BEE GEES: ONE NIGHT ONLY (1998)
1) Intro: You Should Be
Dancing / Alone; 2) Massachusets; 3) To Love Somebody; 4) Words; 5) Closer Than
Close; 6) Islands In The Stream; 7) Our Love; 8) Night Fever / More Than A
Woman; 9) Lonely Days; 10) New York Mining Disaster 1941; 11) I Can't See
Nobody; 12) And The Sun Will Shine; 13) Nights On Broadway; 14) How Can You
Mend A Broken Heart; 15) Heartbreaker; 16) Guilty; 17) Immortality; 18)
Tragedy; 19) I Started A Joke; 20) Grease; 21) Jive Talking; 22) How Deep Is
Your Love; 23) Stayin' Alive; 24) You Should Be Dancing; 25*) I've Gotta Get A
Message To You; 26*) One; 27*) Still Waters; 28*) Morning Of My Life; 29*) Too
Much Heaven; 30*) Run To Me.
According to some sources, One Night Only was supposed to be the Bee Gees' last show (hence
the name) — because of Barry Gibb's worsening arthritis problems (turns out he
really did love his guitar playing; ironically, in the end he still keeps on
playing it as late as the 2010s, while the other Gibb brothers are up in the
heavens). And where better to play the last ever Bee Gees show than at the MGM
Grand casino in Las Vegas? In 1998, the posh casino ambience was the only one
that was still perfectly suitable for the aging Gibbs and their suaveness.
The show was planned as a historical
retrospective of the brothers' career — hence the abundance of titles, many of
which have been severely cut and medley-fied (a corrupt practice that the band
had initiated already in the mid-1970s) in order to fit the bill.
Unfortunately, the Bee Gees treat their backlog just the way you'd expect them
to treat it: «big commercial hit» = «worth performing», «great flopped single
/ obscure, but exciting album track» = «forget it». Oh well, at least you
cannot accuse the brothers of a lack of objectivity — and, most probably, they
were giving the people assembled at MGM Grand exactly what they wanted to hear.
The only exception to the rule — actually,
«modification» rather than «exception» — is that the brothers also perform
several songs that they wrote for other artists, such as ʽIslands In The
Streamʼ (a hit for Kenny Rogers and Dolly Parton), ʽDon't Throw It All Awayʼ
(written for Andy Gibb, with some of his vocalizations played back on tape in
unison with the live Gibbs), ʽHeartbreakerʼ (a hit for Dionne Warwick), and
ʽGuiltyʼ (for Barbra Streisand). As far as I am concerned, all of these are very, very, very bad
songs, reflecting the Gibbs' final crossover into the bland adult contemporary
market, and the crown jewel is the recent hit ʽImmortalityʼ, for which they are
actually joined on stage by the culprit — Celine Dion. «MGM Grand» indeed.
Nevertheless, when all the barbs have been
spent, and when there is no more strength left to go on with the lashing, the
Gibb brothers, even smothered in cheese, sugar, sarcasm, and irony, will be
left standing on their own two feet. Because there is neither any denying the
greatness of way too many of these other
songs, nor, most importantly, any denying the fact that most of them are
performed with professionalism, spirit, and even occasional signs of grace.
Ironically, it is the falsetto tunes that Barry seems to struggle with on a
regular basis: ʽStayin' Aliveʼ, in particular, is exactly what the man is
genuinely trying to do after squeezing out these high notes at top speed for
such a long time (where twenty years ago it all came rather naturally). (Then
again, ʽStayin' Aliveʼ did always lay the heaviest tax on Barry's vocal cords —
there must have been very few live performances where he'd live up to the
studio version).
But these are also the guys that brought you
ʽMassachusetsʼ, ʽHow Can You Mend A Broken Heartʼ, ʽWordsʼ, ʽI Can't See
Nobodyʼ, ʽNew York Mining Disasterʼ, ʽTo Love Somebodyʼ, ʽLonely Daysʼ, ʽI
Started A Jokeʼ... yes, the list could
have been expanded with ʽLemons Never Forgetʼ, ʽYou'll Never See My Face
Againʼ, and ʽDogsʼ, but would you really play these songs to a bunch of
middle-aged suckers who may have just lost thousands of dollars at a nearby
roulette table? Forget it and just savour the lushness, the style, the composure,
the fitness of the magnificent Gibb brothers and their unbeatable harmonies.
And much as I dislike the castration of the individual songs in order to fit
them into the medley format (ʽRun To Meʼ in the bonus track pack is
particularly pitiable), the idea to make a brief unplugged version of ʽNights
On Broadwayʼ instead of re-running the old «smooth funk» arrangement is a good
one.
In short, hearing the album won't hurt as much
as owning it (encountering an album sleeve like that in one's collection might
lead to serious problems with the vice squad) — but documentally speaking, this
is the last official Bee Gees live
album, and it may be instructive to
know that, despite not having had a decent studio album in almost twenty
years, they were still willing and able to cut it on stage without a glitch
(discounting some of Barry's fermented falsetto notes). Having gained that
knowledge, you are definitely not obliged to give the record another listen. It
is, after all, designed for One Night
Only — we will respect that.
Check "One Night Only" (MP3) on Amazon
No comments:
Post a Comment