1 - Little Miss Rhythm & Blues       play
2 - The Battle Of The Blue And Grey
3 - Three Kisses Of Love
4 - Timber
5 - Take A Hold Of That Star
6 - Don´t Say Goodbye
7 - Peace Of Mind
8 - Claustrophobia
9 - Could It Be
10 - Turn Around And Lool At Me
11 - Theme From Jamie Mc Pheeters
12 - Everyday I Have To Cry
13 - You Wouldn´t Know
14 - Wine And Woman
15 - Follow The Wind                 play
16 - I Was A Lover A Leader Of Men
17 - And The Children Laughing
18 - I Don´t Think It´s Funny
19 - How Love Was True
20 - To Be Or Not To Be
21 - Cherry Reed

The elder Gibb brothers were born on the Isle of Man, but the family returned to father Hugh Gibb's home town of Chorlton cum Hardy, Manchester, England, in the early 1950s where the boys began to sing in harmony. On one occasion, the boys were going to lip sync to a record in the local Gaumont cinema (as other children had done on previous weeks), but as they were running to get there Maurice dropped the record and it broke. Now having no record, the brothers sang live and received such a positive response from the audience that they decided to pursue a singing career.

In 1958, the Gibb family, including infant brother Andy (born 5 March 1958 in Manchester, England), emigrated to Redcliffe in Queensland, Australia. The still very young brothers began performing where they could to raise pocket change. First called the Rattlesnakes, later Wee Johnny Hayes & the Bluecats, they were introduced to radio DJ Bill Gates by racetrack promoter Bill Goode (who saw them perform at Brisbane's Speedway Circuit). Gates renamed them the "Bee Gees" after his and Goode's initials – thus the name was not specifically a reference to "Brothers Gibb", despite popular belief.

By 1960, the Bee Gees were featured on television shows, and in the next few years began working regularly at resorts on the Queensland coast. Barry drew the attention of Australian star Col Joye for his songwriting, and Joye helped the boys get a record deal with Festival Records in 1963 under the name "Bee Gees." The three released two or three singles a year, while Barry supplied additional songs to other Australian artists.

A minor hit in 1965, "Wine and Women", led to the group's first LP The Bee Gees Sing and Play 14 Barry Gibb Songs. By late 1966, the brothers decided to return to England, while the rest of their family stayed in Australia. They were not confident, however, of success in England as Barry told a friend, Steven Spence, later of Lloyds World, that they would be back next year. While at sea in January, 1967, they heard that "Spicks and Specks", a #1 hit in October 1966 had been awarded Best Single of the Year by Go-Set, Australia's most popular and influential music newspaper.

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1 - I Want Home
2 - Monday´s Rain
3 - All Of My Life
4 - Born A Man
5 - Big Chance
6 - How Many Birds
7 - Playdown
8 - Second Hand People
9 - I Don`t Know Why I Bother With Myself
10 - Jingle Jangle
11 - Tint Of Blue
12 - Where Are You
13 - Glass House
14 - Can´t You See That´s She´s Mine
15 - From Me To You           play
16 - Yesterday´s Gone
17 - Just One Look
18 - In The Morning
19 - Like Nobody Else
20 - Daydream                 play
21 - Lonely Winters

Before their departure from Australia to England, Hugh Gibb sent demos to Brian Epstein who managed The Beatles and was director of NEMS, a British music store and promoter. Brian Epstein had passed the demo tapes to Robert Stigwood, who'd recently joined NEMS. After an audition with Stigwood in February 1967, the Bee Gees were signed to a five-year contract whereby Polydor Records would be the Bee Gees' record label in the United Kingdom, and ATCO Records would be the United States distributor. Work quickly began on the group's first international album, and Robert Stigwood launched a promotional campaign to coincide with its release.

