Chords for Bee Gees - Garden Interview
Tempo:
87.15 bpm
Chords used:
D
G
E
A
Bm
Tuning:Standard Tuning (EADGBE)Capo:+0fret
Start Jamming...
Charlie [Em] Sheen on No Man's Land, coming up in our next half hour.
[N] And it's 17 after the Bee Gees recently released their first album in six years.
It's called ESP, and much to the surprise of the Brothers Gibb, the record has not been getting much airplay in this country.
And our special correspondent on the rock and roll scene, Mark Schur, recently visited Barry, Robin and Morris Gibb at Robin's home in Miami Beach.
What did they say?
Well, Charlie, for better or worse, when you say the name of the Bee Gees these days, sometimes people summon up a metal image of John Travolta in a white suit on the Saturday Night Fever dance floor, staying alive.
But the Bee Gees say that's not fair.
[A] [D]
[F#m] [Bm]
[F#m] [Em] [A] We [G] have to spend our lives confounding critics.
[C#] We always have critics that say the [Bm] Bee Gees are finished.
It happens every ten years, every five years.
There's always some wise guy out there that says that's it for this group, it's all over.
It happened to us in 1970, it happened to us in 1976, it happened to us again in 1980.
It was time for a new decade, let's get rid of the Bee Gees.
In 1987, [E] the Bee Gees still find it's an uphill battle, convincing those critics they can make hit music in the group's third decade.
Ironically, their greatest success is part of [C#] the problem.
The record-breaking sales of the 1977 [F#] soundtrack album Saturday Night Fever left the Bee Gees linked, in some minds, to the faded image of the disco [F#m] era.
[F#] To what degree is the enormous success of the Saturday Night [D] Fever phenomenon an albatross?
It's not an image thing with us, it's rather people appreciate the music we do, rather than sit there and judge us for what we did before.
I don't think the principle is
we
wouldn't have written anything in the 70s that resembled anything we wrote in [E] the 60s.
It's just that we're [F#] human and we do change as well.
Whatever it was, it was a fantastic incident for the industry, and gave a lot of people a lot of work, and sold a lot of records apart from Fever.
I know, I know, for radio, made a lot of money for radio as well.
[Bm] So I think America should not
there shouldn't be periods of music in [B] American history that America should be [Gm] ashamed of.
We're not ashamed of it.
[D] [A] [D]
[Bm] The Bee Gees' new single, You Win Again, is [Em] a winner overseas, but it has met [D] with resistance from American radio programmers.
To [A] not play a record in this [D] country, to not play a single that's [E] taking off like a monster all around the world, is a little bit old-fashioned.
I mean, that to us is [G] ridiculous.
I mean, we were having hits long before [D] that period.
And they shouldn't take it by the [E] image, it's the music that counts, and it's what we do.
The irony is that they would play a Fleetwood Mac record after six years, and don't question the fact that they've been around [G] as long as us, if not longer.
Genesis are the [D#] same.
But the principle is, it's not a question of whether these groups get airplay or not.
The thing is, we have a very, very strong record exploding all over the [G] world, and it's not just in one country.
It's every country at the same time, and that's important.
We haven't been bad for the business.
I mean, if an artist hasn't been bad for the business, and has in fact been good for the business,
it's a little unfair to try and kick them out of the business every [A] five or six, ten years, you know, it's a little unfair.
[E] [A]
It's a business they've been in for more than 30 [D] years.
[G] Oh, my old man, he wears [D] a dustman's hat, he wears cobbling trousers, and he lifts in a council [G] flat.
From their first television appearances [C] in the early 60s, [D] their popularity grew.
[Dm] [G]
In [Am] [F] [G]
their teens, they became regulars on Australian TV, eventually hosting their own show.
[Dm] Entering the 80s, [Am] they'd established themselves as what one critic called the chameleons [E] of pop, adapting to their musical surroundings.
[Am]
Individually, there were solo albums, and the brothers wrote and produced records for Barbra Streisand, Kenny Rogers, and the Beatles.
