From Me To You -The Beatles

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From Me to You

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Penis

One day when the teacher walked into the classroom, she noticed that someone had written the word ‘PENIS’ (in tiny letters) on the blackboard. She scanned the class looking for a guilty face. Finding none, she rubbed the word off and began class. The next day, the word ‘PENIS’ was written on the board again; this time it was written about halfway across the board. Again she looked around in vain for the culprit, so she proceeded with the day’s lesson. Every morning for about a week, she went into the classroom and found the same disgusting word written on the board, each day’s being larger than the previous one, and each being rubbed off vigorously. At the end of the second week, she walked in expecting to be greeted by the same word on the board but instead found the words: “The more you rub it, the bigger it gets.”

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مسلسل الجماعة الحلقة Ikhwan episode 27

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Sexual Philosophy: Creative Erotic Art of Love Sex & Orgasm

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Candidate’s HQ attacked as vote polarizes Egypt


By Yasmine Saleh and Tamim Elyan
(Reuters) – An attack on the offices of one of the two finalists in Egypt’s presidential race has sounded a warning that the last round of voting might spark more violence in a nation polarized by the choice between an Islamist and an ex-general from Hosni Mubarak’s era.

Protesters set fire to storage rooms and smashed computers late on Monday at the campaign headquarters of Ahmed Shafiq, a 70-year-old former air force chief and premier under Mubarak, who was confirmed as a run-off candidate after the first round.

His rival is Mohamed Mursi, 60, of the Muslim Brotherhood, Egypt’s main Islamist group, which already controls the biggest bloc in parliament. Mursi offered on Tuesday to include members of other groups in senior posts if he is elected, a bid to win endorsements from rivals who lost the race last week.

Though he and Shafiq each took almost a quarter of votes cast, that leaves a big section of Egypt’s 50 million eligible voters who are wary of having either a conservative Islamist or a former military man in charge. They face a wrenching decision in the run-off vote on June 16 and 17. Some say they won’t vote.

“We either choose a politicized Islamic group which will crush civil liberties or the old regime,” said lawyer Sherif El Hosseny, 34. “I am not sure whether I will even be voting.”

Also grappling with the choice are the more secular-minded activists from the April 6 youth movement, which united protesters against Mubarak and his ruling party. For them, their revolution has been hijacked by Islamists and the old guard.

“The choice is between bad and worse, between a group that monopolizes religion and power or the return of (Mubarak’s) party,” said Mahmoud Afify, an April 6 spokesman, adding the group was talking to Mursi to see if it could win guarantees to back him.

Shafiq has made no secret of his admiration for Mubarak, describing him as a role model after his own father. Protesters threw stones and shoes at him when he voted in Cairo last week.

Dozens of people marched in Alexandria on Tuesday holding banners against Shafiq. One read: “No to Ahmed Shafiq, a man of the previous regime.”

Egypt’s official news agency reported that four people had been detained in connection with the attack on Shafiq’s offices, saying that two of them were members of a centrist party and another was a member of a liberal party.

The attack was the latest flare-up in a messy and often bloody transition to democracy since generals took over from Mubarak after an uprising forced him out on February 11, 2011. The army has pledged to hand over power by July.

Even before the first-round vote, revolutionaries who led the demonstrations that brought down Mubarak had promised to take to the streets if Shafiq were elected president of the Arab world’s most populous nation.

“The situation in Egypt is in a critical and dangerous phase. We must work together so that the revolution isn’t lost,” Fareed Ismail, a senior figure in the Brotherhood’s Freedom and Justice Party, told Reuters.

Yet any violence could help Shafiq’s cause as his strongest card is his promise swiftly to restore law and order, which collapsed after Mubarak’s downfall. Many believe the army will back him to deliver on that promise.

The military insists it is neutral in the race.

BROADENING APPEAL

Thousands of Egyptians marched on Monday night in protest after the results of the first round were confirmed by the election committee. “No to Shafiq and to the Brotherhood. The revolution is still in the square,” they chanted.

In his bid to broaden his appeal beyond the Brotherhood’s disciplined network of supporters who propelled him to the run-off, Mursi indicated he was offering vice-president posts and even the prime minister’s position to people outside his group.

“I am committed to the presidency being an institution. It will never be an individual,” Mursi told a news conference.

Mursi, who said in his campaign he would implement Islamic law without spelling out what that meant in practice, sought to assuage some liberal fears by saying no one would force women to wear the hijab, the Islamic headscarves that many already wear.

Mursi also said he wanted to work with Christians, who make up a 10th of Egypt’s 82 million people and fear Islamist rule.

In Cairo, some protesters held posters of Mursi with a cross over his face. But most chanted against Shafiq, who has support from many ordinary Egyptians who want a strongman to restore stability and revive the economy after 15 months of turmoil.

Dozens marched from protests around Tahrir Square, where hundreds of thousands had gathered when toppling Mubarak, to Shafiq’s headquarters in the upscale Cairo district of Dokki.

“They seemed to know what they were after and they went directly to the storage rooms and set them on fire using petrol bombs,” said Ahmed Abdel Ghani, 30, a member of Shafiq’s campaign, surveying a scene of unusable, charred campaign flyers and leaflets scattered on the ground.

The main villa escaped the flames but protesters smashed laptops and computers inside, he said. Daubed on the wall outside the villa were the words: “No to Shafiq, no to feloul,” an Arabic word referring to “remnants” of Mubarak’s era.

NO APOLOGY

Both Shafiq and Mursi may need to reach out to more centrist voters to win the run-off.

Although he makes no apology for his past and takes pride in his strong ties with the military, Shafiq needs to prove he will not revive the autocratic state apparatus protesters sought to dismantle. The army and the hated police force are still intact.

Liberal and other political groups have often criticized the Brotherhood for being slow to join the anti-Mubarak revolt, acquiescing too quickly to the ruling generals and seeking to dominate the political scene after their parliamentary success.

Mursi’s backers believe Mursi and the Brotherhood, with its broad grass-roots network, is best placed to reform the state.

Hamdeen Sabahy, a leftist candidate who came third in the race, is being courted by the Brotherhood. Like other politicians, he condemned the attack on Shafiq’s offices.

Fourth-placed ex-Brotherhood member Abdol Moneim Abol Fotouh has called for backers to “stand united against the symbols of corruption and oppression” – a reference to Shafiq – but has not explicitly backed Mursi.

