Dee Gees / Foo Fighters – Hail Satin
Roswell Records – 19439-88410-1, RCA – 19439-88410-1
Vinyl, LP, Album, Limited Edition
Record Store Day 2021 (Drop 2) exclusive of 12,000 copies.
Mastered At – Sterling Sound
Lacquer Cut at – Sterling Sound
Lacquer Cut By – RKS
Mastered By – Randy Merrill
Issued in "Dazzling Rainbow Mylar Sleeve."
Flat-edged disc pressing.
Includes insert with photo and credits, with cat. # 19439-88410-1I1.
Matrix / Runout (Side A label): 19439-88410-1SA
Matrix / Runout (Side B label): 19439-88410-1SB
Matrix / Runout (Side A runout): 19439-88410-1A (3) RKS STERLING
Jul 17, 2021
Rock, Funk / Soul
Disco, Alternative Rock, Garage Rock, Blues Rock
A1 Dee Gees – You Should Be Dancing
A2 Dee Gees – Night Fever
A3 Dee Gees – Tragedy
A4 Dee Gees – Shadow Dancing
Written-By – Andy Gibb, Barry Gibb, Maurice Gibb, Robin Gibb
A5 Dee Gees – More Than A Woman
B1 Foo Fighters – Making A Fire
B2 Foo Fighters – Shame Shame
B3 Foo Fighters – Waiting On A War
B4 Foo Fighters – No Son Of Mine
B5 Foo Fighters – Cloudspotter
Side A is a tribute by Foo Fighters to Bee Gees. Side B are live tracks from Medicine At Midnight.
Tracks A1 to A5: Recorded at Studio 606 in Northridge CA
Tracks B1 to B5: Recorded Live at Studio 606, Northridge, CA
Performer – Dee Gees (2) (tracks: A1 to A5), Foo Fighters (tracks: B1 to B5)
Performer [Dee Gees] – Chris Shiflett, Dave Grohl, Nate Mendel, Pat Smear, Rami Jaffee, Taylor Hawkins
Performer [With] – Barbara Gruska, Greg Kurstin (tracks: A1 to A5), Laura Mace, Samantha Sidley, Violet Grohl (tracks: B1 to B5)
Songwriter – Foo Fighters (tracks: B1 to B5)
Written-By – Barry Gibb, Maurice Gibb, Robin Gibb (tracks: A1 to A3, A5)
"Recorded with one-man multi-platinum mint Greg Kurstin, the veteran band’s stab at the Bee Gees’ nuke-proof 1976 hit—the first in a run of disco-pop smashes that would appear on the next year’s gazillion-selling Saturday Night Fever soundtrack—is muscular but essentially faithful. When Grohl channels Barry Gibb’s horndog dancefloor exhortations (“My woman gives me pow-wah!”), it feels as self-consciously silly as disco’s monocultural phase gave audiences a license to be, from Studio 54 to suburban strip malls. Thoroughly harmless, it’s kind of a hoot. It would’ve made a fine novelty single." (Pitchfork)