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1. Sam Paganini - Rave - Drumcode - DCCD10

  • Published: 2014-09-20T12:59:19Z
  • By Drumcode
Sam Paganini - Rave - Drumcode - DCCD10

Foremost international techno outlet Drumcode is delighted to announce the release of its next full-length album, ‘Satellite’, by enduring Italian techno talent Sam Paganini. Though he has been active since the mid nineties, recent years have been hugely successful for Sam, with searing techno EPs coming on revered labels such as Riche Hawtin’s Plus8, Sven Vath’s Cocoon and of course, Adam Beyer’s Drumcode. In his time he has been responsible for underground hits like ‘Zoe’, ‘Polyester’ and ‘Fire In My Arms’, all of which demonstrate his dynamic understanding of sexy, dark and hypnotic techno grooves and at the same time have earned him plenty of great Beatport chart positions as well as respect from the best in the game. Incredibly, ‘Satellite’ is Sam’s first full-length album. Informed by his DJ gigs at legendary places like Berghain in Berlin and Cielo in New York, the album starts with a dystopian bit of sonic scene setting, as if a space ship is charging up ready to take off. From there it’s a case of getting straight down to business. ‘Another Chance’ is a spacey bit of cantering techno and ‘White’ is rooted in devastating kick drums and is riddled with serrated synth lines that build lots of great techno pressure. ‘Down’ is an undulating bit of funky techno complete with choice vocal flourishes and tracks like ‘Lotus’ are prime offerings from the deeper end of the scale. No two tracks sound the same on Satellite: Sam is always teasing out a new bit of texture, nailing a slightly different vibe or exploring different amounts of light and dark throughout the course of this most excellent album. This is evidenced by diverse cuts like ‘Dusty’, ‘Toxic’ and ‘Rave’. Despite ‘Satellite’ being Sam’s debut album, it showcases his seductive style in all its glory across 12 fantastic tracks that will leave you begging for more.

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2. Bee Gees - More Than A Woman (excerpt)

Bee Gees - More Than A Woman (excerpt)

