The Bird And The Bee Vol 1

Bee Gees website Gibb Service International, Mailbox. Keyboard Magazine Interview with Doug Emery and Ben Stivers. The Bird And The Bee Vol 1' title='The Bird And The Bee Vol 1' />Keyboard magazine, copied by Doug Wilson for The Words Mailing List, including comment on Words Mailing List from Joe BrennanFor those of you who may not have seen it, there is a nice interview with. Doug Emery and Ben Stivers in the December issue of Keyboard magazine. Ill. transcribe the highlights, minus the technical questions concerning the gear. Q Blue Weaver was on keyboards for the iconic Bee Gees tunes. In digging. back through this music, what did you discover about him Ben Stivers Hes more responsible for the sound of their music than maybe. Its his harmonic vocabulary, especially on a song like. How Deep Is Your Love, with its Rhodes part and all those extensions. The. way Barry plays the chords on his guitar, he doesnt have a lot of major. Its much more triadic. So all. that color and flavor, thats all Blue. Under the Covers, Vol. Matthew Sweet and Bangles singerguitarist Susanna Hoffs. Released by ShoutAll that disco stuff Night Fever, More Than A Woman thats all him. Q In accessing the catalog and prepping this tour, how did you guys split. Doug Emery Ben and I have worked together a lot. So, because weve done. BS Its a rare thing for a keyboard player to find. I only know maybe one. I like playing with, because most of the time you get. Were not used to playing with other keyboard players. And its difficult to find a guy like Doug that is both. On the Di Blasio gig. I know hes. not going to jump all over what I do and that hes going to leave me space. DE The other thing is, neither one of us is trying to prove anything at. Weve done this together long enough I dont need to prove. Ben, and that helps. BS If were out to prove anything at all, its how good to make the whole. I dont want to stick out, but I want people to go, Holy crap, that was amazing what you guys didQ What stands out about when you first started working with the Bee GeesMobilizing minds. Accelerating action. The Gund Institute for Environment brings scholars and leaders together to accelerate research, uncover solutions and tackle. Interpreting The Masters Vol 1 A Tribute To Daryl Hall And John Oates Out March 23,2010. Issuu is a digital publishing platform that makes it simple to publish magazines, catalogs, newspapers, books, and more online. Easily share your publications and get. Youre reading Features, Irregulars Apiological mathematical speculations about bees Part 1 Honeycomb geometry By Alistair Bird. Posted January 28, 2015 in. DE Interestingly, they werent that into retro sounds. Its be a trend. now for 2. But because they lived through it, it just. So especially when I first started, they werent all. Rhodes or analog synth sounds theyd. Now thats kind of changed because the imitations have. Barry Gibb realizes that it doesnt sound old it sounds. BS Right. One thing that changed in terms of distributing parts is that. I did the gig when Maurice Gibb was still alive, he would play piano. Q How was Maurice as a piano playerBS He was great. He played all the parts. He knew the songs. He was. really good because there are a couple of tricky tempos, especially on songs. And singers get really particular about the cadence of. It may feel right to you, but it took me a minute when I first. For example, Lonely Days has tempo changes and thats all me. It. used to be all Maurice. He knew what it was supposed to feel like. Q What songs are your favorites to perform BS How Deep Is Your Love is a great song. I get to play the Rhodes. Back in the day I could get decent phasey tremolo Rhodes. The sound. that I have now is pretty darned close. I really dig it. Q Is it an internal sound, or are using effects pedals BS No, the effects are all internal. Im using a plug in phaser and a. It just works. DE Ben is really good with that stuff in his hands. I think some guys. Bens really good at dialing in sounds. BS Right back at you. There are other songs I like just because the. I really like Guilty. Thats a killer Richard Tee. Rhodes part on that. And I like playing One. Its a little more. It almost sounds like Scritti Politti. DE I think for me, because its a killer tune and I just think its. With the Sun in My