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Bee Gees: The very best of Bee Gees

 A l b u m   D e t a i l s

Artist: Bee Gees
Title: The very best of Bee Gees
Released: 1996
Label: PolyGram Records
Time: 68:20
Producer(s):
Appears with:
Category: Disco
Rating: ********.. (8/10)
Media type: CD
Purchase date:  1999.12.27
Price in €: 14,46
Web address: www.bee-gees.com

 S o n g s ,   T r a c k s


[1] New York Mining Disaster 1941 (B.Gibb/M.Gibb) - 2:11
[2] To Love Somebody (B.Gibb/M.Gibb) - 3:01
[3] Massachusetts (B.Gibb/M.Gibb/R.Gibb) - 2:23
[4] World (B.Gibb/M.Gibb/R.Gibb) - 3:15
[5] Words (B.Gibb/M.Gibb/R.Gibb) - 3:16
[6] I've Gotta Get a Message to You (B.Gibb/M.Gibb/R.Gibb) - 3:08
[7] First of May (B.Gibb/M.Gibb/R.Gibb) - 2:49
[8] Don't Forget to Remember (B.Gibb/M.Gibb/R.Gibb) - 3:29
[9] Saved by the Bell (B.Gibb/M.Gibb/R.Gibb) - 3:06
[10] Run to Me (B.Gibb/M.Gibb/R.Gibb) - 3:07
[11] Jive Talkin' (B.Gibb/M.Gibb/R.Gibb) - 3:23
[12] Nights on Broadway (B.Gibb/M.Gibb/R.Gibb) - 4:27
[13] You Should Be Dancing (B.Gibb/M.Gibb/R.Gibb) - 4:46
[14] How Deep Is Your Love (B.Gibb/M.Gibb/R.Gibb) - 4:03
[15] More Than a Woman (B.Gibb/M.Gibb/R.Gibb) - 3:15
[16] Stayin' Alive (B.Gibb/M.Gibb/R.Gibb) - 4:43
[17] Night Fever (B.Gibb/M.Gibb/R.Gibb) - 3:31
[18] Too Much Heaven (B.Gibb/M.Gibb/R.Gibb) - 4:57
[19] Tragedy (B.Gibb/M.Gibb/R.Gibb) - 5:02

 A r t i s t s ,   P e r s o n n e l


ROBIN GIBB - Vocals
BARRY GIBB - Guitar, Vocals
MAURICE GIBB - Vocals , Bass

DENNIS BYRON - Drums
CARMINE D'AMICO - Acoustic & Electric Guitar
ALAN KENDALL - Bass, Guitar
BLUE WEAVER - Synthesizer, Piano, Keyboards, Vibraphone, Arp
ALBHY GALUTEN - Synthesizer, Bass, Conductor, Producer
HERBIE MANN - Flute
GARY BROWN - Saxophone
PETER GRAVES - Horn
DANIEL BEN ZEBULON - Percussion, Conga
BONAROO HORNS - Horn
NEAL BONSANTI - Horn
DENNIS BRYON - Drums
HOG COWART - Bass
KENNETH FAULK - Horn
ALAN KENDALL - Bass, Guitar
JOE LALA - Percussion, Conga
LEE LOUGHNANE - Horn
JAMES PANKOW - Horn
WALTER PARAZAIDER - Horn
WHIT SIDENER - Horn
GEORGE TERRY - Guitar
STANLEY WEBB - Horn
BILL PURSE - Horn
HAROLD COWART - Bass

KARL RICHARDSON - Producer, Engineer
ED CARAEFF - Art Direction, Design, Photography
DENNIS HETZENDORFER - Assistant Engineer
TED JENSEN - Mastering
JOHN BLANCHE - Assistant Engineer

