The Bee Gees were a musical group formed in 1958 by brothers Barry, Robin, and Maurice Gibb. The trio were especially successful in popular music in the late 1960s and early 1970s, and later as prominent performers in the disco music era in the mid-to-late 1970s. The group sang recognisable three-part tight harmonies: Robin's clear vibrato lead vocals were a hallmark of their earlier hits, while Barry's R&Bfalsetto became their signature sound during the mid-to-late 1970s and 1980s. The group wrote all their own original material, as well as writing and producing several major hits for other artists, and are regarded as one of the most important and influential acts in pop-music history.[4] They have been referred to in the media as The Disco Kings, Britain's First Family of Harmony, and The Kings of Dance Music.[5][6][7]
Born on the Isle of Man to English parents, the Gibb brothers lived in Chorlton, Manchester, England, until the late 1950s. There, in 1955, they formed the skiffle/rock and roll group the Rattlesnakes. The family then moved to Redcliffe, in the Moreton Bay Region, Queensland, Australia, and later to Cribb Island. After achieving their first chart successes in Australia as the Bee Gees, they returned to the UK in January 1967, when producer Robert Stigwood began promoting them to a worldwide audience. The Bee Gees' Saturday Night Fever soundtrack (1977) was the turning point of their career, with both the film and soundtrack having a cultural impact throughout the world, enhancing the disco scene's mainstream appeal. They won five Grammy Awards for Saturday Night Fever, including Album of the Year.
1955–1966: Music origins, Bee Gees formation and popularity in Australia
Bee Gees plaque at Maitland Terrace/Strang Road intersection in Union Mills, Isle of Man
Born on the Isle of Man during the late 1940s, the Gibb brothers moved to their father Hugh Gibb's home town Chorlton-cum-Hardy, Manchester, England, in 1955. They formed a skiffle/rock-and-roll group, the Rattlesnakes, which consisted of Barry on guitar and vocals, Robin and Maurice on vocals, and friends Paul Frost on drums and Kenny Horrocks on tea-chest bass. In December 1957, the boys began to sing in harmony. The story is told that they 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 the theatre, the fragile shellac 78-RPM record broke. The brothers had to sing live but received such a positive response from the audience that they decided to pursue a singing career.[17] In May 1958, the Rattlesnakes disbanded when Frost and Horrocks left, so the Gibb brothers then formed Wee Johnny Hayes and the Blue Cats, with Barry as "Johnny Hayes".[18]
In August 1958, the Gibb family, including older sister Lesley and infant brother Andy (born in March 1958), emigrated to Australia and settled in Redcliffe, Queensland, just north-east of Brisbane. The young brothers began performing to raise pocket money. Speedway promoter and driver Bill Goode, who had hired the brothers to entertain the crowd at the Redcliffe Speedway in 1960, introduced them to Brisbane radio-presenter jockey Bill Gates. The crowd at the speedway would throw money onto the track for the boys, who generally performed during the interval of meetings (usually on the back of a truck that drove around the track) and, in a deal with Goode, any money they collected from the crowd they were allowed to keep. Gates named the group the "BGs" (later changed to "Bee Gees") after his, Goode's and Barry Gibb's initials. The name was not specifically a reference to "Brothers Gibb", despite popular belief.[19][20][21]
During the next few years, they began working regularly at resorts on the Queensland coast. Through his songwriting, Barry sparked the interest of Australian star Col Joye, who helped the brothers get a recording deal in 1963 with Festival Records subsidiary Leedon Records under the name "Bee Gees". The three released two or three singles a year, while Barry supplied additional songs to other Australian artists. In 1962 the Bee Gees were chosen as the supporting act for Chubby Checker's concert at the Sydney Stadium.[22]
From 1963 to 1966, the Gibb family lived at 171 Bunnerong Road, Maroubra, in Sydney.[23] Just before his death, Robin Gibb recorded the song "Sydney" about the brothers' experience of living in that city. It was released on his posthumous album 50 St. Catherine's Drive.[24] The house was demolished in 2016.[25]
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 1966 Festival Records was, however, on the verge of dropping them from the Leedon roster because of their perceived lack of commercial success. At this time the brothers met the American-born songwriter, producer, and entrepreneur Nat Kipner, who had just been appointed A&R manager of a new independent label, Spin Records. Kipner briefly took over as the group's manager and successfully negotiated their transfer to Spin in exchange for granting Festival the Australian distribution rights to the group's recordings.[26] Through Kipner the Bee Gees met engineer-producer, Ossie Byrne, who produced (or co-produced with Kipner) many of the earlier Spin recordings, most of which were cut at his own small, self-built St Clair Studio in the Sydney suburb of Hurstville. Byrne gave the Gibb brothers virtually unlimited access to St Clair Studio over a period of several months in mid-1966.[27] The group later acknowledged that this enabled them to significantly improve their skills as recording artists. During this productive time, they recorded a large batch of original material—including the song that became their first major hit, "Spicks and Specks" (on which Byrne played the trumpet coda)—as well as cover versions of current hits by overseas acts such as the Beatles. They regularly collaborated with other local musicians, including members of beat band Steve & The Board, led by Steve Kipner, Nat's teenage son.[28]
Frustrated by their lack of success, the Gibbs began their return journey to England on 4January 1967, with Ossie Byrne travelling with them. While at sea in January 1967, the Gibbs learned that Go-Set, Australia's most popular and influential music newspaper, had declared "Spicks and Specks" the "Best Single of the Year".[29]
The Bee Gees in 1967 (left to right: Barry Gibb, Robin Gibb, Vince Melouney, Maurice Gibb and Colin Petersen)
Before their departure from Australia to England, Hugh Gibb sent demos to Brian Epstein, who managed the Beatles and directed NEMS, a British music store. Epstein passed the demo tapes to Robert Stigwood, who had recently joined NEMS.[30] After an audition with Stigwood in February 1967, the Bee Gees signed a five-year contract whereby Polydor Records would release their records in the UK, and Atco Records would do so in the US. Work quickly began on the group's first international album, and Stigwood launched a promotional campaign to coincide with its release.[31]
Stigwood proclaimed that the Bee Gees were "The most significant new musical talent of 1967", thus initiating the comparison of the Bee Gees to the Beatles. Before recording the first album, the group expanded to include Colin Petersen and Vince Melouney.[32][33] "New York Mining Disaster 1941", their second British single (their first-issued UK 45 rpm was "Spicks and Specks"), was issued to radio stations with a blank white label listing only the song title. Some DJs immediately assumed this was a new single by the Beatles and started playing the song in heavy rotation. This helped the song climb into the top 20 in both the UK and US.[34]
