DON'T FORGET TO REMEMBER: The Official ILM Track-By-Track BEE GEES 1968-1981 Listening Thread

Here was i thinking it was reference to Ruby Braff... with a side order of Harry Wragg.

so I guess the lyrical slang joke make this a precursor to "Fanny be Tender"

By the way, OTM on "With the Sun in My Eyes" as an example of Barry doing Robin, though I've never liked that breathy vibrato thing Barry does on this and later ballads.

Track No. 26: Day Time Girl ("Horizontal", 1968)
https://www.youtube.com/watch?v=ln-t6gkCGyw

Robin delivers another somber ballad w a fairly minimal piano + string quartet arrangement. Lyrically it's fine but otherwise it feels a bit underwritten to me, basically just two verses with little variation from the string accompaniment and then it's done.

Still catching up....

"Massachusetts" - This is one I've known before but never really connected with. It's working better for me right now after a couple days of having the first album in rotation, I'm now digging their just-barely-square fusion of hippie vibes with gentler chamber pop with all the strings and xylophones and whatnot. Here it's the bubbling bass that really tethers it back to a Beatlesey "rock" sensibility. I've always associated it with "If You're Going to San Francisco" but this is actually a better recording and a more evocative song. That said, speaking as an American, I find the title and lyrical conceit a little clumsy and broad - identifying with a whole big state like that rarely washes for me. For whatever reason I accept it with "Indiana Wants Me" (maybe because he's referring to the state government's police activity) but here it feels really like they just needed a place with the right number of syllables. Overall though it's a much more consistent and coherent song than the stuff on the last album, the chorus grows organically out of the song and the hook is strong enough that it doesn't all just flatten out into wallpaper. Good song.

"Barker of the UFO" - love the intro sound, wish it didn't just fall into another jaunty little ditty. But as jaunty little ditties go, it's good. It must be about someone standing outside an unidentifying UFO coralling patrons, surely? FCC's connection to The Who makes sense to me. It would be better if performed by The Who but it'd be a different thing I guess.

"Sir Geoffrey Saved the World" - I'm still not sold on these warbly wraith aaaah-ehhhhh vocals. The McCartney impression on the verse (check that "steadily") beats most of the Lennon-isms I heard scattered around Bee Gees 1st. Yeah, "Penny Lane" is the right origin point, but that was more grounded, "let me sketch an idyllic main street" and this is verging into Puff the Magic Dragon territory. Amazing how many bands went all in on singing made-up songs about completely irrelevant storybook crap without fear they'd come off as a bunch of dorks. There must have been a lot of listeners out there who'd had their childhoods yanked away from them really brutally, "it's time you became a man, we're throwing all your toys in the bonfire tomorrow" etc., to promote such a return to dreams and imagination (with or without drugs). This is also in step with "Fool on the Hill" (not sure which came first) - seems like we've got a sketch of a person in the subway ranting to nobody and to imaginary things in the sky, but maybe they really see and nobody listens, etc. I like this song.

"World" - Woah, nice to hear them with some LOUD guitar going on, on top of more throbbing bass, though both are used very sparingly. As on the last album, I'm not completely sold on these A versus B alternating tracks. The vaguely classical piano figure reminds me VERY much of Simon & Garfunkel's "7 O'Clock News," which must have been on their radar. Like that track, it feels like an album-closer... weird to open with it but I do get cwkiii's curtain-raising mission-statement take.

"And the Sun Will Shine" - Just listened to this twice and it really hasn't made an impression. Pretty singing, pleasant arrangement, not a real ear-grabbing melody. The clunkiness of their drummer continues to be a problem - that "talk to the skies - whispering lies" part should be a LOT more rhythmically interesting. It almost seems like they turned the drums way down in the mix to hide how lame they are, like even when he's trying to do a bigger, Ringo-y fill to liven things up it's just lost in the strings.

Wikipedia suggests that "And the Sun Shine" was recorded very early in its writing, maybe half ad-libbed? I guess that's impressive but you can really tell the difference between that and the ones where some time has obviously gone into songcraft, like "To Love Somebody."

oh wow i'm loving that "Parkinson" clip of "Massachusetts" - seeing the harmony happen live like that is like a lightbulb turning on that this is three dudes' voices, not some multitracked wall of sound operation. which i'd also be fine with but damn that's pretty awesome.

