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Blue Weaver
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Key Information

Derek John "Blue" Weaver (born 11 March 1947) is a Welsh rock keyboardist, session musician, songwriter and record producer.

Career

[edit]

Weaver's career as a musician began as a co-founding member of 1960s Welsh rock band Amen Corner and its successor Fair Weather. In 1971, Weaver joined Strawbs after keyboardist Rick Wakeman departed to join Yes,[1] contributing notable keyboard and Mellotron parts on Grave New World and Bursting at the Seams, the bands' most successful and critically-acclaimed albums. Weaver left Strawbs in 1973 and toured with Mott the Hoople on their US tour with supporting act Queen.[2] The following year, he toured with Streetwalkers.

In 1975, former Amen Corner bandmate Dennis Bryon, who had begun playing drums in The Bee Gees backing band the year before, suggested Weaver as a replacement keyboardist for the band following the departure of Geoff Westley. The three-piece backing band of Weaver, Bryon and the perennial Bee Gees sideman, Alan Kendall, played on the Bee Gees' albums Main Course (1975), Children of the World (1976), Here at Last... Bee Gees... Live (1977), and Spirits Having Flown (1979), as well as the band's famous contributions on the Saturday Night Fever soundtrack, including songs like "Jive Talkin'" and "You Should Be Dancing".[3]

As a songwriter and composer, Weaver was credited as a co-composer on Andy Gibb's hit song, "(Our Love) Don't Throw It All Away", as well as songs for Jimmy Ruffin's 1980 album Sunrise with Robin Gibb as lyricist, including the top 10 hit single, "Hold On To My Love”. Weaver composed the soundtrack for the film Times Square, again collaborating with Robin Gibb on Gibb's duet with Marcy Levy, "Help Me". In the 1980s, Weaver worked as a session player for the Pet Shop Boys.[3]

As of 2009, Weaver was a director and supporter of the Music Producers Guild.

References

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Blue Weaver

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Blue Weaver, born Derek John Weaver on March 11, 1947, in , , is a Welsh rock keyboardist, , songwriter, and renowned for his contributions to multiple gold and platinum records across genres. Weaver began his career in the mid-1960s as a founding member of the band Amen Corner, with whom he achieved success on the charts, including hits like "(If Paradise Is) Half as Nice." After Amen Corner disbanded in 1970, he joined Fair Weather briefly before replacing in the progressive rock band from 1971 to 1973, contributing to albums such as From the Witchwood and Grave New World. In 1974, he toured the with , and later reunited with Strawbs for various periods, including 1983, 1993, 2019, and 2023. From 1975 to 1982, Weaver served as a key session musician and arranger for the Bee Gees, playing on their landmark Saturday Night Fever soundtrack and co-composing tracks like "Songbird," which helped secure six consecutive Billboard #1 hits and eight simultaneous Top 10 entries on the US charts. His extensive session work extends to collaborations with artists including Stevie Wonder, Lou Reed, Chicago, the Pet Shop Boys, and Wu-Tang Clan, amassing credits on records heard by tens of millions worldwide. Weaver has also produced albums for Strawbs, such as Settlement and The Magic Of It All, both reaching #2 on progressive rock charts, and has been a patron of the Music Producers Guild since November 2010.

Early life and education

Childhood in Cardiff

Derek John Weaver was born on 11 March 1947 in , . Around 1963, he adopted the nickname "Blue," which has persisted throughout his career. Weaver's early exposure to music began in childhood when he started lessons at the age of 10, continuing them until he was 15. This foundational training sparked his interest in keyboards, leading him to experiment with instruments like the , , and organs. As a teenager, he immersed himself in 's burgeoning local music scene, performing his first gig at age 15 in the city's Drill Hall with a band called The Insects (or Insex). From 1962 to 1965, Weaver played keyboards with several amateur outfits in , most notably Brother John & The Witnesses, alongside future collaborator on drums; he also contributed to groups like Lawrence & the Arabians and The Intellectuals. These experiences honed his skills amid a vibrant but insular scene dominated by covers and local gigs. However, the limited opportunities and competitive nature of 's music environment posed significant challenges, including financial instability that left aspiring musicians like Weaver struggling to make ends meet. These hardships motivated his decision to relocate to in 1964 at age 17, seeking broader prospects in the music industry. This move marked the end of his formative years in and paved the way for more structured musical education.