No such chicanery was needed to boost the Bee Gees' next single, "To Love Somebody", into the US Top 20. Originally written for Otis Redding, "To Love Somebody", a soulful ballad sung by Barry, has since become a pop standard recorded by many singers.[35] Another single, "Holiday", released in the US, peaked at No.16.[36]
The parent album, Bee Gees 1st (their first internationally), peaked at No.7 in the US and No.8 in the UK. Bill Shepherd was credited as the arranger. After recording that album, the group recorded their first BBC session at the Playhouse Theatre, Northumberland Avenue, in London, with Bill Bebb as the producer, and they performed three songs. That session is included on BBC Sessions: 1967–1973 (2008).[37] After the release of Bee Gees' 1st, the group was first introduced in New York as "the English surprise".[38] At that time, the band made their first British TV appearance on Top of the Pops. Maurice recalled:
Jimmy Savile was on it and that was amazing because we'd seen pictures of him in the Beatles fan club book, so we thought we were really there! That show had Lulu, us, the Move, and the Stones doing 'Let's Spend the Night Together'. You have to remember this was really before the superstar was invented so you were all in it together.[39]
In late 1967, they began recording their second album. On 21December 1967, in a live broadcast from Liverpool Anglican Cathedral for a Christmas television special called How On Earth?, they performed their own song, "Thank You For Christmas" which was written especially for the programme, as well as a medley of the traditional Christmas carols "Silent Night", "The First Noel" and "Mary's Boy Child" (the latter incorrectly noted as "Hark! The Herald Angels Sing" on tape boxes and subsequent release). The songs were all pre-recorded on 1December 1967 and the group lip-synched their performance. The recordings were eventually released on the "Horizontal" reissue bonus disc in 2008. The folk group the Settlers and Radio 1 disc-jockey, Kenny Everett, also performed on the programme, which was presented by the Reverend Edward H. Patey, dean of the cathedral.[40]
January 1968 began with a promotional trip to the US. Los Angeles Police were on alert in anticipation of a Beatles-type reception, and special security arrangements were being put in place.[33] In February, Horizontal repeated the success of their first album, featuring the group's first UK No.1 single "Massachusetts" (a No.11 US hit) and the No.7 UK single "World".[41] The sound of the album Horizontal had a more "rock" sound than their previous release, although ballads like "And the Sun Will Shine" and "Really and Sincerely" were included. The Horizontal album reached No.12 in the US and No.16 in the UK.[42]
With the release of Horizontal, they also embarked on a Scandinavian tour with concerts in Copenhagen. Around the same time, the Bee Gees turned down an offer to write and perform the soundtrack for the film Wonderwall, according to director Joe Massot.[39]
On 27 February 1968, the band, backed by the 17-piece Massachusetts String Orchestra, began their first tour of Germany with two concerts at Hamburg Musikhalle. In March 1968, the band was supported by Procol Harum (who had a hit "A Whiter Shade of Pale") on their German tour.[43] As Robin's partner Molly Hullis recalls: "Germans were wilder than the fans in England at the heights of Beatlemania." The tour schedule took them to 11 venues in as many days with 18 concerts played, finishing with a brace of shows at the Stadthalle, Braunschweig.
After that, the group was off to Switzerland. As Maurice described it:
There were over 5,000 kids at the airport in Zurich. The entire ride to Bern, the kids were waving Union Jacks. When we got to the hotel, the police weren't there to meet us and the kids crushed the car. We were inside and the windows were all getting smashed in, and we were on the floor.[39]
The Bee Gees performing on Dutch television Twien in 1968
Two more singles followed in early 1968: the ballad "Words" (No.8 UK, No.15 US) and the double A-sided single "Jumbo" backed with "The Singer Sang His Song". "Jumbo" only reached No.25 in the UK and No.57 in the US. The Bee Gees felt "The Singer Sang His Song" was the stronger of the two sides, an opinion shared by listeners in the Netherlands who made it a No.3 hit.[citation needed]
Further Bee Gees chart singles followed: "I've Gotta Get a Message to You", their second UK No.1 (No.8 US), and "I Started a Joke" (No.6 US), both culled from the band's third album Idea.[41]Idea reached No.4 in the UK and was another top 20 album in the US (No.17).[41]
After the tour and TV special to promote the album, Vince Melouney left the group, desiring to play more of a blues style music than the Gibbs were writing. Melouney did achieve one feat while with the Bee Gees: his "Such a Shame" (from Idea) is the only song on any Bee Gees album not written by a Gibb brother.[citation needed]
The band were due to begin a seven-week tour of the US on 2August 1968, but on 27July, Robin collapsed and fell unconscious. He was admitted to a London nursing home for nervous exhaustion, and the American tour was postponed.[39] The band began recording their sixth album, which resulted in their spending a week recording at Atlantic Studios in New York. Robin, still feeling poorly, missed the New York sessions, but the rest of the band put away instrumental tracks and demos.[45]
Odessa, Cucumber Castle and break-up
The Bee Gees performing at The Tom Jones Show in early 1969, one of the last performances with Robin as he left the group later in March
By 1969, Robin began to feel that Stigwood had been favouring Barry as the frontman.[46]
The Bee Gees' performances in early 1969 on the Top of the Pops and The Tom Jones Show, singing "I Started a Joke" and "First of May" as a medley, were the final appearances of the group with Robin.[47]
Their next album, which was to have been a concept album called Masterpeace, evolved into the double-album Odessa. Most rock critics felt this was the best Bee Gees album of the 1960s with its progressive rock feel on the title track, the country-flavoured "Marley Purt Drive" and "Give Your Best", and ballads such as "Melody Fair" and "First of May" (the last of which became the only single from the album and a UK # 6 hit). Feeling the flipside, "Lamplight", should have been the A-side, Robin quit the group in mid-1969 and launched a solo career.[48]
The first of many Bee Gees compilations, Best of Bee Gees, was released featuring the non-LP single "Words" plus the Australian hit "Spicks and Specks". The single "Tomorrow Tomorrow" was also released and was a moderate hit in the UK, where it reached No.23, but it was only No.54 in the US. The compilation reached the top 10 in both the UK and the US.[41]
While Robin pursued his solo career, Barry, Maurice and Petersen continued as the Bee Gees on their next album, Cucumber Castle. The band made their debut performance without Robin at Talk of the Town. They had recruited their sister, Lesley, to participate in at least one performance at this time as a replacement for Robin.[49] To accompany the album, they also filmed a TV special with Frankie Howerd and cameos from several other contemporary pop and rock stars, which aired on the BBC in December 1970. Petersen played drums on the tracks recorded for the album but was fired from the group after filming began (he went on to form the Humpy Bong with Jonathan Kelly). His parts were edited out of the final cut of the film and Pentangle drummer Terry Cox was recruited to complete the recording of songs for the album.[50][51] A proposed feature film starring the group, Lord Kitchener's Little Drummer Boys, was not made.