Excerpts from the album 'THE ULTIMATE BEE GEES'. BUY THE DELUXE DOUBLE CD & DVD SET from Amazon USA, Canada, UK, France, Germany, Italy, Spain, Japan. BUY THE DOUBLE CD from Amazon USA, Canada, UK, France, Germany, Italy, Spain, Japan. DOWNLOAD THE ALBUM from iTunes, or Amazon USA, UK, France, Italy,Germany, Spain, Japan. LISTEN ONLINE on Deezer, Grooveshark, Last.FM, MySpace, Rdio, Rhapsody, Slacker, Spotify. ABOUT THE BEE GEES Formed: 1958 in Brisbane, Queensland, Australia Years Active: '60s, '70s, '80s, '90s, '00s No popular music act of the '60s, '70s, '80s, or '90s attracted a more varied audience than the Bee Gees. Beginning in the mid- to late '60s as a Beatlesque ensemble, they quickly developed as songwriters and singers to create a style of their own that carried them from psychedelia to progressive pop. Then, after hitting a popular trough, they reinvented themselves as perhaps the most successful white soul act of all time. What remained a constant throughout their history is their extraordinary singing, rooted in three voices that were appealing individually and melded together perfectly. The group was also music's most successful brother act. Barry Gibb, born on September 1, 1946, in Manchester, England, and his fraternal twin brothers Robin Gibb and Maurice Gibb, born on December 22, 1949, on the Isle of Man, were three of five children. The three of them gravitated toward music, encouraged by their father, who saw his sons at first as a diminutive version of the Mills Brothers. The three Gibb brothers made their earliest performances at local movie theaters in Manchester in 1955, singing between shows. The family moved to Australia in 1958, resettling in Brisbane. Now known as the Brothers Gibb — with Barry writing songs — they attracted the attention of a local DJ, and eventually got their own local television show. It was around this time that they took on the name the Bee Gees (for Brothers Gibb). The trio was astoundingly popular in the press and on television, but actual hit records eluded them. By late 1966, they'd decided to return to England — which, thanks to the Beatles, was now the center of the world for rock and popular music. The group had sent demo recordings ahead of them, and "Spicks & Specks" — which became their first Australian hit while they were in mid-ocean — had attracted the interest of manager Robert Stigwood. The trio was signed by Stigwood upon their arrival, and began shaping their sound in the environment of Swinging London. Barry and Robin Gibb alternated the lead vocal spot, harmonizing together and with Maurice. Barry played rhythm guitar, while Maurice played bass, piano, organ, and Mellotron, among other instruments. Their first English recording, "New York Mining Disaster 1941," an original by the group with a haunting melody and a strangely surreal, almost psychedelic ambience, was released in mid-1967 and made the Top 20 in England and America. They had successful follow-ups with "Holiday" and "To Love Somebody," the latter actually written for Otis Redding to record, and "Massachusetts," which topped the U.K. charts. After Bee Gees' 1st, the Gibb brothers took over producing their own records. It was easy, amid the sheer beauty of their recordings, to overlook the range of influences that went into their sound, which came from a multitude of sources, including American country music and soul music. At this point in their history, they were most comfortable deconstructing elements in the singing and harmonies of black American music and rebuilding them in their style. In 1969, the trio split up in a dispute involving the Odessa album. A lushly orchestrated double LP, it was their most ambitious recording to date, but they were unable to agree on which song would be the single, and Robin walked out. Barry and Maurice held on to the Bee Gees name for one LP, Cucumber Castle, while Robin released Robin's Reign. Without a group to promote it, the Odessa album never sold the way it might have, even with a hit, "First of May." Cucumber Castle generated several successful singles in England and Germany, including the gorgeous, African-influenced "I.O.I.O.," while Robin had a hit with "Saved by the Bell." In 1970, almost two years older and a good deal wiser, they decided to get back together. They related to each other better and had also evolved musically, now creating a progressive pop/rock sound similar to the Moody Blues. They came back on a high note with two dazzling songs: the soulful "Lonely Days," the group's first number one hit in America; and the achingly lyrical "Morning of My Life," which proved so popular with fans that the group was still doing it in concert decades later. Their success began to ebb, however, after another huge international hit with "How Can You Mend a Broken Heart" in 1971. The single "Run to Me" made the Top 20 in 1972, but the album To Whom It May Concern was forgotten almost instantly after a brief chart run. Their fortunes continued in reverse during 1973 withLife in a Tin Can and the single "Saw a New Morning" — despite a move to America and a heavy promotional push, the song never made the Top 40 and the album stalled out. The trio was falling into a deep creative and commercial hole. Rescue came from a suggestion by Eric Clapton, that they try recording at Criteria Studios in Miami, Florida, where he had just cut an album. The Bee Gees took his advice and came back with Mr. Natural (1974), produced by Arif Mardin. This record was a departure with its heavily Americanized R&B sound, and the following year they plunged headfirst into the new sound with Main Course — the emphasis was now on dance rhythms, high harmonies, and a funk beat. And spearheading the new sound was Barry Gibb, who, for the first time, sang falsetto and discovered that he could delight audiences in that register. "Jive Talkin'," the first single off the album, became their second American number one single, and was followed up with "Nights on Broadway" and then the album Children of the World, which yielded the hits "You Should Be Dancing" and "Love So Right." Then, in 1977, their featured numbers on the soundtrack to the Robert Stigwood-produced Saturday Night Fever, "Stayin' Alive," "How Deep Is Your Love," and "Night Fever," each topped the charts, even as the soundtrack album stayed in the top spot for 24 weeks. In the process, the disco era in America was born — Saturday Night Fever, as an album and a film, supercharged the phenomenon and broadened its audience by tens of millions, with the Bee Gees at the forefront of the music. It was a profound moment although, ironically, there wasn't that much difference in their sound. Amid the dance numbers, the Bee Gees still did a healthy portion of romantic ballads that each offered memorable hooks. They'd simply decided, at Arif Mardin's urging, to forget the fact that they were white Englishmen and plunged into soul music, emulating, in their own terms, the funkier Philadelphia soul sounds that all three brothers knew and loved. In one fell swoop, the group had managed to meld every influence they'd ever embraced, from the Mills Brothers and the Beatles to early-'70s soul, into something of their own that was virtually irresistible. Spirits Having Flown was their crowning commercial triumph, topping 30 million in sales and yielding three more number one singles. By the end of the '70s, however, the disco era was waning from a combination of the bad economy, political chaos domestically and internationally (leading to the election of Ronald Reagan), and a general burnout of the participants from too many drugs and profligate sex (which would precipitate an epidemic of sexually transmitted diseases and herald the outbreak of AIDS in the United States). There had already been an ad hoc reaction against the group's dominance of the airwaves, with mass burnings of Bee Gees posters and albums organized by DJs. The group itself helped contribute to the end of the party with their participation (at Stigwood's insistence) in the film Sgt. Pepper's Lonely Hearts Club Band, "inspired" (if that's the word) by the Beatles' album. The movie was a commercial and critical disaster, and an embarrassment to all concerned. In America, the Bee Gees were virtually invisible for most of the '80s. Instead, Barry Gibb pursued work as a producer for other artists, creating hits for Barbra Streisand and Diana Ross. By 1987 and the E.S.P. album, their sales had rebounded everywhere but the United States, yielding a number one single (outside of the U.S.) in "You Win Again." Their 1989 album One got a good reception around the world and generated a Top Ten U.S. single. And in the '90s, Polygram Records released the four-CD anthology Tales from the Brothers Gibb, which sold well around the world. The trio's 1997 induction into the Rock & Roll Hall of Fame led to a resurgence of interest, which heralded the release of the live album One Night Only (1998), cut at their first American concert in almost a decade. The Bee Gees remained active until the death of Maurice in January 2003, from cardiac arrest during surgery. Following his death, Robin and Barry decided to cease performing as the Bee Gees. Their recorded legacy, however, subsequently became more visible than it had been in decades with the move of their catalog to Warner/Reprise. The latter company began the long-awaited upgraded CD reissue of the Bee Gees' post-1966 library, including the first-ever release of outtakes and rehearsal versions of songs. Robin was diagnosed with and underwent treatment for cancer in 2011. He died in London in May 2012 due to complications from cancer and intestinal surgery; he was 62 years old. Given the previous deaths of Andy (who had several number one hits and who died of an inflammatory heart virus in 1988) and Maurice Gibb, Robin was the third Gibb brother and second member of the Bee Gees to pass away. Music ℗ & © 2009 Barry Gibb, Robin Gibb and The Estate of Robin Gibb under exclusive license to Warner Strategic Marketing Inc. a Warner Music Group Company.

