The Gibb brothers were born on the Isle of Man, UK to English parents in 1946 (Barry Alan Crompton Gibb, September 1) and 1949 ( twins Robin Hugh Gibb and Maurice (pronounced "Morris") Ernest Gibb, December 22). The family returned to father Hugh Gibb's home town of Chorlton-cum-Hardy, Manchester, England in the early 1950s where the boys began to sing in harmony, debuting in public on one memorable occasion at a local cinema. The boys were going to lip sync to a record, which other children had done at the cinema in previous weeks. However, on the way to the cinema, the record was dropped and broken. As a result, the brothers got on stage and sang themselves. They got a very good response from the crowd, which convinced them that singing was what they wanted to do with their lives.
In 1958, the Gibb family, including infant brother Andy (born March 5, 1958 in Manchester), emigrated to Redcliffe, Queensland, Australia, and and went to Humpybong State School. The still very young brothers began performing where they could to raise pocket change. First called the Rattlesnakes, later Wee Johnny Hayes & the Bluecats, and even Les Tosseurs, they were introduced to radio DJ Bill Gates (not to be confused with the founder of Microsoft) by racetrack promoter Bill Goode (who saw them perform at Brisbane's Speedway Circus). Gates renamed them after his and Goode's initials – thus the name was not simply a reference to the brothers Gibb.
By 1960, the Bee Gees were featured on television shows, and in the next few years began working regularly at resorts on the Queensland coast. Barry drew the attention of Australian star Col Joye for his songwriting, and Joye helped the boys get a record deal with Festival Records in 1963 under the name "Bee Gees." The three released two or three singles a year, while Barry supplied additional songs to other Australian artists.
A minor hit in 1965, "Wine and Women," led to the group's first LP Barry Gibb and the Bee Gees Sing and Play 14 Barry Gibb Songs. By late 1966, the family decided to return to England, and seek their musical fortunes there. Whilst at sea in January, 1967, they heard that "Spicks and Specks", a song they had recorded in 1966, had gone to #1 in Australia.
1960s in England
The act's arrival in England in January 1967 was not immediately propitious, as they were advised "Groups are out." However, the Bee Gees were signed soon after their arrival by Robert Stigwood, and added Australian musicians Vince Melouney (guitar) and former child actor Colin Petersen (drums). Their first single recorded in England was "New York Mining Disaster 1941" (1967), a surreal, haunting and macabre composition that made the Top 20 on both sides of the Atlantic. Robert Stigwood boldly claimed that the Bee Gees were "the most significant new musical talent of 1967". Their album Bee Gees' 1st scored well with critics and the public, offering an innovative blend of rock and orchestral ballads such as the charting "To Love Somebody" and the well-regarded "I Can't See Nobody."
The next big single was "Massachusetts," which launched the trio into stardom, followed shortly by the followup "Words". 1968 saw the release of two albums, "Horizontal" and "Idea." The latter contained two more hits, "I've Gotta Get a Message to You" and "I Started a Joke." To some critics and fans, these tracks represent the band's golden years, well before any of their ubiquitous disco hits.
The Bee Gees' next release was Odessa (1969), a dense and complex prog rock album with orchestral accompaniment. By this time, Barry and Robin were increasingly at odds about the creative direction of the group. Once Robert Stigwood made clear that he preferred to promote Barry as the act's leader, Robin left. Barry and Maurice released an LP as a duo, Cucumber Castle (the soundtrack to a television special), which contained the #2 UK hit "Don't Forget to Remember." Meanwhile, Robin released a solo album, Robin's Reign, which included his #2 UK hit "Saved by the Bell."
Early 1970s
The three brothers reunited in the later part of 1970, their feelings about the split evident in many songs about heartache and loneliness. Although they had lost traction on the British charts, the Bee Gees hit #3 in America with "Lonely Days" (from the reunion LP 2 Years On) and had their first U.S. #1 with "How Can You Mend a Broken Heart?" (from Trafalgar). In 1972, they hit #16 with "Run to Me" from the LP To Whom It May Concern; the single also returned them to the British top ten for the first time in three years.
By 1973, however, the Bee Gees were in a rut. The album, Life in a Tin Can, and its lead-off single, "Saw a New Morning," sold poorly with the single peaking at #94. This was followed by an unreleased album (known as A Kick in the Head Is Worth Eight in the Pants).
On the advice of Ahmet Ertegun of their U.S. label Atlantic Records, Stigwood arranged for the group to record with famed soul music producer Arif Mardin. The resulting LP, Mr. Natural, included few ballads and foreshadowed the R&B direction of the rest of their career. But when it too failed to attract much interest, Mardin encouraged them to work with the soul music style.
