048 BEE GEES-GREATEST

The Bee Gees started the second phase of their extraordinary careers with 1975s stellar "Jive Talkin'" (#1 for 2 weeks in 1975) a song that heralded the beginning of their rule as disco masters. They continued their ascent with the equally danceable "You Should Be Dancing" (#1 for 1 week in 1976) and peaked a few years later with their trio of #1 hits from "Saturday Night Fever" - "How Deep Is Your Love" (#1 for 3 weeks in 1977), "Stayin' Alive" (#1 for 4 weeks in 1978), and "Night Fever" (#1 for 8 weeks in 1978). The brothers managed to stay on top of the music world with their next CD, "Spirits Having Flown," which yielded 3 more #1 hits - "Too Much Heaven" (#1 for 2 weeks in 1979), "Tragedy" (#1 for 2 weeks in 1979), and "Love You Inside Out" (#1 for 1 week in 1979). "Greatest" was released in 1979, on the heels of this phenomenal late 70s success. In addition to these great #1 songs, the set includes their two other Top 10s from the period - "Nights on Broadway" (#7 in 1975) and "Love So Right" (#3 in 1976). One of my favorite songs here is "Fanny (Be Tender with My Love)" which only went to #12 in 1976 but is a beautiful ballad worthy of greater attention. The Bee Gees were so huge at the time that they even managed to score a hit on the country chart: "Rest Your Love on Me," the b-side of "Too Much Heaven," peaked at #39 in 1979. I also really enjoy the non-hits, some of which were singles for others. "(Our Love) Don't Throw It All Away," for example, peaked at #9 in 1978 for their brother, Andy Gibb. In addition, two other songs from "Saturday Night Fever" are included: "If I Can't Have You" (#1 for 1 week in 1978 for Yvonne Elliman) and "More Than a Woman" (#32 in 1978 for Tavares). I particularly like "If I Can't Have You": their version adds some fantastic urgency to the lyrics - a really great song. Finally, some top-notch album cuts are here: "Love Me," "You Stepped Into My Life," and "Children of the World" (from 1976's "Children of the World"); "Spirits (Having Flown)" (from 1979's "Spirits Having Flown"); "Wind of Change (from 1975's "Main Course"). I'm really surprised that "Love Me" was never released as a single, as it sounds like a sure-fire hit. I really love "Greatest," and the Bee Gees have been enjoying a critical and popular rediscovery in recent years; they were even inducted into the Rock & Roll Hall of Fame in 1997. This collection, however, has gone out of print and been replaced by the subsequent "The Bee Gees - Their Greatest Hits: The Record," a 2-disc set with 40 songs. That collection comprises hits from their entire career, from "New York Mining Disaster" (#14 in 1967) to "Alone" (#28 in 1997). However, "Greatest" is much more focused on their disco era success and thus sounds very cohesive. -AMAZON.COM

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037 ROBERT PLANT ALISON KRAUSS - RAISING SAND

Perhaps only the fantasy duo of King Kong and Bambi could be a more bizarre pairing than Robert Plant and Alison Krauss. Yet on Raising Sand, their haunting and brilliant collaboration, the Led Zeppelin screamer and Nashville's most hypnotic song whisperer seem made for each other. This, however, is not the howling Plant of "Whole Lotta Love," but a far more precise and softer singer than even the one who emerged with Dreamland (2002). No matter that Plant seems so subdued as to be on downers, for that's one of the keys to this most improbable meeting of musical galaxies--almost all of it seems slowed down, out of time, otherworldly, and at times downright David Lynch-ian, the product of an altered consciousness. Yet probably the main reason it all works so well is the choice of producer T Bone Burnette, the third star of the album, who culled mostly lesser-known material from some of the great writers of blues, country, folk, gospel, and R&B, including Tom Waits, Townes Van Zandt, Milt Campbell, the Everly Brothers, Sam Phillips, and A.D. and Rosa Lee Watson. At times, Burnette's spare and deliberate soundscape--incisively crafted by guitarists Marc Ribot and Norman Blake, bassist Dennis Crouch, drummer Jay Bellerose, and multi-instrumentalist Mike Seeger, among others--is nearly as dreamy and subterranean as Daniel Lanois's work with Emmylou Harris (Wrecking Ball). Occasionally, Burnette opts for a fairly straightforward production while still reworking the original song (Plant's own "Please Read the Letter," Mel Tillis's "Stick with Me, Baby"). But much of the new flesh on these old bones is oddly unsettling, if not nightmarish. On the opening track of "Rich Woman," the soft-as-clouds vocals strike an optimistic mood, while the instrumental backing--loose snare, ominous bass line, and insinuating electric guitar lines--create a spooky, sinister undertow. Plant and Krauss trade out the solo and harmony vocals, and while they both venture into new waters here (Krauss as a mainstream blues mama, Plant as a gospel singer and honkytonker), she steals the show in Sam Phillips' new "Sister Rosetta Goes Before Us," where a dramatic violin and tremulous banjo strike a foreboding gypsy tone. When Krauss begins this strange, seductive song in a voice so ethereal that angels will take note, you may stop breathing. That, among other reasons, makes Raising Sand an album to die for. --Alanna Nash

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