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4. At Your Touch

  • Published: 2013-07-17T15:17:02Z
  • By Joe Hertz
At Your Touch

Available on iTunes Now: https://itunes.apple.com/gb/album/at-your-touch-single/id683727790 Tigermilk Recordings Introducing Joe Hertz. London based but, like his contemporaries, globally inspired, Joe's sound draws on a heady mix of on point drum programming and tension laced melodies that blur genre boundaries with poise and class, fittingly showcased in his debut single, 'At Your Touch'. A combination of radiant synths, infectiously swung bass notes and a truly distinctive vocal, the overriding aesthetic is absorbing and blissfully mesmerising. The Yin to its glossy Yang lies between the beats which are steeped with impact throughout. The bottom-end pulses in perfect harmony; tuned kicks, EQ'd with precision, cut through the lower-mid melodies laying rock solid foundations for a subtle groove to evolve. The mix of its rousing core and lush delivery makes 'At Your Touch' somewhat hard to place but all the more standout for it. 21st century soul with blissed-out Balearic characteristics, simply described 'At Your Touch' is lifestyle music for the modern generation. The beginning of an exciting journey, Joe Hertz 'At Your Touch' lands late summer. FACEBOOK: https://www.facebook.com/pages/Joe-Hertz/185642094829059?ref=hl TWITTER: https://twitter.com/joehertzmusic Lyrics: VERSE 1 We can make this work, no words needed to say, its the way you tease me say my name choose the truth or the dare, and i'll make the move who ever said that love was fading? for your love i'm waiting, and from time to time, I wonder where you are loosing all trace of mind, I cant recall the, right way to find, time to feel your body baby close to mine. CHORUS Can't question it, feel your body burning at my touch (oh oo ohhh) no need to rush we've got all night, I want to know baby will you give me all your love? but don't tell me that you love me baby VERSE 2 oh show me what you know, i'm about to let my baby take control, no thinking, questions, no reality, inside your mind no reason for morality, I cant recall the, right way to find, time to feel your body baby close to mine CHORUS ENJOY :)

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6. Ajja "Live At One Day In Amsterdam 2014" 12/07/2014

