Bee Gees

Bee Gees
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14,99 EUR
inkl. 19 % MwSt. zzgl. Versandkosten
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Art.Nr.: 9791/S
GTIN/EAN: 731454962520



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Produktbeschreibung

Bee Gees This is where I Came in HDCD 

 
Produktinformation
Audio CD (2. April 2001)
Anzahl Disks/Tonträger: 1
Label: Polydor

Tonträger HDCD
Jahr 2001
Zeit 52:24
Plattenfirma Polydor Ltd. (UK)
Herstellungsland  EU
Musikrichtung Rock: Pop-Rock
EAN-Nr. 731454962520
Katalog-Nr. 549 625-2

      Tracks

1. This Is Where I Came In 4:56    
2. She Keeps On Coming 3:58    
3. Sacred Trust 4:53    
4. Wedding Day 4:44    
5. Man In The Middle 4:21    
6. Déjà Vu 4:19    
7. Technicolor Dreams 3:05    
8. Walking On Air 4:05    
9. Loose Talk Costs Lives 4:20    
10. Embrace 4:43    
11. The Extra Mile 4:22    
12. Voice In The Wilderness 4:38

Produktbeschreibungen

Allein mit den Top Ten-Hits der Bee Gees lassen sich ganze Bücher füllen. Die Gebrüder Gibb zählen zu den erfolgreichsten Musikern dieses Planeten, einzig die Beatles können auf mehr Nummer-eins-Erfolge zurückblicken. 1966 landeten sie mit "Spicks And Specks" ihren ersten Volltreffer, es folgten Klassiker wie "Massachusetts", "To Love Somebody" oder "How Can You Mend A Broken Heart". In den 70er-Jahren traten sie mit dem legendären Soundtrack zu Saturday Night Fever die Discowelle los, in den 80er-Jahren schrieben sie für Diana Ross "Chain Reaction", für Dionne Warwick "Heartbreaker" und für Dolly Parton und Kenny Rogers den Evergreen "Islands In The Stream". In den späten 80er- und frühen 90er-Jahren dann reihten sie weiter Hit an Hit: "Ordinary Lives", "You Win Again", "Alone" um nur einige zu nennen.
Und auch im neuen Jahrtausend beweisen Barry, Robin und Maurice Gibb, dass sie ihr untrügliches Gespür für exquisite Melodien nicht im Stich lässt. This Is Where I Came In ist Pop reinsten Wassers. Angefangen beim angenehm abgespecktem, aber nichtsdestotrotz hymnischen Titeltrack über das schmeichelnde "Sacred Trust" bis hin zu "Technicolor Dreams", einer gelungenen Hommage an die 40er-Jahre. In "Voice In The Wilderness" wird zum Schluss sogar milde abgerockt. Zugeständnisse an kurzlebige Trend wird man hier genauso wenig finden wie Szene-Elemente. Dafür gibtes zwölf Songs, wie man sie perfekter nicht produzieren kann und für die es eigentlich nur ein Prädikat gibt: zeitlos schön. --Wolfgang Hertel

Review by Jack Rabid
Every time the brothers Gibb make another LP, the word is that they are going to return to the brilliant, crystalline pop with which they began in 1962-1972. It does make for a tasty proposition: Masters of early-'60s Merseybeat and late-'60s psych-pop, the Aussie teen sensations returned to their native England and wrote and recorded 12 indelible rock/pop hits from 1967-1972, all with fantastic three-part harmonies, as well as seven inspired LPs. So when one notes this album's title and the cover photo of the Bee Gees as teens, it's clear what the Gibbs intend, but they come up woefully short. Probably the best LP they've given in three decades, since Trafalgar and To Whom It May Concern, but that still says so pitifully little. It's shot down by '90s/'00s overproduction and Barry Gibb's penchant for oversinging; even when he writes a whimsical little "When I'm 64"/"Honey Pie" dance-hall pop tune such as "Technicolor Dreams," he still can't stop himself from trilling with all that bogus, phony air, where once he nailed such material with his natural voice. Worse, the LP is sabotaged by limpid, edge-less, polite production, so sanitized and squishy and mushy it's like aural wallpaper. The guitars have no bang, the keyboards are facile, the drums too mechanical, the bass too relegated to the background. In short, it's so over-stylized, there's no longer any there there. This is too bad, because their old songwriting knack isn't entirely absent. There's no "World," "Lemons Never Forget," or "Please Read Me," but the highlight title track racked up some deserved adult contemporary play (and some great, vintage singing from Robin Gibb), and the verses of "She Keeps on Coming" and "Walking on Air," and the choruses and bridges of "Wedding Day" and "Man in the Middle" are fine — showing that with less sappy production, less overdramatizing, and/or a younger, grittier backing band, these three nice men might have been justly hailed again for something more than being has-been heritage artists. They can still sing instinctive harmonies like few others, and they can still write, but this is just another bad Bee Gees record.
 

Condition: E:  EXCELLENT


"Item Condition" notes:

SS / OVP:       CD & LP is factory sealed in shrink-wrap or cellophane.

NEU / NEW:      CD & LP is open and not yet played.(Achtung: = Nicht alle neuen CDs werden vom Hersteller eingeschweißt!)

NM: NEAR MINT   CD & LP Just about in perfect condition.

E:  EXCELLENT   CD & LP Near perfect, may show very light signs of use & maybe one very light scratch.

VG: VERY GOOD   CD & LP  CD has some very minor wear (several very light scratches or marks). If insert, may have dimple marks or very light wrinkles/folds,

G:  GOOD        CD & LP  Some to very heavier wear or tear (some to very scratches throughout the CD), still plays perfectly. If insert, may have some wrinkles, folds, ripples, tears or multiple case. If  case has cracked or is broken.

Demo-Copy:      CD & LP = Promo - not for sale - particularly rare!!

Diesen Artikel haben wir am 12.04.2010 in unseren Katalog aufgenommen.

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