Welcome to my Gordon Lightfoot fan site. Although this isn't an official artist's site, I try to accomplish the same thing, and therefore I include all the key elements of such a site.
Karl Richardson, Don Gehman producer: Not all fans agree of course; they never do. Those actually involved in making the album remember it as a contentious and musically unsatisfying experience. Barry, Albhy, and Karl had perfected a production system with the Spirits Having Flown and Guilty albums that involved minimal input from Robin and Maurice during record making.
That was not working here. Robin was now recording lead vocals and probably shaping some songs to his style. But the really new thing was that Maurice was sober and very active again on the studio floor and in the booth, to the astonishment of Albhy and Karl. Now there were just too many people in charge.
Maurice and Karl got into an argument over musical direction. Albhy said years later that no one got what they wanted, or maybe Maurice did. Maurice liked the hands-on approach he had had in the Bee Gees beforebut Barry by now thought of the Bee Gees as a vocal group to be backed by the best session players possible.
The disagreements ran so deep that for the next few years after Living Eyes the group split for record production into a team of Barry, Albhy, and Karl, and another team of Robin and Maurice.
For songwriting however the three brothers still often worked together over the coming years. Judging by the disparate credits per song, they did not really play together, but dubbed their parts onto tracks. So-called demos have circulated that are actually early states of these same recordings with many of the dubs not yet put on.
From them it is clear that the underlying tracks were recorded to unvarying mechanical beats. Even a drummer as good as Steve Gadd seems handcuffed by this and he can do little more than keep time and add the occasional awkward drum fill. All too often the many tracks of Rhodes electric piano, synthesizer, guitars, and strings and horns jockey for position, and nothing stands out from the bland background noise.
But the lifeless instrumental backing fails it, and so does the synthesizer vocal blend edited onto the beginning. After this the vocals fall apart— and this on a Bee Gees album. Barry keeps propping himself up with falsetto or multitracking.
Robin sounds even worse. The horns and strings were just sweetening added after the fact, not built into the arrangement the way the Bee Gees had done with Bill Shepherd. The order of recording is not known. The songs are grouped below by rhythm tracks. In their available state they have melody but almost no lyrics.
These may be the first ones started as finished recordings. The others have none of its energy. The music goes nowhere exciting and the lyrics are trite. As usual though there are interesting moments in all these songs, and it is likely that in other circumstances better recordings could have been made out of this raw material.
An instrumental version was made from the same tracks for the B side of the single. These both start very suddenly on an edit. A version with a much longer instrumental intro, running 4:I just received a copy of this CD from Amazon Marketplace, shipped from London.
It is a well-engineered copy of many hit orchestral instrumentals, and it contains a rarity, "Nadia's Theme (The Young & The Restless)", by Barry DeVorzon and Perry Botkin, Jr.
Though the art of writing pop songs is a craft that can be nurtured and developed, many great songs are inspirations that have come to writers in their dreams.
If you're catching a few zzz's and hear an amazing song in your head, consider it meant to be and commit it to (digital) tape as soon as you awake. For years, ASCAP has protected songwriters and composers while providing them with a livelihood. ASCAP music touches billions.
The ASCAP campaign features an interactive timeline of ASCAP's rich history as well as a commissioned film, Why We Create Music, which captures the impact of songs and the creative. I think Free Instrumentals and Background Music Download | is a informative blog article and you do a well written job of writing unique information.
How To Write A Pop Song Listeners love a good Pop song and radio loves to play them. Whether you want to pitch your songs to established artists in the Pop field or sing them yourself, writing a contemporary, commercial Pop song with hit-single appeal means writing a song that listeners can identify with and radio will want to play.
I am a personal friend of the author, Hank Fellows. As a music educator, my choral group has performed his songs at many 9/11 events. He is a gifted composer and now author trying to teach about an event that changed so many lives.