They were also the founders of the band, and the band's leaders, Diana Ross and Dionne Warwick.
[E] I think the reason we can adapt is because we're songwriters.
They don't hold themselves into one particular space and time.
Songwriters are forever, and you just find that you have to create, and when you're creating, you just don't know any boundaries.
The Bee Gees are staying alive, not only on the strength of their songwriting, but also their seamless harmonies.
[N] I'll warm up.
[A] [E]
[D] [G]
[D#] [G#] [A#]
[E] That's great old stuff to see those old pictures of them, but [C] amazing that their new album isn't getting much play.
Why not?
Charlie, it seems that radio stations have their own image problem as well.
They're afraid if they play the Bee Gees in 1987, some of their younger listeners will say,
hey, my older brother and sister, my parents listened to those guys.
They're old.
[G] They're outdated.
Well, they're not.
Good stuff, and good interview.
Thanks very much, Mark.
Nice to
[N] And it's 17 after the Bee Gees recently released their first album in six years.
It's called ESP, and much to the surprise of the Brothers Gibb, the record has not been getting much airplay in this country.
And our special correspondent on the rock and roll scene, Mark Schur, recently visited Barry, Robin and Morris Gibb at Robin's home in Miami Beach.
What did they say?
Well, Charlie, for better or worse, when you say the name of the Bee Gees these days, sometimes people summon up a metal image of John Travolta in a white suit on the Saturday Night Fever dance floor, staying alive.
But the Bee Gees say that's not fair.
[A] [D]
[F#m] [Bm]
[F#m] [Em] [A] We [G] have to spend our lives confounding critics.
[C#] We always have critics that say the [Bm] Bee Gees are finished.
It happens every ten years, every five years.
There's always some wise guy out there that says that's it for this group, it's all over.
It happened to us in 1970, it happened to us in 1976, it happened to us again in 1980.
It was time for a new decade, let's get rid of the Bee Gees.
In 1987, [E] the Bee Gees still find it's an uphill battle, convincing those critics they can make hit music in the group's third decade.
Ironically, their greatest success is part of [C#] the problem.
The record-breaking sales of the 1977 [F#] soundtrack album Saturday Night Fever left the Bee Gees linked, in some minds, to the faded image of the disco [F#m] era.
[F#] To what degree is the enormous success of the Saturday Night [D] Fever phenomenon an albatross?
It's not an image thing with us, it's rather people appreciate the music we do, rather than sit there and judge us for what we did before.
I don't think the principle is
we
wouldn't have written anything in the 70s that resembled anything we wrote in [E] the 60s.
It's just that we're [F#] human and we do change as well.
Whatever it was, it was a fantastic incident for the industry, and gave a lot of people a lot of work, and sold a lot of records apart from Fever.
I know, I know, for radio, made a lot of money for radio as well.
[Bm] So I think America should not
there shouldn't be periods of music in [B] American history that America should be [Gm] ashamed of.
We're not ashamed of it.
[D] [A] [D]
[Bm] The Bee Gees' new single, You Win Again, is [Em] a winner overseas, but it has met [D] with resistance from American radio programmers.
To [A] not play a record in this [D] country, to not play a single that's [E] taking off like a monster all around the world, is a little bit old-fashioned.
I mean, that to us is [G] ridiculous.
I mean, we were having hits long before [D] that period.
And they shouldn't take it by the [E] image, it's the music that counts, and it's what we do.
The irony is that they would play a Fleetwood Mac record after six years, and don't question the fact that they've been around [G] as long as us, if not longer.
Genesis are the [D#] same.
But the principle is, it's not a question of whether these groups get airplay or not.
The thing is, we have a very, very strong record exploding all over the [G] world, and it's not just in one country.
It's every country at the same time, and that's important.
We haven't been bad for the business.
I mean, if an artist hasn't been bad for the business, and has in fact been good for the business,
it's a little unfair to try and kick them out of the business every [A] five or six, ten years, you know, it's a little unfair.