 C o m m e n t s ,   N o t e s


1991 CD Alex 2086
1990 CD Alex 2086
1998 CD Polygram International 519453



One of the longest-lived acts in pop history, the Bee Gees also ranked among the most enduring and eclectic; best known for a string of massive hits recorded at the peak of the disco era, in reality their music embraced the complete spectrum of popular music, moving from lush balladry to psychedelia to country to R&B -- each phase a distinct point along an artistic continuum linked by the trio's trademark close, high harmonies and impeccable melodies. The Bee Gees' name was an abbreviation of the Brothers Gibb; the oldest of the three siblings who comprised the group's core was vocalist/guitarist Barry Gibb, born September 1, 1946 in Manchester, England. His singing twin brothers Robin and Maurice were born on December 22, 1949 on the Isle of Man; three of five children born to bandleader Hugh Gibb and his wife Barbara, the trio made their performing debut in 1955 as the Blue Cats, performing a brief set of Lonnie Donegan and Tommy Steele covers at the Manchester club where their father's group was headlining. In 1958 the Gibbs emigrated to Brisbane, Australia, where the boys regularly played at area talent shows and other amateur showcases, occasionally performing songs composed by Barry.

After adopting the name Brothers Gibb, quickly shortened to simply the Bee Gees, they were spotted in 1959 by disc jockey Bill Gates, who soon became the group's manager and played their demo tapes on his radio show. An 18-month residency as the house band at the Beachcomber Nightclub in Surfers Paradise allowed the group to hone a set of original material composed by Barry, and in 1962 they signed to Festival Records. A series of singles followed, but despite hosting their own weekly television series, the Bee Gees found little success outside of the Brisbane area; after issuing their debut LP Barry Gibb and the Bee Gees Sing and Play 14 Barry Gibb Songs in 1965, they began making plans to return to England, and while relocating topped the Australian charts with the title track from 1966's Spicks and Specks.

Upon settling in London, the Bee Gees' ranks swelled to include bassist Vince Melouney and drummer Colin Peterson. After enlisting a new manager in Robert Stigwood, the director of NEMS Enterprises -- the company owned by Beatles manager Brian Epstein -- the group signed to Polydor to release the single "New York Mining Disaster 1941," a Top 20 hit in both Britain and the U.S. in 1967. After issuing the somewhat deceptively titled Bee Gees First in 1967, the Bee Gees released the sublime ballad "To Love Somebody," followed by the shimmering "Massachusetts," their first U.K. chart-topper and the highlight of 1968's Horizontal.

After another 1968 effort, Idea, the Bee Gees followed the psychedelic lead of the Beatles and the Rolling Stones and mounted 1969's Odessa, an ambitious double LP which baffled most fans. When the subsequent double A-sided single "Jumbo"/"The Singer Not the Song" also failed, the group issued "I've Got to Get a Message to You," a poignant ballad which reached the number one spot -- the first of many career resurrections enjoyed during the Bee Gees' long history. The atmospheric "First of May" followed, and the brothers' Midas touch was further reaffirmed by "Only One Woman," a Top Ten hit penned by the group for the Marbles.

However, inner strife and problems with drugs and alcohol were quickly tearing the Bee Gees apart, and in the middle of 1969 Robin exited to begin a solo career, scoring a major hit with "Saved By the Bell." Barry and Maurice, the latter of whom had recently wed singer Lulu, forged on alone, working on the film Cucumber Castle while tackling country with the single "Don't Forget to Remember." Drummer Peterson soon departed as well, ultimately filing a lawsuit claiming rights to the Bee Gees name; a year-long court battle ensued, during which time the group lost virtually all of its chart momentum. Both Barry and Maurice issued solo singles, although neither was a hit; finally, in 1970 Robin returned to the fold, and although the brothers' career was in grave condition throughout Europe, their reunion yielded a pair of American hits, "Lonely Days" and the chart-topping "How Can You Mend a Broken Heart."

After the commercial failure of 1971's Trafalgar and 1972's To Whom It May Concern, the Bee Gees signed with Stigwood's new label RSO, and on his advice, they began adopting a more Americanized sound with 1973's Life in a Tin Can. Nevertheless, the record did not pull the group out of its slump, and they were reduced to playing small clubs when Stigwood recruited producer Arif Mardin to helm 1974's Mr. Natural, an R&B-flavored effort recorded in Miami. Mardin returned for 1975's Main Course, on which the Bee Gees completely reinvented themselves as a dance unit defined by falsetto harmonies, slick melodies and propulsive funk rhythms; the results were immediate, as the lead single "Jive Talkin'" hit number one in the U.S. and finally returned the trio to the Top Ten in Britain. The follow-up "Nights on Broadway" was also a major hit, and so the group remained in Miami to record 1976's chart-topping Children of the World, which spawned the smashes "You Should Be Dancing" and "Love So Right."