The brothers attempted to assemble a live stage band that could replicate their studio sound. Lead guitarist Alan Kendall had come on board in 1971, but didn't have much to do until Mr Natural. For that album, they added drummer Dennis Bryon, and they later added ex-Strawbs keyboard player Blue Weaver, completing the late 1970s "Bee Gees band". Maurice, who'd previously performed on piano, guitar, organ, mellotron, and bass guitar, as well as exotica like mandolin and Moog, now confined himself to bass.
At Eric Clapton's suggestion, the brothers relocated to Miami, Florida early in 1975 to record. After starting off with ballads, they eventually heeded the urging of Mardin and Stigwood and crafted more rhythmic songs like "Jive Talkin'" and "Nights on Broadway." The latter featured Barry Gibb's first attempts at singing falsetto, in the backing vocals toward the end. The band liked the resulting new sound, and this time the public agreed, sending the LP Main Course (album) up the charts. Barry Gibb's falsetto would become a staple of subsequent recordings. Mardin was unable to work with the group afterwards, but the Bee Gees enlisted Albhy Galuten and Karl Richardson who'd worked with Mardin during the Main Course sessions. This production team would carry the Bee Gees through the rest of the 1970s.
The next album, Children of the World, was drenched in Barry's new-found falsetto and Blue's synthesizer dance licks. Led off by the single "You Should Be Dancing," it pushed the Bee Gees to a level of stardom they had not previously achieved in the USA, though the new disco sound was not as popular with some diehard fans from the 1960s. The stereotype of disco was canned, fabricated music, but the Bee Gees' band was closer to a rock act, with rhythm guitar and real drums behind the falsetto.
Late 1970s: Saturday Night Fever
"Saturday Night Fever", became the number one best-selling soundtrack of all time, selling over 40 million of copies.
Following a successful live album, Here at Last...The Bee Gees...Live, The Bee Gees agreed to participate in the creation of the Saturday Night Fever soundtrack. It was the turning point of their career. The cultural impact of both the film and the soundtrack was tremendous not only in the United States but in the world, bringing the nascent disco scene into the mainstream.
Three Bee Gees singles ("How Deep Is Your Love", "Stayin' Alive", and "Night Fever") reached #1 in the United States and in most countries around the world, launching the most popular period of the disco era. They also penned the song "If I Can't Have You" which became a #1 hit for Yvonne Elliman. Such was the popularity of Saturday Night Fever that two different versions of the song "More Than a Woman" received airplay, one by The Bee Gees, which was the B-side of "Stayin' Alive," and another by Tavares, which was the hit. The Gibb' sound was inescapable. During an eight-month period beginning in the Christmas season of 1977, the brothers wrote six songs that held the #1 position on the U.S. charts for 25 of 32 consecutive weeks-- three under their own name, two for brother Andy Gibb, and the Yvonne Elliman single.
Fueled by the movie's success, the album broke multiple records, becoming the highest-selling album in recording history to that point. Saturday Night Fever has since sold circa 40 million copies worldwide [1], making it the best selling soundtrack album of all time.
During this era, Barry and Robin wrote "Emotion" for Samantha Sang, who made it a Top Ten hit (the Bee Gees sang back-up vocals). A year later, Barry wrote the title song to the movie version of the Broadway musical Grease for Frankie Valli to perform, which went to #1. At one time, five songs written by the brothers Gibb were in the U.S. top ten at the same time. It was the first time this kind of chart dominance had been seen ever.
The three Bee Gees also co-starred with Peter Frampton in the movie Sgt. Pepper's Lonely Hearts Club Band loosely inspired by the classic Beatles album released in 1967. The film had been heavily promoted prior to release, and was expected to enjoy great commercial success. However, the disjointed film was savaged by the movie critics, and ignored by the public, while the accompanying soundtrack was the biggest flop of that year, with hundreds of thousands of records being returned by retailers for credit.
During this period, the Bee Gees' younger brother Andy followed his older siblings into a music career, and enjoyed considerable success. Produced by Barry, Andy Gibb's first three singles all topped the U.S. charts.
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 only surpassed 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 Frostfor UNICEF that was broadcast worldwide. The brothers donated the royalties from the song to the charity.
The Bee Gees' overwhelming success rose and sank with the disco bubble. By the end of 1979, disco was rapidly declining in popularity, and the backlash against disco put the Bee Gees' American career in a tailspin. Following their remarkable run from 1975-79, the act would only have one more top ten single in the U.S., and not until 1989. The Bee Gees' international popularity sustained somewhat less damage.
1980s and 1990s
In 1981, The Bee Gees released the album Living Eyes, but with the disco backlash still running strong, the album failed to make the US top 40. In 1983, The Bee Gees had greater success with the soundtrack to Staying Alive, the sequel to Saturday Night Fever. The soundtrack was certified platinum in the US, but didn't contain a big hit single from the brothers.