[E] [A]
It's a business they've been in for more than 30 [D] years.
[G] Oh, my old man, he wears [D] a dustman's hat, he wears cobbling trousers, and he lifts in a council [G] flat.
From their first television appearances [C] in the early 60s, [D] their popularity grew.
[Dm] [G]
In [Am] [F] [G]
their teens, they became regulars on Australian TV, eventually hosting their own show.
[Dm] Entering the 80s, [Am] they'd established themselves as what one critic called the chameleons [E] of pop, adapting to their musical surroundings.
[Am]
Individually, there were solo albums, and the brothers wrote and produced records for Barbra Streisand, Kenny Rogers, and the Beatles.
They were also the founders of the band, and the band's leaders, Diana Ross and Dionne Warwick.
[E] I think the reason we can adapt is because we're songwriters.
They don't hold themselves into one particular space and time.
Songwriters are forever, and you just find that you have to create, and when you're creating, you just don't know any boundaries.
The Bee Gees are staying alive, not only on the strength of their songwriting, but also their seamless harmonies.
[N] I'll warm up.
[A] [E]
[D] [G]
[D#] [G#] [A#]
[E] That's great old stuff to see those old pictures of them, but [C] amazing that their new album isn't getting much play.
Why not?
Charlie, it seems that radio stations have their own image problem as well.
They're afraid if they play the Bee Gees in 1987, some of their younger listeners will say,
hey, my older brother and sister, my parents listened to those guys.
They're old.
[G] They're outdated.
Well, they're not.
Good stuff, and good interview.
Thanks very much, Mark.
Nice to
Key:
D
G
E
A
Bm
D
G
E
_ _ _ Charlie [Em] Sheen on No Man's Land, coming up in our next half hour.
[N] And it's 17 after the Bee Gees recently released their first album in six years.
It's called ESP, and much to the surprise of the Brothers Gibb, the record has not been getting much airplay in this country.
And our special correspondent on the rock and roll scene, Mark Schur, recently visited Barry, Robin and Morris Gibb at Robin's home in Miami Beach.
What did they say?
Well, Charlie, for better or worse, when you say the name of the Bee Gees these days, sometimes people summon up a metal image of John Travolta in a white suit on the Saturday Night Fever dance floor, staying alive.
But the Bee Gees say that's not fair.
_ _ [A] _ _ [D] _ _ _ _
[F#m] _ _ _ _ [Bm] _ _ _ _
[F#m] _ _ [Em] _ [A] We [G] have to spend our lives confounding critics.
[C#] We always have critics that say the [Bm] Bee Gees are finished.
It happens every ten years, every five years.
There's always some wise guy out there that says that's it for this group, it's all over.
It happened to us in 1970, it happened to us in 1976, _ it happened to us again in 1980.
It was time for a new decade, let's get rid of the Bee Gees.
In 1987, [E] the Bee Gees still find it's an uphill battle, convincing those critics they can make hit music in the group's third decade.
Ironically, their greatest success is part of [C#] the problem.
The record-breaking sales of the 1977 [F#] soundtrack album Saturday Night Fever left the Bee Gees linked, in some minds, to the faded image of the disco [F#m] era. _
_ _ _ [F#] To what degree is the enormous success of the Saturday Night [D] Fever phenomenon an albatross?
It's not an image thing with us, it's rather people appreciate the music we do, rather than sit there and judge us for what we did before.
I don't think the principle is_
_we
wouldn't have written anything in the 70s that resembled anything we wrote in [E] the 60s.
It's just that we're [F#] human and we do change as well.
Whatever it was, it was a fantastic incident for the industry, and gave a lot of people a lot of work, and sold a lot of records apart from Fever.
I know, I know, for radio, made a lot of money for radio as well.
[Bm] So I think America should not_
there shouldn't be periods of music in [B] American history that America should be [Gm] ashamed of.
