Bee Gees Albums (24)
'This Is Where I Came In'
Release Date 4/2/2001
Tracks 26
Label Polydor
See Album Tracklist and Review
What The Critics Say
There is a reason why the Bee Gees have been around for decades, successfully making music -- they are innovative craftsmen, who have carved out and maintain a signature sound, while having the ability to adapt to the times that they find themselves composing in. The Bee Gees -- brothers Maurice, Barry, and Robin Gibb -- are profoundly creative and have a gift for writing good songs, whether they are radio friendly (usually the case) or a bit off the beaten path. The Gibbs see music as if viewed through a kaleidoscope. The result is magical, tuneful, and colorful music -- with a mainstream sensibility. That said, on their 28th studio album, This Is Where I Came In, the Bee Gees, again, inspire audiences with their ability to make music that is fresh, yet familiar, and ahead of their peers in terms of sound, song structure, and style. The album's title and opening song instantly recalls the Beatles in their later years, and combines late-'60s British rock with crafty funk guitar playing. It's no wonder, too; according to the album's accompanying press, Maurice Gibb plays an acoustic guitar given to him by John Lennon on this song. The Bee Gees offer a nod to other musicians, as well, such as the Talking Heads and the Kinks on "She Keeps on Coming," which is an entirely jubilant listen. Audiences looking for that classic light and airy Bee Gees sound will best find it on the tracks "Loose Talk Costs Lives," "Sacred Trust," and "Wedding Day," all a wonderful tribute to the types of songs that established them as pop culture icons. Edgier fare is found on the urgent "Voice in the Wilderness," with its contemporary electronica and warbled guitar sounds, and "Déjà Vu," which is rich in slick hooks and crafty sound bites. Not many musicians could pull off placing a Dixieland-style song on an album in 2001. However, this is the Bee Gees, and not only does "Technicolor Dreams" work, but it is arguably the best song on the album. With its toe-tapping, enchanting clarinet solo and charming lyrics, "Technicolor Dreams" personifies how music is seen through the eyes of a Gibb. And listeners are fortunate for this Bee Gees-eye view. ~ Liana Jonas, All Music Guide
What The Critics Say
On November 14, 1997, the Bee Gees reunited for a concert at the MGM Grand in Las Vegas. This was the Gibb brothers' first show in ten years, and the concert sold out in a hurry. The burning question was whether or not the chemistry would still be there, and thankfully, it was. After being aired on HBO on Valentine's Day 1998, the Vegas performance found its way onto CD when One Night Only was released in the fall of 1998. The Bee Gees generally sound inspired during their performance, which ranges from gems from their late-'70s disco period (including "Stayin' Alive," "You Should Be Dancin'," "Nights on Broadway," and "Tragedy") to early hits like "New York Mining Disaster 1941," "How Can You Mend a Broken Heart," and "Massachusetts." While their band could have been a lot grittier and less precise and clean-sounding -- especially on the funkier material -- the Bee Gees distinctive vocals aren't anything to complain about. Although not perfect, One Night Only is a release that Bee Gees enthusiasts will definitely want. ~ Alex Henderson, All Music Guide
What The Critics Say
As if they finally realized that they couldn't quite compete with contemporary musical fashions any more, the Bee Gees moved firmly into "mature" territory with Still Waters. However, they are canny enough to realize that they shouldn't abandon the frothy disco that made them superstars in the late '70s -- they should merely temper it with measured rhythms and tasteful melodies. Consequently, nothing on Still Waters is infectious, but it is pleasant, and while only a handful of singles stand out -- "I Could Not Love You More" is a sweet ballad -- it is still a fine, professional effort from these consummate professionals. ~ Stephen Thomas Erlewine, All Music Guide
'Size Isn't Everything'
Release Date 9/20/1993
Tracks 11
Label Polydor
See Album Tracklist and Review
What The Critics Say
The Bee Gees made a commercial comeback outside the U.S. with 1987's E.S.P. and its single, "You Win Again." One, on the other hand, had an improved chart showing in the U.S., while sales fell off elsewhere. The Bee Gees are remarkable pop craftsmen -- "It's My Neighborhood" is a canny, if blatant, rewrite of Michael Jackson's "Beat It," for example, and it only reminds you that Jackson's falsetto whoops owe something to Barry Gibb. And, say what you will, "One" and "House of Shame" are convincing pop music. ("One" was a Top Ten comeback hit that topped soft rock radio playlists.) This stuff works as pop for the same reason "I've Gotta Get a Message to You" and "You Should Be Dancing" did: the melodies are catchy, the hooks are deathless, and the vocals convey emotion over meaning. It may be weightless, but it's polished. ~ William Ruhlmann, All Music Guide
