DON'T FORGET TO REMEMBER: The Official ILM Track-By-Track BEE GEES 1968-1981 Listening Thread

I feel like this thread has devolved into me and Tom D doing some version of "On Bee Gees At The Bee Gees"

I give this song three bags of popcorn and a large hairbrush for Barry's coiffure

I was going to say Barry can write memorable melodies in his sleep, and he probably did here, but then I remembered the entirety of the "2 Years On" album.

maybe he just wasn't getting enough sleep during those 2 years

Track No. 104: I Held a Party ("To Whom It May Concern", 1972)
https://www.youtube.com/watch?v=r64vSUVTzPk

Having listened to all 60+ tracks of "Saved by the Bell: The Collected Works of Robin Gibb 1968-1970)", I can attest that, surprisingly, this song was *not* an outtake or leftover from that period. It sure doesn't sound like much else from the contemporaneous rock scene of 1972. Robin holds a party, no one comes, he gets drunk and goes to sleep, is sad, all to the tune of Maurice's waltzing harpsichords and some great vocals, particularly at the end of each verse. I think this is possibly the *only* song in the catalog that's in 3/4...? Interestingly, there's very little of Shepherd's orchestral arrangement; for the most part, the boys substitute harmonies in the place of strings, which works very well, particularly in the later verses and on the gregorian chant-like coda (which recalls Robin's vocals on "Every Christian Lionhearted Man").

Yes, it's very old school Bee Gees - ca. 67/68 - so I like it! Robin is on good form on this album and there's a lot of him, he'd never be heard as often on a Bee Gees album again :(

while it's a very psych-period song stylistically, I think it actually benefits from the higher quality 70s-production and performances (no fumbling drumming, the harpsichord is double-tracked, more low end to it etc.)

Track No. 105: Please Don't Turn Out the Lights ("To Whom It May Concern", 1972)
https://www.youtube.com/watch?v=gH0oaeKLKu8

Another fairly minimally arranged song, this time oriented around a fantastic set of vocal harmonies that are as rich as chocolate cake. Just piano, some restrained strings, bass and the three brothers harmonizing for two verses and two choruses. I am a sucker for anything that sounds this sumptuous, no matter how banal the lyrics or simple the chord changes. By this point, the quality of their throwaway material had increased dramatically from just a couple albums prior. While this album is all over the map stylistically and feels pretty aimless as a collection, they at least managed to deliver high caliber performances.

also love the vocal melody on the verses of this, and the way Robin and Barry were getting very adept at trading off

one thing that listening through this period has made me think about is how the dynamics in the band shifted over time - after the breakup neither Robin nor the Barry/Maurice combo did as well as they would have expected, and when they reunited things *still* didn't get better. It's at this point (right after To Whom It May Concern) that Robin and Maurice both take more of a backseat: Robin doesn't get any solo songs, Maurice increasingly restricted to bass, etc. It's like once Barry and Maurice accepted that whatever they were doing wasn't working, they ceded more of the creative direction to Barry.

It's like once Barry Robin and Maurice

fixed

Track No. 106: Sea of Smiling Faces ("To Whom It May Concern", 1972)
https://www.youtube.com/watch?v=eqUVpaCUncA&list=PLDSjAKM-kw0h_kfson0Gcogv6DMwOtshX&index=7

This song is so meticulously constructed and feels of such a piece with "Run to Me" I'm surprised it wasn't released as the follow-up single. Very much in the ballad style of the tracks on "Trafalgar", it follows a familiar pattern of Barry and Robin trading off verses, Maurice providing the instrumental muscle, and Shepherd adding in the orchestral countermelodies. And again this feels like one of their 60s psych period songs just updated with 70s recording technology and performed by a more sure-footed band. Song also features one of my favorite songwriting tricks where the final chord in the verse shifts from minor to major, leading into a key change for the chorus. Hard not to read the lyrics as an ode to their vanishing audience.

I think it's Maurice's staccato pipe organ on the verses - plus all those ridiculous bass runs - that really make it feel like a 60s leftover

Yes, I love this song and it is very 60s. I think the second verse is one of the quintessential Robin vocals, I look forward to it every time I hear this song, those flat Northern vowels!