Like Sabahy, fifth-placed former Arab League chief Amr Moussa, once a favorite, has not backed either candidate.

The ultra-orthodox Salafi Muslim Al-Nour party, which controls the second biggest bloc in parliament and had backed Abol Fotouh, has thrown its weight behind Mursi.

Four candidates complained about the vote’s conduct but the election committee dismissed all the complaints.

Former U.S. president Jimmy Carter, whose Carter Center monitored the election, said he was broadly confident about the election process. Carter Center monitors highlighted several irregularities, notably lack of access in the final aggregation of national results.

Arab League monitors noted irregularities but said they were not enough to affect the result.

(Additional reporting Shaimaa Fayed, Marwa Awad and Dina Zayed in Cairo and Abdel Rahman Youssef in Alexandria; Writing by Edmund Blair; Editing by Peter Millership)

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Wall Street rises on Greek bets, Facebook falls 10 percent


Traders work on the floor of the New York Stock Exchange, May 29, 2012.
Credit: Reuters/Brendan McDermid
(Reuters) – Stocks rose on Tuesday as signs Greece would stay in the euro zone were enough to spark buying in what has been a weak month for equities, while Facebook plumbed new lows on high volume.

Wall Street has swung back and forth on shifting signals coming out of Europe. More than three issues rose for every declining one on the New York Stock Exchange, supported by weekend polls favoring pro-bailout parties in the upcoming Greek election.

“There’s so much negativity that any bit of good news is able to move the market higher,” said Ryan Detrick, senior technical strategist at Schaeffer’s Investment Research.

The S&P 500 is down nearly 5 percent in May, so far its worst monthly performance since September, with traders backing away as the euro zone crisis shows signs of worsening.

The market could remain on edge as the June 17 elections draw closer, as a rejection of the bailout plan could trigger a Greek exit from the euro zone and badly hurt the bloc’s credit and economies.

Worries over Spain’s banking system added to uncertainty. Madrid will soon issue new bonds to fund ailing lenders and indebted regions, despite borrowing costs rising towards the 7 percent level that drove other euro zone countries to seek a bailout.

Equity gains notwithstanding, the pressure on Spanish banks pulled the euro below $1.25, its lowest in nearly two years. Further dollar strength could bring commodity prices lower and hurt global stock markets.

The Dow Jones industrial average .DJI rose 125.86 points, or 1.01 percent, to 12,580.69. The S&P 500 Index .SPX added 14.60 points, or 1.11 percent, to 1,332.42. The Nasdaq Composite .IXIC gained 33.46 points, or 1.18 percent, to 2,870.99.

Facebook Inc (FB.O), the second-most traded stock in U.S. exchanges on Tuesday, hit a new low of $28.65, down more than 10 percent, before closing off 9.6 percent at $28.84.

The stock was pressured partly by talk Facebook was in discussions to buy Oslo-based Opera Software (OPERA.OL). Analysts said competition from Google Inc (GOOG.O) and others could push the price tag of any deal with the mobile browser maker above $1 billion.

Homebuilder stocks rose after data showed U.S. home prices rose for the second month in a row in March.

The PHLX housing sector index .HGX rose 2.5 percent and is up 25.4 percent year-to-date.

Vertex Pharmaceuticals Inc (VRTX.O) dropped 10.9 percent to $57.80 after the drugmaker released corrected data involving its cystic fibrosis treatments.

(Editing by Kenneth Barry)

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Bee Gees


The Bee Gees were a musical group founded in 1958. The group’s line-up consisted of brothers Barry, Robin, and Maurice Gibb. They had a younger brother, Andy, who had a successful solo career. The trio were successful for most of their decades of recording music, but they had two distinct periods of exceptional success: as a pop act in the late 1960s/early 1970s, and as prominent performers of the disco music era in the late 1970s.
The group sang three-part tight harmonies that were instantly recognisable; Robin’s clear vibrato lead was a hallmark of their earlier hits, while Barry’s R&B falsetto became their signature sound during the late 1970s and 1980s. The brothers wrote all of their own hits, as well as writing and producing several major hits for other artists.

Born in the Isle of Man to English parents, the Gibb brothers lived their first few years in Chorlton, Manchester, England, then moved in the late 1950s to Redcliffe, Queensland, Australia, where they began their musical careers. After achieving their first chart success in Australia with “Spicks and Specks” (their 12th single), they returned to the United Kingdom in January 1967 where producer Robert Stigwood began promoting them to a worldwide audience.
It has been estimated that the Bee Gees’ career record sales total more than 220 million ranking them among the best-selling music artists of all time. They were inducted into the Rock and Roll Hall of Fame in 1997; the presenter of the award to “Britain’s first family of harmony” was Brian Wilson, historical leader of the Beach Boys, a “family act” also featuring three harmonising brothers. The Bee Gees’ Hall of Fame citation says “Only Elvis Presley, The Beatles, Michael Jackson, Garth Brooks and Paul McCartney have outsold the Bee Gees”
Following Maurice’s sudden death in January 2003, Barry and Robin Gibb retired the group’s name after 45 years of activity. In 2009, however, Robin announced that he and Barry had agreed that the Bee Gees would re-form and perform again Robin died in May 2012 after a prolonged bout of cancer
History
Early years
Barry Gibb (b. 1946) and fraternal twin brothers Robin (1949–2012) and Maurice Gibb (1949–2003) were born on the Isle of Man, but the family returned to father Hugh Gibb’s home town of Chorlton-cum-Hardy, Manchester, England where they went to Oswald Road Primary School, in the early 1950s where the boys began to sing in harmony. The story is told that they were going to lip sync to a record in the local Gaumont cinema (as other children had done on previous weeks) and as they were running to the theatre, the heavy 78-RPM record broke. The brothers had to sing live and received such a positive response from the audience that they decided to pursue a singing career.

In 1958 the Gibb family, including infant brother, Andy (1958–1988), emigrated to Redcliffe in Queensland, Australia. The young brothers began performing where they could to raise pocket money. First called the Rattlesnakes, later Wee Johnny Hayes & the Bluecats, they were introduced to radio DJ Bill Gates by racetrack promoter Bill Goode (who saw them perform at Brisbane’s Speedway Circuit). Gates renamed them the “Bee Gees” after his and Goode’s initials – thus the name was not specifically a reference to “Brothers Gibb”, despite popular belief.
By 1960 the Bee Gees were featured on television shows. In the next few years they began working regularly at resorts on the Queensland coast. For his songwriting, Barry sparked the interest of Australian star Col Joye, who helped them get a record deal with Festival Records subsidiary, Leedon Records, in 1963 under the name “Bee Gees.” The three released two or three singles a year, while Barry supplied additional songs to other Australian artists. From 1963 to 1966 the Gibb family lived at 171 Bunnerong Road, Maroubra in Sydney.