Ironically, the New York underground disco scene was considered a thing of the recent past when the Bee Gees were contacted to contribute music to the soundtrack of the film Saturday Night Fever, a latter-day Rebel Without a Cause exploring the discotheque nightlife. In addition to writing and producing hits for Yvonne Elliman ("If I Can't Have You") and Tavares ("More Than a Woman"), the Bee Gees also recorded a number of new songs for Saturday Night Fever, including the opening theme "Stayin' Alive"; when the film premiered in 1977, not only did it establish the Hollywood career of star John Travolta, but it completely revitalized the disco scene, creating a national dance craze and influencing fashions for the duration of the 1970s. The soundtrack quickly emerged as the definitive document of the disco era, topping the charts for 24 weeks, and the Bee Gees became the music's brightest stars; the first single "Stayin' Alive" was just one of their three number one singles from the LP, followed by "How Deep Is Your Love" and the brilliant "Night Fever."

After a laughable misstep -- starring in the film musical Sgt. Pepper's Lonely Hearts Club Band -- the Bee Gees returned in 1979 with Spirits Having Flown, another number one smash which generated three more chart-topping singles: "Tragedy," "Too Much Heaven" and "Love You Inside Out." However, 1981's Living Eyes failed even to crack the Top 40 as disco went bust; the group also became overshadowed by their youngest brother Andy Gibb, who had become a major star in his own right at the end of the 1970s. Apart from contributing to the soundtrack of the 1983 Saturday Night Fever sequel Stayin' Alive, the Bee Gees spent much of the decade out of the spotlight, writing and producing hits for artists as diverse as Barbra Streisand, Diana Ross, Dionne Warwick and the team of Kenny Rogers and Dolly Parton.

When the group finally returned in 1987 with the mature ESP, they were warmly received across the globe, and the LP and single "You Win Again" hit number one virtually everywhere but the U.S., where the stigma of the Gibbs' disco-era excesses, both musical and otherwise, continued to overshadow their other achievements. Following the death of brother Andy and Maurice's subsequent relapse into alcoholism, the Bee Gees briefly retired, but resurfaced in 1989 with One; another success throughout Europe, its title track even reached the Top Ten in America. After 1991's High Civilization and 1993's Size Isn't Everything, they again spent several years in hibernation before returning in 1997 with Still Waters, released to coincide with the trio's induction into the Rock and Roll Hall of Fame. Live--One Night Only appeared the following year.

Jason Ankeny, All-Music Guide



In den sechziger und siebziger Jahren mußten die Bee Gees mehr Kritik aushalten als Leeds United, der ewige Zweite des britischen Fußballs. Nachdem die "Twee Three", die Kleinen Drei, die anfänglichen Vergleiche mit den Fab Four überstanden hatten, mußten sie später hinnehmen, daß 1974 eine ihrer LPs von ihrer Plattenfirma abgelehnt wurde, bevor sie mit den Soundtracks zu Saturday Night Fever und "Staying Alive" wieder die Hit-Charts eroberten.

Als Folge ihres Erfolges mußten sie dann länger als John Travolta warten, bis sie sich ihres Images der ewigen Discogruppe entledigen konnten. Trotz des Todes ihres jüngsten Bruders Andy Gibb (der nicht zu den Bee Gees gehörte), brach die erwartete Katastrophe über Barry und seine Zwillingsbrüder Maurice und Robin nicht herein. Schließlich haben die Bee Gees mehr als 100 Millionen Platten verkauft, und einzig John Lennon und Paul McCartney haben mehr Nummer-Eins-Hits komponiert. Und immer noch haben die Gebrüder Gibb, die derzeit ein neues Album in ihrem Studio in Miami aufnehmen, nicht genug von der Musik. Diese Sammlung von insgesamt 20 Stücken umfaßt hauptsächlich die ersten beiden musikalischen Phasen der Band: Die dezent-gefühlvollen, von Streichinstrumenten versüßten Songs der sechziger Jahre ("Massachusetts", "World", "Words" etc.) und die kernigen, verführerischen Kino-Hits der Siebziger ("Jive Talkin'", "How Deep Is Your Love", "Night Fever" usw.), in denen Barrys rasende Falsettstimme John Sommerville wie Bill Medley klingen läßt. Zu den Achtzigern findet man auf der Schallplattenversion nur "You Win Again" und "Ordinary Lives" aus dem erfolgreichen Album ESP, während die CD- bzw. Kassetten-Ausgaben mit zwei zusätzlichen Stücken -- "To Love Somebody" (1967) und "Nights On Broadway" -- aufwarten. Das Album bietet keine Überraschungen (die Bee Gees waren keine Neuerer), lediglich eine Abfolge warmer, melancholischer und schön komponierter Popsongs, die angenehm vertraut klingen.