Amazing how many bands went all in on singing made-up songs about completely irrelevant storybook crap without fear they'd come off as a bunch of dorks.

can't argue with this at all, I find it endlessly amusing how all-in so many bands went

xp

man I'd love a S/D thread about over-the-top toytown psych outliers

to be clear i also think that it's great and support a bunch of rock dudes discovering it was okay to have feelings and be wistful and be theatrical and cutesy and all that kind of thing. the downside tends to wind up in Songs where the singer/protagonist comes off as a serious dick without meaning to but the upside is a good thing. it's just amazing how big it went and how quickly, from bands who presumably cut their teeth just singing about shaking it on the dance floor or w/e. you'd think there would have been more pushback.

I've been harder on Melouney (the guitarist) than Petersen (the drummer) so far in this thread but Doc I think you're right to call out how clunky and fumbly Petersen could be. This becomes *very* apparent on the next track btw, which Ringo would have absolutely killed but Petersen can barely hold together. I'm not sure why it is that the boys didn't or couldn't attract the sidemen their songs really merited - maybe it was Stigwood, maybe they were just in too much of a hurry - but in both cases it's pretty rare that they bring something really striking or outstanding to the songs, at their best they are competent. To my ears it's Maurice's bass playing that really seems to be the glue in the rhythm section at this stage.

sleeve: http://www.marmalade-skies.co.uk/toytown1.htm

unfortunately the MP3 links are boring but this is still a great list

er broken

ah well, thanks!

I think they were in a hurry tbh.

i am no drummer and have no place criticizing them really but the guy plays like he was originally in the band to play something else, and then the drummer got eaten by a kangaroo. it's not so much total incompetence as an apparent lack of enthusiasm and interest, surely if he was any good he could bring something more to these songs.

but tbf i feel this way about a lot of 'big' bands, and i think in a lot of cases these were like dudes that had been playing in garage bands and high school dances since they were 13, with no obvious bailing-out point as they got bigger. so getting to that Pete Best firing moment would probably be really weird even if the problem were recognized. and then there's cases like The Doors where if oliver stone is to be believed they were purpose-formed to deliver morrison's psychedelic beatnik dross to a bunch of drunks at the whiskey-a-go-go, in which case the fact that their drummer had the precision and verve of a stoned walrus probably did not raise any red flags.

All I can say is it's a good job Chris Franz was going out with the bass player.

the precision and verve of a stoned walrus

dying

they don't really get the session/sidemen they deserve until the 70s when Kendall comes in on guitar and they have a rotating cast of v good drums (the guy from Pentangle, Clem Cattini, etc.) I think by '72 or so they actually have a killer pool of musicians that they would draw on through the 80s.

Oddly their album with Jim Keltner behind the kit is a total dud to my ears. But we'll get to that later!

The weird lyrics on this album have changed from psychedelia into...I don’t know what. I find them less convincing and would prefer to hear “Red Chair Fade Away.” “Harry Braff” is like something from a Hermany Hermits record from this period - not necessarily a criticism, it’s not “No Milk Today.”

BUT it’s not “No Milk Today”

Amazing how many bands went all in on singing made-up songs about completely irrelevant storybook crap without fear they'd come off as a bunch of dorks.

can't argue with this at all, I find it endlessly amusing how all-in so many bands went

― Οὖτις, Friday, January 18, 2019 4:34 PM (yesterday) Bookmark Flag Post Permalink

I guess when it's the trend of the time, it doesn't feel so dorkish!

Track No. 27: The Earnest of Being George ("Horizontal", 1968)
https://www.youtube.com/watch?v=2HwpqxkfR_w

Love the descending melody on the "fairy stories in the penny arcade" turnaround, and the all-electric guitars arrangement. Melouney's double-tracked solo (I assume that's him) is passable if not quite as stinging as it could be, but I like how it mimics the boys' style of vocal harmonies. The drums, on the other hand... it's like they handed Petersen an opportunity to show off with some fills and he just didn't feel like it and just goes for overall *weight* instead. But he's no Kenny Jones or Bonham or Ringo.

This is a good Pavement song.

haha yeah I can hear that

this would also be a good Troggs song tbh

Still sounds like the Beatles/Lennon to me.

Track No. 28: The Change is Made ("Horizontal", 1968)
https://www.youtube.com/watch?v=Z6lcPVdWn9o

Barry assumes the limelight once again for a see-sawing 3/4 psych ballad that sounds more R&B-based than anything else to my ears, although the over-driven guitar licks and stately strings perhaps obscure the source a bit. (I'm sure Tom D will just say it sounds like the Beatles/Lennon :)) Not in love with the minor key melody but it's a fine, if unremarkable, song.