Robin and Barry Gibb released various solo albums in the 1980s, but only with sporadic and moderate chart success. However, the brothers had continuing success behind the scenes, writing and producing for artists such as Barbra Streisand, Dionne Warwick, Diana Ross and Kenny Rogers, including Rogers' multi-million seller and U.S. #1 hit with Dolly Parton, "Islands in the Stream".
The Bee Gees released the album E.S.P. in 1987, which sold over 3 million copies. The single "You Win Again" went to #1 in numerous countries, including Britain, but only reached #75 in the US.
On March 10, 1988, the fourth brother, Andy, died at age 30 from myocarditis, an inflammation of the heart muscle due to a recent viral infection. His brothers acknowledge that Andy's past drug and alcohol use probably made his heart more susceptible to the ailment. The Bee Gees' following album, One (1989), featured a song dedicated to Andy, "Wish You Were Here." The album also contained their first U.S. top ten hit (#7) in a decade, "One." After the album's release, they embarked on their first world tour in ten years.
Following their next album, High Civilization, which contained the UK top five hit "Secret Love," The Bee Gees went on a European tour. After the tour, Barry Gibb began to battle a serious back problem, which required surgery. In the early 1990s, Barry Gibb was not the only Bee Gee living in serious pain. Maurice had a serious drinking problem, which he had battled for many years, but finally conquered with the help of Alcoholics Anonymous.
In 1993, they released the album Size Isn't Everything, which contained the UK top five hit "For Whom the Bell Tolls." Four years later, they released the album Still Waters, which sold over four million copies, and debuted at #11 in the US. The album's first single, "Alone," gave them another UK Top 5 hit and a top 30 hit in the US.
In late 1997, The Bee Gees performed a live concert in Las Vegas called One Night Only. The CD of the performance sold over 5 million copies. This led to a world tour of "One Night Only" concerts. The tour included playing to 56,000 people at London's Wembley Stadium on September 5, 1998, and concluded in the newly-built Olympic Stadium in Sydney, Australia. The Bee Gees closed the decade with what turned out to be their last full-sized concert, known as "BG2K," on December 31, 1999.
Later years
In 2001, they released what turned out to be their final album of new material as a group, This Is Where I Came In. The album gave each member a chance to write in their own way, as well as composing songs together. For example, Maurice's compositions and leads are the "Man in the Middle" and "Walking on Air," while Robin contributed "Déjà Vu," "Promise the Earth," and "Embrace," and Barry contributed "Loose Talk Costs Lives," "Technicolour Dreams", and "Voice in the Wilderness". The other songs are collaborative in writing and vocals. The Bee Gees' last public live show together was Live by Request, a special shown on A&E.
Maurice, who had been the musical director of the Bee Gees during their final years as a group, died suddenly on January 12, 2003 from complications of a twisted intestine. Initially, his surviving brothers announced that they intended to carry on the name "Bee Gees" in his memory. But as time passed they decided to retire the group name, leaving it to represent the three brothers together. The same week Maurice died, Robin's solo album Magnet was released.
Although there was talk of a memorial concert featuring both brothers and invited guests, nothing materialized. Since then Barry and Robin have continued to work independently and have both released recordings with other artists. In late 2004, Robin embarked on a solo tour of Germany, Russia and Asia.
Current news
During January 2005, Barry, Robin and several legendary rock artists recorded "Grief Never Grows Old," the official Tsunami relief record for the Disasters Emergency Committee. Later that year, Barry reunited with Barbra Streisand for her top-selling album Guilty Pleasures, released as Guilty Too in the UK as a sequel album to the previous Guilty. Robin continued touring in Europe.
In February 2006 Barry and Robin reunited on stage for a Miami charity concert to benefit the Diabetes Research Institute. It was their first public performance since the death of brother Maurice. Barry and Robin played at the 30th annual Prince's Trust Concert in the UK on May 20, 2006.
Desire
Bee Gees Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
And black and white is you and me in a special light
We may be young or old or in between, but this much I know
Together we can learn to grow
In a world that's ever turning it's back on you
[Chorus]
If you give it all away,
You are desire, everything you need I give you right or wrong
And you are the woman that I base my whole existence on
And when I get to you my desire is glowing in your light
These are the golden years we get to live, we lead the way
Tomorrow we can start today in a special light
Love could be good or bad or in between, but this much I learn
Baby, you and I can learn
In a world that's rearranging it's reality
[Chorus]
And it's nice to light a fire when it's cold outside
[Chorus]
You are desire, everything you need I give you right or wrong
And you are the woman that I base my whole existence on
And when I get to you my desire is glowing in your light
The lyrics of Bee Gees' "Desire" express a message of unity and inclusivity. The opening lines, "We may be big or small or black or white, eternally / And black and white is you and me in a special light," make it clear that the song is addressing people of all shapes, sizes, and races, acknowledging that despite external differences, we all share a common humanity. The song encourages us to come together and support each other, with the lyrics "Together we can learn to grow / In a world that's ever turning its back on you."