Stigwood proclaimed that the Bee Gees were "The Most Significant New Talent Of 1967" and thus began the immediate comparison to The Beatles. Their second British single (their first UK 45 rpm issued was "Spicks and Specks"), "New York Mining Disaster 1941", was issued to radio stations with a blank white label listing only the song title. Some DJs immediately assumed this was a new Beatles' single and started playing the song in heavy rotation. This helped the song climb into the Top 20 in both the United Kingdom and the United States. No such chicanery was needed to boost the Bee Gees' second single, "To Love Somebody", into the US Top 20. Originally written for Otis Redding, "To Love Somebody" was a soulful ballad sung by Barry, which has since become a pop standard covered by hundreds of artists including Gram Parsons, Rod Stewart, Janis Joplin, The Animals, Nina Simone, and Michael Bolton. Another single, "Holiday" was released in the United States, peaking at #16. The parent album, the erroneously titled Bee Gees 1st, peaked at #7 in the United States and #8 in the United Kingdom.

Following the success of Bee Gees 1st, the band (which now consisted of Barry on rhythm guitar, Maurice on bass, Vince Melouney on lead guitar and Colin Petersen on drums), began work on the act's second album. Released in late 1967, Horizontal repeated the success of their first album, featuring the #1 UK single "Massachusetts" (a #11 US hit), and the #7 UK single "World". The sound of the album Horizontal had a more "rock" sound than their previous release, though ballads like "And The Sun Will Shine" and "Really And Sincerely" were also prominent. The Horizontal album reached #12 in the US, and #16 in the UK promoting the record, the Bee Gees made their first appearances in America, playing live concerts and television shows such as The Ed Sullivan Show and Laugh In.

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01 - You´re The Reason           play
02 - Coalman
03 - Butterfly
04 - Storm
05 - Lum De Loo
06 - You´re Nobody Till Somebody Loves You
07 - You Won´t See Me
08 - The End
09 - I´ll Know What To Do
10 - All By Myself
11 - Ticket To Ride
12 - I Love You Because
13 - Paperback Writer
14 - Somewhere
15 - The Twelfth Of Never
16 - Forever
17 - Top Hat
18 - Hallelujah I Love Her So      play
19 - Terrible Way To Treat You Baby
20 - Exit Stage Right
21 - I Am The World
22 - Spicks And Specks

No popular music act of the '60s, '70s, '80s, or '90s attracted a more varied audience than the Bee Gees. Beginning in the mid- to late '60s as a Beatlesque ensemble, they quickly developed as songwriters and singers to create a style of their own that carried them from psychedelia to progressive pop. Then, after hitting a popular trough, they reinvented themselves as perhaps the most successful white soul act of all time. What remained a constant throughout their history is their extraordinary singing, rooted in three voices that were appealing individually and melded together perfectly.

The group was also music's most successful brother act. Barry Gibb, born on September 1, 1946, in Manchester, England, and his fraternal twin brothers Robin Gibb and Maurice Gibb, born on December 22, 1949, on the Isle of Man, were three of five children. The three of them gravitated toward music, encouraged by their father, who saw his sons at first as a diminutive version of the Mills Brothers. The three Gibb brothers made their earliest performances at local movie theaters in Manchester in 1955, singing between shows. The family moved to Australia in 1958, resettling in Brisbane. Now known as the Brothers Gibb -- with Barry writing songs -- they attracted the attention of a local DJ, and eventually got their own local television show. It was around this time that they took on the name the Bee Gees (for Brothers Gibb). The trio was astoundingly popular in the press and on television, but actual hit records eluded them.