Monty Smith, Amazon.de

 L y r i c s


NEW YORK MINING DESASTER 1941

In the event of something happening to me,
there is something I would like you all to see.
It's just a photograph of someone that I knew.

Have you seen my wife, Mr. Jones?
Do you know what it's like on the outside?
Don't go talking too loud, you'll cause a landslide, Mr. Jones.

I keep straining my ears to hear a sound.
Maybe someone is digging underground,
or have they given up and all gone home to bed,
thinking those who once existed must be dead.

Have you seen my wife, Mr. Jones?
Do you know what it's like on the outside?
Don't go talking too loud, you'll cause a landslide, Mr. Jones.

In the event of something happening to me,
there is something I would like you all to see.
It's just a photograph of someone that I knew.

Have you seen my wife, Mr. Jones?
Do you know what it's like on the outside?
Don't go talking too loud, you'll cause a landslide, Mr. Jones.


TO LOVE SOMEBODY

There's a light
A certain kind of light
That never shone on me
I want my life to be lived with you
Lived with you
There's a way everybody say
To do each and every little thing
But what does it bring
If I ain't got you, ain't got ?
You don't know what it's like, baby
You don't know what it's like

To love somebody
To love somebody
To love somebody
The way I love you

In my brain
I see your face again
I know my frame of mind
You ain't got to be so blind
And I'm blind, so very blind
I'm a man, can't you see
What I am
I live and breathe for you
But what good does it do
If I ain't got you, ain't got ?


MASSACHUSETTS

Feel I'm goin' back to Massachusetts,
Something's telling me I must go home.
And the lights all went out in Massachusetts
The day I left her standing on her own.

Tried to hitch a ride to San Francisco,
Gotta do the things I wanna do.
And the lights all went out in Massachusetts
They brought me back to see my way with you.

Talk about the life in Massachusetts,
Speak about the people I have seen,
And the lights all went out in Massachusetts
And Massachusetts is one place I have seen.

I will remember Massachusetts...


WORLD

(Chorus)
Now, I found, that the world is round
and of course it rains everyday.

Living tomorrow, where in the world will I be tomorrow?
How far am I able to see?
Or am I needed here?

(chorus...)

If I remember all of the things I have done,
I'd remember all of the times I've gone wrong.
Why do they keep me here?

(chorus...)
And (chorus...)
And (chorus...)
And (chorus...)


WORDS

Smile an everlasting smile, a smile can bring you near to me.
Don't ever let me find you down, cause that would bring a tear to me.
This world has lost its glory, let's start a brand new story now, my love.
Right now, there'll be no other time and I can show you how, my love.

Talk in everlasting words, and dedicate them all to me.
And I will give you all my life, I'm here if you should call to me.
You think that I don't even mean a single word I say.
It's only words, and words are all I have, to take your heart away


I'VE GOT TO GET A MESSAGE TO YOU

The preacher talked to me and he smiled,
Said, "Come and walk with me, come and walk one more mile.
Now for once in your life you're alone,
but you ain't got a dime, there's no time for the phone."

I've just got to get a message to you, hold on, hold on.
One more hour and my life will be through, hold on, hold on.

I told him I'm in no hurry,
but if I broke her heart, won't you tell her I'm sorry.
And for once in my life I'm alone,
and I've got to let her know just in time before I go.

I've just go to get a message to you, hold on, hold on.
One more hour and my life will be through, hold on, hold on.

Well I laughed but that didn't hurt,
and it's only her love that keeps me wearing this dirt.
Now I'm crying but deep down inside,
well I did it to him, now it's my turn to die.

I've just got to get a message to you, hold on, hold on.
One more hour and my life will be through, hold on, hold on.