Musical training

During his teenage years, Blue Weaver studied to build a strong foundational understanding of musical structure and composition. This training complemented his practical experience, as he began taking lessons at age 10 and continued them until age 15, developing core keyboard techniques under guided instruction. Weaver further honed his proficiency on both and organ through a combination of these lessons and dedicated self-practice, gradually mastering the nuances of keyboard performance. His style was notably shaped by early influences from and , particularly his admiration for , which he regarded as one of London's premier outfits; living in the flat below Money, Weaver would listen to him play the and for hours, absorbing improvisational and rhythmic elements that informed his own approach. In local Cardiff settings during the early 1960s, Weaver gained initial session-like experiences by playing keyboards in informal groups and at music stores, such as Gamlin's, starting at age 15; these opportunities allowed him to apply and refine his technical skills in real-world scenarios before venturing further. These foundational abilities ultimately facilitated his relocation to and integration into emerging professional circles like Amen Corner.

Professional career

1960s: Amen Corner and Fair Weather

Blue Weaver moved to in 1964, where he endured significant hardships, including starving for a year and sleeping on the floor of a flat shared with Canadian guitarist Steve Hammond, who supported them with his day job. In 1965, Weaver co-founded the Welsh rock band Amen Corner in alongside vocalist Andy Fairweather-Low and other local musicians, marking his entry into professional music; the group's first gig outside occurred at the Pavilion. As the band's keyboardist, playing instruments such as the and organs, Weaver helped shape Amen Corner's R&B-tinged pop-soul sound amid the tail end of the era. Amen Corner achieved commercial success with several UK hit singles in the late 1960s, including "Gin House Blues" (peaking at No. 12 in 1967), "Bend Me Shape Me" (No. 3 in 1968), "High in the Sky" (No. 6 in 1968), "(If Paradise Is) Half as Nice" (No. 1 for two weeks in 1969), and "Hello Suzie" (No. 4 in 1969). The band toured extensively across Europe, sharing stages with prominent acts such as Jimi Hendrix, Pink Floyd, The Who, The Kinks, The Small Faces, Traffic, and Deep Purple, which amplified their visibility and honed their live performance style. These successes established Amen Corner as a key player in the UK's pop-rock scene, blending soulful arrangements with energetic rock elements. In 1970, Weaver departed from Amen Corner following internal changes and co-founded the short-lived band Fair Weather with Fairweather-Low, Clive Taylor, and Neil Jones. As organist, Weaver contributed to Fair Weather's debut single "Natural Sinner," which reached No. 6 on the UK Singles Chart in 1970 and exemplified their continuation of a soul-infused pop-rock approach. The band's lone album, Beginning from an End, followed but failed to sustain their momentum, leading to its dissolution by 1971. Amen Corner's achievements in the provided Weaver with a platform that later facilitated his explorations in during the 1970s.

1970s: Strawbs, Mott the Hoople, and Bee Gees

In 1971, Blue Weaver joined the progressive folk-rock band as their keyboardist following the departure of , contributing keyboards, organ, piano, harmonium, , and to their album Grave New World (1972). He also played on the follow-up Bursting at the Seams (1973), where his keyboard arrangements added texture to tracks like the hit single "Part of the Union," which reached number 2 on the UK Singles Chart. Weaver's work on Grave New World included prominent parts on the single "Lay Down," a top-20 hit that showcased the band's evolving blend of folk and progressive elements. During 1972 and 1973, Weaver balanced his commitments with session work, providing grand piano on T. Rex's hit "Bang a Gong (Get It On)" from their 1971 Electric Warrior. He also contributed piano and keyboards to Lou Reed's (1973), enhancing the 's orchestral rock sound on tracks like "Berlin" and "Caroline Says II." Weaver left in 1973 to tour with as their organist, joining them for a tour where Queen served as the opening act; his work appears on their live Mott the Hoople Live (1974). In 1974, he had a brief stint touring with , the rock band formed by former members and Charlie Whitney, contributing keyboards during their early performances. In 1975, Weaver joined the Bee Gees' touring and recording band, providing keyboards and synthesizers (including ARP 2600 and Moog) on their album Main Course, which marked their shift toward a funkier, R&B-influenced sound with hits like "Jive Talkin'." He continued with Children of the World (1976), where his synthesizer layers supported tracks such as "You Should Be Dancing," and the live album Here at Last... Bee Gees... Live (1977), co-producing both. Weaver's keyboard contributions extended to the Saturday Night Fever soundtrack (1977), playing on multiple Bee Gees tracks including "Stayin' Alive," "Night Fever," and "How Deep Is Your Love," as well as Yvonne Elliman's "If I Can't Have You." During a peak week in early 1978, Weaver appeared on several of the US Top 10 singles, largely due to the soundtrack's dominance with Bee Gees-related releases. He wrapped his Bee Gees tenure with keyboards, piano, synthesizers, and vibraphone on Spirits Having Flown (1979), co-producing the album that yielded hits like "Tragedy" and "Love You Inside Out."

