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Il ne faut surtout pas se fier au commentaire de Philippe à qui je conseille vivement de retourner écouter sa compil' pour avoir de "la disco qui fait rajeunir" comme il dit. Il pourra ainsi se gargariser de "Stayin' Alive" que l'on a entendu si peu en 35 ans! Avec le magique "Main Course" sorti juste l'année précédente, les frères Gibb osaient le grand saut, le grand écart qu'aucun autre groupe avant lui (ni après) n'aura la capacité de réaliser. Les Bee Gees étaient jusqu'ici un groupe de pop vocale typiquement blanc, voire Anglais, jusqu'à 1972. Puis arrive le temps de l’exil aux U.S.A. avec son trésor le plus INJUSTEMENT sous-estimé, le candidat parfait pour l'île déserte, leur album de 1973, "Life in a tin can" et son frangin abandonné en route le merveilleux "A kick in the head is worth eight in the pants" qui aurait dû suivre la même année. Deux chefs d’œuvre absolus, traversés de zébrures country indiquent déjà la mutation à venir. Puis c'est la rencontre avec Arif Mardin, producteur d'Aretha et surtout de Dusty Springfield, une autre mutante anglaise en Jackie Brown. Avec lui, les Bee Gees vont se réinventer totalement jusqu'à l'abstraction complète de leur première peau pour devenir un nouveau black girl band comme le monde n'en avait jamais connu auparavant. "Main Course" colonisé par les claviers de Stevie Wonder puise autant dans le répertoire de Crosby, Still, Nash & Young que dans la soul Cappuccino des veloutés Gamble and Huff. Les voix changent tout bonnement de sexe, Barry Gibb se découvrant un registre vocal égal à celui de Diana Ross en profite pour tirer la couverture à lui. Et puis arrive ce "Children of the world" de 1976.Lire la suite ›
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22 internautes sur 24 ont trouvé ce commentaire utile
Forced To Self-Produce; They Produced Extremely Well!8 juin 2001
Marty From SF
- Publié sur Amazon.com
After the enormous come-back sucess of "Main Course", the Gibbs' followed with this album and the #1 'across the charts' hit "You Should Be Dancing". Arif Mardin could not produce for them again, due to record contractual conflicts. But, at the same time, Billboard magazine had just started a "dance" chart and this single topped it the summer of 1976. Followed closely to #3 was "Love So Right", a severe 'Stylistics' sound copy. "Boogie Child" surprised everyone with it's complex instrumental backing and the funkadelic vocals. It was another step up for the Bee Gees. Again, with too many hits to release in a year, other artists like Melba Moore "You Stepped Into My Life" and an old Gibb friend Yvonne Elliman, "Love Me", snatched these songs up and made them their own giant hits. Radio Host Casey Kasem remarked during the showcasing of "Love So Right", that the Bee Gees have had more songs copied by any other artists, other than the Beatles! This was in 1976 before "Saturday Night Fever".! The title track made a big hit in Europe and several other tracks became concert staples. Who knew that the next studio album would be the biggest selling soundtrack of all time? "Children Of The World" is another amazing groundbreaker. History will probably never repeat itself like this again.
15 internautes sur 16 ont trouvé ce commentaire utile
Self Produced Perfection22 août 2006
Marty From SF
- Publié sur Amazon.com
Note: This is a re-issue until Rhino Records releases the Remastered Expanded version.
After the enormous come-back sucess of "Main Course", the Gibbs' followed with this album and the #1 'across the charts' hit "You Should Be Dancing". Arif Mardin could not produce for them again, due to record contractual conflicts. But, at the same time, Billboard magazine had just started a "dance" chart and this single topped it the summer of 1976. Followed closely to #3 was "Love So Right", a severe 'Stylistics' sound copy. "Boogie Child" surprised everyone with it's complex instrumental backing and the funkadelic vocals. It was another step up for the Bee Gees. Again, with too many hits to release in a year, other artists like Melba Moore "You Stepped Into My Life" and an old Gibb friend Yvonne Elliman, "Love Me", snatched these songs up and made them their own giant hits. Radio Host Casey Kasem remarked during the showcasing of "Love So Right", that the Bee Gees have had more songs copied by any other artists, other than the Beatles! This was in 1976 before "Saturday Night Fever".!
The title track made a big hit in Europe and several other tracks became concert staples. Who knew that the next studio album would be the biggest selling soundtrack of all time?