FIRST OF MAY

When I was small, and Christmas trees were tall,
we used to love while others used to play.
Don't ask me why, but time has passed us by,
some one else moved in from far away.

(chorus)
Now we are tall, and Christmas trees are small,
and you don't ask the time of day.
But you and I, our love will never die,
but guess we'll cry come first of May.

The apple tree that grew for you and me,
I watched the apples falling one by one.
And I recall the moment of them all,
the day I kissed your cheek and you were mine.

(chorus...)

When I was small, and Christmas trees were tall,
do do do do do do do do do...
Don't ask me why, but time has passed us by,
some one else moved in from far away.


DON'T FORGET TO REMEMBER

Oh my heart won't believe that you have left me
I keep telling my self that it's true
I can get over anything you want my love
But I can't get myself over you

Don't forget to remember me
And the love that used to be
I still remember you
I love you
In my heart lies a memory to tell the stars above
Don't forget to remember me my love

On my wall lies a photograph of you girl
Though I try to forget you somehow
You're the mirror of my soul so take me out of my hole
Let me try to go on living right now

Don't forget to remember me
And the love that used to be
I still remember you
I love you
In my heart lies a memory to tell the stars above
Don't forget to remember me my love


SAVED BY THE BELL

I cried for you, I cried for you
I cried for two, I lied for you

Saved by the bell on your own carousel
Now who can tell, if you'll love that man as well
Now I'll walk down our great lane

I died for you, I died for two
I'll live for you, I'll give to you

Saved by the bell on your own carousel
Now who can tell, if you'll love that man as well
Now I'll walk down our great lane
Now I'll walk down our great lane
Now I'll walk down our great lane


RUN TO ME

If ever you got rain in your heart,
someone has hurt you, and torn you apart,
am I unwise to open up your eyes to love me?

And let it be like they said it would be -
me loving you girl, and you loving me.
Am I unwise to open up your eyes to love me?

Run to me whenever you're lonely. (to love me)
Run to me if you need a shoulder
Now and then, you need someone older,
so darling, you run to me.

And when you're out in the cold,
no one beside you, and no one to hold,
am I unwise to open up your eyes to love me?

And when you've got nothing to lose,
nothing to pay for, nothing to choose,
am I unwise to open up your eyes to love me

Run to me whenever you're lonely. (to love me)
Run to me if you need a shoulder
Now and then you need someone older,
so darling, you run to me.


JIVE TALKIN'

Jive talkin'

It's just your jive talkin'
you're telling me lies, yeah
Jive talkin'
you wear a disguise
Jive talkin'
so misunderstood, yeah
Jive talkin'
You really no good

Oh, my child
You'll never know
Just what you mean to me
Oh, my child
You got so much
You're gonna take away my energy

With all your jive talkin'
You're telling me lies, yeah
Good lovin'
Still gets in my eyes
Nobody believes what you say
It's just your jive talkin'
That gets in the way

Oh my love
You're so good
Treating me so cruel
There you go
with your fancy lies
Leavin' me lookin'
like a dumbstruck fool
with all your

Jive talkin'
You're telling me lies, yeah
Jive talkin'
You wear a disguise
Jive talkin'
so misunderstood, yeah
Jive talkin'
you just ain't no good

Love talkin'
is all very fine, yeah
Jive talkin'
Just isn't a crime
And if there's somebody
You'll love till you die
then all that jive talkin'
just gets in your eye

Jive talkin'
You're telling me lies,yeah
Good lovin'
Still gets in my eyes
Nobody believes what you say
It's just your jive talkin'
That gets in the way

Love talkin'
Is all very fine, yeah
Jive talkin', just isn't a crime
and if there's somebody
You'll love till you die
then all that jive talkin'
just gets in your eye

Jive talkin'


NIGHTS ON BROADWAY

Here we are in the room full of strangers,
Standing in the dark where your eyes couldn't see me

Well, I have to follow you
Though you didn't want me to.
But that won't stop my lovin' you
I can't stay away

Blaming it all on the nights on Broadway
Singin' them love songs,
Singin' them straight to the heart songs.
Blamin' it all on the nights on Broadway
Singin' them sweet sounds
To that crazy, crazy town.

Now in my place
There are so many others
Standin' in the line;
How long will they stand between us?

