Deep Tracks: The Bee Gees, 1965-1975
In a game of word association, if I say “Bee Gees” what comes to your mind?
Okay, someone definitely said “disco,” and I believe heard a mention of “Saturday Night Fever.” I’m also fairly certain I heard “chest hair.” Wait a second — did someone say “uncool”?
The conversation surrounding the Bee Gees these days is, well, pretty nonexistent. When it does exist, it’s mainly in the vein of parody rather than praise. (I’m looking at you, Barry Gibb Talk Show skit on SNL.) For a band whose hits spanned nearly four decades, who pioneered a genre, whose music defined a generation, and who even composed popular songs for a multitude of talented artists, the Bee Gees are typically seen as nothing more than a novelty act in today’s culture. After the degradation of disco, the Bee Gees were seemingly deemed irrelevant; it was as though people forgot about their music prior to the shiny jackets, medallions, falsettos, and exquisitely coiffed hair. Long before their music became a dance floor staple, however, the Bee Gees had explored multiple genres and experimented with their sound, creating psychedelic melodies and writing masterful compositions. Here, we’re taking a look at the music of the brothers Gibb before their disco days.
I highly suggest that you not only listen to these 10 tunes, but also delve into the albums from which they’re taken; narrowing down my selections was tough, but in the end I tried to choose songs that I think showcase their diversity and development as artists.
1) “To Be or Not to Be,” The Bee Gee’s Sing and Play 14 Barry Gibb Songs (1965)
A 19-year-old Barry Gibb wrote this rollicking rock ‘n’ roll number, most likely influenced by British bands such as the Beatles. This track is energetic and hurried in pace, with tumbling drums, impatient piano, and screaming background vocals provided by twins Robin and Maurice. Compared to their incredibly polished later recordings, “To Be or Not to Be” sounds as though it was taped live in a single take onto the record, leaving the listener breathlessly invigorated. This is a sound that can only be produced by youth: raw, unapologetic, and ready to take on the world.
2) “In My Own Time,” Bee Gees’ 1st (1967)
To bring up the Beatles again, “In My Own Time” is a song that would’ve been entirely at home as a cut on Rubber Soul or Revolver, with a beat and bass line highly reminiscent of “The Word” or “Taxman.” The double-tracked vocal harmonies blend seamlessly, intermingling with jangly guitar and throbbing organ. Things get really interesting at about two minutes in, when the timing abruptly shifts between 4/4 and 3/4. If one wasn’t thoroughly paying attention before, this little timing change takes hold of the listener’s ear with one final punch.
3) “Harry Braff,” Horizontal (1968)
When exploring their early catalog, it’s obvious that the Bee Gees had a knack for storytelling and a penchant for writing songs about unexpected subjects. As often as they wrote about love, heartbreak, and relationships in general, the Gibbs wrote about odd topics; a good example of this is “Harry Braff”, which is about a man named (you guessed it) Harry Braff, who wins a race to the delight of the crowd. The thumping pulse of the intro mimics the aforementioned crowd’s mounting excitement; the song itself exhibits an interesting timing in each chorus, with the ending vocals swirling and sliding along, pierced by a triumphant horn.
4) “I Have Decided to Join The Air Force,” Idea (1968)
A year after the “Summer of Love” with the hippie movement in full swing, the Bee Gees released “I Have Decided to Join the Air Force,” a song that probably wasn’t played at any sit-ins of the period. With lyrics like “I’ve seen my friends and they all agree / that it’s better than joining the army or going to sea,” it’s obvious that their “friends” were not hanging out at Haight-Ashbury. Nonetheless, the combination of all three brothers’ voices on this track, along with the tinkling piano and marching drum beat, turn what could have been a depressing dirge into a whimsical anthem.
