Eric Clapton, whose band Cream was also managed by Stigwood, encouraged the group to shift their production base from London to Miami in the mid-’70s, sparking a new creative bloom. It goes into greater detail on the evolution of the Bee Gees’ sound some of the most rewarding elements for music geeks will be the perspective of key producers and musicians. Marshall and writer Mark Monroe don’t gloss over the friction that pulled the group apart at various times, but there is a sense of an authorized film treading lightly around these personal issues. But that success brought the challenge of staying on top while balancing everybody’s clashing egos, and after virtually having grown up as triplets, their lives quickly began to separate once they became famous. Their initial superstardom came so quickly that Maurice recalls having six Rolls Royces before he turned 21. The film acknowledges that, with Barry and Robin alternating on lead vocals, there was rivalry from early on, with each of the brothers wanting individual recognition. But he later adds: “Making music with your family is equally the greatest strength and the greatest weakness you could ever have in a partnership.” Jonas hints at the minefield of competitive natures going back to childhood. “When you’ve got brothers singing, it’s like an instrument that nobody else can buy,” says Gallagher. In addition to admiration for the Bee Gees’ pop virtuosity, there are useful insights from both Noel Gallagher and Nick Jonas on the complicated dynamic of brothers in a band together. They emerged in the wake of The Beatles, parlaying their seamlessly blended three-part harmonies into some of the most gorgeous ballads of the era, spanning the bridge between folk and pop in songs like “New York Mining Disaster 1941,” “Massachusetts,” “Words,” “I’ve Just Gotta Get a Message to You” and “I Started a Joke.” Mark Ronson, one of several music luminaries interviewed here, talks about the widely covered “To Love Somebody” - a song written for Otis Redding, who died before he could record it - as having “always been in the ether.” Their collaborative synergy was such that their songs were often written directly in the recording studio at one point in the 1960s they released three albums in the space of a single year. More than just a disco phenomenon, they were gifted, incredibly prolific songwriters across a number of genres - the end credits note that they penned more than 1,000 songs, including 20 No. Marshall’s densely packed documentary shows how much broader the Bee Gees’ footprint is in popular music history. There were even bomb threats at their live gigs. The trio who had decreed “You Should Be Dancing,” were suddenly pariahs, exiled from radio play. But when disco was declared dead, its execution staged at a 1979 demolition night in Chicago’s Comiskey Park attended by tens of thousands that now looks like a fascist book-burning, the backlash hit them hard. “Recording a rock concert audience, it’s really tough to get just the crowd without the music and everything else.The three British white boys who grew up in Australia played a big part in the crossover of disco in America from Black and gay subcultures into the mainstream. I also have my own private collection I’m always out recording wherever I go.” Still, this project presented its particular challenges. “At Skywalker Sound, we have a huge sound effects library of sounds that have been recorded since Star Wars, and we have the commercially available libraries as well. Much of this involved use of library material. So I had to manufacture the sound of thousands of people clapping in sync.” There’s some songs where the audience is clapping along to the beat. “I have crowds in the background, crowds all around you. “In archival footage, the crowds are usually mono or stereo, and it’s just whatever’s bleeding into the vocal mics in some cases,” he says, adding that he was tasked with creating the crowds for each specific performance. Sound effects editor Pascal Garneau notes that creating authentic crowds in the concert scenes required delicate work. “We want to honor them, and we want to make it sound as close to what the filmmakers wanted as possible.” “We’re not interested in changing the Bee Gees’ sound,” Greber emphasizes. Rerecording mixers Gary Rizzo (an Oscar winner for Dunkirk and Inception) and Jeff King did the final mix. Greber adds that the sound editing team worked with stereo masters of the band’s songs, as well as with some stems (multiple tracks that made up a song). 'Rock Hudson: All That Heaven Allowed' Review: An Illuminating Account of a Beloved Hollywood Icon's Dual Life
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