"Children Of The World" is another amazing groundbreaker. History will probably never repeat itself like this again.
10 internautes sur 10 ont trouvé ce commentaire utile
My Favorite Bee Gees Album!23 septembre 2002
- Publié sur Amazon.com
I grew up with this album: Children of The World. What a perfect follow up to Main Course. This is such an extension of the previous album... but I almost hate to call it Main Course Volume 2 due to the more "upbeat style" or "dance like" music that this album provides. Every song is a gem - I can't pick a favorite. I guess if I had to choose (other than You Should Be Dancing) it would have to be "Boogie Child". I didn't realize until I read another's review that Maurice took the lead on this song. It just goes to show you how well blended the Brothers Gibb were. He sounds just like Barry! My favorite part in that song is the part where they all sing together "You can't touch her cause you know she's mine..." then you hear (I assume Barry) do his trademark fasetto. But that whole section is great. Nice, sexy, slinky song. Of course, other standouts are You Stepped Into My Life, Love So Right, Love Me, and the title track. Can't Keep A Good Man Down is great too. Least Favorite Off This Album (if I had to pick one) is Lovers, but it's still very strong. Love the little scat that Barry maybe?? does between "We'll be Lovers, Lovers, Lovers..." Get this album along with Main Course for some prime Bee Gees.
13 internautes sur 15 ont trouvé ce commentaire utile
This album captures the heart of the Bee Gees' influence of the "Disco Era"16 septembre 2007
- Publié sur Amazon.com
If one were to assess musical artists in the Pop music era, one may not be off-base by saying that the Bee Gees are one of the Top 10 acts of all time. The Bee Gees established themselves as pop stars in the late 1960s; reinvented themselves in the 1970s as pioneers for the "Disco Era"; became acclaimed songwriters for some of pop's biggest acts in the 1980s; and then successfully made a comeback in the 1990s. It was the 1975 album "Main Course" that would be the album where the Bee Gees would reinvent themselves. "Main Course" would include a large use of synthesizers that would be key in spearheading the Bee Gees foray into the "Disco Era". While "Main Course" might be criticized because of being Disco, one cannot deny that the Bee Gees were innovators back in 1975. Following "Main Course", the Bee Gees would release their follow-up, "Children of the World". With that album, the Bee Gees continue with the formula that worked on "Main Course" - further solidifying their journey into the world of Disco.
Looking at the Bee Gees, I look at the group has covering three phases. "Early Bee Gees" covers the period from the inception of the group through 1973's "Life in a Tin Can" album. This period would have the Bee Gees characterized as pop artists/pop balladeers. In 1974, with the release of "Mr. Natural" would begin the "Disco Era" phase as the Bee Gees would introduce an R&B and Disco influence - as well as Barry Gibb's trademark falsetto. The "Disco Era" phase would run from 1974's "Mr. Natural" album through 1981's "Living Eyes" album. This would be the most commercially successful period for the band and would include their "Saturday Night Fever" material. When Disco went into decline, the Bee Gees would go into commercial decline. They would take some time off and focus on songwriting, and then in 1987 when they would launch their comeback. Beginning with 1987's "E.S.P." album, the Bee Gees would return to a more traditional sound becoming adult-contemporary artists. "Children of the World" would fall into the heart of the commercially successful "Disco Era" phase.
"Children of the World" would include all of the trademarks of the "Disco Era" phase. The R&B sound - with some influence of funk. To help construct this sound, the Bee Gees would defer to often orchestral-like sounds. The use of horns also helps supplement this sound.
Here is a track by track review of this collection:
"You Should Be Dancing": Many people consider this the signature song of during the entire Disco Era - and with good reason. This song would also be selected to be John Travolta's "solo" during "Saturday Night Fever". The song is completely electric. What many people overlook is the infusion of the horns section and the fact that the song is supplemented by a calypso sound. It are these items that really help put the song over the top.
"You Stepped into My Life": Following the electricity of "You Should Be Dancing", this song is almost a let-down. The song uses has a funk influence with lots of synthesizers. To a lesser extent, you can also hear some orchestral sounds. While it has a good beat, the vocals on this song (despite Barry Gibb's falsetto) did bore me.