A minor hit in 1965, “Wine and Women”, led to the group’s first LP The Bee Gees Sing and Play 14 Barry Gibb Songs. By 1966 Festival was, however, on the verge of dropping them from the Leedon roster because of their perceived lack of commercial success. It was at this time that they met American-born songwriter, producer and entrepreneur, Nat Kipner, who had just been appointed A&R manager of a new independent label, Spin Records. Kipner briefly took over as the group’s manager and successfully negotiated their transfer to Spin in exchange for Festival being granted the Australian distribution rights to the group’s recordings.
Through Kipner the Bee Gees met engineer-producer, Ossie Byrne. He produced (or co-produced with Kipner) many of the earlier Spin recordings, most of which were cut at his own small self-built St Clair Studio in the Sydney suburb ofHurstville. Byrne gave the Gibb brothers virtually unlimited access to St Clair Studio over a period of several months in mid-1966. The group later acknowledged that this enabled them to greatly improve their skills as recording artists. During this productive time they recorded a large batch of original material—including the song that would become their first major hit, “Spicks and Specks” (on which Byrne played the trumpet coda) – as well as cover versions of current hits by overseas acts such as The Beatles. They regularly collaborated with other local musicians, including members of beat band Steve & The Board, led by Steve Kipner, Nat’s teenage son.
Frustrated by their lack of success, the Gibbs decided to return to England in late 1966. Ossie Byrne travelled with them, and Colin Petersen, who eventually became the group’s drummer, followed soon after. While at sea in January 1967, they learned that “Spicks and Specks” had been awarded Best Single of the Year by Go-Set, Australia’s most popular and influential music newspaper.

Late 1960s: first international fame
Before their departure from Australia to England, Hugh Gibb sent demos to Brian Epstein who managed The Beatles and was director of NEMS, a British music store and promoter. Brian Epstein had passed the demo tapes to Robert Stigwood, who had recently joined NEMS. After an audition with Stigwood in February 1967, the Bee Gees were signed to a five-year contract whereby Polydor Records would be their record label in the United Kingdom and ATCO Records would be the United States distributor. Work quickly began on the group’s first international album, and Robert Stigwood launched a promotional campaign to coincide with its release.

Stigwood proclaimed that the Bee Gees were “The Most Significant New Talent Of 1967″ and thus began the immediate comparison to The Beatles.

Their second British single (their first UK 45 rpm issued was “Spicks and Specks”), “New York Mining Disaster 1941″, was issued to radio stations with a blank white label listing only the song title. Some DJs immediately assumed this was a new single by The Beatles and started playing the song in heavy rotation. This helped the song climb into the Top 20 in both the United Kingdom and the United States. No such chicanery was needed to boost the Bee Gees’ second single, “To Love Somebody”, into the US Top 20. Originally written for Otis Redding,

“To Love Somebody” was a soulful ballad sung by Barry, which has since become a pop standard covered by hundreds of artists including Gram Parsons, Rod Stewart, Bonnie Tyler, Janis Joplin, The Animals, Nina Simone,Jimmy Somerville and Michael Bolton.

Another single, “Holiday”, was released in the United States, peaking at No. 16. The parent album, Bee Gees 1st (their first internationally), peaked at No. 7 in the United States and No. 8 in the United Kingdom.

Following the success of Bee Gees 1st, the band (which now consisted of Barry on rhythm guitar, Maurice on bass, Vince Melouney on lead guitar and Colin Petersen on drums),. began work on the act’s second album. Released in late 1967, Horizontal repeated the success of their first album, featuring the No. 1 UK single “Massachusetts” (a No. 11 US hit), and the No. 7 UK single “World”. The sound of the album Horizontal had a more “rock” sound than their previous release, though ballads like “And The Sun Will Shine” and “Really And Sincerely” were also prominent. The Horizontal album reached No. 12 in the US, and No. 16 in the UK promoting the record, the Bee Gees made their first appearances in America, playing live concerts and television shows such as The Ed Sullivan Show and Rowan & Martin’s Laugh-In.

Two more singles followed in early 1968, the ballad “Words” (No. 15 US, No. 8 UK) and the double A-sided single “Jumbo” b/w “The Singer Sang His Song”. “Jumbo” was the Bee Gees’ least successful single to date only reaching No. 57 in the US, and No. 25 in the UK. The Bee Gees felt that “The Singer Sang His Song” was the stronger of the two sides, an opinion shared by listeners in the Netherlands, who made it a No. 3 hit. Further Bee Gees chart singles followed: “I’ve Gotta Get a Message to You” (No. 8 US, No. 1 UK) and “I Started A Joke” (No. 6 US), both culled from the band’s third album Idea. Idea was another Top 20 album in the US (No. 17) and the UK (No. 4). Following the tour and TV special to promote the album, Vince Melouney left the group, feeling that he wanted to play more of a blues style music than the Gibbs were writing. Melouney did achieve one feat while with the Bee Gees—his composition “Such A Shame” (fromIdea) is the only song on any Bee Gees album not written by a Gibb brother.

By 1969, the cracks began to show within the group. Robin began to feel that Stigwood had been favouring Barry as the frontman. Their next album, which was to have been a concept album called Masterpeace, evolved into the double-album Odessa. Most rock critics felt this was the best Bee Gees album of the ’60s, with its progressive rock feel on the title track, the country-flavoured “Marley Purt Drive” and “Give Your Best”, and signature ballads such as “Melody Fair” and “First of May”; the last of which became the only single from the album, and was a minor hit. Feeling that the flipside, “Lamplight” should have been the A-side, Robin quit the group in mid-1969 and launched a solo career. Robin Gibb saw brief success in Europe with the No. 2 hit “Saved By The Bell” and the album Robin’s Reign. Barry and Maurice continued as the Bee Gees, even recruiting their sister Lesley to appear with them on stage.