After the album was released in early 1970, it seemed that the Bee Gees were finished. The leadoff single, "Don't Forget to Remember", was a big hit in the UK, reaching No.2, but only reached No.73 in the US. The next two singles, "I.O.I.O." and "If I Only Had My Mind on Something Else", barely scraped the charts. On 1December 1969, Barry and Maurice parted ways professionally.[52]
Maurice started to record his first solo album, The Loner, which was not released. Meanwhile, he released the single "Railroad" and starred in the West End musical Sing a Rude Song.[53] In February 1970, Barry recorded a solo album which never saw official release either, although "I'll Kiss Your Memory" was released as a single backed by "This Time" without much interest.[54] Meanwhile, Robin saw chart success in Europe and Australia with his UK No.2 hit "Saved by the Bell" from the album Robin's Reign.[55]
1970–1974: Reformation
The Bee Gees performing at The Midnight Special in 1973
In mid 1970, according to Barry, "Robin rang me in Spain where I was on holiday [saying] 'let's do it again'". By 21August 1970, after they had reunited, Barry announced that the Bee Gees "are there and they will never, ever part again". Maurice said, "We just discussed it and re-formed. We want to apologise publicly to Robin for the things that have been said."[18] Earlier, in June 1970, Robin and Maurice recorded a dozen songs before Barry joined and included two songs that were on their reunion album.[56] Around the same time, Barry and Robin were about to publish the book On the Other Hand.[18] They also recruited Geoff Bridgford as the group's official drummer. Bridgford had previously worked with the Groove and Tin Tin and played drums on Maurice's unreleased first solo album.[57]
In 1972, they hit No. 16 in the US with the non-album single "My World", backed by Maurice's composition "On Time". Another 1972 single, "Run to Me" from the LP To Whom It May Concern, returned them to the UK top 10 for the first time in three years.[41] Bridgford left the group partway through recording, and the band chose not to hire a new member to replace him.[59] The resulting three-piece lineup of Barry, Robin and Maurice would remain unbroken for the remainder of the band's active years. On 24November 1972, the band headlined the "Woodstock of the West" Festival at the Los Angeles Coliseum (which was a West Coast answer to Woodstock in New York), which also featured Sly and the Family Stone, Stevie Wonder and the Eagles.[60][61] Also in 1972, the group sang "Hey Jude" with Wilson Pickett.[62]
After a tour of the United States in early 1974 and a Canadian tour later in the year,[66] the group ended up playing small clubs.[67] As Barry joked, "We ended up in, have you ever heard of Batley's the variety club in (West Yorkshire) England?".[68]
On the advice of Ahmet Ertegun, head of their US label Atlantic Records, Stigwood arranged for the group to record with soul music producer Arif Mardin. The resulting LP, Mr. Natural, included fewer ballads and foreshadowed the R&B direction of the rest of their career. When it, too, failed to attract much interest, Mardin encouraged them to work within the soul music style. The brothers attempted to assemble a live stage band that could replicate their studio sound. Lead guitarist Alan Kendall had come on board in 1971 but did not have much to do until Mr. Natural. For that album, they added drummer Dennis Bryon, and they later added ex-Strawbs keyboard player Blue Weaver, completing the Bee Gees band that lasted through the late 1970s. Maurice, who had previously performed on piano, guitar, harpsichord, electric piano, organ, mellotron and bass guitar, as well as mandolin and Moog synthesiser, by then confined himself to bass onstage.[69]
1975–1979: Turning to disco
Main Course and Children of the World
Bee Gees' wordmark logo (1975–1981)
At Eric Clapton's suggestion, the brothers moved to Miami, Florida, early in 1975 to record at Criteria Studios. After starting off with ballads, they eventually heeded the urging of Mardin and Stigwood, and crafted more dance-oriented disco songs, including their second US No.1, "Jive Talkin'", along with US No.7 "Nights on Broadway". The band liked the resulting new sound. This time the public agreed by sending the LP Main Course up the charts. This album included the first Bee Gees songs wherein Barry used falsetto,[70] something that became a trademark of the band. This was also the first Bee Gees album to have two US top-10 singles since 1968's Idea.[citation needed]Main Course also became their first charting R&B album.[citation needed]
The next album, Children of the World, released in September 1976, was filled with Barry's new-found falsetto and Weaver's synthesizer disco licks.[citation needed] The first single from the album was "You Should Be Dancing", which features percussion work by musician Stephen Stills.[73] The song pushed the Bee Gees to a level of stardom they had not previously achieved in the US, though their new R&B/disco sound was not as popular with some diehard fans. The pop ballad "Love So Right" reached No.3 in the US, and "Boogie Child" reached US No.12 in January 1977.[74] The album peaked at No.8 in the US.[75]
Saturday Night Fever and Spirits Having Flown
Following a successful live album, Here at Last... Bee Gees... Live, the Bee Gees agreed with Stigwood to participate in the creation of the Saturday Night Fever soundtrack. It was a turning point in their career. The cultural impact of both the film and the soundtrack was significant throughout the world, and epitomized the disco phenomenon on both sides of the Atlantic.[76]
The band's involvement in the film did not begin until post-production. As John Travolta asserted, "The Bee Gees weren't even involved in the movie in the beginning... I was dancing to Stevie Wonder and Boz Scaggs."[77] Producer Robert Stigwood commissioned the Bee Gees to create the songs for the film.[78] The brothers wrote the songs "virtually in a single weekend" at Château d'Hérouville studio in France.[77] Barry Gibb remembered the reaction when Stigwood and music supervisor Bill Oakes arrived and listened to the demos:
They flipped out and said these will be great. We still had no concept of the movie, except some kind of rough script that they'd brought with them.... You've got to remember, we were fairly dead in the water at that point, 1975, somewhere in that zone—the Bee Gees' sound was basically tired. We needed something new. We hadn't had a hit record in about three years. So we felt, Oh Jeez, that's it. That's our life span, like most groups in the late '60s. So, we had to find something. We didn't know what was going to happen.[77]
Bill Oakes, who supervised the soundtrack, asserts that Saturday Night Fever did not begin the disco craze but rather prolonged it: "Disco had run its course. These days, Fever is credited with kicking off the whole disco thing—it really didn't. Truth is, it breathed new life into a genre that was actually dying."[77]