Track No. 107: Bad Bad Dreams ("To Whom It May Concern", 1972)
https://www.youtube.com/watch?v=bh1bEMX5328

Despite opening the song with "I've got a notion/to live in an ocean", which scans like a throwaway Fred Schneider lyric, this is certainly the band's most credible attempt at "rocking" to-date. Recently added lead guitarist Alan Kendall steps to the fore with a guitar sound borrowed from the Beatles "Revolution" (or maybe "Savoy Truffle"?), supported by a brassy horn section and some unusually fluid drumming courtesy of Clem Cattini, providing the Gibb bros with the necessary muscle. Cattini seems a little too fond of bashing away on his open high hat, but that's a minor quibble. This is another one of those songs on the album that feels like a 60s psych tune updated with 70s recording technology and style. Not bad.

Feels like they're getting the last of the Beatles out of their system on this album, including this track which is like "Day Tripper" played by the Move in their heavy rock mode.

omg you're right the melody totally bites "Day Tripper" in a couple spots!

Track No. 108: You Know It's For You ("To Whom It May Concern", 1972)
https://www.youtube.com/watch?v=EA0gXxwwxfg

Maurice's last turn in the spotlight, which sounds like he's playing and singing everything apart from the drums. After this album, Maurice was increasingly relegated to a strictly bass-playing/backup singing role, which is perhaps a bit unfortunate given what a stellar team-player and accompanist he was over the years. While this isn't on the level of "Trafalgar" it's still a nicely done little slice of AM pop with some interesting touches - the heavily reverbed mellotron flutes, the ghostly and wordless two-chord middle eight, a gentle drumbreak. He never penned a hit, but generally his songs were entertaining detours on these early 70s albums.

Having done a more than credible Lennon on the title track of the last album, here he attempts McCartney - will the real Maurice stand up? Too late for that now :( Nice track, Maurice seemed like a mellow chap.

this does feel v much like a Wings deep cut or something

I'll have to take your word for that!

I'm sure Turrican would love to weigh in on this issue

Track No. 109: Alive ("To Whom It May Concern", 1972)
https://www.youtube.com/watch?v=ReVM6N0akl8

Once again someone in the camp (Stigwood? Barry?) makes an inexplicably poor decision and pushes for this as the second and final single from the album. Surely "Sea of Smiling Faces" or hell even "Road to Alaska" would have been a better choice. Reportedly, Barry doesn't even remember writing it, which I guess goes some way to explaining why I could barely recall a thing about it after listening to it. It's not bad per se, the performances and delivery and production are all fine, it's just very unmemorable; it seems like an attempt to go for a grand gesture and builds from a whisper to a shout, but it never delivers on a hook or memorable chorus or lyric line or anything. Feel bad for Robin having to pretend like he has anything to do on this song during this TV clip (also not sure who's miming along to Maurice's bass playing, suppose it must be Kendall). The last song to feature Bridgford behind the kit.

Barry reportedly does not remember writing this song

oops sorry for the repeat of that last line, c+p error

I don't know, I quite like this song!

the most I can say for it is that it's more evidence of their overall compositional vocabulary expanding. They're drawing on an increasingly sophisticated set of chord changes, the days of everything being just three or four chords are rapidly receding in the rearview mirror.

Track No. 110: Road to Alaska ("To Whom It May Concern", 1972)
https://www.youtube.com/watch?v=EjChJ5Bvp7A

Featuring the only instance of a blues-shuffle rhythm in their catalog to-date, Maurice and Robin graft some silly American place-name rhymes onto a rollicking bass- and piano-led track, with a guitar solo that might as well have been lifted from a mid-period Funkadelic record thrown in for good measure. Yet another track where something that sounds ridiculous on paper actually comes off rather well: the song is relatively short and compact, Robin's vocal works surprisingly well, Maurice's bass playing is nuts, etc. An overlooked deep cut!

Definitely sounds like a Maurice thing, getting Robin to sing it was amusing and a good idea.

Track No. 111: Sweet Song of Summer ("To Whom It May Concern", 1972)
https://www.youtube.com/watch?v=5Ic0rPq30Vc

Possibly the most inaccurately titled song in the Bee Gees ouevre, this Moog-led slice of gothic prog evokes neither sweetness nor the summer, and instead brings all of Robin's idiosyncrasies to the fore. For an album filled with oddball left-turns and stylistic detours, this song is definitely the one that wanders furthest afield. Mike Vickers (of Mannfred Mann) programmed the Moog for Maurice, and it dominates the fairly minimalist instrumental arrangement, which is otherwise limited to just acoustic guitar, bass, and some tom hits. The quavering melody, which sounds very quintessentially Robin, has a sort of medieval or Arabic feel in places, which is reinforced by lyrics that hint at the ruminations of some kind of depressed monarch ("I can feel you sweet song of summer/Your music comforts my lonely reign/I can hear you in evil darkness/That empty feeling, I'm near you again"). Things just get weirder from there as the song seques into an extended coda with the boys doing some vocal ad-libbing that sounds like "gollum, gollum" by the end. Is it good? I'm not sure but it's definitely interesting and deserving of respect for its audacity.