The first of many Bee Gees compilations, Best of Bee Gees was released, featuring the non-LP single “Words” plus the Australian hit “Spicks and Specks” The CD release replaces “Spicks and Specks” with another non-LP single “Tomorrow Tomorrow”, because Polydor could no longer secure the rights to the Australian track. “Tomorrow Tomorrow” was a moderate hit in the UK reaching No. 23, but stalled at No. 54 in the US. The compilation reached the Top Ten in both the US and the UK.

While Robin was off on his own, Barry, Maurice, and Colin continued on as the Bee Gees, recording their next album, Cucumber Castle. There was also a TV special filmed to accompany the album, which aired on the BBC in 1971. Colin Petersen played drums on the tracks recorded for the album, but was fired from the group after filming began and his parts were edited out of the final cut of the film. After Colin was fired, Australian drummer Geoff Bridgford was recruited to complete the recording of songs for Cucumber Castle. The leadoff single, “Don’t Forget to Remember” was a big hit in the UK reaching No. 2, but a disappointment in the US, only reaching No. 73. The next 2 singles, “I.O.I.O.” and “If I Only Had My Mind on Something Else” barely scraped the charts, and following the release of the album, Barry and Maurice parted ways. It seemed that the Bee Gees were finished. Barry recorded a solo album which never saw official release, though “I’ll Kiss Your Memory” was released as a single, without much interest. Meanwhile, Maurice released the single “Railroad”, and starred in the West End musical Sing A Rude Song.

Early 1970s
The three brothers reunited in the later part of 1970 penning a series of songs about heartache and loneliness. During this period they became a four piece band joined again by Australian drummer Geoff Bridgford who after playing on the 2 Years On album and Trafalgar album became the last non-Gibb brother to be a member of the Bee Gees. Although they had lost traction on the British charts, the Bee Gees hit No. 3 in America with “Lonely Days” (from the reunion LP 2 Years On) and had their first US No. 1 with “How Can You Mend a Broken Heart” (fromTrafalgar). The trio’s talents were included in the soundtrack for the 1971 film Melody as they performed several songs for the title. In 1972, they hit No. 16 in America with the single “My World” and “Run To Me” from the LP To Whom It May Concern; the latter also returned them to the British top ten for the first time in three years.
By 1973, however, the Bee Gees were in a rut. The album, Life in a Tin Can, released on RSO Records and its lead-off single, “Saw a New Morning,” sold poorly with the single peaking at No. 94. This was followed by an unreleased album (known as A Kick in the Head Is Worth Eight in the Pants). A second compilation album, Best of Bee Gees, Volume 2 was released in 1973, though it did not repeat the success of Volume 1.
On the advice of Ahmet Ertegün, head of their US label Atlantic Records, Stigwood arranged for the group to record with famed soul music producer Arif Mardin. The resulting LP, Mr. Natural, included fewer ballads and foreshadowed theR&B direction of the rest of their career. But when it too failed to attract much interest, Mardin encouraged them to work with the soul music style.
The brothers attempted to assemble a live stage band that could replicate their studio sound. Lead guitarist Alan Kendall had come on board in 1971, but did not have much to do until Mr. Natural. For that album, they added drummer Dennis Bryon, and they later added ex-Strawbs keyboard player Blue Weaver, completing the late 1970s “Bee Gees band”. Maurice, who had previously performed on piano, guitar, organ, mellotron, and bass guitar, as well as exotica like mandolin and Moog synthesiser, now confined himself to bass onstage.
At Eric Clapton’s suggestion, the brothers relocated to Miami, Florida, early in 1975 to record. After starting off with ballads, they eventually heeded the urging of Mardin and Stigwood and crafted more rhythmic disco songs, including their second US No. 1, “Jive Talkin'”, along with US No. 7 “Nights on Broadway.” The band liked the resulting new sound, and this time the public agreed, sending the LP Main Course up the charts. This was their second album to have two US top-10 singles since 1968’s Idea. Main Course also became their first charting R&B album. Mardin was unable to work with the group afterwards, but the Bee Gees enlisted Albhy Galuten and Karl Richardson who had worked with Mardin during the Main Course sessions. This production team would carry the Bee Gees through the rest of the 1970s.
The next album, Children of the World, was drenched in Barry’s newfound falsetto and Weaver’s synthesiser disco licks. Led off by the single “You Should Be Dancing,” it pushed the Bee Gees to a level of stardom they had not previously achieved in the US, though their new R&B/disco sound was not as popular with some die hard fans from the 1960s. The Bee Gees’ band was now closer to a rock act, with rhythm guitar and real drums behind the falsetto.

Late 1970s: Saturday Night Fever
Following a successful live album, Here at Last… Bee Gees… Live, the Bee Gees agreed with Stigwood to participate in the creation of the Saturday Night Fever soundtrack. It would be the turning point of their career. The cultural impact of both the film and the soundtrack was seismic, not only in the United States, but in the rest of the world as well, bringing the nascent disco scene mainstream.
The band’s involvement in the film did not begin until post-production. As John Travolta asserted, “The Bee Gees weren’t even involved in the movie in the beginning … I was dancing to Stevie Wonder and Boz Scaggs.” Producer Robert Stigwood commissioned the Bee Gees to create the songs for the film. The brothers wrote the songs “virtually in a single weekend” at France’s Château d’Hérouville studio. Barry Gibb remembered the reaction when Stigwood and music supervisor Bill Oakes arrived and listened to the demos:

“ They flipped out and said these will be great. We still had no concept of the movie, except some kind of rough script that they’d brought with them … You’ve got to remember, we were fairly dead in the water at that point, 1975, somewhere in that zone–- the Bee Gees’ sound was basically tired. We needed something new. We hadn’t had a hit record in about three years. So we felt, Oh Jeez, that’s it. That’s our life span, like most groups in the late 60s. So, we had to find something. We didn’t know what was going to happen. ”
Bill Oakes, who supervised the soundtrack, asserts that Saturday Night Fever did not begin the disco craze; rather, it prolonged it: “Disco had run its course. These days, Fever is credited with kicking off the whole disco thing–-it really didn’t. Truth is, it breathed new life into a genre that was actually dying.”
Three Bee Gees singles (“How Deep Is Your Love”, “Stayin’ Alive”, and “Night Fever”) reached No. 1 in the United States and many countries around the world, launching the most popular period of the disco era. They also penned the song “If I Can’t Have You” which became a No. 1 hit for Yvonne Elliman,

while the Bee Gees’ own version was the B-Side of “Stayin’ Alive.” Such was the popularity of Saturday Night Fever that two different versions of the song “More Than a Woman” received airplay, one by the Bee Gees, which was relegated to album track, and another by Tavares, which was the hit. The Gibb sound was inescapable. During an eight-month period beginning in the Christmas season of 1977, six songs written by the brothers held the No. 1 position on the US charts for 25 of 32 consecutive weeks—three of their own releases, two for brother Andy Gibb, and the Yvonne Elliman single.
Fueled by the movie’s success, the soundtrack broke multiple industry records, becoming the highest-selling album in recording history to that point. With more than 40 million copies sold, Saturday Night Fever is among music’s top five best selling soundtrack albums. It is currently calculated as the 4th highest-selling album worldwide
During this era, Barry and Robin also wrote “Emotion” for an old friend, Australian vocalist Samantha Sang, who made it a Top Ten hit (the Bee Gees sang backing vocals).