Three Bee Gees singles—"How Deep Is Your Love" (US No.1, UK No.3), "Stayin' Alive" (US No.1, UK No.4) and "Night Fever" (US No.1, UK No.1)—charted high in many countries around the world, launching the most popular period of the disco era.[41] They also penned the song "If I Can't Have You", which became a US No.1 hit for Yvonne Elliman, while the Bee Gees' own version was the B-side of "Stayin' Alive". Such was the popularity of Saturday Night Fever that two different versions of the song "More Than a Woman" received airplay, one by the Bee Gees, which was relegated to an album track, and another by Tavares, which was the hit.[79]
During a nine-month period beginning in the Christmas season of 1977, seven songs written by the brothers held the No.1 position on the US charts for 27 of 37 consecutive weeks: three of their own releases, two for brother Andy Gibb, the Yvonne Elliman single, and "Grease", performed by Frankie Valli.[80]
Fuelled by the film's success, the soundtrack broke multiple industry records, becoming the highest-selling album in recording history to that point. With more than 40million copies sold, Saturday Night Fever is among music's top five best selling soundtrack albums. As of 2010[update], it is calculated as the fourth highest-selling album worldwide.[81]
In March 1978, the Bee Gees held the top two positions on the US charts with "Night Fever" and "Stayin' Alive", the first time this had happened since the Beatles. On the US Billboard Hot 100 chart for 25March 1978, five songs written by the Gibbs were in the US top 10 at the same time: "Night Fever", "Stayin' Alive", "If I Can't Have You", "Emotion" and "Love Is Thicker Than Water". Such chart dominance had not been seen since April 1964, when the Beatles had all five of the top five American singles. Barry Gibb became the only songwriter to have four consecutive number-one hits in the US, breaking the John Lennon and Paul McCartney 1964 record. These songs were "Stayin' Alive", "Love Is Thicker Than Water", "Night Fever" and "If I Can't Have You".[82]
During this era, Barry and Robin also wrote "Emotion" for an old friend, Australian vocalist Samantha Sang, who made it a top 10 hit, with the Bee Gees singing backing vocals. Barry also wrote the title song to the film version of the Broadway musical Grease for Frankie Valli to perform, which went to No.1.[84]
The Bee Gees also co-starred with Peter Frampton in Robert Stigwood's film Sgt. Pepper's Lonely Hearts Club Band (1978), loosely inspired by the classic 1967 album by the Beatles. The movie had been heavily promoted prior to release and was expected to enjoy great commercial success. However, it was savaged by film critics as a disjointed mess and ignored by the public. The soundtrack charted top five in the U.S., but only top 38 in Britain. The single "Oh! Darling", credited to Robin Gibb, reached No.15 in the US.[85]
The Bee Gees' follow-up to Saturday Night Fever was the Spirits Having Flown album. It yielded three more hits: "Too Much Heaven" (US No.1, UK No.3), "Tragedy" (US No.1, UK No.1), and "Love You Inside Out" (US No.1, UK No.13).[41] This gave the act six consecutive No.1 singles in the US within a year and a half, equalling the Beatles and surpassed only by Whitney Houston.[86]
In January 1979, the Bee Gees performed "Too Much Heaven" as their contribution to the Music for UNICEF Concert at the United Nations General Assembly.[87] During the summer of 1979, the Bee Gees embarked on their largest concert tour covering the US and Canada. The Spirits Having Flown tour capitalised on Bee Gees fever that was sweeping the nation, with sold-out concerts in 38 cities. The Bee Gees produced a video for the title track "Too Much Heaven", directed by Miami-based filmmaker Martin Pitts and produced by Charles Allen. With this video, Pitts and Allen began a long association with the brothers.[88]
The Bee Gees even had a country hit in 1979 with "Rest Your Love on Me", the flip side of their pop hit "Too Much Heaven", which made the top 40 on the country charts. It was also a 1981 hit for Conway Twitty, topping the country music charts.[89]
The Bee Gees' success rose and fell with the disco bubble. By the end of 1979, disco was rapidly declining in popularity, and the backlash against disco put the Bee Gees' American career in a tailspin. Encouraged by Steve Dahl's Disco Demolition Night, radio stations around the US began promoting "Bee Gee-Free Weekends". Following their remarkable run from 1975 to 1979, the act had only one more top 10 single in the US, and that did not come until the single "One" reached number 7 in 1989.[14]
Barry Gibb considered the success of the Saturday Night Fever soundtrack both a blessing and a curse:
Fever was No. 1 every week... It wasn't just like a hit album. It was No.1 every single week for 25 weeks. It was just an amazing, crazy, extraordinary time. I remember not being able to answer the phone, and I remember people climbing over my walls. I was quite grateful when it stopped. It was too unreal. In the long run, your life is better if it's not like that on a constant basis. Nice though it was.[77]
1980–1986: Outside projects, band turmoil, solo efforts and decline
Robin co-produced Jimmy Ruffin's Sunrise released in May 1980, but the songs were started in 1979; the album contains songs written by the Gibb brothers, including the single "Hold On To My Love".[90]
In March 1980, Barry Gibb worked with Barbra Streisand on her album Guilty. He co-produced, and wrote or co-wrote all nine of the album's tracks (four of them written with Robin, and the title track with both Robin and Maurice). Barry also appeared on the album's cover with Streisand and duetted with her on two tracks. The album reached No.1 in both the US and the UK, as did the single "Woman in Love" (written by Barry and Robin), becoming Streisand's most successful single and album to date. Both of the Streisand/Gibb duets, "Guilty" and "What Kind of Fool", also reached the US Top 10.[91]
In 1981, the Bee Gees released the album Living Eyes, their last full-length album release on RSO. This album was the first CD ever played in public, when it was played to viewers of the BBC show Tomorrow's World.[92] With the disco backlash still running strong, the album failed to make the UK or US Top 40—breaking their streak of Top 40 hits, which started in 1975 with "Jive Talkin'". Two singles from the album fared little better—"He's a Liar", which reached No.30 in the US, and "Living Eyes", which reached No.45.[citation needed]
In 1982, Dionne Warwick enjoyed a UK No.2 and US Adult Contemporary No.1 hit with her comeback single, "Heartbreaker", taken from her album of the same name, written largely by the Bee Gees and co-produced by Barry Gibb. The album reached No.3 in the UK and the Top 30 in the US, where it was certified Gold.