Yes, it's a strange one this! Like you, I'm not certain it's any good but I'm glad it exists.

I remembering thinking this album was total dogshit when I first heard it: disjointed, directionless and desperate. Now I think it's one of the most entertaining albums from their 'lost years'. It's still all over the place but, for one, there's none of the bilious balladeering that threatened to scuttle "Trafalgar" and Robin is in great form.

agree about the album in general - it's quite scattered but the majority of it is well-crafted, it's lows aren't quite as egregious as the worst stuff from years prior

Track No. 112: Saw a New Morning ("Life in a Tin Can", 1973)
https://www.youtube.com/watch?v=yygOQnbXj0Q

This is the Bee Gees album I'm least familiar with, but judging from its commercial and critical performance it's safe to assume I am not alone in this respect. The lead single from the album doesn't really reflect the widening scope of changes engulfing the band. They moved to L.A., jettisoned Shepherd as an arranger, swapped out Clem Cattini for Jim Keltner, and enlisted a growing roster of sessions musicians (including Sneaky Pete Kleinow, Jerome Richardson, and Tommy Morgan). Familiar elements are all in place: Barry and Robin trading verses, rich harmonies from all three brothers, an overall soft-rock/country-pop vibe underpinned by Barry's acoustic and augmented with orchestral fluorishes. The structure of this song is kind of interesting from a compositional standpoint, being just a single melody that modulates with each chord change, and then a key change at the end for the coda. Unfortunately, the melody isn't that great, and it gets a bit tiresome.

I just listened to this whole album and can't recall a single song from it 5 minutes later, does not bode well.

Yes, I can't remember anything from it either, though it is more than 5 minutes since I've heard it. I remember it being boring though. This song is not bad but it feels like everything but the kitchen sink has been thrown at it and it's ended up hopelessly overblown. Also, if there was ever any doubt about the Bee Gees' nationality then the pronunciation of "Saw" as "Sawr" surely marks then out as English.

Track No. 113: I Don't Wanna Be the One ("Life in a Tin Can", 1973)
https://www.youtube.com/watch?v=HvNjvCJP6Ms&list=RDHvNjvCJP6Ms&index=1

A sound in search of a song. And the sound is pretty good at this point, very finely tuned, plus there's some nice unusual details like the odd organ fills. Nonetheless, the melody is weak and unmemorable, the phrasing/rhyme scheme of the lyrics is awkward, and it just kinda goes nowhere. It sounds like Robin had half an idea for the verses and Barry had half an idea for a chorus and they had some vain hopes that if they put them together they'd have a good song.

Can't disagree with any of that, this starts out quite nicely but doesn't coalesce into anything worth listening to more than once, and just plods away for 4 minutes.

Track No. 114: South Dakota Morning ("Life in a Tin Can", 1973)
https://www.youtube.com/watch?v=RblQu0va9iE

Barry sure liked writing songs about the morning, not to mention random American places. The lyrics imply some kind of cowboy gunfight scenario, and the reliably sparkling contributions from Sneaky Pete Kleinow and Tommy Morgan (on pedal steel and harmonica, respectively) do a good job of making this sound like an outtake from a Western soundtrack. But Barry's melodic sense again seems to fail - there's no hook or memorable chorus, and the prowess and professionalism of the backing musicians can only elevate the material so far, rendering the track merely pleasant as opposed to memorable.

At least it's short. Unfair because this song is quite pretty, but there is not much to it. It's short.

Track No. 115: Living in Chicago ("Life in a Tin Can", 1973)
https://www.youtube.com/watch?v=9bQLmSPIuy0

The ghost of "Massachusetts" loomed large over the Bee Gees for awhile. Surely if they just referenced some other random American place amid their gorgeous harmonies, chart-topping success would follow! But no. Anyway, here we get a song about Chicago that doesn't really have anything to do with Chicago and makes zero sense (as usual), which would be forgivable if it was wrapped around a memorable melody or hook. Barry (and I suppose Robin, although it's hard to tell who composed what) seems to have regressed to some of the most simplistic melodies and chord changes but like the previous track nothing sticks. The best part about it is the overlapping vocals and strings at the end.