1980s and beyond: Session work and production

After departing from the in 1982 following their collaborative sessions through the late 1970s, Blue Weaver returned to and transitioned into a prolific freelance career as a session , leveraging the sophisticated production techniques he had honed during his time with . His session work in the encompassed a diverse array of artists, including performances and programming for the on their debut album (1986) and their initial live shows using the sampler, as well as contributions to recordings by , , , , , The Damned, , , , and . Weaver's involvement extended to notable 1980s film projects, such as contributing to the soundtrack for Absolute Beginners (1986), produced by Palace Pictures, where he provided keyboard arrangements amid the album's ensemble of pop and jazz performers. In parallel, he took on production roles, co-producing Jimmy Ruffin's 1980 album Sunrise with , which featured the hit single "Hold On (To My Love)" that Weaver co-wrote and reached number 10 on the Hot 100. His compositional work for television advertisements further diversified his output, including music for campaigns like Labatts beer and jingles, culminating in a Local Emmy Award for his score to a Calder Racetrack advertisement aired in and New York. In the 2000s, Weaver participated in reunion tours with the , rejoining the 1973 lineup augmented by guitarist Brian Willoughby for a successful tour that included a performance at the Queen Elizabeth Hall in April 2000, reviving classics from their era. By 2000, he had joined the Music Producers Guild's Education Committee to support music production training initiatives, later serving as a director of the organization by 2009 to advocate for industry standards and , and became a patron in November 2010. Continuing into later years, Weaver incorporated modern studio technology into his live performances, adopting Gig Performer software around 2019 to emulate the vintage keyboard sounds from his and days during tours, using a streamlined rig with a Yamaha CP4 for enhanced portability and fidelity.

Songwriting and compositions

Key songwriting credits

Blue Weaver's songwriting contributions span pop and soul genres, often in collaboration with members of the , resulting in several chart successes and enduring tracks. During his tenure as a and arranger for the in the mid-1970s, Weaver co-wrote key songs that became staples of their repertoire, including "" from the 1975 album , co-authored with Barry, , and , and "The Way It Was" from the 1976 album , co-written with Barry and . His most notable Bee Gees-era credit came with "(Our Love) Don't Throw It All Away," co-written with in 1977 during sessions for , which was later released as a hit single by in 1978, reaching the top 10 on the and earning a BMI Million-Air award for over one million U.S. radio performances. In 1980, Weaver composed the complete original score for the film Times Square, including thematic elements that underscored the movie's narrative of youthful rebellion in , blending rock and orchestral motifs to complement the punk and new wave soundtrack. He also co-wrote the "Help Me!" for the film's soundtrack with , performed by and Marcy Levy, which served as a poignant highlighting the story's emotional core. That same year, Weaver partnered with to co-write "Hold On to My Love" for Jimmy Ruffin's Sunrise, a soulful that peaked at number 10 on the and marked Ruffin's comeback hit, with Weaver and Gibb also handling production. Their collaboration extended to several other tracks on the , such as "Night of Love," "Searchin'," "Changin' Me," "Two People," and "Jealousy," all co-composed by Weaver and , infusing the project with a sophisticated pop-soul sound.

