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Bee Gees 'I've Gotta Get a Message To You' (Alternate Mix)

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"I've Gotta Get a Message to You" (original mix) is a song recorded by the Bee Gees in 1968, which became their second number-one single on the UK Singles Chart, and reached number eight on the US pop chart. In the United Kingdom the song was released as a single only.
"I've Gotta Get a Message to You" has appeared in five versions all made from the same recording, but heard at three different speeds, faded out at three different points, and with different elements mixed forward. As to the speed, Bill Inglot said in 1999 that the mix he made for the Tales from the Brothers Gibb box in 1990 is at the correct real tape speed. This speed is intermediate between the mono and stereo mixes released in 1968. To correct the speed, play the mono single mix at 98.8% and the LP stereo mix at 103.0%, which brings them to the correct timing.
The first mix to appear was the mono mix for the single, followed closely by a stereo mix that appeared on North American copies of the Idea album. The two sound very different. For most of the song the album mix has percussion effects and string overdubs not heard (or barely heard) in the single mix. In the ending, most of the second pass through the chorus (2:28-2:37 at the correct speed) has lead vocal in the album mix but wordless backing vocal in the single mix, until at 'hold on' they resume the same vocal tracks. The slower album mix is shorter because it fades out much sooner, 4 seconds sooner at the speed given, or 11 seconds sooner at corrected speed. At 2:45 (correct speed) fans hear a spoken 'save your voice' in the stereo album mix, and also less distinctly in the Tales from the Brothers Gibb mix.
During preparation of The Studio Albums 1967-1968 box set, another mix from 1968 was discovered, a mono mix that sounds like the 1968 stereo mix. Since the North American Idea LP was released only in stereo, this companion mono mix was never released. It plays faster than the stereo mix, but that is true of all the mono mixes for Idea.
MORE about this song from All Music Guide:
Here's a great slice of pop melodrama from the early Bee Gees. Of course, the group of brothers Barry, Robin, and Maurice Gibb later became identified with the disco craze of the 1970s due to their monumental Saturday Night Fever (1977) soundtrack, but the Bee Gees always showed as much, if not more of a talent for melody as for groove. And yet, even their folk-pop songs grooved with an understanding of R&B and soul, as demonstrated here on "I've Gotta Get a Message to You."
Released on the 1968 LP Idea, "I've Gotta Get a Message to You" features the same sort of mid- to late-'60s soul shuffle as their single "To Love Somebody," released a year before. The chorus melody is particularly infectious, with the group's famous harmonies already in evidence. The tastefully orchestrated song is a great burst of British Invasion-era pop, complete with an uplifting key modulation. Barry and Robin's lead vocals flutter with emotion, while Maurice and Barry (or Robin) harmonize phonetically in the background on the verses.
This sort of once-common melodrama is sadly absent from pop music now. Sure, we have histrionics and some sort of false rage (a sort of melo-rage?), but that has displaced the goofy but compelling narratives from the likes of Bread, Gilbert O'Sullivan, and Andrew Gold, the high-drama pop/country-song story tradition that can be traced even further back than the 1960s-era "Leader of the Pack." The Gibbs sing from the perspective of a condemned prisoner. Referring to a preacher, the prisoner sings: "I told him I'm in no hurry/But if I broke her heart, then won't you tell her I'm sorry/And for once in my life I'm alone/And I gotta let her know/Just in time before I go/I've just gotta get a message to you/Hold on, hold on/One more hour and my life will be through/Hold on, hold on." But the lyric goes astray in a few of the verses, making little, if any sense, merely rhyming: "Well, I laughed but that didn't hurt/And it's only her love that keeps me wearing this dirt/Now I'm crying, but deep down inside/Well, I did it to him now it's my turn to die."
"I've Gotta Get a Message to You" has appeared in five versions all made from the same recording, but heard at three different speeds, faded out at three different points, and with different elements mixed forward. As to the speed, Bill Inglot said in 1999 that the mix he made for the Tales from the Brothers Gibb box in 1990 is at the correct real tape speed. This speed is intermediate between the mono and stereo mixes released in 1968. To correct the speed, play the mono single mix at 98.8% and the LP stereo mix at 103.0%, which brings them to the correct timing.
The first mix to appear was the mono mix for the single, followed closely by a stereo mix that appeared on North American copies of the Idea album. The two sound very different. For most of the song the album mix has percussion effects and string overdubs not heard (or barely heard) in the single mix. In the ending, most of the second pass through the chorus (2:28-2:37 at the correct speed) has lead vocal in the album mix but wordless backing vocal in the single mix, until at 'hold on' they resume the same vocal tracks. The slower album mix is shorter because it fades out much sooner, 4 seconds sooner at the speed given, or 11 seconds sooner at corrected speed. At 2:45 (correct speed) fans hear a spoken 'save your voice' in the stereo album mix, and also less distinctly in the Tales from the Brothers Gibb mix.
During preparation of The Studio Albums 1967-1968 box set, another mix from 1968 was discovered, a mono mix that sounds like the 1968 stereo mix. Since the North American Idea LP was released only in stereo, this companion mono mix was never released. It plays faster than the stereo mix, but that is true of all the mono mixes for Idea.
MORE about this song from All Music Guide:
Here's a great slice of pop melodrama from the early Bee Gees. Of course, the group of brothers Barry, Robin, and Maurice Gibb later became identified with the disco craze of the 1970s due to their monumental Saturday Night Fever (1977) soundtrack, but the Bee Gees always showed as much, if not more of a talent for melody as for groove. And yet, even their folk-pop songs grooved with an understanding of R&B and soul, as demonstrated here on "I've Gotta Get a Message to You."
Released on the 1968 LP Idea, "I've Gotta Get a Message to You" features the same sort of mid- to late-'60s soul shuffle as their single "To Love Somebody," released a year before. The chorus melody is particularly infectious, with the group's famous harmonies already in evidence. The tastefully orchestrated song is a great burst of British Invasion-era pop, complete with an uplifting key modulation. Barry and Robin's lead vocals flutter with emotion, while Maurice and Barry (or Robin) harmonize phonetically in the background on the verses.
This sort of once-common melodrama is sadly absent from pop music now. Sure, we have histrionics and some sort of false rage (a sort of melo-rage?), but that has displaced the goofy but compelling narratives from the likes of Bread, Gilbert O'Sullivan, and Andrew Gold, the high-drama pop/country-song story tradition that can be traced even further back than the 1960s-era "Leader of the Pack." The Gibbs sing from the perspective of a condemned prisoner. Referring to a preacher, the prisoner sings: "I told him I'm in no hurry/But if I broke her heart, then won't you tell her I'm sorry/And for once in my life I'm alone/And I gotta let her know/Just in time before I go/I've just gotta get a message to you/Hold on, hold on/One more hour and my life will be through/Hold on, hold on." But the lyric goes astray in a few of the verses, making little, if any sense, merely rhyming: "Well, I laughed but that didn't hurt/And it's only her love that keeps me wearing this dirt/Now I'm crying, but deep down inside/Well, I did it to him now it's my turn to die."
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