It is astonishing to believe the video above and the one below are the same singer, separated, as they are, by nearly three decades. And more so that the first one represented the band, the Bee Gees, then already in their first stride, a full decade before they became near ubiquitous for disco falsettos and windblown hair. In this, their first heyday, they were producing intelligent and sensitive ballads, often, as this, with quirky lyrics that actually are worthy of some thought. Perhaps also astonishing is the fact that the 2nd clip (below), is itself already two decades old, the band now well into their post Saturday night Fever zeitgeist, able to call on songs from all their careers. Now I am no fan of their 70s fame and fortune, only with the passage of enough time able and willing to admit I was a fan of theirs, as a boy, in the 60s. Indeed, I remember singing this very song, into a hairbrush, standing on my bed, for the benefit of my cohort of fellow school chums. (Yup, dormitory days in the UK private school system.......) Robin Gibb, for it is he, was always my top Bee Gee. He always seemed to have a little more grit than his brothers Barry and Maurice, escaping them for a brief moment in '69 through '70, with his solo hit, 'Saved by the Bell', another part of my youthful repertoire.
Tuesday, April 17, 2018
JOKES, PRANKS & FOOLS : I STARTED A JOKE
It is astonishing to believe the video above and the one below are the same singer, separated, as they are, by nearly three decades. And more so that the first one represented the band, the Bee Gees, then already in their first stride, a full decade before they became near ubiquitous for disco falsettos and windblown hair. In this, their first heyday, they were producing intelligent and sensitive ballads, often, as this, with quirky lyrics that actually are worthy of some thought. Perhaps also astonishing is the fact that the 2nd clip (below), is itself already two decades old, the band now well into their post Saturday night Fever zeitgeist, able to call on songs from all their careers. Now I am no fan of their 70s fame and fortune, only with the passage of enough time able and willing to admit I was a fan of theirs, as a boy, in the 60s. Indeed, I remember singing this very song, into a hairbrush, standing on my bed, for the benefit of my cohort of fellow school chums. (Yup, dormitory days in the UK private school system.......) Robin Gibb, for it is he, was always my top Bee Gee. He always seemed to have a little more grit than his brothers Barry and Maurice, escaping them for a brief moment in '69 through '70, with his solo hit, 'Saved by the Bell', another part of my youthful repertoire.
Posted by Seuras Og at 11:05 AM View Comments
Labels: Faith No More, I Started a Joke, jokes pranks & fools, Low, Robin Gibb, The Beautiful South, The Bee Gees, The Heebeegeebees
Tuesday, February 17, 2015
SONGS SOUTH: THE BEAUTIFUL SOUTH
OK, it's BAND SOUTH in this case, but that's allowed, and is probably a pretty good opportunity to give this bigintheUK band a buzz, not least given my equivocal and almost love-hate relationship with them. Are they known of across the pond? Somehow I doubt it, except to the core of anglophile anglophone addicts whom I know exist in no small number. But their whole identity is rooted in a dingy lacklustre version of northern England, their name being wholly ironic, marrying kitchen sink reality to luscious, silky tunes and arrangements. And thereby lies my issue, as the sharpness of the lyrics may often be missed within the sheen given to the songs, sometimes leaving a faint lingering taste of saccharine where the vinegar should be.
Paul Heaton, because they were basically his band and brand, even if ably supported by a core of regulars and a float of occasionals, formed the group in 1988, along with fellow Housemartin, Dave Hemingway. Within that earlier and quirky, shortlived group, also including Norman, later "Fatboy Slim", Cook on bass, they sent a bizarre mix of marxism and christianity to the top of the UK singles charts with an acapella version of Caravan of Love. His abiding acerbic style was well characterised by the title of their first LP, "London 0, Hull 4" , Hull being, shall we say, one of northern England's less glamorous cities.