"If you're living in Chicago, it's your home" - profound or what? Even though my ears prick up when Robin starts up they soon prick down again when I realize there's very little actually going on here and it's going for a long time - nearly 6 minutes!

coincidentally, if you're living in Chicago, you are also alone! Sucks to be you, Chicago.

Track No. 116: While I Play ("Life in a Tin Can", 1973)
https://www.youtube.com/watch?v=xpkdZQjlYek

I'm afraid my reviews of each track on this album are going to be a bit repetitive, given the uniformity of the material. Their single-minded dedication to a soft-rock/country aesthetic pays dividends in terms of stylistic consistency and the quality of the arrangements and contributions from session musicians, in this case bass and violin from Rick Grech (Blind Faith/Traffic). There also appears to be some kind of weird wah-wah slide guitar, presumably courtesy of Maurice? And once again, where the song fails is in the basic weakness of the material. Barry would seem to be firmly to blame for this misfire, turning for the umpteenth time to tired major key I-IV-V progressions and the most lumpen of melodies. Not sure why he was so off his game this time around, he hadn't floundered quite this badly since 2 Years On.

their transitional period from their 60s to 70s sound is so weird and unevenly distributed. it's not until the high points of Mr. Natural that you even get a hint of where they're headed, I think.

essentially, they had to swap out Shepherd for Arif Mardin to get there

it's true that there is very little hint of their abiding connection with R&B during this period - outside of Al Green covering "How Can You Mend a Broken Heart" and giving another song (which we'll get to) to the Staple Singers you don't really get the sense they were interested

Track No. 117: My Life Has Been a Song("Life in a Tin Can", 1973)
https://www.youtube.com/watch?v=eNuOYz3CtZ8

Robin injects some much-need personality into the proceedings. Barry's chorus nicely compliments Robin's verses, so that the song alternates between the anxious tension of Robin's ascending melody and the sweeter major key harmonic structure of Barry's parts. In places this reminds me of Mickey Newbury - probably just the combo of ghostly harmonica, strings and an overall reflective vibe. Still, the stitches show on this song. The grafting of the two parts together feels a little like a hackjob.

Track No. 118: Come Home Johnny Bridie ("Life in a Tin Can", 1973)
https://www.youtube.com/watch?v=4FZyHlf7O9o

It's a shame they never managed to pull off a full album of smooth country rock, it seems like a no-brainer as a natural direction, and it isn't hard to see where they were aiming for in the early 70s marketplace. This song gets pretty close to fulfilling that promise: the lyrics tell an unusually coherent variant on standard outlaw song narratives, the backing is great (particularly when Sneaky Pete's pedal steel comes in), with their trademark harmonies on top. Unfortunately the lyrical phrasing in the chorus is clunky as hell and makes the song stumble when it should soar.

Track No. 118: Method to My Madness("Life in a Tin Can", 1973)
https://www.youtube.com/watch?v=RfE8w5aXq_s

Saved the best for last, eh lads? Apart from a couple token lines from Barry, this feels a bit like Robin's last hurrah, bolstered by a great-sounding fender Rhodes part from Maurice. "Like a woman/in the rain" line is both weirdly affecting (how often did male singer-songwriters of the period directly identify as female in this way?) and the album's most striking melodic moment. I think this also features the last instance of Robin's soul shouter hysterics on record, just as the song draws to a close. Having penned many elegies to himself, this one carries a bit more weight than most. It's also appropriately brief, and doesn't overstay it's welcome by several minutes like some of the other tracks on this album.

Yes, no classic but definitely the best track on this dull-as-ditchwater album. Just 8 tracks and it only makes 32 minutes because several songs are about a minute longer than they need be - I'm reminded of the old restaurant joke, "The food in here is terrible - and such small portions". In mitigation, possibly, this album was part of the same recording sessions which produced the unreleased album, "A Kick in the Head Is Worth Eight in the Pants" (a shoo-in for the Horrible 70s Album Titles thread had it been released). I don't remember much about that album but it definitely has several better tracks than this but the boys blundered by putting out this turkey first and the record company nixed its follow up.

yeah we won't be covering that since it was never officially released but it features tracks that are both better and worse than anything on Life in a Tin Can