The chorus, with its repetitive sound of "make it mine, mine, ine, ine, ine," emphasizes the importance of owning our desires, but also highlights the idea that our desires aren't just about material possessions, but rather about the connections we make with others. The lyrics emphasize the importance of the singer's partner, describing her as "the woman that I base my whole existence on."
The final section of the song, with its lines about "light[ing] a fire when it's cold outside," reinforces the idea that we need each other in the face of adversity. Overall, "Desire" is a song about finding connection and meaning in a world that can often feel isolating and confusing.
Line by Line Meaning
We may be big or small or black or white, eternally
No matter what our physical appearance or size, our essence and being will never change.
And black and white is you and me in a special light
Even though we may seem different on the outside, in a unique way, you and I are the same.
We may be young or old or in between, but this much I know
Our age does not determine our capacity for learning and growth.
Together we can learn to grow
We can progress and develop as individuals by working together.
In a world that's ever turning it's back on you
In a time where everyone seems to be looking out for themselves, we can rely on each other.
If you give it all away,
Make it mine, mine, ine, ine, ine
If you give me everything, it becomes mine to cherish and appreciate.
You are desire, everything you need I give you right or wrong
You are the embodiment of my desires, and I will provide for you regardless of right or wrong.
And you are the woman that I base my whole existence on
Your presence in my life gives me meaning and purpose.
And when I get to you my desire is glowing in your light
When we are together, my intense passion and desire for you becomes evident.
These are the golden years we get to live, we lead the way
This is a special time in our lives where we can take the reins and guide our existence.
Tomorrow we can start today in a special light
We do not have to wait for tomorrow to create a unique and meaningful future.
Love could be good or bad or in between, but this much I learn
Love is complex and unpredictable, but there is always something new to discover.
Baby, you and I can learn
Together, we can grow and discover what love truly means.
In a world that's rearranging it's reality
In a world that is constantly changing, our love and connection remains steadfast.
And it's nice to light a fire when it's cold outside
Sometimes in life, we need someone next to us to keep us warm and give us comfort.
Lyrics © Universal Music Publishing Group, Warner/Chappell Music, Inc.
Written by: BARRY ALAN GIBB, MAURICE ERNEST GIBB, ROBIN HUGH GIBB
Lyrics Licensed & Provided by LyricFind
Szachmat
Lyrics:
Ah..... Ah....
We may be big or small or black or white , eternally
And black and white is you and me in a special light
We may be young or old or in between ,but this much I know
Together we can learn to grow
In a world that's ever turning it's back on you
If you give it all away
Make it mine ,ine , ine , ine , mine
You are desire , everything you need
I give you right or wrong
And you are the woman that I
Base my whole existence on
And when I get to you my
Desire is glowing in your light
These are the golden years we get to live
We lead the way , tomorrow we can start today
In a special light
Love could be good or bad or in between
But this much I learn
Baby , you and I can learn
In a world that's rearranging it's reality
If you give it all away
Make it mine , ine , ine , ine , mine
You are desire , everything you need
I give you right or wrong
And you are the woman that I
Base my whole existence on
And when I get to you my
Desire is glowing in your light
Ah...
And it's nice to light a fire
When it's cold outside
If you give it all away
Make it mine , ine , ine , ine , mine
You are desire , everything you need
I give you right or wrong
And you are the woman that I
Base my whole existence on
And when I get to you my
Desire is glowing in your light
D Radia
1980..❤ .. and now at 61 years, i'm still loving this song just like yesterday .. 💕
Ceiça Ribeiro
Eu tenho 57, muita saudade ❤️ love song
Illiane Rojas
What a blessing!
Silvia Euteneuer
Also.... 😘
Linda Samson
Same! 60!!
Terry Cline
Hello
yo
Originalmente , esta canción , cantada por Andy Gibb , iba a ser parte del álbum " Spirits having flown " ( 1980 ) de The Bee gees .
Andy la grabó junto a sus hermanos , mientras éstos completaban dicho disco y , al final , decidieron cedérsela a él , para que fuese parte del álbum que tambien iba a lanzar , dicho año .
A la postre , fue el último que grabó.
Gracias por subir esta música maravillosa del recuerdo.
Saludos desde Chile , Sudamérica.
Groovy G
Saludos de Miami USA
yo
@Groovy G : Un abrazo , hermano.
Carlos Hugo Centurión
Que buen comentario; no lo sabia! Este maravilloso tema es un clásico de esos que te quedan pegado al alma. Año 2022 y sigue siendo mi lenta favorita de todas!, de "cuando la música era música"