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01. To Love Somebody (3:01)
02. Massachusetts (2:24)
03. Words (3:16)
04. I've Gotta Get A Message To You (3:04)
05. I Started A Joke (3:08 )
06. First Of May (2:49)
07. How Can You Mend A Broken Heart (3:58 )
08. Run To Me (3:07)
09. Stayin' Alive (4:44)
10. Night Fever (3:31)
11. More Than A Woman (3:14)
12. How Deep Is Your Love (4:01)
13. Love So Right (3:33)
14. Too Much Heaven (4:56)
15. Love You Inside Out (4:09)
16. Our Love Don't Throw It All Away (4:06)
17. For Whom The Bell Tolls (3:55)
18. Closer Than Close (4:36)
19. Emotion (3:38 )
20. Tragedy (5:03) 

Just about every Bee Gees fan who starts talking about the band starts all of his monologues with more or less the following phrases: 'Nowadays, the Bee Gees are unfairly associated with the late-Seventies disco movement, gold medallions on hairy chests, leisure suits and Saturday Night Fever. But how fair is this unjust association? We should not blame the Bee Gees for disco. They only had some disco albums, and they weren't the worst of the lot'.

This is not completely true, of course. We should blame the Bee Gees for disco; after all, it wasn't their promoter who penned 'Stayin' Alive' and 'Night Fever'. And alas, whatever lies in the future, the Bee Gees will be associated with the disco craze and the disco craze only for millions of years to come; so far, few albums have beaten the Saturday Night Fever soundtrack saleswise. But then again, many people associate the Beatles with 'Yesterday', the Who with 'Pinball Wizard', and Rod Stewart with 'Do Ya Think I'm Sexy'. Are all these songs the artists' best achievements? Definitely not, even if 'Pinball Wizard' is a magnificent composition and 'Sexy' is a very so-so exercise in Latino-disco hybridizations. It's up to the considerably more wise and rational public to sort out things, and I hope that this page will do the Bee Gees a favor, because they are certainly a band to be reckoned with.

The Gibb brothers (along with the Wilsons, probably the most famous 'family combo' in the world of pop music) weren't big innovators in the world of pop, sure enough. Then again, neither was David Bowie. What the brothers always had for them, and to a certain extent, have preserved up to the present day, is an incredible knack for writing solid pop melodies (something which the above-mentioned David Bowie never had, by the way). This is a plus. Another plus is the brothers' vocal talents: while their harmonies leave a lot to be desired, both Robin and Barry had tremendous singing voices, and were undeniably in the same league with Britain's (not to mention Australia's) best vocalists of both the Sixties and the Seventies... until, of course, they traded everything in for the irritating falsettos on their disco records.

Yet another plus is the brothers' chameleonic nature, a thing that, this time around, really unites them with David Bowie. They didn't have any inspiring musical ideas of their own, but they were excellent at imitating every other genre available and beefing it up with their melodic instincts. It's obvious that the brothers' strongest talents were always in writing melodramatic balladry - and at their peak (the 1967-71 years) they were probably the only band in the world that could get away with including sweeping string arrangements on every second song on an album and not end up sounding completely corny. But they also tried their hand at many different styles, ranging from psychedelia to bluesy roots-rock, and their mimicry was so perfect you could hardly tell it from the real thing.

Which brings us to the point - what was the Bee Gees' 'real thing'? The brothers are often accused of 'faux-soul' singing and cheap fakery, but I find all these accusations unjust. For one, the Bee Gees aren't any more 'faux-soul' than the entire Motown scene, and their composing skills were always holding up to, and often surpassing, those of the best Motown songwriters. And they were certainly more real than the usual soul scene, simply because they were writing all their compositions themselves, a point that's often missed. They hardly ever did covers - on the other hand, they served as prolific 'cover deliverers' themselves, as early as 1967-1968, and in the sheer number of occasions of their material's coverage by other artists stand more or less in the same row with the Beatles and Dylan. Maybe their work lacks sincerity; it certainly does, because aping and sincere composition rarely go hand in hand. But, like I said, similar accusations can be thrown at David Bowie and God knows who else.

So let's just cut the crap and admit the following points. The Bee Gees were prime composers and singers, even if they preferred to work within given formulas rather than create their own ones. The Bee Gees often demonstrated stupid lapses of taste, but that's only to be expected if you're working within such a dangerous genre as lush pop balladeering. The Bee Gees are sleazy, slick and phoney, but they compensate for it with incredibly catchy melodies and a great entertaining instincts: even the worst Bee Gees records are still pretty interesting to listen to.