Barry also wrote the title song to the movie version of the Broadway musical Grease for Frankie Valli to perform, which went to No. 1. During this period, the Bee Gees’ younger brother Andy followed his older siblings into a music career, and enjoyed considerable success. Produced by Barry, Andy Gibb’s first three singles all topped the US charts. In March 1978, the Bee Gees held the top 2 positions on the US Charts with “Night Fever” and “Stayin’ Alive”, the first time this had happened since The Beatles. On the USBillboard Hot 100 chart for 25 March 1978, five songs written by the Gibbs were in the US top ten at the same time: “Night Fever”, “Stayin’ Alive”, “If I Can’t Have You”, “Emotion” and “Love is Thicker Than Water”. Such chart dominance hadn’t been seen since April 1964, when The Beatles had all five of the top five American singles. Barry Gibb became the only songwriter to have four consecutive number one hits in the US breaking the John Lennon and Paul McCartney 1964 record. These songs were “Stayin’ Alive”, “Love Is Thicker Than Water”, “Night Fever”, “If I Can’t Have You”.

The Bee Gees also co-starred with Peter Frampton in the movie Sgt. Pepper’s Lonely Hearts Club Band (1978) loosely inspired by the classic 1967 album by The Beatles. The film had been heavily promoted prior to release, and was expected to enjoy great commercial success. However, the disjointed film was savaged by the movie critics, and ignored by the public. Though some of its tracks charted, the soundtrack too was a high-profile flop. The single “Oh! Darling”, credited to Robin Gibb, reached No. 15 in the US. Previously, the Bee Gees had recorded three Beatles covers—”Golden Slumbers/Carry That Weight”, “She Came in Through the Bathroom Window” and “Sun King” – for the transitory musical documentary All This and World War II.
The Bee Gees’ follow-up to Saturday Night Fever was the Spirits Having Flown album. It yielded three more No. 1 hits: “Too Much Heaven”, “Tragedy”, and “Love You Inside Out.” This gave the act six consecutive No. 1 singles in America within a year and a half (a record surpassed only by Whitney Houston). “Too Much Heaven” ended up as the Bee Gees’ musical contribution to the Music for UNICEF Concert at the United Nations General Assembly in January 1979, a benefit organised by the Bee Gees, Robert Stigwood, and David Frost for UNICEF that was broadcast worldwide. The brothers donated the royalties from the song to the charity. Up to 2007, this song has earned over $11 million for UNICEF. During the summer of 1979, the Bee Gees embarked on their largest concert tour covering the US and Canada. The Spirits Having Flown tour capitalised on Bee Gees fever that was sweeping the nation, with sold out concerts in 38 cities. The Bee Gees produced a video for the title track of “Too Much Heaven” directed by Miami-based film-maker, Martin Pitts and produced by Charles Allen. With this video, Pitts and Allen began a long association with the brothers.

The Bee Gees even had a country hit in 1979 with “Rest Your Love On Me”, the flip side of their pop hit “Too Much Heaven”, which made Top 40 on the country charts. In 1981, Conway Twitty’s version of “Rest Your Love On Me” topped the country charts.
The Bee Gees’ overwhelming success rose and fell with the disco bubble. By the end of 1979, disco was rapidly declining in popularity, and the backlash against disco put the Bee Gees’ American career in a tailspin. Radio stations around America began promoting “Bee Gee Free Weekends”. Following their remarkable run from 1975 to 1979, the act would have only one more top ten single in the US, and that would not come until 1989. The Bee Gees’ international popularity sustained somewhat less damage. Barry Gibb considered the success of the Saturday Night Fever soundtrack both a blessing and a curse:

“ Fever was No. 1 every week … It wasn’t just like a hit album. It was No. 1 every single week for 25 weeks. It was just an amazing, crazy, extraordinary time. I remember not being able to answer the phone, and I remember people climbing over my walls. I was quite grateful when it stopped. It was too unreal. In the long run, your life is better if it’s not like that on a constant basis. Nice though it was.

1980s
Robin and Barry Gibb released various solo albums in the 1980s but only with sporadic and moderate chart success. The brothers had continuing success behind the scenes, however, writing and producing for several artists. In 1980 Barry Gibb worked with Barbra Streisand on her album Guilty. He co-produced and wrote or co-wrote all nine of the album’s tracks (four of them written with Robin and the title track with both Robin and Maurice). Barry also appeared on the album’s cover with Streisand, and duetted with her on two tracks. The album reached No.1 in both the US and the UK, as did the single “Woman in Love” (written by Barry and Robin), becoming Streisand’s most successful single and album to date.

In 1981 the Bee Gees released the album Living Eyes, their last release on RSO. This album was the first CD ever played in public, when it was played to viewers of the BBC show Tomorrow’s World. With the disco backlash still running strong, the album failed to make the UK or US Top 40. Two singles from the album fared little better – “He’s a Liar” reached No. 30 in the US and “Living Eyes” reached No. 45, breaking the Bee Gees’ Top 40 streak which started in 1975 with “Jive Talkin'”.
In 1982 Dionne Warwick enjoyed a UK No.2 and US Adult Contemporary No. 1 with her comeback single, “Heartbreaker”, taken from her album of the same name written largely by the Bee Gees and co-produced by Barry Gibb. The album reached No.3 in the UK and the Top 30 in the US where it was certified Gold.