What The Critics Say
This sequel to Saturday Night Fever lacked the box-office clout of the original, and the soundtrack album was likewise a disappointing seller, but it actually contains some of the better Bee Gees work of the '80s, notably the sad ballad "Someone Belonging to Someone." ~ William Ruhlmann, All Music Guide
What The Critics Say
In terms of hit singles and precise musical vision, it would have been difficult for anyone to have to follow-up the brilliant Spirits Having Flown album, but these industry veterans created a real gem in Living Eyes which seems to have gotten lost in the maze that is their deep catalog. The title track is almost up there with "Spirits Having Flown," which is significant praise, and the song "Paradise" follows suit, pretty and passionate. "Don't Fall in Love With Me" has all three Bee Gees brothers contributing to this ballad with their trademark highly creative hooks. The one downer, unbelievable as it seems, is the hit single "He's a Liar." It just doesn't make it -- odd vocals on a theme which goes nowhere. Nicking the Top 30 in October of 1981, well after "Love You Inside Out," their final (and questionable) number one hit, the tune disrupts their staggering array of wonderful singles. To stay off the charts for two and a half years might have been fallout from the Sgt Pepper film debacle; though the successful Spirits Having Flown came after that non-epic, it all added up to massive overexposure. The victim of too much airplay (or too much heaven) was this very decent and highly listenable album. "I Still Love You" has Robin Gibb in classic Bee Gees form with lush arrangements and production. There is even additional information included on the inner sleeve regarding the consoles used in recording and the wardrobe person, as well as photos of co-producers Albhy Galuten and Karl Richardson. The album exhibits the opulence enjoyed by the brothers on the front, back cover, and inside gatefold -- regal photos which are enhanced by the fact that the boys had the chops to back it up. "Wildflower," not the 1973 hit by Skylark but a brilliant original with folky overtones, really should have been the single. How it didn't hit for the Bee Gees or the popular acts they were working with -- Kenny Rogers and Dolly Parton in 1982 and Dionne Warwick in 1983 -- is evidence of the richness of their songbook. Barry Gibbs' lead on "Nothing Could Be Good" is so perfectly adult contemporary, a song written by Galuten and the three brothers, it is just stunning that they did nothing with it and that this beautiful work is so forgotten. A song from the Staying Alive film soundtrack went Top 25 in 1983, and in 1989 they broke the Top Ten with "One," but there is no reason for such time in between hits. "Cryin' Every Day" has it, another brilliant hook accompanied by dramatic production; the title track has it; and Barry Gibbs' ethereal and dreamy conclusion to this disc, "Be Who You Are," has it. A strong work by a classic group which is worth hearing again. Truly the weakest track is the hit single "He's a Liar," which must have contributed to this album getting lost in the shuffle. ~ Joe Viglione, All Music Guide
What The Critics Say
Spirits Having Flown is regarded today as something of a letdown, representing the tail-end of the Bee Gees' period of greatest success, perhaps because it preceded a two-year layoff that, in turn, heralded a decline in their fortunes. At the time, however, no one heard anything less than what they expected -- beautiful slow dance numbers ("Too Much Heaven," "Love You Inside Out"), achingly gorgeous romantic numbers ("Reaching Out"), soaring ballads ("Spirits (Having Flown)"), and pounding dance-rock numbers ("Tragedy"). If a few songs on the LP's second side, like "Stop (Think Again)" or "Search, Find," weren't quite up to that high standard, even the latter song displayed dazzling interwoven vocals on the choruses (which were pretty infectious) that made the trip worthwhile. The record showcased the usual superb singing, and featured the most delicate and ambitious production and arrangements in their history. It may have lacked the spirit of freedom and experimentation found on Main Course or Children of the World, but in its place was a boldness that manifested itself not only in the singing, but also the most intricate and ambitious production and arrangements of the group's entire history. This was also the first Bee Gees album to get serious airplay on black radio stations, a major breakthrough for the trio and one of the last bits of unfinished business in the group's move into soul music, which also likely helped -- along with three chart-topping singles, the major tour that followed, and the network television special in the wake of the tour -- in propelling Spirits Having Flown to 35 million sales. ~ Bruce Eder, All Music Guide