Eyes. Its just me and. Ben and Barry, and its just gorgeous. BS On the record it was Mellotron, I think. But Doug does it on real. Theres a lot of moving lines. Its pretty amazing what. DE And Ben brings in the horn stuff so its really nice. Its a really. beautiful moment of the show. Q What about the funkier side of things DE I love Jive Talkin. Im playing the Wurly on it. And Im playing. the synth line, and I love that sound. Adobe Caslon Pro Google Font more. BS I get to play the bass. Q Since theres a bass player for the show, what happens during the parts. BS On that tune, the gig existed before I got it, and we actually double. Theres another song in the set, one we hadnt been playing. Nights on Broadway. In the 2. I played with Barry, hed never done. Its very high, very taxing on his voice. We decided to pull it out. Fallon and Timberlake had been parodying it. So its back and that. I started goofing around with that but the bass player. Electro Harmonix pedal, the bass synthesizer. Its not really a. But he was able to get. Q And what do you do during that songBS I do piano. Theres a fairly busy piano part. If you listen to the. So I have a. compressor when I call up my piano sound. Once again, one of the buttons on. Nano. Kontrol kicks in a compressor and a bit of EQ to make it that bright. Its subtle but it makes a huge difference. DE I think thats been another discussion in the band Its easy to make. So thats been a big point of. How do we make this a little less soft rock BS The old records are not that quantized and not that slick. And thats. the beauty of it. Its rock music. Q What is it like working with Barry GibbBS Hes the best cat ever. DE Ive really come to care for the guy, and I have to say, its been. Theres a resurgence of respect for what. Q He must fell amazing, seeing the response. DE Hes gotten overwhelmed at times. BS Its been more than any other gigs that Ive ever done with him or. Hes able to be really vulnerable. Its really raw. Ive played with acts that were bigger at the moment or. Ive never felt this level of empathy and emotion. Its pretty amazing. Comment from Joe Brennan concerning Blue Weaver. Blue does not boast about himself but he still managed to make a few. Bee Gees convention that suggested he was. He did. mention that the instrumentation on Tragedy is almost entirely him with. Alan. What Stivers and Emery say about the writing fits. Blue hinted at. Particularly, How Deep Is Your Love, which. Barry and Blue working. One wonders what deals were made to keep important Bee Gees songs. B R M the way Stigwood liked it. I know, a few album cuts. Albhys dismissal of Maurice was based partly on stars in his eyes about. Barry but also on Maurices reduced abilities from alcoholism at precisely. Albhy worked with the group. If you knew nothing pre 1. Maurice was doing there besides. Perrier bottle. Others who worked on albums with. Maurice, earlier and later, would say how very involved he was in the. But not in those Albhy years. Barrys writing with Blue is interesting because Blue seemed to step into a. Maurice played, which was to inspire Barry with bits of melody and. Not that Barry cant write by himself but. Barry liked some back and forth with somebody else while working. Key. point though Barry decides what stays in the song. Hes in charge. One other point inspired by that article. Listen to Robins distinctive. Days of Wine and Roses, a style that had. Black Diamond demo Odessa. And then listen to the intro of Lonely DaysIts Maurice for. Robin playing some early version of it. December 2. 01. 4. References IOC World Bird Listbalos R   JI  Areta. Historia Natural y vocalizaciones del doradito limn  Pseudocolopteryx cf. Argentina. Orn. Neotrop. Abbott C M Double. Phylogeography of Shy and  White capped Albatrosses inferred from m DNA sequences implications for  population history and taxonomy. Molec. Ecol. 1. 2 2. Abbott C M Double. Genetic structure,  conservation genetics and evidence of speciation by range expansion in Shy and  White capped Albatrosses. Molec. Ecol. 1. 2 2. Aggerbeck M, J Fjelds, L Christidis,  PH Fabre KA Jnsson. Resolving deep lineage divergences in core corvoid passerine birds supports a proto Papuan island origin. Molecular Phylogenetics and Evolution 7. Agne CEQ JF Pacheco. 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