Film and advertisement scores

Blue Weaver composed the original score for the 1980 film , directed by , providing thematic underscore and instrumental elements that complemented the movie's punk and new wave aesthetic. His contributions extended to producing the , where he handled keyboards and co-wrote tracks such as "Help Me!" with , performed by Gibb and Marcy Levy. The album featured original themes alongside performances by artists including , whose cover of "" integrated with Weaver's scoring to enhance the film's rebellious narrative. In 1986, Weaver contributed to the soundtrack of Absolute Beginners, a musical drama directed by , where he provided keyboard arrangements and distinctive sound effects, including a notable solo for Pictures. These elements supported performances by major artists such as , whose title track benefited from Weaver's instrumental layering, and helped define the film's vibrant atmosphere. Weaver's work in television advertisements marked a significant expansion into commercial composition during the , exemplified by his score for the Calder Racetrack ad, which earned him a Local Emmy Award in for outstanding music achievement. This project highlighted his ability to craft concise, evocative pieces for broadcast media, blending orchestral and electronic elements to promote the racetrack's excitement. From the 1980s onward, Weaver shifted toward versatile scoring beyond band performances, creating music for additional advertisements, corporate videos, and films, including sound effects collaborations with composers like and on projects such as the 1991 film . This phase underscored his adaptability in producing targeted, high-impact audio for visual media, often incorporating synthesizers and custom effects to meet diverse production needs.

Discography

Album contributions

Blue Weaver's contributions as a and performer appear on numerous albums, reflecting his versatility across , glam, disco, and pop genres during his tenure with bands and as a . His work with the marked a pivotal shift toward more folk-prog arrangements, while his Bee Gees era helped define their signature sound in the mid-1970s. Beyond these, Weaver's session appearances added textural depth to iconic releases by other artists, often on keyboards, piano, and synthesizers.

Strawbs Albums

Weaver joined the in 1971, contributing keyboards to three key albums that blended , and progressive elements. On From the Witchwood (1971), he provided keyboards, supporting the band's transition from earlier lineups. His role expanded on Grave New World (1972), where he played keyboards, organ, piano, harmonium, , and , enhancing the album's orchestral textures. For Bursting at the Seams (1973), Weaver handled keyboards throughout, contributing to the record's commercial breakthrough with tracks like "Part of the Union."

Bee Gees Albums

During his time as a core member of the Bee Gees' backing band from 1975 to 1980, Weaver's keyboard and synthesizer work was integral to their disco-era evolution. On Main Course (1975), he played keyboards and synthesizers (including ARP 2600 and Moog), helping pivot the group toward funkier rhythms. Children of the World (1976) featured his keyboards and synthesizers, bolstering hits like "You Should Be Dancing." The Saturday Night Fever soundtrack (1977) included Weaver on keyboards, synthesizers, and grand piano for several tracks, cementing the Bee Gees' cultural impact. Finally, Spirits Having Flown (1979) showcased his synthesizers, piano, keyboards, vibraphone, and ARP, underpinning the album's global success.

Session Albums

Weaver's session work extended to high-profile glam and soul projects. He contributed keyboards to T. Rex's The Slider (1972), adding to the album's swaggering sound on tracks like "Telegram Sam." For Lou Reed's Transformer (1972), Weaver played keyboards, complementing the production by David Bowie and Mick Ronson. In the 1980s, he served as producer and programmer (including Fairlight CMI) for Pet Shop Boys' early albums, including Please (1986), where his contributions supported their synth-pop aesthetic. Additionally, on Jimmy Ruffin's Sunrise (1980), Weaver handled keyboards and synthesizer, co-producing alongside Robin Gibb.

Other Notable Appearances

Weaver appeared on 's live album Mott the Hoople Live (1974), recorded during their 1973-1974 U.S. tour, playing organ and keyboards to amplify the band's raw energy. He also contributed keyboards to ' debut album Streetwalkers (1974), supporting the group's edge post-Family. Later, Weaver appeared on the Absolute Beginners soundtrack (1986), enhancing the film's eclectic musical tapestry with artists like and Sade.