A year later Dolly Parton and Kenny Rogers recorded the Bee Gees-penned track “Islands in the Stream”, which became a US No. 1 hit and Top 10 in the UK. Rogers’ 1983 album, Eyes That See In The Dark, was written entirely by the Bee Gees and co-produced by Barry. The album was a Top 10 hit in the US and was certified Double Platinum.
The Bee Gees had greater success with the soundtrack to Staying Alive in 1983, the sequel to Saturday Night Fever. The soundtrack was certified platinum in the US, and included their Top 30 hit “The Woman in You”.
Also in 1983 the band were sued by Chicago songwriter Ronald Selle, who claimed that the brothers stole melodic material from one of his songs, “Let It End”, and used it in “How Deep Is Your Love”. At first, the Bee Gees lost the case; one juror said that a factor in the jury’s decision was the Gibbs’ failure to introduce expert testimony rebutting the plaintiff’s expert testimony that it was “impossible” for the two songs to have been written independently. However, the verdict was overturned a few months later.
In 1985 Diana Ross released the album Eaten Alive, written by the Bee Gees,

with the title track co-written with Michael Jackson (who also performed on the track). The album was again co-produced by Barry Gibb and the single “Chain Reaction” gave Ross a UK and Australian No.1 hit.
The Bee Gees released the album E.S.P. in 1987, which sold over 3 million copies. It was their first album in six years, and their first for Warner Bros. Records. The single “You Win Again” went to No. 1 in numerous countries, including the UK, and made the Bee Gees the first group to score a UK No. 1 hit in each of three decades: the 1960s, 1970s, and 1980s. The single was a disappointment in the US, charting at No. 75, and the Bee Gees voiced their frustration over American radio stations not playing their new European hit single, an omission which the group felt led to poor sales of their current album in the States.

On 10 March 1988, younger brother Andy died, aged 30, as a result of myocarditis, an inflammation of the heart muscle due to a recent viral infection. His brothers acknowledge that Andy’s past drug and alcohol use probably made his heart more susceptible to this illness. Just before Andy’s death, it had been decided by the group that Andy would join them, which would have made the group a four-piece group. The Bee Gees’ following album, One (1989), featured a song dedicated to Andy, “Wish You Were Here”. The album also contained their first US top ten hit (No. 7) in a decade, “One”. After the album’s release, they embarked on their first world tour in ten years.
1990s
In 1990, Polydor Records issued the box set Tales from the Brothers Gibb: A History in Song, which contained all of the group’s singles (except 1981’s “Living Eyes”), rare B-sides, unreleased tracks, solo material, and live performances. Many songs received new stereo mixes by Bill Inglot with some songs making their CD debut. At the time of its release, Tales was one of the first box sets issued in the music business and it was considered an honour for a group to have one. In the UK, Polydor issued a single disc hits collection from Tales called The Very Best of the Bee Gees, which contained their biggest UK hits. The album became one of their best selling albums in that country, eventually being certified Triple Platinum.
Following their next album, High Civilization (1991), which contained the UK top five hit “Secret Love”, the Bee Gees went on a European tour. After the tour, Barry Gibb began to battle a serious back problem, which required surgery. In addition, he also suffered from arthritis, and at one point, it was so severe that it was doubtful that he would be able to play guitar for much longer. Also in the early 1990s, Maurice Gibb finally sought treatment for his alcoholism, which he had battled for many years, with the help of Alcoholics Anonymous.

In 1993, the group returned to the Polydor label, and released the album Size Isn’t Everything, which contained the UK top five hit “For Whom the Bell Tolls”. Success still eluded them in the US, however, as the first single released, “Paying the Price of Love” only managed to reach No. 74 on the Billboard Hot 100 while the parent album stalled at No. 153.

In 1997, they released the album Still Waters, which sold over four million copies, and reached No.2 in the UK (their highest album chart position there since 1979) and No.11 in the US. The album’s first single, “Alone”, gave them another UK Top 5 hit and a top 30 hit in the US. Still Waters would be the band’s most successful US release of their post-RSO era.

At the 1997 BRIT Awards held in Earls Court, London on 24 February, the Bee Gees received the award for Outstanding Contribution to Music . On 14 November 1997, the Bee Gees performed a live concert in Las Vegas called One Night Only. The show included a performance of “Our Love (Don’t Throw It All Away)” synchronised with a vocal by their deceased brother Andy and a cameo appearance by Celine Dion singing “Immortality”. The CD of the performance sold over 5 million copies. The “One Night Only” name grew out of the band’s declaration that, due to Barry’s health issues, the Las Vegas show was to be the final live performance of their career. After the immensely positive audience response to the Vegas concert, Barry decided to continue despite the pain, and the concert expanded into their last full-blown world tour of “One Night Only” concerts The tour included playing to 56,000 people at London’s Wembley Stadium on 5 September 1998 and concluded in the newly built Olympic Stadium in Sydney, Australia on 27 March 1999 to 72,000 people.

In 1998, the group’s soundtrack for Saturday Night Fever was incorporated into a stage production produced first in the West End and then on Broadway. They wrote three new songs for the adaptation. Also in 1998 the brothers recordedEllan Vannin for Isle of Man charities. Known as the unofficial national anthem of the Isle of Man, the brothers performed the song during their world tour to reflect their pride in the place of their birth.[18]
The Bee Gees closed the decade with what turned out to be their last full-sized concert, known as BG2K, on 31 December 1999.

2000–08: Maurice’s death and hiatus
In 2001, the group released what turned out to be their final album of new material as a group, This Is Where I Came In. The album was another success, reaching the Top 10 in the UK (being certified Gold), and the Top 20 in the US. The title track was also a UK Top 20 hit single. The album gave each member of the group a chance to write in his own way, as well as composing songs together. For example, Maurice’s compositions and leads are the “Man in the Middle” and “Walking on Air,” while Robin contributed “Déjà Vu,” “Promise the Earth,” and “Embrace,” and Barry contributed “Loose Talk Costs Lives,” “Technicolour Dreams”, and “Voice in the Wilderness”. The other songs are collaborative in writing and vocals. They performed many tracks from This Is Where I Came In, plus many of their biggest hits, on the live televised concert series Live by Request, shown on the A&E Network. The last concert of the Bee Gees as a trio was at the Love and Hope Ball in 2002.
Maurice, who had been the musical director of the Bee Gees during their final years as a group, died unexpectedly on 12 January 2003 at the age of 53 from a heart attack, while awaiting emergency surgery to repair a strangulated intestine. Initially, his surviving brothers announced that they intended to carry on the name “Bee Gees” in his memory. But as time passed they decided to retire the group name, leaving it to represent the three brothers together.