Ajja

In case you missed or you want to relive it, enjoy AJJA's live act @ O.Z.O.R.A. Festival's 'One Day in Amsterdam 2014'. Tune in on 12th July 2014 Saturday 8pm CET on the Trance channel. AJJA S.F. LEU is an eclectic and multi-talented Swiss artist who channels his creativity through parallel careers as musician/producer/dj, Peak Records label manager, graphic artist and tattoo artist. Born in London in 1975, AJJA grew up roaming the planet with his world-renowned family of tattoo-artists and travellers. Wandering across the world and bathed in various artistic scenes, he was provided with a constant creative drive. He started playing guitar when he was nine years old, and having been reared in a rock’n’roll and funk atmosphere, he first concentrated on these musical styles. By his mid-teens, he had composed, produced and recorded over one hundred original songs. He performed with a number of live bands in different countries and continued to create music and release rock albums for another decade. During this time, he also picked up the family trade and started tattooing alongside his parents and older brother Filip Leu. At the end of the nineties, his interest gradually shifted towards electronic music, causing him to explore new digital horizons. In 2002, AJJA and musician friends Master Margherita, Dymons and Flooting Grooves created The Peaking Goddess Collective, a chill & psytrance band that fuses live instruments and digital technology. After performing in many parties and festivals and releasing tracks on many compilations, their debut album “Organika” was released on Peak Records in August 2007. In the summer of 2003, AJJA, in collaboration with his partner, visual artist Tanina Munchkina and musicians Dj Gaspard and Master Margherita, founded the psychedelic trance label Peak Records. In only four years, the label has gained respect and a solid reputation in the psytrance scene, releasing many quality night-time and chill albums and compilations. The same year saw the birth of Yab Yum, the fully digital project shared by AJJA and Dj Gaspard. They have since released numerous tracks on world-renowned labels, and their debut album “Nocturnal Emissions”, released on Peak Records in December 2006, has been widely praised in the international psytrance scene. They have performed with growing success worldwide from Japan to the United States. In 2005, AJJA started a solo project under his own name. This digital live-act is primarily 144bpm-based, focusing on groovy, non-cheesy, psychedelic trance that could be played in the morning or in the middle of the night. Since then, AJJA has performed in numerous parties and festivals including the Soulclipse, Life, Gaian Mind, Wickerman, World People, Forgotten Ritual and Waveform Project festivals. His much appreciated live sets have already rocked & grooved dancefloors in Japan, The United States, Canada, Switzerland, France, Portugal, Germany, Austria, Italy, England, Ireland, Scotland and Turkey. In the coming months, AJJA will be performing both his new material and with Yab Yum in parties around the planet, including the famous Universo Paralello in Brazil. A mini-tour in Japan is planned for spring 2008. In 2007, AJJA released his first solo night-time track on Moonloop Records. This fall, he will have two more releases on the upcoming Peak Records compilation “Peak-a-Doodle-Doo” and on Northern Psylights Records. His debut album “PSYCHOGENICA” will be released in November 2007, on the newborn Irish label Syncronize Records. Not satisfied with so much activity, Ajja also composes music for theater plays, designs Peak Records covers with his partner Tanina Munchkina, and works as a tattoo artist in his family’s shop in Lausanne, Switzerland. Ajja inteview in the Ozorian Prophet Peak Records

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7. NICKY NIGHT TIME - GONNA GET BETTER (PETE TONG BBC RADIO 1 RIP)

NICKY NIGHT TIME - GONNA GET BETTER (PETE TONG BBC RADIO 1 RIP)