A year later, Dolly Parton and Kenny Rogers recorded the Bee Gees-penned track "Islands in the Stream", which became a US and Australian No.1 hit and entered the Top 10 in the UK. Rogers' 1983 album, Eyes That See in the Dark, was written entirely by the Bee Gees and co-produced by Barry. The album was a Top 10 hit in the US and was certified Double Platinum.[93]
Also in 1983, the band was sued by Chicago songwriter Ronald Selle, who claimed the brothers stole melodic material from one of his songs, "Let It End", and used it in "How Deep Is Your Love". At first, the Bee Gees lost the case; one juror said that a factor in the jury's decision was the Gibbs' failure to introduce expert testimony rebutting the plaintiff's expert testimony that it was "impossible" for the two songs to have been written independently. However, the verdict was overturned a few months later.[94]
In August 1983, Barry signed a solo deal with MCA Records and spent much of late 1983 and 1984 writing songs for this first solo effort, Now Voyager.[95] Robin released three solo albums in the 1980s, How Old Are You?, Secret Agent and Walls Have Eyes. Maurice released his second single to date, "Hold Her in Your Hand", the first one having been released in 1970.[96]
In 1985, Diana Ross released the album Eaten Alive, written by the Bee Gees, with the title track co-written with Michael Jackson (who also performed on the track). The album was again co-produced by Barry Gibb, and the single "Chain Reaction" gave Ross a UK and Australian No.1 hit.[97]
1987–1999: Comeback, return to popularity and Andy's death
The Bee Gees released the album E.S.P. in 1987, which sold over 2million copies.[98] It was their first album in six years, and their first for Warner Bros. Records. The single "You Win Again" went to No.1 in numerous countries, including the UK,[99] and made the Bee Gees the first group to score a UK No.1 hit in each of three decades: the 1960s, 1970s, and 1980s.[100] The single was a disappointment in the US, charting at No.75, and the Bee Gees voiced their frustration over American radio stations not playing their new European hit single, an omission which the group felt led to poor sales of their current album in the US. The song won the Bee Gees the 1987 British Academy's Ivor Novello Award for Best Song Musically and Lyrically, and in February 1988 the band received a Brit Award nomination for Best British Group.[101]
The Bee Gees later got together with Eric Clapton to create a group called 'the Bunburys' to raise money for English charities. The group recorded three songs for The Bunbury Tails: "We're the Bunburys" (which eventually became the opening theme to the 1992 animated series The Bunbury Tails), "Bunbury Afternoon", and "Fight (No Matter How Long)". The last song reached No.8 on the rock music chart and appeared on The 1988 Summer Olympics Album.[102]
The Bee Gees' next album, One (1989), featured "Wish You Were Here", a song dedicated to their younger brother Andy, who had died in 1988 of myocarditis resulting from a viral infection. The album also contained their first US Top 10 hit (No.7) in a decade, "One" (an Adult Contemporary No.1). After the album's release, the band embarked on its first world tour in 10 years.[103]
In the UK, Polydor issued a single-disc hits collection from Tales called The Very Best of the Bee Gees, which contained their biggest UK hits. The album became one of their best-selling albums in that country, and was eventually certified Triple Platinum.[104]
Following their next album, High Civilization (1991), which contained the UK top five hit "Secret Love", the Bee Gees went on a European tour. After the tour, Barry Gibb began to battle a serious back problem, which required surgery. In addition, he had arthritis which, at one point, was so severe that it was doubtful that he would be able to play guitar for much longer. Also, in the early 1990s, Maurice Gibb finally sought treatment for his alcoholism, which he had battled for many years with the help of Alcoholics Anonymous.[105]
In 1993, the group returned to the Polydor label and released the album Size Isn't Everything, which contained the UK top five hit "For Whom the Bell Tolls". Success still eluded them in the US, however, as the first single released, "Paying the Price of Love", only managed to reach No.74 on the Billboard Hot 100, while the parent album stalled at No.153.[citation needed]
In 1997, they released the album Still Waters, which has reached No.2 in the UK (their highest album chart position there since 1979) and No.11 in the US. The album's first single, "Alone", gave them another UK Top 5 hit and a top 30 hit in the US. Still Waters was the band's most successful US release of their post-RSO era.[106]
At the 1997 BRIT Awards held in Earls Court, London on 24February, the Bee Gees received the award for Outstanding Contribution to Music.[107] On 14November 1997, the Bee Gees performed a live concert in Las Vegas called One Night Only. The show included a performance of "Our Love (Don't Throw It All Away)" synchronised with a vocal by their deceased brother Andy and a guest appearance by Celine Dion singing "Immortality". The "One Night Only" name grew out of the band's declaration that, due to Barry's health issues, the Las Vegas show was to be the final live performance of their career. After the immensely positive audience response to the Vegas concert, Barry decided to continue despite the pain, and the concert expanded into their last full-blown world tour of "One Night Only" concerts.[39][pageneeded] The tour included playing to 56,000 people at London's Wembley Stadium on 5September 1998 and concluded in the newly built Olympic Stadium in Sydney, Australia on 27March 1999 to 72,000 people.[39][pageneeded] During the One Night Only tour, the Bee Gees also finally gave live performances of Grease;[108] though Barry previously wrote the song for the 1978 film of the same name, it was performed mainly by Frankie Valli.[108]
In 1998, the group's soundtrack for Saturday Night Fever was incorporated into a stage production produced first in the West End and then on Broadway. They wrote three new songs for the adaptation. Also in 1998, the brothers released "Ellan Vannin" for Manx charities, recorded the previous year. Known as the unofficial national anthem of the Isle of Man, the brothers performed the song during their world tour to reflect their pride in the place of their birth.[109]
The Bee Gees closed the century with what turned out to be their last full-sized concert, known as BG2K, on 31December 1999.[110]
2000–2008: This Is Where I Came In, Maurice's death, and split
In 2001, the group released what turned out to be their final album of new material, This Is Where I Came In. The album was another success, reaching the Top 10 in the UK (being certified Gold), and the Top 20 in the US. The title track was also a UK Top 20 hit single.[111] They celebrated their 35th anniversary, and the album, by performing on the television series Live by Request on the American cable television network A&E.[112]
The last concert of the Bee Gees as a trio was at the Love and Hope Ball in 2002.[113] Maurice Gibb died unexpectedly on 12January 2003, at age 53, from a heart attack while awaiting emergency surgery to repair a strangulated intestine.[114] Initially, his surviving brothers announced that they intended to carry on the name "Bee Gees" in his memory, but as time passed they decided to retire the group's name, leaving it to represent the three brothers together.[115]
