Bee Gees - Idea 1968

The Bee Gees' third album is something of a departure, with more of a rocking sound and with the orchestra (apart from a few well-placed harp arpeggios) somewhat less prominent in the sound mix than on their first two LPs. The two hits, "I've Gotta Get a Message to You" and "I Started a Joke," are very much of a piece with their earlier work, but on "Kitty Can," "Indian Gin and Whisky Dry," and "Such a Shame" (the latter written by the group's then lead guitarist, Vince Melouney), among other cuts, they sound much more like a working band with a cohesive group sound, rather than a harmony vocal group with accompaniment. Their writing still has a tendency toward the dramatic and the melodramatic, which would manifest itself prominently again on their next album, Odessa, six months later, but here the group seemed to be trying for a somewhat less moody, dark-toned overall sound, and some less surreal lyrical conceits, though "Kilburn Towers" (despite some pop-jazz inflections) and "Swan Song," as well as "I Started a Joke," retain elements of fantasy and profundity. [In 2006, as part of the shift of the group's back catalog to Reprise Records, Idea was reissued in remastered form, with seriously improved sound and expanded to two CDs with a brace of chronologically-related outtakes -- comprising some of the most fascinating material of their history -- initially as part of the collection The Studio Albums 1967-1968.] AMG.

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Bee Gees - Bee Gees' 1st 1967

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, but there was far more to their sound than that. The three hits off of Bee Gees' 1st, "To Love Somebody," "New York Mining Disaster 1941," and "Holiday," were gorgeous but relatively somber, thus giving Bee Gees' 1st a melancholy cast, but much of the rest is relatively upbeat psychedelic pop. "In My Own Time" may echo elements of the Beatles' "Dr. Robert" and "Taxman," but it's difficult to dislike a song with such delicious rhythm guitars and a great beat, coupled with the trio's soaring harmonies; "Every Christian Lion Hearted Man Will Show You" was close in spirit to the Moody Blues of this era, opening with a Gregorian chant backed by a Mellotron, before breaking into a strangely spaced-out, psychedelic main song body. Robin Gibb's lead vocals veered toward the melodramatic and poignant, and the orchestra did dress up some of the songs a little sweetly, yet overall the group presented themselves as a proficient rock ensemble who'd filled their debut album with a full set of solid, refreshingly original songs. [In 2006, as part of the shift of the group's back catalog to Reprise Records, Bee Gees' 1st was reissued in remastered form, with seriously improved sound and expanded to two CDs with a brace of chronologically-related outtakes -- comprising some of the most fascinating material of their history -- initially as part of the collection The Studio Albums 1967-1968.] AMG. 

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Bee Gees - Horizontal 1968

The group's second album, cut late in 1967 amid their first major British success, is less focused than their first, but also presents a more majestic sound than its predecessor. The opening track, "World," is a poignant, even somber yet gorgeous ballad filled with clever lyrics, and highlighted by a quavering Mellotron accompaniment, a very close grand piano sound (anticipating elements of the Odessa album), and twangy fuzz-tone guitar. "And the Sun Will Shine" is an even more serious, regretful ballad that is bearable because it is also prettier than "World." The enigmatically titled "Lemons Never Forget" breaks up the mood with a harder rocking sound, just the group without any orchestra, dominated by a pounding piano and volume-pedal guitar. The most interesting aspect of "Really and Sincerely" -- a song that descends into an even more emotionally melodramatic mood than "And the Sun Will Shine" -- is its opening, which contains a musical phrase that seems to anticipate the group's disco-era "Nights on Broadway." "Birdie Told Me" is another tale of lost love that offers the variety of some leaner and tasteful electric guitar accompaniment. Side two of the original LP was more upbeat, opening with the group's catchy chart-topping British hit, "Massachusetts," followed by the cheerful "Harry Braff." "The Earnest of Being George" and "The Change Is Made" are attempts at a harder rock sound, featuring heavy guitar on both and an attempt at bluesy feel on the latter, while the title track is a trippy psychedelic number that closes the album on an upbeat note. [In 2006, as part of the shift of the group's back catalog to Reprise Records, Horizontal was reissued in remastered form, with seriously improved sound and expanded to two CDs with a brace of chronologically-related outtakes -- comprising some of the most fascinating material of their history -- initially as part of the collection The Studio Albums 1967-1968.] AMG.

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