And what about the disco horrors? Well, for starters, one must remember that the Bee Gees didn't exactly 'jump on the disco bandwagon', as they say. It has been rightly pointed out that if Saturday Night Fever had never taken off and 'Stayin' Alive' hadn't turned out to be played every ten minutes on every radio station, the Bee Gees might have been glorified, not anathemyzed, for disco. Before 1977, they were its 'underground heroes' (yeah, that's right, there was a period when disco was underground. Those were the days, eh?), and were actually one of the very first bands to try their hand at a then new and exciting genre. And, like it happens oh so often, a genre might be horrendous, but its forefathers are often genial; some of the Bee Gees' disco stuff has aged far better than your average heavy cock rock of the mid-Seventies like Aerosmith, if only because it was kinda, well, you could say 'groundbreaking' for the time. I am, of course, not a big fan of the brothers' disco compositions, and I sure wish they'd diversify their singing at that point instead of chiming in that abominable falsetto on all the tracks, but, like I said, some of the stuff is well worth trying at least once.

After the disco period, the band had reverted to its AOR formulas, putting out loads of crap interspersed with some good material, but, of course, it was sorta late - from now on, they would only be 'Stayin' Alive'. A pity, because in that way it turned out that many of their excellent early albums are out of print and hard to find. They're well worth hunting for, though.

I'm not sure if I'm going to review the band's entire catalog - after all, such occupations can get a bit nauseating - but I'm glad to have a big chunk of their early records. So if you're willing to give the lads a try, just buy the Bee Gees' First and proceed carefully from there. Good luck to you.

Lineup: Barry Gibb - guitar, vocals; Maurice Gibb - vocals; Robin Gibb - vocals; Vince Melouney - guitar; Colin Peterson - drums. Melouney and Peterson quit by the end of the Sixties, leaving the brothers to go on as a trio. Robin fell out in the end of 1969, leaving Barry and Maurice as a duo, then returned in 1971 after a briefly successful couple of solo albums. Geoff Bridgeford on drums and Alan Kendall on guitar also formed part of the band for a brief while in the early Seventies. After that, the Bee Gees went on steadily as a trio and, as far as I know, are still going steady. ---starling.rinet.ru

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01. Odessa (City On The Black Sea) – 7:33
02. You'll Never See My Face Again – 4:16
03. Black Diamond – 3:27
04. Marley Purt Drive – 4:26
05. Edison – 3:05
06. Melody Fair – 3:48
07. Suddenly – 2:28
08. Whisper Whisper – 3:24
09. Lamplight – 4:47
10. Sound Of Love – 3:27
11. Give Your Best – 3:26
12. Seven Seas Symphony – 4:11
13. I Laugh In Your Face – 4:09
14. Never Say Never Again – 3:26
15. First Of May – 2:48
16. The British Opera – 3:16

Personnel:
- Barry Gibb - lead vocals (02,04-06,08,10,11,13-15), guitar, acoustic guitar (04)
- Robin Gibb - lead vocals (01,03,09), organ, piano (03), mellotron (03)
- Maurice Gibb - lead vocals (07), bass, piano, guitar, Spanish guitar (01), mellotron (02)
- Colin Petersen - drums
- Vince Melouney - guitars (04,05,08,10,11)
+
- Bill Keith - banjo (04,11)
- Tex Logan - fiddle (11)
- Paul Buckmaster - cello (01)
- Robin Stigwood – producer

When Barry Gibb sings, ''How can you tell that humans are real?'' you know that we're not in Kansas anymore. We are in Odessa, the lavish 1969 double album that prompted Robin Gibb's temporary departure, and the one which pundits are often keen to promote as their baroque masterpiece.