We're not ashamed of it. _
[D] _ _ _ _ [A] _ _ [D] _
[Bm] The Bee Gees' new single, You Win Again, is [Em] a winner overseas, but it has met [D] with resistance from American radio programmers.
To [A] not play a record in this [D] country, to not play a single that's [E] taking off like a monster all around the world, is a little bit old-fashioned.
I mean, that to us is [G] ridiculous.
I mean, we were having hits long before [D] that period.
And they shouldn't take it by the [E] image, it's the music that counts, and it's what we do.
The irony is that they would play a Fleetwood Mac record after six years, and don't question the fact that they've been around [G] as long as us, if not longer.
Genesis are the [D#] same.
But the principle is, it's not a question of whether these groups get airplay or not.
The thing is, we have a very, very strong record exploding all over the [G] world, and it's not just in one country.
It's every country at the same time, and that's important.
We haven't been bad for the business.
I mean, if an artist hasn't been bad for the business, and has in fact been good for the business,
it's a little unfair to try and kick them out of the business every [A] five or six, ten years, you know, it's a little unfair. _
_ _ _ _ _ [E] _ _ [A]
It's a business they've been in for more than 30 [D] years.
[G] Oh, my old man, he wears [D] a dustman's hat, he wears cobbling trousers, and he lifts in a council [G] flat.
From their first television appearances [C] in the early 60s, [D] their popularity grew.
[Dm] _ _ [G] _ _ _ _ _ _
_ In _ [Am] _ [F] _ _ [G] _
their teens, they became regulars on Australian TV, eventually hosting their own show.
[Dm] Entering the 80s, [Am] they'd established themselves as what one critic called the chameleons [E] of pop, adapting to their musical surroundings.
[Am] _ _ _
_ _ _ _ _ _ _ _
Individually, there were solo albums, and the brothers wrote and produced records for Barbra Streisand, Kenny Rogers, and the Beatles.
They were also the founders of the band, and the band's leaders, Diana Ross and Dionne Warwick.
[E] I think the reason we can adapt is because we're songwriters.
They don't hold themselves into one particular space and time.
Songwriters are forever, and you just find that you have to create, and when you're creating, you just don't know any boundaries.
The Bee Gees are staying alive, not only on the strength of their songwriting, but also their seamless harmonies.
[N] _ I'll warm up. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [A] _ [E] _ _ _
_ [D] _ _ _ _ [G] _ _ _
_ _ [D#] _ _ [G#] _ [A#] _ _ _
[E] That's great old stuff to see those old pictures of them, but [C] amazing that their new album isn't getting much play.
Why not?
Charlie, it seems that radio stations have their own image problem as well.
They're afraid if they play the Bee Gees in 1987, some of their younger listeners will say,
hey, my older brother and sister, my parents listened to those guys.
They're old.
[G] They're outdated.
Well, they're not.
Good stuff, and good interview.
Thanks very much, Mark.
Nice to
[N] And it's 17 after the Bee Gees recently released their first album in six years.
It's called ESP, and much to the surprise of the Brothers Gibb, the record has not been getting much airplay in this country.
And our special correspondent on the rock and roll scene, Mark Schur, recently visited Barry, Robin and Morris Gibb at Robin's home in Miami Beach.
What did they say?
Well, Charlie, for better or worse, when you say the name of the Bee Gees these days, sometimes people summon up a metal image of John Travolta in a white suit on the Saturday Night Fever dance floor, staying alive.
But the Bee Gees say that's not fair.
_ _ [A] _ _ [D] _ _ _ _
[F#m] _ _ _ _ [Bm] _ _ _ _
[F#m] _ _ [Em] _ [A] We [G] have to spend our lives confounding critics.
[C#] We always have critics that say the [Bm] Bee Gees are finished.
It happens every ten years, every five years.
There's always some wise guy out there that says that's it for this group, it's all over.
It happened to us in 1970, it happened to us in 1976, _ it happened to us again in 1980.
It was time for a new decade, let's get rid of the Bee Gees.
