stupid. for bands of my generation, you understand about the ups and downs. you can see it, like, where the pitfalls? what is the you are going to take? when might this happen? when might that happen? for those people who are on the first wave of sort of global pop superstardom, if you want to call that, it was news to them, like, why does everyone suddenly hit are banned? we sold eight billion records last year. what s the deal? so, it s confusing. it was not just the bg s, but the idea of the dance,, in that period. it was no longer acceptable for this kind of music to carry the weight, carry the industry. everybody was at that point in their life where they began to look for other things to do. and andy was having problems as well. i saw him in malibu. he had been involved with a lot
when i think about it now, i think about how it all sort of started. we just had this dream, and we thought well, what we want to be famous for? it turns out it was the songwriting. and i think everything we set out to do, we did. against all odds. i can t honestly come to terms with the fact that they are not here anymore. i have never been able to do that. i am always reliving it, it was
studied things where they were moving tapes around and make these interesting sonic loops. and when dennis was not there, i said, why don t we just take a bar out of night fever, it s a little slower tempo. we ll slow it down a little bit. and see if we can make a loop out of it. we found a bar that we thought had a really nice feel to it. we copied it over to a half inch track and spliced the tape into a loop. i was pretty good at imagining what you might be able to do, but carl was able to make it happen. it was just necessity being the mother of invention. no one had taken a drum beat before and created a two-bar phrase. we were breaking new ground. this is the first time we had ever taken the song and built it piece by piece from the ground
up. and we started with the drum loop. and then we did a bass line. and then a guitar part. never again would we rely as much on the liveness. we would always know we could construct the song and put the pieces together based on the original vision of the song and how we imagined it. i got back to the sessions, and there was just a buzz. when we did it, we thought, we re just doing this temporarily. when dennis comes back, we ll replace it with real drums. what happened was the feel was so amazing, we couldn t get away from it. i could tell from the first listen, i said, man, that is amazing. when you listen to the drum track on staying alive by itself, it s really this super-rugged, tough thing. it s like it s not pretty or pop like you
to avoid in chicago. steve doll was on the radio saying, disco sucks, disco sucks. i was 14. i listened to the loop, the radio station that this kind of centered around. who brings helium to the studio, inhales it, imitates the bee joinsgees on the air. how deep is your love you know, when you do all those things, like put out garbage, you know, have radio being feeling ostracized, and a lot of straight people feeling threatened, it creates a real poison. hello, again, everybody. harry carey and jimmy from