In 1968, like many of their contemporaries, the Bee Gees felt the need to experiment as befitted serious songwriters. In this they were encouraged by manager Robert Stigwood to indulge their creative instincts to the max with a collection running to over an hour. A single, First Of May, with Barry's achingly forlorn lead vocals, hit the Top Ten, as did the parent album, just like Bee Gees records were supposed to do. However, once the public opened up the expensively packaged velvet gatefold sleeve, the contents failed to find favour.

The poor showing for its 1970 follow-up, Cucumber Castle, suggests that punters were truly scared off by the cracked and kooky eclecticism which Odessa represents. The presence of over-inflated, psuedo-cinematic arrangements, instrumental tracks, the opening narration of the title track, and ambiguous lyrics throughout (''You said Goodbye/I declared war on Spain'' from Never Say Never Again), all suggests a wavering, self-conscious grasp at some kind of proto-concept album. Now reissued and given the Deluxe treatment, disc one has a airy stereo mix in which Bill Sheperd's opulent orchestrations dominate. What Disc Two's mono version lacks in supposed hi-fidelity, it compensates by pulling everything into more readily digestable foreground.

However, the most fascinating aspect of the reissue is disc three, Sketches for Odessa. Lasting over 70 minutes we hear demo tracks from the very first sessions cut in New York in between live dates in the USA, alternate mixes and two complete tracks that never made the final cut.

Absorbing the orchestral strains of Scott Walker's increasingly remote output, co-opting The Band's Music From Big Pink, or The Beatles' White Album, Odessa was a clearly a product of its times, whose sense of sprawling ambition was matched only by its failure to recognise its limitations.

Whilst there's some good writing on it, it's also true that this is spread perilously thinly. Falling somewhat short of the hyperbole that heralds any present-day discussion of the record, like nearly every double album ever released, there's probably a great single album lurking between the filler. ---Sid Smith, BBC Review

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01 - This Is Where I Came In
02 - She Keeps on Coming
03 - Sacred Trust
04 - Wedding Day
05 - Man in the Middle
06 - Deja  Vu               play
07 - Technicolor Dreams     play
08 - Walking on Air
09 - Loose Talk Costs Lives
10 - Embrace
11 - The Extra Mile

Personnel
Barry Gibb - guitar (tracks 1, 3-4, 7, 9), lead vocals (tracks 1, 3-4, 7, 9, 11-12)
Robin Gibb - lead vocals (tracks 1-2, 4, 6, 10, 11)
Maurice Gibb - keyboards (tracks 3-5, 8), guitar, (tracks 1-5, 8-9), lead vocals (tracks 5 and 8)
Joe Barati - trombone (track 11)
Tim Barnes - viola
Matt Bonelli - bass guitar - (tracks 4, 7, 9, 12)
Neil Bonsanti - clarinet (track 7)
Jason Carder - trumpet (track 11)
Hui Fang Chen - violin (track 11)
David Cole - cello (track 11)
Gustavo Correa - violin (track 11)
Dwayne Dixon - french horn (track 11)
Orlando Forte - violin (track 11)
Ken Faulk - trumpet (track 11)
Chris Glansdorp - cello (track 11)
Jim Hacker - piccolo trumpet (track 11)
Jon Hutchinson - trombone (track 11)
Alan Kendall - guitar (tracks 1-2, 4, 7, 9, 11-12)
Eric Kerley - french horn (track 11)
John Knicker - trombone (track 11)
Mel Mei Luo - violin (track 11)
Robbie Mackintosh - guitar (track 6)
Cheryl Naberhaus - french horn (track 11)
Alfredo Olivia - violin & concert master
Chauncey Patterson - viola (track 11)
Chocolate Perry - bass (tracks 1-2, 9, 11)
Steve Rucker - drums (tracks 1-2, 4, 7, 9, 11-12)
Ben Stivers - keyboards (tracks 4, 7, 9), piano (track 7), organ (track 10)
Peter-John Vettese - progamming and backing vocals (tracks 6 and 10)
Mariusz Wojtowics - violin (track 11)