Beatport: http://onelove.im/GonnaGetBetter_Beatport iTunes: http://onelove.im/GGB_ITunes #1 ARIA Club Chart Top 20 Beatport House Chart #16 UK Cool Cuts Chart (2 weeks in a row) + Triple J Premier – Friday Night Shuffle (06.02.15) + Triple J – House Party with KLP (07.02.15) + BBC Radio 1 - Danny Howard (07.02.15) + BBC Radio 1 - Pete Tong (14.02.15) + BBC Radio 6 - Nemone’s Electric Ladyland (14.02.15) + Triple J - 2105 with Richard Kingsmill (15.02.15) + Selected Youtube Premier https://www.youtube.com/watch?v=JJOL9dlKf30&feature=youtu.be Nicky Night Time came out strong mid-2014 with his debut smash hit ‘Everybody Together’ and demolished dancefloors around the globe. Now he delivers his second single, ‘Gonna Get Better’. This slice of straight up house music with its chunky bouncing low end, heart warming piano stabs & silky vocals of Nat Dunn, feels like an early 90's house anthem you already know & love wrapped in 2015 and delivered by Onelove for the world. Everybody Together topped the Australian ARIA charts for five weeks running and scored an ARIA Award nomination for Best Dance Release along the way. The love rolled in from overseas too, with an inclusion on the worldwide release of Ministry Of Sound’s Annual as well as heavyweight DJs support inc. Aeroplane, The Magician and Digitalism plus BBC radio taste-makers Annie Mac and Rob Da Bank. Of course, those who know Nicky (Nicholas Routledge on his passport) wouldn’t be too surprised. The producer/singer/guitarist’s golden touch has shone bright through his various incarnations. Since 2002, he’s fronted Sydney digital pop auteurs Van She, who cracked the ARIA Top 10 with their debut record and toured alongside indie royalty like the Yeah Yeah Yeahs, Bloc Party and Phoenix. Under the Van She Tech alter ego (with bandmate Michael Di Francesco), he span gold with red-hot remixes of Empire Of The Sun, Tiga, Feist, The Presets and Daft Punk. Notably, their rewiring of Utah Saints’ club weapon ‘Something Good’ crashed the UK top 10 in 2008, revitalising the classic all over again. And yet, Nicky Night Time is now his focus first and foremost, whether it’s partying up in the clubs or bunkering down in the studio. Over the last few months, he’s dropped a handful of high-profile remixes under his latest moniker, including re-rubs of Shadow Child and Doorlys’ aptly-titled ‘Piano Weapon’, Tiga’s techy triumph ‘Bugatti’ and Gorgon City’s latest featuring Jennifer Hudson ‘Go All Night’. They’re the perfect primer for ‘Gonna Get Better’. Blending his potent talent and boundless passion for the genre, the new material guarantees he’ll be one of house music’s hottest properties in 2015.

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8. Sam Paganini - Dusty - Drumcode - DCCD10

  • Published: 2014-09-20T12:59:20Z
  • By Drumcode
Sam Paganini - Dusty - Drumcode - DCCD10

Foremost international techno outlet Drumcode is delighted to announce the release of its next full-length album, ‘Satellite’, by enduring Italian techno talent Sam Paganini. Though he has been active since the mid nineties, recent years have been hugely successful for Sam, with searing techno EPs coming on revered labels such as Riche Hawtin’s Plus8, Sven Vath’s Cocoon and of course, Adam Beyer’s Drumcode. In his time he has been responsible for underground hits like ‘Zoe’, ‘Polyester’ and ‘Fire In My Arms’, all of which demonstrate his dynamic understanding of sexy, dark and hypnotic techno grooves and at the same time have earned him plenty of great Beatport chart positions as well as respect from the best in the game. Incredibly, ‘Satellite’ is Sam’s first full-length album. Informed by his DJ gigs at legendary places like Berghain in Berlin and Cielo in New York, the album starts with a dystopian bit of sonic scene setting, as if a space ship is charging up ready to take off. From there it’s a case of getting straight down to business. ‘Another Chance’ is a spacey bit of cantering techno and ‘White’ is rooted in devastating kick drums and is riddled with serrated synth lines that build lots of great techno pressure. ‘Down’ is an undulating bit of funky techno complete with choice vocal flourishes and tracks like ‘Lotus’ are prime offerings from the deeper end of the scale. No two tracks sound the same on Satellite: Sam is always teasing out a new bit of texture, nailing a slightly different vibe or exploring different amounts of light and dark throughout the course of this most excellent album. This is evidenced by diverse cuts like ‘Dusty’, ‘Toxic’ and ‘Rave’. Despite ‘Satellite’ being Sam’s debut album, it showcases his seductive style in all its glory across 12 fantastic tracks that will leave you begging for more.