Solo releases and productions

Weaver's solo discography remains limited, with no full-length albums released under his own name, though his production work in the late 1970s and 1980s marked a significant shift toward independent projects outside band affiliations. In 1980, he co-produced Jimmy Ruffin's album Sunrise alongside Robin Gibb, contributing keyboards, string arrangements, and co-writing key tracks such as "Hold On (To My Love)," which became a notable single blending soul and disco elements. Recorded at Criteria Studios in Miami and Kingdom Sound in New York, the album showcased Weaver's ability to integrate electronic keyboards with R&B vocals, resulting in a cohesive sound that highlighted Ruffin's expressive range. That same year, Weaver served as the primary and for the to the Times Square, a punk-infused drama directed by . His contributions included original score elements and co-production of the "Help Me!" performed by and Marcy Levy, which added a pop urgency to the album's eclectic mix of new wave and rock tracks from artists like The and . Released on as a , the emphasized Weaver's versatility in bridging narrative with commercial music appeal. Throughout the decade, he also engaged in session production for various artists and ventured into commercial music, creating jingles and advertisement soundtracks that applied his keyboard expertise to concise, memorable formats. More recently, in the , Weaver has utilized software like Gig Performer to digitally recreate his classic keyboard sounds from and other projects, facilitating archival live performances and tributes without new formal releases. As of the , Weaver continues to perform live, including tours with tribute acts like the Italian , but has not released new solo or production albums.

References

  1. https://www.discogs.com/artist/176446-Blue-Weaver
  2. https://blueweaver.com/
  3. https://www.blueweaver.com/mobile/mobbiog.html
  4. https://www.strawbsweb.co.uk/hist/weaver.asp
  5. https://www.feenotes.com/database/artists/weaver-blue-11th-march-1947-present/
  6. https://www.discogs.com/artist/72152-Amen-Corner
  7. https://www.officialcharts.com/artist/13054/amen-corner/
  8. https://www.officialcharts.com/charts/singles-chart/19700830/7501/
  9. https://www.godsjukebox.com/leejohnson/fair-weather-natural-sinner/
  10. https://www.strawbsweb.co.uk/albtrack/gnw/gnw.asp
  11. https://www.blueweaver.com/albumInfo.htm
  12. https://www.qobuz.com/us-en/interpreter/strawbs/129683
  13. https://www.mixonline.com/recording/classic-tracks/classic-tracks-t-rexs-bang-gong-get-it-372872
  14. https://bestclassicbands.com/bee-gees-main-course-review-8-6-20/
  15. https://www.sessiondays.com/2022/12/1977-soundtrack-saturday-night-fever/
  16. https://www.beegees.com/1978-year-bee-gees/
  17. https://www.udiscovermusic.com/stories/bee-gees-spirits-having-flown-album/
  18. https://www.discogs.com/release/1247094-Jimmy-Ruffin-Hold-On-To-My-Love
  19. https://www.mixonline.com/the-wire/blue-weaver-reprises-his-sounds-from-classic-hits-with-gig-performer
  20. https://www.discogs.com/release/19261447-Andy-Gibb-Our-Love-Dont-Throw-It-All-Away-One-More-Look-At-The-Night
  21. https://chartts.tripod.com/AIR/usair1mr.htm
  22. https://www.imdb.com/name/nm0915815/
  23. https://www.discogs.com/release/6483405-Various-The-Original-Motion-Picture-Soundtrack-Times-Square
  24. https://secondhandsongs.com/work/136974/all
  25. https://www.forbes.com/sites/davidchiu/2020/09/29/times-square-a-forgotten-punk-and-new-wave-movie-soundtrack-turns-40/
  26. https://www.discogs.com/release/1379179-Jimmy-Ruffin-Sunrise
  27. https://www.allmusic.com/artist/blue-weaver-mn0000064916
  28. https://www.discogs.com/release/1355589-Jimmy-Ruffin-Sunrise
  29. https://www.imdb.com/title/tt0081635/soundtrack/
  30. https://www.discogs.com/release/20720683-Various-The-Original-Motion-Picture-Soundtrack-Times-Square-
  31. https://www.facebook.com/groups/johneinarsonremembers/posts/2441217766213030/
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