der besten Australischen Band.
Da fragt man sich, warum diese Alben nur in Australien erschienen sind.
Wirklich klasse Songs, die keineswegs schlechter sind, als alles andere, was danach kam.

Die Lieder klingen absolut fantastisch, man merkt direkt, dass sie bearbeitet wurden. Der Klang ist spitze.

Ein grandioser Beginn einer der besten Bands der Welt.

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ST

Love it!

2017年2月17日にカナダでレビュー済み

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Arrived in time. Love it!

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Juan Jose Diaz Gonzalez

Los mejores.

2016年10月24日にスペインでレビュー済み

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¿Qué puede decirse de los Bee Gees?, soy un fan incondicional de este grupo y éste álbum triple merece la pena por la buena calidad de sonido.

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Amazon Customer

A Highly Interesting Release From Down Under With Their Early Down Under Recordings 1963-66 Before Fame

2016年3月20日に英国でレビュー済み

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As not all Bee Gees' fans know, before the Bee Gees returned to England for international stardom in early 1967, they already had a string of single releases and two albums released in Australia only, that were never released outside that country at that time. This was before their international fame. Their first album contained 14 tracks, of which only three were new, while the remaining tracks were taken from previous singles. But nearly a year after they left Australia, because they had already become international stars,boosting their popularity in Australia, their Australian label Festival who had released their early records on two of their subsidiary labels, Leedon and then Spin in Australia, cashed in by releasing a third album collecting their remaining tracks from those early singles that were not on the previous albums, plus three that were also on their first album, so all three albums contained all 35 previously released Australian tracks of theirs. This mini box contains CD replicas of all three albums each one in a mini replica sleeve which slide into a small box with a thin booklet inside. My complaint is that it is tight and they only barely slide in or out of the box. This is an Australian import on Festival, now part of Australian Warner Brothers. There was already a double CD on the same label, also in Australia - Brilliant From Birth, containing their entire Australian recordings from 1963-66, including all their previously unreleased tracks from this timeline, except a couple where the masters could not be found. Obviously, there are no classic hits of theirs here such as Massachusets, as the hits did not start to come out until the following year onward, after the group returned to England. But despite having that double CD, I am still glad I bought this, as I noticed that the following tracks all last a bit longer at the end here, before or as they fade at the end - Wine And Women, Children Laughing, I Want Home, You Wouldn't Know, & Spicks And Specks, the latter two each lasting about half a minute longer at the end, although Spicks And Specks lacks the snippet of studio chatter at the beginning here. These four tracks all give better sound quality here, likewise two other tracks I Am The World, & All Of My Life, as though original session tapes of these tracks may only recently have been found, as the sound quality of most of the remaining tracks is identical. But ironically, one of the other tracks, Cherry Red which was one of my favorite tracks, as it was such a beautiful song, I thought sounded better on the previous double CD, and I have compared all the tracks through headphones. But with both sides of their first two singles from 1963 which were the first four tracks on that double CD, because the recording equipment for those tracks was obviously poor, Festival have seemed to try to clarify their sound here by enhancing the bass and treble, but lowering the middle tone range, although with that double CD, one track - Take Hold Of A Star, the sound of it kept flickering from one speaker channel to the other, and another track Timber had a bit of sound flicker at the end, Both faults have been rectified here, possibly by using a mono switch, as the faults may have been due to tape condition. A further track Monday's Rain is a different take here, as this is the version that appeared on the Australian single that I bought a copy of through Ebay years ago, and on previous compilations, whereas the version on that double CD was an alternate take, but obviously from the same session, as both were similar. But if you listen carefully. as the track progresses, you will notice differences, as on this version, Robin Gibb sings lead on all verses. Both versions have an instrumental snippet between the second and last verse. But on the other version, Barry sings lead on the second verse. Also, Robin phrases an odd line differently here and there on each take, and the backing vocals are sung in slightly different tune here, with the backing melody of each line sung upwards instead of downwards as on the other take, which I slightly preferred. Another track, Playdown