5) “Odessa (City On The Black Sea),” Odessa (1969)
The titular track of the Bee Gees’ first and only double album, “Odessa (City on the Black Sea)” instantly transports the listener to the lonesome, open ocean, courtesy of Robin’s melancholy vocal. The first minute of the track sets the scene: 14th of February, 1899, at which time “the British ship Veronica was lost without a sign.” The song then changes tone completely, turning into a thoughtful narration of a love letter in which Robin asks his “Cherub” (which, presumably, is Odessa) to pray that the iceberg he’s floating upon won’t melt away into the waters beneath him. While the music sounds relatively upbeat and jovial, Robin’s vocals become increasingly mournful and slightly nervous, giving the impression that he is, indeed, recording the track for his lost love on a chunk of ice in the middle of the Black Sea.
6) “Lion in Winter,” Trafalgar (1971)
For anyone who’s ever hoped to hear Robin Gibb scream his bloody head off, listen to “Lion in Winter” and your wish will be granted. His vocal performance is unrefined, as wild as the eponymous lion, as sharp and biting as the winter’s winds. Barry takes on the verses with a soulful croon, which contrasts nicely with Robin’s sobbing choruses. Harkening back to the raw recordings of their younger days in the mid-Sixties (albeit only six years prior to Trafalgar), this track exemplifies the sheer power of their unprocessed, emotional vocals.
7) “You Know It’s For You,” To Whom It May Concern (1972)
Written, sung, and mainly performed by the multitalented Maurice Gibb, “You Know It’s For You” is soft and sincere. The vocal is light, almost faint, somehow adding to the genuineness of the song. Right from the start, it’s bittersweet; the radiant melody juxtaposed with the opening line of “I would die for you” cultivates a sanguine soundscape, reflective of conflicting emotions within a relationship. The use of Maurice’s distorted and fading vocals in the outro make it seem as though he has come to terms with having to leave his love behind, if she so chooses.
8) “South Dakota Morning,” Life in a Tin Can (1973)
“South Dakota Morning” features a particularly tender vocal and harmony from Barry, amidst a building arrangement of acoustic guitar, harmonica, and slide guitar that sound like a sunrise over the mountains. Wistful tracks like these are typically reserved for Robin’s longing voice; however, Barry’s country-esque timbre and gentle delivery faultlessly fit both the music and the subject matter of the song. Upon listening, one could easily imagine Barry picking his guitar strings and singing these lyrics somewhere in the Badlands of South Dakota, in front of a warmly lit sky.
9) “Down the Road,” Mr. Natural (1974)
Although disco wasn’t quite on their sonic radar yet, “Down the Road” is an obvious prelude to the funky days that were ahead of the Bee Gees. Grooving keyboards, assertive vocals, charged lyrics, and a catchy guitar riff come together in such a way that it’s almost impossible for the listener not to bob their head in approval or tap their feet along with the beat. Their harmonies are showcased in the choruses, punched by a prominent bass line that perfectly counters their glittering falsettos. This song grabs the listener and doesn’t let them go until the very last chord; and even then, the melody is one that can get stuck in your head relentlessly (not that you’re complaining, that is)!
Side note: I went back and forth many a time trying to figure out if this song was “deep” enough to be considered a “Deep Track,” being that it seemed to be a staple in their live set (here’s footage from a concert in Japan in 1974 and the version released on Here At Last… Bee Gees… Live in 1977); however, I thought it too good of a tune to leave out of this list.
10) “All This Making Love,” Main Course (1975)
https://www.youtube.com/watch?v=j4PkCx_fie0
This is one of the few Bee Gees songs with an almost angry vocal delivery, provided by a fervent Barry in a performance that could rival John Lennon in grit and intensity. Conversely, the choruses are handled by an all but passive-aggressive Robin, who argues he’s “really fine” and that it’s “just the wine.” It’s almost as if Barry and Robin are acting out two sides of the same story: a man who is exasperated by the behavior of his love interest, but who realizes it’s likely just his altered state making him so. Shrieking electric guitar and pounding barroom piano mimic Barry’s incensed singing, altogether creating a forceful sound that is still somehow artfully refined.
Did we miss your favorite pre-disco Bee Gees track? Let us know in the comments!
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