The same week that Maurice died, Robin's solo album Magnet was released. On 23February 2003, the Bee Gees received the Grammy Legend Award, they also became the first recipients of that award in the 21st century. Barry and Robin, along with Maurice's son Adam, accepted the award in a tearful ceremony.[116] On 2May 2004, Barry and Robin Gibb received the CBE award at Buckingham Palace; their nephew Adam accepted his father Maurice's posthumous award.[117]
In late 2004, Robin embarked on a solo tour of Germany, Russia, and Asia. During January 2005, Barry, Robin, and several legendary rock artists recorded "Grief Never Grows Old", the official tsunami relief record for the Disasters Emergency Committee. Later that year, Barry reunited with Barbra Streisand for her top-selling album Guilty Pleasures, released as Guilty Too in the UK as a sequel album to the previous Guilty.[118] Also in 2004, Barry recorded his song "I Cannot Give You My Love" with Cliff Richard, which became a UK top 20 hit single; Maurice's keyboard work from a 2001 demo version was included in this 2003 version.[119][120]
In February 2006, Barry and Robin reunited on stage for a Miami charity concert to benefit the Diabetes Research Institute. It was their first public performance together since Maurice's death. The pair also played at the 30th annual Prince's Trust Concert in the UK on 20May 2006.[121]
2009–2012: Return to performing and Robin's death
On 14 March 2009, Barry teamed with Olivia Newton-John to present the one-hour finale performance at a star-studded 12-hour live concert at Sydney's Sydney Cricket Ground, part of Sound Relief, a fundraiser to aid victims of the February 2009 Victorian Bushfires that devastated large tracts of heavily wooded and populated south-eastern Australia, where the Gibb family once lived. The concert was televised live nationally across Australia on the Max TV cable network.[122] On 10July 2009, Barry and Robin were named as Freemen of the Borough of Douglas (Isle of Man); the award was also bestowed posthumously to Maurice.[123]
In late 2009, Barry and Robin announced plans to record and perform together once again as the Bee Gees.[124] Barry and Robin performed on the BBC's Strictly Come Dancing on 31October 2009[125] and appeared on ABC-TV's Dancing with the Stars on 17November 2009.[126] On 15March 2010, Barry and Robin inducted the Swedish group ABBA into the Rock and Roll Hall of Fame.[127] On 26May 2010, the two made a surprise appearance on the ninth-season finale of American Idol.
On 20 November 2011, it was announced that Robin Gibb, at 61 years old, had been diagnosed with liver cancer, a condition he had become aware of several months earlier. He had become noticeably thinner in previous months and had to cancel several appearances due to severe abdominal pain.[128] Robin joined British military trio the Soldiers for the Coming Home charity concert on 13February 2012 at the London Palladium, in support of injured servicemen. It was his first public appearance for almost five months and, as it turned out, his final one.[129] On 14April 2012, it was reported that Robin had contracted pneumonia[130] in a Chelsea hospital and was in a coma.[131] Although he came out of his coma on 20April 2012, his condition deteriorated rapidly[132] and he died on 20May 2012 of liver and kidney failure.[133]
2013–present: Looking back at a lifetime of music
In September and October 2013, Barry performed his first solo tour "in honour of his brothers and a lifetime of music".[134] In addition to the Rhino collection, The Studio Albums: 1967–1968, Warner Bros. released a box set in 2014 called The Warner Bros Years: 1987–1991 that included the studio albums E.S.P., One and High Civilization as well as extended mixes and B-sides. It also included the band's entire 1989 concert in Melbourne, Australia, available only on video as All for One prior to this release.[135] The documentary The Joy of the Bee Gees was aired on BBC Four on 19December 2014.[136]
On 23 March 2015, 13STAR Records released a box set 1974–1979 which included the studio albums Mr. Natural, Main Course, Children of the World and Spirits Having Flown. A fifth disc called The Miami Years includes all the tracks from Saturday Night Fever as well as B-sides. No unreleased tracks from the era were included.[137]
After a hiatus from performing, Barry Gibb returned to solo and guest singing performances. He occasionally appears with his son, Steve Gibb.[138] In 2016, he released In the Now, his first solo effort since 1984's Now Voyager. It was the first release of new Bee Gees-related music since the posthumous release of Robin Gibb's 50 St. Catherine's Drive. Also in 2016, Capitol Records signed a new distribution deal with Barry and the estates of his brothers for the Bee Gees catalogue, bringing their music back to Universal.[139][140]
In late 2020, a documentary titled The Bee Gees: How Can You Mend a Broken Heart was released on HBO Max; it was received with positive reviews and won an Emmy award.[141][142] A few months later, an as-yet-untitled biopic about the Bee Gees was announced to be in development at Paramount, with Kenneth Branagh directing and Barry Gibb serving as an executive producer.[143][144]
Barry Gibb released his third solo studio album, Greenfields, on 8January 2021. It consisted of re-imagined Bee Gees songs from throughout their career, newly recorded in a primarily acoustic style with vocal contributions from a variety of country musicians including Dolly Parton, Keith Urban and Miranda Lambert.[145] The album debuted at No.1 in both the UK and Australia – the latter of which set a record for the oldest artist to top the ARIA charts – while also peaking at No.15 on the US Billboard 200 (and No.2 on the US Billboard Top Album Sales chart) and being met with favourable reviews.[146][147][148][149]
In his 1980 Playboy magazine interview, John Lennon praised the Bee Gees, "Try to tell the kids in the seventies who were screaming to the Bee Gees that their music was just the Beatles redone. There is nothing wrong with the Bee Gees. They do a damn good job. There was nothing else going on then."[159]
a spoof on guys from the 'cocaine lounge lizards' of the Saturday Night Fever days. We Rock and Roll guys thought we were dead meat when that movie and the Bee Gees came out. The Bee Gees were brilliant musicians and really nice people. No big egos. Rod, in his brilliance, decided to do a spoof on disco. VERY smart man. There is no such thing as a "dumb" super success in the music business.[160]
The English indie rock band the Cribs was also influenced by the Bee Gees. Cribs member Ryan Jarman said: "It must have had quite a big influence on us – pop melodies is something we always revert to. I always want to get back to pop melodies and I'm sure that's due to that Bee Gees phase we went through."[162]
Following Robin's death on 20 May 2012, Beyoncé remarked: "The Bee Gees were an early inspiration for me, Kelly Rowland and Michelle. We loved their songwriting and beautiful harmonies. Recording their classic song, 'Emotion' was a special time for Destiny's Child. Sadly we lost Robin Gibb this week. My heart goes out to his brother Barry and the rest of his family."[163]
Singer Jordin Sparks remarked that her favourite Bee Gees songs are "Too Much Heaven", "Emotion" (although performed by Samantha Sang with Barry on the background vocals using his falsetto), and "Stayin' Alive".[164]
Carrie Underwood said, about discovering the Bee Gees during her childhood, "My parents listened to the Bee Gees quite a bit when I was little, so I was definitely exposed to them at an early age. They just had a sound that was all their own, obviously, never duplicated."[164]
Songwriting
Everyone should be aware that the Bee Gees are second only to Lennon and McCartney as the most successful songwriting unit in British popular music.