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10. Bee Gees - Night Fever (excerpt)

Bee Gees - Night Fever (excerpt)

Excerpts from the album 'THE ULTIMATE BEE GEES'. BUY THE DELUXE DOUBLE CD & DVD SET from Amazon USA, Canada, UK, France, Germany, Italy, Spain, Japan. BUY THE DOUBLE CD from Amazon USA, Canada, UK, France, Germany, Italy, Spain, Japan. DOWNLOAD THE ALBUM from iTunes, or Amazon USA, UK, France, Italy,Germany, Spain, Japan. LISTEN ONLINE on Deezer, Grooveshark, Last.FM, MySpace, Rdio, Rhapsody, Slacker, Spotify. ABOUT THE BEE GEES Formed: 1958 in Brisbane, Queensland, Australia Years Active: '60s, '70s, '80s, '90s, '00s No popular music act of the '60s, '70s, '80s, or '90s attracted a more varied audience than the Bee Gees. Beginning in the mid- to late '60s as a Beatlesque ensemble, they quickly developed as songwriters and singers to create a style of their own that carried them from psychedelia to progressive pop. Then, after hitting a popular trough, they reinvented themselves as perhaps the most successful white soul act of all time. What remained a constant throughout their history is their extraordinary singing, rooted in three voices that were appealing individually and melded together perfectly. The group was also music's most successful brother act. Barry Gibb, born on September 1, 1946, in Manchester, England, and his fraternal twin brothers Robin Gibb and Maurice Gibb, born on December 22, 1949, on the Isle of Man, were three of five children. The three of them gravitated toward music, encouraged by their father, who saw his sons at first as a diminutive version of the Mills Brothers. The three Gibb brothers made their earliest performances at local movie theaters in Manchester in 1955, singing between shows. The family moved to Australia in 1958, resettling in Brisbane. Now known as the Brothers Gibb — with Barry writing songs — they attracted the attention of a local DJ, and eventually got their own local television show. It was around this time that they took on the name the Bee Gees (for Brothers Gibb). The trio was astoundingly popular in the press and on television, but actual hit records eluded them. By late 1966, they'd decided to return to England — which, thanks to the Beatles, was now the center of the world for rock and popular music. The group had sent demo recordings ahead of them, and "Spicks & Specks" — which became their first Australian hit while they were in mid-ocean — had attracted the interest of manager Robert Stigwood. The trio was signed by Stigwood upon their arrival, and began shaping their sound in the environment of Swinging London. Barry and Robin Gibb alternated the lead vocal spot, harmonizing together and with Maurice. Barry played rhythm guitar, while Maurice played bass, piano, organ, and Mellotron, among other instruments. Their first English recording, "New York Mining Disaster 1941," an original by the group with a haunting melody and a strangely surreal, almost psychedelic ambience, was released in mid-1967 and made the Top 20 in England and America. They had successful follow-ups with "Holiday" and "To Love Somebody," the latter actually written for Otis Redding to record, and "Massachusetts," which topped the U.K. charts. After Bee Gees' 1st, the Gibb brothers took over producing their own records. It was easy, amid the sheer beauty of their recordings, to overlook the range of influences that went into their sound, which came from a multitude of sources, including American country music and soul music. At this point in their history, they were most comfortable deconstructing elements in the singing and harmonies of black American music and rebuilding them in their style. In 1969, the trio split up in a dispute involving the Odessa album. A lushly orchestrated double LP, it was their most ambitious recording to date, but they were unable to agree on which song would be the single, and Robin walked out. Barry and Maurice held on to the Bee Gees name for one LP, Cucumber Castle, while Robin released Robin's Reign. Without a group to promote it, the Odessa album never sold the way it might have, even with a hit, "First of May." Cucumber Castle generated several successful singles in England and Germany, including the gorgeous, African-influenced "I.O.I.O.," while Robin had a hit with "Saved by the Bell." In 1970, almost two years older and a good deal wiser, they decided to get back together. They related to each other better and had also evolved musically, now creating a progressive pop/rock sound similar to the Moody Blues. They came back on a high note with two dazzling songs: the soulful "Lonely Days," the group's first number one hit in America; and the achingly lyrical "Morning of My Life," which proved so popular with fans that the group was still doing it in concert decades later. Their success began to ebb, however, after another huge international hit with "How Can You Mend a Broken Heart" in 1971. The single "Run to Me" made the Top 20 in 1972, but the album To Whom It May Concern was forgotten almost instantly after a brief chart run. Their fortunes continued in reverse during 