythm guitars and a great beat, coupled to the trio's soaring harmonies; "Every Christian Lion Hearted Man Will Show You" was closer in spirit to the Moody Blues of this era, opening with a Gregorian chant backed by a Mellotron, before breaking into a strangely spaced-out, psychedelic main song body.
Source:
The Bee Gees were a singing trio of brothers — Barry, Robin, and Maurice Gibb — that became one of the most successful musical acts of all time. They were born on the Isle of Man to English parents, lived in Manchester, England and moved to Brisbane, Australia during their childhood years, where they began their musical careers. Their worldwide success came when they returned to England and signed with producer Robert Stigwood.
Source:
Robert Stigwood arranged for Polydor to release the Bee Gees\' records in England and Europe, and for Atlantic Records to issue their work in America. Atlantic had missed out on the entire British Invasion and now they had a group whose music resembled that of the Beatles at their most accessible. The Bee Gees\' records had gorgeous melodies and arrangements and were steeped in romantic yet complex lyrics, many of them containing a strangely downbeat mood that no one seemed to mind. One curious offshoot of their appeal was that Stigwood was able to convince Atlantic Records, as part of the deal for the Bee Gees, to accept and release the recordings of a relatively unknown trio called Cream. At the time, Eric Clapton was not much more than a cult figure in the United States, more "rumor" than star (his recordings with the Yardbirds had never even appeared in America with his name mentioned on them), but Atlantic -- which recorded Disraeli Gears -- helped change that, selling millions of records in the bargain.
Source:
MORE ABOUT
Robert Stigwood