At one point, in 1978, the Gibb brothers were responsible for writing and/or performing nine of the songs in the Billboard Hot 100.[166] In all, the Gibbs placed 13 singles onto the Hot 100 in 1978, with 12 making the Top 40. The Gibb brothers are fellows of the British Academy of Songwriters, Composers and Authors (BASCA).[167] At least 2,500 artists have recorded their songs.[168]
Singer-songwriter Gavin DeGraw spoke about the Bee Gees' influence with their own music as well as their songwriting:
Let's talk about the Bee Gees. That's an iconic group. Not just a great band, but a great group of songwriters. Even long after the Bee Gees' success on the pop charts, they were still writing songs for other people, huge hit songs. Their talent went far beyond their moment of normal pop success. It is a loss to the music industry and a loss of an iconic group. The beauty of this industry is that we do pay tribute and every artist coming up is a fan of a generation prior to it, so there's a real tradition element to it".[164]
In 2009, as part of the Q150 celebrations, the Bee Gees were announced as one of the Q150 Icons of Queensland for their role as "Influential Artists".[169]
In 1978, following the success of Saturday Night Fever, and the single "Night Fever" in particular, Reubin Askew, the governor of the US state of Florida, named the Bee Gees honorary citizens of the state, since they resided in Miami at the time.[170] In 1979, the Bee Gees got their star on the Hollywood Walk of Fame. They were the subjects of This Is Your Life in 1991 when they were surprised by Michael Aspel while being interviewed by disc jockey Steve Wright (DJ) on his Radio 1 programme at BBC Broadcasting House.[171]
The Bee Gees were inducted in 1994 into the Songwriters Hall of Fame, as well as Florida's Artists Hall of Fame in 1995 and the ARIA Hall of Fame in 1997. Also in 1997, the group were inducted into the Rock and Roll Hall of Fame; the presenter of the award to "Britain's First Family of Harmony" was Brian Wilson, historical leader of the Beach Boys, another "family act" featuring three harmonising brothers.[172] In 2001, they were inducted into the Vocal Group Hall of Fame.[173] After Maurice's death, the Bee Gees were also inducted into the Dance Music Hall of Fame in 2001, They were made Ivor Novello fellows and inducted into London's Walk of Fame in 2006 and the Musically Speaking Hall Of Fame in 2008. On 15May 2007, the Bee Gees were named BMI Icons at the 55th annual BMI Pop Awards. Collectively, Barry, Maurice and Robin Gibb have earned 109 BMI Pop, Country and Latin Awards.[174]
In October 1999, the Isle of Man Post Office unveiled a set of six stamps honouring the Bee Gees.[175]
In the 2002 New Year's Honours, announced on 31December 2001, all three brothers were appointed as Commanders of the Order of the British Empire (CBE). By the time of the investiture ceremony at Buckingham Palace on 27May 2004 Maurice had died, and he was represented at the ceremony by his son Adam.[176][177] On 10July 2009, the Isle of Man's capital bestowed the Freedom of the Borough of Douglas honour on Barry and Robin, as well as posthumously on Maurice.[178] On 20November 2009, the Douglas Borough Council released a limited edition commemorative DVD to mark their naming as Freemen of the Borough.[179]
Bee Gees Way in Redcliffe with 2015 statue
On 14 February 2013, Barry Gibb unveiled a statue of the Bee Gees as well as unveiling "Bee Gees Way" (a walkway filled with photos and videos of the Bee Gees) in honour of the Bee Gees in Redcliffe, Queensland, Australia.[180][181][182][183] On 27June 2018, Barry Gibb, the last surviving member of the Bee Gees, was knighted by Prince Charles after being named on the Queen's New Year's Honours List.[184][185] The statue of the Bee Gees in Douglas, Isle of Man, was installed in 2021.
In 2022, Barry Gibb was made an Honorary Companion of the Order of Australia which is Australia's highest national honour.[186]
In 2023, Barry Gibb became a Kennedy Center Honoree for contributions to American culture and for being a "pop music pioneer",[187] as well as being inducted along with his brothers into the Australian Songwriters Association Hall of Fame.[citation needed][clarification needed]
The Bee Gees have sold over 250 million records worldwide,[188][189] making them one of the best-selling artists of all time. The group are to date the most successful family and sibling band of all time, the most successful musical trio of all time, and the most successful musical act with ties to Australia.[190][191][citation needed]
The Queensland Music Awards (previously known as Q Song Awards) are annual awards celebrating Queensland's brightest emerging artists and established legends. They commenced in 2006.[199]
Soundtracks Saturday Night Fever (1977) and Staying Alive (1983) are not official Bee Gees albums, but contain some previously unreleased tracks. Apart from live and compilation, all their official albums are included on this list. A Kick in the Head Is Worth Eight in the Pants has not been included on the list because it appeared only on numerous bootlegs and was not officially released.[citation needed]
Robin Hugh Gibb was a British singer and songwriter. He gained worldwide fame as a member of the Bee Gees with elder brother Barry and twin brother Maurice. Robin Gibb also had his own successful solo career.
Sir Barry Alan Crompton Gibb is a British musician, singer, songwriter and record producer. Along with his younger twin brothers, Robin and Maurice, he rose to worldwide fame as a member of the Bee Gees, one of the most commercially successful groups in the history of popular music. Gibb is well known for his wide vocal range including a far-reaching high-pitched falsetto. Gibb's career has spanned over 60 years.
Saturday Night Fever is the soundtrack album from the 1977 film Saturday Night Fever starring John Travolta. The soundtrack was released on November 15, 1977 by RSO Records. Prior to the release of Thriller by Michael Jackson, Saturday Night Fever was the best-selling album in music history, and still ranks among the best-selling soundtrack albums worldwide, with sales figures of over 40 million copies.
Cucumber Castle is the seventh studio album by the Bee Gees, released in April 1970. It was produced by Barry Gibb, Maurice Gibb, and Robert Stigwood. It consists of songs from their television special of the same name, which was named after a song on their 1967 album Bee Gees' 1st. Cucumber Castle is the only Bee Gees album not to feature any recorded contributions from Robin Gibb, as he had left the group before the album was recorded.
Size Isn't Everything is the twentieth studio album by the Bee Gees, released in the UK on 13 September 1993, and the US on 2 November of the same year. The brothers abandoned the contemporary dance feel of the previous album High Civilization and went for what they would describe as "A return to our sound before Saturday Night Fever".