is also a different take here, but again, obviously from the same session as the other take. But this is not obvious until it gets halfway, as the wordless vocal passage in the middle is different, as here one of the group, possibly Robin sings bongs all the way through on that part, whereas on the other take, he sings arrhs on that part. You then realize they phrase an odd line differently, and then this take has an abrupt end, while the other take ends with a fade-out. Musically, The Bee Gees were learning their future craft back in these formative days of theirs. Their first Australian single Three Kisses Of Love sounded like an excellent three piece Everly Bothers, although Robin and Maurice sang back up, but their voices had obviously not yet broken. It is obvious that their musical influences were from this side of the globe, as they then became influenced by the British Invasion. But in 1965, Barry Gibb's songwriting was maturing, and so was the group's sound. Whereas from the previous year, I do not know what his lyrics I GET CLAUSTROPHOBIA, 'CAUSE THERE'S TOO MANY BOYS ON YOUR MIND really meant. But unfortunately, their Beatles influence became too obvious on many later tracks here, although fortunately, not all. But this, they rectified as soon as they returned to the UK for the big time. My favorite tracks here were the soulful How Love Was True on which they sounded like a cross between The Beatles and The Everly Brothers, Cherry Red, a beautiful and great song, the Robin Gibb led I Am The World, slightly inspired by Roy Orbison, and the highly soulful Born A Man on which they really let loose in parts. Also notable is their Hollies inspired Wine And Women, and another track - And The Children Laughing which sounded like their down-under answer to Barry McGuire's then-international hit Eve Of Destruction. After their Australian single Spicks And Specks got to number one there, they then returned to the UK for international success. Completists need to look no further than this and that double CD which you can still get cheaply from Amazon. You will not need the expensive companion CD to this, Morning Of My Life, as it only contains a few different tracks to this, which are some of the previously unreleased tracks on that double CD, together with a load of duplicates to this CD set. But avoid all those bootleg CDs on unfamiliar labels, each containing a selection of these tracks, as the tracks are always dubbed from previous vinyl or CD compilation, and their sound is always yack. But back to this set, although there may appear to be 38 tracks, as I implied, the last three tracks on the third album here are also on the first, so there are only 35 different tracks, which are their previously released tracks in Australia. But after they became huge worldwide stars, these tracks did not remain exclusive to the Australian market forever, because the label they signed to in the UK at the beginning of 1967, Polydor, back-released their then-final Australian single Spicks And Specks for the UK market about seven months after it's Australian release, through licence with the group's previous Australian Festival label. But despite UK airplay, it flopped over here. So Polydor immediately released their first UK recorded single New York Mining Disaster which gave them their international breakthrough, as it had a slightly more updated sound. Then about a year later, Polydor then cashed in on the group's success by doing another licence with Festival and releasing three cheap price albums by The Bee Gees in the UK, Rare Precious And Beautiful vols 1, 2 & 3 collecting all 35 of their previously released Australian tracks that were originally released only in Australia during the previous years, one track appearing on two of these albums to make 12 tracks on each. This was the first time that all but two of these early Australian tracks of theirs were released in the UK. During the late seventies when the Bee Gees became seemingly huger second time around, after reinventing themselves as the kings of Disco, these compilations were then reissued on the cheap price Pickwick label, also in the UK, as The Early Years vols 1, 2 & 3. But if you want more of their early Australian performances, you can pick up their live performances on various early Australian shows on Youtube from when the group were kids, performing songs such as their own Time Is Passing By, which they never recorded commercially, a remake of their own Don't Say Goodbye, plus songs they covered from this side of the globe, such as Sweets For My Sweet, I Want You To Want Me, Little Band Of Gold, Da Doo Ron Ron, Blowing In The Wind, Hilly Billy Ding Dong Choo Choo, and even their highly interesting live down-under reading of My Old Man's A Dustman. If you don't believe this, do yourself a favor, get on to Youtube and see how much of it you can listen to, the latter that is.

2人のお客様がこれが役に立ったと考えています

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lyakhov michael

Five Stars

2017年2月6日に英国でレビュー済み

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THANKS A LOT!

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Festival Album Collection

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