Bee Gees

The Bee Gees split apart in the wake of a dispute regarding the single to be released from their album Odessa, spent a year with Barry and Maurice Gibb recording together (and doing a television special) while Robin Gibb cut music on his own, and fighting a lawsuit in which their ex-drummer tried to claim the name "The Bee Gees." …

The debut international long-player by the Bee Gees may shock anyone who only remembers them for their mid- to late-'70s disco mega-hits, or their quirky early-'70s romantic balladry. Up until 1966, they'd shown a penchant for melodic songs and rich, high harmonies, in the process becoming Australia's answer to the Everly Brothers. When the Bee Gees arrived in London late in 1966, however, they proved quick studies in absorbing and assimilating the progressive pop and rock sounds around them. In one fell swoop, they became competitors with the likes of veteran rock bands such as the Hollies and the Tremeloes, and this long-player, Bee Gees' 1st, is more of a rock album than the group usually got credit for generating. Parts of it do sound very much like the Beatles circa Revolver…

This album, which originally appeared on LP in several slightly different versions and song lineups in different countries, came out at an unlikely moment. The group's first best-of album had coincided with the trio's split in mid-1969, a point when they had more than enough hits worldwide (a couple of which had never been on album) to justify and fill such an album. Best of Bee Gees, Vol. 2, by contrast, was released amid the collapse of the group's commercial fortunes that had begun in late 1972.

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.

A singing trio of brothers — Barry Gibb, Robin Gibb, and Maurice Gibb. They were born on the Isle Of Man to English parents, lived in Chorlton-cum-Hardy, Manchester, England, UK and during their childhood years moved to Brisbane, Australia, where they began their musical careers…

One is the Bee Gees' eighteenth studio album (sixteenth worldwide), released in April 1989 (August 1989 in the United States). After the European success of their previous album, E.S.P., the Gibb brothers began to work on the One album in early 1988. In March, their brother Andy suddenly died and the Bee Gees took a break until November when they returned to the studio to complete the album, but this time they shifted to Mayfair Studios in London, making One their first album since Mr. Natural to be recorded partly or fully in the British capital, though "Ordinary Lives" was started before Andy Gibb's death. The style of One was more melancholic than E.S.P., and heavily influenced by the loss of their brother. The album was dedicated to Andy and the song "Wish You Were Here" was written as a tribute to him.

Bee Gees: In Our Own Time is a very good documentary about The Bee Gees, one of the most famous bands of the 1970s with their indelible fashions and unmistakable falsetto voices. In fact, it may be said that the band is almost the epitome of the '70s—the beards, the gold medallions and the leisure suits are all a time capsule of a disco era gone by. Fans of the group will eat up this newly produced film directed by Martyn Atkins (who has directed concert and videos for such groups as Sheryl Crow, Tom Petty and the Heartbreakers and Eric Clapton). Those of us with less of an interest may start to look at our watches close to the foury-five minute mark (at least I know I did).

The Very Best Of The Bee Gees Live, from the band's One For All tour, marks the brother's triumphant live return after a 10-years absence from the concert stage. This stunning, digitally recorded concert was lit by award-winning designer, Alen Branton, and was shot with more than 16 cameras. Recorded live at the National Tennis Centre in Melbourne, Australia, the show is a joyfulelebration of 27 multi-platinum Bee Gees hits spanning more than 20 years. Additional materials in the DVD include a Bee Gees discography and a career timeline.