"Love So Right": While not a Disco or a Funk song, this song almost is the poster child for many of the ballads the Bee Gees did in the "Disco Era" phase. This song is all about Barry's vocals - which are truly are in prime form on this song. The chorus almost has a mantra-like effect.
"Lovers": At first this song annoyed me, but slowly it started to grow on me. This song has a funk-influenced beat. Barry and Robin trade vocals nicely (and I think it's Maurice going "got to make you understand").
"Can't Keep a Good Man Down": This is perhaps one of the most underrated songs of the Bee Gees career. Barry Gibb once again is in perfect form with his vocals and Robin's vocals fold in at the right time. The use of horns in the chorus on spot on. You could easily see this song fitting into the "Saturday Night Fever" soundtrack (too bad it wasn't a part of it).
"Boogie Child": This song is pure Funk by the Bee Gees. The Bee Gees pull this one off flawlessly.
"Love Me": This song gives us another ballad by the Bee Gees. This ballad has a deep R&B feel to it with Robin taking the lead. While not as strong as "Love So Right", this one is still very good.
"Subway": Another song that I could hear in the urban discotheques. This song has a some great orchestral hooks in it as well as some terrific use of horns. Barry's has his falsetto in high gear on this song. I could have also seen this song in "Saturday Night Fever".
"The Way It Was": This song takes a more traditional ballad - no R&B on this one. This song has some nice keyboards in it. Again, the solid vocals by Barry help
"Children of the World": Another overlooked song in the Bee Gees portfolio. The song starts out with a nice a cappella. The song then progresses into some light synthesizers that eventually become some heavy synthesizers. The intensity of the synthesizers really provide some nice contrast to the soft-styled vocals of this track. The song eventually closes with the a cappella that started it.
This is the remastered album. The liner notes did not include any lyrics, but they did include the musician credits. Overall, this collection is at the heart of not only the Bee Gees "Disco Era" phase, but the overall Disco period. It was a great precursor to what was to come with "Saturday Night Fever". Highly recommended.
5 internautes sur 5 ont trouvé ce commentaire utile
Blue Eyed Soul At It's Best28 décembre 2011
- Publié sur Amazon.com
I remember when CHILDREN OF THE WORLD first came out back in 1976, Michael McDonald had just joined The Doobie Brothers, Hall and Oates were getting underway, Boz Skaggs was releasing some truly soul filled music and The Bee Gees were in the midst of one of the most important musical transformations in music history. The "Blue Eyed Soul" movement was squarely underway and it was a time when soul (R&B) was truly the center of were music was headed topping the charts with artists and bands, both black and white, who were producing great music. Indeed it was such a beautiful time, for the 4 or 5 minutes the song was playing, it didn't matter the color of the artists or bands skin just that incredible lyrics, outstanding compositions and phenomenal musicianship were on full display.
The Bee Gees had gone through a full metamorphosis by the time this album was released. Gone was the band who couldn't escape the unfair and rather ridiculous comparisons to their older british comtemporaries, especially The Beatles. I always felt they stood on their own merit and made just as good, if not, better material in the mid to late 1960's. They seemed trapped, even by their manager, Robert Stigwood, into being the younger version of their older contemporaries from britain. In the early 1970's they seemed to be trying to find themselves and their own identity and began to pull away from Stigwood's direction towards their own.
Even though they had already produced some of the most amazing albums, songs and performances ever, they were attempting to discover who they truly were as artists. On the advice of their friend, Eric Clapton, they moved their entire operation to the U.S. in Miami Florida and began working with the great producer, Arif Mardin, who truly took time to figure out what type of music they wanted to produce. He turned them on to the growing R&B and dance scene which he felt was perfect for their singing, songwriting and performance skills. Mardin would, due to contractual issues, only produce 2 albums with the band, MR. NATURAL & MAIN COURSE, however, he would also start them down the path that would soon lead to one of the single most important and incredible periods in music history.
This album is the first where the Gibbs are the sole producers and you see a very mature and confident band that's tight and ready to take the music world by storm. This would lead to some of the greatest songs of their career and their songwriting prowess, especially Barry's, would now take center stage in music. Barry and Robin Gibb are every bit the songwriting duo as any of their contemporaries and with songs like "You Should Be Dancing"; "You Stepped Into My Life"; "Love So Right"; "Love Me" and "Children Of The World", the brothers were giving notice that they were indeed here to stay. This was a great time in music and The Bee Gees were a major reason why.