Tag Archives: Barry Gibb

Thursday, April 12, 2018

Kennedy Center Honors: Our top 50 recommendations who need to be chosen include Dick Van Dyke, Liza Minnelli, Jessica Lange, Bette Midler

Mister D: Ok, I admit that I’m prejudiced, but this list could be whittled down in seconds for me. My standards are high, well in some things, and some of these people don’t really belong on this list.

Gold Derby
Kennedy Center Honors: Our top 50 recommendations who need to be chosen include Dick Van Dyke, Liza Minnelli, Jessica Lange, Bette Midler
Chris Beachum
April 11, 2018 6:00AM

The next recipients for the Kennedy Center Honors will be announced in the late summer, often around Labor Day. The all-star event is held each year in the nation’s capital during the first weekend in December and then airs on CBS as a two-hour special after Christmas. Read More

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Friday, December 8, 2017

The Greatest Ears In Town (Bette Midler and Marc Shaiman)

Here’s a song many may not know about. It was written by Bette Midler, Barry Gibb (from the Bee Gees, and Marc Shaiman (Bette’s long time piano accompanist and co-writer, and dear friend. It was written as a tribute to Arif Mardin, the producer, who was very instrumental in her recording career. He died shortly after the release of the album in 2006. It was called “All My Friends Are Here.” A documentary was released, as well, entitled “The Greatest Ears In Town. You should check out both. Don Read More

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Friday, September 22, 2017

Bette Midler and Nona Hendryx (Labelle) First met in a gay bathhouse

New York Post
Bette Midler and Nona Hendryx first met in a gay bathhouse
By Hardeep Phull
September 18, 2017

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Most music fans know Nona Hendryx as a member of Labelle, the trio of divas who scored a No. 1 hit in 1974 with “Lady Marmalade.” But the 72-year-old soul sister has worked with everyone from Keith Richards to the Talking Heads over her illustrious career.

For her latest project, she’s working with guitarist Gary Lucas to reinterpret the complex but brilliant experimental rock of Captain Beefheart (they play Joe’s Pub on Wednesday). Here, the long-time Upper West Side resident tells Hardeep Phull about her New York weekends. Read More

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Wednesday, July 24, 2013

BetteBack January 14, 1981: “The Rose” Receives Grammy Nods

Twin Falls Times News
January 14, 1981

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-•NEW YORK (UPI) – Singer composer Christopher Cross, the recording industry’s most rapidly rising star, put a virtual hammerlock on the 23rd annual Grammy Award sweepstakes Tuesday, racking up seven nominations to head a pack of 305 entries.

Veterans Barbra Streisand, who teamed with Barry Gibb for her latest output, and Frank Sinatra also were frontrunners in the competition, finals of which will be telecast live from Radio City Music Hall Feb. 25 by CBS. Read More

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Wednesday, March 30, 2011

BetteBack: Grammys 1981

Mister D: That year, 1981, at the Grammys, Christopher Cross walked away with every major award – never to be heard of again. Bette won for Best Female Vocalist for “The Rose.” She was also a no show.

The Chronicle Telegram
This year’s Grammy Awards may play sentimental favorites
By JACK LLOYD
2-25-1981

Those who have expressed fears that the 1980’s would be a woefully soft period in the evolution of pop music will find little to change their minds in pondering the nominations for this year’s Grammy awards. Read More

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Saturday, December 4, 2010

Hollywood Reporter: Joe Mardin Talks About the Grammy-Nominated Doc ‘Greatest Ears In Town’


The Hollywood Reporter
Arif Mardin’s Son Talks About the Grammy-Nominated Doc ‘Greatest Ears In Town’
2:06 PM 12/3/2010 by Shirley Halperin

With the 2006 passing of Arif Mardin came the end of an era — gone were the days of the in-house producer (Mardin relished in that title, one of several he held during his three decades at Atlantic Records, then at Blue Note-Manhattan in the last years of his life), the analog recording process, and, some might argue, the craft of a true vocal performance.
Indeed, when it came to singers, Arif Mardin, who produced award-winning albums for the likes of the Bee Gees, Bette Midler, Carly Simon, and Norah Jones, was known to have the Greatest Ears in Town, an apt title for the Grammy-nominated documentary chronicling the final months of his life, when he undertook one of the most ambitious projects of his 50-year career, All My Friends Are Here, his first “solo album” since 1974’s Journey. Read More

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Monday, June 14, 2010

Review: All My Friends Are Here

Jazz Times
Mardin Magic: A Tribute to Producer Arif Mardin
Christopher Loudon on All My Friends Are Here, a tribute to the late Arif Mardin

Unintentionally of course, Arif Mardin crafted his own eulogy. Naturally, given Mardin’s stature as arguably the most accomplished arranger/producer of the past half-century — the genius responsible for everything from Dusty Springfield’s landmark Dusty In Memphis to Barry Gibb’s career-altering falsetto, the stratospheric launch of the Average White Band and the equally meteoritic blast-off of Norah Jones — it is shaped of music. Mardin aptly referred to what would ultimately become All My Friends Are Here (NuNoise Records) as his “life’s work.” Begun in 2005 and completed by his son and co-producer Joe after Mardin’s death, in June 2006 at age 74 of pancreatic cancer, it is an incomparably rich, atmospheric celebration of all aspects of the 12-time Grammy winner’s vibrant life and career. Indeed, it is not too early to cite All My Friends Are Here as a prime contender for album of the year honors. Read More

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Saturday, May 15, 2010

All My Friends Are Here

Reuters
Music stars pay tribute to producer‘s love of jazz
Evie Nagy
Fri May 14, 2010 10:04pm EDT

NEW YORK (Billboard) – Arif Mardin may not be a household name, but he worked with more than a few familiar faces who are.

In his 40-plus years with Atlantic and Manhattan Records, before his death in June 2006, the Turkish-born producer/arranger was responsible for hits from stars including Bette Midler, Aretha Franklin, Chaka Khan, Hall & Oates, Norah Jones and Willie Nelson. He also won 12 Grammy Awards and is credited with encouraging Barry Gibb to use the falsetto that would propel the Bee Gees’ sound in the disco era. Read More

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