Rather than a traditional jangly guitar based quartet, The Beautiful South started life with an altogether different vibe, with shared vocal duties between the two ex-Housemartins and the first of three subsequent female vocalists, with often lush keyboards. Songwriting duties, largely Heaton's forte, were shared with Dave Rotheray on guitar, and they hit the ground running with this song, "Song for Whoever", which neatly sets out the stall for their aforementioned sweet cynicism, the theme of the "self-serving industry of lovesongs" being a recurring motif.. The front cover, above, also gave some clue to those prepared to search beyond melodies alone. In 1991, they also won the Brit award (think British Grammy) for best video, "A Little Time", their only actual number one single, reproduced below:
Following this there followed a steady stream of successful albums, with a change of female vocalist between their 3rd and 4th, and the sound increasingly embellished by added horns. However, before Briana Corrigan left, the band managed their biggest US exposure with this, "We Are Each Other" in 1992.
Jacqie Abbot, who replaced, had a slightly less astringent style and lasted for a further six years, the sound gradually becoming more influenced by country and/or soul stylisations, which her voice suited well. Here is a good example, "Perfect 10". The group called it a day in 2000, before a desultory final incarnation in 2003, with now 3rd female singer, Alison Wheeler. Whilst the thrill had largely gone, this line-up did produce a last-gasp covers record, in 2003, with "Golddiggas, Headnodders and Pholk Songs, largely successful major transformations of well-known popsongs of the past 30 odd years, and a lasting favourite of mine. Knowing we like a good cover over here on Starmaker Machine, here is a key track, Blue Oyster Cult's Don't Fear the Reaper". Citing "musical similarities", maybe the irony of this irony being beyond them, they folded for the final time in 2007.
Interestingly, at the time of writing, Paul Heaton has reunited and put out new material with Jacqui Abbott, whilst Hemingway and Wheeler, together with some of the core erstwhile musicians, have re-grouped as The South, basically a tribute act to their old selves. One suspects that neither Heaton nor this version have each other on their respective christmas card lists..........
Posted by Seuras Og at 9:26 AM View Comments
Labels: Paul Heaton, Songs South, The Beautiful South, The Housemartins
Thursday, January 7, 2010
Ten: Perfect 10
The Beautiful South: Perfect 10
[purchase]
I drew a complete blank on songs with Ten/10 in the title for this week's theme... not my modus operandi at all, as I usually have too many tunes in my head and not enough time on the clock - so... I went on an adventure with my dear friend Google... and came up with this one...
My next step was to check the SMM archives to make sure the song had not been used before, whereupon I ran across Robbie's post of a bit over a year ago, covering the same band but a different song - we miss you, Robbie!
I knew nothing of The Beautiful South, but one reading of their lyrics, while listening, made me want to find out more about this group - they're clever, they're catchy, they're... disbanded?!?
Read here for some interesting observations from Wikipedia about double meanings and double entendres - there's also a sweet message behind the "nudge, nudge, wink, wink"...
'Cause we love our love in different sizes
I love her body, especially the lines
Time takes its toll, but not on the eyes
Promise me this, take me tonight...
Posted by Susan at 8:30 PM View Comments
Labels: Ten, The Beautiful South
Saturday, December 6, 2008
Leftovers (Advice): Don't Marry Her
The Beautiful South: Don't Marry Her
[purchase]
Being that I'm one of the spanking new contributors here, there were several themes I missed out on. But the 'Advice' theme seemed to interest me the most.
The Beautiful South were always a band I was fond of. Formed by members of the Housemartins, they didn't take things themselves too seriously and perhaps because of this, they created some very witty, very original music.
"Don't Marry Her" was one of the band's bigger hits, released on their 1996 album, Blue Is The Colour. The song is delivered with a pleasant, sing-a-long delivery, but packs quite the wallop with its unexpected expletive.
The song is a straightforward take on a woman's insistence that his intended marriage to another woman will not be the idyllic life he aims for. And that instead, he should choose her.
And if the song doesn't illustrate just how dry these guys were, the band broke up last year, citing "musical similarities."
Posted by Robbie at 5:53 PM View Comments
Labels: Leftovers, The Beautiful South
