It was ultimately used as part of the soundtrack to the film Saturday Night Fever. It was a number three hit in the United Kingdom and Australia. This song spent 19 weeks in the top-ten after the introduction of Nielsen Soundscan in allowed singles to achieve longer runs on the charts.
It spent six weeks atop the US adult contemporary chart. It is listed at number 22 on the 55th anniversary edition of Billboard's All Time Top Following mixing for Here at Last Bee Gees Live , they began recording songs for what was to be the follow-up studio album to 's Children of the World. Then the call came from Robert Stigwood requesting songs for a movie he was producing. Barry worked out the melody with keyboard player Blue Weaver , though he is not credited officially as a songwriter here.
Co-producer Albhy Galuten later admits the contribution of Weaver on this track, "One song where Blue [Weaver] had a tremendous amount of input. There was a lot of things from his personality.
That's one where his contribution was quite significant, not in a songwriting sense, though when you play piano , it's almost like writing the song. Blue had a lot of influence in the piano structure of that song". He said, 'Play the most beautiful chord you know', and I just played, what happened was, I'd throw chords at him and he'd say, 'No, not that chord', and I'd keep moving around and he'd say, 'Yeah, that's a nice one' and we'd go from there. Then I'd play another thing - sometimes, I'd be following the melody line that he already had and sometimes I'd most probably lead him somewhere else by doing what I did.
I think Robin came in at some point. Albhy also came in at one point and I was playing an inversion of a chord, and he said, 'Oh no, I don't think it should be that inversion, it should be this', and so we changed it to that, but by the time Albhy had come in, the song was sort of there. Albhy played piano on the demo, I'd drunk too much or gone to bed or something. Then I woke up the next morning and listened to that, and then put some strings on it and that was it.
Then we actually recorded it for real in Criteria. The chords and everything stayed the same, the only thing that changes from that demo is that when we got to Criteria, I worked out the electric piano part which became the basis of the song. It was the sound of the piano that makes the feel of that song. We didn't change any lyrics, mind you, but the way we recorded it was a little different than the way we wrote in the terms of construction.
A little different for the better, I think, the title 'How Deep Is Your Love' we thought was perfect because of all the connotations involved in that sentence, and that was simply it". There was some talk of Yvonne Elliman recording "How Deep Is Your Love," but, according to Barry, their manager Robert Stigwood said, "You've got to do this song yourself, you should not give it to anybody". Even most of the backing vocals were done by Barry, such that Robin and Maurice are barely heard in the mix, even though they are there.
Despite this, Robin sings the melody for the chorus and audibly sings various ad libs during this song. Two music videos were made for this song. In one the precursor to the main music video released later , the brothers are shown singing while an image of a woman shows throughout the video.
Barry Gibb had his beard shaven off in this video, as in the " Night Fever " video. In this video Barry Gibb is bearded. On the Cashbox charts on the week 4 February , when it was at 13, the soundtrack's second single " Stayin' Alive " was at 1 with "Night Fever" debuted at 71 on the same week. With all the new wave and punk rock out, I would have thought something like 'How Deep Is Your Love' wouldn't have a chance.
We always kept going forward and we're getting stronger every day". Billboard described the song as a "a warm tender ballad," saying that after a slow beginning it grows to a "heightened expressive delivery. At the time of both award ceremonies, the song was still in the Top 10 on the Billboard Hot chart.
At trial, the jury returned a finding for Selle. The Bee Gees attorney immediately asked for judgment notwithstanding the verdict. The basis for the motion was that Selle had failed to show, as was required by the law, that the Bee Gees had prior access to his song. Even Selle had admitted that he'd sent out his demo tape to only a few recording companies, none of whom did business with the Bee Gees. Selle also admitted that there were some similarities between his song and several Bee Gee compositions that predated his song by several years, as well as similarities with the Beatles song " From Me to You " written by John Lennon and Paul McCartney under Lennon-McCartney.
The judge ruled in favour of the Bee Gees. Selle appealed the ruling, but it was upheld by the Seventh Circuit Court of Appeals which agreed that Selle had not proven his case.
Take That 's version was released as a single from their Greatest Hits compilation in The single went on to become what was to be the band's final UK number one until their comeback single " Patience " a decade later. The song stayed at number one in the UK charts for three weeks.
The single sold , copies and has received a Platinum sales status certification in the UK. In , they recorded an updated version with Barry Gibb. The music video saw the four members of the band tied to chairs and in a basement. A blonde woman with heavy mascara actress and model Paula Hamilton walks into the basement and circles the four members individually pulling their hair.
She then puts them all into her van and drives down the motorway. She stops by a reservoir and has the four members placed on the edge, she points at each member before grabbing Gary 's rope and pushes him back still holding on.
Her fingers slip through the rope and he falls backwards into the reservoir, still tied to the chair. She initially looks shocked but then smirks. From Wikipedia, the free encyclopedia. Main article: Selle v. Retrieved 9 August London: Guinness World Records Limited.
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