Every time the brothers Gibb make another LP, the word is that they are going to return to the brilliant, crystalline pop with which they began in 1962-1972. It does make for a tasty proposition: Masters of early-'60s Merseybeat and late-'60s psych-pop, the Aussie teen sensations returned to their native England and wrote and recorded 12 indelible rock/pop hits from 1967-1972, all with fantastic three-part harmonies, as well as seven inspired LPs. So when one notes this album's title and the cover photo of the Bee Gees as teens, it's clear what the Gibbs intend, but they come up woefully short. Probably the best LP they've given in three decades, since Trafalgar and To Whom It May Concern, but that still says so pitifully little. It's shot down by '90s/'00s overproduction and Barry Gibb's penchant for oversinging; even when he writes a whimsical little "When I'm 64"/"Honey Pie" dance-hall pop tune such as "Technicolor Dreams," he still can't stop himself from trilling with all that bogus, phony air, where once he nailed such material with his natural voice. Worse, the LP is sabotaged by limpid, edge-less, polite production, so sanitized and squishy and mushy it's like aural wallpaper. The guitars have no bang, the keyboards are facile, the drums too mechanical, the bass too relegated to the background. In short, it's so over-stylized, there's no longer any there there. This is too bad, because their old songwriting knack isn't entirely absent. There's no "World," "Lemons Never Forget," or "Please Read Me," but the highlight title track racked up some deserved adult contemporary play (and some great, vintage singing from Robin Gibb), and the verses of "She Keeps on Coming" and "Walking on Air," and the choruses and bridges of "Wedding Day" and "Man in the Middle" are fine -- showing that with less sappy production, less overdramatizing, and/or a younger, grittier backing band, these three nice men might have been justly hailed again for something more than being has-been heritage artists. They can still sing instinctive harmonies like few others, and they can still write, but this is just another bad Bee Gees record. --- Jack Rabid, All Music Guide

Zespół Bee Gees wciąż w dobrej formie, choć kariera grupy trwa już grubo ponad 40 lat! Prace nad najnowszą płytą braci Gibb, "This Is Where I Came In", trwały prawie trzy lata. Album jest wycieczką przez wieloletnie muzyczne inspiracje Anglików, ale podczas nagrywania kolejnych premierowych piosenek nie zapomnieli oni również, by przypodobać się młodszym pokoleniom słuchaczy.

This Is Where I Came In is the Bee Gees' twenty-second studio album, released in 2001. It was the final album released by the group before the death of brother Maurice Gibb in 2003, and the only album of all-new material released by Universal Music. The album peaked at no.6 in the UK, while the single, "This Is Where I Came In", reached no.18. In the US, the album peaked at no.16. The group appeared on the A&E concert series Live by Request in April, 2001 to promote the new album.

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Disc: 1
01. Jive Talkin
02. Night Fever
03. Tragedy
04. You Should Be Dancing
05. Stayin Alive
06. How Deep Is Your Love
07. Love So Right
08. Too Much Heaven
09. Our Love Don t Throw It All Away
10. Fanny (Be Tender With My Love)
11. Warm Ride
12. Stayin Alive

Disc: 2
01. If I Can t Have You
02. You Stepped Into My Life
03. Love Me
04. More Than A Woman
05. Rest Your Love On Me
06. Nights On Broadway
07. Spirits (Having Flown)
08. Love You Inside Out
09. Wind Of Change
10. Children Of The World
11. You Should Be Dancing
12. If I Can t Have You
13. How Deep Is Your Love
14. Night Fever

The Bee Gees were a British singing group consisting of three brothers: Barry Gibb and twins Robin Gibb and Maurice Gibb. Not only were they successful in their own right, with seven Grammys to their name, their body of work has been re-interpreted by a huge variety of other artists, from Elvis and Dolly Parton to Billy Corgan and Feist. Of their 35 albums, 200 million copies have been sold, and most have hit the UK and US charts.