The same week that Maurice died, Robin’s solo album Magnet was released. On 23 February 2003, the Bee Gees received the Grammy Legend Award. Barry and Robin accepted as well as Maurice’s son, Adam, in a tearful ceremony.
Although there was talk of a memorial concert featuring both surviving brothers and invited guests, nothing materialised. Barry and Robin continued to work independently, and both released recordings with other artists, occasionally coming together to perform at special events.
In late 2004, Robin embarked on a solo tour of Germany, Russia and Asia. During January 2005, Barry, Robin and several legendary rock artists recorded “Grief Never Grows Old,” the official tsunami relief record for the Disasters Emergency Committee. Later that year, Barry reunited with Barbra Streisand for her top-selling album Guilty Pleasures, released as Guilty Too in the UK as a sequel album to the previous Guilty. Robin continued touring in Europe. Also in 2004, Barry recorded his song “I Cannot Give You My Love” with Cliff Richard, which became a UK top 20 hit single
In February 2006, Barry and Robin reunited on stage for a Miami charity concert to benefit the Diabetes Research Institute. It was their first public performance together since the death of brother Maurice. Barry and Robin also played at the 30th annual Prince’s Trust Concert in the UK on 20 May 2006.
In October 2008, Robin performed a couple of songs in London as part of the BBC Electric Proms Saturday Night Fever performance. This involved various other performers and the BBC Concert Orchestra and was screened on the BBC and BBC interactive services.
2009–12: Return to performing and Robin’s death
On 1 September 2009, Barry’s 63rd birthday, he, in an interview with Easy Mix radio host Tim Roxborough, mentioned on the subject of future tours that “they will be back”; but in an agreement with Warner/Rhino they would not make an announcement at that time On 7 September 2009, Robin Gibb disclosed to Jonathan Agnew that he had been in touch with Barry Gibb and that they had agreed that the Bee Gees would re-form and “perform again”.
Barry and Robin performed on the BBC’s Strictly Come Dancing on 31 October 2009 and appeared on ABC-TV’s Dancing with the Stars on 17 November 2009. On 15 March 2010, Barry and Robin inducted the Swedish groupABBA into the Rock and Roll Hall of Fame. On 26 May 2010, the two made a surprise appearance on the ninth season finale of American Idol.
In October 2010, Robin Gibb was interviewed by the Daily Mail, and confirmed that the story of the Bee Gees is to be made into a Hollywood movie by Steven Spielberg. The Oscar-winning director believes the group’s journey from unknowns in Manchester to worldwide fame will prove box-office gold. Robin told the Daily Mail: “The movie is going to be done by some very important people. It will be our life story. Barry and I will be involved in the technical side”. One of the challenges for Spielberg will be replicating the brothers’ distinctive three-part harmonies and Barry’s falsetto voice. Robin said: “I’d like our original recordings to be used because it’s very hard to emulate them.”

On 13 February 2012, Robin joined British military trio The Soldiers for the Coming Home charity concert at the London Palladium, in support of injured servicemen. It was his first public appearance for almost five months, and his final.
On 20 November 2011 it was announced that Robin Gibb, at 61 years old, was diagnosed with liver cancer, a condition he became aware of several months earlier. He had become noticeably thinner in previous months and had to cancel several appearances due to issues with severe abdominal pain. On 14 April 2012, it was reported that Gibb had contracted pneumonia in a Chelsea hospital and was in a coma. Gibb came out of his coma on 20 April 2012. He died on 20 May 2012. With Robin’s death, Barry became the last surviving Gibb brother.

Songwriting success
The Bee Gees have sold in excess of 200 million records worldwide. At one point in 1978, the Gibb brothers were responsible for writing and/or performing nine of the songs in the Billboard Hot 100. In all, the Gibbs placed 13 singles onto the Hot 100 in 1978, with 12 making the Top 40.
At least 2,500 artists have recorded their songs. Their most popular composition is “How Deep Is Your Love”, with 400 versions by other artists in existence. Among the artists who have covered their songs are Ardijah, Michael Bolton, Boyzone, Eric Clapton, Billy Corgan, Destiny’s Child, Faith No More, Feist, The Flaming Lips, Al Green, Jinusean, Elton John, Tom Jones, Janis Joplin, Lulu, Elvis Presley, Nina Simone, Percy Sledge, Robert Smith, Take That, and John Frusciante (who has covered “How Deep Is Your Love” during Red Hot Chili Peppers concerts). The band’s music has also been sampled by dozens of hip hop artists.
Songs written by the Gibbs, but largely better known through versions by other artists, include:
 “Ain’t Nothing Gonna Keep Me From You” by Teri DeSario
 “Buried Treasure” by Kenny Rogers (backing vocals The Gatlin Brothers)
 “Chain Reaction” by Diana Ross
 “Come on Over” by Olivia Newton-John
 “Emotion” by Samantha Sang
 “Gilbert Green” by Gerry Marsden

 “Grease” by Frankie Valli
 “Guilty” and “Woman in Love” by Barbra Streisand
 “Heartbreaker” & “All the Love in the World” by Dionne Warwick
 “Hold On to My Love” by Jimmy Ruffin
 “I Will Be There” by Tina Turner
 “If I Can’t Have You” by Yvonne Elliman
 “Immortality” by Celine Dion
 “Islands in the Stream” by Kenny Rogers and Dolly Parton
 “Morning of My Life” by Abi and Esther Ofarim
 “Only One Woman” by The Marbles
 “Rest Your Love on Me” by Conway Twitty
 “Sacred Trust” by One True Voice
 “Warm Ride” by Graham Bonnet

The Bee Gees’ major non-UK/US breakthrough hit “Spicks and Specks”—a 1966 chart success in Australia (top five) and New Zealand (number one), and in Holland (top five) in 1967—was covered by British rock-pop band Status Quofor their 1968 debut album. And Al Green’s 1972 non-single cover of the Bee Gees’ massive 1971 North American number one “How Can You Mend a Broken Heart” enjoys a certainly critical and popular following, particularly in the UK.
Awards and recognition
Inductions
 1979 Hollywood Walk of Fame
 1994 Songwriters Hall of Fame
 1995 Florida’s Artists Hall of Fame
 1997 Rock and Roll Hall of Fame
 1997 ARIA (Australian Recording Industry Association) Hall of Fame
 2001 Vocal Group Hall of Fame
 2004 Dance Music Hall of Fame
 2005 London’s Walk of Fame