Well, I have to follow you
Though you didn't want me to.
But that won't stop my lovin' you
I can't stay away

Blaming it all on the nights on Broadway
Singin' them love songs,
Singin' them straight to the heart songs.
Blamin' it all on the nights on Broadway
Singin' them sweet sounds
To that crazy, crazy town.

I will wait,
even if it takes forever;
I will wait,
even if it takes a life time.
Somehow I feel inside
You never ever left my side.
Make it like it was before
Even if it takes a life time, takes a life time.

Blaming it all on the nights on Broadway
Singin' them love songs,
Singin' them straight to the heart songs.
Blamin' it all on the nights on Broadway
Singin' them sweet sounds
To that crazy, crazy town.


YOU SHOULD BE DANCING

My baby moves at midnight
goes right on till the dawn
My woman takes me higher
my woman keeps me warm

What you doin' on your back aah
What you doin'on your back aah?
You should be dancing, yeah
dancing, yeah

She's juicy and she's trouble
She gets it to me good
My woman gives me power
Goes right down to my blood

What you doin' on your back aah
What you doin'on your back aah?
You should be dancing, yeah
dancing, yeah

My baby moves at midnight
goes right on till the dawn
My woman takes me higher
my woman keeps me warm

What you doin' on your back aah
What you doin'on your back aah?
You should be dancing, yeah
dancing, yeah
You should be dancing, yeah
You should be dancing, yeah
You should be dancing, yeah
You should be dancing, yeah
You should be dancing, yeah


HOW DEEP IS YOUR LOVE

I know your eyes in the morning sun
I feel you touch me in the pouring rain
And the moment that you wander far from me
I wanna feel you in my arms again

And you come to me on a summer breeze
Keep me warm in your love and then softly leave
And it's me you need to show

CHORUS:
How deep is your love
I really need to learn
'cause we're living in a world of fools
Breaking us down
When they all should let us be
We belong to you and me

I believe in you
You know the door to my very soul
You're the light in my deepest darkest hour
You're my saviour when I fall
And you may not think
I care for you
When you know down inside
That I really do
And it's me you need to show

CHORUS
repeat and fade


MORE THAN A WOMAN

Oh, girl I've known you very well
I've seen you growing everyday
I never really looked before
but now you take my breath away.

Suddenly you're in my life
part of everything I do
you got me working day and night
just trying to keep a hold on you.

Here in your arms I found my paradise
my only chance for happiness
and if I lose you now I think I would die.

Oh say you'll always be my baby
we can make it shine, we can take forever
just a minute at a time.

More than a woman, more than a woman to me
more than a woman, more than a woman to me
more than a woman, oh, oh, oh.

There are stories old and true
of people so in love like you and me
and I can see myself
let history repeat itself.

Reflecting how I feel for you
thinking about those people then
I know that in a thousand years
I'd fall in love with you again.

This is the only way that we should fly
this is the only way to go
and if I lose you I know I would die.

Oh say you'll always be my baby
we can make it shine, we can take forever
just a minute at a time.

More than a woman, more than a woman to me
more than a woman, more than a woman to me
more than a woman, oh, oh, oh.


STAYIN' ALIVE

Well, you can tell by the way I use my walk,
I'm a woman's man: no time to talk.
Music loud and women warm, I've been kicked around
since I was born.
And now it's all right. It's OK.
And you may look the other way.
We can try to understand
the New York Times' effect on man.

Whether you're a brother or whether you're a mother,
you're stayin' alive, stayin' alive.
Feel the city breakin' and everybody shakin',
and we're stayin' alive, stayin' alive.
Ah, ha, ha, ha, stayin' alive, stayin' alive.
Ah, ha, ha, ha, stayin' alive.

Well now, I get low and I get high,
and if I can't get either, I really try.
Got the wings of heaven on my shoes.
I'm a dancin' man and I just can't lose.
You know it's all right. It's OK.
I'll live to see another day.
We can try to understand
the New York Times' effect on man.

Whether you're a brother or whether you're a mother,
you're stayin' alive, stayin' alive.
Feel the city breakin' and everybody shakin',
and we're stayin' alive, stayin' alive.
Ah, ha, ha, ha, stayin' alive, stayin' alive.
Ah, ha, ha, ha, stayin' alive.