Though they were born on the Isle of Man, they had emigrated to Australia by the time Robin and Maurice were nine years old, in 1958. Even from a young age the brothers were singing together in harmony. By 1960 they were singing on television shows and in 1963 they secured a record deal. Barry Gibb and the Bee Gees Sing and Play 14 Barry Gibb Songs was released in 1965 and proved to be a minor success, with "Spicks and Specks" hitting No.1 in Australia.

In 1966 they returned to Britain, intending to capitalize on the burgeoning music scene of the time. By the following year they were on Top of the Pops having released Bee Gees First and finding success with the singles "New York Mining Disaster 1941", "Holiday" and "To Love Somebody". Within a year they had released three albums and had six hit singles, but the release of their two disc Odessa was a stress too far for the brothers and they split for 15 months.

In 1971, the reunited Bee Gees had a US No.1 with "How Can You Mend a Broken Heart?", and then "Run to Me" was a UK Top 10 hit. But soon the band felt themselves stuck in a rut, unsure of which direction to take next. They moved to the United States and tried soul music, and then got interested in the burgeoning disco scene. Main Course (1975) was a minor hit, and "Jive Talkin'" topped the Hot 100, encouraging the Bee Gees that disco was the way to go. "You Should Be Dancing" was another chart-topper as Children of the World (1976) further established the Bee Gees pop-disco credentials.

Their fame went through the roof when they were heavily featured on the Saturday Night Fever (1977) soundtrack. Three of the Bee Gees' songs from it all went to No.1 in the US, and the film itself was a huge hit. The album sold over 40 million copies worldwide, making it one of the biggest-selling LPs ever, but the decline of the disco era marked a similar decline in the fortunes of the Bee Gees, though they were by no means 'washed-up'. They continued to release albums into the 80s and 90s and they also wrote and produced songs for other artists.

Their last album was This Is Where I Came In (2001). Two years later, Maurice died and the spirit of the group died with him, despite initial protestations that they would soldier on without him. Since then, Barry and Robin have continued to work independently, and with other artists. ---amazon.com

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01. Tragedy    [0:05:05.68]
02. Too Much Heaven    [0:04:58.35]
03. Love You Inside Out    [0:04:13.07]
04. Reaching Out    [0:04:07.45]
05. Spirits (Having Flown)    [0:05:22.08]
06. Search, Find    [0:04:16.22]
07. Stop (Think Again)    [0:06:41.23]
08. Living Together    [0:04:24.00]
09. I'm Satisfied    [0:03:58.47]				play
10. Until    [0:02:28.45]						play

Personnel
    Barry Gibb - Guitar, Vocals
    Robin Gibb - Vocals
    Maurice Gibb - Bass, Vocals
    Blue Weaver - Synthesizer, Piano, Keyboards, Vibraphone, Arp
    Alan Kendall - Bass, Guitar
    Dennis Bryon - Drums
    Neal Bonsanti - Horns
    Gary Brown - Saxophone
    Harold Cowart - Bass
    Kenneth Faulk - Horns
    Albhy Galuten - Synthesizer, Bass, Conductor
    Peter Graves - Horns
    Joe Lala - Percussion, Conga
    Lee Loughnane - Horns
    Herbie Mann - Flute
    James Pankow - Horns
    Walter Parazaider - Horns
    Bill Purse - Horns
    Whit Sidener - Horns
    George Terry - Guitar
    Stanley Webb - Horns
    Daniel Ben Zubulon - Percussion, Conga

Spirits Having Flown is the Bee Gees' fifteenth original album, released in 1979. It was the group's first album after their collaboration on the Saturday Night Fever soundtrack. The album's first three tracks were released as singles which all went to no.1 in the US. It was also the first Bee Gees album to make the UK top 40 in ten years (not counting the soundtrack for Saturday Night Fever), as well as being their first and only UK no.1 album. It has sold 30 million copies worldwide. The Bee Gees spent much of 1978 on Spirits Having Flown, the most time they had ever spent on one album. Barry said that he felt it had to live up to the sensational success of Saturday Night Fever. This only heightened any tendencies the Bee Gees had toward perfectionism, Barry in particular. No doubt each song has many, many recording dates, as they carefully recorded and re-recorded each nuance, but none of the actual dates are known. There was a break from about the second week of May to the last week of July.