"Night Fever" is a song written and performed by the Bee Gees. It first appeared on the soundtrack to Saturday Night Fever on RSO Records. Producer Robert Stigwood wanted to call the film Saturday Night, but singer Robin Gibb expressed hesitation at the title. Stigwood liked the title Night Fever but was wary of marketing a movie with that name. The song bounded up the Billboard charts while the Bee Gees’ two previous hits from Saturday Night Fever soundtrack were still in the top ten. The record debuted on the Billboard Hot 100 Chart at #76, then leaped up 44 positions to #32. It then moved: 32–17–8–5–2–1. It remained at #1 for eight weeks, and ultimately spent 13 weeks in the top 10. For the first five weeks that "Night Fever" was at #1, "Stayin' Alive" was at #2. Also, for one week in March, Bee Gees related songs held five of the top positions on the Hot 100 chart, and four of the top five positions, with "Night Fever" at the top of the list. The B-side of "Night Fever" was a live version of "Down the Road" taken from the Bee Gees 1977 album, Here at Last... Bee Gees... Live.
Spirits Having Flown is the fifteenth album by the Bee Gees, released in 1979 by RSO Records. 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 and all reached No. 1 in the US, giving the Bee Gees an unbroken run of six US chart-toppers in a one-year period and equaling a feat shared by Bing Crosby, Elvis Presley, and The Beatles. It was the first Bee Gees album to make the UK top 40 in ten years, as well as being their first and only UK No. 1 album. Spirits Having Flown also topped the charts in Australia, Canada, Germany, New Zealand, Sweden and the US. The album has sold more than 20 million copies worldwide.
"Love You Inside Out" is a 1979 single by the Bee Gees from their album, Spirits Having Flown. It was their last chart-topping single on the Billboard Hot 100, interrupting Donna Summer's "Hot Stuff", becoming the third single from the album to do so. In the UK, the single peaked at No. 13 for two weeks. It was the ninth and final number-one hit for the Bee Gees in the US, and the twelfth and final number-one hit in Canada as well. The trio would not return to the top 10 for ten years, with the song, "One".
Children of the World is the fourteenth studio album by the Bee Gees, released in 1976 by RSO Records. The first single, "You Should Be Dancing", went to No. 1 in the US and Canada, and was a top ten hit in numerous other territories. The album was re-issued on CD by Reprise Records and Rhino Records in 2006. This was the first record featuring the Gibb-Galuten-Richardson production team which would have many successful collaborations in the following years. Many consider this a "prologue" to the band's foray into disco, which would culminate with the Saturday Night Fever soundtrack the following year.
The Marbles were an English rock duo that consisted of Graham Bonnet and Trevor Gordon, who operated between 1968 and 1969. Their only well-known singles were "Only One Woman" and "The Walls Fell Down". They also became associated with the Bee Gees members Barry, Robin and Maurice Gibb at that time.
"I Started a Joke" is a song by the Bee Gees from their 1968 album Idea, which was released as a single in December of that year. It was not released as a single in the United Kingdom, where buyers who could not afford the album had to content themselves with a Polydor version by Heath Hampstead. This is the last Bee Gees single to feature Vince Melouney's guitar work, as he left the band in early December after this song was released as a single.
"Words" is a song by the Bee Gees, written by Barry, Robin, and Maurice Gibb. The song reached No. 1 in Germany, Canada, Switzerland and the Netherlands.
To Whom It May Concern is the tenth album by the Bee Gees. Released in October 1972, it is the follow-up to, and continues the melancholic and personal sound of its predecessor, Trafalgar. The album was recognised as "a farewell to the old Bee Gees" as the album marked the end of an era for the group in several ways: it was their last album to be recorded solely at IBC Studios, in London, their last with conductor and arranger Bill Shepherd, who had guided them since 1967, and their last under their first contract with Robert Stigwood. Some of the songs were old ones finished or rewritten for the occasion.
Living Eyes is the sixteenth studio album by the Bee Gees, released in 1981. It was the band's final album on RSO Records, which would be absorbed into Polydor and subsequently discontinued. The album showcased a soft rock sound that contrasted with their disco and R&B material of the mid-to-late 1970s; having become a prominent target of the popular backlash against disco, the Bee Gees were pressured to publicly disassociate from the genre.
"How Can You Mend a Broken Heart" is a song released by the Bee Gees in 1971. It was written by Barry and Robin Gibb and was the first single on the group's 1971 album Trafalgar. It was their first US No. 1 single and also reached No. 1 in Cashbox magazine for two weeks.
"If I Can't Have You" is a disco song written by the Bee Gees in 1977. The song initially appeared on the Saturday Night Fever soundtrack in a version by Yvonne Elliman, released in November 1977. The Bee Gees' own version appeared a month later as the B-side of "Stayin' Alive".
"New York Mining Disaster 1941" is the debut American single by the Bee Gees, released on 14 April 1967. It was written by Barry and Robin Gibb. Aside from a moderately successful reissue of their Australian single "Spicks and Specks", it was the first single release of the group's international career and their first song to hit the charts in both the UK and the US. It was produced by Ossie Byrne with their manager Robert Stigwood as executive producer. The song was the first track of side two on the group's international debut album, Bee Gees' 1st. This was the first single with Australian drummer Colin Petersen as an official member of the band.
"To Love Somebody" is a song written by Barry and Robin Gibb. Produced by Robert Stigwood, it was the second single released by the Bee Gees from their international debut album, Bee Gees 1st, in 1967. The single reached No. 17 in the United States and No. 41 in the United Kingdom. The song's B-side was "Close Another Door". The single was reissued in 1980 on RSO Records with "How Can You Mend a Broken Heart" as its flipside. The song ranked at number 94 on NME magazine's "100 Best Tracks of the Sixties". The entry was a minor hit in France but reached the top 10 in Canada.
"He's a Liar" is a song by the Bee Gees, released on 19 September 1981 as the first single from their album Living Eyes. The song was written by brothers Barry, Robin and Maurice Gibb.
"Alive" is a ballad recorded by the Bee Gees for their album To Whom It May Concern. It was the second and last single from the album released on 10 November 1972 worldwide. The song was credited to Barry and Maurice Gibb and produced by the Gibbs and their manager Robert Stigwood.
↑ Fegiz, Mario Luzzato (25 April 1989). "Una lacrima nel ritorno dei Bee Gees". Corriere della Sera (in Italian). p.25. Retrieved 26 May 2021. L'album "ESP", che, con due milioni di copie vendute il mondo (cifra lontana dai record dei passato, battutu solo da
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