In 1987, [E] the Bee Gees still find it's an uphill battle, convincing those critics they can make hit music in the group's third decade.
Ironically, their greatest success is part of [C#] the problem.
The record-breaking sales of the 1977 [F#] soundtrack album Saturday Night Fever left the Bee Gees linked, in some minds, to the faded image of the disco [F#m] era. _
_ _ _ [F#] To what degree is the enormous success of the Saturday Night [D] Fever phenomenon an albatross?
It's not an image thing with us, it's rather people appreciate the music we do, rather than sit there and judge us for what we did before.
I don't think the principle is_
_we
wouldn't have written anything in the 70s that resembled anything we wrote in [E] the 60s.
It's just that we're [F#] human and we do change as well.
Whatever it was, it was a fantastic incident for the industry, and gave a lot of people a lot of work, and sold a lot of records apart from Fever.
I know, I know, for radio, made a lot of money for radio as well.
[Bm] So I think America should not_
there shouldn't be periods of music in [B] American history that America should be [Gm] ashamed of.
We're not ashamed of it. _
[D] _ _ _ _ [A] _ _ [D] _
[Bm] The Bee Gees' new single, You Win Again, is [Em] a winner overseas, but it has met [D] with resistance from American radio programmers.
To [A] not play a record in this [D] country, to not play a single that's [E] taking off like a monster all around the world, is a little bit old-fashioned.
I mean, that to us is [G] ridiculous.
I mean, we were having hits long before [D] that period.
And they shouldn't take it by the [E] image, it's the music that counts, and it's what we do.
The irony is that they would play a Fleetwood Mac record after six years, and don't question the fact that they've been around [G] as long as us, if not longer.
Genesis are the [D#] same.
But the principle is, it's not a question of whether these groups get airplay or not.
The thing is, we have a very, very strong record exploding all over the [G] world, and it's not just in one country.
It's every country at the same time, and that's important.
We haven't been bad for the business.
I mean, if an artist hasn't been bad for the business, and has in fact been good for the business,
it's a little unfair to try and kick them out of the business every [A] five or six, ten years, you know, it's a little unfair. _
_ _ _ _ _ [E] _ _ [A]
It's a business they've been in for more than 30 [D] years.
[G] Oh, my old man, he wears [D] a dustman's hat, he wears cobbling trousers, and he lifts in a council [G] flat.
From their first television appearances [C] in the early 60s, [D] their popularity grew.
[Dm] _ _ [G] _ _ _ _ _ _
_ In _ [Am] _ [F] _ _ [G] _
their teens, they became regulars on Australian TV, eventually hosting their own show.
[Dm] Entering the 80s, [Am] they'd established themselves as what one critic called the chameleons [E] of pop, adapting to their musical surroundings.
[Am] _ _ _
_ _ _ _ _ _ _ _
Individually, there were solo albums, and the brothers wrote and produced records for Barbra Streisand, Kenny Rogers, and the Beatles.
They were also the founders of the band, and the band's leaders, Diana Ross and Dionne Warwick.
[E] I think the reason we can adapt is because we're songwriters.
They don't hold themselves into one particular space and time.
Songwriters are forever, and you just find that you have to create, and when you're creating, you just don't know any boundaries.
The Bee Gees are staying alive, not only on the strength of their songwriting, but also their seamless harmonies.
[N] _ I'll warm up. _ _ _ _ _
_ _ _ _ _ _ _ _
_ _ _ _ [A] _ [E] _ _ _
_ [D] _ _ _ _ [G] _ _ _
_ _ [D#] _ _ [G#] _ [A#] _ _ _
[E] That's great old stuff to see those old pictures of them, but [C] amazing that their new album isn't getting much play.
Why not?
Charlie, it seems that radio stations have their own image problem as well.
They're afraid if they play the Bee Gees in 1987, some of their younger listeners will say,
hey, my older brother and sister, my parents listened to those guys.
They're old.
[G] They're outdated.
Well, they're not.
Good stuff, and good interview.
Thanks very much, Mark.
Nice to