Life goin' nowhere. Somebody help me.
Somebody help me, yeah.
Life goin' nowhere. Somebody help me.
Somebody help me, yeah. Stayin' alive.

Well, you can tell by the way I use my walk,
I'm a woman's man: no time to talk.
Music loud and women warm,
I've been kicked around since I was born.
And now it's all right. It's OK.
And you may look the other way.
We can try to understand
the New York Times' effect on man.

Whether you're a brother or whether you're a mother,
you're stayin' alive, stayin' alive.
Feel the city breakin' and everybody shakin',
and we're stayin' alive, stayin' alive.
Ah, ha, ha, ha, stayin' alive, stayin' alive.
Ah, ha, ha, ha, stayin' alive.

Life goin' nowhere. Somebody help me.
Somebody help me, yeah.
Life goin' nowhere. Somebody help me, yeah.
I'm stayin' alive.


NIGHT FEVER

Listen to the ground:
there is movement all around.
There is something goin' down
and I can feel it.

On the waves of the air,
there is dancin' out there.
If it's somethin' we can share,
we can steal it.

And that sweet city woman,
she moves through the light,
controlling my mind and my soul.
When you reach out for me
yeah, and the feelin' is bright,

then I get night fever, night fever.
We know how to do it.
Gimme that night fever, night fever.
We know how to show it.

Here I am,
prayin' for this moment to last,
livin' on the music so fine,
borne on the wind,
makin' it mine.

Night fever, night fever.
We know how to do it.
Gimme that night fever, night fever.
We know how to show it.

In the heat of our love,
don't need no help for us to make it.
Gimme just enough to take us to the mornin'.
I got fire in my mind.
I got higher in my walkin'.
And I'm glowin' in the dark;
I give you warnin'.

And that sweet city woman,
she moves through the light,
controlling my mind and my soul.
When you reach out for me
yeah, and the feelin' is bright,

then I get night fever, night fever.
We know how to do it.
Gimme that night fever, night fever.
We know how to show it.

Here I am,
prayin' for this moment to last,
livin' on the music so fine,
borne on the wind,
makin' it mine.

Night fever, night fever.
We know how to do it.
Gimme that night fever, night fever.
We know how to show it.


TOO MUCH HEAVEN

CHORUS:
Nobody gets too much heaven no more
It's much harder to come by
I'm waiting in line
Nobody gets too much love anymore
It's as high as a mountain
And harder to climb

Oh you and me girl
Got a lot of love in store
And it flows through you
And it flows through me
And I love you so much more
Then my life..I can see beyond forever
Ev'rything we are will never die
Loving's such a beautiful thing
Oh you make my world.. a summer day
Are you just a dream to fade away

Chorus..

You and me girl got a highway to the sky
We can turn away from the night and day
And the tears you had to cry
You're my life..
I can see a new tomorrow
Ev'rything we are will never die
Loving's such a beautiful thing
When you are to me, the light above
Made for all to see our presious love

Chorus..

Love is such a beautiful thing
You make my world a summer day
Are you just a dream to fade away

Chorus..

Nobody gets too much love anymore
It's as wide as a river and harder to cross

Chorus..(repeat and fade)


TRAGEDY

Here I lie
in a lost and lonely part of town
Held in time
In a world of tears I slowly drown
Goin'home
I just can't make it all alone
I really should be holding you
Holding you
Loving you loving you

Tragedy
When the feeling's gone and you can't go on
It's tragedy
When the morning cries and you don't know why
It's hard to bear
With no-one to love you you're
goin' nowhere
Tragedy
When you lose control and you got no soul
It's tragedy
When the morning cries and you don't know why
It's hard to bear
With no-one beside you you're
goin' nowhere
When the feeling's gone and you can't go on

Night and day
there's a burning down inside of me
Burning love
With a yearning that won't let me be
Down I go
and I just can't take it all alone
I really should be holding you
Holding you
Loving you loving

Tragedy
When the feeling's gone and you can't go on
It's tragedy
When the morning cries and you don't know why
It's hard to bear
With no-one to love you you're
goin' nowhere
Tragedy
When you lose control and you got no soul
It's tragedy
When the morning cries and you don't know why
It's hard to bear
With no-one beside you you're
goin' nowhere

Tragedy etc.

 M P 3   S a m p l e s


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