"Earnest of Being George" (hilarious title) is probably the closest they came to sounding "tough" or at least trying to, love the dual-tracked solo, also a big fan of the false endings

yeah that title is lolz, feel like the back half of this album gets in some classic psych nonsense (esp tomorrow's track)

Is it the one about joining the airforce?

... no, that's on the next album!

the Track No. 28 link goes back to Track No. 27

whoah that's weird

https://www.youtube.com/watch?v=SSs3R07d4Zo

sorry, not sure what happened there

Track No. 29: Horizontal ("Horizontal", 1968)
https://www.youtube.com/watch?v=HjwPJ1x9LIA

The mellotron, harmonies and dreamy childlike nonsense return on the title track, ending the album on a hypnotic, droning note. With no crap drums or inept guitar fiddling to muddle things up, the bros are left alone play to their strengths.

I have been lying under a pillow of dreams
And feeling moments of swimming in cream
This is the start of the end, Goodbye
Hours of facing my life, have damned

You are a good friend
Friendly as goood friends can be
Your father wants you to live on his knee
This is the start of the end, climb by me
Red sides and blue sides within, remind me

I have been lying under a pillow of dreams
And feeling moments of swimming in cream
This is the start of the end, Goodbye
Hours of facing my life, have damned.

Total gibberish, the song is very nice though.

Track No. 30: Words (non-album single, 1968)
https://www.youtube.com/watch?v=sr-WW5abcwQ

Why this was left off the album is absolutely baffling. A beauty of a Barry-led ballad, it quickly became a solo-turn staple of their live sets, and was subsequently covered by all kinds of people (perhaps most memorably in Elvis' "That's the Way it Is"). The super-compressed piano sound on the track would become a regular feature of their sound for years to come. Robin, oddly, is not on the track at all.

this feels like their second entry into canonical "standards", it's been covered so often by so many - and only two years into their career!

anyway, onto the B-side, which also should've replaced one of the weaker tracks on the LP imo

Track No. 31: Sinking Ships ("Words" B-side, 1968)
https://www.youtube.com/watch?v=ENjyaS6n-HQ

Absolutely love this track, and an unusual song for them in that all three brothers take turns on the lead, see if you can pick out which one is Maurice. Structure is simple but the melody is great and the lyrics are goofily apocalyptic.

Sinking ships,
watching them sail and the sun as sinks in the sea.
Crashing planes,
only the eyes of the doomed with a smile on their face.

So I say to myself Is it real?
So I look inside myself.
Can I feel?

Coloured cups,
windows that slide up and down with a squeak in the side.
Funny day,
banging the door to a close as it's hurting my knee

just a loenly guy listening to the Bee Gees
https://proxy.duckduckgo.com/iu/?u=https%3A%2F%2Ftse3.mm.bing.net%2Fth%3Fid%3DOIP.cqAxocDyWmfwf_7k5gr9BQAAAA%26pid%3D15.1&f=1

Maurice sounds like Barry, but a bit less forceful and confident? Never heard this song before!

you don't have the massive reissues of these albums?! so many great non-album tracks, esp for this one. There's a couple more coming up that were released as a single.

Track No. 32: Jumbo (Non-album single, 1968)
https://www.youtube.com/watch?v=JvGQkxLEKL8

The single that broke their original string of transatlantic hits, which is kind of understandable since it doesn't really have a hook, just a long meandering melody broken by a half-time turnaround. The song doesn't feature Robin at all and is clearly a Barry-led effort, although unsurprisingly it's Maurice that seems to have made the most noteworthy musical contributions with the mellotron and the bassline. Melouney and Petersen both characteristically fumble about. All that being said I do like the tune overall - Barry's voice carries it along, and the string of lyrical nonsense at the end is charmingly goofy. Again this is another non-album track that I think is generally superior to some of the weaker tracks on "Horizontal", and that goes double for it's B-side (which Stigwood, correctly imo, wanted as the A-side), which we will get to tomorrow.

Listen you can chew it if it's loud enough you hear it 'cos it's narrow as a sparrow and it shoots a bow and arrow through a target made of powder with a gun it's even louder and it's shattering to hear you mustn't listen with your ear but it gets to you

well everybody got tired of this faster than I would have hoped :(

Some of us are still quietly listening along. And absorbing mostly unfamiliar tracks, in my case. "Sinking Ships" is pretty great.

After three listens I'm really not grasping how "Jumbo" became a single. Not that it's unpleasant.