1973 withLife in a Tin Can and the single "Saw a New Morning" — despite a move to America and a heavy promotional push, the song never made the Top 40 and the album stalled out. The trio was falling into a deep creative and commercial hole. Rescue came from a suggestion by Eric Clapton, that they try recording at Criteria Studios in Miami, Florida, where he had just cut an album. The Bee Gees took his advice and came back with Mr. Natural (1974), produced by Arif Mardin. This record was a departure with its heavily Americanized R&B sound, and the following year they plunged headfirst into the new sound with Main Course — the emphasis was now on dance rhythms, high harmonies, and a funk beat. And spearheading the new sound was Barry Gibb, who, for the first time, sang falsetto and discovered that he could delight audiences in that register. "Jive Talkin'," the first single off the album, became their second American number one single, and was followed up with "Nights on Broadway" and then the album Children of the World, which yielded the hits "You Should Be Dancing" and "Love So Right." Then, in 1977, their featured numbers on the soundtrack to the Robert Stigwood-produced Saturday Night Fever, "Stayin' Alive," "How Deep Is Your Love," and "Night Fever," each topped the charts, even as the soundtrack album stayed in the top spot for 24 weeks. In the process, the disco era in America was born — Saturday Night Fever, as an album and a film, supercharged the phenomenon and broadened its audience by tens of millions, with the Bee Gees at the forefront of the music. It was a profound moment although, ironically, there wasn't that much difference in their sound. Amid the dance numbers, the Bee Gees still did a healthy portion of romantic ballads that each offered memorable hooks. They'd simply decided, at Arif Mardin's urging, to forget the fact that they were white Englishmen and plunged into soul music, emulating, in their own terms, the funkier Philadelphia soul sounds that all three brothers knew and loved. In one fell swoop, the group had managed to meld every influence they'd ever embraced, from the Mills Brothers and the Beatles to early-'70s soul, into something of their own that was virtually irresistible. Spirits Having Flown was their crowning commercial triumph, topping 30 million in sales and yielding three more number one singles. By the end of the '70s, however, the disco era was waning from a combination of the bad economy, political chaos domestically and internationally (leading to the election of Ronald Reagan), and a general burnout of the participants from too many drugs and profligate sex (which would precipitate an epidemic of sexually transmitted diseases and herald the outbreak of AIDS in the United States). There had already been an ad hoc reaction against the group's dominance of the airwaves, with mass burnings of Bee Gees posters and albums organized by DJs. The group itself helped contribute to the end of the party with their participation (at Stigwood's insistence) in the film Sgt. Pepper's Lonely Hearts Club Band, "inspired" (if that's the word) by the Beatles' album. The movie was a commercial and critical disaster, and an embarrassment to all concerned. In America, the Bee Gees were virtually invisible for most of the '80s. Instead, Barry Gibb pursued work as a producer for other artists, creating hits for Barbra Streisand and Diana Ross. By 1987 and the E.S.P. album, their sales had rebounded everywhere but the United States, yielding a number one single (outside of the U.S.) in "You Win Again." Their 1989 album One got a good reception around the world and generated a Top Ten U.S. single. And in the '90s, Polygram Records released the four-CD anthology Tales from the Brothers Gibb, which sold well around the world. The trio's 1997 induction into the Rock & Roll Hall of Fame led to a resurgence of interest, which heralded the release of the live album One Night Only (1998), cut at their first American concert in almost a decade. The Bee Gees remained active until the death of Maurice in January 2003, from cardiac arrest during surgery. Following his death, Robin and Barry decided to cease performing as the Bee Gees. Their recorded legacy, however, subsequently became more visible than it had been in decades with the move of their catalog to Warner/Reprise. The latter company began the long-awaited upgraded CD reissue of the Bee Gees' post-1966 library, including the first-ever release of outtakes and rehearsal versions of songs. Robin was diagnosed with and underwent treatment for cancer in 2011. He died in London in May 2012 due to complications from cancer and intestinal surgery; he was 62 years old. Given the previous deaths of Andy (who had several number one hits and who died of an inflammatory heart virus in 1988) and Maurice Gibb, Robin was the third Gibb brother and second member of the Bee Gees to pass away. Music ℗ & © 2009 Barry Gibb, Robin Gibb and The Estate of Robin Gibb under exclusive license to Warner Strategic Marketing Inc. a Warner Music Group Company.

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