[sirens] [applause] good evening to all of you. [applause] [applause] i am beginning to recognize the fact that nothing is true. nothing. it is all down to perception. my immediate family is gone, but that is life. it s the same thing with every family, that somebody will be left in the end. and this time in life i have fantastic memories, but everybody s memory is different so they re just my memories, you know? i know that morris and robin would ve had a different kind of memory. i remember barry saying that when they were going to be really famous. and we said oh yeah, he s a big brother, you know? we kind of saw ourselves as triplets, rather than me and maurice being twins. where the same polls growing up, then it became impossible to see each other as normal brothers. my night christmas there was an acoustic guitar at the end of my bed, and robin and morris started to collaborate and producing with me. we started doing gigs as a teenage act. we we
how can you mend a broken heart to love somebody? where does that talent go i, mean there are two albums in a row that were dismal. but ahmet ertegun said robert maybe their time is gone. since atlantic we re paying for these recordings, and robert would not hear of it because he would never let the band go. there was this thing about robert stigwood, and his loyalties. i kind of had a deep-seated resentment about the fact that there was still his favorite. i had come out of a long period of addiction and alcoholism, and i went into the sort of recovery period. all his musical ambitions came to the surface. so, i went to miami to record. it for we had a conversation with eric about making come back. he just said i made this album
arif before that. but arif said we had to go more to arm the, and we start working together, right here in miami, down at criterion. well, i was in studio b. and arif says to me, carl, have i got a group for you. and of course, everybody knew the bee gees. there was a surprise out of nowhere. i was excited. you know, they sing like angels. and if they were excited as i was, and arif was right in there with him. i said look, if you ever want to break out brand-new, you ve got to start now. you ve got to shop the hands of these people who don t believe you. robert came in sauce when we are making the album, sat down with us on the beach and said right. we re going to start from scratch. this is going to be it. let s make a big. what if you said to me or anyone just go and write a hit song right now, they would be able to craft something good, but it probably be missing this magic that if you work in music long enough you understand is
you had to be. we would all watch tv and i. the chemistry was very exciting. when you got up in the morning, you had breakfast, had a cup of tea. it was all very relaxing. it was strange, considering the amount of pressure that was really on the bg s at that time. we work of robert. we had to adopt a new sound, a new attitude. so, the next step was we brought areva martin into produce us. we often work with other people, but they were not producers. and this man was a literal producer. they had expressed how much they wanted to do american aren t the kind of stuff, and our reef was top of the heat for that. a wreath was so instrumental in producing black artists, and we wanted that. we actually did an album with
it was one after the other. staying alive, more than a woman, how deep is your love, if i can t have, you night fever. on one cassette. i thought yes, we have got a soundtrack. you listen to that tape and whoever it was playing on those records, it would ve been hits. the songs are so good. it is so cool. we had the demos and then we went into the process of making real records. barry and i lived in that control room, 16 hours a day. it was the only thing to do. we recorded night fever first. we actually had that in the can. robert called instead anita title of the film, and what i ve got at the moment is two titles, staying alive and night