The film illustrates how record companies opportunistically-and unwisely-pumped out dreadful disco songs to capitalize on the music’s popularity, thereby triggering the “Disco sucks” backlash. “They kind of got blamed for it, disco music… They didn’t know what hit them… They couldn’t get played on the radio.” Maurice, Barry and Robin Gibb HBO “They didn’t want to be labeled as a disco band, because they were constantly using a whole variety of different musical styles,” Marshall says. With it, the Bee Gees became synonymous with disco. The soundtrack to Saturday Night Fever (1977) remains one of the biggest albums of all time. The brothers eventually patched things up, with Maurice playing peacemaker between Robin and Barry as needed, and the Bee Gees went on to their greatest success in the late ‘70s. I was really curious as to how Barry negotiated that as being the oldest.” We had a band together in the ’60s for about 10 minutes. Director-producer Frank Marshall Courtesy of Matthew Carey Sibling dynamics are something Marshall could identify with. Robin’s high vibrato characterized the group’s early sound, as in 1967’s “I Started a Joke.” But he and Barry shared primary vocals on the 1968 hit “I’ve Got to Get a Message to You.” The film explores the tensions that grew between Robin and Barry over who’s voice would predominate each of the brothers wanted solo careers and in 1969 Robin announced his intention to quit the Bee Gees. It’s hard to put into words how affected I was at the start of this, because I knew almost every song by heart… They’re so infectious.” “Sadly, is taken for granted… Working on this film you get the full catalog and you kind of immerse yourself. “The sweetest voices you’ve ever heard,” says Mark Monroe, nominated for producing and writing the documentary. It was the big talent that elevated them, both for singing and songwriting: “To Love Somebody” (1967), “Massachusetts” (1968), “How Can You Mend a Broken Heart” (1971), “Jive Talkin’” (1975), “Nights on Broadway” (1975), “You Should Be Dancing” (1976), “Love So Right” (1976), “How Deep Is Your Love” (1977), “Stayin’ Alive” (1977), “Too Much Heaven” (1978), “Tragedy” (1979), not to mention all the hits they wrote for other artists. “All of us had the same understanding,” Barry recalls in the film, “that we were going to be famous come hell or high water.” Barry, Maurice and Robin Gibb recording in 1970 Daily Mirror/Mirrorpix via Getty Images/HBO “Recording a rock concert audience, it’s really tough to get just the crowd without the music and everything else.Sony Pictures Classics Picks Up Frank Marshall & Ryan Suffern Documentary 'Jazz Fest: A New Orleans Story' 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). 'Last Stop Larrimah' Review: A Flavorful Australian Outback Mystery Fueled by Infighting in a One-Horse Town
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