Grammy Awards
 1978 Best Pop Vocal Performance By A Group – “How Deep Is Your Love”
 1979 Best Pop Vocal Performance By A Duo Or Group – “Saturday Night Fever”
 1979 Best Arrangement Of Voices – “Stayin’ Alive”
 1979 Album Of The Year – “Saturday Night Fever”
 1979 Producer Of The Year – “Saturday Night Fever”
 1981 Best Pop Performance By A Duo Or Group With Vocal – “Guilty” (Barry Gibb with Barbra Streisand)
 2000 Lifetime Achievement Award
 2003 Legend Award
 2004 Hall Of Fame Award – “Saturday Night Fever”
World Music Awards
 1997 Legend Award
American Music Awards
 1979 Favorite Pop / Rock Band, Duo Or Group
 1979 Favorite Soul / R&B Album – “Saturday Night Fever”
 1980 Favorite Pop / Rock Band, Duo Or Group
 1980 Favorite Pop / Rock Album – “Spirits Having Flown”
 1997 International Artist Award
BRIT Awards
 1997 Outstanding Contribution To Music
BMI Awards
 On 15 May 2007, the Bee Gees were named BMI Icons at the 55th annual BMI Pop Awards. Collectively, Barry, Maurice and Robin Gibb have earned 109 BMI Pop, Country and Latin Awards.
Commemorative stamps
In October 1999 the Isle of Man Post Office unveiled a set of 6 stamps honouring their native sons’ music. The official launch took place at the London Palladium where the stage show of Saturday Night Fever was playing. A similar launch was held in New York shortly after to coincide with the show opening across the Atlantic. The songs depicted on the stamps are “Massachusetts”, “Words”, “I’ve Gotta Get A Message To You”, “Night Fever”, “Stayin’ Alive” and “Immortality”.
Civic honours
In 1978, following the success of Saturday Night Fever, and the single “Night Fever” in particular, Reubin Askew, the Governor of the US state of Florida, named the Bee Gees honorary citizens of the state, since they resided in Miami at the time.
All three brothers (including Maurice, posthumously) were appointed Commanders in the Order of the British Empire in December 2001 with the ceremony taking place at Buckingham Palace on 27 May 2004.
On 10 July 2009, the Isle of Man’s capital bestowed the Freedom of the Borough of Douglas honour on Barry and Robin, as well as posthumously on Maurice.On 20 November 2009, Douglas Borough Council released a limited edition commemorative DVD to mark their naming as Freemen of the Borough

The Gibbs recently gained ownership rights to their back catalogue, and set up a new distribution arrangement with Warner/Rhino/Reprise Records where they have since reissued digitally remastered versions of Saturday Night Fever, their later Bee Gees Greatest album, and a new boxed set: The Studio Albums: 1967–1968.
Additionally, more recent titles such as Still Waters and This Is Where I Came In were among the first batch of re-releases. The band’s three Warner Bros. releases, E. S. P., One and High Civilisation were also made available oniTunes for the first time since the albums went out of print in North America in the mid-90s.
According to Robin Gibb’s website, three more reissues were planned for the 2008 holiday season: Best of Bee Gees, Best of Bee Gees, Volume 2 and Love Songs. The double album Odessa was released on 13 January 2009 in a special 3-disc deluxe edition complete with the original red velvet cover with remastered stereo and mono versions of the album as well as alternate versions and unreleased tracks.
Since the remastered release of Odessa, Rhino has stopped reissuing original Bee Gees albums and there has not been any announcement as to when the remaining albums will be remastered.
Limited edition
Ellan Vannin was recorded in 1997 as a 1,000 quantity limited edition single for Isle of Man charities. The song was featured in the Bee Gees World Tour and on ITV’s “An Evening With …” but to date has not been released generally. The single was subsequently also available as part of the 1999 Bee Gees Stamp issue.

50th anniversary collections
In conjunction with the 50th anniversary of the Bee Gees (when they started calling themselves “Bee Gees” in 1959), Rhino Records have released two new collections. Mythology is a four-disc collection highlighting each brother, including Andy, with tracks personally selected by Barry, Robin, Maurice’s wife Yvonne (with his children Adam and Samantha), and Andy’s daughter Peta. Maurice’s disc contains two unreleased tracks called “Angel Of Mercy” and “The Bridge”. Andy’s disc contains the unreleased track “Arrow Through The Heart”. Mythology also features a scrapbook of family photos, many never-before published, along with tributes from artists such as George Martin, Brian Wilson, Elton John, Graham Nash and the band’s longtime manager Robert Stigwood.
The second collection, The Ultimate Bee Gees, is a more modest two-disc 40-track collection highlighting their biggest hits and includes a bonus DVD of unreleased videos, previously unreleased television appearances, live performances, and promo videos. Each disc is themed, with the first disc being the more upbeat songs called “A Night Out” and the second disc being more ballad-focused called “A Night In”
Band instrumentalists
Barry Gibb played rhythm guitar.
During the early 1970s, Robin Gibb played piano and violin occasionally, but most of the time he only sang. Although he kept on playing strings and keyboards privately, he had not played any instrument on stage since mid-’70s.
Maurice Gibb played bass guitar, rhythm and lead guitar, piano, organ, harpsichord, electric piano, mellotron, and electronic keyboards, synthesisers and drum tracks. From 1966 to 1972 he played multiple instruments on many records. During the late 1970s he played mainly bass guitar. From about 1986 onward he usually played keyboards and guitars. Maurice was credited by the brothers as being the most technologically savvy member of the band, and had built his own home studio. The bootleg CD ESP Demos allegedly includes rough versions of tracks from the album of the same name that were recorded at that studio.[citation needed]
These musicians were considered members of the band:
 Colin Petersen – drums (1967–1969)
 Vince Melouney – lead guitar (1967–1968)
 Geoff Bridgford – drums (1969–1972)

 Alan Kendall – lead guitar (1971–1980, 1987–2001)
 Dennis Bryon – drums (1974–1980)
 Blue Weaver – keyboards (1975–1980)
Filmography

 1969: Cucumber Castle
 1978: Sgt. Pepper’s Lonely Hearts Club Band
 1979: The Bee Gees Special

 1990: One For All Tour
 1997: Keppel Road
 1998: One Night Only
 2001: This Is Where I Came In
 2002: Live By Request
 2010: In Our Own Time

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“More Than A Woman” Bee Gees

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