Co-producer Albhy Galuten recalls Spirits Having Flown as being created primarily by Barry Gibb, Karl Richardson and himself putting in long days and nights at Criteria Studios. Blue Weaver recalls others being involved. Both agree that Robin Gibb was active behind the scenes in songwriting and offering feedback to the recording process, but Maurice Gibb contributes probably the least he did on any Bee Gees album. Not only was his alcoholism sapping his creativity, but he was having back pains finally diagnosed in 1980 as caused by a bad disk. In the recording phase Robin and Maurice now mainly played the role of backing and harmony vocalists, and even in that capacity Barry did many of the vocal dubs himself as he went over and over the recorded work.

The horn section from Chicago (James Pankow, Walt Parazaider and Lee Loughnane) made a guest appearance on this album. At the time, they were next door working on the Chicago album Hot Streets.

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01. How Can You Mend A Broken Heart? (Barry Gibb/Robin Gibb) – 3:56
02. Israel (B.Gibb) – 3:43
03. The Greatest Man In the World (B.Gibb) – 4:17
04. It's Just The Way (Maurice Gibb) – 2:32
05. Remembering (B.Gibb/R.Gibb) – 4:00
06. Somebody Stop The Music (B.Gibb/M.Gibb) – 3:30
07. Trafalgar (M.Gibb) – 3:50
08. Don't Wanna Live Inside Myself (B.Gibb) – 5:23
09. When Do I (B.Gibb/R.Gibb) – 3:57
10. Dearest (B.Gibb/R.Gibb) – 3:50
11. Lion In Winter (B.Gibb/R.Gibb) – 3:58
12. Walking Back To Waterloo (B.Gibb/M.Gibb/R.Gibb) – 3:49

Personnel:
- Barry Gibb - vocals & rhythm guitar
- Robin Gibb - vocals
- Maurice Gibb - bass, piano, organ, mellotron & vocals
- Joeff Bridgford - drums
- Alan Kendall - lead gitar

The Bee Gees had entered the early '70s with a roaring success in the guise of "Lonely Days" and its accompanying album, which established their sound as a softer pop variant on the Moody Blues' brand of progressive rock. Trafalgar, which followed, carried the process further on what was their longest single LP release, clocking in at 47 minutes. The music all sounded meaningful, much of it displaying the same kind of faux-grandeur that the Moody Blues affected on their music of this era, the core group (playing pretty hard) acompanied by either Mellotron-generated orchestra or the real thing, with the group's soaring harmonies and Robin Gibb's quavaring lead vocals all over the place. As with 2 Years On's "Man for All Seasons," there was also one title ("Lion in Winter," featuring a startling falsetto performance) lifted from a recently popular film and play having to do with English history. It was all very beautifully produced and, propelled into record-store racks by the presence of "How Can You Mend a Broken Heart," the group's first No. 1 single, Trafalgar shipped very well initially. Nothing else on the record was remotely as memorable as the single, however, and its sales were limited. Trafalgar was also the handsomest and most elaborately designed of their albums, its cover reprinting Pocock's painting "The Battle of Trafalgar" and the interior gatefold containing a shot of the brothers enacting the scene of the death of Lord Nelson. It all imparted the sense of a concept album, though nothing in the music said so, except perhaps the finale, "Walking Back to Waterloo." Despite the hit single, the album showed the limits of the Bee Gees' talents as songwriters and of their appeal as album artists. ---Bruce Eder, allmusic.com

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