“When you’ve got brothers singing, it’s like an instrument that nobody else can buy,” says Gallagher. In addition to admiration for the Bee Gees’ pop virtuosity, there are useful insights from both Noel Gallagher and Nick Jonas on the complicated dynamic of brothers in a band together. They emerged in the wake of The Beatles, parlaying their seamlessly blended three-part harmonies into some of the most gorgeous ballads of the era, spanning the bridge between folk and pop in songs like “New York Mining Disaster 1941,” “Massachusetts,” “Words,” “I’ve Just Gotta Get a Message to You” and “I Started a Joke.” Mark Ronson, one of several music luminaries interviewed here, talks about the widely covered “To Love Somebody” - a song written for Otis Redding, who died before he could record it - as having “always been in the ether.” Their collaborative synergy was such that their songs were often written directly in the recording studio at one point in the 1960s they released three albums in the space of a single year. More than just a disco phenomenon, they were gifted, incredibly prolific songwriters across a number of genres - the end credits note that they penned more than 1,000 songs, including 20 No.
Marshall’s densely packed documentary shows how much broader the Bee Gees’ footprint is in popular music history.
There were even bomb threats at their live gigs.
The trio who had decreed “You Should Be Dancing,” were suddenly pariahs, exiled from radio play. But when disco was declared dead, its execution staged at a 1979 demolition night in Chicago’s Comiskey Park attended by tens of thousands that now looks like a fascist book-burning, the backlash hit them hard. The three British white boys who grew up in Australia played a big part in the crossover of disco in America from Black and gay subcultures into the mainstream.
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